#but came away very touched by the jason characterization

[razmerry]

[coldtomyflash]

What do you think of Dick's portrayal in the various tv and movie adaptations? I first saw him in Batman TAS and loved him from the start. But the reboot came around and Tim replaced him as deuteragonist. Also the fallout with his relationship with Barbara (which I once loved) got even worse in Batman Beyond (in which he never appeared on screen) and the comic with the Bruce/Barbara/baby storyline. In the end it was like the writers hated him and in recent movies he takes a back seat to Damian.

“various TV and movie adaptations”

... movie adaptations?

We haven’t seen Dick in a movie in like 20 years. Unless you mean DC’s animated films, like Justice League: War, and similar?

But okay, what an awesome question.

If you check out my previous post (here), you’ll discover quickly that pretty much one of my favourite portrayals of him is Young Justice. I thought they did an amazing job in Season 1 with showing the depth of him (and of most of the main characters honestly) and all the different layers he has in terms of identity, including with his friends, with the league, with leadership, and with Bruce. The time-skip from him being Robin to him being an adult, self-assured Nightwing was a bit of a letdown because that transition is messy, but the characterization was still great.

I also loved him in Batman TAS but I haven’t watched that in so long. Definitely what go me originally into superhero media (well okay I remember being 4 years old and watching the old live action Adam West Batman but like, does that count? I guess it has to, because Dick is straight up hilarious in that, but like, characterization wise idk what to even say about that version). Anyway in TAS we get that whole tension of Dick’s role and identity vis a vis being Batman’s sidekick and I’m really into that. That portrayal is probably like the foundation, stone number one, when it comes to understanding Dick Grayson.

As for Batman Beyond - okay I love Batman Beyond, really and truly, but tbh I kind of think of it like... an alt-universe, almost like a... fic. I think of it like someone’s Batman AU in which they created an OC as a protagonist. And I’m into it! But I don’t really connect it with the rest of the Batman or DC canon if I’m being honest. Terry is great, I adore him, he actually reminds me a lot of Dick, but yeah wtf is going on with the implied fallout between Bruce and Dick and Dick not even being in the show. Idk. Doesn’t count. Side-step that weird non-canon.

(I mean, fucking tell me they’re not basically writing Dick with a different name here.)

Don’t touch Bruce/Barbara. Stick your fingers in your ears and sing la la la la la la at the top of your lungs until it goes away. Do not pass Go, do not collect $200. Do not let DC continue until that storyline is wiped from the face of the earth.

As for the recent animated films, typically they’re not focused on Dick but they do a half-decent job with him. I do like the Son of Batman (or whatever it’s called) animated film where they introduce Damian to the plot; Dick is pretty good in that even though his role is more minor. I haven’t watched the one with Harley Quinn yet where she’s helping Bruce and Dick but I really want to, it looks like it has some potentially entertaining Dick content in there.

(except that hair. What did they do to my handsome boi?)

What I tend to like about the modern animated films is that they get the snark right? They have these people make fun of each other and themselves, they get to be deadpan, they take the comics storylines and bring them to life in bite-sized chunks that are easier to digest. They also tend to have awesome voice-acting. They’re very much designed for pre-existing comics fans and are light on exposition as well, which makes me a good target audience. So I don’t tend to get too annoyed with the characterization in any of them, in part because they’re often pulling directly from pretty good comics arcs.

So the comics - (whoo boy this is getting long!)

I am in the small and Unpopular camp of people who kind of liked the entire goddamn mess that had Dick’s identity revealed to the world in... was that New 52 Forever Evil? i think it was; I have it on my shelf. I mean - we got some of Bruce and Dick’s dynamic and how much Bruce cares for Dick, and I’m all about that, but it was also like a shockwave in the Batfam because holy shit.

That being said, I’m not sure how much I like the direction taken, with the spiral agents and all that. I mean - Dick is Nightwing. And while him going undercover or being a spiral agent is kind of fun, the inherent problem with the identity reveal that they can’t really take back is that he can’t be allowed to be Nightwing anymore. So in that sense I also really fucking hate it. 

And then Dick being Batman for a while when Bruce is off being Not Quite Dead? I like Dick and Damian’s dynamic (kind of) but again it seems like backtracking to me. The way I interpret Dick is so much as his own person that for him to put on the cowl feels... wrong. Like he specifically doesn’t want to be Batman? And it feels like this authorial obsession with Batman, and with their always being a Batman. Like - Gotham needs the Bat fam, not just the Bat man. Y’know? 

I don’t mind the recent focus on Damian, though I think my biggest issue with it is that it kind of felt for a while like “ah yes, Bruce has a true son now, time to give him all the narrative weight, who cares about the rest of these former Robins” and I wasn’t in to that. Which is nothing against Damian. 

(I want more batfam hugs! not just Damian! but also yes this is cute)

But the Batfam is only as interesting and their connections to each other, y’know? I’d love to see more focus on Tim, tbh, on Tim and Jason, on that whole mess and its resolution, on Jason and Dick, on Dick coming to terms with his family colours being passed down, on what it meant for him when Jason died, on what it meant for him when he met Tim. Let’s explore more of that in the movies and animated series, please!!

(I guess we get some of that in DC’s Titans? I hope so. I need to catch up. Dick so far seems complex and angry, which I’m into, but also like... Dick Grayson is a beacon of hope, okay. That’s who he is. A version of Dick that isn’t inherently trying to help and save everyone is kind of hard to wrap my head around. I’m not fully sure how I feel about him yet, but I do like the series).

Oh I totally forgot to talk about Teen Titans. I haven’t watched Teen Titans Go, but boy howdy did I love the original Teen Titans. I was just the right age when it came out to be the target audience and I very much enjoyed Robin in that series, at least as well as I can remember. And Lego Batman which is hilarious.

Okay that’s all for me now. I’ll go back to pretending I’m a Flash blog or something.

[chibinightowl]

I have one! I have one!! Can we get a follow up to the casebook with Teekl, where Klareon comes back to pick him up? Love to see Jason meeting Tim's *friend*

You’ve been bugging me for this for quite some time, so I hope you enjoy it! Random note about Klarion…I use the characterization for him in Casebook from Robin issues 157-158, which is the Grant Morrison version of him rather than the Young Justice version we’ve seen where he’s a total brat.

~*~*~

It was raining cats and dogs outside, one of those absolutely miserable nights that Gotham liked to spring on everyone to remind them that even a city as dirty as she needed a bath sometimes. Jason knew how to take a hint and stayed indoors tonight, much preferring to curl up with a book and a cup of hot tea. Tim didn’t have much of a choice though and his phone pinged with the occasional text to remind him just how wet and miserable he was out there.

Jason, asshole that he was, sent back pictures of his steaming mug of tea or of Teekl, who had decided his stomach was the perfect place for a nap. The cat was a comfortable weight, even if he did wish he’d wander off towards his socked feet where he had them tucked under a pillow. The rain brought with it a chill that was more common to see in winter rather than early fall.

Again, Gotham.

Midnight rolled around and Jason rose to his feet, disturbing Teekl in the process, so he could start reheating the chili he’d made earlier. The cat hissed his displeasure as Jason stretched and laughed at him. “Come on, your highness. Do you really want to Tim to come home to a cold meal after the crap he’s had to deal with tonight?”

The cat flipped his tail primly at him and stalked off toward the kitchen where he jumped onto the counter to supervise.

That was something Jason really liked about Teekl. The cat understood human speech to a certain extent. No trying to herd cats with this one.

Jason was rummaging through the fridge for some items to make a salad with when he heard a knock at the door. Straightening, he gave it a quizzical look. Who would be out there at this time of night? Tim sure as hell didn’t knock, not at his own door.

Teekl, however, turned toward the living room and let out a loud mrrrrow. He then gave Jason an expectant look, clearing waiting for him to open the front door.

“You’re the magic cat, can’t you go through walls?”

Another loud mrrrrow was his answer.

“Sure, whatever. Excuse me if I don’t take you at your word.” Jason opened the pantry door and grabbed an empty box of cake mix off the top shelf where he’d hidden a gun and a clip of ammo just the other day. Color him surprised that he needed to use it so soon, but the rest of his gear was stashed away in the game room.

He checked the safety and slid the clip into place, then cautiously approached the door. Peering through the peephole, Jason frowned. The young man on the other side stood there patiently, but that wasn’t what was throwing him off.

It was the color of his skin. The lighting in the hallway wasn’t the best, but Jason would bet one of Dick’s boxes of Crocky Crunch that it was blue. Who was this guy?

Well, there was only one way to find out. “Whaddya want?” Jason barked in a purposefully rough voice.

“I am here for Teekl,” a slightly accented voice replied politely. “And who are you that you’re in Timothy’s home?”

Jason tucked the gun into the back of his pants and turned off the alarm, then unlocked the door. Opening it, he frowned even harder as he took in the drenched figure standing there. He was dressed like something out of a bad Thanksgiving play and really did have pale blueish gray skin. “I’m Jason, Tim’s boyfriend. Who’re you? I’m pretty sure the Pilgrims want their costume back.”

The young man rolled his eyes. “Quaint,” he replied tartly. “I am Klarion.”

“I guess cat-sitting is coming to an end.” Jason stepped aside for the warlock to enter. The last thing he needed was to piss off a magic user. That never ended well for anyone, especially him. “Tim’s not home from work yet but should be any minute. I’m reheating some dinner if you want to wait around.”

“That would be nice, thank you.”

Jason locked the door again and made a quick detour to the hallway closet to grab a couple towels. This guy needed one and Tim was sure to be in the same boat whenever he wandered in. Tossing one to Klarion, Jason set the other one down on the counter by Teekl, who still hadn’t moved and was giving his master an arch look. “If that isn’t a don’t touch me stink eye, I don’t know what is,” he commented as he returned to his salad.

The chili was reheating nicely, already sending off warm and meaty scents into the kitchen. He idly wondered if he had enough time to make some quick garlic bread for some added crunch. It wouldn’t hurt, so he turned on the oven to preheat.

Teekl meowed again and Jason saw Klarion was sitting at the counter and no longer looked quite so soaked. The cat still wasn’t going anywhere near his master though, even if he was trying to tempt him closer. “Teekl likes you,” he announced, eyeing Jason assessingly. “He is very hard to please, you know.”

“He’s pushy and spoiled,” Jason retorted without even thinking twice. “I can see why he likes Tim so much though. He lets him get away with everything.”

Shit. Open mouth, insert foot. Story of his life.

Rather set him on fire, Klarion laughed. The pitch sounded off, like it wasn’t something he did very often. “Teekl enjoys watching you try and manage Timothy while he tries to do the same to you.”

Jason narrowed his eyes and stopped slicing the loaf of French bread he’d bought yesterday. “You can see through his eyes, can’t you?”

“I can. Despite what Timothy may believe, I do keep tabs on my dragga while he’s here. Especially after what happened the night he and I met.”

“I heard that story,” Jason offered, picking up his knife again and giving it a pointed twirl. “I still can’t believe you leave your cat here when you come to Gotham.”

“Who says I stay in Gotham?” Klarion replied with a thin smile. “This place is simply home to someone Teekl and I call friend. What I’m curious about is how someone like you came to be courting Timothy.”

Jason snorted at the old-fashioned phrase. “Wow, where did you learn English? It’s called dating these days.”

Klarion nodded. “Dating then. So tell me, how did that happen? I’ve seen the mask you put on almost every night. I’ve met a few of your types up here before and they’re all self-righteous to a fault. You, however, have an attitude.”

“Now that is a good way of putting it,” Jason said as he finished sprinkling some garlic powder onto the bread. He placed it on a baking sheet and stuck it in the oven. “Have a drink with me and I’ll tell ya how Timbo and I first started working together.”

“Fair enough,” Klarion agreed.

Jason grabbed two beers from the fridge and handed one of them to the warlock, popping the cap off for him. Teekl made his way over to where Jason leaned against the counter and butted his hand for some attention. “Pushy, that’s what you are,” he said fondly. “Your master is right there.”

“I did say he likes you,” Klarion stated, eyeing his bottle curiously before he took a small sip.

“You did,” Jason agreed, scratching Teekl under the chin. He was going to miss the big cat, he really was. “So, story time. Do you know what a flamethrower is?”

[margarittet]

“Tombstone” (1993): cowboys and gay subtext

Disclaimer: I wrote this text long time ago, when we first heard the title of the episode, and we knew perfectly nothing about the plot - I just somehow never got to posting it. Back then I never DREAMED that we will be getting Cas and Dean roleplaying Texas rangers, and running around in cowboy hats. (What a time to be alive!) Anyway, I hope this little rant about how “Tombstone” (1993) is relevant to tomorrow’s episode will still be fun to read.

Disclaimer 2: I do not equal effeminate/weak bodied/flamboyant = gay, just different from the surroundings in the context of this movie. At the same time, the movie uses cheap stereotypes to characterize their characters in subtext.  It is 1990s, and this is not good, but it happened back then.

File it under the “Things I do because of my “Supernatural” obsession”: I watch and read stuff I hadn’t expected to before I started watching the show - you know, like a 1993 western telling the story of the legendary gunman Wyatt Earp and his two brothers, hunting and killing some Old West gang of outlaws in a frontier town.

Nevertheless, I did watch it, and now I will write about it because I am painfully aware that episode 13x06 is called “Tombstone”, that it has a western theme, and that it’s an episode by the writer who gave us “Stuck in the Middle with You” (12x12). It is therefore quite possible that the source material is relevant to the final product - plus with Tarantino being a western buff, it all connects nicely.

I will not speculate about the actual episode since we have almost nothing to go on at the moment - besides a few pictures from which we can gather a couple of facts:

The boys are most probably in Dodge City at some point (we saw pictures from the set saying “Dodge City” on one of the buildings). The city is about 3,5 hour drive from Lebanon - where the bunker is - and it was here Wyatt Earp was the sheriff before he moved to Tombstone. It also is “the cowboy capital of the US” because of it being the main city on the old “cattle trail”, famous for its cow markets and for its gunfights. We saw Dodge City on the show once before when Krissy’s dad was attacked in “Adventures in Babysitting”, but otherwise this is the first time we visit it,

We also know that at some point we will visit a cowboy-themed motel.

[While all of this gives us no story hints whatsoever, I think it’s safe to assume that the keywords for the episode are “cowboys” and “western”. Since Davy Perez’ most noteworthy episode last year was Tarantino themed, I am not remotely surprised this season for him is “westerns” (he is also bringing us the train heist episode later this season - yes, please.)]

I can, however, present the movie “Tombstone” that may or may not have something to do with the final episode (we’ll see). As I am aware that not everyone is as dedicated (read: bored and obsessed) as me to check out every pop culture reference on the show, I decided to share my newly aquired wisdom with the class.

Ok, so the story. The movie tells a (rather idealized) version of the shootout that occured in the frontier town of Tombstone, Arizona, between Wyatt, Virgil and Morgan Earp (plus their friend, Doc Holliday) and the gang of outlaws who called themselves “the Cowboys” - known as the gunfight at OK Corral. I will talk just about the movie here (since the historical truth is a little different, and a compare-and-contrast historical analysis is not what we need right now).

So, Wyatt Earp got famous being the marshall of Dodge City, while also being a pacifist and trying to avoid starting conflicts as much as possible. Tombstone was supposed to be his retirement - he wanted to settle down, finally having his family around, and earn some money for a comfortable and silent life. He came to Tombstone together with his two brothers and their wives; upon arrival, he found out that his best friend, Doc Holliday, also ended up in the town, searching for his luck and trying to cure his TB - an illness that will later kill him at the age of 35. 

We meet Wyatt Earp when he has people closest to his heart right around him, and is very content with his life. He is also very adamant to leave the past and the fame behind, and start a completely new chapter in Arizona. The Earp brothers find out very quickly, however, that Tombstone is very far from the sleepy abode the name might suggest. The town is full of colourful characters - gamblers, gunslingers, preachers, prostitutes, outlaws etc. And of course there is a conflict boiling just below the surface.

Unwillingly, one by one the Earp party is pulled back into being the law officers again, and into the bloody frontier war.

SPOILERS AHEAD (you know, if you wanna watch the movie yourself)

So many themes here that remind me of SPN!

We have a duty bound man who meets a maverick and outgoing woman. She offers him excitement and adventures, and of course he falls for her, but doesn’t let himself have what he wants because of his mission, his situation (he was married at the time), and the need to act honourably. He is, however, perfectly aware of his feelings and that a part of this behaviour is fear of following his heart because he had never done this before in his life;

It takes a death of his closest friend to realize life is too short, and he should go for what he wants, which he does;

Before this, however, he follows the murder of one of his brothers by going on a shooting spree, and killing every bad guy he can find until they all are eradicated,

There is also so much gay subtext between two of the characters that the movie is always mentioned when “gay westerns before Brokeback Mountain” are discussed.

“Tombstone” as a lesson in gay subtext:

It is never mentioned in the movie that Billy Zane and Jason Priestley’s characters are gay. Yet, it is so obvious from the way they are portrayed that even people who are not used to reading subtext are perfectly aware the two characters are most probably lovers.

The characterization

The first thing we notice is the look of the characters. The two man are both dressed in a way that differenciates them from the enviroment around them - Billy Zane’s Fabian is completely different from the masculine world of the Old West, with his soft hair, boyish good looks, clean shaven face, and elaborate outfits.

Jason Priestley’s Billy is more in accordance with the tough world of Tombstone - he is the deputy sheriff after all, and can be tough when needed - but still, in his time off he is portrayed as soft, effeminate, especially while contrasted with the criminals he usually runs with. His outfit is not too different from everyone else’s, but he is the only person to wear a bowtie (everyone else wears neckties or bandanas) and spectacles. He is portrayed as a slightly weaker and more vulnerable person.

Exposition in relation to other characters

The two characters sexuality is shown, not talked about, especially through the kind of interractions they have with other people.

We meet Fabian when he steps out of a carriage, all confident, flamboyant, well-groomed and witty. His person awakens the reaction in the manly-men of the West, which is shown by Morgan Earp asking the local sheriff “What kind of town is this?” (at which point Wyatt shushes him, as if he said something offensive). 

To hammer the point home, Fabian is an actor who travels with a gorgeous woman, but obviously has no sexual interest in her - they are best buddies who ogle the Earps together, and comment on their attractiveness.

As for Billy, we meet him when he arrives at the theatre to see the actors’ performance, and right away he is shown bullied by the Cowboys. The quips obviously refer to his sexuality (“Hey, sister boy, gimme some!”). He doesn’t try to shoot them down, just tries to avoid being touched. Quickly he is “saved” by the leader of the gang, and seated beside him. Shortly afterwards the camera shows us the difference between the Cowboys and the deputy sheriff’s approach to Fabian onstage (mocking vs in awe).

Later, during a blink-and-you-miss-it moment, Billy grabs Fabian in the saloon, and cordially invites him to his table. This is the last time we see the two men together, alive.

Fast forward to the end of the movie: Billy is riding around with the Cowboys while Wyatt Earp runs around, shooting everything he can find. The outlaws stop a carriage and find the actress and Fabian in the back: the actor is dead, shot by the Cowboys. Everything here happens completely beside the dialogue and the rest of the scene. Billy watches dead Fabian while the actress holds her dead friend, and angrily discusses the war with the leader of the gang.

(Just for your viewing pleasure, I created THIS GIFSET of the scene)

It is never said out loud that Bily and Fabian are lovers. It is still pretty damn obvious. It is perfectly clear from the way they are presented, their interactions with other characters, and the (very limited) onscreen interactions with each other.

“Tombstone” is a cowboy movie that takes a step towards the actual reality of the Wild West, and makes it almost textual. Homosexuality was a natural part of the cowboy lifestyle - it was after all a society full of men, where the men to women ratio was around 8:1. Everyone had needs, not everyone had money, and love and sexual encounters between men were as common as in any other, similar enviroment. There is a reason why the uber-masculine cowboy stereotype is one of the main figures in American gay iconology - think everything from “Midnight Cowboy” to The Village People and “Brokeback Mountain”.

Why Davy Perez chose to call his episode after the kettle-market town in Arizona, but also after the movie with such a strong gay subtext?

WE MAY NEVER KNOW!

[secretlystephaniebrown]

Why Rebirth’s Stephanie Brown isn’t the Same as Preboot Stephanie Brown

Hi I’ve got opinions about how the reboot has been handling my girl. 

I’ve been enjoying Detective Comics for the most part, but I’ve been frustrated with Stephanie Brown’s role in them for a while. And I think I’ve finally put my finger on it. 

Special thanks to @renaroo for all her help finding panels and issue numbers!

Below the cut is 2k of screaming and panels. 

Stephanie Brown in the preboot era was a kid with a bad past. Her mom was a drug addict, her dad was abusive and a villain. She lived in poverty for at least chunks of her original run as Spoiler. She dated older guys, one of whom got her pregnant and ran away, and has been implied to be a sexual abuse survivor.

And as Spoiler, her life wasn’t necessarily better. She dated Tim, and they had a pretty decent relationship, but Tim didn’t tell her his secret identity, on orders from Batman. For reasons. (Bruce later told her his identity without Tim’s permission, which… doesn’t really make things better.) From day one, she was an outcast from the family; she regularly got locked out of the Batcave, wasn’t informed about major developments in the family, and Bruce denies her training and resources. She even suspects that this is because of her family life. 

(Robin (1993-2009) #100.)

@renaroo and I have talked about this, and a part of Bruce’s reaction to Steph during this time period was clearly based off Bruce’s recent trauma because of Jason’s death. Steph, Cass, and Tim’s relationships with Bruce in the preboot were all tied to that event. Tim stepped up as Robin, providing Bruce with the balance and support that he knew he needed, so Bruce couldn’t really send Tim away. Cass had no secret identity, no life to return to. Bruce looked at her and saw his own morals concentrated, a dedication to the cause that he thought makes Cass an ideal protégé and possible successor down the line. (Not that it ever happened of course because of course it didn’t.) Besides that, Cass was a better fighter than he was, and had been looking after herself for years. Firing her wasn’t very effective, although he certainly tried in the later parts of Cass’s initial Batgirl run.

But Steph?

Steph was none of those things. Bruce didn’t need her, she wasn’t trained and capable like Cass. Instead, everything that Bruce saw when he looked at her probably remindd him of Jason. A mother lost to drug abuse, a father entrenched in crime and violence, a kid from the less great parts of the city. The parallels were right there to Bruce. But Bruce was too late to save Steph from this life, unlike Jason. Instead, Steph had decided to save herself. But he looked at her, and he saw a kid with no training and no experience. And he’d just lost a partner from a background very similar to hers.

He told her to go home. He never really stopped, not until she became Batgirl. (Although they had some amazing bonding moments as well, which I’ll probably make another post about later)

As a result Steph was an outcast for the majority of her run as Spoiler. She got brief flashes of integration and family; she teams up with Cass, works with other heroes like Black Canary, Huntress, and Oracle. She worked with Tim and Bruce as well. But just as often, Bruce did things like forbid Cass to patrol with Steph and the aforementioned locking her out of the Batcave and not telling her that the family was undergoing a MAJOR crisis at the time.)

(Batman: Bruce Wayne: Murderer? Robin (1993-2009) #98 - Yes Bruce was in prison at the time, but you’d have thought that SOMEONE would have thought to tell her he was unavailable.)

The end result of this should happen when she becomes Robin. Steph becoming Robin should have been cathartic; a culmination of Steph’s hard work paying off and Bruce recognizing her place in the family. And it was for a while!!

(Detective Comics (1937-2011) #796. Making me nostalgic for what could have been. Steph with anger issues and a complicated but growing relationship with Bruce? Amazing.)

Instead, it was a cheap stunt by DC. Steph got fired, Steph screwed up by starting a gang war, Steph died. (And then came back in an outrageously OOC manner, but that’s another story.)

We got some of the catharsis of her becoming part of the family in Steph’s run as Batgirl, but it was undermined by a lot of things. To make her Batgirl, Miller began what Tynion and the Nu52 (and later Rebirth) continues to do.

They take away what makes Steph interesting.

Steph’s anger issues were integral to her early character. She canonically went to visit her father in prison to fight him. Her anger was not once touched upon in Miller’s Batgirl. Her status as a teenage mom was similarly erased. Her trauma at the hands of Black Mask was only hinted at once, after Steph was shot in the head, when she saw him in a flashback. 

(Batgirl (2009-2011) #6. Don’t worry, this will never come up again.)

And her friendship with Cass, a relationship I would say was defining and important to Steph, was washed away, with Cass not even appearing in Steph’s history of the Bat Family. Steph still had to fight for her acceptance in the family; Babs didn’t want her to be Batgirl, her first ever meeting with Dick Grayson and Damian Wayne was a disaster, and she struggled to find her place. There was still catharsis there; she built a team and support network for herself, and it was wonderful, despite my issues with that run.

Miller also started moving Steph away from her roots with her mom; Crystal in Miller’s run was clean and she and Steph seem to have achieved financial stability. But in the preboot, both of those worked, since we’d seen how far they’ve come. Arthur’s abuse wasn’t directly stated, but his attack on her specifically through Black Mercy mad it pretty clear that there were still elements of abuse present, even if the events Steph had referred to in previous stories weren’t shown.

But Tynion doesn’t have that history to build off, because the Nu52 annihilated Steph’s entire history.

Steph in Batman Eternal is from a perfectly happy middle class background, with her parents already split up and with joint custody. Her dad isn’t abusive (in fact, him being a supervillain appears to be a complete surprise to her), her mom isn’t an addict. She’s never been a teenage mom, and although she starts a relationship with Tim off page, she knows his secret identity from the beginning.

(Batman Eternal #3)

And Bruce accepts her into the fold right away in Detective Comics. As a fan of Steph, the catharsis is there on a meta level; Stephanie Brown is accepted enough by the company to allow her to be in the comic which they named themselves after! What a change from the days when Steph was brutally killed off and then banned from appearing in any medium! But in universe? That catharsis doesn’t exist.

So suddenly, Tynion is faced with a character with many of Steph’s traits; the name, the upbeat attitude, the costume, with none of her history or markings.

(Sidenote: Steph’s anger isn’t completely non-existant in the Nu52/Rebirth era: Selina notes that Steph is angry during Steph’s appearance in Catwoman #42.)

(Catwoman (2011-2016) #42. Thank you for this moment, it’s a balm to my soul.)

Steph’s inclusion by Bruce in this initial team he sets up is a fascinating choice. He’s integrating her into the family from the very beginning of her character arc. This could have been a chance to let Steph grow in new directions; she could have grown closer to Cass and Harper, have Bruce and Kate as mentor figures, and explored her relationship with Tim in new and exciting ways. She could have met Duke and Jason and bonded with them over their similarities.

But instead, Steph and Cass barely interact, Harper’s relegated to cameos and sage advice, and Steph’s character is instead defined solely by her relationship with Tim. She has a few nice moments with Bruce, like the hug I’ve been waiting for ever since I got into comics.

(Detective Comics (2016-) #940. THAT HUG)

But overwhelmingly I’ve been left wanting more, and not in the good way. It’s not satisfying. Steph has some great moments in ‘Tec and even some great lines, just like during her run as Batgirl. But there’s a kind of hollowness there for me, lacking the heart and soul of Stephanie Brown.

Tynion also makes some strange changes with Steph; she loses her snark and attitude that even Miller managed to maintain. 

(Robin (1993-2009) #56. Just hanging around, you know.)

(Detective Comics (1937-2011) #796. Poor Bruce has to hang around with snarky teens.)

She’s lacking her relationship with gravity. 

(Batgirl (2000-2006) #20.)

She also no longer loves being a hero and doing good, instead having her arc being dedicated to… saying that superheroes shouldn’t exist… while still functioning as a vigilante… (I really don’t like this kind of arc in comics, not going to lie, so I’m predisposed to not be happy here. But I still think this is a RADICAL departure from Steph’s prior characterization.) 

(Robin (1993-2009)  #100. Here we see Tim planning on retiring, and knowing that Steph is hardly about to stop being a hero.) 

It all culminates, of course, in Steph’s departure from the team after Tim’s death. She calls out Batman for his actions, raises some valid points about how he’s not really parenting Cass (which… Tynion continues to ignore, because what, letting Bruce adopt Cass and teaching her to read? Nah, she’s too busy learning Shakespeare and hanging out with Clayface.) And after that moment of awesome she… leaves.

(Detective Comics (2016-) #947)

She becomes the outcast again. But this time it’s her fault.

And it’s so frustrating to me, this idea that Steph’s isolation is her own fault in Rebirth. That Bruce offered Steph a place and a team, but that she rejected it, is so aggravating. Steph’s isolation is supposed to be Bruce Wayne’s mistake which she pays for throughout her superhero career. Steph wants this place with the family, fights for it tooth and nail in the preboot. Now, if Steph had gone through the preboot arc, fighting for this, trying to earn it, and then turning away from it out of frustration with Bruce? I’d have been willing to listen, and might have even been excited for it.

(Detective Comics (2016-) #957. This is just such a departure from preboot Steph that it boggles my mind.)

But this is a Stephanie Brown who has not been a hero for long. This is Stephanie Brown, who is about the age preboot Steph was when she became Robin, new and inexperienced (meanwhile Tim is exactly where he was in his own timeline when Steph was Batgirl, a frustrating process that’s also familiar.) Steph is younger than she was in preboot and less competent. So are Barbara Gordon and Cass. The Batboys have gotten to grow up and improve. The Batgirls were forced backwards in both age and ability, and yet were older when they started their superhero careers, making them inherently less experienced then their male counterparts.

Part of it is, of course, DC’s refusal to let the Batgirls move forward in the status quo. Babs can’t become Oracle again, Cass can’t become Batgirl, and Steph can’t be Robin or Batgirl. The Batgirls (and Harper) are all now around the same age, and their relationships have been completely and utterly decimated by the retcons and reboots. Steph and Cass aren’t best friends, Babs isn’t a mentor to either Steph or Cass. Steph’s relationship with Bruce is no longer the complicated beast that it was pre-Flashpoint, she still hasn’t met Damian and established their bond, and her first interaction with Dick was an aggravatingly airheaded “kiss me sexy Batman”.

(Batman and Robin Eternal #2. Just. Why.)

And her relationship with Tim is lacking some of the most interesting elements; the drama of Steph’s history and Bruce’s disapproval. But despite its blandness, it continues to be the front and center of Steph’s arc. It’s what drives her away from the others and causes her to isolate herself. Steph functions as a manic-pixie figure to Tim, encouraging him to live his dream, while still being the goofy and funny partner he needs, with her primary motivation being his death.

Her goofiness and mourning are both clearly about to pay off in a manner which I am terrified about. In Detective Comics, Anarchy clones Steph’s phone. A phone which, it was shown in the previous issue, to contain information which could compromise Tim (and by extension everyone’s secret identities). 

(Detective Comics (2016-) #963. Oh look and Tim even told her it would be a bad idea! Haha, how funny!) 

(Detective Comics (2016-) #964)

We could be about to witness War Games, reboot version.

But this time, there will be no one to blame but Stephanie Brown. She chose to isolate herself, she was sloppy with her phone’s security, and she was fooled by Anarchy.

If Tynion does what I’m scared he’s going to do, we’re looking at some next level bullshit.

I live in fear.

[scrapyardboyfriends]

29 August 2017

[Outside the Garage with Robert and Cain]

ROBERT: Cain! Finally!

CAIN: What do you want Sugden?

ROBERT: I want to catch you up on Aaron’s Boxing Filler Plot.

CAIN: Why should I care?

ROBERT: Because for one, it’s transitioned from a Side Plot to Filler Plot, yes that’s a thing. And we really just need to end it as soon as possible. But anyway, Aaron’s decided that the Plot wants him to fight that Jason guy from the Prison Plot and that’s just #NotOkay and really not on message considering his Prison Plot came after assault charges.

CAIN: Right...and what do you want me to do about it?

ROBERT: Well, you’re my last hope since the show has completely forgotten that Paddy has ever had a vested interest in Aaron, aside from that one time he saw me at the bar and made a snide, super hypocritical comment to me to increase my misery.

CAIN: I’m touched.

[Outside in the Village with Robert, Lawrence and Rebecca]

LAWRENCE: Hey, I’m still feeling sleepy all the time, no idea why, but I’ve dragged myself here to reenact the same scene we’ve done a thousand times already.

ROBERT: Great! And here’s Rebecca to play her usual part. No one missed her, but here she is with her best *Upset Face*, possibly now with an actual bump but I couldn’t really care less about that, unless she asks, then I totally care…for my own purposes, which means not at all. Really, I’m just waiting for Aaron to walk by. #AreWeBackTogetherYet

REBECCA: *Upset Face* I’m upset and worried about you Dad!

LAWRENCE: Why?

REBECCA: Because today is all about reestablishing this unbelievably pointless Filler Plot of Robert’s while Aaron’s Filler Plot comes to its climax.

LAWRENCE: I just want to be left alone to dream about my exit.

REBECCA: Don’t leave me alone with these people!

ROBERT: Hey, Aaron’s walking by which is my sole purpose for being here but I still need to convince you that I care, so...are you okay?

REBECCA: Guess I have to be.

[Outside the Mill with Robert, Aaron and Cain]

AARON: *Oh nice you’re talking to Rebecca. Thanks for reminding me why we broke up Face*

ROBERT: Nevermind her, I’m here to once again stop you from doing the thing.

AARON: Change the record Robert. I’m still going to do the thing.

ROBERT: Well, then we’ll have to do this the hard way.

AARON: *Huh? Face*

CAIN: *Dramatic Reveal*

AARON: *Seriously Face*

ROBERT: *Serious Eyebrow Raise*

[Outside the Mill with Robert, Aaron and Cain]

ROBERT: Please don’t do the thing, Aaron. - How many times can we do this same scene? -

AARON: I’m still going to do the thing, we’ve covered this. #Dejavu

CAIN: Oddly enough, I agree with Robert. Please don’t do the thing.

AARON: My Prison Plot really sucked and this is payback for that.

ROBERT: I know your Prison Plot was awful and got cut short and now you and the Plot think that this is a quick fix for all of that but trust me–

AARON: Oh, I tried that and now we’re stuck in this Hell Plot.

ROBERT: Fair point. #AreWeBackTogetherYet

CAIN: Look, you don’t have to do the thing.

AARON: You would do the thing, Cain.

CAIN: Yeah, but I often regret doing the thing.

AARON: Well, I’m still going to do the thing. None of these repetitive scenes will convince me otherwise.

CAIN: *Nods*

AARON: *Leaves*

ROBERT: Brilliant. Now I’m gonna have to watch him do the thing.

[Plot Gym with Aaron, Robert, Adam, Zak, Sam, Cain and Jason]

ADAM: This thing is going to go badly isn’t it?

ZAK: Probably. Let’s just try and make sure he gets through this in one piece.

*Aaron and Robert enter together*

(FANDOM: Did they drive together? Why couldn’t we have seen that awkward car ride?)

AARON: *Confident Face*

JASON: Lover Boy threw money at your problem.

AARON: *Angry Face* Please tell me you didn’t? Why won’t you ever learn?

ROBERT: It’s the only thing the Plot will ever let me do Aaron! And it totally backfired this time. Sorry.

AARON: Why won’t the Plot let us actually separate during this separation? #AreWeBackTogetherYet

JASON: Why aren’t you back together yet? Just kiss and make up boys!

(FANDOM: This is literally the only thing we will ever agree with you on, Jason)

AARON: Right, I don’t care what any of you say, I’m going to do the thing now!

[The Woolpack with Victoria and Faith]

VICTORIA: *Stares at phone* Haven’t heard from Adam yet though I’m really glad Aaron’s Filler Plot has got us texting again. It’s also made me return to normal mostly. It’s been a great break. Do you think it’s possible Robert got Aaron not to do the thing?

FAITH: *Hangover Face* Probably not. We Dingles are famous for doing the thing, whatever thing gets us most in trouble.

[Plot Gym with Aaron, Robert, Adam, Zak, Cain, Sam and Jason]

AARON: *Getting Psyched Up To Do The Thing Face*

ZAK: *Giving boxing tips as if it matters*

ROBERT: *I hate all of this Face* Aaron, you still don’t have to do the thing.

AARON: For the last time! I’M DOING THE THING!

CAIN: Well, then, go do the thing. We’re all behind you.

ROBERT: Yeah, fine, but I really don’t like it and I swear it’s not on message.

JASON: Are we doing the thing or what?

AARON: *Gets into the ring*

[Plot Gym with Aaron, Robert, Adam, Zak, Cain, Sam and Jason]

*Bad Pretend Boxing Alert*

JASON: You’re not doing a very good job of doing the thing!

AARON: *Looks at the guy in Jason’s corner texting on his phone and not paying attention because he’s just as bored as the fans are* *Sudden Revelation Mode Activate* Hey! I don’t have to do the thing!

JASON: Wait...what? I was assured that the thing was going to happen.

AARON: Yeah, well it turns out that it’s more important for me to not do the thing because the thing is what got me into the Prison Plot in the first place. So...do us a favor and just stand there while I tell you what a sad, pathetic person you are and make some insinuations about your potential backstory that the fans absolutely don’t want you to have.

JASON: I can’t believe I just stood there and listened to all that. It seems really out of character for me based on the Prison Plot but whatever. The things we do for Plot. Still, I think I need to get at least one shot in here to save face for this hyped up fight of ours. *Punches Aaron in the stomach*

AARON: *Falls*

AARON DINGLE DEFENSE SQUAD: Aaron!!

AARON: No, it’s okay. This is more the Jason from the Prison Plot, I guess, the Jason everyone hates. I don’t hate you though. I just pity you. And now I’m going to walk away, which I should have just done in the first place but the Filler Plot was trying really hard to be dramatic and meaningful and while it may have fallen a bit short, it’s still #OnMessage so there we go. *Gets out of the ring*

JASON: But what about the thing?!?!

AARON: Sorry, I just really hope this is over now. Everyone is tired of this Filler Plot already. Oh hey Robert. #AreWeBackTogetherYet

[The Woolpack with Robert and Victoria]

VICTORIA: So, did Aaron end up doing the thing?

ROBERT: Nope, he did what the Plot wanted all along and he walked away. I think his Filler Plot might just be over.

*Rebecca walks in*

VICTORIA: Oh no, I feel my proper characterization slipping again. Have you been crying? Why do I suddenly care? I don’t want to care. I want to go back to texting with Adam and watching him pitifully try to skip rope.

ROBERT: Sorry, I guess when Aaron’s Filler Plot ends, mine starts up again. *Manipulative Rebecca Voice* Bex?

REBECCA: It’s time to do the scene again.

[The Mill with Aaron, Adam and Jason]

ADAM: Hey, I’m proud of you for not doing the thing. Must have felt good.

AARON: *Shrug* I guess. At least I’m not heading into another Prison Plot, but I can’t help feeling like I needed better closure than that.

*Knock Knock Knock*

ADAM: Oh look it’s Jason, here for some more Filler Plot closure.

JASON: *Drunk and Homophobic Mode Never Switched Off*

AARON: Great...I guess I’ll go let him in.

[The Woolpack Back Room with Robert, Rebecca and Victoria]

REBECCA: Yep, it’s Dad again. I’m still worried about him.

ROBERT: Well, I know he hasn’t been doing well since I’m, you know...drugging him. I should be doing more to help, like drugging him more and plotting how to swindle the business away from you.

REBECCA: You’ve done so much already Robert and for some reason I think it’s all been good, helpful things cause I’m apparently an extremely gullible idiot with nice braided hair.

VICTORIA: Is he not any better after the aneurism?

REBECCA: How should I know? I’m clearly clueless about everything.

ROBERT: It’s okay, I’ve got this. He’s clearly just feeling down because everyone is leaving him. You should also leave him. It would make everyone happy.

REBECCA: At this point, I might as well not even be here.

ROBERT: Yeah, but first get a solicitor so that you can take over the business that Lawrence doesn’t care about since I’m drugging him. Then it will be easier for me to get my hands on when you leave.

VICTORIA: Ummm...what about a medical professional if Lawrence is still poorly?

REBECCA: Why didn’t I think of that? Oh that’s right, it’s because I’ve never seen one before.

ROBERT: Why start now? I’ll talk to Lawrence instead, so that no one figures out my completely pointless scheme. #ThingsIDoWhenIMissAaron #AreWeBackTogetherYet

REBECCA: *Nods dumbly* Of course, Robert, whatever you say. I have no original thoughts in my head. But in case that doesn’t work, I’m totally going to try that nifty medical professional thing that Vic suggested.

ROBERT: *Panicked Face*

[The Mill with Aaron, Adam and Jason]

JASON: No one walks away from doing the thing with me...wait…

ADAM: Go home!

AARON: No, I got this. I need my closure for this Filler Plot. You go on.

ADAM: *Leaves*

JASON: *Continues to be a drunk, homophobic waste of space* *Tries to have a moment of backstory*

(FANDOM: We still don’t care)

AARON: Right, here’s my big closure moment. You can’t bully me anymore. Nothing you can say matters. Somehow, one almost boxing match, has allowed me to get over everything you did to me in prison and now I’m totally done with you. I’m probably still in counseling too, but shh we don’t talk about that. In any case, I’m good now. *Grabs Jason and shoves him toward the door*

JASON: Get your hands off of me!

AARON: With pleasure. I never want to see you or this Filler Plot again. *Door Slams* *Proud of myself Face*

[The Cafe with Robert, Rebecca and Lawrence]

LAWRENCE: *Blatantly pouring alcohol into his coffee* *Just wants out of this Plot Face*

REBECCA: I can’t believe we’re doing this scene again, but here we are.

ROBERT: Honestly, I’m having a hard time coming up with new ways of manipulating you. The fans must be seriously bored by now.

(FANDOM: You have no idea)

ROBERT: Look, he’s clearly losing it. We just need to keep an eye on him.

REBECCA: But if he has a drinking problem?

ROBERT: Yes, but I want him to keep having that drinking problem. But I’ll talk to him. We’ll get through this. I mean that with all my fake sincerity. But we’re not going to make a scene here. Can’t have people talking. If they’re talking, someone more intelligent than you might find me out. Laurel’s been playing detective lately. I certainly wouldn’t want to get on her bad side.

[Outside the Mill with Jason and Cain]

JASON: I don’t care that Aaron got closure. I’m still gonna stand around drunk outside his house.

CAIN: I don’t think so. *Punches him in the face*

(FANDOM: Please let the Filler Plot be over now!!!)

[glenngaylord]

SOME OF THE PRESIDENT’S MEN - My Review of THE POST (3 1/2 Stars)

Movies about journalists/reporters occupy a warm place in my cold, dead heart.  I thrilled to the level of detail in such films as SPOTLIGHT, NETWORK, BROADCAST NEWS, SALVADOR, ABSENCE OF MALICE, and THE INSIDER. THE POST, the latest film directed by Steven Spielberg and written by first timer Liz Hannah and Oscar winner Josh Singer for SPOTLIGHT, enters the fray with mixed results.  

On the one hand, it’s a big canvas, smart, sometimes thrilling piece of populist filmmaking, but thankfully directed with a level of restraint we’ve seen from Spielberg with such films as MUNICH, BRIDGE OF SPIES, and SCHINDLER’S LIST.  While not quite on their level, THE POST comes out a winner because of its obvious relevancy to our current press-hating presidential administration.  It almost comes off as a Hollywood Liberal FUCK YOU, TRUMP, but its craft, performances, and attention to the little details makes it a much richer experience than that knee-jerk characterization. It’s also a cleverly made prequel of sorts to ALL THE PRESIDENT’S MEN, to me, the best of the journalist movies,  which detailed Washington Post investigative journalists Bob Woodward and Carl Bernstein’s uncovering of the Watergate Scandal.  Their efforts led to the resignation of President Nixon in 1974.

A couple of years prior to Watergate, Daniel Ellsberg (Matthew Rhys), a Military Analyst for The Rand Corporation released The Pentagon Papers to The New York Times, Washington Post and other newspapers.  These Top Secret documents revealed that the War in Vietnam could not be won, yet the government still sent our young soldiers needlessly off to die, to the tune of over 58,000 people.  These papers came to the attention of Washington Post Editor Ben Bradlee (Tom Hanks) and its publisher Katharine Graham (Meryl Streep), setting off a series of moral, ethical, economic and legal conflicts.  Nixon’s administration threatened the newspapers with a violation of the Espionage Act, which could send them all to prison, leaving Graham and Bradlee with some tough decisions to make.  The work of the street-level reporters gets represented mainly by Bob Odenkirk in a truly fine, nervous and specific portrayal of Ben Bagdikian.  We meet a lot of the Post staff, who, while all effective, only have little moments, despite being played by such wonderful actors as Carrie Coon, Jessie Mueller, Tracy Letts, Bradley Whitford, and an unrecognizable David Cross (without his trademark beard!) as Bradlee’s Managing Editor.  

So with the exception of Odenkirk, this is mainly the Tom and Meryl Show, and neither disappoint.  Part of me feels that the story was reverse engineered to accommodate both stars.  Neither could play cub reporters, so the emphasis lies here with the problems of the wealthy leaders.  Although both are dynamic and charming, I wondered what this film could have been had Odenkirk been driving the entire story.  Perhaps it would have played like a carbon copy of PRESIDENT’S MEN, so this different point of view sets it apart.  Despite its champagne problems milieu, the stakes for the future of our country, that a free press NEEDS to hold the government accountable,  couldn’t have been higher.  It’s a lesson we all need to heed right about now.  

Occurring over a relatively short period of time, the story comes across as a tug of war, constantly keeping the audience wondering if the Post will publish the Pentagon Papers or not.  It’s a fine premise, if a little overextended, and a little monotonous at time with the endless discussions occurring either in mansions or newsrooms.  Streep, however, with her shock of 60’s Holdover Hairdo, and billowing outfits, captivates every moment she’s on screen.  Watching her pause endlessly while she makes a decision proves to be one of the most thrilling scenes in a film this year.  She’s a Washington insider with deep, personal relationships with people such as Robert McNamara (Bruce Greenwood), the Secretary of Defense and major player in the path toward war with North Vietnam.  If you’ve never seen his first person documentary, Errol Morris’  Oscar winning THE FOG OF WAR, it’s a stunning mea culpa and a terrific companion piece to this film.  Graham finds herself drawn towards her loyalty to her rich and powerful friends, yet also knows all too well how dubious the war was, one in which her son was sent off to fight.  We feel the weight of the world on her shoulders, and as such, THE POST becomes a rallying cry for feminism, for a woman finding her voice and struggling to champion what’s good and right and decent in this country.  A stunning shot of Streep walking by a sea of women, another triumph for Spielberg’s longtime cinematographer Janusz Kaminski, silently spells out the growing sisterhood to come from the actions of people like Graham.  

Hanks, while no Jason Robards, captures Bradlee’s famous crankiness and aggressive editing style.  There’s a great sequence in which a low-level reporter receives some of the Pentagon Papers in a shoebox on his desk.  Meekly walking into the Editor’s office, Bradlee shoos him away with a forceful, “No!”, only to have the poor guy immediately walk the evidence over to the Managing Editor.  While Hanks marvels at what these documents represent, the reporter quietly details what the person who dropped them off looked like.  It’s a great touch in showing the different levels of power at a newspaper.  Hanks leads his staff with a striking confidence and great humor.  Robards gets the Iconic status with his portrayal in PRESIDENT’S MEN, but Hanks’ performance can’t be denied as thoroughly winning.  

The devil’s in the details with THE POST, and it’s filled with moments such as the one above.  I loved the little girl’s story of her lemonade stand, Odenkirk’s very human struggling with coins at an old-fashioned pay phone, the fact a woman recites a Supreme Court verdict to a roomful of reporters, or the intricacy of creating plates for the printing press.  These little gems go a long way towards humanizing such an earth-shattering event.  

On the down side, I found John Williams’ music to be a tad maudlin.  It’s an old school Hollywood score and leans too sappy in the final stretch, a rabble rousing bit of filmmaking which could have sold its moments with something with a little more early 70s edge to its sound.  It’s also a rare, non-superhero movie with a super-hero style tag at the end, setting itself up for a sequel, or perhaps as a way to get people to watch ALL THE PRESIDENT’S MEN.  If it achieves that, then it will be a triumph of sorts.  I also missed what should have been bigger contributions from the supporting cast, but as a document of a moment in history where the scales tipped towards more corruption, THE POST has great merit.  In the end, it feels like Spielberg’s qiuet, yet primal scream at the Trump Era….and to that, I say, “Whoo hoo!!”

[redrobin-detective]

I'm a writer and I've gotten a couple complaints that my characterization/psychological state is off. I was wondering if maybe you could give me a little synopsis/character analysis of the main Batfam? Especially Bruce, Damian, and Tim? Those are the ones I'm weakest with. I've looked to many of your answers for more information on the characters and I just want to thank you for being so in depth!!!

It’s hard man and, wow, thank you for the compliment but I’mnot perfect either. With Batman there’s so much history and variability that Icherry pick the parts I like best and combine them to create the ‘ideal’character for my tastes. So keep that in mind, there’s no one right answer.

Bruce- Bruce is one of the most caring people you will evermeet. Such a big heart that loves super intensely. But he’s afraid and he’svery damaged from his experiences. He has all this love but he a) doesn’t knowhow to healthily express it and b) is afraid to acknowledge/express hisemotions for fear of being hurt again. So he comes across as kind of a coldjerk a lot of times. But as he adopts his children (big heart again) he reallydoes make and effort and does as much as he’s capable. He messes up, a lot, buthe still cares. The mission is the most important thing, just slightly behindhis family enough even he forgets sometimes. Motivated and obsessed, hesometimes pushes himself and his feelings too far with consequences.

Dick- Outwardly very bright and cheery, happy and full ofhope and love. It’s one trait he maintains but as tragedies continue in hislife, he hides of that away and instead puts up the mask of a goofball tocompensate. Refuses to be like Bruce but sometimes acts like him anyway. Such apeople person, can make friends in an instant. Observant and caring, sometimesa little overconfident and patronizing but he means well. Being a bigbrother/mentor is very important to him, he loves trying to help out thoseyounger than him to avoid repeating his mistakes. Wracked with guilt and griefand anger that he keeps bottled up cause he hates those negative emotions butthey manifest and cause lots of damage cause he never learned to deal withthem. While he seems easygoing, he’s very stubborn and hardworking and wouldmove literal mountains for those he loves.

Babs- Barb was a very cynical, mature young woman who becameBatgirl as a fuck you to her dad for not letting her join the police force.Eventually she came to love the thrill and intellectual challenge and doinggood. But she grows up and decides Batgirl is a child’s thing and puts it awayjust before her accident. The accident changed her, once a sassy but playfulknow-it, now she’s bitter and angry at her circumstances. It’s unfair whathappened and she broods in her loss, lashes out and pushed people away. Onceshe realizes that she’ll never not miss her legs, she moves on. She’s harsher,more cutting but she’s got her life back and she won’t let her paralysis defineher. Forms the BOP, works with Batman and makes a real difference as Oracle.She’s still angry a lot, bitter but she’s learned to work through it, channelher feelings into positive manners. She’s warm and comforting to those underher wing, an unofficial mom/big sister but a vicious storm to those she fights.

Jason- Jason was a street rat from day one. He grew up incrime alley with a criminal father and an addict mother, he learned to be toughand survive and fight dirty. But despite everything, he still avoided doingmuch crime himself and maintained a good heart. Despite this he has angerissues and insecurities and fears of being just what everyone said he was.Death didn’t help. The Pit scrambled his head, amplified his negative traitsand made him a bit crazy for a while. It calmed down eventually but he’d made alot of enemies and he didn’t regret too much. Through that all, he still caresfor people though, all his murders are done to save people. He’s still bitterwith the batfam, angry about being replaced but he’s tentatively working hisway back in. It’s not easy and they’ll never truly be on good terms, he’s adarker hero now and the Pit still influences him, but he wears the Bat and thatcounts for something.

Tim- Tim’s parents were away a lot as a child so he neverreally developed any bonds. He grew up quiet and alone, honing his intelligencefor lack of anything better to do and a bone deep understanding that he wasn’timportant or worthy of love. He love B&R, looked up to them as heroessaving the city, being important was lowkey obsessed as lonely kids are. Hetook over as Robin, unwillingly at first but then he saw it as an opportunity todo some good in his life, help people. He didn’t think he’d last. As a Robin hewas quiet and contemplative, always hung back and observed rather than jumpingin. Prone to depression and extreme anxiety. Probably the closest to B butstill very warm and friendly, he put everyone else before himself. He gainedsome confidence and grew into himself. When things turned bad, Tim nearlycrumbled. His eternal hope and optimism was darkened and made smaller. It madehim harsher, more willing to bend, not break, the rules. He became more self-reliantbecause people let him down and he won’t make that mistake again. Bitter still,but underneath he’s still that lonely boy who just wanted to help but he coversit with meticulously plans and calculated moves.

Cass- It took Cass a while to learn how to be a personinstead of a weapon. She hated herself and what she’d done (been forced to do)as a child. She was wandering, aimless until Batman found her and gave her backher purpose. Batgirl is so fulfilling for her, to use her skills for goodinstead of hurting people. She’s very kind, she doesn’t want to hurt but shealso will fight against those who do wrong. Very out of touch with culture andpeople in general, especially because she can’t read/write and doesn’t speakwell either. It makes her feel isolated but she tries to move past that. Very curious,loves to explore new things and meet people. Confident in herself but like haveyou seen Cass, she’s every bit as skilled as she insinuates. Loves her newfamily to death would do anything for them. Falls in love with beauty, sheloves dance because it’s a chance to use her natural body reading and movementsto make something beautiful instead of deadly.

Stephanie- Steph is a bit of a wild child, a normal kid but incrediblybrazen, even more so than most teens. When she starts as Spoiler, she reallydidn’t understand the risks and what she was getting into. But as she gotdeeper into the hero gig, she learned how treacherous and demanding it is butshe fell in love with the rush and feeling of accomplishment and also Robin.She wanted to be helpful too, she wanted to feel important and on top becausefor all of her life, she’s just been Cluemaster’s stupid kid. Bubbly but not tothe point of ignorance. She’s happy because she chooses to be and not let theworld drag her down. But it covers a bitter mean steak. Has a mean punch andwill take down anyone threatening or demeaning her. She’s angry at her dad, atTim, at Bruce, at Gotham for how things went down. But she took a page fromBarbara’s book and squared her shoulders, looked her troubles in the eye andsaid fuck off. Very open and playful because if she gives in to all thehardships in her life, that would feel too much like losing.

Damian- Damian was raised a killer but, more importantly, hewas raised to be Batman’s downfall and to eventually become Ra’s vessel. He’sarrogant and rude and doesn’t think he needs anyone. But time with the Batstells him that he doesn’t know everything and the way he was raised wasn’t thebest thing. Dick absolutely changes him; he looks up so much to the acrobat andactively tries to change for him. But changing comes naturally, he develops hiscompassion and builds a relationship within the family and a connection withRobin. He really comes to enjoy this new family and life but he’s insecure andterrified that it will all get taken away: Robin and his family and he’ll besent back to the League. He’s afraid that no one will see that he’s changed or,worse, that he really hasn’t. Covers his fears with sass and false bravado, ‘fakingit until making it’ so to speak. He’s still angry and more violent but he’sworking hard against those ingrained ideas. Feels a strong connection withanimals because they trust him and don’t judge him for his past. Awkwardlyformal and uncomfortable with people, especially kids. He was never allowed tobe a kid himself so he’s very mature but also aching for love and attention.

Also throwing in this bad boy for relationships between the fam, hope that helps!

[shipcestuous]

Cheryl/Jason

I apologize for not getting to the Riverdale asks sooner - I wasn’t able to watch the new episode until just now. 

Anon #1:

I saw an interview of Madelaine Petsch and she said that episode 5 would be mainly about her family and that we will understand a lot of things! That means flashbacks with Jason !! Also Cheryl's gloves look a lot like a bride gloves, and maybe the scene at the beginning where Jason and her are dressed in white and holding hands is like a wedding stuff ! And the fact that she keeps her gloves in her pocket may be a kind of connection with Jason !

I’m so glad we have a big Jason/Cheryl episode to look forward to! I hope dispelling some of the mystery won’t diminish the shippiness!

Cheryl’s glove is so romantic - like you said, very bridal. It’s very decorative, not practical at all. When the trailer leaked however many months ago we had a discussion about wedding/bridal imagery in that scene by the river and it’s still true even though that was speculative. The costuming in that scene was clearly very meaningful and very intentional - and very important. 

Anon #2:

This is probably me just being a thirsty fangirl, but it looked like Cheryl was waiting for Jason to kiss her when they pulled away from their hug in the recent episode. And I can't get over her not wanting to let his hand go, MY BABIES!!! <3

I do think it looked like Cheryl was quite open to a kiss when they pulled away from their hug. 

I mean... 

It was so great when she didn’t want to let his hand go. But so sad. 

I do wonder how much we can rely on these flashbacks. Obviously Cheryl isn’t telling the whole truth to the police, I think we can take that as a given. But hopefully all of this happened the way she is remembering it and showing it to us. 

We didn’t get any info on why Jason wanted to run away. I find it very interesting that Cheryl didn’t say why - since she was a suspect and needed to sell her story. 

Anon #3:

Ooooh, the Blossoms were SO CUTE in the opening flashback of tonight's Riverdale. WE GOT A HUG! And SHE WOULDN'T LET GO OF HIS HAND, OMG!! I could've cried, it was so beautiful. But then, the whole "Play Book" came to light, and Jason had put Polly in it, and he broke Cheryl's heart from the dead. :'( Side-note: I read Madelaine Petsch's interview w/ MTV, & she said Cheryl "thought the world of him" (Jason, ofc), & called him "the love of her life"! *fangirl screams*

The flashbacks are few but they goooooooooood. 

I really loved it when Cheryl said that Jason was co-captain of the team and wouldn’t have let the book/scoring happen. She was wrong, but it showed how highly she thought of him. She didn’t just admire him, she thought he was a good person. 

And I love how many times she talked about how well she knew him. She has mentioned her “twintuition” before, and made other references to being his twin and knowing what he would have wanted. She couldn’t believe Jason would have carried on like this when his team and she wouldn’t have known about it. 

I had been joking about this a little. I said a murdered teenage girl usually had at least three secret boyfriends, so I’m sure we’ll be finding out all kinds of things about Jason while his murder is being investigated. Hopefully nothing that will dash Jason/Cheryl. She’s a little hurt right now but I’m sure nothing could change her feelings about him. 

“The love of her life”????? That is so fabulous. 

Cheryl’s characterization and relationship with Jason continue to surprise me. It’s like they are Sharpay and Ryan (or their darker less musical versions Jaime and Cersei), except Sharpay is the one devoted to Ryan, and Ryan was cool and popular. It just boggles my mind a little because it’s not the usual way things go. 

Here is another interview with Madelaine Petsch:

I hate to be the bearer of bad news but I’m really not pleased with what she said. While she did use the word “twincest”, she also said it was up to the viewer’s interpretation. She also played down the incest by implying that Cheryl is confusing her feelings a little - she’s responding to Jason being there and loving her unconditionally and understanding her with the wrong kind of feelings. (That’s not what she said, just what I think she was getting at.) She also says they touch on the twincest “just a hair”, which doesn’t sound like very much to me. I wonder if we’ll get anything more than what we’ve seen so far. Probably just more of the same.

At this point I would be surprised if the incest factors into the story at all (beyond perhaps Jason or Cheryl putting each other first over someone else), unless Cheryl really did kill Jason out of jealousy or to keep him from leaving her. It doesn’t sound like it’s going to be obvious enough to have affected any of the other characters, like Polly, for example. 

I’m not trying to be negative - just realistic. I want us to manage our expectations. It goes without saying that it’s a fantastic ship no matter what and very much canon. 

One good thing is that she said Cheryl has never had a boyfriend before. And in the episode, she was offering Archie anything she could do for him that didn’t involve her body. We had been speculating that possibly Jason/Cheryl’s relationship wasn’t sexual (per Madelaine Pestch) because they weren’t ready for that and so maybe that is the case with Cheryl right now

[onehaleofanadventure]

Rating: Teen And Up Audiences Archive Warning:  No Archive Warnings ApplyCategory: M/M Fandoms: DCU, Batman - All Media Types, Red Hood and the Outlaws (Comics), Red Robin (Comics) Relationship: Tim Drake/Jason Todd

Summary: 

Tim really should've seen this coming. Although the not-so-nice merman and his anger were a surprise.

Mermaids and Mermen once ruled all the lands, taking the seas and oceans as prizes that the humans were not allowed to touch. Thousands of years later, man bound together to end mer-tyranny and take back the waterways that made life easier. The first years of the war decimated the humans, only having survived through sheer numbers: humans outnumbered the mer a thousand to one.  

However, there were mer who also fell in those first years. The humans, inquisitive as they are, collected to fallen mer, and those who were too weak and injured to return to the water. Through intensive study, the humans learn several things about the merpeople. First, even in death, they were all beautiful beyond reason; second, their webbed hands ended in large, sharp talon-like claws that could easily rend a man to pieces in a matter of seconds; and third, they had two sets on teeth, one normal and blunt like humans, and another set of razor sharp, needle-like teeth meant to cut through bone like butter.  

They also learned about the differences between a mermaid and a merman. Merpeople were inherently both sexless, possessing—though hiding—the anatomical characteristics of males and females. However, the human's study showed the mermen were larger, strong and capable of changing their tail and fins for legs and feet, where they could fight and win on the land. Mermaids were characterized as being thinner and more delicate looking, with longer claws and were able to become sirens by luring men—through their angelic singing—to a water death and then consuming them.

They even deduced how best to kill the creatures: using the claws and teeth of their dead against them. Their studies evened the war, but because the humans outnumbered the merpeople, the mer were driven to the depths of the oceans after being hunted almost to extinction.  

Now, nearly a century after the humans declared victory against the once great merpeople, a live mer is considered a great treasure, only to be had by the best of pirate captains. Though, there are rumors of a band of once great pirates who fell in love with their mer prize and disappeared into the water, thus, the pursuit of a mer is only to be taken up by the strong willed or most cruel.

-------

Timothy Drake is the captain of the fearsome Robin, known for its speed and the brutal efficiency of its master. His first mate is one Richard Grayson, an orphaned gypsy man who was taken in at a young age by the previous captain of the Robin, Bruce "The Unseen" Wayne, known for sneaking up on ships in the dead of night and pillaging them before their crew had the chance to fight back. Timothy himself had been taken in by the menacing man after a dispute between Captain Wayne and Timothy's father Capitan Drake had left Timothy orphan at a young age.

Richard was an excellent crew member, expected to be the next captain, but he refused when Captain Wayne set off with his treasure. Even still, Captain Drake tried to do right by his friend, even going so far as to accept the infuriating, insubordinate leech that is Damian al Ghul, the once prize heir of the al Ghul naval fleet, when Richard requested permission for him to board.

In hind sight, it should not have been a surprise. Ever since Damian showed up, he refused to take orders from Tim, challenging him, trying to make him appear weak in front of the rest of the crew. What Timothy will never understand is why Richard helped with such a betrayal.

-----

It was stormy night, the water choppy and jarring. A bad omen for any captain; all the more reason to lock your door and make a show of force come morning, after all, no one would try anything or risk being left in the water. Normally, no pirate would truly fear such a threat, self-confident enough to believe they could make it to the nearest island.  

However, the island in question is one that no pirate—no person, whoever they may be—would encroach upon. This particular island, only about two klicks away, was said to house the fearsome Deadly Hunt, a mythic merman. The Deadly Hunt was infamous for his brutality, said to be twice the size of the average merman—who are already much larger than humans—with the strength of ten men and the temper to match. Every ship who has passed too close to the island has sunk, with only floating and detritus the odd body part here and there to tell the story of the fallen.  

Most ships avoided the area, uncertain of how far out the hunter would travel from his island for a fresh meal of man. In fact, The Robin was only so close because of a failing on the part of his First Mate during the worst part of the storm that made the water so harsh.  

Captain Drake was headed off to his quarters since the worst of the storm was behind them and the still cloudy sky was losing the faint glow of the sun. As he opened the door to his quarters, Damian appeared, slamming his hand over wood, causing an eerie groan to roll through the deck. The fight was embarrassingly short after Damian pulled out his pistol. A few shots going wide, hitting the water or splintering pieces of the deck and knocking them into the churning black depth below. The last thing Timothy remember is Richard behind him, apologize and the a forceful blow and swirling black.  

Captain Drake—well now only Timothy—loses time, dragging himself to consciousness long enough to grab the deck railing floating nearby. He swears he catches a glimpse of a sleek, dark shape in the water and a fin in the distance, but he can no longer hold onto consciousness.

Timothy wakes up some time later, half buried in the sand, head throbbing from the crack to his skull, with a headache only worsened from the bright glare of the hot sun beating down on the water. He digs himself out of the sand with care, mind slow, but still working out a plan for survival and escape when feasible.

Inland, there are trees for shelter, which also hit at some sort of fresh water.  However, there is also likely to be predators, and if the Deadly Hunt is real, he would probably be near whatever water source—if any—leads directly to the ocean. The broken masts and rotting remains of decks that can be seen around the jagged rocks just off shore support the possibility of the Deadly Hunt being real. Or at least some sort of deadly water-based predator with enough intelligence and strength to destroy an old warship—judging by the size and shape of the most prominent mast.

Timothy has just managed to drag himself to the cover of a palm tree when he hears a growling noise—human, but deep and threatening—behind him. “Get the fuck off my island.” The voice demands. “I don’t take kindly to your kind, human.”

Stiff and stoically hiding his fear, Timothy turns to face a very—attractive—angry man. Tall, over six foot, broad and thick, dark hair and light eyes, toned and tanned with a patchwork of thin white scars. Timothy jolts at the renewed growling, trying not to cower from the bared teeth and the growing snarl. Somewhere in the back of his mind, Timothy notes the blood gushing from a hole in the man’s leg—he stands precariously balanced to look menacing without putting too much pressure on it; Timothy is also mentally impressed at the man’s ability to move so quietly when he must be limping badly—and the hand, covered in blood, clutching at his side.  

“Are you an unfortunate, human? A waste of space and time? Is that why you were thrown overboard as my next meal?” The man snarl as if accusations, despite being phrased as questions.

Timothy’s brain seems to finally catch up with what the man—the merman!—is saying. “You’re the Deadly Hunt. You’re real?” he breathes, equal parts wonder and skepticism.  

“Is that what the humans are calling me now,” the Hunter smirks, “you couldn’t come up with something better than that?”

“You’re giving me the chance to leave? I thought you killed everyone who came too close to your island?” Timothy questions, silently cursing himself for reminding the vicious predator of his reputation rather than accepting his generosity and leaving.  

The merman snorted a laugh, “Lucky for you, I’m not hungry. I’m sure the sharks will get to you before anyone else.” With that said, the merman spun on the heel of his good leg and began walking—rather well for someone with a pistol shot to one leg—farther inland.  

Timothy scrambled to his feet, ignored how it made his head start throbbing again. “Wait!” he called. “I don’t want to be eaten by shark. I can…umm” The arched eyebrow he got on response was both a disconcertingly human reaction and terrifying. “I can help with that—those. I can patch you up.”

In the blink of an eye, the merman hand a hand around Timothy’s throat, squeezing lightly, with teeth only a breath away from his face. “And why,” he growled, “pray tell, would I let you, human, anywhere near my wounds. Especially,” he shoved Timothy harder into the tree trunk and squeezing harder, “when this is your fault, Captain Drake.”

“I’m not—“ Timothy choked. “Not Captain… Anymore.”

The merman barked out a harsh laugh. “Mutiny aboard your ship caused this. I really should feed you to the sharks.” He hummed. “Maybe I’ll tear you to pieces for the little fish to eat.”

Tim wouldn’t call them friend exactly, but he’s still in one piece and the merman only threatens his every few days. It’s been months and it seems the only way off this island safely would be the merman, if one could count that as safe.  

It’s been nearly a month, and Tim—as he had requested to be called, now that he’s no longer a marauder deserving of respect—has warmed up to the merman.  

“So,” Tim says carefully, checking the makeshift bandages wrapping the merman’s leg, “you never did tell me what you call you.”

The merman growls, rolling his eyes. “I don’t have one of your human names. You are undeserving of knowing, let alone speaking my true name—“

“And if I call you the Deadly Hunt one more time, I’ll wake up missing an important part of my anatomy. I know. Although, I’m starting to not believe you. I thought a merman would want to be in mer form. Wouldn’t it be better for the gunshot if you didn’t have legs. Also, does that mean I get to name you?”

The merman—Tim is thinking Jacob or Jordan—snarls at being interrupted. “My tail, while infinitely more muscular and powerful, would be more difficult to heal because of the location of the wound. There would be significant tissue damage that is avoided by having the wound heal on the inner thigh of a leg rather than the center of my tail.”

“I’m thinking I’ll dub you Jason. Wait. Are you telling me you can’t transform!” Tim shrieks.  

Jason growls, deeper and more terrifying than he has been in a couple weeks. “I can transform! It would simplly be unwise. But I do not need my tail to rip you to shreds, human!”

“Sorry, sorry. Didn’t mean to upset you. Just wanted to know more about you. I mean, we’re stranded on this island, might as well be friends.” Tim sighed.  

“We” Jason says, motioning with a claw tipped finger—a sure sign Tim has pissed him off if his body is prepping for a fight —between himself and Tim, “are not friends.” Tim can see how well he’s healed from the lack of tension in Jason’s body as he marches off to wherever he goes.  

“So,” Tim starts, feet dangling, toes just brushing the surface of the lake, causing small ripples that he intently watches crash into Jason’s naked torso, “you’re all better. Transforming and everything. Guess that means it’s time to part ways.”

Jason hums softly from where he’s laying half-in half-out of the water, warming in the sun, head pillowed on his hands. “This is my island. I’m not giving it to you.”

“I know. Just… you always say that you are going to get rid of me the first chance you get. And now you can take me away.” Tim was irrationally sad that Jason hadn’t asked him to stay—not that he could, it’s been nearly three months, people had to be worried. Not to mention, Damian and Dick had to be punished for how they wronged Tim.  

“I’ve been trying to get rid of you for months and now you want me to be your glorified boat. How undignified.” Tim could see his face, but he could imagine Jason’s special brand of amused disgust, that tone and face have been pointed at him often enough.  

“Well, I haven’t changed my mind about being eaten by sharks, so…”

Jason cracked once sea-foam green eye to look at Tim. “I guess. I can’t exactly let my—“

Tim smiled. “Say it!”

“—friend get eaten, or drown because he doesn’t swim well.”

“Gee, thanks Jay. And I’ll have you know, I’m a great swimmer.” That got both those beautiful eyes, and that handsome face pointed in his direction. The quirked eyebrow though… “You’re half fish. That’s not even a fair comparison.”

Jason snorted a laugh, returning his head to its previous position “Fine. We’ll leave tomorrow. I’m quite comfortable right now.”

Tim smiled softly, somewhat sad. He’d miss Jason. They would probably never see each other again.  

It’s been almost six months since Jason dropped Tim of in the water just off shore of the first populated land they found. Tim—Captain Drake once again—misses him dearly. It’s irrational. They are completely different species, both male—well Jason is as male a merpeople get, anyway—and they only became friends, reluctantly on Jason’s part, because they were stuck on an island together.  

Tim thinks he might have fallen in love on that island. But that makes no sense: you can barely forge a good friendship in that short of time, you can’t fall in love. Or at least, that’s what he tells himself.  

It only takes Tim another two months to finish implementing his plan. Damian and Dick go down hard, losing all respect—pirate and military alike.

The first thing Tim does, after watching Damian and Dick go down in flames, is take back his ship. Second, he picks up a few friends—Steph and Cass, two terrifying women spurned by society for their relationship; Bart, a restless and clumsy, but incredibly loyal friend; and Connor and Cassie, amazing friends rumored to be half mer, though that is said to be biologically impossible. And third, set a course for his new home: the one island no human is stupid enough to set foot on.  

The voyage takes longer than Tim remembers. However, it’s nice to be on the water again, even better to have a crew be trust to have his back.  

When they finally reach there destination, they set anchor and Tim rows to shore alone. The island is just as big and beautiful as he remembers, but he’s looking for something more amazing at the moment.  

“I thought I told you to get off my island, Captain Drake.”

Tim simultaneously jumps and turns, only stumbling a little, and not at all surprised Jason snuck up on him and is caught up on current events. Tim allows himself to stare at Jason’s ridiculously beautiful, smirking face for about two second before he lunges. Tm wraps his arms around Jason necks, molds himself to Jason’s scarcely clad body and kisses him with nearly a years worth of pent up passion. Tim sighs softly and breaks the kiss only when Jason chuckles and rests his own hands on Tim’s waist.  

[margaretabelling-blog]

The Disappearance Of Pubic Hair.

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