#but if this is a legacy!universe where his element is passed onto a child

[the-ninja-legacy-whip]

Do you think Jay would try start trying to build a machine to make himself able to fly like he did when he was a kid after passing on his Element?

I'd like to think so! Guy loves his jets and aircrafts, and he was born to be in the sky, in my opinion ;w;)/

[revivcls]

𝐇𝐄𝐑𝐄'𝐒 𝐋𝐎𝐎𝐊𝐈𝐍𝐆 𝐀𝐓 𝐘𝐎𝐔, 𝐊𝐈𝐃

𝙿𝙸𝙽𝚃𝙴𝚁𝙴𝚂𝚃 .    𝙲𝙾𝙽𝙽𝙴𝙲𝚃𝙸𝙾𝙽𝚂.  

𝐓𝐇𝐄  𝐄𝐗𝐓𝐑𝐀  .  .  .

name ( s )  :  harley  jack  isaacs  ,  a . k . a .  jack  harley   .   d . o . b .  november  8  ,  1988   .   in  :  cairo  ,  egypt   .   he  holds  duel  citizenship  in  egypt  and  the  united  kingdom   .    he  speaks  :  english  ,  arabic  ,  french   .   religious  beliefs  :  born  to  a  jewish  mother  ,  agnostic  father  and  raised  by  an  atheist   .   educational  achievements  :  anthropological  undergraduate  degree  ,  university  of  cairo  and  other  /  fabricated   .   current  occupation  :  financial  leech   .   eye  colour  :  blue-green   .   hair  colour  :  light  brown   .   height  :  6′3″   .   distinguishing  characteristic  :  a  scar  by  his  left  cheek   .

beverage  of  choice  :  coffee  ,  at  least  two  cups  daily   .   preferred  holiday  :   an  italian  summer   .   reading  choice   :   anything  that  might  have  his  name  in  it  ,  maybe  something  written  by  tilman   .   exercise  preference  :  swimming  ,  yoga   .   watching  :  local  news  ,  football  (  soccer  )  matches  ,  depending  on  when  julia  sayre-sullivan  films   .   sports  teams  :  real  madrid  in  club   .   designers  :  dior  ,  armani  —  paid  for  by  others   .   accessory  :  watches  ,  with  a  collection  to  showcase   .  prized  possession  :  one  watch  in  particular  that  only  holds  sentimental  value  otherwise  worthless   .   random  :  bad  habit  of  late  night  purchases   .

inspo  ;    𝘱𝘳𝘰𝘧𝘦𝘴𝘴𝘰𝘳 𝘱𝘭𝘶𝘮  :  𝘤𝘭𝘶𝘥𝘰  ,  𝘵𝘰𝘮 𝘳𝘪𝘱𝘭𝘦𝘺  :  𝘵𝘩𝘦 𝘵𝘢𝘭𝘦𝘯𝘵𝘦𝘥 𝘮𝘳. 𝘳𝘪𝘱𝘭𝘦𝘺  ,  𝘳𝘪𝘤𝘬 𝘰'𝘤𝘰𝘯𝘯𝘦𝘭𝘭  :  𝘵𝘩𝘦 𝘮𝘶𝘮𝘮𝘺  ,  𝘱𝘢𝘶𝘭 𝘷𝘢𝘳𝘫𝘢𝘬  :  𝘣𝘳𝘦𝘢𝘬𝘧𝘢𝘴𝘵 𝘢𝘵 𝘵𝘪𝘧𝘧𝘢𝘯𝘺'𝘴   ,  𝘢𝘭𝘦𝘹 𝘸𝘦𝘴𝘵  :  𝘵𝘰𝘮𝘣 𝘳𝘢𝘪𝘥𝘦𝘳  ,   𝘥𝘢𝘯  :   𝘤𝘭𝘰𝘴𝘦𝘳  ,   𝘳𝘢𝘯𝘴𝘰𝘮  𝘥𝘳𝘺𝘴𝘥𝘢𝘭𝘦  :  𝘬𝘯𝘪𝘷𝘦𝘴 𝘰𝘶𝘵

𝐓𝐇𝐄  𝐓𝐈𝐌𝐄𝐋𝐈𝐍𝐄  .  .  .

𝘵𝘸  :  𝘥𝘦𝘢𝘵𝘩  ,  𝘪𝘭𝘭𝘯𝘦𝘴𝘴  (  𝘤𝘢𝘯𝘤𝘦𝘳  )

 ⧽    harley  isaacs  was  born  in  1988  in  cairo  ,  egypt    ;    his  mother  passed  away  during  childbirth  and  his  father  was  studying  there  with  long-time  friend  ,  professor  sebastian  west.  it’s  where  he  met  harley’s  mother  and  where  harley  stayed  until  the  age  of  seven.

 ⧽    in  ‘93  his  father  died  during  a  tragic  accident  at  the  archaeological  dig  site.  the  excavation  was  overseen  by  professor  west.  harley  was  placed  in  an  orphanage  in  cairo  for  about  a  month  before  sebastian  west  had  fudged  the  paperwork  that  placed  the  child  in  his  care  and  forever  more  became  “  uncle  ”  to  harley  —  a  mixture  of  guilt  for  the  death  of  his  father  and  a  replacement  one  day  for  the  job  harley’s  father  used  to  do.

⧽    time  was  split  between  england,  where  the  professor  was  from,  the  states  here  he  partnered  with  a  university  in  new  york  and  cairo  whenever  funding  for  a  new  expedition  broke  way

⧽    harley  obtained  an  undergrad  in  archeology  at  cairo  university  by  '10  ,  age  22  ,  but  that  was  as  far  as  his  higher  education  got,  unbeknownst  to  most  ,  including  the  half  of  year  at  a  university  in  england

⧽    in  '14  ,  age  26  ,  professor  sebastian  west  placed  the  burden  of  his  legacy  onto  harley  as  the  professor  had  developed  a  lung  cancer  from  constant  exposure  to  the  dust  and  other  elements  over  the  years.  while  he  knew  more  than  most  did  about  sebastian  west’s  field  through  years  with  the  father-figure  ,  on  paper  ,  harley  isaacs  wasn’t  worthy  of  professor  west’s  title.  basically,  the  professor  wanted  harley  to  prove  he’d  be  able  to  take  on  the  task  and  required  him  to  obtain  funding  for  the  next  excavation  by  himself  with  his  own  credentials.

⧽    no  one  said  he  had  to  do  it  legally.  funding  for  any  excavation  was  difficult  so  this  is  when  he  fudged  a  few  things.  he  paid  off  a  certified  translator  to  "  fix  "  what  his  credentials  stated.  the  first  was  his  name  harley  jack  isaacs  was  now  jack  harley,  a  purposeful  error  that  might  dismiss  some  others.  he  arrived  to  new  york  with  the  facade  of  professor

⧽    in  ‘17  he  attempted  to  obtain  funding  under  a  lie  ,  the  contributor  from  a  wealthy  family  found  out  ,  and  more  was  discovered.  not  only  dd  he  need  to  fund  the  excavation  but  if  harley  didn’t  prove  himself  any  inheritance  would  be  lost  to  him  ,   he  didn’t  like  that  part.  the  chance  he’d  be  left  with  nothing  more  than  years  spent  obtaining  very  little  in  the  way  of  success  was  a  very  real  one

i.  a  brief  relationship  with  a  new  york  heir  had  given  jack  the  taste  for  expensive  things  in  his life  and  got  him  on  track  to  rub  shoulders  with  the  right  people.  but  it  was  short-lived  ,  just  long  enough  for  him  to  want  more

⧽    two  years  ago  ,  ‘20  ,  that  funding  was  secured  sort  of  ,  also  around  the  time  he  met  a  famous  actress  by  the  name  of  julia  sayre-sullivan.  a  nepo  baby  with  a  long  family  line  who  had  stayed  in  the  hollywood  spotlight.  the  pair  had  met  on  a  film  set  when  those  credentials  of  his  landed  jack  a  spot  overseeing  some  things  he  really  hadn’t  been  qualified  to  as  an  archeologist  .  .  .  of  sorts

⧽    she  provided  everything  and  quickly  jack  had  grown  comfortable  in  his  new  lifestyle  once  again  ,  and  that  was  the  problem  ,  all  expenses  were  always  paid  for.  no  wasn’t  a  word  he  ever  had  to  hear  ,  living  out  of  his  own  means  had  become  far  too  easy  and  within  two  years  ,  in  ‘22  ,  they  were  engaged.  they  aren’t  the  best  match  ,  connected  by  a  whirlwind  romance  some  would  say  ,  harley  isn’t  always  honest  and  he  fell  in  love  with  the  lifestyle  more  than  anything.

𝐋𝐎𝐒  𝐀𝐍𝐆𝐄𝐋𝐄𝐒  .  .  .

⧽    his  fiance  took  off  to  italy  which  had  left  him  for  a  year  to  his   own  devices  ,  moving  in  and  stating  up  a  private  bank  account  with  money  that  wasn’t  his.  since  then  he’d  begun  the  fanciful  thinking  that  maybe  he’d  make  something  of  his  own  name  that  wasn’t  just  relying  on  the  prospect  of  marrying  an  a-list  actress.  a   casting  agent?  a  producer?  an actor? he  had  the  funding  ,  well  ,  julia  had  the  funding  and  because  of  her  he  had  an  in  to  the  biggest  industry  in  the  world

[filmhistorymptv1145]

In your first blog post of the semester, explore the tug of war in cinema between the “classical” in cinematic storytelling and those who try to subvert it. Drawing upon examples from the films we have studied thus far, define what “classical” cinematic storytelling is and demonstrate how it functioned in an earlier period of film history, as well as its continuing legacy. Where do you see evidence of the “classical” today? Then, consider how filmmakers working in subversive modes challenge the dominance of classicism, either through subtle, indirect means or by full-on assaults. What kinds of classical storytelling approaches do they reject? How do they do that? What changes in form and content defy the classical? The films we’ve seen will help, as will the various sources you’ve been given for study. Use examples from the films we have studied, and draw upon others that you think are relevant.

Cinema is often thought to be the highest form of art, since it combines storytelling, acting, and music all in one glorious attempt to do something that feels simple, but as we find in exploring the history of film, not so much: the art of telling a story. There are many different ways to approach conveying information in a visual manner, and although the direct method might seem to be the easiest, we find that directors can get away with telling their story in the most imaginative ways possible. From the use of flashbacks, forwards and sometimes even sideways, the viewer is taken on a journey through which they are given the clues needed to piece the entire story together on their own. Directors use these various methods of storytelling often to drive home a point, possibly about how the main protagonist sees the world, or how memories are often skewed through the lenses of either emotion or possible mental illness. Telling a story on screen involves a lot of elements that were cemented as ‘classical’ during the early days of Hollywood, and many directors still utilize these storytelling techniques to this day. Others have forged their own path in defying the classical model of film, whether by altering how the progression of the story is conveyed to the viewers, or simply casting away the norms all together.

As Hollywood began to come into its own in the early 1900′s, many of the silent films that were made followed a recipe for getting its message across to the audience watching the screen. It all started off with Alice Ida Antoinette Guy-Blaché, credited with creating the first directed narrative. Up until that point, most movies that were being made were what we would call by today’s standards ‘b-roll footage’. Images of trains coming into a station, workers leaving factories for the day, and horses running were what was most often seen in early day Nickelodeon’s. Alice was the first to use a three stage story arc when she directed her first short film Suspense. Illustrating the rising action with the mother seeing the robber in the alley below her bedroom window, the climax of the husband bringing the police home with him in time to save his wife and child, and the resolution when the family is safely reunited, and the would-be robber is taken away by the policeman. Using film to not only illustrate a story but take the audience on a journey that tugs at their emotions and leaves them sitting on the edge of their seat was not something that had been done before.

Alice paved the foundation for classical storytelling in early cinema, which was firmly linear for several decades once the Motion Picture Production Code began being firmly enforced by the Catholic Church. Since villainy was to be punished and goodness was to be rewarded in the rules, many of the films that came out between 1934 and 1965 followed the same formula. The man ended up with the woman he was in love with, and they were able to get through whatever troubles sprung up in their way throughout the movie.

We see this in Ninotchka, where a Soviet agent is tempted by the love of a Frenchman named Leon and driven to betray the Communist regime of her country in order to pursue it. Nothing can come between them, not even when she returns to Russia and Leon is barred from visiting her. Even when his romantic letters to her are censored by the Communists, the hope in the story is not completely lost. 

Through all obstacles, Ninotchka and Leon are happily in each other’s arms by the end of the movie. You would think that the Communist regime of 1930’s Russia would easily get in the way of two lovers, but in the glittering bauble of Hollywood, there was seemingly nothing that could prevent the linear storytelling model from rewarding the deeds of the good-doers. Not even a strong-willed, stony Communist woman can ignore the temptation of the love of a man, or the freedom that would come with fleeing her home land. Betraying their home country in the name of love isn’t something many people have to struggle with. Yet we see Ninotchka’s transformation unfold on screen in an almost eerie fashion, under Leon’s influence. At the same time, she doesn’t lose the core of who she is even after falling in love. We see this when she gets quite drunk while out with Leon, and she’s caught promoting Marxist ideals inside the women’s bathroom. At the end of the day, Leon still loves Ninotchka for who she is, Communist and all. 

However, some modern films still manage to follow a linear manner of storytelling, even if they are groundbreaking via other means. Take Donnie Darko for instance. Filled with strange imagery that represents Donnie’s visions of how to save the tangent universe from certain destruction, it can feel like a film that displaces the viewer. However, if you have watched it a few times, you can see that the strange, obscure events in the story are still told in the order as they happen. From the night that Frank appears to Donnie and warns him of the world’s impending doom that is to come in twenty-eight days, a countdown begins from that point onward. Even when Donnie is experiencing visions of his school flooded with water, or being egged on by Frank to burn down the house of a local celebrity, we see each day pass by in order until the film’s ending. Images of water and fire are placed against Donnie’s relatively normal, everyday life as a high school boy in a stark, brilliantly vivid contrast. 

While Richard Kelly could have chosen to present the film’s events out of order or utilize flash backs and forwards to communicate his vision, his unique and bizarre story was easier to understand since it was told linearly. Kelly still manages to subvert the norm by creating his own science behind what was happening to Donnie, between the tangent universe, living receiver and the manipulated dead and living. Kelly also did not feel the need to show the audience every last little detail of Donnie’s abilities and experiences, feeling that ‘less was more’ in his interview in The Donnie Darko Book. Rather than showing Donnie levitating off of the ground and swinging the axe into the bronze statue of the school’s mascot, Kelly instead cuts to the scene where the disfigured piece of art is discovered by both the police and the principal. 

Choosing to let the audience use their own imaginations to fill in the blanks allows the viewer to come up with their own creative ideas as to how events unfold, instead of being spoon fed them shot by shot. A cult classic, Donnie Darko still comes to mind all these years later whenever the topic of films that challenge the classical model through indirect and still wildly creative means.

Then there are directors which completely subvert the linear story model, turning it on its head and taking the audience through an unexpected, wild ride where they are never quite sure if they can trust what they are seeing on screen. Robert Eggers’ newest film The Lighthouse is a story that is difficult to grasp on the first viewing. Even in just aesthetic terms, Eggers goes against the norm in choosing the 4x3 aspect ratio for his movie, instead of the traditional widescreen. It brings us closer to the actors and their rapid descent into madness, giving off a sense of claustrophobia as the dread slowly builds on screen. The movie is shot in black and white instead of contemporary color film, which leads to our eyes having fewer things to be distracted by as we watch. It also adds to the otherworldly, nightmarish atmosphere of the movie, and gives the director more opportunities to use the lighting on set to convey the deeper messages that are found in The Lighthouse.

Eggers has a way of giving the viewer a creeping sense of foreboding without showing anything scary at all. The opening shot of The Lighthouse begins with a large ship cutting through dark and stormy waters, and then we see our two main characters shot from behind with the lighthouse towering above their heads, accompanied by tense music. There’s something to be feared in these beginning moments, even if the viewer can’t quite put their finger on just what it is yet.

The audience is not sure if the main protagonist, Winslow, is a reliable character or not. There comes a point in the movie where everything we are led to believe up to that point is turned onto its head, and from that moment forward the viewer can not tell if Winslow is of sound mind or not.

The night before their shift is supposed to end and the ferry will come to take them away from the lighthouse and the island, Winslow finally breaks his sobriety and he gets quite drunk with Wake. During what we think is the next day (any attention paid to how much time has passed feeling scrambled by this point), Wake informs Winslow that the rot has gotten to their salted fish. Winslow replies that they had only missed the ferry by a day, and there is no need to ration their food. Wake replies that it had been weeks since they had missed the ferry that was supposed to take them home, not a single day. Wake also says that he had been telling Winslow to ration their food for the past few weeks, to which Winslow does not believe him. Wake comments that he does not want to be stuck at his post with a lunatic, and bids Winslow to go with him to dig up their extra rations, which turn out to be comprised of nothing but more alcohol. Wake makes a few slip-ups of his own in recounting his sailor days with Winslow, having two different versions of how he lost his leg, or whether or not he had been married and had a family. Between Wake’s lying and Winslow’s seemingly unstable mental state, there is no reliable narrator to trust throughout the film.

From then onward, the film spirals into such madness that the viewer can only hope to retain their wits enough to follow what is unfolding on the screen and attempt to piece together what is real and what is not in their own mind. We no longer have any baseline for reality to cling to at this point, between the excessive drinking on screen, and the characters’ untrustworthy narrations. Eggers gives us only the briefest, pin-prick sized moments of normalcy, such as Wake and Winslow catching lobsters for their dinner, or Winslow attending to his various duties on the small outcrop of land that the lighthouse sits on. Even then it is difficult to pay close attention to these tiny seconds of peace after having been put through a dizzying whirlwind of stimulus only seconds prior, with visions of sirens washed up on the beach, or tentacles belonging to some great, terrible beast sliding across the top floor of the lighthouse.

The linear model of storytelling that was cemented in early Hollywood is classical for good reason. The early directors and screenwriters of that era paved the foundation that modern day films still utilize nearly a hundred years later, setting a standard that directors can either utilize, or subvert entirely. It is safe to say that there is no limit on creativity and ingenuity, no matter how the director may choose to tell their story on screen. Whether they follow the classical model, subvert it entirely or land in some sort of middle ground, we as the audience are given plenty of artistic content to work with and ponder about regardless of what they choose.

[aion-rsa]

Will Batgirl Give J.K. Simmons Something to Do in the DCEU?

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HBO Max’s Batgirl movie has finally started to take shape with last week’s casting of Leslie Grace as its central debutante vigilante, Barbara Gordon. Moreover, the other crucial element in the film’s dynamic was recently revealed by THR, which reports that J.K. Simmons will play the character’s father/foil, Commissioner James Gordon, reprising his role from 2017’s Justice League (and 2021 redux Zack Snyder’s Justice League, a.k.a. the Snyder Cut). Consequently, the casting essentially confirms the film’s place in the DC Extended Universe continuity. So, will Simmons’s Gordon get to field more than rooftop meetings this time around?

Simmons, an Oscar-winning actor, is already a staple in the comic book movie genre from his irreplaceable role as boisterously cantankerous paper editor J. Jonah Jameson in Sam Raimi’s Spider-Man Trilogy and a recently relaunched iteration of the character in the Marvel Cinematic Universe set to take the spotlight in this December’s Spider-Man: No Way Home. Yet, he can also effectively play a frightening badass, as anyone who watched his run on 1997-2003 HBO prison drama Oz can attest. Pertinently, Simmons, upon the announcement of his Justice League James Gordon role, stoked serious hype for his then-upcoming contribution to the character’s long legacy with images of his buffed-up physique (then at 61 years of age,) posted by his trainer. Plus, a 2016 EW interview had him promising a more…let’s just say proactive version of Gordon than we’ve seen in the past.

“People of my generation remember Commissioner Gordon as this jolly, ineffectual Santa Claus type, and I think over the years in the comics there’s definitely much more of a badass side to him,” explained Simmons. “One of the things that’s interesting to me is investigating hopefully a little bit more of that badass [side]…You’re living in a universe where it’s pretty tough to be a badass compared to somebody like Batman, but in the universe of non-superheroes I like the idea of Commissioner Gordon as a guy that can take care of himself, a guy that’s a real partner to Batman, not just a guy that turns on the bat signal and goes, ‘Help! Help, Batman!’”

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Unfortunately, the Justice League gig didn’t get to live up to the hulking hype, and Simmons was relegated to a minor role, primarily for a scene in which Batman and the rest of the assembled heroes meet with Gordon in the familiar backdrop of a Bat-Signal-hosting Gotham rooftop. There, he mostly provided some expository dialogue and played the proverbial straight man in some of the sporadic superhero comic moments. Furthermore, all of Simmons’s social-media-showcased gym work ended up hidden underneath a suit and trenchcoat, leaving his “badass side” in storage for another day that wasn’t exactly promised to arrive. Indeed, it was an anticlimactic result that didn’t even live up to what was achieved with Gary Oldman’s version of the character in Christopher Nolan’s The Dark Knight Trilogy, who at least occasionally got out in the field to fight criminals, and even had his moment to help save the day in explosive fashion when driving the Tumbler Batmobile in the first film.

Now, with Batgirl, Simmons’s 2016 teases can prospectively come to fruition, belated as they may be. While no details about the plot have been confirmed as of yet, the definitive dynamic of Barbara Gordon has always prominently focused on how her surreptitious nocturnal flights of fancy affect James, who is initially oblivious to the idea that one of the junior vigilantes in Batman’s stable—with whom he regularly deals in his capacity as commissioner—happens to be his own daughter. It’s a potential powder keg dynamic that has been placed in the hands of up-and-coming directorial duo Adil El Arbi and Bilall Fallah (Bad Boys for Life), who work off a screenplay by Christina Hodson (Birds of Prey, Bumblebee).

Thusly, it will be interesting to see what manifests from this team, especially since the course of the DCEU is now significantly altered from the vision initially set by dismissed story maestro Zack Snyder. Indeed, Snyder not only had grandiose ideas for Justice League to serve as the first part of a time-traversing trilogy, but his plans also involved expanding the roster of solo films, with Batgirl being one of the prominent entries. However, based on what details Snyder eventually divulged in an Esquire interview this past March about his now-nixed version of the story, Gordon’s action hero prospects were unlikely to improve.  

“You see, I always wanted Barbara Gordon to come in the movies. Commissioner Gordon would be on the way out, and we’d have Barbara starting to play a bigger role,” explains Snyder. “My idea was that after Batman sacrificed himself [in the climax of his unrealized third Justice League movie], there would be a window where there was no Batman, and I thought Barbara could fill that until the child of Superman and Lois, who has no powers, would become Batman when he was of age.”

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Movies

Does Batgirl Leslie Grace Casting Point to Burnside Version of the Character?

By John Saavedra

Movies

JK Simmons on Spider-Man: Sam Raimi Movies ‘Will Always Be Highlights of My Life’

By Bryan Cairns

That leaves us to wonder how much of Snyder’s story DNA will remain present in this current iteration of the Batgirl project. Of course, it has already been passed down by many creative hands in the lengthy gestation process, the most prominent of which was Joss Whedon, pinch-director of Justice League’s 2017 theatrical release, which is the version that Warner—despite the film’s underperforming status and Whedon’s personal controversies—still definitively considers canonical for the DCEU. Yet, in Snyder’s slow-burn Batgirl designs, James Gordon would have been in the eventually-realized solo movie just to be quickly phased out as Barbara fills the vigilante vacuum left in Batman’s wake. It wouldn’t exactly be promising for Barbara, either, since she was destined to be relegated—presumably after a time jump—to mentoring the powers-deprived son of Superman and Lois Lane, whose conception was subtly implied exclusively in the Snyder Cut with an ambiguously-worded congratulations to Clark Kent from Bruce Wayne after the latter “bought the bank.”

Of course, while directors El Arbi and Fallah certainly stand to place their own creative imprint onto the mythos, Hodson was hired to pen the Batgirl script back in April of 2018, a time that may have been after Snyder’s tenure came to its abrupt end behind the scenes, but still had Warner working with the immediate aftermath of his playbook. This was notably the case with Aquaman, which featured the key character of Amber Heard’s Mera, who Snyder introduced with his initial work on Justice League, and the Snyder Cut also notably served as the retroactive introduction of Willem Dafoe’s Vulko. Yet, Simmons, even after the disappointing Justice League role, has expressed enthusiasm about returning as Jim Gordon. Perhaps what he’s read of the Batgirl script has given him reason to be optimistic about his desired action prospects.

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Batgirl doesn’t have a firm release date to reveal, but the film is set for an exclusive streaming premiere on HBO Max in 2022 or 2023. However, by that point, Warner will have already debuted a different version of Commissioner James Gordon, as played by Jeffrey Wright in the Earth-2-set reboot movie, The Batman, which is currently scheduled to hit theaters on March 4, 2022.

The post Will Batgirl Give J.K. Simmons Something to Do in the DCEU? appeared first on Den of Geek.

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          𝘢𝘯  𝘶𝘯𝘧𝘢𝘮𝘪𝘭𝘪𝘢𝘳  𝘴𝘤𝘦𝘯𝘵  𝘰𝘧  𝘱𝘦𝘳𝘧𝘶𝘮𝘦  𝘭𝘪𝘯𝘨𝘦𝘳𝘪𝘯𝘨  𝘰𝘯  𝘵𝘩𝘦  𝘤𝘰𝘭𝘭𝘢𝘳  𝘰𝘧  𝘢  𝘴𝘩𝘪𝘳𝘵    ,    𝘴𝘩𝘢𝘭𝘭𝘰𝘸  𝘣𝘳𝘦𝘢𝘵𝘩𝘴  𝘴𝘵𝘪𝘧𝘭𝘦𝘥  𝘣𝘺  𝘶𝘯𝘳𝘦𝘭𝘦𝘯𝘵𝘪𝘯𝘨  𝘩𝘦𝘢𝘵    ,    𝘵𝘪𝘳𝘦𝘥  𝘦𝘺𝘦𝘴  𝘴𝘲𝘶𝘪𝘯𝘵𝘪𝘯𝘨  𝘱𝘢𝘴𝘵  𝘵𝘩𝘪𝘤𝘬  𝘧𝘳𝘢𝘮𝘦𝘥  𝘭𝘦𝘯𝘴𝘦𝘴    ,    𝘢  𝘱𝘳𝘦𝘴𝘴𝘦𝘥  𝘸𝘩𝘪𝘵𝘦  𝘤𝘰𝘵𝘵𝘰𝘯  𝘵-𝘴𝘩𝘪𝘳𝘵  𝘢𝘨𝘢𝘪𝘯𝘴𝘵  𝘣𝘢𝘳𝘦  𝘴𝘬𝘪𝘯 .

𝐓𝐇𝐄  𝐄𝐗𝐓𝐑𝐀  .  .  .

name ( s )  :  harley  jack  isaacs  ,  a . k . a .  jack  harley   .   d . o . b .  november  8  ,  1988   .   in  :  cairo  ,  egypt   .   he  holds  duel  citizenship  in  egypt  and  the  united  kingdom   .    he  speaks  :  english  ,  arabic  ,  french   .   religious  beliefs  :  born  to  a  jewish  mother  ,  agnostic  father  and  raised  by  an  atheist   .   educational  achievements  :  anthropological  undergraduate  degree  ,  university  of  cairo  and  other  /  fabricated   .   current  occupation  :  law  student   .   eye  colour  :  blue-green   .   hair  colour  :  light  brown   .   height  :  6′3″   .   distinguishing  characteristic  :  a  scar  by  his  left  cheek   .

beverage  of  choice  :  coffee  ,  at  least  two  cups  daily   .   preferred  holiday  :   an  italian  summer   .   reading  choice   :   anything  apart  from  law  books  as  of  late   .   exercise  preference  :  swimming  ,  yoga   .   watching  :  local  news  ,  football  (  soccer  )  matches   .   sports  teams  :  real  madrid  in  club   .   designers  :  dior  ,  armani  —  paid  for  by  miss  villain   .   accessory  :  watches  ,  with  a  collection  to  showcase   .  prized  possession  :  one  watch  in  particular  that  only  holds sentimental  value  otherwise  worthless   .   random  :  bad  habit  of  late  night  purchases   .

inspo  ;    𝘱𝘳𝘰𝘧𝘦𝘴𝘴𝘰𝘳 𝘱𝘭𝘶𝘮  :  𝘤𝘭𝘶𝘥𝘰  ,  𝘫𝘢𝘺 𝘨𝘢𝘵𝘴𝘣𝘺  ,  𝘳𝘪𝘤𝘬 𝘰'𝘤𝘰𝘯𝘯𝘦𝘭𝘭 : 𝘵𝘩𝘦 𝘮𝘶𝘮𝘮𝘺  ,  𝘮𝘪𝘭𝘰  :  𝘢𝘵𝘭𝘢𝘯𝘵𝘪𝘴  ,  𝘢𝘭𝘦𝘹 𝘸𝘦𝘴𝘵  :  𝘵𝘰𝘮𝘣 𝘳𝘢𝘪𝘥𝘦𝘳 2001  ,   𝘳𝘢𝘯𝘴𝘰𝘮  𝘥𝘳𝘺𝘴𝘥𝘢𝘭𝘦  :  𝘬𝘯𝘪𝘷𝘦𝘴 𝘰𝘶𝘵

𝐓𝐇𝐄  𝐓𝐈𝐌𝐄𝐋𝐈𝐍𝐄  .  .  .

𝘵𝘸  :  𝘥𝘦𝘢𝘵𝘩  ,  𝘪𝘭𝘭𝘯𝘦𝘴𝘴  (  𝘤𝘢𝘯𝘤𝘦𝘳  )   ⧽    harley  isaacs  was  born  in  1988  in  cairo  ,  egypt    ;    his  mother  passed  away  during  childbirth  and  his  father  was  studying  there  with  long-time  friend  ,  professor  sebastian  west.  it’s  where  he  met  harley’s  mother  and  where  harley  stayed  until  the  age  of  seven. ⧽    in  '93  his  father  died  during  a  tragic  accident  at  the  archaeological  dig  site.  the  excavation  was  overseen  by  professor  west.  harley  was  placed  in  an  orphanage  in  cairo  for  about  a  month  before  sebastian  west  had  fudged  the  paperwork  that  placed  the  child  in  his  care  and  forever  more  became  “  uncle  ”  to  harley  —  a  mixture  of  guilt  for  the  death  of  his  father  and  a  replacement  one  day  for  the  job  harley’s  father  used  to  do.

⧽    time  was  split  between  england,  where  the  professor  was  from,  the  states  here  he  partnered  with  a  university  in  new  york  and  cairo  whenever  funding  for  a  new  expedition  broke  way

 ⧽    harley  obtained  an  undergrad  in  archeology  at  cairo  university  by  '10  ,  age  22  ,  but  that  was  as  far  as  his  higher  education  got,  unbeknownst  to  most  ,  including  the  half  of  year  at  a  university  in  england

⧽    in  '14  ,  age  26  ,  professor  sebastian  west  placed  the  burden  of  his  legacy  onto  harley  as  the  professor  had  developed  a  lung  cancer  from  constant  exposure  to  the  dust  and  other  elements  over  the  years.  while  he  knew  more  than  most  did  about  sebastian  west’s  field  through  years  with  the  father-figure  ,  on  paper  ,  harley  isaacs  wasn’t  worthy  of  professor  west’s  title.  basically,  the  professor  wanted  harley  to  prove  he’d  be  able  to  take  on  the  task  and  required  him  to  obtain  funding  for  the  next  excavation  by  himself  with  his  own  credentials.

⧽    no  one  said  he  had  to  do  it  legally.  funding  for  any  excavation  was  difficult  so  this  is  when  he  fudged  a  few  things.  he  paid  off  a  certified  translator  to  "  fix  "  what  his  credentials  stated.  the  first  was  his  name  harley  jack  isaacs  was  now  jack  harley,  a  purposeful  error  that  might  dismiss  some  others.  he  arrived  to  new  york  with  the  facade  of  professor

⧽    in  ‘17  he  attempted  to  obtain  funding  under  a  lie  ,  the  contributor  from  a  wealthy  family  found  out  ,  miss  villain  ,  and  this  is  where  his  story  in  new  york  really  began  .  .  .

⧽    what  sebastian  west  had  failed  to  tell  harley  was  that  whatever  he’d  generously  leave  to  him  was  based  upon  his  ability  to  live  up  to  west’s  standard  ,  the  chance  he’d  be  left  with  nothing  more  than  years  spent  obtaining  very  little  in  the  way  of  success  was  a  very  real  one

⧽    three  years  ago  ,  ‘19  ,  that  funding  was  secured  sort  of  ,  also  around  the  time  he  got  into  a  relationship  with  miss  villain  ,  a  very  wealthy  woman  in  her  forties  who  has  been  married  three  times  before  and  had  a  few  stipulations  to  help  out  jack  harley  namely  one:

i.  an  archaeologist  future  wasn’t  an  occupation  that  she  found  suitable  ;  too  much  travel  ,  not  enough  pay  off.  law  school  was  in  his  future  ,  all  expenses  paid  for

⧽    that  was  the  problem  ,  all  expenses  were  always  paid  for.  he  found  the  lifestyle  she  lived  a  little  too  comfortable  and  within  two  years  ,  in  ‘21  ,  proposed.  they  aren’t  the  best  match  ,  she  likes  to  control  certain  things  ,  neither  is  always  honest  and  maybe  he  fell  in  love  with  the  lifestyle  more  than  anything

⧽    the  plan  was  to  get  married  after  law  school  ,  a  few  years  away  and  engaged  for  a  year  now  .  .  .  there  might  have  been  a  few  hiccups  along  the  way

𝐓𝐇𝐄  𝐆𝐀𝐋𝐀  .  .  .

⧽    miss  villain  had  a  business  history  with  the  buchanan  family  ,  thus  why  jack  was  on  the  guest  list  ,  he  was  a  plus  one  but  tries  desperately  hard  to  not  seem  like  one  ,  but  those  armani  suits  can  only  do  so  much