#but so did everyone else

[honeycombclaire]

You know what I need? I need the Marvel time-travel trope, but everyone goes back to the 40s.

(I say everyone, I mean the Avengers pre-Infinity War.)

Because everyone says Steve Rogers and Bucky Barnes are men out of time (and they’re not technically wrong). But I want to see the Avengers (sans Steve and Bucky) getting sent back in time by some wizard or a freak Asgardian lightning storm or something, and poof, they’re back in the 40s, right smack in the middle of the war.

I want the Avengers to witness what life was like during the war, hiding in bomb shelters and seeing the after effects of the world crawling out of the Great Depression and hurtling into the second World War in twenty years.

Life when Steve really was the weirdest thing science ever created. When he was desperately needed and internationally adored. Because all of the Avengers have PTSD, but Steve and Bucky went through World War II and got spit back out into the 20th and 21st centuries, and that’s a whole different category of PTSD and trauma.

I want the Avengers to actually meet the survivors of Azzano, when Steve marched into the massive Nazi base and saved hundreds of soldiers, part because he could and part because he was desperate to save his best friend, and didn’t think twice about it.

I want the Avengers to see Steve and Bucky thrive. I want them to witness Steve and Bucky with the Howling Commandos. Steve’s first team. I want them to see how Steve and Bucky lived, what life was like, because it was drastically different than the modern world.

I want the Avengers to witness firsthand life on a military base. I want Tony to have to look his father in the eye and pretend he doesn’t know who he is, but get to see all the good his father did because all he remembers is his father being an asshole. How much Steve really did care about Howard (and that Bucky did, too, because Howard made weapons to keep Steve safe).

I want Natasha to see that just because she’s an assassin doesn’t mean she’s a bad person, because there were hundreds of military assassins and spies during the war that did bad things to get information.

I want them to hear about the Tesseract and learn that sometimes Steve’s intelligence should be taken seriously, because he has experience and knowledge that none of the other Avengers will ever have. (“You should have left it in the water.” “This is the guy my dad never shut up about?”)

I want them to see how much Steve loved Peggy, how she and Bucky were the only ones who saw him for who he really was, and realize how awful it must have been for him to come back and work for the organization she created after his death and have to live without her.

I want them to hide and watch as Past Steve screams as Past Bucky falls from the train. I want them to see Past Steve realize he can’t get drunk, and the only way he can cope is to kill the Red Skull and end HYDRA. To avenge his friend. I want them to realize that not only did Past Steve crash the plane for nothing, but that Steve knows, has to live with that knowledge for the rest of his life.

I want them to listen with Peggy as Past Steve realizes he’s going to have to crash the plane. I want them to hear the slight tremble in Past Steve’s voice as he talks about dancing with Peggy, believing he’ll never get the chance, and that he’s going to die alone in the freezing cold ocean. I want them to not get the change to promise him that he’ll survive. I want them to hear the sudden static that cuts off Past Steve’s voice, and the heavy silence that comes after it.

I want them to see the world mourn for Captain America, who died just months before the war ended.

And then I want them to come back to the 21st century and see. I want them to see the way Steve’s eyes linger on pictures of Peggy and Howard, see the rows of records from the 30s and 40s in a whole new light, see rows of 30s-style clothes in his closet that he hardly ever wears because a lot of people will make jabs about it, see the way he always keeps Bucky in his sight, hugs him just a little bit tighter than he hugs everyone else.

I want them to see the bags under his and Bucky’s eyes when they have nightmares. I want Sam to quietly show them Steve’s list, and see that every line on every page is filled because he missed so much. I want them to find two more little books filled up just as much. I want them to realize how lost Steve still is despite how much he’s adapted.

I want them to see the subtle military training still ingrained in Steve’s bones, because any and every war was horrible, but World War II was something else entirely, and so was desperation that existed within the soldiers and the people. I want them to see Steve’s recklessness of jumping out of planes without a parachute, the way his eyes always scan the area when he enters a room, watching ever little detail and listening for any sound that might indicate danger. How he is always, always, on alert, even when he seems relaxed.

I want them to understand why Steve was so against the Sokovia Accords. It wasn’t because he wanted the power to do what he thought was best; it was because he was afraid of the consequences of having too many restrictions. Because even with international laws and the damn Geneva Convention, the Nazis still destroyed half the world, and decades later Nazi HYDRA was still carrying out their mission that Steve sacrificed his life for. Steve was a human experiment. The Serum was a biochemical weapon. The military broke the rules to protect the greater good, and Steve knew that. The war would have gone very differently without him.

Whether he was right or wrong about the Accords, after what Steve experienced, I want the Avengers finally understand where he was coming from. Why he was so afraid of strict regulations.

I want Tony to finally fully understand the significance of Steve giving up his shield in Siberia.

Why he was so determined to protect Bucky from the world. Not just because he was his best friend, or because it was the right thing to do. But also because Bucky was the only thing Steve physically had left of his life before the crash, save for his dog tags, and he was scared of what that would mean if Steve lost him.

Steve Rogers has so much trauma that Marvel completely ignored. They focused on Tony’s and Bucky’s and Natasha’s trauma; and that’s great, that’s important; but so much of Steve’s moral character doesn’t get explained because it gets glossed over with the excuse that he’s “Mr Good and Righteous.” And that’s true, but that’s just scratching the surface.

He’s Mr. Good and Righteous for a reason, and it doesn’t get talked about enough.

[anyknotrants]

-after Damian turned 16, at the family dinner-

Bruce: so... Damian, do you remember the Oreov girl you met at the gala last week?

Damian: *looks up* yes

Bruce: what do you think of her...?

Dick: *tries not to laugh*

Tim: *fails not to laugh*

Steph: *doesn't even try not to laugh*

Damian: she was... acceptable, if a bit annoying, why do you ask?

Tim: He's trying to set you up!

Batkids -Damian: *laughs*

Damian: *stares blankly*

Bruce: of course, you don't hav-

Damian: father, are you unaware that I'm in a committed relationship?

Duke, Tim and Dick: *choke on their food*

Steph: *chokes on her drink*

Cass: *smiles*

Batkids: WHAT?!

Bruce: ... I-....

Jason: *laughs so hard he almost falls from his chair* oh Jesus Christ! The world's best detectives at their finest!

Dick: you knew? And you didn't tell me?!

Jason: where the fuck do you think he went almost every fucking friday?

Bruce: *turns to Damian* I- I though you were having sleepover with Jon

Damian: I was.

Dick: but you just-

Batfam: *stops all their movememnt as they realize*

Jason: *actually falls from his chair laughing*

Bruce: JONATHAN SAMUEL KENT!

-over at the Kent farm, also having family dinner-

Jon, who heard Bruce shout his name: I feel like I'm going to get murdered by a bat in my sleep

Clark, who was also listening in: right after you explain why I had to find out you're dating Damian throught their family dinner

Jon: hehe... fuck

[mausolealdrift]

its baffling seeing people on here being all shocked about how other ppl didnt have sex or do drugs or drink or go to parties etc etc in high schools like. sorry i was too busy getting bullied to do all of that stuff i guess. why are you surprised that there’s losers on the cringe loser website

[chloesimaginationthings]

The Aftons are a very normal FNAF couple

[biggest-gaudiest-patronuses]

main take aways from Halloween (1978) rewatch:

michael myers is canonically 21??? this bitch should be at the club

*sees tiddies* ***MURDEROUS RAMPAGE NOISES***

that's it that's the movie

outside of the fact that everyone who has sex is murdered by the narrative, this is a surprisingly chill portrayal of female sexuality? these teen girls are horny and actively enjoying Getting It On with their boytoys. no pushy boyfriends sneaking in through their bedroom windows--these ladies are taking the initiative to sneak out and GET SOME. one of them gets laid and then immediately orders her boyfriend to get her a beer. (yes she gets Slashered soon afterward, but so does the boyfriend so honestly, gender equality.) yes the Final Girl is the only one not having sex, but she's not bullied for that, nor are her friends slut shamed except possibly by being murdered by the narrative

actually the only character who is shown being morally condemned on-screen is michael myers. specifically FOR his violent overreaction to other people's sex lives. (people he is spying on). metaphorically, the villain is American Puritanism sticking its judgy nose into other people's business.

aka Michael Myers Is A Republican

but actually the real villain is the doctor. guy's a judgemental, shaming, pathologizing asshole. and he's been in charge of michael's care since he was SIX YEARS OLD? kid never had a chance. i'd go on a killing spree too

also the parents. where are the parents? it's halloween night and all the teenage girls are home babysitting their younger siblings? come to think of it, michael's first victim was his own older sister, whom he killed while she was babysitting him. teen girls are really shouldering a labour burden here. maybe parentification is the true villain

side note: mike commits his first murder wearing a clown costume...which is never referenced again? his 'iconic' costume is a generic mask and wig and jumpsuit, when we coulda had a Killer Clown Michael Myers??? travesty

i like how the Final Girl and her friend casually smoke weed in her car. yeah she's an honor student and her friend is the sheriff's daughter. yeah they smoke weed. so what it's 1978

(to reiterate, mike is 21 and should be at the club. im not saying he shouldn't be rampaging, im saying it's sad that he broke out, tasted freedom for the first time in his life, and immediately snuck back into his childhood home to go rampaging. let's have a remake where he goes to a nightclub and has a few beers. maybe some slutty dancing. then rampage)

oh no he's hot

[blueboyluca]

“When I first heard it, from a dog trainer who knew her behavioral science, it was a stunning moment. I remember where I was standing, what block of Brooklyn’s streets. It was like holding a piece of polished obsidian in the hand, feeling its weight and irreducibility. And its fathomless blackness. Punishment is reinforcing to the punisher. Of course. It fit the science, and it also fit the hidden memories stored in a deeply buried, rusty lockbox inside me. The people who walked down the street arbitrarily compressing their dogs’ tracheas, to which the poor beasts could only submit in uncomprehending misery; the parents who slapped their crying toddlers for the crime of being tired or hungry: These were not aberrantly malevolent villains. They were not doing what they did because they thought it was right, or even because it worked very well. They were simply caught in the same feedback loop in which all behavior is made. Their spasms of delivering small torments relieved their frustration and gave the impression of momentum toward a solution. Most potently, it immediately stopped the behavior. No matter that the effect probably won’t last: the reinforcer—the silence or the cessation of the annoyance—was exquisitely timed. Now. Boy does that feel good.”

— Melissa Holbrook Pierson, The Secret History of Kindness (2015)

[time-to-write-and-suffer]

I love how on Tumblr, "media literacy" has become "Um, just because someone writes about this doesn't mean they're endorsing this. I hate all these media puritans ruining everything."

I'm sad to inform you that knowing when and whether an author is endorsing something, implying something, saying something, is also part of media literacy. Knowing when they are doing this and when they're not is part of media literacy. Assuming that no author has ever endorsed a bad thing is how you fall for proper gander. It's not media literacy to always assume that nobody ever has agreed with the morally reprehensible ideas in their work.

Sometimes, authors are endorsing something, and you need to be aware when that happens, and you also need to be aware when you're doing it as an author. All media isn't horny dubcon fanfic where you and the author know it's problematic IRL but you get off to it in the privacy of your brain. Sometimes very smart people can convince you of something that'll hurt others in the real world. Sometimes very dumb people will romanticize something without realizing they're doing it and you'll be caught up in it without realizing that you are.

Being aware of this is also media literacy. Being aware of the narrative tools used to affect your thinking is media literacy. Deciding on your own whether you agree with an author or not is media literacy. Enjoying characters doing bad things and allowing authors to create flawed or cruel characters for the sake of a story is perfectly fine, but it is not the same as being media literate. Being smug about how you never think an author has bad intentions tells me you're edgy, not that you're media literate. You can't use one rule to apply to all media. That's not how media literacy works. Sorry! Sorry! Sorry! Aheem heem. Anyway.

[cozylittleartblog]

Columbo and the Knight (1984)

put me in the universe where Columbo ran through the 1980s and had a crossover episode with Knight Rider. I think they deserved it, and I am not just saying that because they're my two favorite Old Shows. @telebeast wrote a little fanfic blurb about it and I HAD to visualize it into a comic (which is also the longest comic I have finished thus far at five pages...), so writing credit goes to them.

Autism W!

[lotus-pear]

ace detective more like ace DEFECTIVE

[nymphoutofwater]

Here's a remade masterpost of free and full shakespeare adaptations! Thanks @william-shakespeare-official for this excellent post. Unfortunately, a lot of the links in it are broken, so I thought I'd make an updated version (also I just wanted to organize things a bit more)

Anthony and Cleopatra: ~ Josette Simon, Antony Byrne & Ben Allen - 2017

As You Like It: ~ At Wolfe Park - 2013 ~ Kenneth Brannagh's - 2006

Coriolanus: ~ NYET Alumni - 2016 ~ Tom Hiddleston - 2014 ~ Ralph Fiennes - 2011

Cymbelline: ~ Michael Almereyda's - 2014

Hamlet: ~ David Tennant - 2009 ~ Ethan Hawke & Diane Venora - 2000 ~ Kenneth Branagh's - 1989 ~ BCC's Part One & Two - 1990 ~ Broadway - 1964 ~ Christopher Plummer - 1964 ~ Laurence Olivier's - 1948

Henry IV: ~ BBC's Part One & Two - 1989 ~ The Brussel's Shakespeare Society's - 2017

Henry V: ~ The BBC's - 1990 ~ Laurence Olivier's - 1944

Julius Caesar: ~ Phyllida Lloyd's - 2019 ~ The BBC's - 1979 ~ John Gielgud - 1970

King Lear: ~ The RSC's - 2008 ~ Laurence Olivier - 1983 ~ The BBC's - 1975 ~ James Earl Jones - 1974 ~ Orson Wells - 1953

Love's Labour's Lost: ~ Calvin University - 2016

Macbeth: ~ Antoni Cimolino & Shelagh O'Brien's - 2017 ~ Ian McKellen & Judi Dench - 1969 ~ Sean Connery - 1961

Measure for Measure: ~ Hugo Weaving - 2019 ~ The BBC's - 1990

The Merchant of Venice: ~ Al Pacino - 2004 ~ Trevor Nunn & Chris Hunt - 2001 ~ The BBC's - 1980 ~ Lawrence Olivier - 1973

The Merry Wives of Windsor: ~ The Royal Shakespeare Company's - 1982

A Midsummer Night's Dream: ~ Oliver Chris & Gwendoline Christie - 2019 ~ City of Columbus's - 2018 ~ Julie Taymor's - 2014 ~ The Globe's - 2013 ~ The BBC's - 1988 ~ Lindsay Duncan & Alex Jennings - 1986

Much Ado About Nothing: ~ Shakespeare in the Park - 2019 ~ David Tennant & Catherine Tate - 2011 ~ Kenneth Branagh - 1993 ~ The BBC's - 1984

Othello: ~ The BBC's Part One & Two - 1990

Richard II: ~ David Tennant - 2013 ~ Deborah Warner's - 1997 ~ The BBC's - 1978

Richard III: ~ Ian McKellen - 1995 ~ Laurence Olivier - 1955

Romeo and Juliet: ~ Simon Godwin's - 2021 ~ The BBC's - 1988 ~ Laurence Harvey & Susan Shentall - 1954

The Taming of the Shrew: ~ Ontario production? ~ American Conservatory Theater - 1976 ~ Richard Burton & Elizabeth Taylor - 1967 ~ Mary Pickford & Samuel Taylor - 1929

The Tempest: ~ Gregory Doran's - 2017 ~ The BBC's - 1988

Timon of Athens: ~ Barry Avrich's - 2024

Troilus and Cressida: ~ Audio Production ~ This one I found on youtube? - 2016

Titus Andronicus: ~ Anthony Hopkins - 1999

Twelfth night: ~ Texas Shakespeare Festival's - 2015 ~ Alec Guinness, Joan Plowright & Ralph Richardson - 1970

Two Gentlemen of Verona: ~ Katherine Steweart's - 2018 ~ The BBC's

The Winter's Tale: ~ Antony Sher - 1999 (Warning: they don't have a bear...)

Bonuses:

Time Loop Hamlet! (A personal fav of mine)

Rock Opera Hamlet???

Shakespeare animated tales

The Complete Works Of Shakespeare Abridged comedy

Romeo and Julieta: A Día de los Muertos Love Story

There’s also many other Latine Shakespeare adaptations listed in this archive

From the original post:

A Midwinter's Tale, about a man trying to make Hamlet.

Russian Hamlet here

Here's Scotland, PA, the 2001 modern Macbeth retelling.

Rave Macbeth for anyone interested is here.

This one is the Taming of the Shrew modern retelling.

The french Romeo & Juliet musical with English subtitles is here!

Here's the 1948 one,

the Orson Wells Othello movie with Portuguese subtitles there

A Lego adaptation of Othello here.

Here's commentary on David Tennant's Richard II

[phthalosblues]

POV you read the book of bill and then the 3rd journal and then lost legends and then the great gatsby and rewatched the show twice and are on your third rewatch in the past two months and watched a bajillion animatics and character analysises and actually read fanfic which you never do like ever and you’re starting to feel like you’re running out of content and might need to start drawing more

[egophiliac]

do skully have pokemon?

Pumpkaboo is the obvious one, but y'know, sometimes the obvious one is the right one! (we'll say SUPER SIZE Pumpkaboo, just for fun. big pumpkin for big skeleton boy.) and another person actually also suggested Greavard, which I somehow hadn't considered, but feels so perfect that I feel like I should have. dangit.

(they can also have little Nightmare Suit costumes :D)

[xxplastic-cubexx]

oh boy 2AM !!!!!!

[padfootastic]

can’t help but think of how, if we choose to go by sirius’ characterisation as a private, arrogant teen who only lets a select few into his circle, sirius’ post-azkaban life just have been such an utterly humiliating experience for him.

especially OoTP. when he has all these near strangers in his childhood house, that he hated and loved and ran away from and couldn’t ever escape. if he spent his entire pre-azkaban existence building a cold and aloof persona, not letting people know what his home life had been like, then to have all of these people get a front row seat to it because of kreacher and portrait walburga’s shenanigans must have been near unbearable. to have the entire order, including snape whom he disliked and mistrusted, hear the kinds of names he’s being called.

not only does he have to deal with the retraumatisation of his childhood, but also the fact that he’s flayed open for everyone to see. it’s not only his freedom, innocence, dignity that has been snatched from him but his privacy also. it’s such a cruel thing to experience, on top of everything else.

to have literal children, his godson who he has been kept away from all this while, whom he presumably wants to be able to look up to him, to have him see into the deepest parts of his soul. to have to be so weak in front of him. not only is he subjected to such vileness but he also cannot do anything about it.

sirius has not had a moment of peace in all the time we knew him. it is indignity upon indignity that is heaped onto him. every other character has gotten a moment of respite but him. it fully breaks my heart.

[ducktracy]

there are a lot of evil people in the world and a lot of darkness in the world and so it’s very important for me to stress that now more than ever is the time to spread kindness and compassion. combat the evil by not only not partaking in it, but actively refuting it. destroy the notion that being compassionate or generous or kind to someone is uncool or embarrassing or even scary. be the change you want to see. start a chain reaction. positivity only breeds more positivity. do an act of kindness for someone so that that person who is too afraid to do it themselves can see you, realize that they’re not alone, and perhaps sheepishly follow your example. and then the next person who is too afraid but sees that person can do the same. when bad news comes out about bad people or horrible atrocities in the world it’s such an easy impulse to despair, and obviously it’s important to feel what you need to feel. grieve. be angry. be sorrowful. be empathetic. but dust off your pants and get up and be a part of a chain reaction that, no matter how small the scale, and spread compassion and love and care. all the reasons why you might not—“it’s hard! it’s scary! people will make fun of me! it’s useless because there’s too much evil!” are all grade A arguments as to why you should. you have no idea how many people you could inspire to do the same. even if it doesn’t get you anyway far, you can at least say you have the nobility of trying. please choose love and please choose life. you are worth loving and you are worth inspiring others to love

[theresistanceneverquits]

There’s not enough people talking about how important Stephanie is to Damian’s growth pre-Flashpoint.

Bruce had seen Damian as a beast to be tamed, Tim sees him as a ticking time bomb, and Dick is far better with him but he’s still an authority figure for Damian to combat with. But then he meets Stephanie, a college-aged girl who nobody trusts and he bullies her relentlessly and becomes inseparable from her.

She doesn’t interact with him based on his past, but on what she can see. This 10 year old just threatened to kill her? Wow he doesn’t get outside much. He’s not old enough to have seen Gremlins. What do you MEAN you’ve never been inside a bouncy house before we are fixing that immediately.

They are like cousins to each other. They poke fun at each other for being lame and stupid and Dick has to tell them both to shut up. She doesn’t see him as a project to be molded and redeemed, he’s just a kid with a crappy childhood like her and if he’s nice to her for 5 seconds she’ll do something with him to let him feel like a kid. And he doesn’t look at her and see a liability or a failure or a lost cause, like everyone she’s ever interacted with does. When he’s awful to her, it’s because he’s an obnoxious preteen boy.

And then you get the “there’s room in our line of work for hope, too” scene. Because Damian has gotten to know Steph and he can’t fathom why she’s here. She obviously has had to deal with crap and is still working through being kept on a leash by Nightwing and Oracle, but she isn’t broken like the rest of them are. Damian is surrounded by people who were molded and shaped and torn down and broken to become the monoliths that they are, and then there’s this girl who seems so at peace with herself and is constantly making quips, and it’s so foreign to him.

And she tells him that she’s in his world because she believes people are worth fighting for.