#couple contrast

[gainingpeach]

God damn you. Are. Huge.

Literally stood next to your feeder, you’re both taller than him and (I wouldn’t be surprised if you’re at least) three times the size of him 🥵. I bet if you sat on him and took a picture, you’d barely see the guy… dosent that turn you on piggy? 🐷

I love making him disappear😌

And yes I am three times his size 🥵

[blessyouhawkeye]

hey guys. getting real concerned buck is going to get shot this season. we got the well redux this episode, next episode we're getting lightning strike redux. there's only one other big buckandeddie disaster missing. and they've already started reestablishing eddie's capability as a field medic. therefore: buck should start wearing a bulletproof vest

[eveningdawn222]

people who act like batman isn't "judge jury and executioner" because he doesn't kill people are like. genuinely so funny to me because. they're very obviously thinking of "executioner" as like. the stereotypical guy with axe who chops people heads off, and not, yknow, the literal definition of the idiom itself, which is about someone who has the ability to judge and then subsequently punish someone unilaterally. which is quite literally what batman does.

he has the ability to decide what is a "crime" to him, he is the one who decides whether people are guilty of those crimes, and he is the one who executes their punishment. the severity of the punishment doesn't matter - he is unaccountable to anyone else, and indeed is allowed to commit as many crimes as needed to reach his arbitrary ideal of "justice."

the ideal of batman is this: a man who is so fundamentally changed by an act of senseless violence that he takes it upon himself to fight back against the rot and corruption in the world. he does this not through political activism, not through ridding himself of his wealth in favor of a greater good, not through community outreach, but through an individualistic fantasy of being a hero.

and you'll say: charlie, but he does do that !!! he donates his money all the time, he funds social programs, hospitals, orphanages, gets people jobs -

and i will say this: so why don't things get better?

because here's the base of it. gotham, at its core, can't get better. no matter what bruce wayne does, there will always be more crime, more villains, more death, more people for batman to beat up in back alleys. because that's what sells.

reoffending rates don't matter in gotham, prison reform doesn't matter in gotham, what actually causes crime doesn't matter in gotham because that doesn't sell books.

and so here it is; dc has unintentionally created a world where batman can't win, but can't be wrong, and where thousands of nameless, faceless, only-created-to-die civilians must be pushed into the meat grinder that is gotham, to fuel bruce wayne's angst and vindicate his constant, tireless, noble fight against the forces of evil.

and then: a new robin, who is poor and who's parents are dead or gone because of this cycle; who is happy go-lucky and hated by editors and fans for being robin, for not being dick grayson, for being poor.

and this robin is written, unintentionally or not, to be angry at the ways in which batman's (the narrative's) idea of justice is detached from its victims. bruce seems perfectly fine to allow countless unnamed women to be at risk from garzonas in his home country, yet robin is the one who is portrayed as irrational and violent.

this robin is not detached from gotham in the way bruce wayne is: this robin is a product of gotham.

(and here's the thing. you can't punch aids. you can't fight a disease with colorful fights and nifty gadgets. and how would robin dying from aids add to batman's story; it would call into question the systemic changes that haven't been made in gotham. how does a child get aids, in batman's city?)

so robin dies, and then bruce (the narrative) spends the next couple of decades blaming it on him. it is jason's fault; he was reckless, he just ran in, he thought it was all a game. if only bruce had seen what was coming, if only he could have known that jason wasn't rich enough or smart enough or liked enough to be robin.

batman gets a little more violent, a little more self destructive. he hurts people more and almost (!!) kills a couple guys. this is bad because it's self destructive and "not who he is." it is not bad because batman should not be able to just beat people up when he's angry.

and then he gets a shiny new robin - who is all the things jason "wasn't": rich and smart and rational and he doesn't put who batman is into question. batman and robin are partners, and jason is a grave and a cautionary tale, and (crucially here) never right.

the joker kills thousands and it doesn't matter because they were written to be killed.

batman beats up thousands and it doesn't matter because they were written to be criminals.

and then jason comes back, and nothing has changed. there is a batman and a (shiny! rich!) robin and the joker kills thousands. (because it sells)

and jason is angry - he has been left unavenged - his death has meant nothing, just as willis' had, just as catherine's had, just as gloria's had, just as -

thousands. ten of thousands. hundreds of thousands. written to be killed.

but one of them gets to come back.

and he is angry - not only at the joker, but at bruce (the narrative) - because why is the joker still alive (when thousands-)

here is the thing - jason todd is right. not because the death penalty is good, not because criminals deserve to die, not because of everything he says -

but because of what he calls into question. why is the joker alive?

because he sells books.

and dc has written a masterful character, through no fault of their own, because jason knows what is wrong, and he knows who is at fault - batman. (the narrative)

so the argument that bruce can't kill because he's not judge jury and executioner; the argument that jason is a cop or that jason is insane or that jason is in the wrong here; they hold no weight.

batman can't kill the joker because the joker sells comic books.

and jason can't kill the joker because the joker sells comic books.

so he will beg and plead and grovel - he will betray everything that is himself, he will forsake his family and his city and kill himself - just so that bruce (the narrative) will let the joker die.

he was condemned to death by an audience, and after he came back he has spent his whole life looking us in the eyes and screaming, asking, pleading; why is the joker still alive?

why are thousands, tens of thousands, hundreds of thousands (the number doesn't matter, see, because they're just a number. not people. not real.) why are we expendable for his story? why did i have to die just for nothing to change?

and the answer is money. and the answer is the batman can never be wrong. and the answer is shitty writing. and the answer is -

nothing jason can ever change.

which is the worst of it all. he is a victim with no power, and no one else in the world can see it. he is raging and crying and screaming at his father and his writers and you - and it doesn't matter. jason doesn't matter. and he knows it.

[moderncontrasts]

[andstuffsketches]

a selection of robins

[transxfiles]

thinking a lot about the phenomenon of celebrities going through their "baby gay" phase in the spotlight. idk i know it's funny to joke about jojo siwa and "gay pop" etc etc and there's so much valid criticism there. but i also think there's something to be said about how pop culture forces queer people out of the closet which means that if celebrities try to work through their baby gay phase on their own they're considered "traitors" or "liars" or "queerbaiting" etc etc for trying to keep their sexuality private, but if they decide to come out as soon as they know "what they are" they become cringe in the eye of the public bc they're still figuring out what it means to be queer. idk. like even with chappell roan, i know she's a pop culture darling rn and i adore her. but sometimes she says stuff in interviews that feels so baby gay and i have to remind myself that she's just. a young person who is in the spotlight and figuring herself out still. and even with the jojo siwa thing like. again obv she sounds so ignorant when she talks about wanting to "invent gay pop" but it's also like. god. figuring my gender/sexuality business out was stressful enough when i was sitting alone in my bathroom at age 13. i cannot imagine growing up in the spotlight with hundreds of cameras and millions of eyes on me. and then having to be my "cringe" newly out queer self to the masses. idk lots to chew on. i've just been thinking about this a lot recently.

[zimt-deathnote]

Oh wow now they're slow dancing to oldies playing in another room on a rooftop at the mafia wedding someone help, can they never stop dancing please

now I kinda want a jazz oldies playlist with animated snippets of those two looping in the background

----- My other socials Commission Info Let's drink some Ko-Fi! 🍵

[melanatedmasculinity]

[gainingpeach]

Being silly with my tiny feeder 😜

[beskarfrog]

Maybe dinluke-it The Kiss, 1859 by Francesco Hayez ?

big heart eyes for how your brain works @cutoutthepoetrywatson

[zaacoy]

Very rushed value practice before I sleep!! They are vibin'

[getosugurusbangs]

i guess i met you at the wrong time.

[gayofthefae]

Having Mike and El almost kiss in the bathroom while we know that Lucas is trying to get a hold of them to tell them that El and the entire party are in immediate danger. That moment in the bathroom is like "no, don't interrupt them, Dustin, they were gonna ki-! Oh, shit, actually, yeah, what you've got going on IS more important what's up"

Almost like they want us to deprioritize this just like them kissing as Stoncy fight the Demogorgon, them making up over m&m's while J@ncy fight the flayed right upstairs, Mike confessing while Max is dying...

Funny how all the other couples are paired off in their supernatural plots and Mike and El not only only are together in them sometimes in group settings but also never have their romantic moments intertwined with the supernatural, but still timing them during all the other climactic moments, making them more "distraction" from the more urgent plotlines.

If you wanted us to root for them, you shouldn't have made us think "YOU CAN KISS LATER, PEOPLE ARE DYING UPSTAIRS GO HELP THEM!!"

Also with the interruption trope, I would love to note that Byler's are never that important, making us on the side of "c'mon, give them some alone time!" Jonathan asking them if they're ready to go, Argyle asking for a pen, it's never like "yeah the convo was cute but you should have been focusing on Argyle's pizza box gravestone the whole time"

[stopper-my-heart]

Nothing like Heartstopper S2E8 removing some of Taylor Swift's "seven" lyrics just so that the singing can specifically come back in at "Or hide in the closet" while Isaac is processing difficult emotions related to the book he's reading (i.e., Ace: What Asexuality Reveals About Desire, Society, and the Meaning of Sex by Angela Chen).

Did I mention "Or hide in the closet" hits just as the camera focus finishes shifting away from Isaac?

This is fine

[croxot]

Summer vibes Jinn & Tevesh.

[stanford-photography]

In the Mood for Love By Jeff Stanford, 2024

Buy prints at: https://jeff-stanford.pixels.com/