#don't do that: barry

[thisdudedoesntexist]

Danny is a new technician at a rebuilt star labs. He didn't want to at first because Danny thought it would cut into his undead superhero/prince duties. Eventually though Clockwork (bullied) encouraged him and as it turns out, the lab is pretty lax about sudden "trouble at home". Plus, Danny can help set things back together when one of the Flashes messes up the timeline AGAIN.

(Flashpoint is what allowed Dan to come back as quickly as he did in the first place.)

The flash family, for lack of a better description, are straining. They're all putting up painted smiles that Danny knows aren't happening with his coworkers. Danny wants to be friendly with them but they're keeping him at a constant arms length away.

Barry, wally, Bart, and the rest of the flash family are freaking OUT. Why wouldn't they, their new technician caused the apocalypse. Granted they only know this because of an old speed scout from Bart. But it didn't have the time to tell them anymore than the name and some powers of one Dan phantom before fading. The timeline line the one man disaster's from doesn't exist anymore so they can't even check what happened or why the Dan destroyed everything. They can't even get rid of him because what if that sets off the guy!

[yardsards]

"i don't ship laios and marcille-" oh yeah same, their relationship is so much more compelling to me viewed through a platonic lens than a romantic one

"-like, marcille clearly hates laios" are we reading/watching the same series??? did you just stop after the first couple chapters??? look at their relationship development, that's her friend! her bestie, even!!!

[elspeth-catton]

[saltburn characters + text posts]

[geeky-nightphilosopher]

🦇Batfamily & Friends🦇

*At the Watchtower*

Dick:*just trying to stir up trouble* Hey, do you ever wonder what happened to all the missing kids.

Barry: What?

Dick: You know, a lot of them are taken. Maybe killed. But do you ever wonder what really happened to them?

Hal:*pauses* I-I don't know...

Dick:*completely serious* I think the government kidnaps them and experiments on them.

Barry & Hal: *blue screening*

Clark: *To Bruce* I know he's adopted, but did he somehow inherit your parania?

Bruce: He's messing with them, Kent.

[politedemon]

It really, really, really could happen.

[finemealprompt]

DP x DC Prompt #13

When Danny decided to move to Central City, he wasn't sure what he was expecting. He just knew he wanted to move somewhere he could be useful.

He had been a vigilante for so long, he wanted to help people a different way. Working at the morgue was a way he could help souls find rest.

Plus, the forensic scientist (chemist?) he got to interact with sometimes was a nice benefit. Now, if he can just figure a way to ask him out and eventually tell him he's technically dead, he'd be set.

[coldflash-corner]

I've said it before, I'll say it again, obsessed with the concept of Snart not introducing Barry (as Barry) to Mick bc he's worried that Mick won't like Barry and will do something drastic, or vice versa

And then Mick and Barry meet without Snart being around and become best friends

[tavolgisvist]

Two Virgins and Why Don't We Do It In The Road?

Two Virgins

recorded 3-4 (or 19–20) May 1968, released 29 Nov(UK), 11 Nov 1968 (US)

August 31 Private Eye announced that John and Yoko’s forthcoming album would have a full-frontal nude cover. September 15 Around this date, John and Yoko photographed themselves in the nude, from the front and rear, intending to use the shots as cover artwork for their rst collaborative album. November 11 John: “Originally, I was going to record Yoko, and I thought the best picture of her for an album would be naked. So after that, when we got together, it just seemed natural for us both to be naked. Of course, I’ve never seen my prick out on an album before.”

(The Beatles Diary. Volume1.The Beatles Years by Barry Miles, 2001)

Autumn 1968:

As the meeting was drawing to a weary close, John, not this day with Yoko, who hadn’t seemed particularly connected with what was going on, said he wanted to play us a tape he and Yoko had made. He got up and put the cassette into the tape machine and stood beside it as we listened. The soft murmuring voices did not at first signal their purpose. It was a man and a woman but hard to hear, the microphone having been at a distance. I wondered if the lack of clarity was the point. Were we even meant to understand what was going on, was it a kind of artwork where we would not be able to put the voices into a context, and was context important? I felt perhaps this was something John and Yoko were examining. But then, after a few minutes, it became clear. John and Yoko were making love, with endearments, giggles, heavy breathing, both real and satirical, and the occasional more direct sounds of pleasure reaching for climax, all recorded by the faraway microphone. But there was something innocent about it too, as though they were engaged in a sweet serious game. John clicked the off button and turned again to look toward the table, his eyebrows quizzical above his round glasses, seemingly genuinely curious about what reaction his little tape would elicit. However often they’d shared small rooms in Hamburg, whatever they knew of each other’s love and sex lives, this tape seemed to have stopped the other three cold. Perhaps it touched a reserve of residual Northern reticence. After a palpable silence, Paul said, “Well, that’s an interesting one.” The others muttered something and the meeting was over.

(Michael Lindsay-Hogg (filmmaker), Luck and Circumstance: A Coming of Age in Hollywood, New York, and Points Beyond, 2011)

Inevitably, many people bought Two Virgins for the cover alone: for some of the Beatles’ younger fans, it was to be their first ever glimpse of grown-ups in the nude.

(Craig Brown, 150 Glimpses of the Beatles, 2020)

Paul: So what’s the point behind Two Virgins? <…> Paul [mimicing reporters]: Is there any need to do this in public, Mr. Lennon?*

(Get Back sessions, January 14th, 1969)

Why Don't We Do It In The Road?

recorded 9, 10 October 1968; released 22 Nov (UK), 25 Nov 1968 (US)

designing the White Album poster during Sept-Oct 1968

I was up on the flat roof [in Rishikesh] meditating and I’d seen a troupe of monkeys walking along in the jungle and a male just hopped on to the back of this female and gave her one, as they say in the vernacular. Within two or three seconds he hopped off again, and looked around as if to say, ‘It wasn’t me,’ and she looked around as if there had been some mild disturbance but thought, Huh, I must have imagined it, and she wandered off. And I thought, bloody hell, that puts it all into a cocked hat, that’s how simple the act of procreation is, this bloody monkey just hopping on and hopping off. There is an urge, they do it, and it’s done with. And it’s that simple. We have horrendous problems with it, and yet animals don’t. So that was basically it. Why Don’t We Do It In The Road? could have applied to either fucking or shitting, to put it roughly. Why don’t we do either of them in the road? Well, the answer is we’re civilised and we don’t. But the song was just to pose that question. Why Don’t We Do It In The Road? was a primitive statement to do with sex or to do with freedom really. I like it, it’d just so outrageous that I like it.

(Paul McCartney, Many Years From Now by Barry Miles, 1997)

PLAYBOY: “Why Don’t We Do It in the Road?” LENNON: That’s Paul. He even recorded it by himself in another room. That’s how it was getting in those days. We came in and he’d made the whole record. Him drumming. Him playing the piano. Him singing. But he couldn’t—he couldn’t—maybe he couldn’t make the break from the Beatles. I don’t know what it was, you know. I enjoyed the track. Still, I can’t speak for George, but I was always hurt when Paul would knock something off without involving us. But that’s just the way it was then.

(John Lennon, 1980, All We Are Saying by David Sheff, 2020)

The song’s (very) slightly risqué lyric, all two lines of it, heightened the vague air of controversy surrounding the album. McCartney was already in trouble with the press for allowing a minuscule nude picture of himself to be included on the set’s free poster.

(The Beatles Diary. Volume1.The Beatles Years by Barry Miles, 2001)

“All this work, all this talent — and what [the press] fixate on is one small picture.”

(Derek Taylor)

I did hear him some time later singing it [Why Don’t We Do It In the Road?]. He liked the song and I suppose he’d wanted to do it with me. It was a very John sort of song anyway. That’s why he liked it, I suppose. It was very John, the idea of it, not me. I wrote it as a ricochet off John.

(Paul McCartney, May 3, 1981 with Hunter Daivis)

from too long post

*thank you a lot, @i-am-the-oyster <3

[junespriince]

Little Chickadee meet little Sparkle au

8yo Dick, picks up 3yo Wally: so this baby kid flash?

Barry: yeah, this is apparently him at three years old according to Iris.

Dick, looks at the tiny boy in his arms: and his dad hated him!? Adults are useless.

Bruce, sighed: can't wait for Constantine and zatanna to fix this... Alfred where's the leash? *Leaves*

Dick, gives Barry, Wally back: I will make sure nobody hurts him again.

Barry: aw, that's so sweet of you.

A few hours later

Bruce: I told you to watch him, how could you let him get away!?

Barry: he said he went to the bathroom, how was i supposed to know he would leave, the time I knew him he listened in Central!

Wally, fussy because people are yelling:

Bruce: where could he have gone to, all his usual hits are protected.

Barry: ... Oh my god, OH MY GOD HE'S AFTER RUDY!

Bruce: Rudy?

Barry, grabbing his things: Wally's shitty bio dad, he read Canary's file on Wally and asked me questions.

Bruce: AND YOU GAVE THEM TO HIM, FREELY!?

Barry: I'm sorry I forgot he was blood thirsty as a child, okay!

Jason, holding a now crying Wally: hush it dipshits, and he's like eight how far on foot could he have gone.

Tim: he knows about the zeta tubes.

Jason: oooo, yeah that mother fucker dead dead.

Cass: I also saw him grabbed Barry's phone and called up Iris.

Barry: SHIT MY WIFE GONNA GO TO PRISON! I GOTTA GO!

[jerreeeeeee]

more and more i find myself interested in the period of time where barry and lup were best friends and sort of both knew they were starting to have romantic feelings but also were both not ready to act on them and continued to be close friends.

like so often i’d resist that sort of story, because they end up in a romantic relationship, and so it feels like that feeds into that narrative of “inevitability,” it feels like it retroactively cancels out the “platonic explanation” for how close they were before, but i don’t think that’s actually true for them? the “inevitability” isn’t that they’d develop romantic feelings, because any friendship that close must eventually become romantic, rather it’s that they happen to develop romantic feelings, and so it’s inevitable that they trust and love each other enough to take their time and change their relationship as they want to, because their friendship means so much to them.

there was a platonic explanation for how close they were before they started feeling romantically and before they started labelling their relationship as romantic, because before all that, their relationship was platonic. they were close friends who loved each other and then they fell in love romantically. they still loved each other equally as much when they were “””just””” friends. if they’d never developed those romantic feelings they’d still be close and love one another. (case in point; their respective relationships to taako, or at the very least lup’s relationship to taako, which is equally close and deep and loving, yet platonic, and in fact directly mentioned as remaining just as important to lup) (and really, case in point their relationships to everyone on the starblaster. in the monologue about lup and barry, griffin takes care to mention that the relationships between everyone on the crew had become indescribably close, and never positions their romance as being “more” than any of the others’ friendships).

the reason i dislike friends to lovers is because usually those stories imply that romance is the inevitable end to a close friendship, that romance is a deepening of a relationship, but taz balance so pointedly does not say that about all its other myriad deep and profound platonic relationships; the narrative, at every turn, fully respects its friendships and platonic bonds, so this one happening to be a romance doesn’t actually bother me. it does actually feel like a choice people made because they felt like it and wanted to, rather than being forced in, and it doesn’t reinforce amatonormative bias, because the story doesn’t.

their ending up as a romance doesn’t invalidate the friendship beforehand, because the friendship was already so deep and valuable to both of them. and honestly, from the way the monologue goes, it seems to me that they weren’t exactly pining, they weren’t longing to deepen their relationship, they didn’t experience distance before becoming a couple; they were together every step of the way. it was already deep and close and loving before they decided to change it, and they took their time because that was how they wanted to do it. not being together romantically never stopped them from spending time together or valuing their relationship or loving one another.

[anistarrose]

The possible explanations for why the fuck Barry could've felt the need to open that scene with "are you afraid?" have been analyzed by this fandom for basically ever since the Red Robe identity reveal, and a lot of people have brought up good theories that I've adopted bits and pieces of from each. But one thing that I haven't actually seen proposed as a factor is this:

Talking to Tres Horny Boys through the facade of the faceless "Red Robe" might've just been Barry's backup plan. Plan A was, quite possibly, to sneak Junior's ichor out of Lucretia's private quarters, be able to actually inoculate THB, and actually have them recognize him. (A proper reunion, with no cryptic warnings. With no dancing around static — just Barry and Tres Horny Boys, actually trusting each other innately.)

Why do I think this is plausible? Let me clarify the timeline a little: at the start of the Petals arc, before THB leave the Bureau, all is normal with their soon to be ex-roommate Pringles/Robbie (Ep. 18). Upon return, THB are informed that at some point during their (overnight, so 24 hour-ish?) absence, Pringles was thrown in the brig (Ep. 28).

It's eventually revealed by Pringles and Barry, in The Suffering Game and Reunion Tour respectively, that Barry possessed Pringles to do "reconnaissance" on the Bureau, specifically on where to find the second Voidfish (ie, Lucretia's private office, which is where Pringles "woke up" and was "arrested summarily").

I will note that Barry describes this as just recon — implying information gathering, and not necessarily a Voidfish ichor heist. However, this was an explanation he gave through a recorded message in the coin, where he was likely choosing his words carefully to confuse THB the least amount possible. And moreover... I just find it hard to believe that Barry wouldn't let himself hope, leading up to and during this infiltration, that he could make it out with the ichor he so desperately needed.

After all, Barry may be Going Through It during the podcast, but he definitely knows that as much as he needs information, it's going to be a lot harder to pull off his eventual heist if Lucretia catches him in the act, and winds up knowing that he has that information. Barry also chose to make his infiltration attempt while the Bureau was distracted, monitoring the Gaia Sash — in a lot of ways, this might've seemed like not just his first chance at the ichor, but also his best chance at it.

Barry's both an incredibly determined and opportunistic, calculating guy. I don't think Barry would've left Pringles' body unless/until he was absolutely cornered; no hope left of getting out with the ichor this time. He wouldn't pass up a chance to restore his family's memories — because of his deep, deep emotional and practical stakes in restoring those memories, first and foremost — but he even feels kinda bad about possessing Pringles (calling it "unfortunate collateral damage"), and would certainly prefer for his unsavory tactics to be, you know, worth it.

So when Barry fails? When he comes away from his mission he's no doubt been planning for weeks, waiting intently and single-mindedly for his chance with the right Relic-based distraction — and it turns out he has information, but no ichor, to show for it? When he fails, Barry's left on the back foot.

He'd dared to hope it might turn out better than this. He'd dared to hope this might be a turning point, and the world might remain in danger, but at least he'd have his family back. He'd dared to hope he might be able to speak to them, in his right mind, with his memories, and be recognized for the first time in a decade.

So when none of that comes to fruition? When he knows his boys won't recognize him yet, no matter what he does? Yet he still needs them on his side? He still needs them to be prepared for the horrors coming?

Well, he just fucking improvises.

"Are you afraid?"

[mattzerella-sticks]

[pumpkinrootbeer]

say what u will about barry allen but no other superhero has had a worse time. you come in, take up another heros mantle, be a hero for however many years, DIE!!! actually die not comic death but die to the point you are functionally irrelevant for 20 years you completely cease to be that character and the vast majority of people grew up with a different flash, get resurrected you're back now (yay?), writers don't know what to do with you because there's already another flash and there has been for the past two decades so the entire universe kinda hems and haws about what to do with you until they take you out of your main comics and just have you chill in the justice league, then you lose your powers and are once again no longer the flash.

I need a "where are they now" but for Barry Allen flash. dead for Twenty Real Life Years. come back to life. reset the universe. just to lose your powers and be booted again from the superhero title. God himself hates this man

"Oh wally got erased from existence" "well x happens to Batman" it's not even about what happens in the narrative it's like. you're the only mainstream superhero ever that stopped existing for two decades and when they do decide to bring the character back they have no idea what to do with you so you're eventually forever relegated to the sidelines And also you're not the strongest or the most skilled or the fastest flash and they keep retconning all the special stuff You did in specific and refuse to let your narrative exist beyond Dead Mom. bartholomew baby I'm so sorry

[doverstar]

Ironically, when you think about it their attempt to make Peter Pan feminist UNDERCUT the story's main (female!) lead.

Wendy wanting to be a mother is arguably a hint that she's already more mature than the boys and is ultimately meant to grow up, even if she doesn't recognize it yet. Her crush on Peter is important because it shows how his world of neverending youthful adventure is something she does want, but which she later realizes can't give her what she ultimately wants (because Peter's too immature to reciprocate). All of these lead to her returning and embracing growing up.

In short, the very traits they cut out to be more "feminist" in the modern term undercut Wendy's development as a character, and weakened the core themes of the story.

I agree with much of this! But- Peter does reciprocate. That's part of why Wendy brings changes into his life. He doesn't know (or remember) what a kiss is until she kisses him. He's never been fond of a girl before Wendy. He flirted her out the window, brought her to Neverland to be the Lost Boys' mother, and played at being married to her, all of which is something he has never done before. Peter goes to Wendy's home and tries to shut the window their mother has kept open for them, so that if she ever decides to leave Neverland, she'll think her parents don't want her and will go back to Peter (he can't quite make himself do it, though, and chooses not to). Peter forgets his men, John and Michael, Tinker Bell, and even the threat of Captain Hook multiple times in the story, but he does not forget Wendy. When Tink tells him the boys and Wendy have been taken by the pirates, Peter's heart "bobbed up and down as he listened", and his only reactive thought is that Wendy is bound. When he goes to save the day at the climax, he says "And now to rescue Wendy!" without a mention of the other kids he's responsible for on that ship. She's taking up his brain space the entire story. Peter Pan has a finite memory, so when something sticks, it's written that way for a reason. His mother replacing him stuck, and Wendy stuck, and that should tell the reader something about those relationships. He forgot Tinker Bell, who drank poison for him, long after she was gone, but he remembered Wendy for years after her departure from Neverland, and even when he stopped coming for a while, he remembered her again, and by that time she was "ever so much more than twenty" and had a walking, talking daughter during his latest visit. He doesn't remember Hook, Tink, the Lost Boys, or anything else from the time the Darlings were on the island, but he remembers Wendy. Peter reciprocates. I will die on this hill. It was very intentional, the way that relationship was written.

And as for Wendy, it's not that she's more mature than the boys and that that's her 'strength' - she's still just a little kid, too, and the only reason the boys needed her was because of who she is regardless of age, mental or physical. Her most admirable quality, and the one that brings changes to the Neverland, is that her reasons for wanting to grow up are rooted in love and in selflessness. That's who Wendy is. She wants to be a mother. She wants to be a wife. She wants to take care of people and take care of business, she loves everything to be 'just so', and she knows her own mother will miss her and that she made the wrong decision, leaving home, and has to go back no matter what. Who she is and what she does affects everyone from Tinker Bell to the Lost Boys to Hook to Peter himself. Not because she's this powerhouse independent hero. She didn't need magic or a sword. And because of Wendy, Peter has a good influence and someone to take care of him for generations afterward, even if he didn't decide to stay with her.

[keyh0use]

shitpost number (your guess is as good as mine)

[ftl-faster-than-life]

Bart gets the ability to throw hands with God from the Allen side of the family. Bart gets the desire to throw hands with God from the Thawne side of the family.