#drake industries

[pinklotushere]

Gotham’s Most Insane Love Triangle (That’s Not Even a Triangle)

Tim Drake has had enough.

Not of being Red Robin—no, he signed up for that nightmare. But of this absolute clown of a villain who has decided to make his civilian life hell. The dude isn’t even a real villain, just some rich, eccentric, probably-a-little-deranged Gotham socialite with too much free time and very questionable taste in romance.

He has been through a lot in his life.

He’s fought assassins, taken down crime lords, and survived the literal Lazarus Pit. But none of that prepared him for this.

Because, apparently, being a billionaire CEO means attracting a very specific brand of problem—namely, a very rich, very persistent, very theatrical stalker-suitor who has decided that Tim is their one true love.

And the worst part? They have no idea he’s Red Robin. They just think Tim Drake, boring businessman, is the ideal romantic partner.

Tim has tried to get rid of them. He’s shut down their advances, ignored their ridiculous gifts (including a whole building—seriously, what was that?), and even considered faking his own death. (Bruce did it like six times. It’s an option.)

Nothing worked.

the courtship? Is aggressive.

Think:

• Giant, embarrassing billboards with love poems that definitely sound like they were written by someone’s AI assistant.

• Dramatic, unsolicited ��gifts” (one time, it was a tiger. A real one. In his office. He had to call Damian to get it out).

• Showing up at his press conferences to declare their love, completely derailing everything ("I AM WOOING YOU, TIMOTHY! SAY YES TO DESTINY!" "Sir, this is an earnings call—")

So, in a moment of desperation (and supreme bad decision-making), Tim panicked and told the press that he was already in a relationship.

With both Superboy and Wraith.

Because Tim Drake does not do things halfway.

(Kon does not hesitate. The second Tim says, “Hey, will you pretend to date me?” Kon’s already slinging an arm around his shoulders, grinning, and saying, “Obviously, babe.”

And, okay, maybe he’s having too much fun with it. Maybe Tim gives one kiss on the cheek in public, and suddenly Kon’s cranking the PDA up to 11.

Tim swears Kon is just doing this to annoy him. (Spoiler: He is. And also because he’s in love. But mostly to annoy him.)

Dani has no idea what’s going on. One day, she’s just vibing, and the next, Tim is begging her to be his fake girlfriend in his civilian life while also fake-dating Superboy in his hero life.

“So you’re publicly dating both of us?” she asks. “Yes,” Tim says, exhausted. “At the same time?” “Yes.” "Love that. Love the drama. I’m in.”)

And that’s how he ended up in a very public, very fake, and very annoying love triangle where he is “dating” two of his best friends.

Which prompted the start of plan : get rid of creepy guy

—

Step One: Make the Villain Regret Their Life Choices

If Tim thought this was going to be a subtle plan, Kon and Dani immediately proved him wrong.

Kon goes full Superboy mode. Dramatic rescues? Check. Carrying Tim around way too much? Check. Way too many kisses on the cheek? Check.

Dani (Wraith) is the wildcard. She literally picks Tim up in public like he’s a prize, occasionally phases through walls to randomly show up at his meetings, and once materialized into existence just to kiss Tim’s forehead in front of the press.

Tim cannot do anything about it. Because if he protests, the villain wins. And also because, unfortunately, he kinda likes it.

The villain loves this. It becomes a challenge. They start sending hate letters to Superboy, promising to “win” Tim’s heart from him.

Kon gets way too competitive about it. (“I dare you to try, buddy.” “KON, STOP ENCOURAGING THEM—”)

The media loses their minds. Suddenly, “Tim Drake’s Shocking Super Love Triangle” is trending.

Bart starts a betting pool on whether Tim actually survives this ordeal. Cassie is taking bets on when the fake relationship stops being fake. ("Wait, you all think this is fake?"—Cass, genuinely confused.)

—

Step Two: Turn the Public Against the Villain

The villain’s new strategies are straight out of a soap opera.

They show up at Tim’s press conferences, interrupting him mid-sentence.

( “Timothy! You don’t have to settle! You deserve true love!”

Tim: "I deserve peace.")

They try to out-romance Kon and Dani by sending ridiculous gifts.

• Kon: "Oh, you sent him roses? That’s cute. I carried him to France for pastries this morning."

• Dani: "I made him a custom necklace out of ectoplasm. It glows when he’s in danger. What did you do?"

Tim is so tired.

So, so tired.

For weeks, he's been playing damage control while Gotham's most deranged suitor escalates his antics. What started as embarrassing billboards and ridiculous gifts has somehow escalated into a full-blown public stunt designed to "prove" their love.

The disaster of the day?

A flash marriage proposal.

Tim barely has time to process what's happening before an entire choir descends on him in the middle of a press conference. They begin singing a dramatic, original ballad about love and destiny while the villain (dressed in a tuxedo and cape, because of course they are) strides forward. With an engagement ring, the size of Tim’s suffering.

"Timothy!" they declare, their voices booming through a hidden microphone, because this is obviously being broadcast. "I've waited long enough! Accept my love! Marry me and together we will dominate Gotham's social scene as the couple of the century!"

Tim's eyes twitch. He's two seconds away from making this a Red Robin problem.

fortunately for everyone involved, Kon and Dani have zero chill.

Kon lands from the sky, draping an arm around Tim with the most obnoxiously smug grin imaginable. “Oh, wow. A public proposal? That’s adorable. Almost as adorable as the six months I’ve already spent dating this guy.”

Then he just kisses Tim’s temple like it’s nothing.

Before Tim can recover (he absolutely did not freeze), Dani materializes next to him, grabs Tim like a princess, and kisses the other side of his face.

Timothy Jackson drake-Wayne did not squeak. What?

“You really don’t get it, do you?” she sighs.

And that is the moment the villain realizes they have lost.

Because Gotham? Gotham loves drama. And right now, the story isn’t “Determined Suitor Wins Over Tim Drake”—it’s “Homewrecker Tries to Steal Gotham’s Most Beloved Power Couples” (because, yes, the media still refuses to acknowledge this is a throuple).

The crowd turns on the villain.

• “You’re breaking them up? Boo.”

• “Have you seen the way Superboy looks at him?”

• “Sir, how do you respond to the allegations that you are a clown?”

#TimsuperWraith4Ever trends within minutes.

And the villain, realizing they are rapidly losing public favor, does the only thing they can do—

They flee

(“…Well,” they say, trying to regain some dignity. “I can tell when I’m in over my head.”

(They can’t.)

“I’m going to retreat—for now.”

(They're not coming back.)

And then, with a dramatic wave of their capes, they run away.)

Tim is still being held.

By both of them.

In front of every reporter in Gotham.

Kon, still smiling, pulls Tim even closer to him. "So, babe, how about we go celebrate our victory?"

Dani smiles. "Ooh, yeah. I'm thinking date night."

Tim, who physically can't escape, groans. "I hate you both."

Neither of them let go.

And, okay, maybe he doesn't really mind .

—

Step Three: Realize You’re the Only One Still Pretending

Later, after the chaos dies down and Tim finally gets a second to himself, he turns to Kon and Dani with a sigh.

“Well,” he says. “That was exhausting, but at least it’s over.”

Kon raises an eyebrow. “Over?”

Tim frowns. “Yeah. The villain’s gone, so… y’know. We can drop the act now.”

There’s a long silence.

Then Dani just… tilts her head. “Wait. You think this is fake?”

Tim stares. “What.”

Kon grins. “Oh, babe. You really thought we were faking?”

Tim.exe has stopped working.

Because, oh no, he did think this was fake. But now Kon is looking at him like he’s an idiot, and Dani is smirking like she knew all along, and—

Oh.

Oh, he’s so dumb.

Because this entire time, they weren’t playing a role. They were just—being them. Touchy, affectionate, protective—except now, they had an excuse to be obvious about it.

Tim buries his face in his hands. “Oh my god.”

Dani pats his head. “You’ll get there, babe.”

Kon leans down, kissing the top of his head. “Take your time.”

Tim groans.

(But maybe, just maybe, he doesn’t mind so much.)

—

Bonus: Cassie & Bart, Watching From Afar :

Bart: “You think Tim actually figured it out?”

Cassie : "probably. It was fun watching him suffer"

[batfambrainrotbeloved]

Memes based on The Drakes Spoiled Brat (part 4) (WERE BACK BABYYY) All of these are chapter 9

[magnoliasandarson]

take a break

Tim Drake was seconds from spontaneous combustion. He had been awake for going on fifty hours, kicking ass as Red Robin, closing cold cases from the cave, and running Wayne Enterprises/Drake Industries.

It wasn't logically (or scientifically) true, but Tim was starting to believe his blood was turning into coffee. He was tired- he was burning out- and he knew it, but if one more person said, "Take a break."

He couldn't take a break, and it wasn't his fault.

Dick took Robin away from Tim, like hell Tim would ever validate that by being anything less than the best vigilante. Bruce and Jack both willed their respective business empires to him, and even though Bruce was back, Tim still had an obligation to uphold the legacies granted to him. Various Bat-themed heroes had passed off cold cases to him, and he couldn't let them down.

He had work to do, everything else could wait.

It wasn't his fault that he couldn't stop, he just couldn't.

So Dick telling him to take a nap, Stephanie scolding him to rest, Damian tsk-ing at his bedraggled appearance, Alfred switching his coffee for decaf, Bruce warning him he was taking on too much-

wasn't fucking helpful.

[drake-wayne-enterprise]

Welcome to the official Tumblr account of Wayne Enterprises and Drake Industries.

This platform has been established to provide the public with timely and accurate information regarding the activities, initiatives, and innovations of both of our companies. As industry leaders, we are committed to transparency and fostering an open dialogue with the communities we serve. Through this account, we aim to share updates, highlight key advancements, and offer insights into our ongoing efforts to drive progress and social responsibility.

We also encourage and welcome your questions, whether publicly or privately, and will strive to respond thoughtfully and promptly. Our goal is to maintain an ongoing conversation that reflects our dedication to both innovation and accountability.

Thank you for following us. We look forward to engaging with you.

Tim Drake

Co-CEO of Wayne Enterprises

CEO of Drake Industries

HIIIIII GUYS!

This is a fun account I made to be a stupidly formal Tim Drake so feel free to ask questions and I will respond in an obnoxiously formal way for the sillies.

If more detail is wanted on this Tim lmk and I'll actually write it.

Red crosses text is regular non formal Tim.

Regular text is formal Tim

(◍•ᴗ•◍)

[batfsm]

I keep forgetting to ask. Is the policy of Drake Industries not paying for hostage situations canon or fanon? Because I can't remember ever reading it when I did read comics but it's in a lot of fanfiction. Granted, mostly when Jack and Janet are shown as really bad parents...

Still though is the policy fanon or canon?

If canon, why? Especially since Tim never had a bodyguard like his parents probably did in some cases and he was living by himself.

[timblrdrake]

there are some posts sitting in my drafts that i think are so funny but i can’t post them because im like, ceo of a company or whatever and i have a reputation or something.

[san-fics]

Bruce: I've noticed an unusual increase in your accounts, it always coincides with corporate events at WE.

Tim: Oh, yeah! You know that I've loved taking pictures since I was a kid, so I always take pictures of our employees at corporate events!

Bruce [with disapproval in his voice]: And they pay you for it? We always hire a photographer at the company's expense for that!

Tim: Oh, no-no, I take these pictures for free, of course!

Tim: I only delete them for money...

[heroesriseandfall]

Introduction to Batman: A Lonely Place of Dying, April 1990

Introduction by Dennis O'Neil for Batman: A Lonely Place of Dying (1990 collected edition)

Transcription below the cut/readmore.

INTRODUCTION by DENNIS O'NEIL

Robin was gone. We needed a new Boy Wonder. There had been two previous Robins. The original first appeared less than a year after a new costumed hero called Batman made his debut in DETECTIVE COMICS #27, to instant success. Some time within the next eleven months, his creators, artist Bob Kane and his writer-collaborator Bill Finger, decided to give their dark, obsessed hero a kind of surrogate son, Robin, who was hailed on the cover of DETECTIVE #36 as “the sensational character-find of 1940—Robin, The Boy Wonder.” Over the next 40 years, Batman’s fortunes varied: always, however, Robin was at Batman’s side.

He served a couple of functions. If Batman were real (and it may shock some of our more avid readers to learn he isn’t), and if he were the grim, obsessed loner he is often portrayed as, Robin, with some help from Batman's faithful butler Alfred, would keep him sane; a man whose every waking hour is focused on the grimmest aspects of society, who is unable to release the effects of seeing his parents murdered, whose life is an amalgam of sudden violence and lonely vigilance, would soon skew into a nasty insanity if he did not have someone to care for, someone to maintain a link with common humanity. But Batman is, of course, not real. (My apologies to avid readers.) He isn’t exactly a fictional character—more on that shortly—but he does not and could not exist as a living, breathing human being. That doesn’t make Robin any less useful: he serves the same functions in the Batman stories as Watson served in the Sherlock Holmes canon and the gravedigger serves in Hamlet: like Holmes’s faithful doctor, Robin is a sounding board, a person with whom the hero can have dialogues and thus let the reader know how brilliantly he’s handling matters and like the gravedigger, he occasionally provides a bright note in an otherwise relentlessly morose narrative.

Which is why I was a trifle uneasy when we—the editorial staff of DC Comics—decided to let our audience decide whether he would live or die. It came to be known in our offices as the “telephone stunt.” We had a character, Robin, the readers didn’t seem terribly fond of. This wasn’t the original Robin, the “character-find of 1940”; that Robin was Dick Grayson and he had graduated from sidekick to bona fide hero who fronted a group of evil-fighting adolescents, The Teen Titans. In 1983, it was decreed that Robin should grow up and assume a crime-fighting identity of his own—become his own man, as befitted the leader of the mighty Titans. He left Batman’s world to assume the name, costume, and persona of Nightwing. Gerry Conway and Don Newton replaced him with a second Robin, Jason Todd, whose biography was virtually identical to that of Dick Grayson. Why not? Gerry and Don were not trying to innovate, they were simply filling a void. The assignment they were given was simple: Provide another Robin. Quickly and with as little fuss as possible.

In 1986, Max Allan Collins inherited the Batman writing assignment and told his editor he had an idea for an improved Jason Todd. Make him a street kid, Collins said. Make his parents criminals. Have him and Batman on opposite sides at first. Sounded fine to the editor and, since DC was in the middle of a vast, company-wide overhaul of storylines anyway, Collins was told to go ahead. I was the editor; I did the telling. And I’d do it again, today. Collins’s Robin was dramatic, did have story potential. But readers didn’t take to him. I don't know now, and will probably never know why. Jason was accepted as long as he was a Dick Grayson clone, but when he acquired a distinct and, Collins and I still believe, more interesting backstory, their affection cooled. Maybe we—me and the writers who followed Collins—should have worked harder at making Jason likeable. Or maybe, I guessed, on some subconscious level our most loyal readers felt Jason was a usurper. For whatever reason, Jason was not the favorite Dick had been. He wasn’t hated, exactly, but he wasn’t loved, either. Should we write him out of the continuity? It didn’t seem like a bad idea, and when we thought of the experiment that became the telephone stunt, Jason seemed the perfect subject for it. The mechanics were pretty simple: we put Jason in an explosion and gave the readers two telephone numbers they could call, the first to vote that Jason would survive the blast, the second to vote that he wouldn't.

It was successful—oh my, yes. We expected to generate some interest, but not the amount or intensity we got. As soon as the final vote was tallied—5271 for Jasons survival, a deciding 5343 against—the calls began. For most of three days, I talked to journalists, disc jockeys, television reporters. We got a lot of compliments. They ranged from a critic’s liking our stunt to the participatory drama of avant garde theater to the brilliant comedy team of Penn and Teller expressing mock envy that we beat them to “the kill-your-partner-900-number scam.” But then came the backlash, ugly and, to me at least, totally unexpected: one reporter claimed that the whole event had been rigged—that, in fact, we had decided on Jason’s demise ahead of time and staged an elaborate charade; a teary grandmother said that her grandchildren loved Jason and now we’d killed him; several colleagues accused us of turning our magazines into a “Roman circus.” Cynical was a word used. And exploitive. Sleazy. Dishonorable. Wait a minute, I wanted to reply. Jason Todd is just a phantom, a figment of several imaginations. No real kid died. No real anything died. It’s all just stories—

I would have been wrong. Batman, and Superman, and Wonder Woman and their supporting casts are quite a bit more than “just stories” if, by “stories,” we mean ephemeral amusements. They’ve been in continuous magazine publication for a half-century, and they’ve been in movies, and television shows, and in novels, and on cereal boxes and T-shirts and underwear and candy bars and yo-yos and games—thousands of ventures. For fifty years. Fifty years! Although the circulation of our magazines is relatively modest, these characters have been so enduring, so pervasive, they have permeated our collective consciousness. Everybody recognizes them. They are our post-industrial folklore and, as such, they mean much more to people than a few minutes’ idle amusement. They’re part of the psychic family. The public and apparently callous slaying of one of their number was, to some, a vicious attack on the special part of their souls that needs awe, magic, heroism.

We had promised to abide by the telephone poll, and we would. But within a few days, it became apparent that we’d have to begin growing another Robin. We had forgotten that Batman exists outside the pages of our comics, is not the exclusive property of DC’s editorial staff; because he is both popular and imperishable, hundreds of others have some legitimate interest in him (not the least of whom are the readers who, for one reason or another, had missed the voting.) Our medium may have kept him alive, but others have added immeasurably to his success. When we began hearing from them, the consensus was that a Batman without a Robin wasn't quite a Batman. I wasn’t surprised. Nor did I disagree, particularly. So our problem became: how to create Robin III without generating the hostility that plagued poor Jason. Dick Grayson was the answer. If, as we thought, readers felt Jason had somehow usurped Dick’s place, then we should link the new Robin to Dick—give Robin III his predecessor’s stamp of approval. One writer had done almost all of the Dick Grayson material DC had published for a decade: Marv Wolfman, co-creator (with George Pérez) of the New Teen Titans. That made Mary the first, and really only, choice to undertake the task of giving Batman a new helper. And if we were using Marv, why not have some of the story happen in the pages of THE NEW TITANS, which he was already writing, and thus be able to take advantage of the very considerable talents of Marv's collaborator on the Titans, George Pérez? George volunteered to co-plot the story with Mary and do layouts on the TITANS episodes, and editor Mike Carlin enlisted Tom Grummett and Bob McLeod to complete George's graphics work. I asked the regular BATMAN artists, Jim Aparo and Mike DeCarlo, to handle the BATMAN issues. Finally, we chose a name for Robin III—Tim Drake—and, after a couple of editorial conferences, six gifted gentlemen retired to do what they do best.

The result seemed worthy of being collected between one set of covers, to be read as a graphic novel. We decided to do that and you’re holding the result. I hope you enjoy it. But please don’t think it’s the end of the Robin III saga. Dick Grayson’s lasted 50 years, after all, and Tim Drake does have his blessing.

Dennis O’Neil

April 1990

[renaimel]

Y’all I just listened to hiss by Megan thee Stallion…. Omg ain’t no way. This is the best rap beef and real rap we’ve actually every had. Is Nicki on drugs or sum cause why is she spamming comments? Anyways gurl your pushing at 50 stfu your response was giving 1 foot 2 foot red foot blue foot. How you rhyme foot with foot? Your the queen of rap? LMAOOOO Megan Ate.

“These hoes don’t be mad at Megan, these hoes mad at Megan’s Law.”

She ate you, your husband, your brother, and your friend up. And all you came up with was a doctor suess rhyme? Baby you were tuned in. Mind you she only promoted the song three times and you and your fans did all the work for her song to blow up. I do really love you Nicki but you pushing it.

[batfambrainrotbeloved]

*EMERGES FROM THE PITS*

I LIVEEEE- And as such The Drakes Spoiled Brat has updated <333

Name: As above Rating: Teen and Up (debated and updated) Chapter: 9/?? Word count: 33,554 Relationships: Batfam + Extended DC friends/fam (now including minor past Dick/Babs and Roy/Jason) Summary: Tim dies a week before he turns 18, his only wish is that he could do it all over again. Not for himself, but for the family he failed to save from their own tragic fates.

It seems for once the universe is on his side (haha yeah right) and the past 12 years of his life are erased giving him his well desired do over.

He makes it his mission to save his family as Timothy Drake- His own asshole "Brucie Wayne" & Cardinal- His new vigilante persona/informant

Time is running out- has he done enough or are the scales of fate forever tipped against him?

LINK

MASTER POST-

[sky-daddy-hates-me]

"I want a ceasefire, fuck a response from drake"

Hind's Hall by Macklemore

[rueisblue]

Conner Kent, newly appointed CEO of Lex Corp.

Timothy Drake, CEO of Wayne Industries.

Their fathers hated eachother quite passionately so it’s kinda a surprise to the press when Lex Corp… collaborates and gives a good chunk of their assets to Wayne Industries… most people think it’s a fault on Lex’s sons part, not knowing what he’s doing, but in interviews he seems actually concerningly confident about what he’s doing.

3 weeks after this, Lex Luthor comes out of retirement and fires his son, putting a stop to all collaboration and attempts to sue for all assets that were given to the Wayne’s.

[bingbopboombam]

Can we remember Kendrick said he hates bullies when referring to Drake? Not just how Drake dresses or talks or walks (DMX shout out btw)

Kendrick isn't just a hater for hate's sake. That disgustingly waters down his message. He recognized Drake is a bully that would go after other smaller artists, sometimes people who aren't even rappers that work in a completely separate field of entertainment, and harass them like a weirdo stalker when he's not kissing on a 17 yr old (that video proof is damning)

Kendrick took down a bully by calling out creepy and shitty behavior of Drake abusing his status. Holding folks accountable of their wrongs, especially when you have the power to be a voice of the ones enduring the bully, shouldn't be dumbed down to being a hater. Real haters are the racists, misogynists, anti Black, elitist, the ones hording the wealth by exploiting the poor etc. Kendrick did what most should do when seeing mess, clean house.

[jacketpotatoo]

soo is anyone else reading the Kendrick performance (rejecting the Not Like Us riff a couple times before he goes into it at the end) as also a critique of sensationalism and America’s obsession with frivolity or am I just completely projecting

[nashvillethotchicken]

Kendrick Lamar got the same amount of grammys in one night (5) that drake has gotten in his whole career (5) for a song dissing drake

[wastinawaaay]

CEO tim drake I despise you in ways unknown to mankind