#give jon an award

[just-v]

Can Richie qualify for the saddest death in Starkid history?

Jon Matteson slayed my heart😭

[captain-lonagan]

Ur posts are gonna make me watch tma. Stop

you would like tma and you would like jon sims so much. he’s genuinely one of my favorite characters of all time. plus most episodes are like 20 minutes which is Convenient. if nothing else i reccomend the pilot, it’s about 18 minutes long and it does a remarkable job of introducing the setting, jon, and the episode format. it’s one of my favorite episodes, it does so much but it doesn’t feel rushed or overburdened, its fantastic and you’ll learn real quick whether or not the show is for you

[hoom]

i be having an average to nice day then i remember bob odenkirk lost all his emmy noms for saul goodman and i need to shoot someone

[neil-gaiman]

Hi, Neil! You've mentioned that Brian May was initially reluctant to give you permission to use Queen's music in the miniseries (because of competition with the Bohemian Rhapsody film, I think?) but I don't remember you ever telling us why he finally relented. Unless it involves a secret phrase not unlike why the sheep finally obeyed Babe the pig, how did you get him to change his mind?

He wouldn't let us use Queen when we did the BBC Radio 4 adaptation. He was concerned that people might think that Queen was being made fun of, or that Queen was being seen as something old-fashioned or something. For Good Omens the TV show I wrote him a letter, which said...

Dear Brian

Terry Pratchett and I had a private joke, back in the 80s, that any cassette in your car would eventually turn into Queen's Greatest Hits. We put the joke into our cowritten novel GOOD OMENS, and wove a certain amount of Queen magic through the book. Done because, pretty obviously, we love Queen. The book went on to sell enormous numbers over the years, and whenever two Good Omens fans got together, they would talk about Queen.

I know that when Dirk Maggs approached you when he did the Radio 4 adaptation of GOOD OMENS, you were wary about getting involved, due to concerns about, well cassettes, and the possibility of it positioning Queen in people's minds as something old fashioned or silly.

Which, I thought, when Dirk told me about it, was fair enough.

I've now spent the better part of the last four years writing scripts for, and shooting, a TV adaptation of GOOD OMENS. It stars Michael Sheen, David Tennant, Miranda Richardson, Adria Arjana, Michael McKean, Derek Jacobi, Jon Hamm, Nick Offerman, and lots of other amazing people, and it will be narrated by Frances McDormand. It is directed by Emmy-award-winning Douglas Mackinnon. 

Douglas loves Queen. I love Queen. David Arnold loves Queen.

And the millions upon millions of Good Omens fans around the world love Queen too. So we have put various moments in there just for them (including a brass band playing "Lazing on a Sunday Afternoon"). We want Queen music to comment on the action.

The show will come out from Amazon, and then from the BBC, next year. This year we are in post-production.

We'd love to show you some of what we've got. We'd love to pick your brains and to get your take on what we're doing. To find out if there's a way we can include you, or just brief you on what we've planned so far.

And Brian cheerfully apologised for having said no before, and said yes.

(Queen didn't want us to use the song Bohemian Rhapsody initially, because of concerns about the movie, but after a while they were happy even with that.)

[fuckyeahgoodomens]

Link 1, Link 2 :)

Digital Good Omens 2 Sountrack is coming out in 4 days! 🥳 CD version in October! :) ❤ Coming soon on vinyl…

Out to Stream/Download from 25th August. Out on CD 13th October. Coming soon on vinyl…

David Arnold’s ‘end of the world’ complex and multi-genre soundtrack.

From the Award-winning composer of Sherlock and Casino Royale comes a follow up to the hugely successful, Emmy nominated Good Omens soundtrack.

Good Omens series 2 premiered on Prime Video on 28th July. The series follows the odd couple, angel Aziraphale (Michael Sheen) and demon Crowley (David Tennant) in their quest to sabotage the end of the World. The six-episode sequel to the popular adaptation of the novel by Neil Gaiman and Terry Pratchett, concerns the Archangel Gabriel (Jon Hamm) arriving without his memories to Aziraphale’s bookshop. Aziraphale and Crowley attempt to find out what happened to Gabriel, whilst hiding him from Heaven and Hell, both eager to find him.

The Soundtrack

David Arnold’s soundtrack to Good Omens was first released in 2019 to favourable reviews, with BBC Music Magazine calling it “a rollicking trip to hell and back”. Blueprint Magazine described it as “a great listen” and Sci Fi Bulletin commented on “plenty of memorable themes” to conclude that “This is another work of art from Arnold”. At times nostalgic and eerie but always varied, beautiful and full of excitement, the Good Omens 2 soundtrack showcases Arnold’s every skill from his composer arsenal. Featured here are orchestral arrangements with sprinkling of Sugar Plum Fairy pizzicato and percussion, jaunty strings and mighty choral sweeps from Crouch End Festival Chorus. Added to the mix are rock guitar riffs, and psychedelic 70s sounds and all together they create a haunting otherworldly feel, complementing the fantasy and the quirky humour of the show. The spirited Waltz of the opening theme is also present in the second series and it wonderfully sets the scene for fantastical mayhem. In series 2, this robust, evocative, and funny music entity, becomes yet again another character in the story. Award-winning composer David Arnold is well known for his blockbuster scores, including Stargate, The Chronicles of Narnia: the Voyage of the Dawn Treader, Hot Fuzz, Paul, Independence Day, 2 Fast 2 Furious and Casino Royale as well as for his TV work such as Sherlock and Dracula. Also available: The original soundtrack to the first series of Good Omens >

Tracklist

– Disc 1 – Chapter 1: The Arrival 1. Before the Beginning 2. Good Omens 2 Opening Title 3. Into Soho 4. Something Terrible 5. To The Bookshop 6. Maggie and Nina 7. He’s Smoking 8. Tiny Miracle 9. Heavenly Alarm Bells Chapter 2: The Clue 10. Avaunt! 11. The Song is the Clue 12. It’s What God Wants 13. A Mighty Wind 14. Whales 15. Gabriel Returns 16. His New Children 17. Am I Awful Now? 18. Fallen Angel Chapter 3: I Know Where I’m Going 19. Police Arrive 20. Scotland 21. We’re Going to Hell 22. People Get a Choice 23. My Car is Not Yellow 24. Beelzebub in Hell 25. The Book 26. The Fly 27. Mr. Dalrymple 28. We Need to Cut 29. I’m Going to Save Her 30. Crowley Goes Large 31. Not Kind 32. Beelzebub Isn’t Happy – Disc 2 – Chapter 4: The Hitchhiker 33. Hell-O 34. Nazi Zombies 35. March of the Nazi Zombies 36. Crowley Pep Talk 37. The Magic Shop 38. Catch The Bullet 39. Zombies in the Dressing Room Chapter 5: The Ball 40. I’ll Let You Have It 41. We’re Storming a Book Shop 42. Monsieur Azirophale 43. The Candelabra 44. Here Comes Hell 45. Gabriel Gives Himself Up 46. Shax 47. The Circle Chapter 6: Every Day 48. Bin Through the Window 49. Gabriel Leaving Heaven 50. The Halo 51. Gabriel Revealed 52. Gabriel’s Love Story 53. Leaving The Bookshop 54. Gabriel and Beelzebub 55. Crowley and Muriel 56. I Forgive You 57. Don’t Bother 58. The Biggest Decision 59. The End?

[uluthrek]

au in which robert, the starks and the lannisters play monopoly instead of going hunting and pushing each other‘s kids from towers.

tyrion implements a tax system to make things more interesting and fights cersei over the cat for a solid ten minutes.

around thirty minutes into the game, catelyn realizes that she has free will and stops paying taxes.

arya and sansa haggle over new york avenue, which ends up being bought by theon. this causes the two to completely cast aside their differences, ally and subsequently start doing everything in their power to make theon‘s life hell.

theon himself is quite severely stoned the entire time throughout.

ned enters horrendous debt pretty much immediately and, after two hours of being financially sucked dry by both cersei and his tax evader of a wife, decides to just place his figurine in jail and never leave.

jon, playing the dog, controls the railroads and makes jaime, playing the ship, go completely broke within minutes. being beaten by a bastard and officially the first to lose the game makes jaime so mad he spends the rest of the evening perched on the family‘s ancestral armchair eating flaming hot cheetos and stifling sobs.

cersei is holding onto her last two dollars and her one house in atlantic avenue like a maniac and evades taxes like it‘s an olympic sport. she claims ownership of kentucky avenue on the grounds that red is her house‘s color at least twice. after three hours, she‘s consumed enough vintage red to kill a large mammal and keeps quoting the art of war. fascinatingly enough, she never goes completely broke.

robert, just as broke and drunk as his wife but not nearly as ferocious, proposes marriage for tax advantages to bran, who is in possession of the boardwalk and lets him dangle on his proposition for two rounds before accepting and feeling like a benevolent god.

sansa sees this and immediately proposes to arya, who accepts, only for them to be sued by their mother for public indecency („you‘re siblings, jesus christ!“). arya argues that this is just a game and that one could argue that robert‘s and bran‘s marital alliance is just as if not even more inappropriate, considering that bran is seven and robert thirtyseven. sansa countersues her mother for tax evasion, who promises she‘ll drop her lawsuit if her daughters let her keep hoarding perverse amounts of wealth. „love wins!“ arya says, which causes jaime, still perched on the armchair but now eating old nan‘s home made whiskey truffles, to hysterically sob. cersei stares him down.

robb, in a rare moment of almost prophetic foresight, excuses himself one hour in and goes on a very, VERY long walk with grey wind.

tyrion, whose tax system has spectacularly backfired in his face, proposes marriage to catelyn, jon and cersei in rapid succession, who all turn him down. „i wish i was the monster you think i am. i wish i had enough poison for the whole pack of you. i would gladly give my life to watch you all swallow it.“ he screams before he leaves the table.

at that, joffrey, who has refused to participate and instead sits on the couch playing doom on his nintendo ds, starts hysterically laughing. tyrion turns on his heel and awards his nephew with the bitchslap of the century. this causes cersei to completely abandon the game and chase after him with a broom. catelyn makes sure that everyone is distracted by the lannister antics and then reaches across the table and bags cersei‘s money and properties.

with a heavy heart, myrcella trades arya and sansa one of her limited edition bayala schleich unicorns for park place.

at this point, the game is between the tycoons that are catelyn and jon, the bran-robert alliance, the arya-sansa-alliance, and ned, who is still in jail and watching ice hockey on his phone under the table. that is when catelyn hears rickon gagging and discovers that he, in the absence of tyrion, the self declared bank manager, has managed to eat all bank notes from the box.

rickon gets his stomach pumped, cersei and tyrion have both been arrested, theon is still stoned, arya, sansa and myrcella have wandered off to go play schleich horses, and jon remains at the table, alone, content, and quietly considering himself the winner.

[dipperscavern]

thinking about jon snow not knowing what to do when you admire him.

he’s sprawled on his stomach, bare chested & fast asleep, with the blankets covering his lower half. castle black stirs awake as the sun starts to rise, moving to start its ascension into the sky.

the ghost of your fingertips across his spine pull him to consciousness, goosebumps trailing his skin from your touch. he lightly stretches, opening his eyes as his muscles tense & relax once more.

he looks to see you sitting up, a glossed over look in your eyes as your gaze is fixated on his back — the hint of a smile playing on your lips. he’s never been looked at like that before. caressed, admired, as if he was something special.

he can feel the pads of your fingers as they run along his shoulderblades, tracing the ridges & muscles that map the expanse of his back. has he ever felt anything this gentle?

you stop your mapping of his body when you see that he’s awake. he’s not looking at you, though. his eyes are blank, fixated on a distant wall as he focuses on your touch, trying to commit the feeling to memory.

“you’re so pretty, jon.”

he feels his cheeks grow warm, no doubt starting to turn a pretty shade of pink. his entire body grows hot, nerves on fire with the sincerity of your words. jon knows you mean it — you’re no liar. suddenly your gaze is overwhelming, and he feels the need to squirm under it.

you’re evil, he thinks. the worst to ever live. can’t you see what you do to him?

he’s brought out from his thoughts when the warmth of your hand leaves his shoulders, coming to brush his hair out of his face. you tuck the strands behind his ears, the dark curls protesting being moved. jon swallows, looking up at you.

he can see the smile you’re trying to suppress, and he feels his heart swell at the fact the sight of him is enough to make you smile. the knuckle of your finger comes to trace the underside of his jaw, just the way your lips have done countless times before. the thought alone is enough to make him shiver.

you get to the front of his face, the pad of your thumb coming to run along his bottom lip. the same lips that have been all over your body are now at the mercy of your touch, and jon wouldn’t ruin this moment for anything… even if lord commander mormont had returned from the dead & knocked on the door.

jon had tried to be still, truly. he should’ve been given an award for how long he’s held out so far. he can’t help himself, lips moving to kiss the pad of your thumb. they start to descend, trailing down the slope of your hand. he presses a final kiss to the inside of your wrist, before his hand wraps around it and brings it to his cheek. he uses it as a pillow, laying his head down once more & sighing, eyes fluttering shut.

you let the smile break free now, eyes gazing down at your lover, in all his content. jon deserves it all. the gentleness, the warmth, anything that you have to give, you offer to him. he’s been through hell and back, the scars run deep. and you want nothing more than to kiss each and every one, to replace the once horrid memories with the feel of your touch.

you eventually pull away your hand, & jon’s eyes are quick to open. you can almost feel the disapproval radiating off of him, which is quickly replaced with a warm feeling deep in his chest when you reach for his right hand.

you bring it to your lap, eyes fixated on it. both of your hands cradle his larger, calloused one. you run your hands along his, feeling every vein & knuckle under your fingers. his fingers twitch with the need to curl into your smaller ones. jon’s so busy looking at your hands holding his, he at first doesn’t see the way your eyes are closed. you’re mapping him, every part of him with your hands — trying to bury the feeling in a deep part of your mind so you never forget. and once jon realizes that, he’s inclined to never let you go. just keep you here, wrapped in his arms forever. you wouldn’t mind, would you?

once you’re done, sure that you’ve traced every part of him that you can reach, you bring his hand to cradle your cheek, mirroring how jon had done with your own not so long ago. you lean into it, relaxing into his hand.

it’s jon’s turn to smile now. it tugs at the corner of his lips, curving them upwards as his tongue darts out to wet them. is this what love is like? jon thinks it must be. to simply exist & be cherished by someone, to be truly adored & held close.

jon can’t resist the urge anymore. its overwhelming at this point, clouding his mind. he uses the hand on your cheek to pull you closer as he simultaneously pulls himself up, connecting your lips with his. he kisses you long & soft, as he gently moves you to lay down on your back. you’re easy in your compliance, putty in his hands; the one still on your cheek, and the other pressing to your waist as your lips continue to dance with his.

he pulls away, trailing kisses down your neck. your hands find their way to his hair, not pulling, just slotting themselves amongst the curls. once he reaches the end of his descent, he moves to place once more kiss on the underside of your jaw, before laying his head down on your stomach. his arms wrap around your waist as your hands scratch at his scalp in a way that’s divine.

& in the comfort of your arms, jon understands why so little men join the nights watch of their own accord. what is honor compared to a woman's love? what is duty against the feel of a newborn son in your arms? he understands now, able to fully grasp the concept of never knowing the tenderness of your touch — and it’s not a very pleasant thought.

in the back of his mind he remembers the duties you both have to tend to, but they’ll be fine, he thinks. they can wait.

[spacetwinkk]

Rewatching The Guy Who Didn't Like Musicals, and I wanna give some sort of award to Jon Matteson for portraying his characters so autistically. Like I feel so seen and heard but also I'm in love with them all.

[angelwingtrap]

Cersei and Asha are foils the way Jon and Theon are…hear me out:

GRRM described Theon as wanting to be what Jon is, except Theon gives into his worst selfish impulses and is poisoned by envy and the desire to belong, so he ends up failing at every turn.

Asha is her father’s son of a great house who has been awarded the freedoms socially and politically equal to a man. She has control over her sexuality, is expected to speak her mind, and was educated as a son would be. What Asha has is all Cersei has ever wanted, but by the time Cersei comes into her power she has been beaten down and bittered by life. She’s desperately clinging onto what she does have and always scraping to get at what she doesn’t. Her efforts only end in death and destruction. She’s paranoid and extremely in her own head about everything. Sounds a LOT like Jon and Theon. (Asha still deals with inequality being a woman in Westeros but y’all get my point, she’s been incredibly privileged.)

[chickawah23]

This is gonna be a weird or unpopular take.

I really didn’t like that Taylor announced her album when she accepted her award. The Grammy’s had already lost their appeal when she gave her ex beau one. But in this instance it was a little different.

In her speech she basically said that the fans are the reason the recording academy voted for her which isn’t how it is supposed to work. (See Beck and Jon batiste). It’s not like the iheart awards or billboard or whatever where the fans are an integral and explicit part of the voting process. So to me it feels like her announcing a new album after winning her 13th award basically tells the recording academy “my fans make you money by bringing in viewership (viewership was up 34% this year for the telecast) so keep giving me awards so I keep coming and I’ll make sure the show is talked about after it airs.” Like it used to be fun to watch her having fun at award shows but now that she essentially is doing the same thing for the NFL it feels like a parlor trick. It’s just an overexposure thing.

Again this is just my feeling. It doesn’t matter. Maybe this was intentional. Maybe she wants to diminish the significance of winning a Grammy. Idk.

Regardless. Just my rambling thoughts. You don’t have to agree. I’m just taking it all in stride. Watching from the shadows.

[watsondcsj]

SINSON IS JON KENT

Not metaphorically. Not philosophically. Canonically. Solicits dropped last week, and to my dismay, the description of Sinister Sons #6 mentioned no addition of a third kid joining the story as I had surmised previously. It took me a bit to figure out what it meant, but we got there. I have been convinced since March 2022 that DC was eventually going to pull the old switcheroo and reinstate the better™️ Jon Kent into the main canon after Tomasi's Superman & Robin Special gave us a really strange and kinda stilted adventure of Jon and Damian in the Fortress of Solitude. That book took me two months to figure out what it was saying: two versions of Jon Kent were coming. I didn't know when. I didn't know how, but I knew this promise would be upheld.

1. Vibe Check

Ever since Bendis was on the outs in 2020, DC has hinted very un-subtlely that everything he and Dan DiDio had planned was going out of the window from Drake to 5G. Super Sons megafans might remember that one time Bendis tweeted that your favorite comics were ass and the upcoming Legion book was the second coming of Christ. They might also remember that Challenge of the Super Sons opens with an inside joke mocking that very same tweet.

But Tomasi wasn't alone. Bendis himself would bemoan the future in his Justice League run, implying that nothing he had planned would come to pass.

The wheels of change were turning even back in 2020/2022. I was so confident in this that I wrote a gigantic essay (that I won an award for) before Dark Crisis had released, and I listed all of this out and much more before. At the time, I was convinced that we'd have two Jons by the time Dark Crisis ended. Alas, it's two years later, and no such luck. I still stand by the premise of that essay; that Superman: Son of Kal-El was an apology to readers for mistreating a fan-favorite character. I was incorrect in my assumption that the teenager Jon Kent we'd been told was the same one that had left Earth with Jor-El in Bendis's Man of Steel mini was actually the New 52 Superboy or his original, Jonathan Lane Kent. Although we have yet to be told his full name since Bendis essentially became the DC Comics showrunner, we are still supposed to assume our newest Superman is Jonathan Samuel Kent, but I know better. He's not the Jon born during Convergence. Son of Kal-El showed us he was born in the Fortress of Solitude like they showed off in Superman Reborn, not the Flashpoint Batcave. It's important to distinguish that these two are different and distinct characters. Really, the fact that Zod's son Lor hasn't found himself aged to match the newest Superman gives me suspicion enough that something is up.

2. "Last we left off..." - Matthew Mercer

Since I published my essay, Jon has been busy. He got his dad back. He announced he was going steady with his boyfriend to the entire world. He got his secret identity back. He went to another Earth to fight his tormentor of five years. Everything's coming up Milhouse for Jon.

And I'm bored.

Jon hasn't done anything self-motivated for what seems like years. No, it literally has been years. His boyfriend came to him and instigated their relationship. He didn't do anything to get Clark back. He didn't do anything to resolve anything with Ultraman. He left the man who brought him to that Earth in the Phantom Zone and was cross-faded back to his own after waggling his finger disapprovingly at the Injustice version of Clark. His scrappy impishness has left. His devil-may-care attitude towards his own safety is gone. Thankfully, Dan Jurgens and Lee Weeks made a sequel series to their mini that introduced Jon in the back-ups of Action Comics.

Lois & Clark: Doom Rising is in many ways Jurgens and Weeks' response to Brian Bendis' Superman stories. Set some time before the Kents moved back to Metropolis and well before his fateful encounter with Jor-El, Jon is approached by a mysterious space person who asks him to join them as they go into the cosmos to right wrongs, but instead of sitting idly as it became clear his life was in danger, Jon attempts an escape. Clark is kept occupied by a big bruiser so he can't come to Jon's rescue, but with Lois' help (incontrast to the complacency Bendis wrote for her) Clark eventually takes chase to rescue their boy. I got a lot of joy from that story. It also gave me another reason to believe my theory was still valid. After crash landing, Jon rescues his fellow survivor from the fiery wreckage but is severely burned in the process. I ask you: How can a boy who spent five entire years in a volcano prison leave unscathed if mere fire messed up his arms? (I'd also like to ask Bendis how his power of flight was sapped immediately under the volcanic ash plume but remained invulnerable for all five years, but I digress.)

The mini also ends on a line fit for canned laughter to follow as Jon says, "Awesome! Maybe I should get kidnapped more often!" in response to getting bacon and pancakes for breakfast as he returns home. They knew what they were doing. I admit that on its own, these things may not be indicative of anything. It may be the whims of Jon's creators to let off some steam and DC's corporate offices obliging, knowing there is an audience for the younger Jon Kent. Or that's what I would have said if the other story DC published starring the older Jon Kent didn't have a few nuggets of its own.

Tom Taylor wrote Adventures of Superman Jon Kent as a kind of epilogue to Superman Son of Kal-El to mixed reception to put it lightly. I'm not here to talk about the climax of the final issue as tempting, as that may be. Instead, I want to focus on the beginning when Jon is in the company of Val-Zod, the Superman of Earth-2. Jon states that he knows that Val is from another Earth because he can see the differences in his molecular structure. I believe this is a useful tidbit for later when Jon needs to identify his double is not from a different Earth than his. Then when they get to the Earth they've tracked Ultraman in response to Jon asking why they needed him specifically and not any other Jon in the multiverse, Val says that time is a constant across the multiverse which calls into question how Jon was thrown backward in time to an Earth-3 with a Crime Syndicate that the audience had seen die. Then, as if to disperse any lingering theory that Jon may be the son of Ultraman and not a true son of Clark Kent, Tom has Jon say, "I was never your Jon!" Finally, near the end of issue 5, Jon says he's been practicing sneaking up on Damian for years (plural) while holding the Lasso of Truth when he should only have had a single year between meeting Damian and getting lost in the vastness of space. Another potential plot hole if this were the same Jon that we knew before, which I hope to have convinced you at this point that he's not.

3. Pavlov's Orphan

And now to substantiate my Sinson claim. I suppose all of my previous theories have been fueled by vibes, but this more than the others feels that way, yet it feels the most salient. So, who is Sinson? He thinks he's the abandoned son of Thaal Sinestro left on some rock out in space. That's probably not true, just based on how much we've dwelled on how much Sinson wants it to be the case, but also because Sinestro already had a secret child that he hid out in space. Soranik Natu was created by Geoff Johns during his time on Green Lantern, but her big backstory reveal was handled by Peter Tomasi, notably one of the creators of Rebirth's Super Sons and writer for Sinister Sons. I find it very unlikely that he would purposely reuse a plot point he had already visited for another child of the same character. What's more, Sinister Sons has taken inspiration from the classic Charles Dickens novel Oliver Twist. Sinson is in an orphan situation like when Oliver gets to London. He's encouraged to steal to line the pockets of the adult giving him food and shelter. This guy is called Nagaf, which is Fagin backward if you change a letter to avoid being dangerously close to a slur. Oliver Twist ends with Oliver going to live with a living relative he didn't know he had, another reason that Sinson likely isn't Sinestro's kid.

Nearly unprompted, Nagaf tells the boy that he was left at his orphanage six years ago by a woman who said she'd be back without leaving a name to call him by. "Oh, shoot. I guess that means he can't be Jon," is what an IDIOT would say! Two things: nothing is saying that that planet makes its full revolution around its star at the same rate as Earth does and in a metanarrative sense, six years ago irl from 2024 is 2018 which is the year that Bendis was Coming. Between Son of Kal-El, Lois & Clark 2, Superman & Robin Special, and Challenge of the Super Sons, all of those writers have more than happy to reply in kind to Bendis' multiple in-comic responses to fan discontent for his work. This would be Tomasi's third time and rightly justified since Bendis' infamous tweet directly insulted his work, and Tomasi clearly wasn't too happy about the decisions made when he was removed from Superman.

One of the more blatant times Tomasi would voice his dismay was later in Challenge of the Super Sons when Jon makes a comment that he didn't "instantly forget" some mental torture he went through in a subtle jab at the writing of the current Superman Jon Kent's ability to compartmentalize his own trauma. Really, this pair of panels may have held more foreshadowing than I initially caught.

So then why does Sinson look like he is from Korugar? My guess is he suffered some burns escaping from his volcano prison. Jurgens left us that little nugget last year, and his Jon certainly wouldn't have just sat in that crater for five years before trying to escape. Why doesn't he have the powers of a Kryptonian? When Lor-Zod gets to the planet Sinson lives, his Kryptonian powers disappear quickly. Why doesn't he seem to remember anything about who he is and where he comes from then? Why does he think his father is a villain? I'll say amnesia and mixing his time with Ultraman with Nagaf telling him he was from Korugar, but Sinson has more pathos hidden deep in his subconscious that betrays his true self.

Sinson chooses this name for himself which could be a really on-the-nose descriptor of his truth that he is Sinestro's son or it could be Jon's impetus for leaving with Jor-El coming out, that there is something wrong with him and that's why the Teen Titans rejected him. To this point, throughout the backups in Green Lantern where he was introduced, Sinson has soliloquies revealing that he begs to be taken seriously by his peers. When he overthrows Nagaf, he quickly builds a Sinestro Corps from his fellow orphans and paints big ol' "S" shapes on all of their chests (and shoulders like the current Superman family's jackets). He is good with technology enough to build a taser and a rocket, which again Jon is also known for. The opening scene even parallels Superman #8 with the boys using that sci-fi engineer zappy stick to make or fix something. He's able to futz with Lor-Zod's Kryptonian space pod very easily which presumably would not be easy for a boy who is unfamiliar with that flavor of technology. He has an affinity with dogs which Jon is known to have. He's cocky and fallible like Jon. He's got long hair like Jon, though much longer than the last time a story was published about him. All of the issue covers give him glasses that he doesn't wear in the story proper as if they're trying to imply that this is a secret identity i.e. Clark Kent. Sinson and Sinestro are not drawn with the same shaped ears in the mini, either. What I think is most significant, though, is that throughout the backups, Sinson acts more similar to Batman than to Sinestro. He's not going around causing fear to assert his dominance over the seedy underbelly he's robbing. He's righting wrongs. He's stealing drug money to skim creds off the top for his rocket, sure, but he's also returning organs to the hospital they were stolen from. This is the work of a kid who wants to do good, but his words do not match his actions. It's going to take a journey inside a giant TIME-TRAVELING SPACE WHALE (wink wink nudge nudge) to sort it all out. The cover and solicit for the sixth issue promise as much.

I didn't even have time to mention this time the chalkboard in Flashpoint Beyond that Jeremy Adams worked on promised that a supposed "he" would find "his son" and that the Time Masters were warned not to interfere, or that the recent Flash issue 797 implied that the Super Sons cameoing in the issue were from the main universe and had just finished their battle with Rex Luthor in Adventures of the Super Sons and how important that mini is to the continuity of this theory. I also could have brought up that every Tom King miniseries since Batman/Catwoman has led to an element he wrote end up in the main canon of the DCU, and that he's currently writing Super Sons in the backup feature of his Wonder Woman run. Everything is coming back around, and I feel confident we'll see its fruition come June or July.

[agentrouka-blog]

If the A/SOIAF at large either misses the mark thematically with the books (Reddit) or completely misses the direction of the characters (Tumblr and Dark Dany) then you pretty much have reason to scrutinise any of their fundamental approaches and start fresh. Jonsa is 'starting fresh'. If you outright dismiss Jonsa on the basis of it being deluded shippers - which a lot of fandom does - you miss the sociopolitical and thematic arguments motivating it.

It might not be popular, but fandom has never been about facts, it's always been about popularity and archetype-assignation. Just because ships get big in fandom it doesn't mean they're canon - just look at how Tumblr shipping fandom has treated most M/M ships. (No offense to M/M shippers). The reason why Jonsa feels 'right' for A/SOIAF is the same reason that Sansa isn't popular. She's a direct product of what makes A/SOIAF feel like A/SOIAF, tonally (and the same is true for Jon's canon character).

I'm going to actually say that out of all the fandoms I've been in since I was a teenager, most of the time the crowd that ends up being right has been the unpopular one. Fandoms will rewrite history but I remember. I was there. A great example in the A/SOIAF fandom? Everybody rewriting D/any as a 'tragic hero' and trying to make show!canon fit into book!canon with rewritings to their own desires (oh, ice threat will happen after burning KL, or Connington's gonna do it, whatever). Before that, that was not the tune they were singing (except for maybe one really big user who was a proponent of tragic Heart of Winter Jon/Dany sex and magic baby).

If anything the kind of controversial advice I want to give Jonsas is that being unpopular isn't so bad if you're actually close-reading the text. Most of the time people who move fandom to fandom are formfitting what they want to see. Basing your feelings off of fandom archetypes is not the way to go. If everybody is converging on a similar type of belief that I see people cultivate across fandoms... it gives me great pause. Lol. (E.g. there will be a group of five who'll be a #foundfamily and the #iceandfire pair will be #rivalstolovers, pretty much classic Tumblr fandom antics).

That's the points I ironically award to Jonsa. Obviously it doesn't lend to a pleasant fandom experience and I am sorry you have to deal with that. What do you think, Rouka?

I think this is really well put, anon!

[justforbooks]

The Nobel prize in literature has been awarded to 64-year-old Norwegian author Jon Fosse “for his innovative plays and prose which give voice to the unsayable”. His works include the Septology series of novels, Aliss at the Fire, Melancholy and A Shining.

“His huge oeuvre, spanning a variety of genres, comprises about 40 plays and a wealth of novels, poetry collections, essays, children’s books and translations,” said Anders Olsson, chairman of the Nobel committee for literature. “Fosse blends a rootedness in the language and nature of his Norwegian background with artistic techniques in the wake of modernism.”

“I am overwhelmed, and somewhat frightened. I see this as an award to the literature that first and foremost aims to be literature, without other considerations,” Fosse said in a statement.

He also told the Norwegian public broadcaster NRK that he was “surprised but also not” to have won. “I’ve been part of the discussion for 10 years and have more and less tentatively prepared myself that this could happen,” he said.

Jacques Testard, Fosse’s fiction publisher, said on hearing the news: “He is an exceptional writer, who has managed to find a totally unique way of writing fiction. As his Norwegian editor Cecilie Seiness put it recently in an interview: if you open any book by Jon and read a couple of lines, it couldn’t be written by anyone else.

“His fiction is incantatory, mystical, and rooted in the landscape of the western fjords where he grew up,” Testard added. “It’s very important to remember that he writes in Nynorsk or New Norwegian, a minority language in Norway, a political act in itself. He’s also an exceptional playwright and poet. He’s an incredible mind, and it couldn’t have happened to a nicer person.”

The Norwegian writer’s English translator Damion Searls said he is thrilled Fosse’s work will now find an even wider audience. “I first brought Fosse’s fiction into English almost 20 years ago. I read Melancholy in German and immediately felt that the work was brilliant and needed to be translated. I found an American publisher and a co-translator, and started learning Norwegian”, he told the Guardian. “I have since translated around 10 books of his, depending on how you count them, including a libretto, a play and a forthcoming children’s book.”

Though the author and translator mostly communicate via email and hadn’t met in person until the 2022 International Booker prize events in London, Searls considers Fosse a friend. “He is the same kind, wise, modest, friendly, supportive person over email as you would expect from his novels, and corresponding with him has always brought me the same kind of peace and serenity his novels so magically impart.”

Born in 1959 in Haugesund on the west coast of Norway, Fosse grew up in Strandebarm. Aged seven, he nearly died in an accident, which he said was “the most important experience” of his childhood and one that “created” him as an artist. In his adolescence, he aspired to be a rock guitarist, before turning his ambitions to writing.

His debut novel, Raudt, svart (Red, Black), was published in 1983. His first play to be performed, Og aldri skal vi skiljast (And Never Shall We Part), was staged at the National Theater in Bergen in 1994. Yet, the first play he wrote, Nokon kjem til å komme (Someone Is Going to Come), would lead to his breakthrough in 1999 when French director Claude Régy staged it in Nanterre.

Fosse went on to become the most-performed Norwegian playwright after Henrik Ibsen. He has written more than 30 plays, including Namnet (The Name), Vinter (Winter) and Ein sommars dag (A Summer’s Day). His longer works include the Septology trilogy, the third volume of which was shortlisted for the international Booker prize in 2022.

Septology, which Fosse started during a pause from playwriting and after converting to Catholicism in 2013, is about an ageing painter, Asle, living alone on the south-west coast of Norway and reflecting on his life. There in Bjørgvin lives another Asle, who is also a painter but struggles with alcohol. The doppelgangers are consumed by the same existential questions about death, faith and love.

In 1989, the same year that Fosse’s novel Naustet (“Boathouse”) came out, the writer taught the fellow Norwegian author Karl Ove Knausgård, who was a student at the Academy of Writing in Hordaland. “Fosse’s voice is unmistakable in whatever he writes, and is never anything if not present,” wrote Knausgård in 2019.

Fosse’s UK publisher is Fitzcarraldo Editions, which also publishes Annie Ernaux, the winner of the 2022 Nobel prize in literature. Fosse’s win marks the London-based independent publisher’s third win in five years: Olga Tokarczuk was made laureate in 2018. The prize was postponed and awarded in 2019 instead due to a sexual assault scandal involving the husband of one of the academy’s former members which led to several members resigning.

Fosse resides between Austria and Norway. He will receive the prize at a ceremony in Stockholm on 10 December. He will receive 11m SEK (£821,209), up from 10m SEK awarded last year.

Daily inspiration. Discover more photos at Just for Books…?

[maccamaniac1]

“I have to give a shout-out to a past recipient of this award, Sir Paul McCartney, but I think it's fair to say that the reason most, if not all of us, are in this room tonight, it's because of you, so thank you very much for being beautiful."

- Jon Bon Jovi (2024 MusiCares Person of the Year)

[nerdyydragon]

I’ve been influenced. I started listening to The Mechanisms ⚙️

I can’t unhear this as the uni alter-ego of Jon Sims (Head Archivist of the Magnus Institute, London Immortal Space Pirate). My question is how many of their 37k monthly listeners are also TMA fans. Like at what point did the fandom decide that it was just… the same guy. How did basically everyone have the exact same thought. I GET it. But. What is going on.

UPDATE AS OF AUGUST 5: THIS QUESTION HAS NOW BEEN ANSWERED, AND WAS ASKED BEFORE I HAD A PIECE OF INFORMATION. IF YOU’RE GOING TO BE ABRASIVE AND HOSTILE IN THE NOTES TO SOMEONE WHO UNTIL RECENTLY WAS ENTIRELY NEW TO A PIECE OF MEDIA AND NOW DECIDEDLY DOES NOT WANT TO INTERACT WITH OTHER FANS, KINDLY FUCK OFF. THE QUESTION WAS “HOW”, NOT AN ASSERTION THAT THEY’RE THE SAME GUY. GODDAMN. LEARN TO READ. TOUCH SOME GRASS. LEARN TO INTERACT WITH HUMAN BEINGS. CONGRATULATIONS. I AWARD YOU NO POINTS, AND MAY GOD HAVE MERCY ON YOUR SOUL.

SAY IT WITH ME FOLKS:

People are allowed to not have all the information immediately. People are allowed to be new to things. This does not give me free reign to be a hostile piece of shit.

[somanyfuckedupiftruebooks]

Mag 55

RIP queen

Man, he's still really terrified of Jane, isn't he.

Oh he's so relieved! Finally, confirmation that Jane Prentiss is dead from someone other than Elias (a known liar for fun and profit) or Martin (a known liar for love and friendship). Plus, it turns out that jar of ashes Martin gave to Jon when he was an out of control wreck actually was Prentiss's remains and not just a placebo! Which is both incredibly romantic and maybe also evidence that Martin has some kind of compulsion powers (either Web or Beholding) because he was able to convince a complete stranger to jeopardise their job by giving him a jar of hazardous medical waste under the table.

Check out Jordan, putting together clues and making an attempt to alert the appropriate people to a threat he thinks he's discovered. He should win some kind of citizenship award.

And if we're giving out citizenship awards for alerting people to suspicious monster activity, I would also like to nominate Laura Star for trying to do something about the evil ant hive in her neighbourhood.

This is now the second time we've had a statement from someone who survived an encounter with the Corruption because their job necessitates wearing gloves.

Okay, this can fuck right off. That's too many ants!! I can see why Jordan Kennedy ended up getting tortured in a hellscape that was nothing but this infinitely.

I'm covinced that the only reason John Amherst didn't snap his neck on sight is because none of the ants actually died.

Haha hells yes, great instincts my dude. Put off dealing with cosmic horrors for as long as possible!

So if being a massive know-it-all and insufferably nosy are commons traits of Eye avatars, maybe a common trait of Corruption avatars is being incredibly overdramatic. Plying his vile trade, the Archivist's crimson fate; these guys love to make ominous declarations.