#justice winslow

[thisbluespirit]

Films watched (1990s): THE WINSLOW BOY (1999); dir. & screenplay David Mamet (adapted from the play by Terence Rattigan). Starring Nigel Hawthorne, Jeremy Northam, Rebecca Pidgeon & Gemma Jones.

"No, not justice. Right. Easy to do justice. Very hard to do right."

[wanderingmind867]

I made two new characters for Infinity Inc. I've never actually read Infinity Inc, but I like the JSA. So I made two new characters who should always have been part of Earth-Two's history. One is the adopted daughter of The Spectre, and the other is the grandchild of The Prankster and The Toyman. Here's the second one:

The Harlequin II (Noel Loomis-Schcott): Grandson of the Prankster and of The Toyman, Two of Superman's old enemies. The Prankster and Toyman both retired in the 50s (around the same time Superman did), finally settling down. The Toyman and The Prankster both had kids, and their kids grew up together. Eventually, the son of the prankster and the daughter of the toyman got married, and then they had a child together. Born in 1965, Noel was their child.

Noel Loomis-Schcott grew up hearing the stories of both of his grandfather's old exploits as the Prankster and as the Toyman, and he fell in love with it. He wanted to be just like his grandfathers…he wanted to be a daring rogue, dealing in tricks and schemes all his own. He also wanted to win a battle against Power Girl, and prove himself to be an honourable successor to the Prankster and Toyman legacies.

Growing up in his family's toyshop, Noel was able to learn all the tricks of the trade. Gifted in toymaking and in understanding practical jokes, Noel also grew up loving the stories of the old supervillians who fought the JSA. His grandparents were always his favorites, but he had a fondness for The Joker and The Harlequin too. Noel was also…well, Infinity Inc was originally supposed to have a gay male Harlequin. Noel is that gay male version of the Harlequin. But considering he grew up in the 70s, he only managed to be accepted for his sexuality because his family was already full of eccentrics.

But in any case, Noel always wanted to be a supervillian like his grandparents. But his chance doesn't come until the fall of 1982, when Vandal Savage and The Wizard start trying to put together a new version of The Injustice Society, to try and do battle with the Justice Society. Sensing his chance to make his grandparents proud, Noel runs away from home and tricks the Injustice League into accepting him. He claims to be "Matthew Mayne", the son of the old Harlequin, Molly Mayne. Shockingly, The Wizard believes him, and he gets a role on the new Injustice Society due to his fake family ties.

While serving with the Injustice Society, he meets Henry King Jr, the child of Brainwave (who was pretty much forced into joining the team by his father). These two begin to bond, especially when Noel/Matthew begins to have cold feet about serving on the team. It turned out being a supervillian isn't nearly as fun as he thought it would be, especially not with Vandal Savage breathing down his neck.

So in the Winter of 1982 (around Christmas Day), Henry and Noel break out of the Injustice Society's headquarters, and run to ask the JSA for help and assistance. (Noel also comes clean to Henry and the JSA, and tells him his true backstory). In exchange for helping them against the Injustice Society, Brainwave Jr and The Harlequin successfully manage to earn themselves positions on Infinity Inc, the new superhero team for the children/allies/etc of the JSA.

[savage-kult-of-gorthaur]

FLYING HEADFIRST INTO AN ARMY OF KILLER TOYS -- TARGET: TOYMAN.

PIC INFO: Resolution at 1988x3056 -- Spotlight on Superman ready to meet Winslow P. Schott, a.k.a., "Toyman" in a final showdown. Note the homicidal Nutcracker at the very bottom firing energy beams at Supes -- Scary stuff!

From "Justice" [maxi-series] Vol. 1 #12. Augsust, 2007. DC Comics.

Story/script by Jim Krueger & Alex Ross

Pencils by Doug Braithwaite

Inks/colors/paints by Alex Ross

Source: www.zipcomic.com/justice-2005-issue-12.

[closetdbisexual]

theyre so gay i love their performance...winslow is literally homophobic

[pokiespout]

TOYMAN Halloween costume, one of my earliest epic outfits. Based on the Justice League cartoon, with a hand-crocheted sweater vest!

[whencyclopedia]

Timeline & Battles of King Philip's War

King Philip's War (1675-1678) was the pivotal engagement between the second generation of English immigrants who had arrived in New England and the Native American tribes of the region. The English won the war, and the natives lost not only their land but, in many cases, also their language and culture, at least for a time.

The policies of both sides were informed by earlier Anglo-Native conflicts including the Indian Massacre of 1622 which resulted in 347 English colonists killed by the tribes of the Powhatan Confederacy in Virginia, the later Third Powhatan War (1644-1646) which killed over 500 colonists in the same region, and the Pequot War (1636-1638) during which the Pequot tribe sought to enlist the Narragansett in the same sort of operation against the English.

The conflict was begun by Metacom (also known as King Philip and Metacomet, l. 1638-1676), chief of the Wampanoag Confederacy, in response to the policies of Plymouth governor Josiah Winslow (l. c. 1628-1680), which encouraged colonial expansion into Native American territory, and colonial usurpation of Native American rights concerning justice. Metacom's father, Massasoit (l. c. 1581-1661), had signed the Pilgrim-Wampanoag Peace Treaty with the first governor of Plymouth Colony, John Carver (l. 1584-1621), on 22 March 1621 which promised mutual aid and protection as well as the right of each party to punish their own for crimes. When the colonists hanged three high-level Wampanoags for murder in June of 1675, Metacom, tired of English lies, broken promises, and land theft, launched his first offensive.

The war devastated the region, destroying English and Native American settlements equally, costing thousands of lives, disrupting trade, and destroying crops. When the English finally could declare victory in 1678, the political, social, and demographic make-up of New England was completely changed. After Metacom was killed in 1676, the Native American initiative flagged and after 1678 those natives who had fought for Metacom's cause – as well as many who did not – were sold into slavery, deported, pushed onto reservations, or absorbed into other tribes. The war was hailed as a great victory for 'God’s People' against the 'heathen' but, actually, it was the inevitable result of English greed and Native American naivete and lack of unity.

Causes of the War

The causes of the war go back to the founding of Plymouth Colony in November 1620. The passengers of the Mayflower found the village of Pawtuxet abandoned - because the inhabitants had all died of European-borne diseases carried by traders c. 1610 - and settled there without ever compensating the tribes of the Wampanoag Confederacy who still used the land. This same model was observed with the establishment of Massachusetts Bay Colony in 1628 and again in 1630. Roger Williams (l. 1603-1683), an English theologian who lived at both Plymouth and Massachusetts Bay, criticized this policy c. 1633, noting that King James I of England had no right to claim foreign lands already inhabited and his subjects had even less right to settle those lands without compensating the owners fairly.

Williams was exiled from Massachusetts Bay Colony in 1636 for his religious views which differed from those of the magistrates, but his arguments concerning land rights of Native Americans certainly did nothing to endear him to the authorities. The colonists continued to take land from the natives, sometimes by way of what they saw as legitimate transactions and sometimes by outright theft. The natives did not fence in their territories because they did not believe they owned the land. In the same way, transactions of valuables for land were understood by the natives as gratuities for use of the land, not as a sale.

The immediate cause of the war was the death of the Wampanoag chief Wamsutta (l. c. 1634-1662) who was succeeded by his younger brother Metacom (King Philip), and the hanging of three Wampanoags, all high-level counselors to Metacom, by the colonists. Wamsutta had died shortly after returning from a meeting with Josiah Winslow at Plymouth, and Metacom claimed he had been poisoned. His claim was most likely true because Winslow had no regard for the natives and saw them as obstacles to progress that should be removed. Even though Metacom did not move against the colonists at this time, Wamsutta's death seems to mark a cooling of relations between the natives and the English.

Between Wamsutta's death in 1662 and the outbreak of hostilities in 1675, the colonists took more land in breach of the Pilgrim-Wampanoag Peace Treaty of 1621. The colonists had been welcomed to the land they had already claimed by the coast, but, increasingly, they were settling further and further inland. Metacom had repeatedly tried to negotiate with both Plymouth and Massachusetts Bay to stop expansion, but the English promises were never kept as they would have hampered profitable land deals made by men like Winslow.

Metacom began discussing an attack on the colonies with chiefs of his tributary tribes and others and news of this was brought to the colonists by one John Sossamon who overheard the talks. Sossamon was a former counselor and interpreter of Metacom's who had left to live with the English. He was a so-called 'praying Indian' – one who had converted to Christianity, learned English, and adopted English culture and dress. The praying Indian often served as interpreter in land deals and negotiations and so passed relatively freely between native and English villages. Sossamon’s report resulted in a call from the colonists for Metacom to explain himself - which he did, denying the truth of Sossamon’s account - but only after Sossamon was found dead.

Two months later, although many people had been interrogated and none had any information on the murder, eyewitnesses were suddenly produced by Winslow, and three Wampanoags were charged with Sossamon's murder. On 8 June 1675, these men were hanged by the English in direct breach of the 1621 treaty which made clear that each party would be responsible for punishing their own. Three days after the hanging, the Wampanoags were arming themselves outside Swansea Colony, and the first attack was launched against Swansea on 24 June 1675, starting the war.

Continue reading...

[dalekofchaos]

90's Superman fancast

Inspired by my 90's Justice League fancast! See also my Burtonverse fancast

Notice. Because of the 30 picture limit, will not be able to do them all the pics for the fancasts.

Brendan Fraser as Superman/Clark Kent

Courtney Cox as Lois Lane

Sarah Michelle Gellar as Supergirl/Linda Danvers

Omri Katz as Superboy/Connor Kent

Will Smith as Steel/John Henry Irons

Robert Foster as Jonathan Kent

Madeline Kahn as Martha Kent

Keri Russell as Lana Lang

Seth Green as Pete Ross

Liam Neeson as Jor-El

Sigourney Weaver as Lara Lor-Van

Jamie Kennedy as Jimmy Olsen

George C. Scott as Perry White

Pamela Anderson as Cat Grant

Patrick Warburton as Steve Lombard

Martin Lawrence as Ron Troupe

R. Lee Ermey as General Sam Lane

Michael Biehn as Dan Turpin

Nicole Kidman as Maggie Sawyer

Danny Glover as William Henderson

Christopher Lloyd as Professor Emil Hamilton

Billy Zane as Lex Luthor

Gary Oldman as General Zod

Linda Hamilton as Ursa

Kevin Nash as Non

Famke Janssen as Mercy Graves

Leonard Nimoy as Brainiac

James Earl Jones as Darkseid

Kane Hodder as Doomsday

Macho Man Randy Savage as Lobo

Gilbert Gottfried as Mr Mxyzptlk

Bill Murray as Toyman/Winslow Schott

Robert Patrick as Metallo/John Corbin

Brad Dourif as Parasite/Rudy Jones

Lori Petty as Livewire/Leslie Willis

Kelsey Grammer as Ultra Humanite

Ving Rhames as Mongul

Christian Bale as Manchester Black

Carl Weathers as Bloodsport/Robert DuBois

[gyllenhaalstories]

PRESUMED INNOCENT CONTENT MASTERLIST PART 2.

last updated: march 2 🖤

this is a link to the first part of the masterlist that includes the content for episodes 1 to 4 and extras. below the read more, you will find a list of all of the content i created for presumed innocent for the episodes 5 to 8. the fics and the gifs were made by me. DO NOT STEAL. DO NOT REPOST.

dividers credits: @sizzlingcloudmentality (thank you again for all of these beautiful dividers and for the idea to do this post!!!)

general presumed innocent tag that includes reblogged content

Alibi

What Goes Around Comes Around part 1 (Barbara)

What Goes Around Comes Around part 2 (threesome with Barbara)

Fetish

Fool

please remember you must be 18 OR OLDER to read my fics.

Episode 5: Pregame

rusty in the shower

barbara is a work of art

rusty is going cuckoo (when is he not)

barbara looking beautiful as always

important gifset of barbara peeling an orange

father and daughter

normal family shares a normal breakfast

rusty vs bike

ring ring ring goes the telephone

rooftop conversation with raymond part 1 & part 2

the trial begins

rusty is fucked

Episode 6: The Elements

rusty shaves

raymond horgan appreciation post

bedroom talk 1

kitchen talk 1 and kitchen talk with jaden 2

rusty should shove his arrogance up his ass during kumagai's testimony

raymond suggests that rusty and barbara should look like they don't hate each other (goes wrong)

rusty is not paying attention because he's daydreaming of carolyn again

barbara the artiste

rusty is shamelessly cheating with his coworker in his office made of windows

rusty is shamelessly flirting with his coworker at a meeting (there is also a lot of windows)

rusty and barbara during eugenia's testimony

jaden is confessing and rusty is too dumb to understand what she's saying

rusty is trying to run away from the consequences of his actions (he's on the treadmill)

continuation of bedroom talk: 2 & 3 & 4 & 5

rusty should shove his attitude up his ass, the sequel

dad rusty part 1 & part 2

pov: your cheating husband tucks you to sleep

rusty asks barbara why she's staying with him part 1 & part 2

Episode 7: The Witness

rusty sabich's fairy dust

bathroom breakdown at carolyn's

ipad dad

the people call rusty sabich

get out of my car

panic at the elevator

what the fuck is nico talking about

rusty wants to represent himself because it's his right and it's his right to be a fool

rusty made a bad decision (shook pikachu)

during michael's testimony part 1 & part 2 & part 3

rusty arrives home

during detective rigo's testimony part 1 & part 2 & part 3

rusty attacked a man, better the treadmill

rusty is on ritalin part 1 & part 2

rusty made another mistake

rusty doesn't know what he's doing (he agrees to testify as a witness) part 1 & part 2

justice for mya winslow!!! and rusty truly doesn't know what he's doing

mya calls rusty

ray the slay saves the day AGAIN part 1 & part 2

he wanted to be with carolyn for the rest of his life... what now?

Episode 8: The Verdict

dinner with the sabich

phone call in the morning

the fire poker

nobody trusts rusty and it hurts his feelings part 1 & part 2

et tu, daughter?

rusty's closing statement

during tommy's closing statement

DO NOT STEAL. DO NOT REPOST. I DO NOT ALLOW MY GIFS TO BE REPOSTED ON OTHER PLATFORMS.

Commentary

dividers credits: @/sizzlingcloudmentality

[campgender]

hey! I'm currently writing a paper discussing experiences of disabled and neurodivergent students at my uni (spoiler alert: it's not great lmao), and while I have a couple references so far (mostly Lund and Pearlstein) about the larger Disabled Student ExperienceTM I'm struggling to find academic papers talking about this, particularly since my field of study is psychology rather than disability theory/disability justice. are there any texts regarding this that you would reccommend? doing my best to lean on crip theory for this essay and you were the first person i thought of! no worries if you don't have the energy to answer this rn ofc, i hope you're having a good day ✨

omg what a fabulous & vital project! i’d love to hear more about your work both out of interest & to potentially refine my recommendations because this is such a complex, multifaceted area of experience + research + activism — i tried to draw from a variety of perspectives so you can dig deeper into what seems most relevant!

my number one recommendation is the book Academic Ableism by Jay Dolmage, i still need to read most of it rip but it’s absolutely considered foundational in this topic. the rest i’m gonna put under a cut because it got super long lol, i’ll also reblog to my disability sideblog @crippleprophet in case anyone else has suggestions!

best of luck with your work, i hope some of this is helpful! feel free to reach out for more recommendations, input, or encouragement❣️💖

on the built environment – eg, the physical campus & how it impacts students

if you’re in the US, this summary of colleges’ responsibilities under the ADA has been helpful for me (link).

Building Access by Aimi Hamraie

Accessibility for Historic Buildings: A Field Guide, 2nd Edition (link to pdf)

written by David Provost and revised by Joseph Hoefferle, Jr. as part of the University of Vermont Graduate Program in Historic Preservation

back in 2020 i used the first edition of this document in a project arguing my undergraduate university should make its historic buildings more accessible

lays out policies & options in tables with photo examples from their campus

Aimi Hamraie & Kelly Fritsch’s Crip Technoscience Manifesto (2019)

Catalyst: Feminism, Theory, Technoscience, 5(1), pp1-34.

this piece is honestly just incredibly life-giving for me in general so i highly recommend giving it a full read when you have time. specific parts that i thought might resonate with the experiences of students at your uni:

“user-initiated design” (Hendren & Lynch, cited p9)

“access as friction” (p10):

Emerging out of historical fights for disability rights, the terms accessibility and access are usually taken to mean disabled inclusion and assimilation into normative able-bodied relations and built environments. […] However, the etymology of the word access reveals two frictional meanings: access as “an opportunity enabling contact,” as well as “a kind of attack” (2016, p. 23). Taking access as a kind of attack reveals access-making as a site of political friction and contestation. While historically central to the fights for disability access, crip technoscience is nevertheless committed to pushing beyond liberal and assimilation-based approaches to accessibility, which emphasize inclusion in mainstream society, to pursue access as friction, particularly paying attention to access-making as disabled peoples’ acts of non-compliance and protest.

noncompliant users and assistive technology as friction (p11):

Lifchez and Winslow offer the concept of “non-compliant users,” illustrating this with an image of a powerchair user wheeling against traffic on a street without curb cuts (1979, p. 153). This technology-enabled movement against the flow of traffic marks anti-assimilationist crip mobility: not an attempt to integrate (as in the liberal approach to disability rights), but rather to use technology as a friction against an inaccessible environment.

collaborative mapping of (in)accessibility, something i know happens more informally among disabled students on many campuses (p15):

Unlike mainstream disability technoscience “crowdsourcing” projects, which invoke a charity model of disability wherein non-disabled people collect data but do not engage in disability culture or politics, emerging projects such as Mapping Access are making participatory access-making the basis of a kind of technoscientific “access intimacy” (Mingus, 2017) through practices such as “critical crowdsourcing” of accessibility data (Hamraie, 2018). […] Collaborative mapping visualizes the evidence of inaccessibility while creating opportunities for collective response. Crip cartographic technoscience thus enables more critical design, and interrogation of the everyday built environment.

access to education

the United Nations Convention on the Rights of Persons with Disabilities includes the right to inclusive education (Article 24). scholarship in this area is about primary & secondary education, not postsecondary / university education, but a lot of the concepts can be applied

in addition to inclusive education, “universal design for learning” (UDL) might be a helpful keyword but it definitely trends toward the liberal as a whole

“Hidden contradictions and conditionality: conceptualisations of inclusive education in international human rights law” (2013) by Bronagh Byrne (link)

references the importance of identifying barriers as a step in the process of accessible education, which depending on your work may be a nice succinct justification of its necessity (p234):

Inclusion ‘necessitates the removal of the material, ideological, political and economic barriers that legitimate and reproduce in equality and discrimination in the lives of disabled people’ (Barton and Armstrong 2001, 214). According to this view, an identification of barriers within the school’s environment, teaching and learning strategies, and attitudes that prevent the full participation of children with disabilities, will also be required.

argues for a focus on inability of schools to meet students’ needs rather than students’ inability to conform to an ableist environment (for example, p242):

International human rights law has conditionalised the right to inclusive education for children with disabilities by making inclusion contingent upon the extent of individual rather than institutional or structural deficits.

psychological/emotional impact on disabled students

“psycho-emotional disablism” may be a useful search term for you, with the disclaimer that a substantial portion of scholars in feminist disability studies are TERFs / express “gender critical” beliefs / etc. so like i’m listing one paper i came across that looked relevant + two from my grad program’s recommended reading, but i haven’t read these & suggest vetting authors before citing them:

“The psycho-emotionally disabling impact of academic landscapes of exclusion: experiences of a disabled postgraduate in perpetual lockdown” (2023) by Joanne Hunt (link)

Reeve, D (2004). Psycho-emotional dimensions of disability and the social model. In C Barnes & G Mercer (eds), Implementing the social model of disability: theory and research. The Disability Press, Leeds, pp. 83-100. http://donnareeve.co.uk/wp-content/uploads/2014/03/ReeveChapter2004b.pdf

Reeve, D. (2014) 'Psycho-emotional disablism and internalised oppression', in J. Swain, S. French, C. Barnes and C. Thomas (eds) Disabling Barriers - Enabling Environments, 3rd Edition, London: Sage, pp. 92-98. http://donnareeve.co.uk/wp-content/uploads/2014/03/ReeveChapter2014a.pdf

[random-movie-ideas]

Necessary Characters for a Superman Series

Now, if you are doing an in-depth series focused on Superman specifically, these are the characters I'd consider absolutely essential:

Clark Kent/Kal-El AKA Superman

Kara Zor-El AKA Supergirl

Kara Zor-L AKA Power Girl

Conner Kent/Kon-El AKA Superboy

Jon Kent AKA Superboy

John Henry Irons AKA Steel

Krypto the Super-Dog

Lois Lane

Jimmy Olsen

Perry White

Jonathan Kent

Martha Kent

Professor Emil Hamilton

Jor-El

Bruce Wayne/Batman

The Justice League

Lex Luthor

Mercy Graves

General Zod

Brainiac

Bizarro

Winslow Schott AKA Toyman

John Corben AKA Metallo

Leslie Willis AKA Livewire

Rudy Jones AKA Parasite

Mr. Mxyzptlk

The Ultra-Humanite

Doomsday

Darkseid

[aestheticallygory]

MEET THE REDESIGNED CAST!!!!!!

This took 4 days, in shambles but I do enjoy the finished designs I wanted to make it more obvious that these guys were adults now that I’ve got some idea about the world they’re living in. And wanted to update them to fit my design standards more, as they’ve definitely changed the more I do this. I think my favorite to draw out of all them has to be Jim, just because of how shaped he is overall and I’m hoping to get better at drawing kady (I think I did good but there are things I want to get more efficient at so it’s easier to draw her) Mr James was fun to color from scratch, I hope I did them justice since I’m surprisingly happy w their design!! I just wanted less big hoodies tbh I draw them to often

Other than that I tried a new way of coloring since I wanted these to be their definitive looks outside of small changes for streamlines or outright overhauls and figuring out the colors would be good for that

Btw for the girls who can’t read my atrocious handwriting the names are

Mackenzie Holden - Mac

Liam Oakley - Lee

Jim Rowe

Kady truette

James Winslow

(Changed them from original writing slightly, Rowe looks better w Jim)

[persnicketypomelo]

Kumquat!! <333 How about a Winslow Leach headcanons? No one's writing about him. I think he's kinda cute :)))

Best wishes 🫧💗

Hey! Thanks for supporting me! ❤️ I did my best to make it as accurate to him as possible since I haven't watched Phantom of the Paradise

obsession, spoilers for Phantom of the Paradise, murder & death

Yandere Winslow Leach Headcanons

Winslow Leach, a withdrawn musician forever scarred by a blood contract with the devil (or at least some spawn of cruelty), is a Phantom fueled by his drive for revenge

It's likely that he first becomes acquainted with you before his transformation into the Phantom, developing a small crush on you along the way

Your bright and wide-eyed personality endears him, especially in an industry so filled with those lusting for money, fame, and power

Even his own bandmates so easily abandoned him and their genre of music for material success, after all

Your voice is so beautiful and pure, the perfect embodiment for the music he strives to create

Once Winslow has seen the true atrocities of his producer, Swan, his single-minded fixations are revenge, and protecting you from that evil bastard

Upon being caught and sent to Swan's private prison, his innocent crush twists into fixation, and his determination for revenge amplifies into a bloodthirsty pursuit for justice

After his escape, you are the sole light in his world so filled with darkness, and the only person for whom he has patience and gentility

The incident with the record press only cements his rage and cruelty

Winslow understands that he might frighten you with his stolen owl mask and vocoded voice, and he will hold no ill will should you startle at his appearance

He will actively work to advance your career and opportunities whilst trying to amend the wrongdoings that Swan has committed against him

I think a second breaking point for him, after his time in prison, would be if you were ever lured by Swan's promises of success as a singer, or worse, receptive to his romantic advances

A sinister mixture of jealousy and the despair of failing to protect you sends him into a rage, emboldening his actions and drawing him to more extreme methods of destroying Swan

He won't hesitate in his resolution to kill anyone who protects that incarnation of Satan, and he is determined to open your eyes to the cruelty of the man that destroyed his life

Although he has patience only for you, after experiencing how Swan tempted you, he becomes more and more desperate to separate you from that evil man

Winslow wouldn't blame you, however, believing you are simply deluded by Swan's false promises

After all, you are so innocent, you could not have known your were being lied to by the devil's silver tongue

However, if you don't believe him and adjust your view of Swan after a few confrontations, he will get more desperate, and will resort to kidnapping you in an attempt to protect you

Winslow has fallen so far deeply in love with you, more than he even knows, and any immoral act he commits is a result of this

Leach is delusional, and his mind, bent with rage, distorts his every advance on you to be for your own protection

Once he manages to expose Swan to the public eye for the monster he is, he is even more dangerous to you

Winslow is stuck, fused to the same coin as Swan--he cannot live with his adversary's death, and vice versa

Let's say that however, that somehow Winslow manages to break his Faustian contract with Swan (as impossible as that is), or manages to find a loophole where he can lock up Swan whilst being alive

This is when Winslow becomes most dangerous

Even upon satiating his lust for revenge, Leach is a permanently changed person--he can no longer return to the quiet, reserved musician of his past

His overwhelming and delirious love for you swims forefront in his brain now that the theft to his music and life has been righted

Winslow wishes to marry you, to take you as his bride and love you for eternity

He dreams of composing for you, with your voice representing his creation

He dreams of the world understanding and appreciating his music, hand-in-hand with you

With you by his side, he would not need the former members of the Juicy Fruits, or anyone else for that matter

Winslow will not force himself upon you, but he will repeatedly beg and yearn for his dream of taking you as a life-long partner, perhaps unintentionally manipulating you to this end

Leach has seen the atrocities of the world, and he has determined it is no safe place for you

He justifies to himself that you need his protection--who else will protect you from manipulation and physical harm?

Locked away with a broken man, starved of any other companionship, it will become increasingly hard to say no to his offers

For the sake of your freedom, I hope you can find a way to kill both Swan and Winslow for good

Else you spend an eternity imprisoned with as a doll to for your overbearing "lover" to adore, and as a puppet for his music

[savage-kult-of-gorthaur]

"HIS KILLER TOYS HAVE ALL BUT DEFEATED SUPERMAN IN THE PAST."

PIC(S) INFO: Spotlight on preliminary sketch art of Superman villain and member of the Legion of Doom, Toyman, artwork by Alex Ross for the "Justice" (2005-'07) maxi-series published BY DC Comics.

Resolution at 1508x1220 & 1074x1650.

ORIGIN: "Crimes with children as victims or witnesses must be the worst of all. In the case of Winslow P. Schott, the crime was theft. When still a boy genius, Winslow built his first toy, a model plane, and had it stolen from him. The criminal in question, Winslow's next-door neighbor, was a boy about his own age.

Many would say this was merely a child wanted another child's toy. That is completely natural. Are we all so naive? For Winslow, it was far more than the theft, though. It is the compulsion of the criminal that leads him or her to crime. If Winslow's toys could be stolen by another child, why couldn't Winslow steal from others? Moreover, why couldn't he commit thefts using toys that he had built?

Schott's obsession is more than his proclivity toward crime. It's a desire for publicity, a childlike and almost limitless need to be the center of everything. His aspiration to be known for his genius is one of the primary reasons he has spent as much time behind bars as he has.

The Toyman has no special physical abilities save his ability to create toys of all forms and sizes -- toys that can crack safes, deliver explosives, murder and far more. His killer toys have all but defeated Superman in the past.

Crime twists the entire world. It can turn the weapons of an adult against a child, and it can turn toys against those meant to protect the children."

-- BATMAN, from Bruce Wayne's private files in the Batcomputer (script by Jim Krueger)

Source: https://dc.fandom.com/wiki/Winslow_Schott_(Justice) and www.pinterest.com/pin/bruce-waynes-private-files--828099450221692502.

[newyorkthegoldenage]

Mae West in Diamond Lil, which she also wrote, at the Royale Theatre, April 1928. The actor in center, who plays a singing waiter, is Frank Wallace. Diamond Lil, about a racy woman in the 1890s, was West's first major Broadway success, and was the basis for her character Lady Lou in her 1933 film She Done Him Wrong.

Her admirers come back to see her after the show, and for two hours after the final curtain Mae is in the costume of the bad lady of the nineties, wig and corset and tight-fitting gown. The gown is immensely becoming in spite of its grotesqueries. If the evening is warm she’ll take off a couple of outer garments as she laughs over the foibles of the day, adding comments in her husky, Brooklynese drawl, always the Little Queen.

“People want dirt in plays, so I give ‘em dirt. See? They can be dull at home, but in the theatre they want excitement. They want to feel, not think. Know what I mean?” . . . “Love, say, what I could tell you about that! But I would have to take a couple of days off to do the subject justice. Know what I mean?”

     —from "Mae West, the Queen of New York" by Thyra Samter Winslow, in the November 2, 1928 issue of The New Yorker

Photo: Associated Press

[adhdnursegoat]

Episode 1: prologue

Word count: 1.2K

Content Warning: none right now

Pairing: Edward Nashton X OC Romy Winslow

Setting: Pre-Arkham Origins; 2013

The funny thing about power… once you’ve tasted it, it’s the only flavor worth craving.

Gotham: the city that feeds off its own decay. 

To the average mind, it’s just a place of misfortune, filth, and bad timing—a battleground where the worst parts of humanity crawl out from under the rocks to have their day. 

But it’s more than that, isn’t it? 

The world is rotten, but Gotham? Gotham perfects it. This city doesn’t just wear its grime; it drapes itself in it, revels in the stink. Criminals here don’t bother with masks, and the so-called “heroes” don’t look much different than the scum they claim to fight. They’re all actors in a play nobody wanted tickets to, shuffling through their parts, pretending the whole time that it’s something worth fighting for…

Citizens stumble over the cracks in the pavement, breathing in fumes that would choke anyone with a shred of sense. They shuffle through the streets, heads down, eyes half-open, thinking they’re safe if they don’t look too hard. They’re sheep, scurrying through a city that’s sick to its core, all the while the ones at the top keep them under their thumb, pulling their strings like marionettes. They don’t notice a thing. To them, this is just another day in Gotham—a little rough around the edges, sure, but manageable if they keep their heads down and stick to their petty routines.

The poison in the air, the rot spreading through every corner—it’s not just the smell of the streets, it’s in the people, too. They’d rather breathe in the stench of corruption than acknowledge what’s been rotting under their feet for decades. They don’t care, not really, so long as the dirt and decay stay beneath the surface, so long as the ugly truth doesn’t disrupt their comfortable numbness. They’ll let Gotham crumble, brick by brick, piece by piece, from the inside out, so long as it happens quietly. It’s easier that way.

Maybe they’re too far gone to see it. Maybe they’re just afraid to look.

But that’s the tragedy of this city, isn’t it? The more it rots, the deeper its citizens bury their heads in the sand. Denial is their coping mechanism, their security blanket against the truth, and they wrap themselves in it tighter every day. Even as the city darkens, they cling to the idea that nothing’s wrong, that this is just Gotham’s way. The cracks in the concrete, the garbage piling up in alleyways, the shadows encroaching—they treat it all like background noise, scenery in the theater of their denial.

And if that wasn’t absurd enough, now there’s a man jumping off buildings in a costume, dishing out his brand of justice from behind a mask. A bat in the night, lurking on rooftops, swooping down with his fists and his gadgets, as if he’s the answer Gotham has been waiting for. A vigilante, a judge, jury, and executioner all rolled into one, convinced he can set right what’s broken. Self-appointed justice wrapped in Kevlar and rubber, clinging to the belief that he’s some force for change, that he’s somehow better than the criminals he hunts.

But what does he know about change? About Gotham’s sickness, the filth embedded so deeply it’s woven into the foundation of every skyscraper? He thinks he’s making a difference by leaving broken jaws and bruises in his wake, but all he’s doing is treating symptoms, like bandaids on bullet wounds. 

And the people? 

Oh , they eat it up. 

Some love him. 

Some hate him. 

Either way, they are talking about him.

The silent victims wallow in desperation for a hero, for a savior in the dark, someone to make them feel safe without ever asking them to confront what they’re really hiding from. They don’t realize that a man in a mask can’t save a city like Gotham. It’s too far gone for that, too used to its own decay. Maybe they’d understand that if they’d take a real look at the city around them, if they peeled back the wallpaper to see the termite infested structure, if they treated the sepsis festering in their police department and city hall. But they won’t. Because they’d rather believe in a fairy tale, in a hero with wings who can swoop down and make everything right without asking anything to change.

Ridiculous . 

If he’s being honest, he can appreciate the nerve. At least someone’s trying to push against the status quo, to make this city something other than the mess it is.

He respects the attempt.

But he could do it better.

And it eats at him, you know? 

This knowledge that he could be so much more, that he could do so much more if he weren’t confined to this box, locked in with these idiots who think they’re saving Gotham one speeding and parking ticket at a time. These police, they’re as blind as the criminals they chase, running circles around each other and getting nowhere. It’s a cycle, a routine as dead as the city they claim to protect. 

And he? 

He’s trapped here, forced to watch from the sidelines as they flounder, the only one who sees the truth, the only one with the intelligence and balls to think independently.

There’s a part of him—dark, simmering, waiting—that knows he’s meant for more. He is born to change things, to show Gotham what it could be if it weren’t burdened by the inept and corrupt. Yet here he is, cursed to work in shadows, unrecognized, unappreciated, his potential wasted in a city that wouldn’t know brilliance even if it had a bright, green, neon sign. And sometimes, he wonders if Gotham even deserves saving. This city, these corrupt officials, the police, these pathetic citizens who live with the sickness festering in front of them—they must be enlightened. Stripped of their illusions, their petty routines, rebuilt from the ground up by someone who understands.

But the problem with Gotham? 

It’s too used to its own stench to even try changing. 

Who is he , in all this filth, to try and show them the way? 

He’s a reluctant ghost in their midst, a man asking questions no one dares to ask, a man with answers they don’t even know they need, a man with a mind sharper than any weapon in this city, reduced to sitting in the dark, waiting for someone— anyone —to notice.

They’d call it desperation. 

He calls it purpose . 

And it’s this purpose that sets him apart from them, this knowledge that he can be more, that he should be more. He doesn’t need a cape or a mask to be dangerous. He only needs what he’s already got: his mind, a gift he’s wasted long enough. 

He can see it now, the power of information—of knowledge.

He can feel it coming, a change in the air, a hum of something new. He doesn’t fully understand it yet, this shift that seems to hover just out of sight, a challenge on the horizon waiting to be met. A curiosity lurking in the corners of his mind. He’s close, he can feel it, standing on the edge of something inevitable, something transformative. He’s about to be seen. He will be more.

I will be more.

[lifewithaview]

Jeremy Northam and Rebecca Pidgeon in The Winslow Boy (1999)

Dir.David Mamet

In early-20th-century England, while toasting daughter Catherine's engagement, Arthur Winslow learns that the Royal Naval Academy has expelled his 14-year-old son Ronnie for stealing 5 shillings. Father asks son if it is true; when the lad denies it, Arthur risks fortune, health, domestic peace, and Catherine's prospects to pursue justice. After defeat in the military court of appeals, Arthur and Catherine go to Sir Robert Morton, a brilliant barrister and M.P., who examines Ronnie and suggests that they take the matter before Parliament to seek permission to sue the Crown. They do, which keeps Ronnie's story on the front page and keeps Catherine in Sir Robert's ken.

*Neil North, who played the First Lord of the Admiralty in this adaptation, played Ronnie Winslow in the first adaptation, The Winslow Boy (1948).