#phillip savage

[modcrnspirits]

Phillip Savage

Info:

Face: Mike Faist Age: 21, looks like 32 Occupation: unemployed / guardian of the gates Gift: Immortality, powerful almighty magic, wields his mother's bow, Fate, and her sword, Retribution Sexuality: Gay Position: Versatile / Submissive Family: Father: Richard Savage (Russell Tovey) Gods Connections: Ishtar (his mother), Dumizid and Geshtinanna

Body Type:

Cock: ( image ) Cock Size: 6.2 inches (16 cm) Cock Shape: Big mushroom head, thick. Type: Uncut Balls and Pubes: Shaved balls and crotch Ass: Round and firm cheeks, tight ass. Tattoos: No tattoos Body type: Lean and very defined muscles Body hair: Almost no hair Special attributes:  History:

The son of a demon summoner and a goddess, Phillip was supposed to live the best of lives. But after his mother went through her gates in Berlin and disappeared, the boy, who was only 7, promised himself he would find her again. He lived with his dad, with the support of the mac Cumhaill family and he went to the best school while also training to hone his divine powers. A Hero worthy of legends, he got his call when he was around 16 and he left home without telling anyone.

The search for Ishtar led him through the gates when he was 20. And even though, in the mortal world, only seven minutes went by, in the realm he reached, almost 12 years passed. During these 12 years there, Phillip trained extensively and was gifted his mother's divine weapons by his Master, a masked man he knew only by the name of Messenger (it was actually his uncle, the god Shamash). After the heavy training which included fighting mythical creatures and going up high mountains and crossing deserts, Phillip stepped out of the gates again, but he looked 12 years older than when he stepped in.

His current mission aligns with that of Richard and the mac Cumhaill's, which is to protect the world of humans from the gods and demons' whims. He is a vigilant and perhaps one of the strongest beings in the world right now. He still lives in Berlin, where he can visit his mother's gates every week, waiting for her return.

Being the son of the goddess of love also means his sex drive is intense. The more he uses his divine power, the stronger the need to give it back to the universe in the form of sex.

In bed:

he likes long, hard sex, sex houses, and bath houses, exhibitionism, sweat, spanking, nipple play, collars, Master/Sub, toys, watersports, etc.

[thiziri]

Princess Anne, her daughter, Zara Tindall, and granddaughter, Lena Tindall after attending the Christmas Church Service at St Magdalene Church in Sandringham, on 25 December 2023.

[deborahdeshoftim5779]

Among many “progressives,” the atrocities produced a profound sense of disorientation. This was because the Palestinians — people whose cause they had promoted as the acme of conscience and enlightenment — turned out to be barbaric savages. Even worse, people the progressives had opposed and stigmatised as the “far-right” because they had regarded the Palestinians as murderous foes turned out to have been correct all along. Worse yet again, some people on their own side actually turned on them for supporting Israel against Hamas. This was a terrible and destabilising shock. That’s because the left is governed by a herd mentality. Their views have to conform to the opinion of similarly “enlightened” people. Anyone who isn’t part of the progressive herd is “right-wing” and wrong about everything. Moreover, since progressives believe that they embody virtue itself, right-wingers aren’t just wrong but evil. Yet the October 7 massacre revealed that the people supported by the progressives were evil. This put progressives in a terrible bind. They couldn’t accept anything that revealed their own narrative to be so morally bankrupt.

British Jewish journalist Melanie Phillips, hitting the mark once again in her latest column, The Terror of the Right. In it, she points out that the Israeli people are united behind Prime Minister Netanyahu's strategy for defeating Hamas, even if they don't agree with him politically. Yet foreign observers, such as the Biden administration, convince themselves that removing Netanyahu will make the Israelis support a Palestinian state. It will not.

[your-everyday-theatre-kid]

BAHAHHAHAHAHA

[nakedforestman]

Quirky burlesque babeess 🤩🤩😜<33

[bass-all-day]

[matildazq]

Truly nothing like a Thrilling Adventure Hour show to give me the warm fuzzies. @fyeahthrillingadventurehour

[duranduratulsa]

Here is this week's 90's Fest Amazon Music Preferred Artists...

1. Guns N' Roses, Nirvana (9 appearances)

2. Soundgarden, Jon Bon Jovi (8 appearances)

3. Third Eye Blind, Collective Soul, The Proclaimers (7 appearances)

4. Lonestar, Scorpions, 4 Non Blondes, Rob Thomas, Wilson Phillips, Chris Isaak, Tom Petty & The Heartbreakers (6 appearances)

5. Depeche Mode, Extreme, Savage Garden, TLC, Sinéad O'Connor, Bryan Adams, Sir Mix-A-Lot, Metallica, Vanilla Ice, Aerosmith (5 appearances)

#Amazon #amazonmusic #90s #90sfest #durandurantulsas4thannual90sfest #gunsnroses #nirvana #RIPKurtCobain #soundgarden #ripchriscornell #jonbonjovi #thirdeyeblind #collectivesoul, #theproclaimers #lonestar #Scorpions #4nonblondes #robthomas #wilsonphillips #chrisisaak #tompetty #RIPTomPetty #tompettyandtheheartbreakers #depechemode #extreme #savagegarden #TLC #riplisalefteyelopes #sineadoconnor #ripsineadoconnor #bryanadams #sirmixalot #Metallica #vanillaice #Aerosmith

[moviesandmania]

THE CREEP BEHIND THE CAMERA Reviews of docu-drama - free on Tubi

‘Con artist. Psychopath. Monster movie maker.’ The Creep Behind the Camera is a 2014 docu-drama about the making of The Creeping Terror and its con-man director Art “A.J.” Nelson/Vic Savage. Written and directed by Pete Schuermann. The Slithering Carpets production stars Josh Phillips, Jodi Lynn Thomas and Bill LeVasseur. Buy Blu-ray: Amazon.com Reviews: “The Creep Behind the Camera is almost…

[badmovieihave]

Bad movie I have The Onion Field 1979

[lxvvie]

Phillip Graves, your handsome, friendly neighborhood asshole, has had his eyes on you from the moment you moved next door.

He helped you move in, of course. Helped you get situated, meet your other neighbors, and if there was anything that needed fixin', he was there to lend a hand. Or two.

Bastard's slicker than a can of oil; he has something up his sleeve, you feel it in your bones, but it's that smile. It's the goddamn smile, the southern drawl when he says howdy and calls you darlin', and most importantly, it's the barbecue.

The fucking barbecue.

He calls it the Gravepit. His underground barbecue pit and the place where he makes magic happen. The first time he invited you over, you swore he put crack in his food, it was so damn good, but Graves laughed it off and said he had the magic touch. All while his eyes bore into yours. Intensely. And he sent you on your way with leftovers to last the next couple days.

The next couple of times he had you over, he needed you to be his taste tester. Don't know what for, his food is always delicious, but you accepted because free food and good company when in reality, it's because Graves wanted to sus you out and plan his next moves accordingly.

And when he got the intel he wanted, realized that you were, in fact, as attracted to him as he was to you—no need to fight it, darlin'—Graves made his move. With the barbecue.

The fucking barbecue.

Long story short, he invited you over to sit and eat with him one Saturday afternoon. It started out with talking, talking turned into flirting, and flirting turned into you bent over the couch while he fucked you savagely from behind. And god, you felt better than everything he dreamed and stroked himself to, darlin'.

And that evening, when you were well and truly fucked, Graves fed you. Good, slow-cooked meat with all the fixins. Didn't send you on your way with leftovers this time. Hell no. Graves was gonna fuck and feed you until the cows came home, darlin'.

Told you he had the magic touch.

[newyorkthegoldenage]

The 306 Workshop Group in front of 306 West 141st St., late 1930s.

The 306 Workshop Group, also known as the Harlem Art Workshop, was founded by artist Charles Alston. This group served to bring together Black artists such as Jacob Lawrence, Romare Bearden, Augusta Savage, and Langston Hughes, just to name a few. Located at 306 West 141st Street in Harlem, the Harlem Art Workshop provided these artists with both a meeting and work space. In the 1920s, Harlem became a coveted address. The neighborhood in New York City was synonymous with an outpouring of production in the visual arts, music, literature, theater, and dance that some began referring to the creative era as the Harlem Renaissance.

Famous artists of the Harlem Renaissance included: sociologist and historian W.E.B. Du Bois, writers Claude McKay, Langton Hughes, and Zora Neale Hurston, musician Duke Ellington, and entertainer Josephine Baker. These artists strove to express their racial identity and pride.

Jacob Lawrence, an artist of the Harlem Renaissance, believed his paintings were “a portrait of myself, a portrait of my community.” The community he grew up around included artist and mentor Charles Alston and leading philosopher Alain LeRoy Locke.

The people of Harlem and their rich heritage were constant sources of inspiration for Lawrence. The community experience—its triumphs and tragedies, its dreams and disappointments, its pleasures and humility, collectively forged by the Great Migration, the Harlem Renaissance, and the Depression era—lives on in his paintings.

Photo & text: Phillips Collection

[wannab-urs]

Outtakes - Gin's Faves

AO3 | Kofi | Main Masterlist | The Spreadsheet Masterlist

Here's a list I never thought I'd draw attention to: my favorite fics. I don't like leaving people out, so I never intended to make this an outtake. I'm posting this to show you all why I love this fandom. I've read well over 600 fics now, and sometimes they stick with me. I have no rhyme or reason for why a fic makes this list, but these are fics that drew me deeper into the fandom or reminded me why I love fic so much. I hope this has the intended effect. I'm not trying to hurt anyone's feelings by leaving them off, I'm trying to highlight some fics that altered my brain chemistry. Anyway, I'm rambling so... without further ado, here are my favorite fics.

Seams Joel Series by @fuckyeahdindjarin

Consent Dieter Series by @fuckyeahdindjarin

Grays Frankie Series by @fuckyeahdindjarin

Palomino Jack Series by @fuckyeahdindjarin

starstruck Dieter series by @ezrasbirdie

I Think of You Din Series by @prolix-yuy

Sex Worker!Frankie AU Frankie Series by @prolix-yuy

Stay on the Screenplay Dieter series by jazzelsaur (AO3)

Psychomanteum Dieter Series by @whatsnewalycat

In an Instant Joel one shot by @mishasminion360

In the Dark Ezra Series by @frannyzooey

Celestial Navigation Dieter Series by @write-and-buried

All our candles are burned out Dieter/Frankie one shot by @psychedelic-ink

I Only See Daylight Din Series by @millersdjarin

A Little Lipstick Never Hurts Max P/Dieter series spacegayofficial (AO3)

Losing My Religion Din Series by @oonajaeadira

Between the Raindrops Frankie Series by Jazzelsaur (AO3)

A Girl Walks Into A Bookshop Ezra Series by @oonajaeadira

Step Dad!Joel Joel series by @toxicanonymity

Cognitave Dissonance Jack Series by @prolix-yuy

Good. Things. Take. Time. Pedro ATS Series by @oonajaeadira

Hokaanir Riduurok Din one shot by @proxima-writes

buried Jack series by @something-tofightfor

Pretend Alleyways Dieter/Marcus M series by @radiowallet

Of Gorgons and Gardens Din/Ezra series by @concussed-to-pieces

Beskar Doll Din series by @justagalwhowrites

A Savage Place Joel series by @gasolinerainbowpuddles

Feral Woman Joel series by @gasolinerainbowpuddles

Mr. Miller joel series by @tremendum

I know it when I see it Joel series by @bageldaddy

Be-All and Endor Din series by @djarins-cyare

Sundown Joel one shot by @bageldaddy

Notes on Tutoring Dave York series by @honestly-shite

Deliver Me From Nowhere Joel series by @atinylittlepain

When My Time Comes Around Joel series by @ramblers-lets-get-ramblin

Cosmic Oddities Din/Joel series by fromthewhales (AO3)

I'll Leave a Light On For You Max Phillips one shot by @oonajaeadira

The Infinity Cube Marcus P/Various series by @littlemisspascal

Somewhere Beautiful Din series by @peetiespetals

the dress Dave York series by @janaispunk

Ezra's Journal Entries Ezra series by @littlemisspascal

Cabuorir Oberyn/Din series by ToricTailor (AO3)

[sapphicflower-ao3]

1. Leonard Cohen // 2. Audre Lorde // 3. Phillip Pullman // 4. Pumo // 5. Pinterest // 6. Rachel Menzies // 7. Rainer Maria Rilke // 8. Vladimir Nabokov // 9. Savage Garden

love and light blooms from the hopeless earth

bkdk are soulmates, they are a religion, they invented romance, they stopped time and bent space and walked through hell and out of death just to battle together, they love and trust each other so much, they can speak to each other’s souls using only their eyes, and etc.

[maxwell-grant]

Could I hear more of your thoughts on Doc Savage and the archetype he created? How does it relate to modern superheroes more specifically Reed Richards? (I know that you dislike Doc Savage, so sorry if this bothers you.)

Sorta like this, if we take a look at how Doc's archetype was formed and consolidated, and how that affected the Superheroes and Reed Richards specifically. (also please don't apologize, you all can ask me questions about whatever, seriously)

"Doc Savage" is recognizable in lots of other characters but there is a difference between specific pastiches or tributes or parodies of Doc (Doc Samson, Edison Rex, Jonas Venture), and characters who are evoking Doc Savage as his own archetype to draw initial inspiration from (Tom Strong, Bane, Clark Kent), and if we pull at Doc's roots we're gonna get to prior characters like Tarzan and Sherlock who were the ones to introduce or codify much of what are now commonplace superhero traits or the ones to introduce much of what Doc was originally pulling from.

I wanna draw some lines in the sand separating what is it that these characters brought to the table, in the road to get to Reed Richards and what exactly is it that Reed and Doc have in common vs things they have that are mainly taken from characters before them/grandfathered in their respective mediums. So let's go over the Archetypes here:

The Sci-Fi Superman: Coined by Peter Coogan. Through some strange birth or scientific intervention, these characters have superhuman powers and abilities that set them irrevocably apart from humanity, nearly forcing them to usually fall into the roles of saviors, rulers, destroyers, or ostracized/self-imposed hermits. Unless they find a purpose requiring said abilites, they cannot be permitted to exist and usually meet a tragic demise or is stripped of said power. Formative example is The Creature from Frankenstein (Mary Shelley), and others include Hugo Danner from Gladiator (Phillip Wylie) and Bill Dunn from The Reign of The Superman (Jerry Siegel). Coogan considers John Carter the first wholly positive and heroic SF superman, which is disputable, but more on Carter later.

Pulp Ubermensch: The Great Man turned do-gooding adventurer with a prosocial agenda. A human who is physically, mentally, and/or morally superior to those around him as a result of training/upbringing, skilled at everything the story requires him to, who applies his talents and abilities near-exclusively to fight evil. Formative example is Nick Carter (created by John R. Coryell and penned by Frederick Van Rensselaer Dey), who established much of what would eventually become pulp hero and superhero convention consequently.

The Great Adventurer: I'm naming these as a counterpoint to The Great Detective, the fantastical globetrotting adventurer/explorer hero who can go anywhere and do anything, who takes to the world as the detective takes to the city. The idea of a wealthy, offbeat, yet good-natured pulp hero who goes around righting wrongs with like-minded assistants. Formative example here is Rocambole (Ponson du Terrail), in most ways a definitive early Pulp Ubermensch, and arguably the first proto-superhero to assemble a gang of odd companions with a variety of talents and backgrounds to aid him, which is what both the Fabulous Five and the Fantastic Four can trace roots back to.

Pulp Supermen: Offshoots of the Sci-Fi Superman as adventure protagonists in serialized stories, where their superhuman natures and status are alleviated and redirected by the need of their capabilities somewhere or in service of something, and thus they get around the ruler/savior/destroyer fate by being heroes with a social calling akin to the Pulp Ubermensch, dedicated to use their powers near-exclusively to fight injustice without rocking the boat of society by their presence (or if necessary, assert dominion ONLY in a setting outside of human society, such as the jungle or Martian civilization). Distinguished from the Pulp Ubermensch by their greater larger-than-life explicitly superhuman abilities, that they don't need to be morally/mentally superior to the extent of a Pulp Ubermensch, and by the fantastical settings and tone of their adventures. Formative examples are John Carter of Mars and Tarzan of the Apes (both created by Edgar Rice Burroughs), with Tarzan quoted by Lester Dent as a specific influence on Doc (there are others but we're skipping most of those not relevant here)

The Science Adventurer: A frequently-used name to describe Doc Savage and Doc Savage-alikes. Doc Savage can be described, in archetype word salad terms, as a Pulp Superman who calls upon the Pulp Ubermensch's great man-ness and urban social calling, and who combines a Sci-Fi Superman origin and physical traits with The Great Adventurer's explorer disposition, righteousness and band of companions. The main thing that sets him apart from the characters listed prior is his focus on scientific prowess, technology, reasoning and polymathic skills, the importance of the "Doc" part of his name as it where.

The Superhero: you already know what these are and how they relate to the above. I've written a couple of things about the differences between pulp heroes and superheroes and it's a subject I'm of constantly mixed opinions on even regarding stuff I wrote, so I'm linking these two written a year apart if you want an idea of where those differences are.

And so we get to Reed, who I'm naming a Science-Adventurer Superhero as a merger of the last two. Both Stan Lee and Jack Kirby mentioned several times that they read Doc Savage aplenty during the Depression and it shows in elements such as the Baxter Building (an expansion of Doc's headquarters in the Empire State Building - instead of just the 86th floor, The Four get the entire skyscraper), the specialized aircraft and vehicles, the fights and antagonism between the cantankerous and anti-social Ben Grimm and the smart-mouthed Johnny Storm mirroring the bickering spats between the bestial Monk and the silver-tongued Ham, and of course Beast from X-Men being more closeled modeled on Monk's ape-ish traits and scientific expertise (there's a fairly large argument to be made, that I think accounts for some of why Beast is, like that, in recent comics, that Ben Grimm and Hank McCoy both divided Monk Mayfair's every trait between themselves and ultimately flipped the script in the long run before taking it to the farthest extremes possible as polarized opposites of each other, with Ben initially getting most of the bad parts and making them the best ones, and Hank initially getting all the good ones and making them into the worst ones)

As far as I know, Reed Richards was not consciously modeled after Doc Savage (although Jack Kirby and Joe Simon's Private Strong used the origin story of a professor raising his son in a lab to be perfect in total isolation of other humans, which Lester likely may have pulled from Phillip Wylie's The Savage Gentleman to begin with), although it's commonly said that the direct precursors of the Four, the Challengers of the Unknown, were modeled after Doc Savage and the Fabulous Five's make-up. The members of the Fantastic Four are all based on 50s sci-fi archetypes, with Reed as the quintessential scientist, the grey-templed pipe-smoking patriarch frontman of the expeditions, and some creators over the years seem to have drawn upon Doc Savage as a model Reed. I'm thinking specifically of Mark Waid here, who openly named Doc Savage in his pitch bible:

The eternal problem with Scientifically Inclined Genius Adventures, the reason they don't ring true, is because in real life scientists spend all their damn time in the lab. Not Reed.

F'r pete's sake, we know he undertook all sorts of Indiana Jones missions as a younger man, we've seen that he actively enlisted in a war, and oh yeah, he stole a rocketship and tried to take it to the moon."

Tommy B put his finger on it when he suggested I stop thinking of Reed as the Professor from Gilligan's Island and instead think of him more like Doc Savage. When Reed encounters mental or logistic obstacles in his quest for knowledge, he thinks through them.

Doc Savage, of course, isn't the perfect model - he's a little more blood-and-gristle than Reed, more invested in the search for justice than for knowledge, and a little more "in the moment" as a general rule. Reed's more like Peter Weller as Buckaroo Banzai, they have the same aloof, detached nature. Unless active danger is staring him right in the face, Reed often seems a bit distant and not completely here because his mind is ten minutes in the future.

That addresses the Science-Adventurer aspect, which leaves us with the Superhero side of the equation.

With Doc Savage you of course have one of the, if not the, main archetypal pulp heroes, a character that both Superman and Batman would take a great deal from, and "pulp hero" in itself is a term that exists to define these characters more so in relation to superheroes than what they were actually like in their own stories, time periods and mediums. The superhero as a concept is founded on Superman and Batman and their dychotomy. Costumed Avenger vs Ubermensch, mortal and immortal, light and dark, Dayman and Nightman (AHH-ahhh-AAHHHHH!), and that dynamic is specifically a result of Superman and Batman being direct descendants from Doc Savage and The Shadow respectively, who were Street & Smith's (and by extension the American pulps) Big Two, the top dogs of 1930s hero pulps, and direct opposites to each other.

Doc Savage was created in response to The Phantom Detective (who was the first successful Shadow imitator and thus defined it as the thing everyone was gonna have to do or respond to) and was in many ways a modernized revamp-almost-copy of Street & Smith's Nick Carter during his heyday, in origin and first case and super strength and omnicapable skills and general Great Man-ness and gadgetry and mission statement and so on. Doc was co-created by the editor of Nick Carter Magazine, John Nanovic, and the first response to the Phantom Detective that S&S planned was a reboot of Nick Carter as a generic hardboiled detective, published on March 1933, the same month as Doc's debut, and obviously Doc would go on to achieve much greater success and thus would popularize those traits again with himself as the figurehead archetype of them (not unlike what Superman and Batman would later do).

Unlike The Shadow, Doc Savage does not operate under a secret identity or mask. He is not the hidden master of the city and has no division between his alter egos, and because he performs in broad daylight as a celebrity, is theorically held to social scrutiny, and is fully sanctioned and approved by law enforcement and works with the authorities with public transparency (minus the crime college but let's just, not, for now), it greatly upends and affects the approach he takes to fighting crime. He only has one identity, the greatest man of all time as the stories will remind you at every turn, by his author's own words he "manifests Christliness", and while not much separates Doc Savage's skills from Nick Carter's, he is explicitly and textually framed as superhuman (even a "superman", that term was deployed a few times), and he operates in a contemporary, urban setting that most Pulp Supermen cannot touch without veering into Sci-Fi Superman territory.

Within the hero pulp format that S&S started with Nick Carter and renewed with The Shadow, with the scientific explorer angle, you could argue Doc Savage, in almost exactly the same way as he does in his stories, worked out the solution to an unfixable problem: Turns out you can be as over-the-top super as you want, so long as you have a procession of equivalent super menaces to fight, don't upset society (and if you do it, not where the public where can see, keep it a secret that you can be blackmailed over by crooks you will inevitably silence okay look I'll stop now), have whatever incredible miracle cures and achievements and charity you do work on take place off screen where you never have to deal with them too seriously, and know how to pick your fights.

His service to others resolves the ruler/savior/destroyer conundrum. Savage aids individuals who face problems beyond their control, does great work in advancing medicine and science, and alleviates suffering through charity work, but he leaves the institutions of society in place.

He faces a never-ending succession of villains threatening society, an eternal frontier of gangsters and super-scientific menaces who play the role that Indians take in frontier narratives. The unresolvable nature of crime makes this frontier eternal, so Savage can place his superiority in service to the community and never risk turning into a ruler, savior, or destroyer because he can find challenges sufficient to absorb his energies.

The Savage solution���the hero position would be adopted by the creators of other prosocial supermen to come, including Superman, although only the adventures of Superman would be set in contemporary America.

Thus instead of marking an end to the bourgeois domination of society, as Nietzsche foresaw, the superman serves to protect that domination through myth-narratives. - Superhero: The Secret Origin of a Genre, by Peter Coogan

Reed Richards, in turn, is defined (INCORRECTLY, I say, feeling a plasma crackle barely miss my skull) as the smartest man on the planet, a mental superhuman who operates on a level above and beyond that of everyone around him, and a freak accident during a space travel grants him physical superhumanity to match, with his body able to morph and bend under his will. He alleviates the ruler/savior/destroyer conundrum Coogan described in much of the exact same way described above, kept busy with an endless procession of strange dimensions and aliens and supervillain challenges, and Mark Waid's famous confession scene in Fantastic Four #489 addresses the fate that looms over the Sci-Fi Superman directly, with the "very arrogant man who did something very stupid" pointificating to his toddler child just how necessary it was to ensure that the world would not fear and destroy the people he'd irreversibly mutated as a result of hubris, what is even the point of his grandstanding title and colorful outfit and public adventures and all that.

The life of superpowered adventurer celebrities was a necessity, and his superhero persona, Mr Fantastic, is a tabloid-catching act of penitence to mask his ultimate shame and to compensate the people he loves most. He lives for science, he craves discovery above all, but as far back as the Lee/Kirby stories, he still drags the team into awful intrusive press conferences none of them want to go but must, he sits through meetings with hardass generals to buy his team more leeway and trust, he takes the time to stretch across the city to visit sick children in hospitals and say hello to passing helicopters, he has to be the stick-in-the-mud dad who stretches himself thin to keep Johnny and Ben from ditching the team or seriously hurting each other (those first Johnny and Ben spats get way more violent than you'd expect), and he has to make difficult and even manipulative and harsh decisions even then to save the most lives he can. He carries a responsability to his family and loved ones first and foremost, and fashioning himself and them into superheroes is how he lives up to that responsability. It's what allows them to exist and thrive in-universe as much as out of it.

(We're not gonna play catch-up to the "why doesn't Reed Richards cure cancer" conversation but even that, in itself, is an extension of a thread that we can trace back to Doc and the Sci-Fi Supermen before him, when seams in the fantasy start showing with the introduction of consequence, a trend that particularly catches up to these scientist superhero characters who followed in Doc Savage's wake, and obviously caught up to Doc himself several times by now, for reasons @artbyblastweave describes as "a consequence of contemporary writers being Allowed To Notice And Unpack Things" and elaborates on very neatly here)

As a superhero, Reed Richards exists in conversation with Superman and Batman, same as every other character within the superhero "genre", which means he also exists in conversation with those traits borrowed from Doc Savage, and The Shadow, and all these other guys listed who were crucial in their development and a lot of others I'm leaving out of the conversation for now. A crucial part of that conversation and where the Fantastic Four figure into it is the fact that they were designed to not be traditional superheroes but to flip most if not all the conventions established on it's head, a part of that being their initial lack of uniforms (and when they did get uniforms they were just that, uniforms, rather than costumes), the lack of a secret identity, and the fact that the Four are scientists and explorers first, and crimefighting superheroes a distant second they're forced to frequently make a close second or first priority. Marvel made it's big defining pop culture splash with the Fantastic Four by turning superhero convention on it's head and doing as much as they could to do the opposite of what Brand Echh was doing.

And that's kinda the main reason they end up inviting similarities with Doc Savage and other pulp heroes, because they're going out of their way to imitate and subvert traits and tropes that Superman and Batman were already imitating and subverting from those guys in the first place, that they in turn were imitating and subverting from guys that came before them, and etc.

Archetypes are breakthroughs, and no breakthrough happens in a vacuum. In the end, a lot of these strands and connections between these characters are less specifically the result of writers consciously following in the footsteps of Doc Savage and those that came before or alongside him, and more so with the fact that there's only so many left turns you can take before you just end up in a circle, or reinventing the wheel as it were.

[alldancersaretalented]

NYCDA National Outstanding Dancers 2002-2024

2002

Junior: Garrett Smith (Dance Impressions) and Erica Ross (Dance Connection 2)

Teen: Anthony Lomuljo (Dance Attack Sunnyvale) and Becca Henderson (Ballet Society)

Senior: Danny Tidwell (Denise Wall Dance Energy) and Melissa Hough (Dance Explosion)

2003

Junior: David Gensheimer (American Jazz Dance Co.) and Whitney Jensen (CSPAS)

Teen: Travis Wall (Denis Wall's Dance Energy and Marilee Glazier (CSPAS)

Senior: Phillip Spaeth (Triple Threat PAC) and Carly Lang (DDK Danceworks)

2004

Mini: Corey Snide (Eleanor's School of Dance) and Christina Spinger (Dance Motion Performing Arts Co.)

Junior: Nick Young (Young Dance Academy) and Kayla Radomski (Michelle Latimer Dance Academy)

Teen: Chuck Jones (CSPAS) and Jaimie Goodwin (Denise Wall's Dance Energy)

Senior: Jon Bond (Center Stage Dance Academy) and Ellery Baum (CSPAS)

2005

Mini: Hogan Fulton (Bobbie's School of Performing Arts) and Tiara Keeno (Wasatch Dance Center)

Junior: John Manzari (Spotlight Studio of Dance) and Angelica Generosa (Dance Stop)

Teen: Garrett Smith (Odyssey II) and Dusty Button (Movin' South)

Senior: Teddy Forance (Hackworth School of Performing Arts) and Allison Holker (The Dance Club)

2006

Mini: Ross Lynch (Artistic Fusion Dance Academy) and Catherine Hurlin (Westchester Dance Academy)

Junior: Corey Snide (Eleanor's School of Dance) and Christina Spinger (Dance Connection)

Teen: Ryan Steele (Dance Dynamics) and Kirsten Wicklund (Danzmode Productions)

Senior: Christian Denice (Bobbie's School of Performing Arts) Jamie Godwin (Denis Wall's Dance Energy)

2008

Mini: Kolton Krouse (Tempe Dance Academy) and McKenna Ross (Tempe Dance Academy)

Junior: Alex Hathaway (Dance Dynamics) and Tiare Keeno (Wasatch Dance Center)

Teen: Corey Cox (Denise Wall's Dance Energy) and Taja Riley (Denise Wall's Dance Energy)

Senior: Crain Dionne (Donna Coco's Performance Plus) and Erica Ross (Tempe Dance Academy)

2009

Mini: Brandon Chang (Dance Town) and Sarah Pippin (CC&Co. Dance Complex)

Junior: Kolton Krause (Tempe Dance Academy) and Kamila Shah (Westchester Dance Academy)

Teen: Mason Manning (Dance Industry) and Tiare Keeno (Classical Ballet Academy)

Senior: Richard Villaverde (Dance Town) and Ida Saki (Dance Industry)

2010

Mini: Tade Biesinger (Dance Impressions) and Payton Johnson (Jean Leigh Academy of Dance)

Junior: Rae Srivastava (Independent) and Jayce Kalb (The Dance Centre)

Teen: Corey Snide (Eleanor's School of Dance) and Mattie Love (Dance Impressions)

Senior: Cory Barnette (Tempe Dance Academy) and Kaitlynn Edgar (Spotlight Dance Works)

2011

Mini: Travis Atwood (The Talent Factory) and Jacalyn Tatro (Inspire School of Dance)

Junior: Niko Martinez (Dance Images & Music) and Sarah Pippin (CC&Co)

Teen: Ivan Kalinan (The Dance Zone) and Madi Hicks (Academy of Dance Arts)

Senior: George Lawrence (Dancemakers of Atlanta) and Kali Grinder (The Dance Zone)

2012

Mini: Kyle Anders (Savage Dance) and Kayla Mak (Westchester)

Junior: Jack Wolff (Precision Dance Academy) and Payton Johnson (Jean Leigh Academy)

Teen: Kolton Krouse (Tempe Dance Academy) and Jordan Pelliteri (Plumb Performing Arts Center)

Senior: Joseph Davis (Draper Center) and Alexia Meyer (The Dance Club)

2013

Mini: Justice McCort (Krystie’s Dance Academy) and Jasmine Cruz (Westlake)

Junior: Jonathan Fahoury (Artistic Fusion) and Sophie Miklosovic (Faubourg School of the Ballet)

Teen: Jake Tribus (CC & Co) and Jayci Kalb (The Dance Centre)

Senior: Alex Soulliere (Spotlight Dance Works) and Alyssa Ness (Northland School of Dance)

2014

Mini: Luke Spring (Independent) and Charlee Fagan (Main Street Dance)

Junior: Matthew Spangler (Artistic Fusion) and Mackenzie Bessner (KJ Dance)

Teen: Rae Srivastava (BHumn DanceSpace) and Jacalyn Tatro (Inspire School of Dance)

Senior: Kolton Krouse (Tempe Dance Academy) and Jordan Pelliteri (Plumb Performing Arts Center)

2015

Mini: Brady Farrar (Stars) and Madison Brown (Lents Dance Company)

Junior: Parker Garrison (Stars) and Jasmine Cruz (Westlake)

Teen: Harrison Knotsman (Studio West Dance Center) and Nina Bartell (Sweatshop)

Senior: Jake Tribus (Next Generation Ballet) and Sarah Pippin – CC & Co

2016

Mini: Luke Barrett (Dance Attack) and Eden Galloway (Center Stage Dance Studio)

Junior: Jack Easton (IMPAC) and Mahalaya Tintianco-Cubales (Westlake)

Teen: Kele Roberson (Dance Institute) and Ali Deucher (The Dance Club)

Senior: Zach Manske (Woodbury) and Jacelyn Tatro (Inspire School of Dance)

2017

Mini: Hudson Silva-Costa (Spotlight Dance Center) and Phoenix Sutch (Krystie's Dance)

Junior: Mason Evans (Performance Edge 2 and Madison Brown (Lents Dance Company)

Teen: David Keingatti (Columbia) and Sydney Revennaugh (CSA's Dancers Edge)

Senior: Michael Garcia (Dance Industry) and Kaylin Maggard (Columbia)

2018

Mini: Sienna Morris (Westchester) and ???

Junior: Eden Galloway (WNC Dance) and ???

Teen: Aydin Eyikan (Kanyok Arts) and Jasmine Cruz

Senior: Harrison Knostman (Studio West Dance Center) and Jenna Meilman (Westchester)

2019

Mini: Ian Stegeman (Woodbury) and Ivana Radan (Westchester)

Junior: Justin Padilla (Infusion Dance) and Rebecca Stewart (Spotlight Studio of Dance)

Teen: Luke Spring (East Coast Edge) and Madison Brown (Lents Dance Company)

Senior: Jamaii Melvin (Miami Dance Collective) and Madison Goodman (KJ Dance)

2020

Mini: Eric Poor (CityDance) and Kynadi Crain (Jean Leigh Academy)

Junior: Jagger Effs (Miami Dance Collective) and Sienna Morris (Westchester)

Teen: Mason Evans (Performance Edge 2) and Mahalaya Tintianco-Cubales (Westlake)

Senior: Aydin Eyikan (Kanyok Arts) and Sydney Revennaugh (Performance Edge 2)

2021 (Orlando)

Mini: Spencer Parnell (Academy of the Living Arts) and Kiera Sun (Westside)

Junior: Michael Duvali (Centerstage Dance Academy) and Macie Miersh (All American Dance Factory)

Teen: Luke Biddinger (Touch of Class) and Eden Galloway (WNC Dance)

Senior: Jemoni Powe (Academy of Nevada Ballet) and Kayla Mak (Westchester)

2021 (Phoenix)

Mini: Ellis Khoundara (Tempe Dance Academy) and Skylar Wong (Woodbury)

Junior: Ian Stegeman (Woodbury) and Carolina Garcia (Miami Dance Collective)

Teen: Justin Padilla (Westside) and Erin Park (Westside)

Senior: Justice Wooden (Just Dance) and Charlee Fagan (Main Street Dance)

2022 (Orlando)

Mini: Mali Photnetrakhom (In Motion Dance Project) and Avery Gallenero (Dance Inc.)

Junior: Bryce Young (All American Dance Factory) and Eva Jimmerson (Renner Dance)

Teen: Luke Barrett (Dance Attack) and Phoenix Sutch (Krystie's Dance Academy)

Senior: Mason Evans (Performance Edge 2) and Kailey Woronstoff (Dance Universe)

2022 (Phoenix)

Mini: Levi Caicco (In Motion Dance Project) and Kensington Dressing (Evolve Dance Complex)

Junior: Avery Khoundara (Tempe Dance Academy) and Fiona Wu (Yoko's)

Teen: Keenan Kiefer (Academy of Dance Arts) and Georgie Weir (Miami Dance Collective)

Senior: Parker Rozzano-Keefe (Westlake) and Mahalaya Tintiangco-Cubales (Westlake)

2023

Mini: Jonathan Macleod (Joanne Chapman) and Hannah Fogel (Dance Institute)

Junior: Lincoln Russo (Poirer Productions) and Kiera Sun (Westside)

Teen: Hudson Silva-Costa (In the Spotlight) and Crystal Huang (The Rock)

Senior: Jonathan Paula (Canadian Dance Unit) and Abigail Weber (Dallas Conservatory)

2024 (New York)

Mini: Marko Kokovic (Draper Center for Dance Education) and Maeve Olsen (The Dallas Conservatory)

Junior: Levi Caicco (In Motion Dance Project) and Aria Du (Yoko's)

Teen: Sam Gauss (Draper Center for Dance Education) and Evee Lee (CAP The Company)

Senior: Caleb Abea (Larkin Dance Studio) and Izzy Howard (Westside)

2024 (Phoenix)

Mini: Anderson Sander (New Dimensions) and Belle Marie Arauz (Dance Town)

Junior: Ellis Khoundara (Tempe Dance Academy) and Mali Photnetrakhom (In Motion Dance Project)

Teen: Maceo Paras-Mangrobang (Westlake) and Gracelyn Weber (The Dallas Conservatory)

Senior: Cameroon Janson (Creative Conservatory of Dance and PA) and Jordyn Sarmoen (Performance Edge 2)