#ras' actions make it VERY clear that he may absolutely not be

[toastingpencils37]

Ok, there's something about Ras ordering Cinder to kill the Cloud Monks that makes it feel darker than usual in Ninjago.

Of course, villains are always talking about killing the ninja, but that's just it. They're talking about killing the ninja.

And even when they talk about killing innocent people, there's something different about the way they say it and their body movements that make it feel a little less dark.

But with Ras telling Cinder to destroy the Cloud Kingdom, and by extension the Cloud Monks, he literally tells him "I said everything".

Plus, when Ras says this, for one, we see Cinder laugh and smile in a very devious way, and the Cloud Monks start whimpering in fear, unable to do anything to stop it at all, unlike other threatened characters who can somewhat fight, even if not that well.

[mechanistgamma]

One Bad Day: Ra's al Ghul is Great

I've been reading each of these One Bad Day instalments as they come out and trying to think about what I do and don't like about them. Riddler's was pretty bleh, Two-Face and Mr. Freeze's was decent, Catwoman had a pretty good one from what I can recall and Bane, Clayface and Penguin's stories were fantastic stand-outs. One Bad Day: Penguin may be one of my favorite Gotham stories period now.

But One Bad Day: Ra's al Ghul is fantastic. Once again, Tom Taylor knows what he's doing and it shows.

Spoilers ahead, by the by! I assume there'll be a cutoff at some point but I'm still new to Tumblr so-

A running theme in all of these One Bad Day stories is that it takes one of Batman's main rogues and explores a new facet of their personal history that hasn't gotten as much focus in order to make a narrative that is uniquely theirs. Ra's has far too much history for even a large book like the OBD series to properly get into, but the angle Taylor took - the extinction of an animal kingdom connected to Ra's personal history - was a strong angle to take.

Speaking of strong, Ra's himself is an absolute powerhouse in this story. His global influence, his machinations that have laid undetected for years, his cold efficiency, his brutality. It's all shown off in an excellent manner. OBD stories likewise attempt to show off the best of what their chosen villain can do, and this absolutely fits for Ra's. And because of how the story is presented, you... get it. You empathize with Ra's, and because he's specifically targeting the corporate parasites that us normal people get so furious about and can do nothing about, we're almost... behind him? So like with the Penguin story, we find ourselves as an audience rooting against Batman for the right reasons.

Speaking of, I love how this story really digs into the status quo of the planet and why DC's corporate horribleness matches the corporate horribleness of our real world. Batman is protecting the worst people on Earth because of his values of protecting all life (which, to be clear, I agree with Batman's philosophy that all life is precious) and as Damian so succinctly points out, the fact they have to do this in the first place makes their place in this whole war of Ra's vs the Planet-Killers... questionable.

Ra's might be a murderer. But he's right. These old men and reckless new blood kids aren't going to change in a heartbeat to protect the world. They do need to be taken out of the way if real change is going to happen. Murder is an extreme method, but it does get results... especially if it's not seen as murder.

That doesn't mean Batman is wrong for wanting to protect people, though.

Especially from Ra's.

Ra's set out to kill thirty men. Thirty men responsible for the death and decay of the world. But because he needed to take out eleven people in one room, he killed three thousand at once in what would surely be one of the greatest 'accidents' of modern history. This is an extremely brief part of the story, but it has so many implications. How many were invited to the summit who would use the position as a voice for clean energy? How many would have helped Ra's indirectly by using their position to change the world for the better? You can claim that Ra's wouldn't have let anyone be in that hall who could really benefit the world, but I have to doubt that because of his actions and his very subjective judgement on the matter. And then this begs more questions - how many others, how many innocents died so that Ra's al Ghul could kill thirty men? How many bodybags provides the cost of secrecy?

And how much does that undermine his mission?

Let's talk about Ra's al Ghul, Batman and Robin.

There's an interesting juxtaposition between how Ra's and Batman are presented in the story. Both are depicted as emerging from the shadows when meeting the other faction on the field, both are depicted as temperamental and angry in spite of their calm facade and calculated nature. Ra's understands Batman, Batman understands Ra's, but their clashing philosophies means they will never truly stand on the same playing field.

And that comes to a boiling point in the best way possible.

This was a move that shocked me when I first read, but it makes perfect sense. It not only shows the brutality of Ra's, but when you realize the ultimate intention was to bring him back with the Lazarus Pit, it also shows the plan and how much Ra's respects Batman. He killed him, but only temporary - the moment he was 'done', Batman was allowed to come back. And when Bruce thought he was going to genuinely die, his last act was to hand his cowl to his son and make Damian promise not to give in and murder Ra's then and there. So Damian doesn't kill his grandfather, even if every boiling vein in his body makes him want to, and then Batman comes back.

During the final battle between the two, it goes beyond a simple moral clash. It goes beyond Ra's and Batman. It becomes about Damian and showing him what the true path in life is, showing him who's justice is what the world truly needs.

I've been thinking about what Robin's role in this story was (he didn't get as much spotlight as I was hoping, massive Damian fan that I am) but I'm content with what I got because of what he represents. He's the balance. He's the median point between both Ra's and Batman, who recognizes what's wrong with the world and seeks to make it better (see: Robin (2021)) but refuses to stoop to the level of a base murderer in order to do so.

I question if this really is all for Damian, as Bruce and Ra's claim in their desperation. It feels more like this conflict is about them, and Damian is the proof in the conflict between the two, the one who can decide who is 'right'. Damian agrees with Ra's - "Are you so sure we should be safeguarding the worst people on Earth?" - but he also agrees with Bruce - "He believes in preserving life, Grandfather. That's hardly a bad thing." - and gave both perspectives within the same minute. He's a counterbalance to both Bruce and Ra's perspectives because he stands between them and is capable of seeing the positives and negatives of both in a way that neither of the grown men can. It's why he sat to the side while Ra's committed his atrocities and waited for his father to return, but so violently opposed Ra's prior to his father's death.

This is, ultimately, a story of righteous anger clashing with unquestioning morality. This is about wrath against the rich and powerful poisoning the planet versus the desire to save others from death and not fall to the level of a base murderer. This is about two clashing ideals of justice.

Ra's 'wins' in achieving his goal and Bruce can never expose the truth or risk undoing all the legitimate good he's done, but Batman will never stop hunting Ra's until he is punished for what he's done. But the true resolution - the true answer on who was 'right' - is never answered, because Damian never truly sides with one or the other. He spends the latter half of the story sitting to the side observing, contemplating, and working through his own complicated emotions on everything that happened. Damian never says who is right and who is wrong, and Ra's never gives him a chance to, as he decides to sate Batman's desire for justice by simultaneously punishing himself and escaping further punishment by flinging himself to the bottom of the canyon.

Ra's gets to be at peace, and whether that's deserved or not is unclear. But he got his big win, as it were, and in the final pages it seems one of his first acts after that was restoring the extinct species of wolves that meant so much to him. It's an ending that leaves the reader content and, while not a complete thematic resolution, is purposeful and feels right for the long and complicated story of Ra's al Ghul.

Also he canonically killed Elon Musk and Alex Jones in this continuity and labeled them among the 'top thirty greatest threats to the planet' so that's neat

[coreancitizen]

2022 Year in Review: My Korean drama recommendations

2022 went by so quickly, and I think that's partly because almost every week I had new episodes of shows to look forward to. I'm a bit of a contradiction: I don't have the patience to wait for a new show to be completed so I could binge it, but I (maybe not-so) patiently wait for episodes every week, haha. TBH, I find I'm more invested in a show and its characters when I watch a drama weekly. And there were so many characters worth the investment in 2022: Woo Young Woo, Queen Im Hwa Ryeong, the Oh sisters, Kim Yumi, Jin Do Jun and Jang Uk, to name a few.

I just want to make clear that, as in previous years, this is by no means a list of the best Korean dramas of 2022. These are merely my favorites among the ones I watched that premiered in 2022 (or ended in 2022).

You can find my previous roundups here:

2021: Year in Review 2020: Year in Review

YUMI'S CELLS 2

New season means new love for Kim Yumi (Kim Go Eun) as she begins a romance with co-worker Yoo Babi following her breakup with video game designer Goo Woong. TBH, I wasn't quite sure how I'd feel about the new pairing — I have a soft spot for Ahn Bo Hyun — but Jinyoung charmed me even before the series started. He and Go Eun have a sweet and natural chemistry that made me root for Yumi and Babi, even knowing how the relationship ended in the webtoon. Another thing I love about the series is its portrayal of Yumi's pursuit of her dream to be a writer — from the frustrations of earlier rejections to keeping it positive while faced with criticisms and the satisfaction of another job (book) well done. That shot of her jumping on the bed toward the end of the series was cathartic and the perfect cap to Yumi's growth. (Viki)

LITTLE WOMEN

This is NOT Louisa May Alcott's famous novel though it does share some themes and puts sisters at the forefront of the story. The Oh sisters — In Joo, In Kyung and In Hye — just want to live a life not steeped in poverty. So when 2 billion won falls on In Joo's lap, their problems are over, right? Nope. A multitude of troubles arrive as the sisters get entangled with a rich, powerful and corrupt family with a lot of unscrupulous allies. This series got me on the edge of my seat from the very first episode and the thrills and tension never let up until the end. I absolutely love how messy and chaotic the sisters and their relationships with each other are. They love but they also fight, annoy and block each other, LOL! Now please cast Kim Go Eun and Wi Ha Joon in an action comedy series or film and give them the ending on the sunny beaches of Greece that their characters deserve. (Netflix)

BULGASAL: IMMORTAL SOULS

This is the first drama that caught my attention last year, a fantasy with monsters, past lives, immortal love and families. It's the story of how the lives of a man (Lee Jin Wook) who was turned into an immortal monster 600 years ago and a woman (Kwon Na Ra) who has been dying and reincarnating for centuries have been intertwined. The world building is quite interesting and the central mystery keeps you guessing until the very end. Keep an eye out for familiar faces as people from the past emerge in the present. (Netflix)

A BUSINESS PROPOSAL

This romcom is adorable with a capital A. Shin Ha Ri (Kim Se Jeong) shows up to a blind date pretending to be her best friend and does her best to turn off a potential match by behaving outrageously. It's a schtick she and her chaebol best friend had cooked up a long time ago to discourage suitors. Unfortunately, the blind date turns out to be Kang Tae Moo (Ahn Hyo Seop), the young president of the food company where she works. And even more unfortunately, he's interested and now wants to marry her! Hilarious chaos ensues, abetted by the couple's adorable best friends (the second couple), her zany family and his kdrama-loving grandfather. You'll never look at an archaeopteryx (bird-like dinosaur) the same way again. (Netflix)

TOMORROW

This is a lovely, heartbreaking, oftentimes cathartic drama about people desperate enough to consider taking their own lives and the team of resolute grim reapers who work very hard to prevent their deaths. Comatose Choi Jun Woong (Rowoon) is the newbie in the Risk/Crisis Management Team led by Koo Ryeon (Kim Hee Sun). Lim Ryung Gyu rounds up the team. Head of the Soul Collection Team Park Joong Gil, despite being a fellow grim reaper, is a thorn on the team's side — he has a special animosity for Ryeon that may have something to do with the past. Fortunately, the team has a stalwart supporter in the Jade Emperor (Kim Hae Sook). (Netflix)

MILITARY PROSECUTOR DOBERMAN

Legal action drama with a touch of comedy is probably the best way to describe this series and it's the perfect leading man vehicle for Ahn Bo Hyun. Do Bae Man passes the bar with basically just a GED and so finds himself unable to find a spot in a decent law firm until he gets an "offer he can't refuse" from corrupt lawyer Yong Moon Go: Serve in the military for five years as a prosecutor and then join his prestigious firm after. The plan is going swimmingly until he crosses paths with another military prosecutor, Cha Woo In (Jo Bo Ah), who is targeting some members of the military brass for revenge after her beloved father's suspicious death. After long-buried secrets begin to emerge, Do Bae Man finds himself reevaluating what it is he really wants to do with his life. (Viki)

EXTRAORDINARY ATTORNEY WOO

Woo to the Young to the Woo! The series follows Woo Young Woo, a young lawyer on the autism spectrum. She's got a brilliant legal mind, able to see different angles of a case but struggles with day-to-day interactions. Fortunately, she has the people looking out for her, like her dad, her boss/mentor, her law school friend and, of course, the handsome support team member who might just have more than friendship in mind. Park Eun Bin is brilliant as Woo Young Woo, she truly gets you invested in her challenges and triumphs. The legal maneuverings are fairly interesting, especially when they involve a rival law firm and somebody from WYW's past. (Netflix)

ALCHEMY OF SOULS

In the land of Daeho, an assassin trapped in a blind woman's weak body encounters a young lord from a powerful family who needs help to unlock his powers. Interesting lead and supporting characters, solid world-building, fantastic sword and sorcery action? I was sold from the very beginning. At the end of the second ep, I was absolutely in love with the feisty Mudeok and her rather bratty young master/pupil Jang Uk who just wants his gate of energy opened so he can do what everybody can — cast spells and use a sword. There's a twist at the end of the 20-episode first season, and I guess your enjoyment of the second season would largely depend on how much you accept the change. But in both seasons, the crown prince remains quite the scene stealer and he's possibly my most favorite character of all. (Netflix)

UNDER THE QUEEN'S UMBRELLA

A truly female-driven drama — from the queen and the queen dowager down to the concubines and, yes, even the court ladies. The series begins with Queen Hwa Ryeong's biggest problem being the four grand princes' rather relaxed approach to their education, lagging behind the other sons of the king via his numerous scheming concubines. But tragedy strikes and the queen and her sons suddenly find themselves fighting to make sure they don't lose not just their positions but their very lives. Kim Hye Soo makes it so easy to root for the embattled queen who wields her position and her eyebrows skillfully to thwart ministers, concubines and her mother-in-law, the queen dowager. I also love that her sons, the four grand princes, are unlike other royal brothers in sageuks — they are close, affectionate and loyal, leaving the dirty tricks to their half-brothers. This series probably has the most satisfying ending among the ones I watched last year. (Netflix)

REBORN RICH

Yoon Hyun Woo is a hard-working, loyal, no-questions-asked employee of the powerful Jin Family, which controls the Soonyang Group. One day, on an overseas errand to retrieve some secret money, he is betrayed by someone in the family and murdered — but promptly finds himself "waking up" in the body of the youngest grandson of the Jins, back in 1987. How, you ask? I finished the series but that part is still unclear. What's clear is how charismatic and believable Song Joong Ki is as the twentysomething investment whiz Do Jun. And what an amazing actor Lee Sung Min, as Soonyang chairman and patriarch Jin Yang Cheol is. The push-pull in their relationship is what made the series work for 15 episodes. Not that the supporting cast members are slackers. This is one of the best ensembles I've ever seen, the actors really working to make these characters ones you'd love to hate. Some of the business stuff might put off viewers but I found the whole thing fascinating and easily understood. I cheered when Do Jun/Hyun Woo used his knowledge of the future as well as his relatives' greed to take pieces of Soonyang. I'm recommending this series but with a caveat: I found the ending a bit of a mess and rather unsatisfactory. BUT the previous 15 episodes are fantastic and definitely worth a watch. (Viki)

Bonus recommendations

I recently started dipping my toes into Chinese dramas, even though I'm still intimidated by the episode count. "Love Between Fairy and Devil" is sweet and hilarious and has fantastic special effects. (Netflix and Viki)

But my heart truly belongs to Li Wei and the sixth young prince of Xin State as they figure out family, politics and love as their "New Life Begins." (Viki)

Last but certainly not the least, "Pachinko," which even though it stars some of the biggest names in Korean entertainment is not considered K-Drama by its creators. Based on Min Jin Lee's critically acclaimed novel, the series — Youn Yuh Jung, Lee Min Ho and Kim Min Ha are key parts of the ensemble — follows the trial and tribulations of a Korean family over four generations. The story begins in Korea, moves to Japan and eventually spreads to the United States. The story is rich and emotional, the direction precise and the acting superb. It has been recognized in a lot of year-end lists and recently won the Critics Choice Award for best foreign language series. (Apple TV +)

[scandalsavagefanfic]

Hello! I am a huge fan of ur writing. I've loved everything I've read of yours. I've read alot of what you've posted, except for a couple of the tags that are squicky for me (so I'm very thankful you tag very thoroughly). No judgement for the squick, it's just not for me. & when I'm having a bad day, I usually just go thru ur ao3 and find something to reread. I think about Therapy's Bruce & Jason every damn day. While I obvs appreciate ur darker more "problematic" content (I really vibe with some of the themes you write about bc of my own trauma, & so it's very cathartic to read about in a fictional setting), I am truly a sucker for ur more happy content. The Happily Ever After verse also lives in my head rent free. Idk more wholesome stuff just seems more special when you write it. Anyways. I would die for you. But the point of this ask is cause I'm curious as to why you don't like Urban Legends? I'm sorry if you already talked about it here or on twitter and I missed it. I was just wondering because I really enjoy your take on things and would love to hear why you dislike it. I've been enjoying it so far personally, but I am always open to DC comics criticism.

Aw thank you so much! I'm so flattered by everything you just said. You're so sweet ❤❤❤❤❤

I haven't talked about Urban Legends here or twitter (I haven't been very active in either place lately. Just a lot going on and no energy 😔) but I'm happy to do it here.

Before I start though, I just want to add a standard disclaimer and make it clear that if you like it, there's nothing wrong with that and you don't have to let me ruin it for you lol. Like what you like.

That said, since you asked...

I said this when I was talking about it on discord, that there is a difference between hope and expectation. I always hope that a new story centered on Jason (or anyone really, but things have been especially egregious for Jay for 15 years) will be good or at least treat the character with a minimal level of respect (to be honest, the bar is super fucking low). But my expectations always temper my hope, to keep it from getting unrealistic. Because my expectations are based on experience.

The long history of Jason Todd, since even before his resurrection, has been one of retroactively trying to make him "a bad seed" in order to absolve Bruce of any responsibility in his death.

I don't even expect DC or their writers to start honoring the fact that Jason was not an angry, reckless Robin (and less of the later than Dick or Tim and definitely Damian). There plenty of ways that retcon can be folded into his history and be compelling and sympathetic. And if they're going to stick with that retcon, I'm only asking that they do it in one of those compelling and sympathetic ways because Jason was 15 when he died, heroically, in one of the most selfless acts in comics, to save a woman who literally handed him over to be brutally murdered. He was 12 when Bruce plucked him off the streets, he'd been homeless and fending for himself for at least two years. I personally think that Jason's story hits harder for him and Bruce if their original, canon relationship, of Jason as starry-eyed and eager to learn and absolutely devoted to Bruce and Bruce to Jason, is preserved. But Jason's origins does leave room for a meaningful interpretation of him as angry and frustrated at the lack of meaningful results of Bruce's methods.

And that's really where my irritation at stories like Batman: Urban Legends, Cheer and Batman The Adventure Continues has it's roots.

Every time one of these stories comes out, I think (or hope, rather) that this will be the one that remembers and respects the origins of the Jason and the Red Hood, that takes into account the changed sensibilities of comics readers in the 30 years since Jason's death and the subtle, 20 year, retroactive campaign to make him the "bad Robin". The "born bad" trope is played out and literally no one likes the message it implies. That some kids are just bad eggs and there's nothing parents or the adults around them can do. Especially when it's played as the kid's fault. If Jason's time as Robin is going to be characterized by anger, then it should be rooted in anger at the social injustices he witnessed as he grew up in an impoverished, crime-ridden, area and the horrors he faced raising himself when every day was a battle for survival. There are topical, meaningful, stories to tell with that backdrop.

But those are never the stories we get.

⚠⚠ Spoilers for Batman: Urban Legends, Cheer ⚠⚠

I'm particularly disappointed in Urban Legends because for the first issue, it looked like that was the kind of story we were going to get. I was put off by the first flashback of Jason being mesmerized by Bruce's guns, and I got that feeling in my gut that it was a bad sign. Jason depicted as impatient and overconfident and the scene with the guns is heavy-handed foreshadowing that got my spidey-sense tingling. I had a inkling then (in the first three pages) of how this story was going to play out, but it was early and I could still see many narrative paths that could lead to a satisfying story. My concerns were soothed somewhat and the little flame of my hope fanned, with the flashback of Alfred scolding Bruce, with Barbara's concern for Jason. A bit of worry returned with the way Jason ruthlessly pursued an addict who didn't appear to be a dealer and with the ending of the issue. The stuff with the addict sat wrong with me but the ending was tempered some by how despicable Tyler's dad was written. The scene was clearly set so that the reader could sympathize with Jason's decision and the scene with the addict could be brushed aside as a side-effect of comics over-the-top need for constant action, so I still held hope.

Issue 2 made me uncomfortable and it's where my hope starts to take a backseat to my expectations. I can dismiss Jason's self-deprecating internal monologue as unreliable narration, except that the flashback reinforces his thought process to explicitly show that it's not unreliable narration, and should be taken at face value. Jason faces physical abuse at the hands of his mother's drug dealer and when the flashback continues later, Jason kills the drug dealer. To be clear, this is a pre-Bruce Jason. His mom is still alive. He's like... 10. He kills this guy for shoving his head into a wall and implying Jason's mother paid for her drugs with sex. This is a scene that serves a single purpose. To show that Jason has always been prone to violence.

In the spirit of full disclosure, there is the small chance the drug dealer might not be dead. But the story obviously wants the reader to think he is, and it hasn't done anything to change that yet.

Starlin already did this story with The Diplomat’s Son in 1988 and he did it infinitely better. AND that’s still technically canon. So now I’m supposed to believe that Jason lost his cool bad enough to kill two douche bags before his sweet 16? Like it’s totally normal for abused kids raised in poverty, who’ve led hard and heartbreaking lives to just... haul off and kill people? That’s bullshit, and when taken with the Jason in the third issue, who is little more than an idiot thug, this story is really doubling down on some fucked up stereotypes.

Which brings us to the most recent issue. I went into this installment with very low expectations. I thought this story was going to be about Jason, through this experience with Tyler, a young boy with a similar background to Jason's, coming to the realization that Bruce's way is the best way and that Bruce did his best by Jason.

That would be annoying (in no small part because it takes increasingly absurd levels of plot armor to keep Bruce's no kill rule relevant, let alone irrefutably right). But I can probably live with that, if only because maybe if Jason officially falls back into line with the Bats crusade, maybe I'll get stories that treat him with respect, stories that don't relegate him to comic relief, dumb brute, or a background body with no lines in a story about the Joker burning Gotham (like Jason would just fucking stand there quietly for that).

And that may still be where the story is going, Jason realizing Bruce is right.

But holy shit do I not have the right words to describe how fucking insulting and gross issue three is.

From start to finish--including the flashback--Jason is written as cruel and fucking stupid. Like straight up dumb.

The entire issue is Bruce explaining the fucking basics to Jason like it's his first day. And Jason flies off the fucking handle and terrorizes a doctor he knows isn't a part of making the Cheerdrops, beats the shit out of some random addicts, and finally, when he can't accomplish anything on his own because he's a dumb brute he calls Barbara for help and rushes in with no information where he's promptly incapacitated and must now wait to be rescued by Batman.

This panel is the least of the issues sins but I can’t screenshot the entire story but it’s representative of the tone for the whole issue (and retroactively tainted the prior two issues).

This is beyond insulting. The only conclusions Jason comes to in this issue are the ones Bruce leads him to by talking to him like he can’t make the simplest connections. And like... in this story Jason can’t make the simplest connections.

This (and the Jason throughout the entirety of this issue) is a far cry from the Jason we fell in love with in Under the Red Hood, who was competent and strategic and intelligent enough to seize control of Gotham’s underworld from Black Mask (who’s no fucking slouch, he’s the first and only person to unify organized crime in Gotham) AND elude and manipulate Bruce until the time and place of his choosing.

This is a far cry from even the Red Hood and the Outlaws Jason who is competent enough to fight the League of Shadows and Ra’s al Ghul (among very dangerous and skilled others) and smart enough to create antidotes for mind control nanotech viruses.

As he should be, by the way. Jason Todd is one of the best, most comprehensively trained fighters in DC’s stable of non powered vigilantes. He’s not irrational or hot headed. He’s pragmatic, tactically minded, and patient. He’s a detective. Right now. Has been since he was 12. Bruce doesn’t have to make him one because he already is. 

Jason is not a stupid thug who uses his fists because his brain doesn’t work. And I can’t tell you how so very exhausted I am by this narrative. 

This is actually the most egregious example of Jason’s skills and intelligence being not just undermined but dismissed entirely. Even Morrison’s Jason had some degree of competency. 

The one, single redeeming factor of this story is the art. It’s beautiful. And Marcus To is a godsend he seems to be one of only a couple of artists who remember that Jason was a child when he was Robin and I’m literally only buying this book because of him. 

Anyway, I’m sorry. I didn’t want that to come out so... um... passionately lol. I’m just very very tired. My intention with this isn’t to ruin it for you, if you like it, that’s fine. 

But this issue shot this story to the top of my "Vehemently Despise” list. 1) Batman: Urban Legends (Cheer), 2) Battle for the Cowl/Morrison’s Batman and Robin, 3) Batman The Adventure Continues.

I hope the next issues somehow salvage this dumpster fire. But I’m not expecting it.

(Damnit. That sounded harsh again. To reiterate, I’m not trying to judge anyone who enjoys it, I just personally hate it and you asked me why lol 😅)

[mk-wizard]

Big Hero 6 The Series: It could have been better

Hello, friends. Today, I will be analyzing a TV series based on a movie that I fell in love with for its colourful themes, deep plot, compelling characters, great CGI and memorable messages. Before I get into it, I want to take a moment to say that I have quit doing videos. They are too big of a pain in the petunia to make and I write better than I speak, so I will stick to writing essays, reviews and more. Anyway, onto the analysis.

All I can say about Big Hero 6 the series is that it had a great concept, it presented some great ideas and tried hard to be a cartoon of the times, but it could have and should have been a lot better. The show’s downfall all centers around trying too hard to be kid friendly which makes the shame sting all the more because Big Hero 6 was already kid friendly even with its dark themes, sharp edges and intelligent writing. If anything, even the brightest kid friendly cartoons (Steven Universe, She-Ra, etc.) had those things and actually benefitted from them. By needlessly trying too hard, character development got scrapped, the edges were all smoothed out, storytelling was subpar, the humour was too silly and the executive meddling in the end produced a dismal final season. However, I don’t want this analysis to be one lengthy negative rant about how awful the series was because in its defense, awful is an unfair word. It did have potential and ideas which are worth carrying over to a reboot that I hope will be done someday in the future. Also, we should root for a reboot because Big Hero 6 would not be the first story that needs it before striking gold. Just look at how many times Spider-Man was rebooted in film before MCU found the version that worked. Anyway, I will list all the things in Big Hero 6 that could have been better in my opinion;

1- Go easy on the laughs and be more generous with the action. - I love adding comedy to my own writing because I think a good sense of humour makes everything better, but Big Hero 6 is not a stand up comedy routine. It is a superhero story where we expect action, suspense and life or death situations that are to be taken seriously first. The comedy should be for relief and with the right timing. Also, the chibi cutscenes and having characters act like fools aren’t funny. Ren and Stimpy are the exception not the standard and their way of making you laugh doesn’t fit an action series. In a show as big as Big Hero 6, real life physics and danger matters.

2- Make the villains menacing and gritty. - I admit that after having a movie villain like Yokai who was the stuff of nightmares, it is going to be a challenging act to follow, but it was obvious that the writers were trying especially with some villains who could have easily gone into some dark relatable territory. For example, Mr. Sparkles (the gentleman in the photo above) embodies social media and Internet personalities. Right off the bat, you have a long list of things which embody the dark side of that like scams, fraud, using social media to dox or harass, driving people to suicide, online predators, the Internet personalities being very depressed people in real life, and much more horrifying things. When you stop and look at it, Mr. Sparkles even looks like the Joker which hints how dark and scary he could have been if the stops were removed. The same goes for enemies like Hardlight who embodies online gaming, Liv with cloning, Obake an amoral and insane scientist, and Trina and Noodle Burger Boy (more on him later) being evil robots. Globby especially should have been painted and written in much darker colours rather being played off for laughs because he has many parallels with Clay Face. The only two villains who I can say were supposed to be campy, charming and comical were Baron Von Steamer and Supersonic Sue because they were a satire of the Adam West style villains.

The rest of them needed to be dark and threatening including Mr. Sparkles. In fact, I would love a rebooted version of Mr. Sparkles who gives me the heebie-jeebies. Going back to Noodle Burger Boy, I must confess that I was actually excited when I heard that he was going to be the main villain of the final season because I thought he was going to fulfill his master’s final wish and as a reminder, Noodle Burger Boy was based on a super robot for military purposes.

It would have been fantastic if Noodle Burger Boy was upgraded into a full military war machine with a new threatening look. For that, I think all of the villains deserve to be rebooted and have their full potential unlocked for better or for worse.

3- A show about geniuses merits genius level art quality. - I am usually forgiving towards art styles, but in the case of Big Hero 6, the oversimplified style with minimal details and lack of textures did not suit the show. The characters blend in with the background which makes them look flat and the special effects were extremely dulled down. I also know for a fact that Disney can do a lot better than this because I saw how superbly Tangled the Series was drawn.

You can see and almost feel the difference in quality, the number of layers and level of detail between the two styles. I think there was no excuse Big Hero 6 was not done in the same style and at the same level if not better as Tangled.

3- Don’t dumb down or flanderize amazing characters. - I absolutely detest it when characters are flanderized because it makes them one dimensional and grating. For example, Go Go is tough as nails and extremely calm, but she is not cold or hesitant towards helping her friends. She doesn’t require very special episodes for us to know that. If anything, the movie version of Go Go reminded me a lot of Garnet in how she deconstructed the broody character. She isn’t cold or emotionless. Just calm and mature. Another good example was how Honey Lemon was rewritten to be overly positive to the point of toxicity, naïve and oblivious with a juvenile obsession with stickers. Then you have poor Fred who was rewritten to be an incompetent fool. The spark that makes Big Hero 6 shine is that they are a team of geniuses meaning they are all intelligent. Even Fred is genius in his own way just not a scientific one. He has a vivid imagination, he is resourceful and can get himself out of tight spots. Please, don’t turn characters into dummies especially if their intelligence is a part of them. It doesn’t make them better or funnier. It ruins them.

4- Tadashi needs closure and honour. - I am all for Hiro making peace with the loss of his brother, but Tadashi is to the Big Hero 6 team what Uncle Ben was to Spider-Man. His loss was the catalyst if not the reason. He should never be forgotten. Moreover, there was never any true closure to him especially with the possibility that he may still be alive up in the air. After all, like Callaghan, his body was never found and it turned out that Callaghan was still alive.

With that said, who is to say that Tadashi was not secretly still alive and just hiding or being hidden? This is something that Disney really needed to clear up if not for the fans, then at least as a service to such an important character. Never just forget about them.

5- The format can only be episodic with a deep plots, continuity and character development. - Random episodes with a mere monster of the day is an outdated format which doesn’t fit Big Hero 6′s modern and bright setting. In seasons 1 and 2, when the episodes were plot heavy with character development, the series shined brightest. It also helped move the story along, but with the final season, plot was removed, closure was abandoned or poorly written if any was given, and characters were disallowed from growing. A good example at how plot and character development could have made this series and its characters better was the relationship between Hiro and Megan. Would it have truly survived or would they have broken up?

Would Richardson Mole have eventually lost interest in his obsession with besting and bullying Fred or would his obsession consume him compelling him to become a super villain? I do see quite a few similarities between Mole and Reverse Flash.

Then you have Karmi who is in my opinion, the biggest wild card of the bunch. She was intentionally introduced as an arrogant, prickly and unlikable yet complex character who rivaled Hiro bitterly.

Yet had a huge crush on his alter ego and as time went on, started to grow up and even form a friendship with Hiro. What would have happened further down the road with her? Would she have become a super hero herself? Or maybe even another love interest for Hiro kind of like how Black Cat is for Spider-Man?

Is Obake really gone?

What does the future hold Diana (Liv’s clone), Liv herself or the Sycorax the genetics company?

Is Alistair Krei going to become an ally to Big Hero 6 or an antagonist? There is also the issue at how little we know about the other Big Hero 6 characters other than Fred, Hiro and Baymax. What are Honey Lemon, Wasabi and Go Go’s backstories? These questions matter and while not every mystery can be solved, leaving none of them solved is lazy writing.

6- Executives, kindly stay out of the writing and any other part of the creative process. - I’m sorry, execs, but there is no nice way to say it. History itself proves that every time executives got involved in the creative process of any media, it got worse not better. Leave the writing to the creative team and the execs should only handle the legal stuff. Please. We understand that TV is a business, but writing itself is not. It is an art which you just don’t have a talent for. Let the creative people do their thing with the freedom necessary and you do your thing, deal? Deal.

7- Focus on Hiro and Baymax. - The are the main characters so keep them at the heart of the series no matter what happens around them. That is all I can say.

And that sums up all the things that could have made Big Hero 6 the series better, but this is all just my opinion. What is yours?

PS: I am well aware that the Big Hero 6 series is being retconned because a new series called Baymax is in the works as well as the long awaited sequel to the first movie. I am looking forward to both with an open mind. PPS: I also am aware that some people liked this show the way it was including the art style and I am cool with that. An analysis for art that includes cartoons is never right or wrong. It is solely based on opinion. I may have thought this series could have been better, but there are people who make arguments that it could have been worse.

[sokkabaddiebender2021]

An ATLA Rant: Imperialism & Nuance

Just to start off, this is coming from a girl who’s grandmother was Filipino. No, I have not personally experienced imperialism in my lifetime, but it is a subject that I think is very serious and important to me because of my heritage.

That said, I have absolutely zero idea how you could watch avatar: the part airbender and come out of it saying that it is pro imperialist. Absolutely zero.

I agree because this is a pan Asian inspired show that was written was created by two white men (with the help and advisement of several poc as well but that is a topic for another time), people, especially people of color, have every right to be critical of it. But this argument that the show is somehow pro imperialist just doesn’t make sense to me.

The fire nation is in the wrong. The show makes that VERY clear. Their actions towards other nations is called out by several characters (Zuko, Roku, etc). Their destruction of other cultures (southern water tribe, air nomads, attempted earth kingdom) are seen as diporable and downright inhuman. Not only that, but we see the devastation this cultural genocide brings upon main characters like Katara and especially Aang and how they must heal from it.

Moving on, the show absolutely was not teaching people to stand docile and peaceful against their oppressors. Katara and Aang literally destroy a whole fire nation factory!! When the fire nation was attacking the northern air temple, they were kicking their asses off the cliff!! They planned a whole invasion to attack the fire nation capital to end the war!! (Let’s not forget Katara incititing a riot against the fire nation in the imprisonment episode with the earth benders). I could on and on about all the times the gaang meets the fire nation with violence and encourages others to fight back against them, but that would be going wayyy too in depth.

I think where people get far too simplistic here is that they think that atla is telling people to not use violence against their oppressors because the show is critical of people like Jet and Hama. First of all, the characters are given a lot of nuance in the show. Both are introduced with tragic backstories of the horrors that the fire nation inflicted upon them (I still get chills with the scene when Hama explains her story).

Despite this, both characters have every chance to use their abilities to fight back against the fire nation in a way that helps. You know, like fighting against the army and not innocent people who have no idea that the fire nation is actually in the wrong. The narrative is not that violence is bad! Peace is the only way! I think it’s that you can’t let your veagance lead you away from fighting the right people. That’s the issue: neither Jet and Hama were fighting the right people.

And we first see both characters fighting soldiers in their first scenes. Hama in the flashback when she’s defending her home (and rightfully uses violence to do so) and Jet when he helps the gaang take down some fire nation soldiers in the forest. This is just violence directed at the right people. But instead, both attempt to murder and in Hama’s case, torture people who take no part in the atrocities the fire nation has committed. Are they ignorant? Well of course they are because as we very obviously see, they’ve been fed propaganda their entire life while also living under an authoritarian regime, something that’ll give you no will to think other than the things that are spoon fed to you.

So let me ask you this, was it right for Jet to try and murder an entire village of innocent people, literal children included? Was it right for Hama to imprison and torture lord knows how many innocent citizens just because they belong to an nation that they have no actual knowledge of its evil? I’m hoping your answer is no, and the show would also say no as well.

When both Katara and Aaag choose not to kill, the narrative is not saying that they shouldn’t kill these men. The narrative allows both characters to make their own choice in what ways they wish to do, and it has nothing to do with what is actually right or wrong, because ultimately it is up to what each character wishes to do. Katara sees Yon Ra as the pathetic old man that he is, so she sees no purpose or healing for herself in taking his life. This is a personal choice made for herself, and that is all that matters.

The same goes for Aang. This poor boy is desperate to uphold the beliefs of his people, so he finds another way. A way that still upholds his beliefs while still ending the tyranny of Firelord Ozai. It is ridiculous to say that this is a passive take to imperialism, because yes he doesn’t literally murder someone but he still takes the dude out. And honestly, Ozai’s fate is worse then death (especially considering who Ozai is). Once again, the narrative is not saying be passive to your oppressors and don’t use violence. Its saying that because Aang is living in a world where his beliefs have been forcefully removed and disrespected, he has every right to continue to defend them in the ways he sees fit.

While some may see the narrative as more sympathetic to Iroh and Zuko, I think it’s just because they ARE some of the main characters of the show, as compared to those like Jet and Hama. We see much more of their story just as we see much more of the gaang’s story. Not only that, but their narrative purpose is far different from these two other characters. Iroh and Zuko are meant to show that despite them being from the fire nation, they are not inherently evil people. Jet and Hama are meant to show that even while they are against the antagonistic force of the show, they still can commit evil. Not only are Iroh and Zuko’s actions never justified, but they both must go on a journey to unlearn the hateful propaganda instilled into them, and remedy their ignorance. The narrative never says that neither Jet and Hama cannot also redeem themselves, but Hama feels no remorse for her actions, and Jet does attempt to redeem himself, but ultimately falls back into old habits (I believe he could’ve redeemed himself, but I’ll agree the writers were a bit sloppy in his end, like I’m not sure why they had to kill him other than to make him a tragic character but whatever).

To finally wrap up this essay, ATLA is not a black and white show. The show is not pro imperialist for condemning the violent actions of two characters who happen to be victims of imperialism. The show is not pro imperialist for allowing two children to decide for themselves whether or not they want to end the lives of someone. The show is not pro imperialist for not making the antagonist of the show a one note and one dimensional bad guy.

I’ll end this with the speech that Zuko makes to Ozai when he prepares to leave on Day of Black Sun:

No, I've learned everything! And I've had to learn it on my own! Growing up, we were taught that the Fire Nation was the greatest civilization in history. And somehow, the War was our way of sharing our greatness with the rest of the world. What an amazing lie that was. The people of the world are terrified by the Fire Nation. They don't see our greatness. They hate us! And we deserve it! We've created an era of fear in the world. And if we don't want the world to destroy itself, we need to replace it with an era of peace and kindness.

[bigskydreaming]

I agree with everything you said in the last post but especially the Damian part.

Like I don’t know why people treat it like Dick had to choose between two toys and he chose the shinier model. He was in a situation where a 9/10 year old child was going to go back to a murder cult if he didn’t find a quick way to sure he stayed. And no option was good if Damian left. It was either Ra is going to steal his body or would become a powerful supervillain who would resent the whole family and between that is a whole lot of child abuse. It not like Dick had all the time in the world to figure out a different way for Damian to stay he had maybe like a day. 

Also we never actually got to see Dick’s view on the situation only Tim’s because the only time we got to see that conversation was in Red Robin ( which might be wrong but I’m pretty sure I’m right). Tim was having a slight mental breakdown so maybe not the best narrator. 

Like, the ONE thing I'd love for people to keep more centered in the varying discourses about Dick, Tim, Robin and Red Robin, is that like.....

The writer himself had Tim and Dick reconcile and work together in the aftermath of Tim leaving because he was upset.

It really doesn't get mentioned enough IMO that at no point in the actual canon stories was Dick ever oblivious to Tim being hurt, uncaring of this, nor did the canon ever try to claim on Dick's behalf that he DIDN'T hurt Tim, y'know?

I talked earlier tonight about the importance of remembering that these are fictional characters who can not CHOOSE any actions for themselves, but rather are ruled entirely by what the writers choose FOR them.

And the thing is.....for all that Dick is often characterized in fanfics as being oblivious or uncaring to having hurt Tim, or say that he kicked Tim out of the house and the city, or that he called Tim crazy or that he chose Damian OVER Tim or all these other things.....

None of those things say anything about Dick or what kind of character he is, despite the fact that fanon and fics have made a huge deal OUT of running with the idea that THOSE acts in fact say a LOT about Dick's actual character or whatever.....

But like, the point is not just that none of those things say anything about Dick simply because they're not how the canon went....

JUST as important, IMO, is the fact that none of those things are even in the BALLPARK of saying anything about Dick's actual character.....

Because the actual canon was written the way it was for the sake of TIM'S story. It was never about trying to make Dick look good, the events played out the way they did because the writer INTENDED there to be conflict between the brothers about it! Dick didn't find some magical way of ensuring that he delivered the news to Tim in the absolute right way possible because he just didn't care enough about Tim's feelings to do so....Damian delivered the news to Tim in the absolute worst way possible BECAUSE the writer WANTED the chasm between Dick and Tim.

THE CONFLICT WAS THE STORY!

And just as importantly.....the same writer who caused the conflict also RESOLVED the conflict. In his own same stories. Tim and Dick may have never hashed over every single detail of Tim's issues with Dick, but there was CLEARLY a reconciliation. Tim showed his forgiveness, his understanding of why Dick had done what he'd done and the fact that he'd made his peace with it, in a variety of ways from telling Dick he still had his trust, joking with Dick in SPECIFIC ways that called back to personal in-jokes that they'd had since the 90s -

(and that in fact were originally written by the same writer....like, the Brady Bunch jokes are a SPECIFICALLY Fabian Nicieza thing, as in he's the only writer who has EVER had Dick and Tim having that particular in joke between them, and he established it when he first wrote Tim, when he and Dick were great during Tim's time as Robin in the 90s. Tim calling back to those jokes during Red Robin and specifically reinviting memories of some of his favorite moments with his brother HIMSELF, like was as clear a peace gesture as you can get, IMO.)

But point is....the conflict happened the way it did, because it was MEANT to happen. There was supposed to be conflict, so by that very token, Dick wasn't MEANT to find the perfect way to handle the Robin situation that made sure Tim didn't suffer any negative feelings about it.

The reason its lasted so long as discourse in fandom was that regardless of the fact that the writers and characters both showed a resolution to the conflict that was deliberately sown to BE a conflict in the first place....

Fans of Tim decided this resolution wasn't adequate enough.

And so the events of it have been tweaked endlessly, as has the fact that the brothers reconciled itself, in order to keep this conflict extended far beyond the parameters or duration of the ACTUAL canon conflict its based on....with Dick further exaggerated into this uncaring instigator because the conflict FANS wanted was one in which Tim was Dick's victim in a way that he was never intended to be by the initial source conflict, which wanted BOTH characters to be somewhat sympathetic but now turned into a one-sided thing where only ONE character is 'deserving' of sympathy.....

But the problem is....that wasn't the story. And this wouldn't BE a problem, due to it being fanfic and fanfic being innately transformative, if not for the fact that people keep trying to point to canon actions as the proof of conclusions they're drawing about Dick's actions in the FANON conflict.....when the only thing the canon actions are meant to serve as the foundation for, is the conflict which ACTUALLY happened AND was resolved in canon!

And the thing is, a lot of fandom have done a lot to compare this situation to Dick losing Robin in the first place, but without actually leaning into that comparison in order to examine how Dick truly felt about that then, and ACTUALLY make it the comparison they're raising it as.....

(people can't claim that they've done this if they themselves are calling the situations parallel and yet clearly holding Tim and his feelings as innately more sympathetic and deserving of understanding than they're willing to even retroactively apply to Dick in the very situation they themselves have invited comparisons to....like if you're STILL calling for Dick's head for what he did with Robin here in a way that you're not having any characters anywhere, even just in reference or passing say that Bruce deserves being chewed out for to similar degrees.....your comparison is rigged from the start, it just is)....

But ultimately at the end of the day, there IS an answer for why Dick wasn't more careful and studious in his handling of the Robin situation....and that answer, for better or worse, is that he wasn't MEANT to be. The handling exists the way it played out, because it was meant to engender a specific conflict, one that was then resolved to the satisfaction of the story's writer.

If that wasn't to the satisfaction of fans, that's understandable! No story ever satisfies all fans!

But the problem is, the transformative nature of fanfic cuts two ways. And this is what people so often conveniently overlook when they cite that you can do anything with fanfic and that its subject to everyone's personal wants and agenda.

Like this is all perfectly true. But what people CAN'T do, is forbid others from drawing conclusions based on what decisions you do and don't make with fanfic.

And the problem with the Red Robin discourse, is we have a conflict that was engineered from the start, and negatively impacted a particular character aka Tim.

And the resolution the canon offered didn't satisfy the itch a lot of Tim's fans had for that particular conflict.

But the thing is.....there's two entirely different ways to tweak a conflict with fanfic.

You can make it BETTER.

Or you can make it WORSE.

And nine out of ten times - with this being especially obvious when you keep in mind that the canon itself DID CREATE RESOLUTION TO ITS OWN CONFLICT - its very apparent that a lot of fans just were not interested in making the resolution of this conflict even BETTER than what we got in the canon.

See, because the reason it happened in canon at all was NOT in fact because Dick was just as uncaring and neglectful as FANON of this conflict makes him out to be....since the reason it happened that way at all was ONLY because the writer needed it to happen in SOME way that sowed conflict between Tim and Dick and sparked Tim's solo journey of self-discovery.....

The only real way to BETTER resolve the conflict of the Robin mantle transition...

Would be for Dick to specifically approach Tim in such a way as to take his feelings about the matter into account and make his argument for why he felt Damian needed this now.

And that's something that's ABSOLUTELY easy to do, because the only reasons things DIDN'T happen that way in the first place, was circumstantial! Because the story was PLOTTED to have Damian spill the beans before Dick even had an opportunity to talk to Tim one on one. Changing a story's direction born of circumstance is one of the easiest things to do with fanfic since all you have to do is write different circumstances! Nobody's character even needs addressing there, because no character is inherently flawed for that story happening the way it did....that's why the story WORKED, in canon! Dick just circumstantially wasn't given even an OPPORTUNITY to be as conscientious about the matter as we would have liked him to be.

Easy, EASY fix with fanfic.

But that's not what fanfic tends to do with this particular story point, is it?

Instead, we get constant worsenings of Dick's motivations, Dick's choices, Dick's reaction to Tim's response, etc, etc.

The slant is entirely one-sided, aimed at making Tim not just more sympathetic, but Dick LESS sympathetic. Making it a nuance-free example of not even two brothers fighting in the face of their mutual grief, but one being VICTIMIZED by the other's willful ignorance of their feelings and loss, while simultaneously demonstrating none of the same himself.

And that's a choice that tons of fanfic writers have made, and they GET to make that choice, but what doesn't get to happen is making everyone else pretend that this was the only way the story COULD have gone, the TRUE resolution it deserved and the thing that ACTUALLY said something indicative of Dick's character.....

When not only were there these other opportunities to resolve the conflict in ways better for BOTH characters....the resolution of the actual conflict is considered irrelevant even though creating a conflict that could be resolved in story was the ONLY reason for the characters making the specific choices they made in the first place!

The discourse is literally all just born of people using the slight against Tim's character as an excuse to make Dick's character look worse. IMO to distract from the fact that this happened at all, because the real gripe was with Tim not being Robin anymore but there was no way to unilaterally decry that WITHOUT making the case that Damian should never have been Robin, and most fans I think recognize that would have been a nonstarter, discourse wise. There’s no rolling the clock back on a new Robin EXISTING, that’s been proven conclusively in the past. Once a character has been a Robin, you can’t argue away their right to ever be one period. If it couldn’t happen with Steph, despite the shortness of her Robin tenure and the smaller size of the girls’ fanbases relative the various Batboys (and let’s not pretend a disparity doesn’t exist there), then it wasn’t going to happen with Damian. So fans made their displeasure known in another way - venting it on the character that precipitated the changing of this particular guard.

And the thing is, ultimately, for all the comparisons made to the Bruce and Dick Robin debacle, they all fall short of being valid given two fundamental differences:

1) Canon has one hundred percent refused to ever fully address the conflict Bruce created in story when he fired Dick or just gave Robin away to Jason, with the only time its ever really been addressed in the comics being when Dick came to confront Bruce about it and Bruce made no form of actual apology or recourse, but instead ultimately just yelled at Dick about missing him and then told him to go. Which umm. Yeah. Oh, the resolution of it all.

2) The other key difference being that while there are certainly fans who have used these story points simply TO make Bruce look worse, the same as I'd argued happened with Dick in the Red Robin scenario.....it is still undeniable that there are a sizable number of fans such as myself who have always insisted we only raise this particular story element because we WANT to see better or actual resolution of the conflict raised in story - aka Bruce firing Dick or just giving away Robin - AS WELL AS being very clear on a perfectly easy way TO showcase better resolution: just having Bruce fucking OWN HIS ACTIONS AND APOLOGIZE FOR THEM.

So even with the awareness that while ultimately both Robin turnovers only happened because the writers chose that conflict happen, they remain incomparable in my mind purely because only one of them was ACTUALLY resolved or treated as resolved in canon, and like.....the other one is the only one that actually has fans continuously making the point of what story actions can actually be taken in meta, headcanons and fics, TO create the resolution we want.....whereas the other conflict will never be resolved any better than it is in canon, because the people who keep raising the conflict don't even want to acknowledge that it even WAS resolved in canon at all, because that would defeat the entire purpose of continuously worsening the conflict specifically TO create reasons for a continued grudge against Dick's character.

And you flat out just can't ever resolve a conflict that people ultimately WANT to exist.

[swordlesbean]

rewatching the first 3 eps is kinda frustrating at how much Adora does NOT think about Catra covering for her not even once while she's playing around in beds, plays pinata, eats good food etc, she's gone for days and like Catra says later didn't even think she was taking the fall for her damn. and didn't even spare a glance at Catra while celebrating with her new driends at selinas

This is actually something I've wanted to talk about for a long time, so thanks for giving me an excuse to finally do it! I think when people are annoyed with Adora for supposedly not thinking about Catra in early s1, they aren't giving full consideration to Adora's perspective during that time period. She's, uh... dealing with a lot, to say the least. There's been a fair amount of analysis about Catra's perspective during this time, but not nearly as much about Adora's. I will try to remedy that here, in my typically long-winded way.

Let's take it from the beginning. Adora touches a mysterious sword in the woods that gives her visions and makes her black out. She’s still having these visions and hearing voices when she’s back home, so she sneaks out at night to find the sword again because she wants answers. Reasonable. She plans to be back by morning, but she asks Catra to stay behind because she doesn't want Catra getting in trouble on her behalf in case something goes wrong. Also reasonable. Boom, nothing goes according to her plan, and everything goes wrong.

Adora finds the sword, but runs into Rebellion soldiers. She tries to fight them for the sword, but when she touches it, she has another vision and blacks out again. She wakes up with her hands tied, a prisoner. She bides her time instead of trying to escape because she still wants the sword. During this time, she's told information that conflicts with what she knows about the Horde, and oh yeah, she somehow randomly transforms into an 8-foot-tall legendary warrior princess. Then she and her captors get chased by a giant spider to an abandoned temple, which she’s able to open because she can apparently read a long-dead language, but then they’re trapped in the ruins.

Once they get out, she’s no longer being held captive, so she can now go back to the Horde. But she needs answers and decides to go to Bright Moon so someone can give her an explanation for all this crazy shit happening to her. At this point, is she thinking about Catra and what might be happening back home? No. But frankly, there is a lot on her plate! Like, life changing stuff. She can turn into a princess! But princesses are evil and the enemy! But this angry sparkly princess and nice archer guy are saying the Horde are actually the bad guys? What is going on? What is she?

Adora still intends to go back to the Horde, but she feels she can't do that until she gets more intel about what happening to her and what it means. She’s always wanted to know more about where she came from. This may be her only chance. And even though her overprotective streak sometimes makes Catra think she feels otherwise, Adora absolutely believes in Catra and knows she's smart and resourceful and can handle herself, so it doesn't occur to Adora that there's reason to worry.

Then Thaymor happens. They stop there for transportation, but Bow insists they stay for the party because he realizes Adora's life has been utterly depressing, and he wants her to experience something nice. I think it's pretty harsh to hold it against Adora that she gets excited and awed and distracted by encountering a party and eating good food for the very first time in her life ever. Can the girl please be allowed to live a little? Like, she's an anxious, guilt-ridden, duty-burdened mess 90% of the time, so let's maybe not blame her for having a good time for once.

That good time is pretty quickly ruined anyway. Reality ensues. The Horde ensues. Catra ensues. But even as Thaymor is attacked, Adora thinks it's a mistake. It's bad intel; she just has to explain, and the Horde will stop. It's only when she comes face to face with Catra that she understands the truth about the Horde and makes her decision to leave. Let’s be clear on this: Adora doesn't just leave the Horde without any consideration for Catra. Catra isn’t an afterthought here, she is literally standing right in front of Adora when Adora makes her decision.

Thaymor from Adora's perspective is finding out that her whole life has been a lie and that she doesn't know her best friend as well as she thought. What Adora sees is Catra being part of an attack on defenseless people and seeming to have zero concern or regret about it. What she perceives is Catra refusing to join the good guys and choosing to remain part of a lying, destructive army despite the truth of a burning village in front of them. What she feels is Catra disregarding her decision to leave and tasing her in the back as she tries to walk away.

It's important to remember that in this moment, Adora feels betrayed by Catra as much as Catra feels betrayed by Adora. People always talk about Adora breaking their promise by choosing to leave, but Catra breaks it too by choosing to stay. They both make decisions that hurt the other, and they both feel abandoned.

So that's what Adora is carrying with her in regards to Catra in early s1. She's internalized this betrayal, these hurt feelings, but she's also really trying not to let herself feel any of it. Not just because it hurts, but because it’s what she’s been taught to do. She’s well-practiced in denying herself, denying her pain and her wants and needs. This trait of hers is given specific attention in s5, but it's a necessary lens to view Adora through in every season. She won't ever put herself and her feelings first. She doesn't think she's allowed to be weak, to feel hurt and express that hurt, not when more important things are at stake. Shadow Weaver always said her feelings for Catra were a problem, and for the first time, Adora agrees, so she tries not to feel them.

She can also avoid thinking about Catra because she has so much to distract her. Catra is still in the Horde, surrounded by reminders of Adora, so it's impossible for her not to think of Adora. But Adora's situation is different. She's in a new environment, suddenly overwhelmed by a huge destiny and all these new experiences and stimuli and social dynamics she has never experienced in her life. So she puts all of her attention into learning the rules and expectations of this new life. She hyperfocuses on her duty as She-Ra.

That doesn't mean there aren't reminders of the past. Adora doesn't feel comfortable sleeping alone, and the clear implication is that she can't sleep without Catra. She isn't "playing around in beds," she just has no idea what to make of a soft bed because she's used to austere conditions. And she's certainly not able to forget what the Horde represents to the people she's now living with. She gets run out of Bright Moon because of the Horde symbol on her back, and she receives a thinly veiled threat from Angella in front of Micah's portrait. She doesn't feel secure in her place in the Rebellion, so she's definitely not going to talk about missing anything or anyone from the Horde, however much of it she actually lets herself feel.

Salineas is the first time Adora encounters Catra after Thaymor, and the wounds from that confrontation are still fresh. She asked Catra to come with her then, but all it got her was a taser to the back, so she's not feeling too charitable towards Catra and isn't keen on reaching out again. She's completely in She-Ra duty mode, trying to restore the Sea Gate to protect the kingdom from the Horde. But then, Catra isn't making real efforts to try and bridge the gap between them either. In fact, from Adora’s perspective, she appears to be perfectly happy widening it. 

While Adora is fixing the gate, she’s getting hit with electric feedback and also can't risk moving or fighting back, but that doesn’t stop Catra from lashing out at her. Catra mocks, scratches, punches. Even when she softens up a bit, she talks like Adora is just going through a phase. She's trying to convince Adora to come back to the Horde, but in the same way Adora wasn’t thinking about what Catra might face by covering for her while she was away, Catra’s not thinking about what it would actually mean for Adora to come back, the terrible consequences she would face as a defector.

Adora knows she can’t go back to the Horde, not just because of her morals, but also because it’s too late to do so without something bad happening to her. So she wonders, if Catra cares about her, why would she want to bring her back to that? If Catra cares about her, why won’t she just leave the Horde and come with Adora? Adora can't see into Catra's mind, so she doesn't know the underlying motivations and feelings driving her behavior. And Adora’s never really had the "you hurt me, so I'll hurt you back" impulse, so she’s more inclined to read Catra's aggressive actions towards her as a sign that Catra maybe doesn’t care about her as much as she once thought.

After Salineas, things continue to heat up between them during Princess Prom. This time Adora is highly confrontational towards Catra. She fully believes Catra is planning something bad, and she's absolutely right, though she still tries to save Catra's life when they fall off the cliff. That act doesn't seem to matter to Catra, and she ups the ante and hurts Adora worse then ever by taking Glimmer and Bow as hostages. 

Adora finally softens towards Catra when Catra returns the sword and let's her and Glimmer escape the Fight Zone. Up until that moment, Adora isn't sure that Catra still cares, but this is confirmation for her. The next time they meet, Adora makes a real effort to reach out, and she again asks Catra to leave the Horde. And they actually do start reconnecting a little, until Light Hope plays on Catra's insecurities with those memory simulations, in an attempt to drive them apart and get Adora to let go of Catra in the same way Shadow Weaver always wanted her to. 

And it does successfully drive them further apart and is the true beginning of Catra’s descent into villainous self-destruction and reality-destroying levels of resentment towards Adora. But what it doesn’t do is get Adora to let go of Catra. Because it doesn't matter what Light Hope and Shadow Weaver and even Catra say or do, Adora never can let go. She does eventually let go of the idea that she's the one responsible for Catra's actions, and she puts up boundaries and becomes harder towards Catra. But she never truly gives up on her or stops caring about her, even when Catra is at her most destructive and spiteful and personally hurtful towards Adora. 

But then, Adora letting go of her feelings for Catra wasn't ever the solution anyway. Because She-Ra's power comes from love, and Catra is the first person Adora loved, and the person she loves the most deeply. So Adora as She-Ra is at her most powerful when she's loving Catra and doing it without conflict, either between the two of them or within Adora herself.

[acapelladitty]

Edward Nygma: Water (Drabble)

------------

As his hands curled around the porcelain of the bathtub, Edward took a steady inhale as he prepared himself for the task ahead.

Small mounds of pristine white bubbles coated the water and Edward had almost convinced himself that they were simply there for the aesthetic and not the actions of an uneasy man trying to make himself feel better with childish pleasures.

Stepping into the tub and slipping his body down until he was partially submerged, the heat of the water was intense and it stole the breath from his lungs as it burned his skin.

Heat.

The water had to be as hot as humanly possible or as frigid as winter itself and he was not masochistic enough to force himself to endure an artic bath.

It could not simply be warm. Warm was a surefire way to raise those memories that he would rather forget.

Memories that he could never forget.

He should be thankful for his experiences with the Lazarus Pit. It had given him life when all other options had been extinguished and it had even had the added benefit of curing him of other minor ailments such as the mild arthritis which had begun to develop in his wrists and was affecting his engineering work.

It truly was a miracle in every sense of the word but with it came a price which a lessor man may have been unable to pay.

He has always been pale- his work both before and after his break into criminality had never required any outdoor labour of him- but he had noticed a very distinct change since the pit. His skin now held a pallor which was unchanging, even after spending hours in direct sunlight. Outwith cosmetic means, his skin simply could not be altered. No burning and no darkening. Even further testing with a tanning bed had also proven to have no affect as his skin retained an almost unhealthy lack of colouring.

It was an unexpected side-effect but Edward could see the poetic justice in cheating death only to be cursed to resemble her as he continued with his stolen life.

Also unexpected but far more cumbersome, was his residual unease around water.

He remembered very little from his dip within the pit itself but the sensation of being swallowed by the murky waters as they claimed him and pulled his down into the depths clung to him like tiny droplets. The sheer panic as the water filled his lungs and his body fought to rise and grab just a mouthful of air, but was prevented from doing so my the mystical properties of the water, was the strongest recollection he possessed and one which made his jaw twitch in agitation.

A memory of drowning, echoed by a memory of the voices.

Whether they existed within the water or within his own mind, he would never know, but the whispering as each voice layered atop the others and filled his mind with truths which were now lost to him continued to haunt him in his quietest moments even to this day. In those last moments of consciousness before sleep, when his mind was finally quietened enough to allow such a thing, they would return to taunt him about the lost knowledge that he would never retrieve.

The knowledge that pulled him from sleep most nights as a sweat-drenched mess with its secrets ready to burst from the tip of his tongue but never able to as they faded almost as quickly as they appeared.

Maddening.

Though not as maddening as the haze of memories which made up the months following his revitalisation.

He vaguely recalled the pit and he recalled awakening from his coma surrounded by medical equipment, but everything between was fuzzy to the point where it seemed intentionally so. He didn't even know how he ended up in the coma and that lack of understanding clawed at him like a beast, unbidden in his mind.

Even his time under the thrall of that bitch Ivy was clear in his memory; all her chemicals and pheromones did was make things a little rosy around the edge. But something told him that a key part of something important had been taken from him by his lost memory and the pit was somehow responsible for that.

Focusing his attention back on his body as he refused to allow himself to be lost in thoughts, Edward noted the trembling of his fingers as they carved divots into his forearms. He was also surprised to find that he had raised his knees at some point and his arms were looped around them; seeking a childish comfort that would never come.

He could image how woeful he looked to any outside eye. A grown man cowering in a bathtub, terrified of the water surrounding him as it lay there with an unassuming innocence.

Pathetic.

Edward Nygma did not indulge in self-pity. It was a waste of emotional energy that could be funnelled into more useful ventures but he did feel the beginnings of a mourning loss when it came to his lack of confidence around water.

He had loved swimming as a boy, often finding it a cheap escape from home that served as excellent exercise both physically and mentally as it allowed him to focus on his movement. Now it was simply another thing which he had been robbed of as he unfairly escaped his certain demise.

The urge to jump free of the water was strong but he steeled his mind against his bodies wishes and remained seated within the bathtub until the water was cool around him and the bubbles had long since dispersed.

Unclenching his limbs, he found each afflicted with a dull ache due to being held tense for so long and he took a moment to relax them as he stood to his full height. Drops of water escaped from his exposed body and bounced across the tiling of the floor as he reached for the nearby towel he had laid out for himself earlier.

He met a gaze in the bathroom mirror and it took him a moment to recognise himself but when he did he split his lips into an encouraging smile which only served to make him look tired and haggard.

He had heard the stories, of course, of how the great Ras Al Ghul had been using the Lazarus Pit for centuries to remain alive but as he took in his own appearance- from his shaking limbs to the sadness in his gaze- he was struck with the absolute clarity on why doing so had driven the man insane.

If the price of life was the death of sanity then Edward doubted he would ever chance his luck in such a way again.

[d-xs]

PROMPT:

KEEP THEM ALL IN AWE

Jason Todd & Damian Wayne & Jason Todd

The ruckus that welcomes Jason Todd into the cave is very different from the usual post patrol noise he is well used to. The atmosphere is tense and he knows, if he didn't have the protection of his helmet, he would be choking on the scent of their stress.

For starters, one of the batmobiles is revving, Tim's arm is bleeding so badly it looks like someone almost got away with the arm. Dick's usual smile is very strained, while Bruce and Damian are absent. Usually, when there's a ruckus of this magnitude combined with a bleeding Tim, Damian can be found in the middle of it.

Jason is debating on the merit of getting on his bike and leaving the others to deal with whatever mess they're currently in the middle of when Dick pulls out what is unmistakably Damian, from the driver's seat of the batmobile.

"Tim!" Dick growls with a slight hint of alpha command, as he bodily hauls Damian away from the car.

The brat doesn't make it easy on Dick.

"You were meant to be watching them!" Dick scolds.

"Yeah, I was!" Tim retorts angrily from where he is trying to clean his freshly acquired cut.

It looks more serious than Jason first thought.

"And I almost lost my arm for it. Why didn't you search him properly for all his weapons?"

"Be grateful I did not go for your jugular," Damian's haughty voice cuts in, before Dick can respond to Tim's retort. "The next time you attempt to lay a hand on him, I will relieve you of your head."

There is so much wrong with this picture, Jason feels like he's slipped into an alternate universe.

That must be it, because Damian in Dick's grasp is much smaller than the Damian Jason had seen earlier on patrol. Hell, he's much smaller than he was when he took up the Robin mantle. He looks just like the kit in Jason's memory of the League.

It has been years since he made an attempt to hurt Tim. Not to mention, he is fighting against Dick, the only person in the world who can get him to behave.

On second thought, Jason wishes he was in an alternate dimension. At least that way, he could return to his own universe without dealing with a de-aged Damian, who still has the values Ra's instilled in him.

Since settling into his life and his place in the pack, Jason has been recovering some memories he didn't even known he was missing. A lot of them he could do without. Especially his memories of the League, both before the pit and the early days after.

As bad as remembering how he really died and the events that led to it had been, Jason would take that over the memories of just how evil Ra's al Ghul truly is. The vile things the man had put Talia and Damian through always makes Jason sick.

However, as much as Jason would like to escape this situation, the Omega in him would never abandon a kit in danger. And there was no one in greater danger than someone challenging an alpha.

Damian is backed up against the passenger side of the batmobile now. Or rather, he's blocking Dick's path to it. His dagger is missing, but he's not deterred.

"Damian, no one will hurt him here," Dick says in a placating tone.

"Of course, you will not," Damian sneers. "You will not live long enough to regret it if you do, because I, unlike you lot, do not suffer those who hurt my family to live."

"Then let us help him."

Dick may be trying to maintain his friendly attitude, but Jason can see how strained it is.

"I have seen what help you offer," Damian says, absolutely unrelenting. "We have no need for it. If my father will not come out to face me, then we will be on our way."

Jason snorts at the brat's attitude.

The sound distracts them from their fight, gaining him both their attention.

"Who are you?" the brat demands, as he takes in Jason's form.

Jason can see the wariness in his eyes; he knows he won't stand a chance if Jason decides to team up with Dick against him. But the kid stands his ground and holds his chin up.

Brave boy.

Now Jason is curious about what he's protecting so fiercely.

"What are you doing here?" a deep voice asks from behind him, before he can answer Damian's question. "I told you not to return to the cave after patrol." Bruce continues, stomping into the cave from the manor.

"When have I ever done anything you told me?"

"Little Wing, B is right," Dick cuts in softly. "You don't want to be here right now.

The fact that Jason knows they're not dismissing his presence from the cave because they don't think he is a trusted member of the pack does not help. He may be an Omega, but he does not need to be protected. Certainly not from a child.

Not Damian.

Dick may be their resident Damian-whisperer, but he's clearly out of his element right now.

"Go fuck yourself," Jason snaps,

He takes off the helmet and domino mask underneath to give Damian a better view of his face.

"Ahki," Damian breathes, staring at Jason in disbelief.

The brat's reaction is exactly what Jason hoped for, but he did not anticipate how hearing that word from the kid would make him feel. He's stripping out of his jacket and armor to rip off his scent blockers before he's aware of what he's doing.

"Habibi," he acknowledges, crouching down so the kid can look him in the eye as he runs a hand through Damian's hair.

A soft cooing sound he wasn't aware he was capable of escapes his throat when the kit leans into his touch. He's not aware of his actions when he pulls the kid into a hug.

Damian is speaking to him in Arabic, and Jason knows he should listen, but his instincts are too jumbled for him to make sense of anything.

It has been too long since the Omega in Jason was let loose like this. Having this kit, the one he claimed so long ago in his arms again is pushing everything to the extreme.

He and Damian never talked about their shared past in the League. Jason knows it's partly due to his lack of memories, but also because he would never make Damian relieve those awful memories.

"Jason." The name is a command, a demand and a question all rolled in one, judging by the tone of Bruce's voice. It drags Jason out from the haze of instincts and hormones.

Jason bares his teeth, snarling at the alpha, even as he gathers his kit into his body to shield him from both alphas.

"Hey," Dick says, raising both hands in surrender.

"You're both safe, Little Wing. No one's going to hurt him," Dick continues.

Jason knows deep down that he's safe. They are his pack, his alphas. They will never hurt him or his kit, but the thought that they would take him away is unsettling. However, the haze of instincts has cleared off enough for him to think.

He turns an accessing gaze on Damian. He looks dirty and unkempt. Jason notes that his pants are a part of the traditional League attire, but he's missing the shirt and hood coat.

"You know Dick and your father," Jason tells Damian. "You can trust them."

Damian doesn't respond for a moment as he watches both alphas warily. "Even him?" He sneers at Tim who's currently stitching his arm.

"Yes, Habibi. He means well."

He gives the kit a little lick on the neck when he doesn't argue with Jason. He is proud to know that this Damian, at least, trusts him.

"Can you tell me what happened to you?" Jason asks, ignoring Bruce and Dick's looks of surprise and confusion.

Instead of speaking, like Jason expects, Damian pulls out of Jason's hold and nudges him away from the passenger door of the batmobile, reminding Jason that Damian has been protecting someone since Jason arrived.

It takes a while for him to coax them out, so Jason rises from his crouch to stand beside Dick and Bruce as they wait.

Knowing Damian, Jason had been expecting his precious cargo to be a dog, or cat or just about any one of the strays he has a penchant for adopting.

The last thing Jason expected to see, however, is a miniaturized version of himself.

The shock of it causes him to stumble forward, which turns out to be a very bad move as it sends the kid scrambling back inside the car.

"What the fuck?" Jason hisses, turning to Bruce and Dick for an explanation, while Damian -- God, that's not their Damian, is he? He wasn't de-aged by a spell or anything. Just one from an alternate universe -- focuses on comforting the kid.

"That's what we were trying to avoid," Dick sighs tiredly. "Red Robin ran into them on patrol. We still don't know how they got here, but Bruce thinks they've been in our time a couple of days, at least."

"And you weren't going to tell me that you have a younger me present?" Jason growls lowly. "Where's Damian?"

"Upstairs," Bruce grunts. "Where you should be. We don't know how you two interacting with your past selves will mess with the timelines."

"Yeah, you have Flash turning back the time whenever things don't go his way, or hopping back and forth to the future, but Damian and I interacting with our past selves is what will mess with the timeline," Jason scoffs. "Perfect logic, Bruce."

"It's not like that, Jay," Dick says, in his mediator voice. "We were looking out for you, too."

"How about you ask me next time?" Jason informs them.

During his confrontation with Bruce and Dick, Damian has disappeared inside the car with little Jason.

"I'm going to talk to him," he informs the alphas. "Both of you make yourselves scarce by the time they emerge."

He doesn't wait for a response before he turns away. It's not like they can object. He's the only one who can ensure this doesn't end in someone getting seriously hurt.

He knocks twice on the door to announce his presence, before opening it.

Little Jason is curled up against Damian. He looks even smaller next to Damian. Jason knows he was very small for his age when he was younger, but he has a hard time remembering ever being this tiny. He can't be older than four or five years old.

The kid doesn't look up at Jason, but the tremor running through him, the hand clutching Damian tightly, and the scent of his fear filling the car lets Jason know he's aware of him.

Jason knows the feeling. It was a constant companion whenever Willis was around and he's aware that he's reminding this kid of the man.

"Hey, Sky Lark," Jason coos softly, just like his mom used to. In hopes that both the familiar pet name and the tone will help him relax.

The boy's head snaps up to stare at Jason, mouth hanging open like he had something to say but has forgotten it.

"I know you're scared, and that's okay," Jason says in his most comforting tone. "But you don't have to be. No one here is going to hurt you."

The boy is watching him with wide eyes now, through the mistrust.

"I promise you."

"You can trust him, Jason," Damian adds confidently. "He is what you become in the future. You should be proud."

Jason isn't sure about that. Sure, he has come a long way from the helpless little kid he used to be, but he's not sure he can take pride in what he is now. But young Jason is even more fascinated with him as he watches Jason with big doe eyes.

"Is that true?" Little Jay asks, his voice a timid little voice. "Are you me in the future?"

"Yes, I am."

"But you're so big!" the kid exclaims with a cute lisp.

Jason grins. It's all he can do not to gather the pup in his arms and scent him. "You will be as big as me when you're grown, too," he promises. "I'm going to take care of you, okay?"

"Can Damian come too?" he asks, his hold on Damian tightening for a moment.

"Of course, I will," Damian assures him. "Not that I need caretaking." He backtracks.

Jason snorts. "Damian is coming with us. I'll take care of both of you."

The kid looks to Damian for support, copying Damian's action when he nods.

"'Kay."

When Jason stretches his arm to pick the pup up, Little Jay meets him halfway, snuggling closer as he breathes in Jason's scent.

They remain there for a while longer, with Jason scenting and grooming his mini me before stepping out of the car.

When he does, he doesn't pause to speak to anyone. He heads directly for his nest in the manor. Whatever there is to know can wait until the kids are cleaned, fed and well-rested.

One thing he knows is this: there's no way he's returning these kids back to their timelines. If Bruce has a problem with it, he can take it up with Jason.

[shlabam]

TOP TEN COMICS BOOK VILLAINS WE PROBABLY WON’T SEE IN THE MOVIES

Superhero media is the hottest thing going right now. It was true ten years ago when the MCU was in its adolescence, and it’s even truer now. Even with film production on lockdown, Marvel and DC are still planning on literally dozens of their characters entering their respective cinematic universes. However, for the fans of the source material, things can be contentious. For every memorable Tony Stark quip, there’s Superman destroying an entire city because he’s, frankly, kind of dumb now. A major point of contention is how the various popular villains are utilized. Making an intimidating and potent villain in a comic book is very different than in a film. In comics, you have months to establish motive, powers, and backstory before the villain even makes their first move. In films, that all has to be compressed and spilled out in the scarce few minutes when Captain America and Bucky aren’t making bambi eyes at each other. To be concise, some villains adapt perfectly, and some, no matter how good they are in the comics, just don’t. And to be clear, this list is of popular villains who have the possibility of appearing in a big-budget film, so no, you won’t be seeing Ten Eyed Man or Big Wheel in there. Their powers are, respectively, having ten eyes, and being very good in business. (That’s a lie, he’s just a huge wheel who chases Spider-Man.)

10: Mr. Mxyzptlk:

Cool, let’s get this one out of the way. Despite being one of Superman’s oldest, longest-lasting, and most popular enemies from all the way back in the Golden Age, there’s no way in hell he will be in a movie. For the uninformed. Mr. Mxyzptlk is a 5th dimensional wizard-genie who appears every ninety days to torment Superman with his reality-altering antics, and can only be sent back to his home dimension if Superman tricks him into saying his own name backwards. Yes, it would be very dazzling, as Mr. Mxyzptlk’s powers in a movie would basically look like if Christopher Nolan directed Who Framed Roger Rabbit, but he’s a little too silly to fit in with the current “everything is gloomy and also a bummer” tone of the Superman films. This silly tone has lent itself perfectly to the Supergirl series, where he’s made a handful of appearances. Besides, if we get Mxyzptlk in a Superman movie before Brainiac, I’ll lose my entire freaking mind.

9: Hobgoblin:

There have been eight Spider-Man movies so far, and of those eight, four of them have, in some capacity, featured the Green Goblin. And that makes sense, right? The Green Goblin is easily Spider-Man’s most memorable and reoccurring nemesis, with Doctor Octopus and Venom close behind, and Peter Parker’s link with Norman and Harry Osbourn makes their tragic story perfect for film adaptation. On the other hand, we have the Hobgoblin, who is essentially Green Goblin with all the gimmicks, none of the Parker-adjacent backstory, and an orange and blue color scheme, likely tying him to the Denver Broncos [citation needed]. Still, in those four cinematic attempts at tackling the Goblin, none of them have quite gotten him right, and I can’t imagine this character, who is, even in canon, an intentional Green Goblin rip-off, would fare any better.

8: Starro:

Brave and the Bold #28 from 1960 featured the first story with the Justice League, and this story put them up against a very unique new villain: Starro the Conqueror, a giant telepathic starfish who can release tiny versions of himself. If these tiny starfish latch onto your head, you’re under his control and obey his commands. The Justice League have battled him fairly regularly over the last fifty years, and he’s a distinct and powerful enemy that the fans generally appreciate, leading to him being referenced occasionally in Smallville, Arrow, and Flash. Why won’t he ever be in a movie? Because if you’re a Hollywood producer, you stopped paying attention at “giant telepathic starfish”. Sorry. Maybe Shuma-Gorath will pop up in the next Doctor Strange movie, and he’ll set off a Twilight-esque wave of starfish monster movies! Then again, almost absolutely not.

7: Puppet Master:

Speaking of mind control, what’s scarier than that? For my money, nothing. Having your body and will taken away from you by an unseen force is a terror greater than death. How could you possibly make a villain based around such a chilling concept and have him not be scary? Well, maybe if it’s an old bald man in an apron playing with dolls. The Puppet Master is an ongoing threat for the Fantastic Four who is just that: he makes models of his foes out of radioactive clay, and makes them punch themselves and dance around and kiss each other, because he’s, y’know, a weird old man. Why is he such a consistent threat who hasn’t fallen into obscurity like other dumb gimmick-based villains? His stepdaughter, Alicia Masters, is the Thing’s longtime girlfriend. As long as she keeps appearing in movies (including being played by… Kerry Washington? That can’t be right), there’s always a chance he’ll pop up, but I don’t think any movie studio is that stupid, despite the quality of every Fantastic Four movie blatantly defying that prediction.

6: Bizarro:

Superman has always suffered in the villains department. When you’re essentially a god, what can they throw at you? As it turns out, Lex Luthor, almost always. But why not another Superman? Bizarro is essentially that, an imperfect clone of Superman who speaks in opposite speak - “Bizarro am good! Me not punch you until you live!” - and features the same abilities as the Man of Steel. Sounds great, right? Putting a hero against a villain with their same powers has worked for nearly every Marvel movie (shots fired). So why won’t we see him grace our silver screens any time soon? Because they’ve never really figured him out. Is he funny? Is he lethal? Does Kryptonite work on him? If he does everything the opposite of Superman, why does he wear clothes? Isn’t being naked the opposite of being clothed? Bizarro is a major Superman side-character and has made appearances in Smallville and Supergirl, but the idea of him being the Big Bad going toe-to-toe with Henry Cavill doesn’t sound like it would generate a lot of views.

5: Impossible Man:

You remember what I said about Mr. Mxyzptlk? Remember? So take that bit, but everywhere I say Superman, have it say Fantastic Four instead… yeah, that should do it.

4: The Wrecking Crew:

Thor has a unique quirk of having a very cinematic rogues gallery. Sure, most of the movies have pitted him against Loki, but if they were to run him up against the Enchantress, or the Absorbing Man, or Ulik the Troll, or Kurse, or even the Stone Men from Saturn, that’s not a bad movie! However, in one of the attempts to give Thor more of a mortal nemesis, they put him up against the Wrecker, who has an… enchanted… indestructible… crowbar. Yeah. Incredibly, the Wrecker and his Wrecking Crew have become very present characters throughout the Marvel Universe, essentially serving as “jobbers”, being rolled out to get beaten up by the new top hero or villain, but that may not work in a movie, where villains have to be seen as having some level of potency before being struck down. That means we’d need at least a short scene where it seems like Thor might lose to a guy whose power is “crowbar”, and that’s about as likely as an Edward Norton cameo in the next Avengers. Ho boy, they did NOT part on good terms!

3: Clayface:

When the movie-going public goes to see a Batman movie, they generally want something a bit more grounded than your typical superhero fare. After all, Batman has no powers, and therefore the most supernatural thing that should happen in these movies is a gas that makes you smile, or a different gas that makes you think your dead parents are back and disappointed in you. Might wanna put a mouth covering on that mask, Bruce! The one and only they’ve made a movie where Batman fights people with real, off-the-wall super powers (Batman and Robin), it did not go great. And those guys pale in comparison to Clayface, who is, yes, made of clay. In the comics and cartoons, Clayface looks awesome, turning his limbs into weapons and being very challenging to incapacitate, but in a live-action, realistic Batman adventure, we wouldn’t want to see the Dark Knight fight a poop-colored version of the T-1000, especially if it’s got the same chemical composition of a little dreidel that I made.

2: Red Hood:

A relative newcomer to the Batman universe, Red Hood is the revived body of Jason Todd, the second Robin, who was brutally killed by the Joker in one of the most controversial storylines DC Comics ever produced. Literally, fans called a 900 number to tell the writers to kill him off. A 900 number. That’s how much they hated the little turd. Anyway, Jason Todd, whom Batman and the rest of the world believed was dead, was revived by Ra’s al Ghul and became a ruthless villain. Since then, he’s gravitated more to the side of the hero, though one a bit more willing to spill blood than his mentors. Why won’t we see him in the darker, edgier Batman films? Because… that’s Bucky. It’s the same thing that happened in Captain America: The Winter Soldier. Teen sidekick killed in controversial manner, revived by super villain to be a thorn in said hero’s side, later changes his mind and becomes a good guy again, though with enough PTSD to fill a PTSD super store. The two storylines even occurred in the comics in the same year, 2005, to much fanfare and across-the-board declarations of one company ripping off the other, reminding the world of the great Aquaman-Namor debates of the 1940s. Considering that DC’s films have criminally underperformed compared to Marvel’s, the last thing they want to do is be accused of lazy plagiarism, so Jason Todd will likely remain a permanent fixture in the afterlife, hanging out with Batman’s parents and, at the rate that people are coming back from the dead, literally no one else. (Plus, if they can’t even get Robin right, how are they gonna do this?)

1: Mister Sinister:

Yes, he was teased at the end of X-Men Apocalypse, but ignoring that the film underperformed both critically and commercially, Mister Sinister is never going to be in a movie. It would make sense for him to appear, though, right? He’s one of the most present and potent X-Men villains, he’s played crucial roles in many memorable storylines, he’s got a sick cape, but… something a lot of comic book fans tend to overlook is his murky backstory, powers, and motivations. He was a biologist in Victorian London who did genetic experiments on homeless people in the hopes of finding clues about the oncoming threat of mutants. In this time, he unearthed the long-dormant En Sabah Nur, whom you plebeians may know as Apocalypse, and Apocalypse gifted him with great abilities. What abilities you ask? HA HA, good question! At various times, Sinister has displayed: telepathy, telekinesis, energy projection, shape-shifting, regeneration, and teleportation, but these powers will mysteriously disappear whenever they want him to get sliced up real good by Wolverine. Additionally, it has never been made very clear what Sinister wants. Does he seek perfect mastery of the human genome? Does he live to torment Cyclops? Is he a blind follower of Apocalypse? Is he just running through all the different kinds of goatee? Of course, in adaptation, the writers would pick and choose the aspects they’d want to use, but I doubt they’d want to untangle the Christmas lights mess that is Mister Sinister, especially when they’ve got a perfectly good villain whose power is just “magnets”.

[dualdaospirits]

Do you think if they ever reboot ATLA they would make Zutara canon? Reboots have changed quite a few things(the new She-Ra is vastly different from the original) especially with all the support Zutara got post-series

Hmmm, an interesting question. It depends on many things I think, not the least of which being who the showrunners are and the tone they want to set. We may get to see our reboot soon, actually, since there’s a live action Netflix series in the works (they haven’t started production yet though, so don’t get too excited). As far as I know, Bryke is at the forefront, and while that’s great news since it means another abomination hopefully won't happen, it does mean that a Zutara relationship probably isn’t likely since they’re big fans of the Katara/Aang relationship.

That being said, I think it would be a missed opportunity if they didn’t, and I’ll explain why. (Disclaimer for any non-Zutara fans reading this, being a Zutara shipper is not my main motivation for thinking or wanting it to be canon). First things first, the audience. I don’t know if post-series Zutara support would have much of an effect on Bryke, but it’s possible that the producers or Netflix would notice and try to factor it in. However, I don’t think pandering should be the reason they include Zutara--far from it. The original audience that watched Avatar has grown up at this point. Many of us are in our twenties, give or take. We’ve matured, and it would be foolish of the showrunners for ignoring this fact. If there’s a reboot of Avatar, live action or animation, the majority of the audience will be those that grew up with the show, not kids the same age as the audience of the animation. I think that’s evident enough with the release of Avatar on Netflix (notice how many people are rewatching and falling back into their love for the show?) and the comics. Ah, the comics. Some things they did well, others...not. What they did do well is writing the storytelling more maturely than the show. I don’t mean to bash the original show as it obviously had no problems including the dark effects of a war story in bite size, easy-to-swallow chunks for kids (a good thing). However, they treat the audience more seriously, knowing that not everything needs to be spelled out. You see the same in Korra. And to me, that’s part of what makes the Zutara relationship so captivating and intriguing--it’s mature. It’s not easy, and it has faults. It’s not “hero gets the girl after saving the world”. It’s complex. 

I’ll say this now: there’s a difference between a relationship being canon and being endgame, and it’s an important difference. I definitely think Zutara should be canon, if not endgame, in any reboot they do.

Personally, I’m excited for a live action version if they ever get around to it. It brings many new factors to the table, and the majority of them have to do with adaptation. (I’ll mainly be talking about a live action version for a little bit, excuse the art student that shows). Adaptation, especially between mediums, is tricky to execute. You see many book-movie adaptations that succeed, and some that miserably fail, and others in between. This goes for other forms as well, ex: book to comic, book to animation, animation to film, etc. With any medium adaptation, the story will inherently change. You can't hear a character's inner dialogue or prose written in a book in a film, so changes have to be made or the filmmaker must write or use film language to substitute for it. With adaptation, changes must happen, that's a fact. To me, more often than not those adaptations succeed when the creator embraces that fact and uses the medium to their advantage. Sometimes this changes the story, and sometimes that change enhances it for the better. Take Game of Thrones or Harry Potter. The former deals with many characters and worldbuilding that is extremely complex, and they did an excellent job in getting you attached to those characters. However, they did have to change some things from the books, and while some weren’t as successful, others did remarkably. (Before anyone starts raging, I’m specifically talking about the seasons where they still had books to go off of). For Harry Potter, we have eight movies to analyze, which I will not be doing, but I will say that the weakest films storywise were the fifth and seventh, simply because they tried to do both too much and too little, if that makes sense.

How would this apply to a live action ATLA? Well, it wouldn’t be like the animation, most likely. It’s a medium adaptation, meaning that the approach they had in the animation won’t work the same in live action. Think about it--you don’t watch animation, especially 2d, the same way you watch live action, psychologically and subconsciously. There’s a separation there between their world and ours. It lessens with 3d animation, but it’s much much smaller when it’s live action since it looks like our world, more or less. Would GOT beheading and other violence (you know what I mean) have had the same effect if it were 2d animation? No, probably not. Yes, I know that anime has its fair share of gore that can be extremely realistic and gross, but it still doesn’t have the same impact it would if it appeared on your screen with quality vfx. Now, these are extreme examples. I really doubt that they’ll make the violence that intense or realistic in the show, as they’ll more than likely want to keep it family friendly (there’s still kids that watch the original). Another disclaimer (ik there’s a lot of them, but people can misunderstand this kind of critique as bashing, which it’s not): I am not saying that the original animation of ATLA is not impactful, absolutely not. I have no trouble getting attached to animated characters, laughing or crying with them, etc, especially if the writing is good. However, it was a kids show, and it was written with that in mind. This is apparent to me as I’m rewatching the show now. There’s some dark stuff that happens, as is the nature of a war story, and the animation handles it excellently. But think of how different it will be seeing the ruins of the Southern Air Temple, practically a garden of bones, Gyatso’s included, in live action. Show us all the nitty-gritty of the lower rings of Ba Sing Se, and the corruption up top. Let this affect the characters. Bring this moral ambiguity into light, as it was done in the show. I think that if they’re going to tackle a show in this way, not a movie or series of movies, it would be smart of them to lean into these darker themes, not shy away from them. Like I said earlier, the audience has matured, and there’s so much more to explore with these stories and themes. I’ll say with confidence that they’ll definitely do this, and possibly add a story or two. Otherwise, it will just be a rehashing of the original, word for word dialogue. Not that the original is bad (obv not), but I don’t think we should want that. There’s a lot of potential in a live action series, and I think they’ve learned lessons from the abomination that already tripped over itself. It was an example of adaptation done badly. However, you can change a story without destroying it, but it’s a delicate operation. That’s why having the original showrunners on gives me a bit more confidence. To be clear, I don’t think they’ll go full PG-13 or higher. It’s still possible to have family/kid friendly media without shying away from the darker parts. ATLA is a great example of that. If you want a live action example of a show that balances humor, heartache, and violence beautifully, look at Merlin (bbc). 

I think you bring up an interesting point with She-Ra and it’s divergence from the original. I haven’t seen the original animation, but I can say that the new one was successful in telling a new and fresh story in the same universe. The act almost as parallel stories in that universe. How To Train Your Dragon is the same way--the book and movie have very very little in common story wise, but it’s a beautiful trilogy nonetheless. Would this work with ATLA? Possibly, though I doubt they’d want to stray away from the original’s core themes. Though, you can fight me on this, Zutara does align with those themes, but that’s another post (this one is long enough). However, it’s such a complicated question because it inherently considers countless possibilities, so there’s no definite answer. It’s a beloved show that’s already been butchered once, so how much would they be willing to change?

Now, how does Zutara factor in? (getting to the point now). For many of the reasons above, I think it should be canon. Their dynamic, their rocky relationship, the journey of trust and acceptance, the connection they have, all of it is ripe for exploration, especially in a revamped, inherently more mature story. Instead of a predictable relationship where there was never any real conflict (Katara was always loyal to Aang, and their fights were never truly consequential), you have a relationship coming from a difficult, seemingly impossible place, one that requires time to establish. Like I said, it’s not an easy relationship. Part of it is strengthened by Zuko’s wonderful redemption arc. He needs to build a foundation of trust before almost any of the Gaang trust him (Aang, the angel, is willing to give him a chance almost immediately in Book 1, and though she didn’t care one way or the other at first, he did accidentally burn Toph’s feet). What would a Book 4 have brought us? Despite what Bryke say about it being a false rumor, Ehasz, a co-producer, said that it was at least discussed, plus Book 3 definitely had more to give, so I take it with several grains of salt. Anyways, even wondering about it hypothetically produces interesting theories. We see at the end of Book 2 in the cave that Katara, once she overcomes her immediate, and warrented, repulsion of Zuko, she’s able to connect and see a bit of his heart underneath the layers and layers of angst and anguish obscuring it. This scene is popular in the Zutara fandom for a reason. However, I think that making changes to characters, especially in Zuko’s case should be done extremely selectively and purposefully. His arc is one of the most fantastic accomplishments of the show, and I think very little should be changed. For example, he should still make that doomed, yet inevitable choice in that cave to join Azula, but perhaps they’ll include his mother as a more forefront character, especially when he goes back to the Fire Nation. By all means, give Ty Lee and Mai more than just a conversation to supply their backstory. Thoroughly explore the swampbenders and the Freedom Fighters. Show more of the original airbenders in Aang’s memories! There’s room for exploration without dismantling the world or characters like the M. Night film did. For Zutara, I think that expanding Book 3 and giving the characters more time with each other would be invaluable. Think of how quickly Katara and Zuko grew close, from Katara threatening to off him first time he even hinted at being a threat, to becoming one of the most instinctual and formidable teams in the Gaang, to saving each other’s lives in the final battle. That’s not even mentioning the Southern Raiders.  The conflict over the entire show as the backdrop for a relationship like that, romantic or platonic, is incredibly suitable for a reboot. If it was explored, the outcome would be so powerful. 

I said before that there’s a difference between canon and endgame relationships. This just means that a relationship can be confirmed and explored without being the outcome. If Bryke include Zutara at all, that’s most likely how they’ll do it: adding a love triangle that ends up with Katara and Aang getting together. Honestly, it would be a method of making K/A a more interesting relationship and a way to have the characters grow a bit. However, this has the awful potential of just shitting on Zutara and turning it into a toxic relationship, which I’d rather not see.

But if it wasn’t Bryke running it? Absolutely, I think Zutara would, and should, be canon. Adaptation should take risks and be willing to explore, and I think Zutara is the type of dynamic we should see.  

[know-the-way]

can we get a “do not despair” post for spellwood too?? feeling pretty sad after part 3 and would really like to hear how they could turn it around

Sure! Strap in - this is gonna take some turns. And if Spellwood/Blackwood ain’t your thing, just leave m8 - it’s not for you.

Right. So.

Honestly, at this point - the only thing keeping anything about this ship afloat in canon is their history. We know they have one, but we don’t know much about it. I had really hoped, since they had cast an actor to play young!Faustus, that meant we’d be getting a backstory. But apparently, all we were getting was a 20 second scene that reveals very little.

However, it does reveal something.

1. The book Faustus had was clearly referencing old world Gods & goddesses and it would seem - his interest/study of the mystical (i.e. eldritch terrors) dated back to when he was a boy. Along with pretty much everything else about him, I would very much like to know WHY he had the desire to study that. Why was he so desperately searching for power at such a young age? And why was he looking for it beyond the religion he was born into, which gave him the gift of magick and promised limitless power to the “worthy” already? In essence - Faustus, WHO HURT YOU. Considering his view of women, I’m gonna guess whoever hurt him was one. Maybe his mother? Maybe both of his parents? Idk, but the little shit definitely got fucked over somewhere in his youth by someone he probably trusted. Said it before and I’ll say it again - he practically screams ‘child abuse victim’ (a la Draco Malfoy, if you need a reference) and I’ll stand by that until I’m proven wrong.

(I was also really struck by the line “that boy knows nothing of true Hell” which Faustus says to Lucifer after Nick beats him in the witch’s cell. What hell has Faustus been through himself in order to say that?)

2. That scene also showed us Zelda & Faustus studied together and were familiar enough with each other to notice a change in attitude (“why are you in such a snit?”) and snipe back & forth from what appears to be a very young age. Which seems to suggest they spent a fair amount of time together at (and possibly before) the Academy. Not a shocking or new revelation really, except it kind of confirms their relationship wasn’t a whirlwind romance and that Faustus asking for Edward’s permission to marry Zelda wasn’t on a whim.

The main questions I have following that scene are if that excerpt he ripped from the book was actually about Hecate and her power. If so, is her power more vast than we even understood by the end of part 3 (i.e. can even she defeat eldritch terrors)? And could the reason Faustus got so upset reading it be that it said only women can call on Hecate, thus thwarting his search for an absolute escape?

Something confirmed about interacting with mystical entities is that they can/will drive you mad. Ambrose says this after Sabrina returns from her quest and finds everyone dead - “Blackwood was driven mad and feral by his insane worship of those eldritch terrors he prays to.”

And if mysticism can drive you mad - and he’s studied/sought these things out since he was a boy - it stands to reason that he’s been slowly feeding and incubating that madness until it finally fucking snapped.

(Side note - an Acheron configuration, which will also drive you mad, is an arcane device from ancient magick, too. So maybe Edward studied these things with Faustus at one point together? Curious.)

We saw him experience a big and sudden shift in part 2 - where his faith in the Church of Night waned with every challenge to his authority by Sabrina. Things had been going along fine the 15 years or so of him being high priest, that maybe he was finally starting to trust his faith in the Lord Satan, until Sabrina showed up and started meddling with the order he’d established. And THEN - in a last ditch effort to take back control and become anti pope, she interferes again and Satan himself doesn’t even seem to care how heretical she’s been.

So back to the eldritch terrors he goes - setting a contingency and pledging his loyalties to them in exchange for protection and power. But they also want an offering (“oh, they like offerings, yes they do”). Proof of loyalty by blood. Solution - poison the coven. Here’s your offering - an entire building’s worth of souls. Bing, bang, boom - “we’ll hide you in this cozy time rift at Loch Ness and siphon every last bit of sanity out of you while you’re there. Oh gosh, they’ve found you and taken our gift egg from you. Well, we can’t have a repeat of that, so while you go pursue it - make sure you get rid of any ties to this reality that you may have. Anything that would hold you back from the glory we’re promising you. Destroy them all, if necessary. The twins can stay ‘cause you’ve raised them to be insane, too, okay off you go!”

But what’s this got to do with Spellwood? Well. The two go hand in hand, the way I see it and here’s where the very small bit of hope for them as a couple (very small) lies.

It’s apparent that, at least somewhere in their history together, Faustus wanted Zelda. She seems to be the only thing about the Spellmans he could ever tolerate and why? Well, perhaps because he cared for her, perhaps they found a common ground in feeling inferior their whole lives (hurt/comfort is kind of their jam), and/or perhaps he just found her attractive (understandable). And if he didn’t have any affection left for her by the time part 2 rolled around, I do not know why he’d continue to pursue her after she cut their physical relationship off. Zelda was going to gain power by marrying the high priest, but there was nothing in it for him beyond... having her as his wife. Which perhaps he truly had wanted since they were young together.

But then he realized it would be more complicated than he thought when Sabrina really amped up her interference with presenting Edward’s manifesto and accusing him of murdering her parents (still never explicitly confirmed, btw) (also still very curious about when he said ‘you haven’t even read mine’ to her at the wedding - makes me wonder if what was in it wasn’t as egregious as the Church of Judas tenants wound up being). And so - he put Zelda under the Caligari spell to keep her from helping her family while he destroyed them once and for all. Except her. ‘Cause he wanted her. Not until he found out she had betrayed him in hiding Leticia did he seek any type of ‘vengeance’ towards her directly. Then, though he was far from sane before, he went well and truly mental after that.

So I see it like this - if he was driven mad and used by the eldritch terrors, he didn’t really have a grasp on reality nor would he have understood what he was doing. He wouldn’t remember any earthly affection he might have for someone because his mind would be corrupted by other worldly things. Thus - a conscience, remorse, and reparation might be possible if they’re able to restore some humanity back to him.

It’s a long shot... by a lot, but in the same way Sabrina told Nick he couldn’t have known what he was doing while under the influence of the Dark Lord’s essence (which we can certainly open a healthy dialogue about taking responsibility for your actions no matter what you’re going through/under the influence of *clears throat*) - so, too, could be the case for Faustus.

If proven as such - and they can additionally confirm some backstory that, at one point, he and Zelda did truly care for each other - it might be possible to salvage the dumpster fire that is their current predicament. If done carefully and with a fuckton of explanation. That’s a lot of built up character history to waste.

(At the very least, just give me an explanation, RAS. I am BEGGING you.)

*slow exhale* Okay, I’m tired. And wow, that’s a whole novel. Okay. Right. Thanks for your question, hope this helped. Bye!

[jbuffyangel]

Strength: Arrow 8x05 Review (Prochnost)

We’re headed back to Russia for some Queen family vacation fun, except their version of “fun” is kidnappings and fight clubs.

Let’s dig in…

Oliver, Mia and William

Do you remember how we used to pray for a scene of Oliver teaching Felicity the bow and arrow? 

The scenes with Helena fueled my hate fire for years. The closest we ever came to Olicity “training” was Oliver offering Felicity a few punching pointers

and the glorious salmon-ladder-leads-to-sex scene.

I’m not complaining! All I’m saying is we could’ve had a bow-and-arrow-training-leads-to-sex scene too. I have several insert-scenario-here-leads-to-sex scene ideas this show has yet to explore.

Anyway, if we can’t have Felicity training with Oliver then second best is their daughter training with Oliver. The intro to “Prochnost” is almost three minutes long and it’s pure fan fiction from start to finish.  

Source: felicitysmoakgifs 

Oliver teaches Mia how to tennis ball and uses cooking as analogy before he remembers she’s 50% Smoak.

It is clear Mia still has a lot to learn not only from a vigilante perspective, but also in terms of her archer skills.  

When we met Oliver Queen in the pilot his skill set was perfected. He was a fully formed bad ass. 

We haven’t seen Mia train other than a montage with Nyssa Al Ghul in 7x16 and I am thoroughly enjoying there’s still a lot she can learn from her father.

Source: 1-crazy-dreamer

Oliver reviews all of his trick arrows with Mia, but doesn’t want them to become a crutch. 

Source: lucyyh 

What he doesn’t say is trick arrows became more of a necessity in disabling criminals after killing them was no longer an option. We’ve come a long way with Oliver Queen. If you had told me father/daughter training sessions were in our future when I watched the pilot then I would’ve laughed you out of the room because that’s a special brand of CRAZY.

Of course, a training scene without the stick thingies wouldn’t be a training scene on Arrow. 

Source: miasmoakdaily

Yes, I know there’s a technical term for the stick thingies, but if I haven’t learned it by now do you think I ever will? No is the right answer.

Oliver: Nyssa taught you well.

Mia: Mom made sure of it.

I think Arrow makes an important point during this scene. Nyssa Al Ghul is good, but she’s no Oliver Queen. There’s been many seasons where it feels like the writers down played Oliver’s skills to give the other team members something to do *cough*L*urelLance*cough*. 

However, the writers seem particularly focused on showing how Oliver’s skills are a whole other level now. Remember, he’s the guy who killed Ra’s Al Ghul – probably the greatest fighter of all time. It’s why Riccardo Diaz being a formidable threat was so laughable. When Felicity reached out to Nyssa she was asking the best for help, but there truly is no substitute for Oliver Queen.

Source: miasmoakdaily 

Mia “The Machine” Smoak-Queen (her official title btw) doesn’t need a break, but I love how Oliver worries about her nonetheless. DADDY OLIVER IS SO SOFT.

Source: amunetblack

Mia gently reins in William’s ramble and this is the brother/sister banter I am here for. Look, I know we’ve clocked a season and a half with these kids and I should be used to moments where they remind me of Oliver and Felicity, BUT I CAN’T GET USED TO IT. It still fills me with absolute glee anytime it happens.

Children are individuals with unique personalities, but one of the more fun aspects of parenting is seeing traits of other family members, or maybe even yourself, emerge in the child you’re raising. I feel the same glee when my daughter reminds me of my husband or mother. And since William and Mia are my fictional TV children why should I be any different?

There’s a Curtis reference in this scene, so naturally I doze off when that happens, but the cliff notes version is the energy wave that destroyed Earth 2 can be recreated. There’s a Russian general trying to replicate it via pulse wave generator weapon and Team Arrow needs to get the plans.

I think. Plus they need plutonium which Diggle volunteers to get.

Oliver invites the kids to Russia with him and they are equally as shocked as I am. 

Really? We’re going to Russia? I mean, I know we’re going to Russia, but Oliver’s casual invitation makes this trip sound like the equivalent of a grocery store run. The kids are so excited to be invited they think they’re going to Disney World with Dad.

This is so not going to be Disney World. TELL THEM THIS IS NOT GOING TO BE DISNEY WORLD OLIVER.

Oliver: I’m a better man. Different man. I think I can teach them the good without showing them the bad.

Oliver thinks this is going to be Disney World. 

Diggle accurately points out visiting the place which was home to the darkest point of his life may not be as simple as Oliver would like it to be. His answer is equally wonderful and sooooo WRONG. It’s WONDERFUL Oliver believes he’s a better man. It took us 8 long years to get here and his statement is no small thing. Round of applause for our boy.

Unfortunately, this is where the wonderful ends. Oliver is determined to only show his children the good. I guess it sounds ok when he says it, but upon closer examination it misses the forest through the trees. Everything that happened to Oliver Queen, good and bad, has formed the person he is. He cannot extricate the bad from this story anymore than he can the good. They are a sticky wicket forever entwined together. Take out one and you don’t get the full picture. And what his children need and deserve is the full picture.

That’s not to say Oliver’s filter is entirely wrong. There are certainly topics and information children are not ready to hear, can’t understand, or wouldn’t be appropriate to tell them. Every parent has some kind of filter when raising their children because that’s what good parenting requires.

This is appropriate when children are small. As your child grows into an adult then your relationship with them must become more adult, which requires more transparency. This is the problem between Oliver and his children. He is parenting like William and Mia are still little. And they are not.

If plans for a pulse generator sound like a flimsy excuse to go to Russia then you’d be right. The real reason we’re going to Russia isn’t because of some rando general. It’s to say goodbye to one of Arrow’s greatest supporting characters - Anatoly Knyazev

“My brother.”

I block out most of Season 6 because half of it was a walking horror show, so I don’t remember where Oliver and Anatoly left things after he joined and then betrayed Team Bad Guy. 

I guess their cool now? I don’t really want to spend all kinds of time on Oliver and Anatoly hashing out their issues, so if a hug gets the job done then I’m good. Also William speaks Russian. Queen men speaking foreign languages is hot.

A+ reaction Steve. 

Source: arrowdaily 

Anatoly was bored in the Maldives, now owns a bar and has a delicious pina colada recipe so that pretty much catches us up on him. He offers to help find Burov, but Oliver doesn’t want Anatoly’s “friends” involved because they are Bratva and he’s not discussing the bad parts of Russia with his children. I think the good parts of Russia ended at pina colada, Oliver. See how this is going to be a problem?

The best place to meet up with Burov is a local fight club. This prompts William to share where he met his baby sister and gives us Oliver’s best dad reaction to date. 

Source: 1-crazy-dreamer 

Bless you William. You do God’s work my boy.

Mia: Why did you bring us on this mission if you aren’t going to let us help?

Oliver: This is the Bratva. They are terrible people and you guys are my kids.

Mia: Yes, but we’re not children.

Oliver: Well you are when I look at you.

Aww… my sweet, lovable, wonderful Oliver. 

Do we ever stop looking at our children as children? Probably not. I know I will always be my parents’ baby girl and my daughter will always be mine. It is difficult to fully accept a human being as an adult when you’ve changed their diapers. And in Oliver’s defense he changed Mia’s diaper about five minutes ago in the present timeline, regardless of the future adults standing before him. We must give him some time to… adjust.

But Mia is Mia and doesn’t listen to anyone, other than William (SOUND FAMILIAR?) and he’s firmly on her team this week, so they go to the fight club and watch Dad in action. Mia has heard the stories of her father all her life but seeing him in action is an eye-opening experience. She is difficult to impress, but her dad is AWESOME. Yeah, we think so too honey. Welcome to stanning Oliver Queen.

Source: olivergifs

Unfortunately, the Bratva aren’t cool with the deal Oliver made with Burov and kidnap him along with Mia. Her Spidey sense was tingling, so she went to check on dad. Oops.

Source: feilcityqueen 

If there is one lesson the Arrow villains consistently fail to learn it’s DO NOT MESS WITH PEOPLE OLIVER QUEEN LOVES. He gets very angry and wildly unpleasant, which leads to many broken bones and occasionally murder. You put hands on Felicity Smoak and even I’m down with Oliver ripping off your head.

Of course, Oliver wakes from unconsciousness and his immediate question is if Mia is okay. Can’t-Admit-I’m-In-Love-With-You Oliver, 

Boyfriend Oliver,

Fiance Oliver, 

Ex-boyfriend Oliver, 

Husband Oliver, 

and Dad Oliver  are all the same Olivers.

Mia doesn’t understand why everyone in Russia knows who Oliver is and quickly deduces Dad was Bratva. Our princess is a smart cookie! Oliver is ticked Mia didn’t listen to him and there is truly no greater justice in the world than God creating a child who is exactly like you. Robert and Moira are having themselves a nice little chuckle.

Source: lucyyh 

The Bratva threatens to torture Mia if Oliver doesn’t tell them what’s on the zip drive. Mia is very brave and tells Daddy not to say anything. Pfft. Not likely Little Miss Square Bear. He points a gun at Oliver’s precious girl and counts down from five. The Green Arrow breaks like a pretzel. Honestly, I’m shocked Oliver didn’t give the guy the whole store after four.

Source: olicitygifs 

Unfortunately, nobody believes Oliver is telling the full story and a very large knife is brandished in Mia’s direction. Seriously? The one-time Oliver tells the truth he’s accused of lying. How ironic is that? The goon was at least 20 feet away from Mia, but Daddy was ready to flay him alive seven different ways. 

Oh. He was only cutting the restraints. Okay, we’ll knock down the flaying to five different ways.

The Bratva force Mia to play the Ring the Bell game. I don’t know if that’s what it’s called, but it works for my purposes. Oliver is very much HELL NO CHILD, but really her only other option is death. Of course, if she doesn’t ring the bell she dies too. ISN’T RUSSIA FUN? 

Mia kicks major ass, but is unable to ring the bell in under 60 seconds. This might have something to do with her wasting time to look back at the clock and then waiting an additional 3 seconds to reach for the friggin bell, but that’s just details. Be less stupid Arrow.

The Bratva don’t shoot her because… they’re nice gang of Russian mobsters now? 

Source: arrowdaily

This made very little sense other than Arrow doesn’t want to shoot the female lead of their new television show. On second thought, good enough for me. Oliver shoots death daggers at the man who scared the friggin bejesus out of him and it’s pretty much a certainty he will be flayed eight different ways.

William has a full-on panic attack over his father and sister’s kidnapping and it’s pretty much the cutest thing ever.  Then L*urel actually provides some necessary and helpful information. Is that the second week in a row this happened? I’m scared fandom. Hold me.

L*urel: Aren’t the people in your family constantly injecting each other with tracking devices?

William: Normally I would say God I hope not, but now I guess I can see the advantages.

He’s able to track them down, but L*urel and Anatoly show up right after Oliver has already freed himself by dislocating his thumbs. I love that trick. Mia’s reaction is the perfect combination of horrified and impressed. She really wants that trick to be on the next lesson plan.

Mia is bumming hard over not ringing the bell and boozes it up with some scotch. THY NAME IS GENETICS.

Oliver has had enough of his kids almost dying and is putting their asses on a plane back home BECAUSE THIS ISN’T DISNEY WORLD. 

William jumps firmly on Team Mia and reminds their father he’d be dead without them. Oliver has been dislocating his thumbs on his own for awhile now children. I think he’d survive without your help.

It’s time to set these kiddies straight.

Source:  oliverxfelicity

Mia tries to argue the whole adults saving the city angle, but that’s not going to fly in this timeline cupcake. 

In this timeline, Oliver smooshed those perfect chubby cheeks one more time before he left to save the universe 

Source:  oliverxfelicity 

and his rebelling teenage son, who was ousted from the present storyline to make a ridiculous plot point work in the future storyline, ignored his phone calls. (I’m never getting over the whole William never moves in with Mia and Felicity thing. NEVER.)

So, all of his children can take several seats and do what they’re told or they will be grounded! That includes no computer for you, William and Oliver will be taking that bow and arrow back little miss Mia.

Side note: This was a perfect time for William to explain WHY he didn’t return any of Oliver’s calls or if he even received them, but NOPE. Why would these writers attempt to clean up this mess of a storyline with reasonable explanations? Better to just ignore the Grand Canyon sized plot holes and keep driving through. 

Stephen Amell does a wonderful job in this scene as Oliver’s voice quivers with emotion. He’s skating the edge of keeping his composure and losing it all together perfectly this season. Neither Mia nor William have offered much understanding for where Oliver is coming from. Yes, they are adults but 1) No matter how old they get they will always be Oliver’s children and 2) HE MISSED TWENTY YEARS.  

Oliver has been very clear this was not a choice he wanted to make. Mia and William are not the only ones who lost something precious. Oliver lost a lot too. Part of being an adult is letting go of the natural narcissism we all have as children. So, if Mia and William want to put on their big boy and big girl pants then they need to show their father a little understanding and compassion.

Mia: And because you made the choice to protect us I had to spend my whole life alone. I didn’t have a chance to get to know my brother to get to know you.

Mia is not ready to do that yet. She throws Oliver’s choices in his face once again. He is still the one she wants to blame. If this reaction frustrates you then that’s understandable because Mia is supposed to be frustrating right now. It’s odd for us to be identifying through Oliver, but that’s what happens when the hero becomes fully evolved. This entire episode is about showing how much Mia still has to learn not only physically, but emotionally too.  

Source: oliverxfelicity

Oliver is getting used to Mia’s blame by now and it doesn’t really change his opinion on this situation. The worst part of this argument is Oliver believing his children hate him. His worst nightmare was Mia and William not understanding his choices and resenting him for it. Oliver’s greatest fear isn’t death. It is his children believing he abandoned them.

Mia being angry at Oliver over not growing up with William is really not his fault and it’s bizarre how the writers are insistent on lumping that in with everything else she’s ticked about. I did a deep dive on Mia’s emotional and psychological viewpoint last week and I won’t repeat it here because everything still stands. But how is Felicity never going back for William Oliver’s fault?

I’m not putting the blame on Felicity here either. It’s a ludicrous plot point that makes absolutely no sense, so it’s pointless to even try to argue the logic. And yet, that’s exactly what the writers keep trying to do. But it merely shines a brighter spotlight on their illogical reasoning behind the decision.

We are already sympathizing with Oliver because we know how heartbroken he was to leave his children. We know he sacrificed everything for a bunch of ungrateful twats who caught a lucky break for existing in the universe. But forcing Mia’s character to continually blame Oliver for EVERYTHING can rapidly make this character unlikeable. Particularly since her father left to SAVE THE UNIVERSE. The writers need to tread carefully. This has the same nonsensical threads of the Season 4 break up. Or, even worse, Mia channeling the same the anger/blame/bitterness of Season 1 & 2 L*urel Lance. Nobody wants a repeat of those hot messes.

Oliver is floundering. He missed twenty years of his children’s lives. They’ve arrived from a different time as adults. Oliver was still learning how to be a parent and then the universe flipped the board. He has no idea how to do this and the one person who can help him isn’t here. If there was ever a time Oliver needed his Felicity this is it.

So, the only guiding light Oliver has right now is the promise he made his wife and mother of his children. 

Source: oliverxfelicity 

Not to get too nitpicky on the details Oliver, but as @callistawolf​ pointed out in our Watchover episode of 8x05, we never heard him make any promises to Felicity about the children. 

In their final goodbye, it was Felicity promising Oliver to do whatever was necessary to keep their children safe (re: Nyssa Al Ghul). So, let’s just create our own head canon there was some Olicity discussion about the future kids being in present day off screen and he made the promise to her then. Cool? Cool.

OR Oliver is merely trying to score points in an argument via emotional manipulation, which hey man. More power to you. Whatever it takes to keep kiddos safe, I guess. I did have to chuckle about Oliver keeping his promises to Felicity NOW that she’s off the show. Where was this guy in 6x23? Or maybe I sobbed quietly. Probably a little of both. Regardless of the reasoning, it’s an EPIC speech. Dad for the win.

Oliver decides it’s time to get boozy. Amen brother. Pass the scotch. 

Anatoly is no Felicity Smoak, but in the ever-spinning weekly wheel of characters trying to fill her role, he asks the obvious question. Is Oliver sending his children home because he believes they cannot handle Russia/vigilantism/life?

Of course, the answer has been obvious from the moment Oliver decided to only share the good. It’s not about what his children can handle. This is about what Oliver can handle.

Anatoly: That is understandable. You’re ashamed. You have truly done some terrible things.

Oliver: Thank you for the reminder.

Anatoly: But you also have done some good things. It’s important that the kids see both.

Can’t you just hear Felicity Smoak saying these lines? Only in an adorable ramble and less booze? I miss her. Just leaving this here.

I absolutely understand Oliver’s refusal to share the darkest moments of his past. It’s not like my dad has gone chapter and verse into his Vietnam experiences. But I know he was there. I know some of the stories. Maybe Oliver doesn’t need to go into detail about the time he skinned a guy, but he can be honest with his children about being in the Bratva.

Anatoly: That’s the thing about teaching. It’s not about what you want to say. It’s about what they need to hear.”

This part of the speech is all Anatoly. 

Source: 1-crazy-dreamer 

He taught Oliver living was not for the weak because this was the lesson Oliver needed to hear.  Maybe he missed out on teaching William and Mia how to tie their shoes or ride a bike, but nobody understands what it means to be a hero better than Oliver Queen. The Crisis is coming and if Oliver is marching slowly but steadily to his death then he must pass on all he’s learned. There is still so much to teach Mia and William about Oliver’s life and who he is. Those lessons can only come from their father.  What William and Mia need to hear is the truth.

“You were so little. I think that’s what I’ve always wanted all these years. Is for you just to stay little, quiet and safe. But you’re not any of those things. You’re loud and fearless and it scares the crap out of me.” Derek Shepherd, Grey’s Anatomy

His children are loud and fearless and it scares the crap out of Oliver Queen. But there’s a deeper fear driving his hesitation. Oliver is afraid that if he tells Mia and William the truth about his past then they’ll only hate him more. He is constantly afraid of losing his children’s love.

But truth is the path to understanding. Anatoly is right. Oliver must give Mia and William a chance. The real truth is there’s nothing he has done or will ever do that will make his children stop loving him. Sure, Mia is angry at Oliver, but she’s only angry because she loves him. She craves her father’s approval more than anything.

Oliver changes his parenting tactic. He cannot shield his children from the very life they have chosen for themselves. He asks Mia to fight in the ring with him and William to help get them in. Oliver treats his children like they are part of the team – like partners.

Mia has been trying to show her father what she’s capable of since the moment she came to the present. Underneath all that anger and blame, is a little girl who just wants to make her daddy proud. What Mia needs to realize is she already makes Oliver proud merely by existing. However, he offers her the support and belief she’s been craving as they enter the ring together. 

Source: oliverxfelicity

The look on her face says everything about how Mia truly feels about her dad.

Source: arrowdaily

FATHER DAUGHTER FIGHT CLUB. From the moment, we met Blackstar in the ring I hoped she was Olicity’s daughter and we would somehow, someway get a scene of Oliver and Mia teaming up. But I never imagined these circumstances. It’s awesome.

After kicking butt as a team and a family, Oliver opens the door to his past and lets his children walk through. And what better place to start than the beginning?

Source: olivergifs

The truth is a tie that binds and it will be the foundation of Oliver’s relationship with his children. Something he never had with his parents until it was too late.

And did William and Mia stop loving Oliver after they heard the truth? No. They understand him better and love him all the more for what he’s survived. 

Mia: Don’t forget to send me that picture of my dad with that haircut.

Anatoly: Don’t forget to ask about Bratva tattoo. We have matching.

Oliver: Used to. Used to actually.

William: Oh I’m gonna need to hear that story immediately.

Well... son this raving loony burned my tattoo off my chest after several hours of torture. 

The warm banter of this scene isn’t to make light of what Oliver Queen suffered. It’s to show the power of telling our stories. Pain and fear lose control over us, bit by bit, the more we talk about it and share with our loved ones. We let them inside the good and bad, so we don’t have to carry it by ourselves anymore. Overtime, we begin to see our suffering for what it is - something we survived. Children, in particular, have an ability to find the light in the dark. We can see our life through their eyes and remarkably, yes even find the humor in what was once unspeakable pain. And come on - Oliver’s flashback hair is always funny.

Family is the source of Oliver’s strength. It always has been. It’s what helped him survive the unsurvivable.

He can only become his children’s strength by teaching them how he became a better man. William and Mia can only understand who their father is, and how to be heroes, by knowing the good and the bad. Hiding either tarnishes the beauty of his story. Oliver is finally strong enough to tell it and his children are strong enough to hear it. And that’s how the past, present and future will find harmony, acceptance, forgiveness and love.

Source: oliverxfelicity

Diggle and Roy

John enlists Roy’s help obtaining the plutonium.

 Source: thistributeisonfire

We’re going to run through this pretty quick because this storyline is all about getting Colton Haynes back on Team Arrow for the final episodes. 

Diggle tells Roy what happens to him in the future. The cure for Roy’s bloodlust wasn’t hiding out on Lian Yu for 20 years. It was rejoining the team and fighting for the city again.

Diggle: Maybe this time you don’t have to wait that long.

Diggle’s ENTIRE motivation is to change Roy’s future and it’s not difficult to figure out why. Obviously John cares about Roy and wants to help him. However, Roy also makes a very good test case. Diggle is also desperate to change Connor, JJ and Zoe’s future as well. If they can make their own hope in the present then maybe things can be different for his children in the future.

Source: 1-crazy-dreamer

We all need love and support. None of us can truly survive on our own - particularly when we are suffering. Roy fights John at first, but eventually he comes to realize he’s right. Roy found purpose and family when he met Oliver so it makes sense to him they are the reason he gets better. So why wait? He comes home and begins the path to healing twenty years earlier. And thus, a major storyline from Season 7 flash forwards begins to change.

ROY MADE SENSE Y’ALL!!! 

L*urel L*nce

I truly could not figure out why L*urel was in Russia. I guess to help Oliver track down these plans, but she spent the better part of the episode staring at her fingernails. That’s not even an exaggeration. KC stared at her fingernails for an entire scene.

Source: thistributeisonfire 

Her interactions with Oliver are even more bizarre.

Source: 1-crazy-dreamer 

I’m sorry, but does L*urel go here? Bl*ck S*ren has been on the show since Season 5. You’d think at this point she’d know Oliver Queen can easily handle one guy twice his size. I’m chalking up this stupidity to the acting version of a layup, so Stephen Amell can spike it with the epic comeback of, “I’ll give him half a chance.”

I guess L*urel is primarily in Russia to betray Oliver Queen and steal the plans or something, per Lyla’s instructions.

LL: And here I thought I was supposed to be the bad guy.

At last count Lyla never murdered innocent people, so I think she's still ahead by the numbers Bl*ck S*ren.  This is the problem with L*urel’s character this year. The comparisons her character makes this season are INSANE. Putting on a new suit and calling yourself Bl*ck C*nary doesn’t automatically make you morally superior to everyone.

At least when Season 7 L*urel was playing attorney she had a healthy perspective on herself.  I was a big fan of the snark last season and found her character to be refreshingly amusing in her biting honesty, but this year the writers lost the snarky humor and have gone straight to obnoxious hypocrisy and judgment.  Sometimes she’s just downright mean in a way none of the other characters deserve. Yes, Lyla is being shady, but this in no way erases the horrors of your past L*urel. 

L*urel: If saving it means going back to the person I used to be then what the hell is the point?

We all know this whole betray Oliver thing the Monitor is playing at with L*urel is a trick. She’s not going to betray Oliver and prove herself a worthy and useful hero.  Ok. Whatever. I know I’m supposed to get excited about her big speech, but this line kind of gnawed at me. 

L*urel is unwilling to save an ENTIRE EARTH because she’d have to do something shady. She’s not willing to do any dirty work if it sullies her good name. So, Earth 2 only matters as long as L*urel gets to be a hero on it? I guess I should be happy L*urel is holding onto her moral center, but if there’s anything Oliver Queen’s story has taught us sometimes heroism requires doing unpleasant things for the greater good.

Take Lyla for example – a person L*urel feels quite comfortable judging. Lyla has been lying to her husband, something she does not want to do, for the greater good. I think we know enough about Lyla’s character by now that even though her actions are hurtful we can trust her reasons. 

LL’s primary function this week it seems is to rat Lyla out to Diggle and Oliver.

Source: stevesrogered

I guess we’re supposed to rejoice there’s no price L*urel is willing to pay for her morality, but this is still the same person who has yet to take any responsibility for the people she’s murdered. The line just sounded so arrogant and self serving to me. I don’t know. Maybe it was just KC’s delivery.

It’s been difficult for me to imagine what role either L*urel or Dinah will play in the spin off and seeing as how the writers are struggling to find a purpose for their characters in the final season of Arrow I am not encouraged. That said, L*urel’s scene with Mia was one of the few bright spots for her character in this week’s episode.  Mia believes she’s not cut out to be a hero because she failed to ring the bell like her father and Zoe’s death still weighs heavily on her conscious.

Mia: Every time I try and live up to my dad or to prove I can do what it is you all do. I fail.

L*urel: If you’re trying to live up to us, don’t. We are just as flawed as anyone. Especially me. All you can do is live up to yourself.

Damn L*urel. That was really good advice and a truthful reflection of the person you are. CAN WE HAVE THIS ATTITUDE CONSISTENTLY WEEK TO WEEK PLEASE WRITERS? This is the first time I can see a version of L*urel working in the spin off, but that’s always the problem with the writing of her character. We never know which version we’re going to get.

Season 8 is slipping back into very bad Season 1 habits. There’s a lack of cohesiveness with L*urel and they really need to get this sorted out before the new show hits the air. Otherwise, we’re going to have the same problem we’ve always had with her character. No matter how many versions of L*urel’s character these writers create they never figure out who she truly is because they don’t want to devote the necessary screen time. This leaves us with a half baked canary every single time.

If L*urel is going to play Rupert Giles to Mia’s Buffy in the spin off then this scene is a good indication of how it could work, but that’s only if this path stays on track which seldom happens with this character. The key to LL is a very specific supporting role. She worked great in Season 7 because her focus was getting Oliver Queen out of jail. Then,it was about fleshing out her redemption and shipping her back to E2 to make amends.

L*urel lacks a concrete To Do list this year. They toss her into scenes and she takes up space looking at her fingernails. Or she arrives a few minutes after Oliver frees himself to scream down a door he could have easily opened. Or she says something hypocritical and nasty. REALLY? This is the best these writers can come up with? Sadly, history points to yes.

Keep her scenes short. Keep her scenes specific. Keep her scenes supporting. That’s the only way this character works. And believe me I wish it was different, but there doesn’t seem to be any version of L*urel L*nce these writers can keep a handle on.

You know what I appreciate about this scene between Anatoly and William though? Anatoly addresses his less than honorable past and apologizes. I can’t fully remember what Anatoly did to William - I think it might have been related to kidnapping or a bomb or a nuke or all three. See? I told you I don’t remember S6. My point is - can we expect an apology from L*urel for being an accessory to William’s mother’s murder? I won’t hold my breath. It would be extremely helpful if they addressed LL’s past in an honest way and actually had her show remorse to one of her victims, but again that requires more screen time and effort than this show is ever will to give her character.

SO WHY DO THEY KEEP HER AROUND?

Stray Thoughts

Connor isn’t in this week’s episode because he’s checking in on Sandra. Soooo… Connor can visit his mother but Mia and William can’t visit theirs? I know this is yet another EBR plot hole, but find a better reason for Connor to be MIA writers. It just makes the Smoak-Queen family look uncaring, which we know they are not. And if Connor can get an off camera mother moment mention then why can’t Mia and William? THESE ARE THE THINGS THAT ANNOY ME.

“Has anyone fought six men before?” Mia and Oliver’s side eye is hilarious, but didn’t Mia fight six goons by herself? And we’ve watched Oliver take down twenty without breaking a sweat. Raise the number in the ring a little if you want me to take their hesitation seriously.

Diggle is absolutely horrified to find out Lyla is working against the team with The Monitor. “I didn’t want to believe it was true.” Boy, really? Who are you kidding? This is Lyla Michaels, super spy. She’s been lying and doing shady things from minute one. She’s the Oliver to your Felicity. Get out of here with that nonsense. This is totally something she would do and you know it. Lol

William doesn’t like the field, but the allure of beautiful couture convinces him otherwise. At least he didn’t have to go on a skeevy date with Ray Palmer to wear it. Source:  felicitysmoakgifs

William’s “Wrap it up” sign while Mia was fighting was such a funny and wonderful way of showing their team within a team.

“I can be the fun uncle.” Raise your hand if you want Anatoly as a fun uncle. 

He was a complicated, but ultimately wonderful character who made Arrow a better show. 

Goodbye Anatoly. I will miss you. source:  oliverxfelicity

Disclaimer: Any gifs on the blog are not mine. If you would like a gif removed from my reviews, please message me. 8x05 gifs credited.

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[artistic-mathematics]

I, uh, had the woooonderful experience of... watching the 4th season of She-Ra just now.

Major. Spoilers. Ahead. You have been warned.

Thoughts/Initial reactions?

I hate this show. I love and hate this show. No, I hate it. Love it. Hate. Love. Crew-Ra, w h y?

I definitely didn’t cry many, many times during the season.

Reference of Angella’s... absence made me cry a few times. Micah’s realization... can’t even imagine how awful that was for him. Glimmer’s struggle in accepting she’s gone... (hopefully for now or I will actually fight Crew-Ra...) was just. Ow. Glimmer yelling at Adora about how it was her fault that Angella was gone? Yeesh, no, that was also so upsetting, yikes.

Everyone was crying and I felt the need to join in because I also got sad.

Razz cried...

Then Micah cried over Angella...

Then Hordak did once he found out Catra lied to him...

Glimmer and Adora fighting with each other was so upsetting. It was awful. Please don’t let them fight again.

Scorpia finally said what we all wanted her to say.

Micah’s baaaaack, and he’s awesome!

Nope, not crying again. What do you mean I’m crying? What?

Was... was that Kyle doing something useful for once?

Did Light Hope actually show emotion? Am I dreaming?

Glimmer as a badass queen is literally so amazing. Her flaws really just make her better. I was basically screaming at the screen during the time she thought talking to Light Hope was like, the key to using the weapon, but turns out that it wasn’t the case, but it worked out in the end anyway and Scorpia has cool lightning magic now? Aaaaa!!

Mermista and Scorpia were such moods during this season.

My new headcanon is that Shadow Weaver gardens just so she has something to kill in her spare time.

Glimmer freeing Double Trouble to have them mess with Catra was the best. revenge. ever. Hats off to you, Glimmer.

Past theories proven right/wrong, and my thoughts on them? Theories I’m referencing here: Part 1, Part 2, Season 4 Trailer Analysis

Status of Micah, Angella, and Mara

Micah’s... quite alive, as we’ve seen. Glad I got something right!

However, Mara... is most likely gone. There’s absolutely no indication that Mara could possibly be alive at this point, other than the warped reality (which oh look, Micah’s alive!), but I think Crew-Ra made it pretty clear that she’s gone. Rest in peace, Mara.

Doesn’t mean I’m giving up on this theory, though :)) I think Mara and Adora would make great friends.

There’s still hope for Angella, especially since the portal was reopened and portal capabilities are now possible. Reopening this wormhole most likely meant freeing Angella, and I believe she’s out there somewhere. Micah was. Angella must be out there.

Hordak’s possible redemption arc

I guess his redemption arc... already happened? He fell... in “love”. He cared for Entrapta, which is pretty obvious.

He’s been “rebooted”, but that was clearly due to some tech stuff, so I believe that Entrapta may be able to undo that. They had a pretty great relationship, and I’m sure it can be restored. If that is true, then Hordak will most likely try to turn against Horde Prime, with Horde Prime’s great monologue in the end.

Entrapta’s status and stance

Haha, in this theory I said the Rebellion would find both Micah and Entrapta. Case closed, I win.

Entrapta is basically joining the Rebellion again. I thought it would be due to the realization of Catra’s betrayal, but it really ended up being something better -- the realization that the Princess Alliance never gave up on her, and never meant to left her behind.

Catra’s fate

Mmm. I thought Catra might join Horde Prime. During the last episode, however... she realized that her actions were pushing everyone away, she saved Glimmer from having her mind wiped, and she seems to be... overall... walking towards the good side. She did tell Horde Prime that he needed her... but I think it may have been to save her own skin after seeing Hordak. I think that was vague for the cliffhanger. I really hope Catra is truly seeing the light.

Madam Razz

I may have been completely right about her, and I’m so happy about this.

I decided in the end that she wasn’t a First One, but just a really old Etherian, and what do you know, she was confirmed to be that.

I said she was some sort of magical being, which definitely was part of it. Her powers... well, I said she may have time-traveling experience or is an all-seeing being of some sort, which I was... well, pretty close, I guess. It definitely wasn’t her memories messed up, as Mara confirmed that she was seeing into the future -- talking to Mara about Adora, and that’s how Mara was able to straight-up talk to Adora without playing the whole name game.

Catra’s redemption arc (and Beast Island)

Hey, Catra’s redemption arc seems to be beginning!

So much for Catra being the queen of Beast Island, however. That was proven wrong, unfortunately.

And aggh. The two ways I mentioned... were both wrong. I mentioned Hordak may find out about Catra’s lie and get sent to Beast Island, or Catra gets away with lying and ends up trying to become Horde Prime’s second-in-command. Neither of those quite happened. Hordak did find out, but kind of ended up trying to blast Catra into bits instead.

Light Hope and the First Ones

Holy. Hell. I was actually pretty close on this one.

Light Hope, at least, isn’t an end-game villain. In fact, she went against her own programming to save Etheria and Adora from their fate.

The First Ones, however... how much do you want to bet that Horde Prime has some connection with them? This may very well be the end-game villain right here. Horde Prime first, then the First Ones, because I’m pretty sure they have some connection. This definitely can’t be the end of the road for the First Ones. They made such a major part of the story and suddenly this just... goes away? Yeah, this can’t be.

My speculation of the First Ones leaving as Mara stranded Etheria... well, I wasn’t completely wrong, I guess. They were already leaving.

My idea about the First Ones conquering Etheria and needing She-Ra for that... oh boy.

A general speculation

During this short prediction, I mentioned that She-Ra was a massive struggle for power, and I wasn’t wrong. Those who end out on top are truly the people who widen their perspectives.

We see all of our current protagonists do this (biggest examples would be Glimmer during the last episode, Scorpia, and Entrapta). Catra is on her way, so I have good reason hoping for a redemption arc for her.

Horde Prime won’t make it too far. He really won’t.

Scorpia

So not exactly a theory, because I somehow completely neglected to mention how Scorpia may be getting a redemption arc real soon in my theory posts (and ended up sticking this in my quick analysis of the season 4 trailer) but I guess I was right there as well. Scorpia really was being treated awfully by Catra and... well, she finally said what we were all thinking.

Double Trouble

Not really a theory either, because I mentioned it in my quick analysis of the season 4 trailer, but I was mostly right.

I just want to mention that I said almost exactly what Mermista said -- how Shadow Weaver was too easy of an answer, and that it wasn’t her. I mentioned Double Trouble could easily be the spy, but may also help the Rebellion out instead. And what do you know, they did!!

Current theories?

Angella is still alive. Fight me on this. (And maybe Mara, but I might be a little too optimistic hoping for this...)

Catra’s getting a redemption arc...

Razz and her time-traveling powers of sorts?

New theories?

The sword broke, but Adora should be able to transform back into She-Ra somehow.

Razz mentioned specifically that the sword is not She-Ra. Adora is She-Ra. The sword is, well, just a sword. Adora is still capable of turning into She-Ra, she’ll just need another way. Oh, and when has Razz ever been wrong?

Horde Prime is connected with the First Ones, somehow.

I did mention this before, but they seem quite related.

Also, did I mention that Horde Prime seems to have advanced tech like the First Ones had... but it may just be the progress they made? In like, an actual universe that wasn’t Despondos?

The princesses’ powers?

Towards the ending of the last episode, Glimmer showed that her magic was glitched... sort of.

I believe that they’ll be able to get it back. I just think Adora’s sword severed the connections and they’ll have to go back to their runestones to reconnect themselves, as the runestones did go black after Adora broke the sword. I think they’ll be fine, but Glimmer will have to go back and she doesn’t really have the ability to do so as of right now... and maybe, just maybe, reconnecting the connections of all the other princesses (to their respective runestones) is the key to bringing back Adora’s ability to turn into She-Ra. Rest in pieces to the sword, though. Never even got a chance to see Adora turn it into a gun... Ah well, haha.

I’ll make new theories when I’m not utterly tired out... so until next time, I guess. Hope you all enjoyed this very unorganized post.

[hlupdate]

A hand­shake can quell polit­i­cal unrest and sti­fle impend­ing war. It can, with a bit of spit, val­i­date a gentleman’s agree­ment, end a years-long roman­tic rela­tion­ship or send a young heart rac­ing. But it all depends on the two par­ties involved.

Daisy, 21, felt a seis­mic jolt when Har­ry Styles, 25, wear­ing a striped jumper and rings on three of his five fin­gers, clutched her hand two days after this year’s Met Gala in New York, when she served him gela­to at the shop where she worked.

“He decid­ed on a small mint choco­late gela­to and I made his and the one for his friend and I said, ​‘Can I just say I absolute­ly loved your Met Gala look’ and he said ​‘Thank you very much! What’s your name?’ And I said, ​‘Daisy’ AND HE FUCK­ING EXTEND­ED HISHAND AND REACHED TO SHAKE MY HAND AND I ACTU­AL­LY FUCK­INGSHOOK HIS HAND WHAT THE FUCK,” she wrote on Insta­gram after The Shak­en­ing. ​“Like I didn’t even say any­thing to gas him up besides ​‘I loved your met gala look’ and his fine ass went and shook my hand! WHAT A BEAU­TI­FUL FUCK­ING HUMAN BEINGTHAT HE IS GOD BLESS HIM AND I HOPE HW [sic] LIVES FOREVER.”

For Har­ry Styles, a hand­shake can be a roman­tic ges­ture, con­jur­ing a potent rev­er­ence in its recip­i­ent, like the time he met Gucci’s cre­ative direc­tor Alessan­dro Michele. ​“He was as attrac­tive as James Dean and as per­sua­sive as Gre­ta Gar­bo. He was like a Luchi­no Vis­con­ti char­ac­ter, like an Apol­lo: at the same time sexy as a woman, as a kid, as a man,” Michele told me, has­ten­ing to add: ​“Of course, Har­ry is not aware of this.”

No, Styles has no idea the pow­er he wields. In per­son, he’s tow­er­ing, like some­one who is not that much taller but whose rep­u­ta­tion adds four inch­es. Styles has a seda­tive bari­tone, spo­ken in a rum­my north­ern Eng­lish accent, that tum­bles out so slow­ly you for­get the name of your first born, a swag­ger that has been nursed and per­fect­ed in myth­i­cal places with names like Pais­ley Park, or Abbey Road, or Grace­land. Makes com­plete sense that he would be up for the role of Elvis Pres­ley in Baz Luhrmann’s upcom­ing biopic. He was primed, nay, born to shake his hips, all but one but­ton on his shirt cling­ing for dear life around his tor­so. Then the part was award­ed to anoth­er actor, Austin Butler.

“[Elvis] was such an icon for me grow­ing up,” Styles tells me. ​“There was some­thing almost sacred about him, almost like I didn’t want to touch him. Then I end­ed up get­ting into [his life] a bit and I wasn’t dis­ap­point­ed,” he adds of his ini­tial research and prepa­ra­tions to play The King. He seems relaxed about los­ing the part to But­ler. ​“I feel like if I’m not the right per­son for the thing, then it’s best for both of us that I don’t do it, you know?”

Styles released his self-titled debut solo album in May 2017. The boy­band grad was clear­ly unin­ter­est­ed in hol­low­ing out the charts with more for­mu­la­ic meme pop. Instead, to the sur­prise of many, he dug his heels into retro-fetishist West Coast ​’70s rock. Some of the One Direc­tion fan-hordes might have been con­fused, but no mat­ter: Har­ry Styles sold one mil­lion copies.

Despite its com­mer­cial and crit­i­cal suc­cess, he didn’t tour the album right away. He want­ed to act in the Christo­pher Nolan film Dunkirk. To his cred­it, his por­tray­al of a British sol­dier cow­er­ing in a moored boat on the French beach­es as the Nazis advanced wasn’t skew­ered in the press like the movie debuts of, say, Madon­na or Justin Tim­ber­lake. Per­haps he was fol­low­ing advice giv­en by Elton John, who had urged him to diver­si­fy. ​“He was bril­liant in Dunkirk, which took a lot of peo­ple by sur­prise,” John writes in an email. ​“I love how he takes chances and risks.” Act­ing, unlike music, is a release for Styles; it’s the one time he can be not himself.

“Why do I want to act? It’s so dif­fer­ent to music for me,” he says, sud­den­ly ani­mat­ed. ​“They’re almost oppo­site for me. Music, you try and put so much of your­self into it; act­ing, you’re try­ing to total­ly dis­ap­pear in who­ev­er you’re being.”

Fol­low­ing the news that he missed out on Pres­ley, his name was float­ed for the role of Prince Eric in Disney’s live-action remake of The Lit­tle Mer­maid. How­ev­er, fans will have to wait a bit longer to see Styles on the big screen as that idea, too, has sunk. He won’t be The King or the Prince. ​“It was dis­cussed,” he acknow­ledges before swift­ly chang­ing the sub­ject. ​“I want to put music out and focus on that for a while. But every­one involved in it was amaz­ing, so I think it’s going to be great. I’ll enjoy watch­ing it, I’m sure.”

The new album is wrapped and the sin­gle is decid­ed upon. ​“It’s not like his last album,” his friend, rock ​‘n’ roll leg­end Ste­vie Nicks, told me recent­ly over the phone. ​“It’s not like any­thing One Direc­tion ever did. It’s pure Har­ry, as Har­ry would say. He’s made a very dif­fer­ent record and it’s spectacular.”

Beyond that, Styles is keep­ing his cards close to his chest as to his next musi­cal move. How­ev­er, the air is thick with rumours that his main wing­man for HS2 is Kid Har­poon, aka Tom Hull, who co-wrote debut album track Sweet Crea­ture. No less an author­i­ty than Liam Gal­lagher told us that both big band escapees were in the same stu­dio – RAK in north-west Lon­don – at the same time mak­ing their sec­ond solo albums. Styles played him a cou­ple of tracks, ​“and I tell you what, they’re good,” Gal­lagher enthused. ​“A bit like that Bon Iver. Is that his name?”

Har­ry Styles met Nicks at a Fleet­wood Mac con­cert in Los Ange­les in April 2015. Some­thing about him felt authen­tic to the leg­endary front­woman: ground­ed, like she’d known him for­ev­er, blessed with a win­ning moon­shot grin. A month lat­er, they met back­stage at anoth­er Mac gig, this time at the O2 in Lon­don. Styles brought a car­rot cake for Nicks’ birth­day, her name piped in icing on top. By her own admis­sion, Nicks doesn’t even cel­e­brate birth­days, so this was a sur­prise. ​“He was per­son­al­ly respon­si­ble for me actu­al­ly hav­ing to cel­e­brate my birth­day, which was very sweet,” she says.

Styles’ rela­tion­ship with Nicks is hard to define. Induct­ing her into the Rock and Roll Hall of Fame in New York as a solo artist ear­li­er this year, his speech hymned her as a ​“mag­i­cal gyp­sy god­moth­er who occu­pies the in-between”. She’s called him her ​“lovechild” with Mick Fleet­wood and the ​“son I nev­er had”. Both have moved past the pre­lim­i­nary chat acknowl­edg­ing each other’s unquan­tifi­able tal­ents and smooth­ly accel­er­at­ed towards play­ful cut-and-thrust ban­ter of a witch mom and her naughty child.

They per­form togeth­er – he sings The Chainand Stop Drag­gin’ My Heart Around; she sings the one alleged­ly writ­ten about Tay­lor Swift, Two Ghosts. One of those per­for­mances was at the Guc­ci Cruise after­par­ty in Rome in May, for ​“a lot of mon­ey”, Nicks tells me, in a ​“big kind of cas­tle place”. She has become his de fac­to men­tor – one phone call is all it takes to reach the Queen of Rock’n’Roll for advice on sequenc­ing (“She is real­ly good at track list­ing,” Styles admits) or just to hear each other’s voic­es… because, well, wouldn’t you?

Fol­low­ing anoth­er Fleet­wood Mac con­cert, at London’s Wem­b­ley Sta­di­um, in June, Nicks met Styles for a late (Indi­an) din­ner. He then invit­ed her back to his semi-detached Geor­gian man­sion in north Lon­don for a lis­ten­ing par­ty at mid­night. The album – HS2or what­ev­er it’ll be called – was fin­ished. Nicks, her assis­tant Karen, her make-up artist and her friends Jess and Mary crammed onto Styles’ liv­ing-room couch. They lis­tened to it once through in silence like a ​“bunch of edu­cat­ed monks or some­thing in this dark room”. Then once again, 15 or 16 tracks, this time each of his guests offer­ing live feed­back. It wrapped at 5am, just as the sun was bleed­ing through the curtains.

Even for a pop star of Styles’ stature, press­ing ​“play” on a deeply per­son­al work for your hero to digest, watch­ing her face react in real time to your new music, must be… what?

“It’s a dou­ble-edged thing,” he replies. ​“You’re always ner­vous when you are play­ing peo­ple music for the first time. You’ve heard it so much by this point, you for­get that peo­ple haven’t heard it before. It’s hard to not feel like you’ve done what you’ve set out to do. You are hap­py with some­thing and then some­one who you respect so much and look up to is, like: ​‘I real­ly like this.’ It feels like a large stamp [of approval]. It’s a big step towards feel­ing very com­fort­able with what­ev­er else hap­pens to it.”

Wad­ing through Styles’ back­ground info is exhaust­ing, since he was spanked by fame in the social media era where every god­dam blink of a kohl-rimmed eye has been doc­u­ment­ed from six angles. (And yes, he does some­times wear guyliner.)

Deep breath: born in Red­ditch, Worces­ter­shire, to par­ents Des and Anne, who divorced when he was sev­en. Grew up in Holmes Chapel in Cheshire with his sis­ter Gem­ma, mum and step­dad Robin Twist. Rode hors­es at a near­by sta­ble for free (“I was a bad rid­er, but I was a rid­er”). Stopped rid­ing, ​“got into dif­fer­ent stuff”. Formed a band, White Eski­mo, with school­mates. Aged 16, tried out for the 2010 run of The X Fac­torwith a stir­ring but aver­age ren­di­tion of Ste­vie Wonder’s Isn’t She Love­ly. Cut from the show and put into a boy band with four oth­ers, Louis Tom­lin­son, Liam Payne, Niall Horan and Zayn Malik, and called One Direc­tion. Became inter­na­tion­al­ly famous, toured the globe. Zayn quit to go solo. Toured some more. Dat­ed but maybe didn’t date Car­o­line Flack, Rita Ora and Tay­lor Swift – whom he report­ed­ly dumped in the British Vir­gin Islands. (This rela­tion­ship, if noth­ing else, yield­ed an icon­ic, can­did shot of Swift look­ing deject­ed, being motored back to shore on the back of a boat called the Fly­ing Ray.) One Direc­tion dis­cussed dis­band­ing in 2014, actu­al­ly dis­solved in 2015. They remain friend­ly, and Styles offi­cial­ly went solo in 2016.

It’s been two years since his epony­mous debut and lead sin­gle, Sign of the Times, shocked the world and Elton John with its swag­ger­ing, soft rock sound. ​“It came out of left field and I loved it,” John says.

After 89 are­na-packed shows across five con­ti­nents grossed him, the label, whomev­er, over $61 mil­lion, Styles had all but dis­ap­peared. He has emerged only inter­mit­tent­ly for pub­lic-fac­ing events – a Guc­ci after­par­ty per­for­mance here, a Met Gala co-chair­ing there. He relo­cat­ed from Los Ange­les back to Lon­don, sell­ing his Hol­ly­wood Hills house for $6mil­lion and ship­ping his Jaguar E-type across the Atlantic so he could take joyrides on the M25.

“I’m not over LA,” he insists when I ask about the move. ​“My rela­tion­ship with LAchanged a lot. What I want­ed from LA changed.”

A great escape, he would agree, is some­times nec­es­sary. He was in Tokyo for most of Jan­u­ary, hav­ing near­ly fin­ished his album. ​“I need­ed time to get out of that album frame-of-mind of: ​‘Is it fin­ished? Where am I at? What’s hap­pen­ing?’ I real­ly need­ed that time away from every­one. I was kind of just in Tokyo by myself.” His sab­bat­i­cal most­ly involved read­ing Haru­ki Murakami’s The Wind-Up Bird Chron­i­cle, singing Nir­vana at karaoke, writ­ing alone in his hotel room, lis­ten­ing to music and eaves­drop­ping on strangers in alien con­ver­sa­tion. ​“It was just a pos­i­tive time for my head and I think that impact­ed the album in a big way.”

Dur­ing this break he watched a lot of films, read a lot of books. Some­times he texts these rec­om­men­da­tions to his pal Michele at Guc­ci. He told Michele to watch the Ali Mac­graw film, Love Sto­ry. ​“We text what friends text about. He is the same [as me] in terms of he lives in his own world and he does his own thing. I love dress­ing up and he loves dress­ing up.”

Because he loves dress­ing up, Michele chose Styles to be the face of three Guc­ci Tai­lor­ing cam­paigns and of its new gen­der­less fra­grance, Mémoire d’une Odeur.

“The moment I met him, I imme­di­ate­ly under­stood there was some­thing strong around him,” Michele tells me. ​“I realised he was much more than a young singer. He was a young man, dressed in a thought­ful way, with uncombed hair and a beau­ti­ful voice. I thought he gath­ered with­in him­self the fem­i­nine and the masculine.”

Fash­ion, for Styles, is a play­ground. Some­thing he doesn’t take too seri­ous­ly. A cou­ple of years ago Har­ry Lam­bert, his styl­ist since 2015, acquired for him a pair of pink metal­lic Saint Lau­rent boots that he has nev­er been pho­tographed wear­ing. They are exceed­ing­ly rare – few pairs exist. Styles wears them ​“to get milk”. They are, in his words, ​“super-fun”. He’s not sure, but he has, ball­park, 50 pairs of shoes, as well as full clos­ets in at least three post­codes. He set­tles on an out­fit fair­ly quick­ly, maybe changes his T-shirt once before head­ing out, but most­ly knows what he likes.

What he may not ful­ly com­pre­hend is that sim­ply by being pho­tographed in a gar­ment he can spur the career of a design­er, as he has with Har­ris Reed, Palo­mo Spain, Charles Jef­frey, Alled-Martínez and a new favourite, Bode. Styles wore a SS16 Guc­ci flo­ral suit to the 2015 Amer­i­can Music Awards. When he was asked who made his suit on the red car­pet, Guc­ci began trend­ing world­wide on Twitter.

“It was one of the first times a male wore Alessandro’s run­way designs and, at the time, men were not tak­ing too many red car­pet risks,” says Lam­bert. ​“Who knows if it influ­enced oth­ers, but it was a spe­cial moment. Plus, it was fun see­ing the fans dress up in suits to come see Harry’s shows.”

Yet tra­di­tion­al gen­der codes of dress still have the minds of mid­dle Amer­i­ca in a choke­hold. Men can’t wear women’s clothes, say the online whingers, who have labelled him ​“trag­ic”, ​“a clown” and a Bowie wannabe. Styles doesn’t care. ​“What’s fem­i­nine and what’s mas­cu­line, what men are wear­ing and what women are wear­ing – it’s like there are no lines any more.”

Elton John agrees: ​“It worked for Marc Bolan, Bowie and Mick. Har­ry has the same qualities.”

Then there is the ques­tion of Styles’ sex­u­al­i­ty, some­thing he has admit­ted­ly ​“nev­er real­ly start­ed to label”, which will plague him until he does. Per­haps it’s part of his allure. He’s bran­dished a pride flag that read ​“Make Amer­i­ca Gay Again” on stage, and plant­ed a stake some­where left of cen­tre on sexuality’s rain­bow spectrum.

“In the posi­tion that he’s in, he can’t real­ly say a lot, but he chose a queer girl band to open for him and I think that speaks vol­umes,” Josette Maskin of the queer band MUNA told The Face ear­li­er this year.

“I get a lot of…” Styles trails off, wheels turn­ing on how he can dis­cuss sex­u­al­i­ty with­out real­ly answer­ing. ​“I’m not always super-out­spo­ken. But I think it’s very clear from choic­es that I make that I feel a cer­tain way about lots of things. I don’t know how to describe it. I guess I’m not…” He paus­es again, piv­ots. ​“I want every­one to feel wel­come at shows and online. They want to be loved and equal, you know? I’m nev­er unsup­port­ed, so it feels weird for me to over­think it for some­one else.”

Sex­u­al­i­ty aside, he must acknowl­edge that he has sex appeal. ​“The word ​‘sexy’ sounds so strange com­ing out of my mouth. So I would say that that’s prob­a­bly why I would not con­sid­er myself sexy.”

Har­ry Styles has emerged ful­ly-formed, an anachro­nis­tic rock star, vague in sen­si­bil­i­ty but des­tined to impress with a dis­arm­ing smile and a warm but firm handshake.

I recite to him a quote from Chrissie Hyn­de of The Pre­tenders about her time atop rock’s throne: ​“I nev­er got into this for the mon­ey or because I want­ed to join in the super­star sex around the swim­ming pools. I did it because the offer of a record con­tract came along and it seemed like it might be more fun than being a wait­ress. Now, I’m not so sure.”

Styles – who worked in a bak­ery in a small north­ern town some time before play­ing to 40,000 scream­ing fans in South Amer­i­can are­nas – must have wit­nessed some shit, been invit­ed to a few pool­side sex par­ties, in his time.

“I’ve seen a cou­ple of things,” he nods in agree­ment. ​“But I’m still young. I feel like there’s still stuff to see.”