#superhero cookie cutter

[delicatedarknight]

Secret Santa at Wayne Manor ft.Superfam

Jason:[fuming] Who thought giving a toy gun in an Xbox pack was a good idea. whoever it is you better start praying. Kon:[ugly sweater but with bad kon pics] HA!? which one of you did this? Jason:[snorting] lmao..you totally deserve it 10/10 to whoever did it. Dick: WOAH!! NO WAY! Thanks to which one of you who gifted me these beautiful customized escrima sticks. I love you. Tim: Aww thanks for this beautiful bracelet and chocolates Jon:[amazed] It's the superhero-themed blanket that I wanted. thank you so much. Damian:[touched] Whoever thought of giving me this precious matte black finish grappling hook bad boy. thank you from the bottom o my heart

Alfred:[wiping away his tears] I want to extend my heartfelt gratitude for this 20-inch pie mould with these complimentary unicorn cookie cutter Martha: thanks to my Secret Santa for these beautiful spice-scented candles. Bruce:[wrapped in new handwoven superman themed scarf] Thank you Martha: what about you Clark? what did you get? Clark:[hiding away the sexy batman body pillow] just some socks, ma.

[amethystarachnid]

Hi, how are you doing? ☺️

I’m here to make a little request for Tony Stark/Female Reader, please.

Prompt: Secret Santa

Background: Tony all cute and happy trying to find the best gift for her (maybe something handmade that reminds them of their relationship, I’m not the best person to think about those things, but I’m sure you will find something amazing) and Reader immediately knows what she’ll give to him, a box either a positive pregnancy test, some ultrasound pictures, a cute little iron man onesie with “Iron Baby” written and some other cute little things.

Thank you in advance! 💜

SECRET SANTA

⤷ ANTHONY “TONY” E. STARK

ᯓ★ Pairing: Anthony “Tony” E. Stark x fem!reader

ᯓ★ Genre: romance, fluff

ᯓ★ Request from: MARVEL Holiday special

ᯓ★ Story type: one shot

ᯓ★ Word count: 4.6k

ᯓ★ Summary: While Tony is trying desperately to find the perfect gift for you you already have the perfect one hidden from him. Whose gift will be the best?

ᯓ★ TW(s): pregnancy

ᯓ★ To adapt the them to the request it isn't a secret santa so it'll be just a exchanging gifts kind of things

ᯓ★ My Masterlist

ᯓ★ MARVEL Holiday Special

ᯓ★ MARVEL Multiverse - choose an AU, pair it with your favorite character and make a request!

ᯓ★ Songs & Superheroes tales - The Game (to make a request, follow the rules on the link!)

ᯓ★ MARVEL Bingo

ᯓ★ English isn’t my first language

Snow falls gently outside the floor-to-ceiling windows of the Stark Tower penthouse, each flake sparkling like tiny diamonds against the glow of New York City’s Christmas lights. Inside, the hum of J.A.R.V.I.S.’s automated systems and the faint strains of a holiday playlist create a cozy atmosphere. You’re lounging on the oversized couch, nestled under a throw blanket with a mug of peppermint hot chocolate warming your hands, your gaze occasionally drifting to the man who seems to embody the Christmas spirit this year.

Tony Stark is a whirlwind in the kitchen, entirely out of his natural habitat but utterly determined. He’s wearing a Santa hat that’s slightly askew, paired with an old, grease-stained AC/DC t-shirt and plaid pajama pants. His expression is one of laser focus as he uses an intricate set of tools — not culinary ones, mind you, but Stark-grade gadgets — to try and assemble what looks like a cookie cutter. The sight is simultaneously adorable and ridiculous, and you can’t help but smile as he mutters something under his breath about structural integrity and the optimal dough thickness.

“You know,” you tease, setting your mug down on the coffee table, “most people just buy cookie cutters. They don’t invent them.”

Tony looks up from his project, his brown eyes sparkling with mischief. “Yeah, well, most people aren’t me, are they? If I’m going to make Christmas cookies for my amazing girlfriend, I’m going to do it right.”

You laugh, the sound echoing warmly through the room. “Cookies? Is that what you’re calling this… whatever this is?”

“This,” Tony says, holding up a vaguely star-shaped cutter with an air of triumph, “is engineering at its finest. And you, Ms. Skeptical, are going to eat the best Christmas cookies of your life.”

Your heart swells, the playful banter a familiar rhythm in your relationship. He’s been like this for weeks — uncharacteristically domestic and brimming with holiday cheer. You suspect it has something to do with the Christmas gift he’s been hinting at. Every time he tries to subtly ask you about what you might want, you see that telltale Stark gleam in his eye, the one that means he’s up to something.

Meanwhile, you’ve already decided on your gift for him. It’s sitting in a little box, tucked away in your closet, and every time you think about giving it to him, a wave of nervous excitement washes over you. It’s perfect, you’re sure of it, but it’s also a bombshell — the kind of gift that changes everything.

Tony’s voice pulls you from your thoughts. “Hey, you good? You’re smiling like you’ve got some secret.”

You grin, trying to play it cool. “Just enjoying the show. You’re surprisingly cute when you’re playing mad scientist with cookie cutters.”

He raises an eyebrow, clearly unimpressed by your sass, but the corner of his mouth twitches. “Careful, or I might make you wear the Santa hat and help me. Equal partnership, remember?”

“Nice try, Stark, but you’re on your own for this one.” You stretch lazily, enjoying the way his eyes flicker to you, lingering just a moment longer than necessary. “I have my own holiday preparations to deal with.”

Tony narrows his eyes suspiciously. “Preparations, huh? Like what?”

“Like… wrapping your gift.”

His expression shifts instantly, from suspicion to unbridled curiosity. “You already got me something? Why didn’t you tell me? What is it? Is it a car? A private island? Oh my god, is it a pony?”

You burst out laughing, clutching your stomach. “Why would I get you a pony?”

“I don’t know!” Tony throws up his hands. “You’re unpredictable. That’s one of the things I love about you. You could totally be the kind of person who buys her billionaire boyfriend a pony just to mess with him.”

Shaking your head, you rise from the couch and walk over to him, slipping your arms around his waist. He smells like a mix of motor oil and peppermint, a strangely comforting combination. “You’ll just have to wait until Christmas morning like everyone else.”

He groans dramatically, leaning his forehead against yours. “But waiting is the worst.”

You laugh softly, your fingers playing with the hem of his t-shirt. “You’ll survive.”

Tony pulls back, giving you that crooked grin that never fails to make your heart skip a beat. “You’re lucky I’m crazy about you.”

“I know,” you say, kissing his cheek. “And for the record, I’m crazy about you too.”

The rest of the evening unfolds in a blur of laughter, cookie dough catastrophes, and a flour fight that leaves the kitchen looking like a snowstorm hit it. By the time you crawl into bed, Tony is already brainstorming ways to improve his cookie cutter design, his notebook balanced precariously on his lap.

As you drift off to sleep, you can’t help but think about how much your life has changed since Tony came into it. He’s still the same brilliant, unpredictable man you fell in love with, but there’s a softer side to him now, one that he only shows to you. It’s a side that makes you even more excited about the future — a future that’s about to become even more chaotic, and infinitely more wonderful.

The next morning, you wake up to the smell of coffee and the sound of Christmas music playing softly in the background. Tony is already up, standing at the counter with his back to you, tinkering with something that looks suspiciously like a robotic arm holding a whisk. You smile, shaking your head at his endless creativity.

“Morning,” you say, wrapping your arms around his waist from behind.

He turns his head to look at you, his face lighting up. “Morning, gorgeous. Coffee’s on the counter.”

You grab your mug and take a sip, savoring the warmth. “What’s on the agenda today?”

“Shopping,” he announces, spinning around to face you. “I’m on a mission to find the perfect gift for the perfect woman.”

You raise an eyebrow. “And who might that be?”

Tony smirks. “Funny. You might know her. Smart, beautiful, has an impeccable sense of humor. Bit of a troublemaker, though.”

You laugh, leaning against the counter. “Well, good luck with that. She sounds like she has pretty high standards.”

“Oh, she does,” Tony says, his expression softening. “But she’s worth it.”

Your heart melts a little, and you reach up to brush a strand of hair away from his face. “You’re such a sap.”

“Only for you,” he quips, grabbing his coat. “Now, come on. Let’s go spread some holiday cheer — Stark style.”

The day is a whirlwind of activity. Tony drags you to every shop in Manhattan, insisting that he needs your input for “research purposes.” You play along, knowing full well that he’s trying to throw you off the scent of whatever he’s planning. At one point, he buys an absurdly oversized stuffed reindeer and insists on carrying it around for the rest of the day, much to the amusement of passersby.

By the time you make it back to the penthouse, your feet are aching, but your spirits are high. Tony collapses onto the couch with a dramatic sigh, the reindeer perched proudly next to him.

“That,” he declares, “was a successful mission.”

“Did you actually buy my gift, or was this just an excuse to act like a Christmas lunatic?” you ask, flopping down beside him.

“Both,” he admits, pulling you into his arms. “But mostly the gift thing. You’ll love it, I promise.”

You rest your head against his chest, listening to the steady beat of his heart. “I’m sure I will.”

As you sit there together, surrounded by the twinkling lights of the Christmas tree and the quiet hum of the city below, you realize that this is what you love most about the holidays. It’s not the gifts or the decorations — it’s the simple, joyful moments with the man you love.

And if everything goes according to plan, this Christmas will be one you’ll both remember for the rest of your lives.

The Stark Tower is unusually lively this morning, the energy of Christmas buzzing through its futuristic halls. Tony is in a festive yet frantic state, pacing the penthouse like a man on a mission. His hair is slightly tousled, his signature goatee impeccably groomed, but there’s an unmistakable panic in his eyes. In one hand, he clutches a tablet loaded with potential gift ideas — all of which he’s already rejected.

“I’ve got nothing,” he mutters to himself, collapsing onto the plush sofa. “Nothing! Billionaire genius, and I can’t even come up with a gift for my girlfriend. Pathetic.”

J.A.R.V.I.S., ever the voice of reason, chimes in. “Perhaps if you focused on what Ms. Y/N truly enjoys, sir, instead of cross-referencing gift lists from obscure online influencers—”

“Don’t start, J,” Tony cuts in, running a hand through his hair. “She’s already got everything. I mean, I got her that custom jet last year. How do you top a jet? You can’t just show up with…I don’t know…a fruit basket.”

“Fruit baskets do have their appeal,” J.A.R.V.I.S. responds with what could almost be sarcasm. “But perhaps the Avengers could provide some inspiration?”

Tony freezes mid-panic spiral. That’s not a terrible idea. Sure, it’s risky — the team isn’t exactly known for their emotional intelligence — but desperate times call for desperate measures.

“Fine,” he says, springing to his feet. “Avengers assemble… into my gift crisis.”

Tony’s first stop is the gym, where Steve Rogers is predictably punching a bag that looks like it’s seen better days. Captain America, always dependable. Surely he’ll have a wholesome, foolproof idea.

“Cap!” Tony calls out, striding into the room. “I need your help.”

Steve turns, wiping sweat from his forehead. “Help with what?”

“Gift ideas for Y/N,” Tony explains. “You’re all about romance, right? Flowers, dances, old-school charm?”

Steve raises an eyebrow. “I’m not sure that’s entirely accurate.”

“Come on,” Tony pleads. “What would you get Peggy?”

Steve hesitates, clearly caught off guard. “Well… something meaningful. Like… a locket. Or a handwritten letter.”

Tony blinks. “A letter? Seriously? What am I, a 1940s soldier? This is Y/N we’re talking about.”

Steve shrugs. “You asked for my opinion.”

“Yeah, and I’m returning it for store credit.” Tony claps him on the shoulder. “Thanks, Cap. I’ll try not to let your advice tank the relationship.”

Steve sighs, going back to his punching bag. “Good luck.”

Next up is Natasha, who’s in the middle of yoga in one of the quieter rooms. Tony approaches cautiously, aware that interrupting her zen could be hazardous to his health.

“Nat,” he begins, leaning against the doorway. “I need a favor.”

She doesn’t even open her eyes. “Is this about Y/N’s gift?”

Tony gapes. “How did you—?”

“Because you’ve been pacing around the tower like a maniac all morning,” she replies coolly, finally sitting up and fixing him with a knowing look. “What do you have so far?”

“Nothing. Nada. Zilch.”

Natasha smirks. “And you want me to tell you what to get her.”

“Exactly!” Tony points at her like she’s just cracked the code to cold fusion. “You’re sharp. Observant. What’s the perfect gift?”

Natasha considers for a moment, then says, “Something personal. Handmade, maybe. You’re good with your hands.”

Tony grins, but before he can make a suggestive comment, she cuts him off with a glare. “Not like that. I mean something that shows how much you care. Jewelry, maybe. Or art.”

“Jewelry… art…” Tony mutters, pulling out his tablet. “Great, now I just have to learn how to sculpt in two days. Thanks, Romanoff.”

“Happy to help,” she says dryly, already returning to her yoga pose.

From there, Tony tries Clint, who’s stringing up Christmas lights in one of the communal areas. Clint’s advice is as chaotic as expected.

“Easy,” Clint says, perching precariously on a ladder. “Just get her a puppy. Chicks love puppies.”

Tony stares at him. “I am not bringing a dog into this tower.”

“Why not? Dogs are great. They’re cute, cuddly, and they make up for any shortcomings in the gift department.”

Tony rubs his temples. “I’m not trying to distract her from my shortcomings, Barton. I’m trying to impress her.”

“Suit yourself,” Clint shrugs, hanging a lopsided string of lights. “But don’t come crying to me when she says she wanted a golden retriever.”

Bruce is in the lab, predictably surrounded by gadgets and scientific equipment. Tony hopes the two of them can put their combined genius to work on this problem, but Bruce is far less helpful than anticipated.

“Maybe you could write her a song,” Bruce suggests, pushing up his glasses.

Tony stares at him. “Do I look like Taylor Swift?”

“I’m just saying, it’s heartfelt. You could compose it digitally if you don’t want to sing.”

“Banner, I love you like a brother, but I’m not serenading Y/N.”

Bruce shrugs. “Your loss. I think she’d like it.”

“Noted.” Tony sighs. “Back to the drawing board.”

Even Happy gets dragged into the chaos. Tony finds him downstairs, supervising the unloading of holiday supplies.

“Happy,” Tony says, leaning against the doorframe. “You’ve known Y/N for years. What’s her ultimate Christmas gift?”

Happy looks at him like he’s sprouted a second head. “You want me to tell you what to get your girlfriend?”

“Yes.”

“And you’re asking me, the guy who drives you around?”

“Exactly.”

Happy shakes his head. “You’re hopeless, boss.”

Tony groans, throwing his hands in the air. “You people are useless!”

By the end of the day, Tony is no closer to a solution. He’s tried everyone — Sam, Bucky, even Thor, whose advice (“Forge her a hammer!”) was predictably unhelpful. He slumps onto the couch in the penthouse, utterly defeated.

“What if she hates it?” he mutters aloud. “What if it’s not enough?”

“Sir,” J.A.R.V.I.S. interjects, “if I may offer a suggestion?”

Tony sighs. “What is it, J?”

“Perhaps the best gift you could give Ms. Y/N is a reflection of your relationship. Something that reminds her of the journey you’ve shared.”

Tony frowns, the gears in his mind turning. A reflection of their relationship… Suddenly, it clicks. His face lights up with realization, and he jumps to his feet.

“J.A.R.V.I.S., you’re a genius!” he exclaims. “Why didn’t I think of this sooner?”

“I am programmed to be helpful, sir.”

Tony grins, already pulling out his tools and materials. He’s got a lot of work to do, but for the first time all day, he’s confident. This Christmas, he’s going to give Y/N something truly unforgettable. And if all else fails, well, there’s always next year’s puppy.

The workshop hums with activity as Tony works furiously on his latest project. He’s elbow-deep in wires and microchips, his face illuminated by the glow of holographic schematics projected in the air around him. His Santa hat sits forgotten on the workbench, replaced by his trusty welding goggles, and the upbeat carols playing in the background do little to mask his occasional muttered curses.

This gift has to be perfect. After his disastrous attempts at getting advice from the Avengers, Tony finally landed on an idea that feels right. It’s not about flashy extravagance or grand gestures this time. It’s about them — their inside jokes, their adventures, the little moments that have defined their relationship. The project is both ambitious and surprisingly sentimental, and it’s consuming every ounce of his focus.

“Sir,” J.A.R.V.I.S. pipes up, “Ms. Y/N has just returned from her errands. Should I inform her of your whereabouts?”

“No!” Tony yelps, nearly dropping a soldering iron. “I mean, no. Don’t tell her I’m down here. And don’t let her come in. This is classified.”

“As you wish, sir,” J.A.R.V.I.S. replies. “Though I should point out that she may grow suspicious of your… absence.”

Tony pauses, chewing his lip. “Good point. I’ll head up for a bit. Cover for me if she asks anything.”

“As always, sir.”

Tony wipes his hands on a nearby cloth, tugs off his goggles, and makes his way upstairs. As the elevator doors slide open, the familiar scent of pine and cinnamon fills the air, and he spots you in the kitchen, arranging a tray of cookies with a focused determination that rivals his own.

“Hey, Peppermint,” he greets, leaning casually against the doorframe. “What’s cookin’?”

You glance up, a playful smile curving your lips. “Cookies, obviously. You planning to swoop in and steal half of them before they cool?”

“Steal? Never.” He steps closer, the grin on his face equal parts mischief and charm. “I’m just here to, uh, supervise.”

“Uh-huh,” you reply, clearly not buying it. “What’s the catch, Stark?”

He slides an arm around your waist, planting a kiss on your cheek. “No catch. Just missed you.”

“Mm-hmm,” you hum, setting the tray aside and turning to face him. “And this has nothing to do with trying to figure out what I got you for Christmas?”

Tony’s feigned innocence is laughable. “What? Me? No. I’m just an affectionate boyfriend who loves his girl and—”

“Tony.” Your tone is firm but amused. “You’re not getting it out of me.”

He groans dramatically, letting his head fall against your shoulder. “Come on, just give me a hint. A tiny clue. Like… does it have wheels? Or a remote control?”

You laugh, shaking your head. “Not a chance.”

Tony leans back, his hands coming up to cradle your face as his eyes search yours. “Okay, what if I said you’re the most brilliant, stunning, wonderful person in the universe?”

“Flattery won’t work.”

“Bribery?”

“Nope.”

“Kisses?” He leans in, brushing his lips against yours in a way that’s almost enough to make you forget what he’s after.

Almost.

You pull back, grinning. “Still no.”

Tony lets out an exaggerated sigh of defeat, resting his forehead against yours. “You’re cruel, you know that?”

“Consider it payback for all the times you’ve teased me with surprises.” You poke him lightly in the chest. “Now go find something else to obsess over.”

“Fine,” he grumbles, though his eyes sparkle with affection. “But this isn’t over.”

It’s definitely not over.

The next day, Tony launches a full-scale investigation. If you won’t spill the beans, maybe someone else will.

Thor is his first target. The Asgardian is lounging on the couch, a giant mug of hot chocolate in hand, as he admires the twinkling lights on the Christmas tree. He looks every bit the picture of holiday contentment — until Tony plops down next to him with an unnerving grin.

“Hey, Big Guy,” Tony begins, his tone overly casual. “Enjoying the cocoa?”

Thor nods, his expression serene. “Indeed, Stark. This Midgardian drink is most delightful.”

“Great, great.” Tony leans in slightly. “So, uh… you’re pretty close with Y/N, right?”

Thor raises an eyebrow, clearly sensing an ulterior motive. “She is my dearest friend. Why do you ask?”

Tony shrugs, feigning nonchalance. “Oh, no reason. Just curious if she’s mentioned anything about, you know, Christmas gifts. Specifically mine.”

Thor chuckles, a deep, rumbling sound. “You wish to uncover her secret.”

“Exactly!” Tony’s eyes light up with hope. “So spill. What did she get me?”

But Thor shakes his head, his amusement evident. “I swore an oath of silence, Stark. Y/N entrusted me with this knowledge, and I shall not betray her.”

Tony groans, flopping back against the couch. “Come on, Thor. Just a hint. A riddle. Morse code, even.”

“I cannot,” Thor replies firmly. “But take heart, my friend. I am certain you will be most pleased with her gift.”

“Yeah, yeah,” Tony mutters. “Thanks for nothing, Thunderlord.”

Undeterred, Tony moves on to Sam and Bucky, who are bickering over whether or not Die Hard counts as a Christmas movie.

“Guys,” Tony interrupts, sliding into the seat between them. “Serious question: What did Y/N get me for Christmas?”

Sam snorts. “You think she told us?”

“Please,” Bucky adds, not even looking up from the screen. “Y/N knows we’re terrible at keeping secrets.”

“Exactly,” Tony says. “So if she did tell you, you’d crack by now. Which means she didn’t. Which means you’re useless to me.”

“Glad we cleared that up,” Sam deadpans.

Even Bruce, who’s usually patient enough to entertain Tony’s antics, is less than helpful.

“She didn’t tell me,” Bruce insists, adjusting his glasses. “And even if she did, I wouldn’t tell you.”

Tony sighs, pinching the bridge of his nose. “Do none of you understand the concept of loyalty?”

Bruce raises an eyebrow. “Tony, if anyone here has loyalty to Y/N, it’s you. Why don’t you trust her gift will be amazing?”

Tony opens his mouth, then closes it. Bruce has a point. But that doesn’t mean he’s any less curious.

Back in his workshop that evening, Tony tinkers with his own project, trying to push thoughts of your gift from his mind. He’s almost finished now — just a few more adjustments, and it’ll be ready. As he assembles the final pieces, he thinks about all the moments that led up to this Christmas: your first date, the time you stayed up all night helping him debug a faulty suit, the way you make him laugh even on his worst days.

This gift isn’t just a present. It’s a thank you, a promise, and a celebration of everything you’ve built together.

And even though you’re driving him crazy with your secrecy, he knows one thing for certain: Whatever you’ve got planned, it’s going to be unforgettable.

With that thought, Tony sets down his tools, a satisfied smile spreading across his face. He doesn’t need to know what your gift is — not yet. For now, he’s happy just knowing he has you.

Christmas morning in the Stark Tower is a scene straight out of a holiday movie. The enormous tree in the living room is aglow with lights, its base surrounded by neatly wrapped presents. Snow falls gently outside the floor-to-ceiling windows, a soft white backdrop for the festive chaos unfolding inside.

You’re curled up on the couch in your favorite pajamas, a mug of hot cocoa in hand. Tony, ever the big kid at heart, has already passed out Santa hats to everyone present, including himself. He wears his tilted at a jaunty angle as he lounges beside you, an arm slung around your shoulders.

“All right, folks!” he announces, clapping his hands together. “It’s showtime. Let’s get to the main event: gifts.”

The Avengers have gathered around the tree, a motley crew of holiday cheer (and mild bickering). Thor booms with laughter as he rips open a package containing a novelty hammer-shaped mug. Natasha smirks as she unwraps a sleek new set of throwing knives from Clint. Even Bruce looks delighted by his custom-designed science gadget from Sam.

But you and Tony? You’ve been waiting for this moment all morning, both of you teasingly delaying the exchange of your gifts.

“You first,” you say, nudging him with your elbow. “I want to see what you’ve been hiding in that workshop of yours.”

Tony’s grin spreads wide, a mix of excitement and nerves. “Oh, trust me, sweetheart, this one’s worth the wait.”

He reaches under the tree and pulls out a medium-sized box wrapped in shiny silver paper. Handing it to you with a flourish, he leans back to watch your reaction, his eyes sparkling like a kid on Christmas morning.

You tear into the wrapping paper eagerly, revealing a sleek wooden box with a brass clasp. Inside, nestled in velvet, is a handcrafted piece of art—a delicate, intricate snow globe. The base is engraved with your initials intertwined with his, and the scene inside is unmistakably Stark: a miniature version of you and Tony, standing arm in arm next to a scaled-down Iron Man suit, all framed by a sparkling winter wonderland.

Your breath catches. “Tony… this is…”

“There’s more,” he interrupts, leaning forward eagerly. “Shake it.”

You do, and as the snow swirls around, holographic lights within the globe flicker to life. Tiny projections play out in the air—a montage of your most cherished memories together, from your first date to lazy mornings in the penthouse, all culminating in a tiny glowing heart, just like the one in Tony’s arc reactor.

Tears well in your eyes, and you look up at him, overwhelmed. “Tony, this is… it’s perfect. It’s us.”

He smirks, brushing it off, but you can see the pride in his eyes. “I figured I’d go for something understated this year.”

You laugh, setting the globe carefully on the coffee table before launching yourself into his arms. “Thank you. I love it. I love you.”

“I know,” he quips, pulling you into a kiss that’s soft and sweet. “Merry Christmas, Peppermint.”

The rest of the room groans at the display, but neither of you notice.

“Okay,” Tony says after a moment, clearly eager now. “Your turn. Let’s see what my genius, gorgeous girlfriend came up with.”

You grin, your nerves suddenly kicking in as you grab the box you’ve been hiding behind the tree. It’s wrapped in festive red paper, topped with a glittery bow.

“Here,” you say, handing it to him. “Be careful. It’s… uh… delicate.”

Tony narrows his eyes playfully. “Delicate? What did you get me, a Fabergé egg?”

“Just open it,” you reply, your heart pounding.

He takes his time unwrapping it, deliberately dragging out the suspense until you swat his arm. Finally, he pulls off the lid, revealing a soft, tiny onesie folded neatly on top. It’s bright red and gold, designed to mimic his Iron Man suit, with “Iron Baby” written across the front in bold letters.

Tony stares at it for a beat, then looks up at you, brow furrowed. “Uh… is this for… like, a doll? Or are you suggesting I start a baby clothing line?”

You can’t help but laugh nervously. “Keep going,” you urge, gesturing toward the box.

Still confused, Tony sets the onesie aside and peeks beneath it. There, tucked beneath a layer of tissue paper, are the ultrasound pictures.

He picks up the first one, his eyes narrowing as he examines it. The confusion melts away in stages—first to realization, then to shock, and finally to an overwhelming wave of emotion. He freezes, his hand trembling slightly as he holds the image.

“Wait,” he says, his voice hoarse. “Is this… are you…?”

You nod, tears brimming in your eyes. “Merry Christmas, Tony.”

For a moment, he’s completely speechless. His mouth opens and closes as he looks from you to the pictures and back again. When the tears come, he tries to hide them by rubbing his eyes, but there’s no stopping the emotion that floods his face.

“Oh, my God,” he whispers, his voice breaking. “You’re pregnant?”

You nod again, smiling through your own tears. “Surprise.”

Tony lets out a choked laugh, setting the pictures carefully back in the box before pulling you into his arms. He holds you so tightly it’s as if he’s afraid you might disappear.

“You made my gift look miserable,” he mumbles against your hair, his voice thick with emotion. “I can’t compete with this. This is… this is everything.”

“You don’t have to compete,” you whisper back, your arms wrapped around his neck. “This is our everything.”

When he finally pulls back, his face is lit up with a joy you’ve never seen before. He looks at the pictures again, then at you, then back at the onesie, shaking his head in disbelief.

“I’m gonna be a dad,” he says, more to himself than anyone else. “Holy—wow. This might be the best day of my life.”

You laugh, wiping at your tears. “You think you’re ready for this?”

Tony grins, his trademark cockiness shining through even as his voice trembles. “Are you kidding? I’m Iron Man. I was born ready.”

He pauses, then adds, “Although, uh, maybe I should baby-proof the workshop.”

The two of you laugh, and when Tony pulls you in for another kiss, the rest of the world fades away. It’s just you, him, and the tiny new adventure waiting for you both.

“Merry Christmas, Peppermint,” he whispers against your lips.

“Merry Christmas, Tony.”

[jilllovesmike]

More praise for Mike. It is so important to recognize that Mike is not a cookie cutter type actor. He is smart. He wants to be challenged. I don’t think we will ever see him in any nonsense superhero film. He will do indies and if he does big budget films it will be ones with the most interesting characters.

[cassandrva]

the spiderverse movies, especially across the spiderverse, are perfect stories to analyze through a metafictional lens (for context: metafiction is when a story deliberately draws the audience's attention to its status as a story)

it's almost inevitable for a spider-man story set in a multiverse to build commentary on what it means to be a spider-man story. itsv certainly does it, but atsv doubles down on it tenfold.

throughout all of the film we see characters imposing a narrative on miles, telling him not only what to do but also how to present and even think about himself and his place in the world. they want him to distort his story, make it palatable, to conform to the beats and tropes everyone expects from him both as miles morales and as spider-man.

his guidance counselor wants him to be poster boy for the stereotypical american dream "poor child of immigrants pulls himself up by his bootstraps to become a great scientist" narrative

miguel insists on subjecting every single spider-person to the same traumatic tropes— sorry, "canon events" that (according to his algorithm) define the very nature of a spider-man story. he's like the comics authority of this spider-verse. any divergence miles attempts from the standardized narratives that are thrust upon him is heavily policed and disciplined

both the counselor and miguel are essentially saying the same thing: being who miles is is about sacrifice, and it's about suffering. to prevent that suffering or to acknowledge its absence means erasing his identity respectively as an afrolatino young man and as a superhero

and he is having none of it. this is not a spider-man narrative, this is his spider-man narrative. he's not going to reduce himself to fit into a nice cookie cutter generic marketable version of his own life

and in his literal main character moment he graduates from guy who is doomed by the narrative to Guy Who Dooms The Narrative. he's taken control of his own story. bet in the next movie he's gonna make the whole canon theory unravel. bet he's gonna break canon so hard it explodes.

[suzukiblu]

Day four of fic NaNoWriMo, obligatory sugar daddy Tim/sugar baby Kon AU.

"Dead," Tim says, because it's not like it's a secret in the community or anything. "Joker happened to him."

And a lot of other things. Sheila Haywood and Felipe Garzonas and Bruce's eternal control-freak paranoia and constant inability to just talk, to name a few. But Joker, in the end.

Still, Tim can't help thinking about the chances to have avoided what happened to Jason. Especially when thinking about what's currently happening to Kon.

If Kon gets taken advantage of or hurt or killed because no one's paying enough attention . . .

Tim takes another drink.

"That sucks," Kon says with a grimace. "No wonder Batman goes all weird mama Bat on you all the time."

Tim chokes on an incredulous laugh and also a mouthful of soda, because Bruce is definitely not that and this isn't something to make light of either, but–

But also, he thinks about how no one ever goes "weird mama Bat" on Kon. No one ever has, as far as he knows.

No one takes care of him at all.

Tim really, really doesn't like that. Kon shouldn't have to rely on working for people who think they can build custom-designed personal-use superheroes based off of stolen dead bodies and are constantly making clones that are just inhuman-looking enough to not be able to blend into society outside the lab, and therefore don't have a choice about where they live or what they do with their lives.

Maybe it's not as bad as it sounds, or at least not as malicious as it sounds, but it's still the results of what Cadmus is doing either way. Kon has the option of being a superhero, at least, but he also has a custom-designed face that looks exactly like the face of one of the most famous heroes in the sector and was given absolutely no idea how to either establish or support a civilian life, so that's just about his only option.

Aside from, again, just working for Cadmus for the rest of his life.

Tim definitely hates the world.

"Please don't call it 'going mama Bat'," he says to distract himself.

"Please tell me what else you'd call it," Kon says.

"Micromanaging," Tim replies matter-of-factly, and Kon chokes on a laugh of his own.

"What, is being Robin your after-school job?" he teases. Technically it is, Tim supposes, but he doesn't exactly think of it that way.

"I consider it more of an unpaid internship," he says, since explaining the whole "emotional support sidekick" thing would probably damage Bruce's Bat-mystique, and if he tells Kon the full story there he's basically telling all of Young Justice. Kon barely seems to understand the concept of secrets, much less the concept of keeping them. "Like I get an expense account but not a paycheck, you know? And sometimes we get cookies in the Batcave."

"Cookies. In the Batcave," Kon echoes, his eyebrows shooting up. "Are they bat-shaped?"

"Wouldn't you like to know," Tim replies with a pleasant smile. Alfred doesn't usually bother with anything quite that on the nose, but according to Dick there are Halloween cookie cutters in the kitchen that he's not above bringing out when Bruce has been being especially ridiculous, so . . .

"Oh my god," Kon says delightedly. "Does he make them himself? Is there a Bat-apron? A Bat-oven? Or does he just order them special from the Bat-bakery?"

"There is not a Bat-bakery," Tim says, trying not to laugh again. Goddammit, Kon shouldn't be so fucking funny all the time. He's not even that funny, objectively; Tim is just a smitten idiot.

"So there is a Bat-apron?" Kon says with a smirk.

"I plead the fifth," Tim says, since explaining the novelty Halloween apron Jason bought Alfred when he was thirteen is not actually on the table. Details compromise identities, loose lips sink ships; all that.

"Listen, man, Cadmus doesn't have a bakery unless you count the test tubes they cook us up in," Kon says with a snigger, grabbing himself another slice. Tim thinks thoughts about incendiary devices. "They buy our cookies frozen or just get the industrial-sized pudding cans. Or make bread pudding, the bastards. So you gotta tell me about the Bat-cookies."

Tim winces at the thought of industrial-sized pudding cans and bread pudding, because that sounds absolutely horrifying and he never, ever wants to taste industrial pudding. Ever.

"Well, they're definitely not frozen," he says. "But Nightwing started being Robin a lot younger than I did and the last Robin started younger than me too, so I think I'm just reaping the benefits of younger kids needing after-patrol snacks and everyone else getting in the habit of it."

"I could get into that habit," Kon says musingly as he tears a bite off his newest slice. Tim immediately resolves to order takeout after every possible Young Justice mission that he can. Or they could go get ice cream or something, he doesn't know. "What do you think, wanna make me Bat-cookies sometime, Rob?"

Every weekend for the rest of their respective lives, although Tim would never actually say that. He's not even a good baker. He doesn't even like to bake.

This crush is definitely a problem.

"You're not Gothamite enough to handle Bat-baking, Kon," Tim says dryly, and Kon sniggers.

He also ducks his head a little, looking . . . oddly soft, for a moment. Tim doesn't understand why, until he realizes–oh. It's because he just called him "Kon", isn't it. He wasn't even thinking about it; just did it reflexively.

Tim is pretty sure he needs to ruin the credit of every single "responsible" adult in Kon's life for not naming him sooner. Well–Dubbilex can have a pass, considering he was also made by Cadmus and his own name is Dubbilex, so it probably never occurred to him that "Superboy" wasn't a perfectly acceptable name. And also he probably doesn't have credit either. But all the rest of them, definitely and for sure.

Superman is getting an envelope of powdered Kryptonite in his fucking mailbox, to start. Or maybe Tim could aerosolize it and pepper-spray him with it. That might work.

"You don't know, I could be," Kon huffs, putting on a mock-offended expression. "I was born and raised in a lab, I'm way tougher than the average guy."

"A Metropolis lab," Tim says pityingly. "Might as well be a kindergarten science class."

"Oh fuck you, Batboy!" Kon protests with a laugh. "Tell that to the next alien invasion."

"Aliens know better than to invade Gotham," Tim says. Kon laughs again. It's–weirdly nice, honestly. Usually Kon's too busy trying to act cool in front of whatever "audience" he thinks they have to actually, like . . . just talk all that much or anything. And also usually he gets offended really easily or starts being annoying about something he doesn't know as much as he thinks he does about or just . . . something.

Tim admittedly is less and less annoyed and more and more endeared by that kind of stupid behavior these days, but still. It's the usual pattern their interactions follow.

He guesses they're actually just, like, hanging out right now. It's not like there's a bad guy or a crisis or even any teammates around or training to do, so . . .

Yeah. He guesses they're just hanging out.

Kon decimates the pizza and wings, Tim pretends to be helping and takes a few mental notes on how much Kon is eating and what that may or may not say about his required caloric intake, and they just kind of keep . . . hanging out, really. And they talk, at least as much as Tim lightly interrogating Kon and subtly evading providing any personal identifying information counts as "talking".

Tim really doesn't know if the guys at school or Young Justice are more authentically his "friends", at this point, but at least Young Justice knows there are things they don't know. Everyone from school . . .

Not so much, with them. They all only know Tim Drake, and none of them have any reason to suspect the existence of Robin. Young Justice only knows Robin, but at least they know there is a Tim Drake somewhere, whether they know him or not.

Maybe they are the ones who are more his friends, thinking of it that way.

It'd explain why things never really go anywhere with civilians and he's developed this stupid inadvisable crush on Kon, at least. Though not why things fizzled with Steph, since she knows Robin better than anyone in Young Justice. If he should be having a stupid inadvisable crush on anyone, at least it could've been someone with an equally stupid and inadvisable crush on him.

Unfortunately, he and Steph have officially friend-zoned each other and also Kon exists, so Tim is having his stupid inadvisable crush on an alien hybrid metahuman clone in a terrible living situation with stupid taste in sunglasses and a mysteriously infinite-seeming supply of leather jackets. So now Tim is in this situation and his supervillain timeline needs recalculated, and also he's going to be buying Young Justice so much takeout to make sure Kon gets to eat something that isn't cafeteria food in a way he won't get offended by.

Hopefully, anyway.

"Well, I'm glad the new job's working out," Tim comments eventually, after some very careful conversational maneuvering, and Kon . . . pauses.

"I guess," he says after a moment, picking olives off the remains of his current slice and not quite looking at him as he says it. Tim resists the urge to absolutely pounce on the blood in the water and makes himself wait. "I mean, it's fine, it's not like it's bad there. Like, I don't love that it's my only real option and I don't love the same lab that made me out of DNA that it literally got out of a literal grave being in charge of me, but it's not like Westfield's still running the place or anything. So like, could be worse."

Tim hates the world. All of it. Seriously. Alfred's snickerdoodles get an exception and that's it. Nothing else.

"I'm sure it'll all work out," he says, because yeah, he officially needs to actually do something about this. He doesn't know what something, but something. If he doesn't, who else is going to?

Kon puts on a fake grin and says something stupid and easy in reply, the comment lighthearted and dismissive and a screamingly obvious coping strategy from someone who doesn't see any way out of their current situation but through, and Tim . . .

Tim finishes his Zesti and starts to think.

[sassylittlecanary]

I am so freaking angry about how DC has treated disabled characters in recent years.

Many people have pointed out all the negatives of making Babs into Batgirl again — taking away her character development, de-aging her, casting aside two other Batgirls, using comic book science to “”cure”” her, etc, all for the sake of nostalgia. Oracle was an icon and an inspiration to many, and that was taken from us. Some great meta on this here and here.

But what I don’t hear anyone talking about is how this was also done with Joey Wilson/Jericho of the Teen Titans, albeit in a slightly different way.

In the post-52 DCU, he doesn’t use sign language anymore (he’s mute) and instead uses technology to speak.

First of all, artists drawing Joey signing shows loving detail and care toward representation for that form of communication (which is frequently overlooked by able-bodied people). Joey using ASL is such incredibly important representation for everyone, and taking that away from him feels like an easy way out so artists don’t have to draw ASL and writers can give him typical dialogue. It reminds me of stories about deaf people (especially kids) who were disappointed when Hawkeye didn’t experience hearing loss in the MCU. There’s a lot of people who see themselves in different kinds of characters, and when you take that diversity away, you lose something important. I hate these cop-outs to fit differently abled characters into the cookie cutter superhero mold. Superheroes aren’t defined by their abilities — they’re defined by their heroism! Characters like Oracle and Jericho, among others, have reminded all kinds of people that anyone can be a hero so long as you care about helping others. That’s literally the point of superheroes. The superhero genre should always have room for diversity and representation of all kinds. Minimizing or erasing disability does a massive disservice to that legacy.

[send-noodles-not-nudes]

I remember reading somewhere that Tony Stark/Iron Man was Marvel's attempt to make a character that everyone would and should hate, then see if people would like him just because he's a superhero. It's an interesting thought, and I can definitely see how it fits: pre-Iron Man Tony was a prick, and very hateable.

But they made one massive mistake, if they were really trying to make a character everyone should hate:

They gave him a conscience.

When he saw what was happening with his weapons and who was really using them, Tony Stark changed. A lot. He had a Zuko-level redemption arc.

And then they really cemented that mistake when they gave him a wife, a more-or-less-adopted kid, and then a baby. With each new development, he became more and more likable because less and less of the original asshole Tony Stark was there.

If they truly wanted someone they could solely hate, they fucked up the most when he sacrificed himself in Endgame.

I don't like Tony just because he's a superhero. I like him because he's a great character. I think it's much harder to write a character you want to hate than it is to write a character you want to love from the get-go.

Having just rewatched the first few movies in the MCU timeline, I think I finally understand why I've always liked Tony more than Steve: Tony has complexity that Steve lacks. Steve isn't bad, but he's this cookie cutter, goodie-two-shoes, optimistic, naive blonde guy whose main motivation seems to be patriotism, which I've never fully understood because America is somewhat of a shithole (comparatively better than other places, but a shithole nonetheless). Tony has demons. Tony has PTSD. Tony is the poster child of "my trauma didn't make me a better person; I made myself a better person because of my trauma".

Yes, he's still annoying and arrogant and flamboyant and somewhat childish. But I like him better than so many other heroes not because he's the bad boy, not because blondes aren't my type, not just because he's funny, but because he just seems more human than so many other heroes do.

Anyway. Tony Stark appreciation post. Goodnight.

[coimbrabertone]

Offtopic Offseason #1 - I Don't Believe in Superhero Fatigue.

Hello guys.

So with motorsports coming to an end for the year, I've been thinking of what I'm going to talk about during the offseason. There will be some news, and obviously I can talk about some racing history stuff, but what I've decided to do instead is begin this series: Offtopic Offseason.

What is Offtopic Offseason? it's pretty self-explanatory really - I'm going off topic for the offseason.

First up is...I don't believe superhero fatigue is a real thing.

Instead, I believe that the fatigue is for a certain type of cookie cutter, quippy flavor of superhero slop. A flavor of superhero movie that many recent MCU movies have fallen victim to.

What characterizes this slop?

A certain kind of shame, I think. These movies - and TV shows for that matter - feel almost ashamed to be doing superhero stories, so they undercut the drama with jokes and quips. That's not to say that superhero jokes can't be funny or quippy - in fact, I'd argue that some of the best superhero shows recently have focused on humor and absurdity - but it's about how those jokes interact with the story. I think one of the best examples of this is the Marvel Cinematic Universe's treatment of Thor.

Thor walking around like a dumb jock, getting made fun or, and getting sassed and backtalked by the people around him sabotages what is supposed to be his character arc.

Thor is supposed to be the goofy, spoiled Prince of Asgard who is sent down to Earth to be humbled, a lesson he learns in the first movie, and he should be played as a smarter, more responsible character from that point onwards.

To some extent, he is played that way in movies like Thor: the Dark World and Avengers: Infinity War, but that is in contrast with his portrayals in Thor: Ragnarok and Avengers: Endgame.

I see the claim, semi-often, that it's Taika Waititi's fault that Thor went in this direction, and maybe it is to an extent, but that doesn't explain Avengers: Endgame.

The character who was a headshot away from stopping Thanos in Infinity War turns into a fat drunk the very next movie made by the exact same team.

Now, I get it, it's a despair arc, but he never truly recovers from it. Thor appears in the climactic final fight, sure, but the key moments ultimately go to Captain America and Iron Man.

Thor, meanwhile, goes on to star in Love and Thunder, in a performance that Chris Hemsworth himself calls too silly, labeling him a "parody of himself."

We are constantly told that Thor is supposed to be one of the strongest and most heroic characters in these movies, but time after time, he reverts to the strong, but dumb character that he was at the beginning of his own movie.

His character development constantly resets to zero.

Thor effectively has no more consistent character progression than Peter Griffin.

So...how to fix this?

The short answer is better writing.

I know that's obtuse, but hear me out: there is a piece of recent superhero media, with absurd humor, regular jokes, and complex character arcs that show both progress and regression in realistic and emotionally heavy ways.

DC's Doom Patrol.

Let's talk about Cliff Steele. In the 80s, he's a successful NASCAR driver at the height of his career, owning a mansion, starting a family, and famous enough to cameo in bad soap operas. He's also cheating on his wife with the maid while being suspicious of his wife. This culminates in Cliff causing a crash after he sees his wife feeling up his crew chief to deliberately make him jealous.

Cliff narrowly avoids this wreck.

He's then implied to go on a drunken bender and cheat on his wife again before realizing that it all makes him feel hollow and empty inside. He tries to make amends, picks up his wife and daughter, and they're all driving home together.

Only for Cliff to get caught up in a crash that kills his wife and leaves Cliff as little more than a functional brain. Yadda, yadda, yadda, a quack scientist named Niles Caulder uses a combination of technology and magic to build an immortal robot body and puts Cliff's brain in it. Thus, Cliff becomes the Robotman.

Here, Cliff is given chances to do better. Jane, a young woman living in Caulder's mansion, appears as a surrogate daughter for him, and not long after that, Cliff finds out that his real daughter, Clara, is alive to, and he's given the chance to make amends with both.

He tries.

Often, he fails.

During one sequence, he backslides deep into self-destructive behavior as he gets high on Parkinson's meds and gets addicted to a camgirl and online gambling, to the point of selling his friends' (including Jane's) stuff, and using his daughter's credit card on it, so...yeah, he's being a pretty shitty person at this point.

The thing is, he does better.

He cares about the Doom Patrol, Jane in particular. He wants to be there for Clara and her son Rory, and despite being the robotic bruiser of the team, time after time demonstrates that he's ultimately one of the most gentle and merciful characters in the show.

His character development is hardly a simple case of A-B, but it's written in a serious and sensible way, in contrast to Thor's yo-yoing between characterizations.

For another example, let's look at something that's not a superhero show, but contains a similarly complex character arc: Blitzø from Helluva Boss.

Yeah, I'm critiquing the MCU and bringing up Hazbin Hotel/Helluva Boss as a positive example. I'm well aware that if this blogpost breeches containment, I'll be dealing with the worst people on the internet.

Anyway, Blitzø is a prickly little shit that makes bad decisions and pushes away anyone that tries to make a real connection with him. This is where a lot of the crude humor and absurd plot elements of Helluva Boss come from, so it draws a lot of criticism, but the thing is...that's the point, Blitzø is a problem.

The show, particularly in the second season, is about Blitzø opening up and becoming a better person.

We see him saving his old friend Fizzarolli and ultimately reconcile with him. We see him show moments of genuine care for his employees Moxxie and Millie, as well as his daughter Loona, but we also see his unwillingness to truly be vulnerable around the people closest to him.

We see in Full Moon that he rejects and lashes out at Stolas' attempts to turn their transactional relationship into something more serious and equal. Now, granted, Stolas' own self-worth issues mean that he isn't communicating well, but Blitzø still assumes the worst and screams at him.

This trend continues in the next episode, Apology Tour, where they argue again and Stolas asks Blitzø if he's ever really apologized in his life. Blitzø's answer isn't to reflect on his actions, but to "Apologize the fuck outta everyone!" to prove a point. Naturally, this doesn't particularly work, and it ends with Blitzø following Stolas to an "Anti-Blitzø Party."

Here, Blitzø finally sees the impact of his actions, and begins by making two legitimate apologies: the first attempting to apologize to Stolas, and then making an apology to Verosika, an ex-girlfriend who is hosting the party to begin with. Talking with Verosika makes Blitzø decide to leave the party and give Stolas space, even if it means watching as Stolas dance and kiss another guy.

In the most recent episode, Mastermind, we see the culmination of Blitzø's progress as he is willing to sacrifice himself to protect his friends. This ends with Stolas coming in to take the fall himself, and with Stolas disgraced and brought down from his status as a Goetic Prince, Blitzø lets Stolas stay with him.

The episode ends on a comfortable note between the two of them, with the implication that Stolas has become a lot more aware of their previous power imbalance, while Blitzø has become a lot more awae of how much Stolas means to him.

So, to summarize this long rant about a movie I didn't like and two shows I love: there are ways to write flawed characters, character development is not always linear, and characters can backslide. The problem is that Thor does none of these things in a natural or believable way.

Now, some of this is inevitably down to the fact that a show gives more time to develop a character than a movie.

However...Thor has been in how many MCU movies by now? He's had more than enough screen time to have had a deeper character arc, Marvel just didn't care to deliver one.

That's the kind of superhero content people are sick of.

People are sick of Marvel trying to replicate its earlier success, people are sick of DC constantly rebooting in its own attempts to build a cinematic universe, and people are sick of cinematic universes developing around other movies and franchises.

That's because cinematic universes aren't about writing the best stories possible in the same world, they're about chasing the runaway pop culture success that the early Marvel movies had.

For more proof of that, look at what DC's most successful projects have been lately: the Batman, a standalone movie focused on a single character and the surrounding setting. Penguin, a spinoff from that that is a serious, gritty mob show in the same world as the Batman. Or the aforementioned Doom Patrol which was its own little show on HBO Max.

Doom Patrol started in 2019, ended 2023.

The Batman released in 2022.

The Penguin released in 2024.

All successful and critically acclaimed work in the so-called era of superhero fatigue.

People aren't sick of superhero movies, they're sick of bad superhero movies.

So yeah...this has been my first Offtopic Offseason blogpost, I hope y'all enjoyed it and I'm interested in hearing your thoughts.

Oh, and for the motorsport people...yeah, I'm aware that the Qatar Grand Prix happened last weekend, I just would rather forget about it.

[sharonisthebettercarter]

billy butcher and addiction--

felt there's a need for a good and proper analysis for this fucker (as well as i can manage, maybe throw in a bit of a rant on poor fandom etiquette, 'three laws of fandom' are an oldie but a goodie lol) so here we go i guess--

i wanna start by saying this is a full scope character deep dive (sortaish?? best i can do take it or leave it--lol i might go further in depth on specific scenes or whatnot later, i'm longwinded but i'm tryin' to condense as best i can for this, aaaaaaaaaaand long long post ahead--) that def includes elements solidly confirmed in dear becky and probably leans more on comics billy overall, but def does intertwine and interlock with show billy (as they are essentially the same, garth ennis' own words went something like 'he's a perfect billy butcher' lol)

i'll try to avoid spoilers (??) for the most part like dear becky, but there are some things that may need more context (there is quite a bit of in the show that works well enough to represent anyway but i guess we'll see how this goes, i may end up talking more about the show elements and how they parallel with comics billy anyway)

i also think it's worth mentioning that there's a lot to billy (especially in the comic) i feel fandom either ignores, dismisses or doesn't want to acknowledge, or just doesn't notice.

whether from personal bias/prejudice, desire (fitting billy into that 'alpha's alpha' toxic masculinity 'dom top' fever dream 'mold' so to speak, probably--no, definitely the *worst* way to interpret and easiest way bungle up his character, it completely misses the fact that billy has built *that* 'daddy approved' version of himself as a *facade* to *hide* his own shame and insecurity, and he is *so* much more complex than that nonsense (and genuinely uncomfortable and unhappy being that way-beyond the subtle guilt of a constant high). can we talk about the ways in which fandoms promote and perpetuate toxic masculinity--what, no time we'll be here all week?? oh, okay. jesus fucking christ that is exactly as bad if not worse than the maga chud interpretation and unironic worship of homelander--), lack of personal experience/familiarity, understanding--fuck it, even lack of education in media analysis or reading comprehension (if not both), and *especially* being pro-censorship/americentric/*stuck* with purity culture blinders (or even some part of them lingering)

all of those can def make media (and characters like billy) that isn't 'cookie cutter america-approved' fairly difficult to understand or accept (i guess??)

i've seen so much listed to hell and back in attempts to describe comics billy. 'he's a piece of shit' *YES*. 'he's just wish fulfillment for the author's hatred of superheroes' *no*??? let me not get into the complete hypocrisy of someone who writes or enjoys fanfic--the epitome of *wish fulfilment*--unironically complaining about other authors doing this and thinking it's a legit complaint. how does *anyone* read the entire story and come to *that* conclusion???

did you even bother reading the comic? no, i don't mean glossing over it with a completely closed mind while actively ignoring and dismissing everything important put in front of you and designed to make you think because the blood and guts or other is too distracting apparently, i mean *actually* reading it thoroughly and making an effort to think about what's being presented and why, waiting for the drop *instead* of jumping to judge (as is the american way)

and to some degree, i get it. i wouldn't say this comic is the easiest to digest (especially if completely unfamiliar with many of the themes presented, even the show has sparked some ass takes and interpretations) there's also plenty of common misconceptions, one in particular about garth ennis 'hating' superheroes. this is actually not true, what he hates is how the superhero *genre* has bottlenecked the comics industry and what is more likely to see success in it (and as a fellow creative, i completely understand how frustrating that would be, his main interest is actually war stories)

it's def one thing to say, 'nah, i don't vibe with the style' or 'it's not really for me/my taste but it's fine if others like it', i get that, satire and horror aren't for everyone. honest critique is fair even.

but it is a whole 'nother thing entirely to pretend your own personal tastes are *the only 'correct' creative law* and then *vehemently* oppose or hate something an artist created and denounce, harass, or fuck--dehumanize the people who enjoy it, if not the artists who work(ed) on it.

i'm sorry, this is a tangent cause it's def not limited to the hate the boys comics or ennis gets *at all*, it's especially prevalent in *literal* kids media like teen titans go where the thing in question is simply put--*NOT MADE FOR THE SHITHEADS NONSTOP COMPLAINING ABOUT IT* when they can literally, *LITERALLY* just *accept* that they weren't the *target audience* and move the fuck on with their day, happy as can be. *instead* of shitting on something *or the people who like it* to make literal *children* or other people feel bad about liking it.

it's one thing to try and educate people or have discourse and discussion, it is another entirely to *bully* them over something so *stupid* as *fiction*.

i especially have a problem with this shit when i have *several* artists tell me that they don't feel *safe* or *welcome* being themselves, liking or creating what *they* want to make in a fandom *because* of the fandom attitude and normalization of *hate* within that fandom.

i *thought* fandoms were supposed to be about *love* so what the fuck is this human tribalist false dichotomy bullshit??

and of course, that's not always the case. there is also an unbelievable level of respect that is given to fanartists and fanfiction writers, and that is *beautiful*. 'don't like, don't read'. *PERFECT*. curate your own content, complain or rant in your own spaces--you're entitled to an opinion, but *accept* that it still has a right to exist and other people still have a right to love it (and aren't wrong for that, opinions cannot be objective), *even if you don't like it*. just don't engage then, it's that simple.

now extend that level of courtesy to the people, artists and writers in the industry.

no, i'm not trying to shut down criticism of media, proper critique is how we learn and grow and understand better and in turn *create* better. yes, they can fumble the fucking bag too, especially when adapting something from a source material and--like *some* fanfic writers out there--think they can do it 'way better'.

but the people in the industry? who bend over backwards, going on strike in some cases, breaking their necks to work on and create the things that we *love* and latch onto?

they're people too. and whether the thing they make goes *exactly* how we want or not, however you feel about the money in the entertainment industry (which they see barely a dime of if those fucking strikes and constant mistreatment are any indication), they don't deserve to be treated like scabs.

that mentality of 'not my personal taste = universally bad' and 'anyone who disagrees with my opinion is wrong' is fucking gross and *extremely elitist*, just straight up announcing how pretentious, obtuse, willfully arrogant and ignorant, and *lacking in self awareness*--the number one easiest way to be the *shittiest* kind of artist/writer/critic--you are. it is *exactly* like cishet white men complaining about something being 'bad' because it's 'woke' or has anything *besides* a cishet white man for the protagonist.

*god forbid something isn't tailor made specifically for them.*

swear to gawd, i got a list of different bullshit and circle jerking i've seen all across different fandoms for different reasons. no i'm not mad at any one person in particular, just a little salty from recurring problems and gatekeeping (ghoulfucking-GHOULFUCKING OF ALL THINGS I--I CANNOT) if not straight up bullying (does it really make a bitch feel *so* much better to try and hurt other people for liking what they, and let's be honest, are not willing to give the time of day?) in fandoms. (the complete audacity of people to complain about a media being 'childish' or 'bad' because 'insert nonsensical trivial bullshit here that holds no weight because it's personal taste if not flat out wrong and not actual critique' and then turn around and throw the biggest fucking tantrums about it--let me not get into the whole sharon carter debacle jesus christ--)

same shit. different pile.

also, fuck me. i keep *forgetting* that genuinely valid critique (*not* personal taste/opinion, proper critique pertains to things like techniques used, composition, narrative consistency and plot holes, goals of the artist/writer, accomplishments of those goals, etc.) is something that needs proper education and understanding all on its own which not a whole ton of people get or even know, which just goes to show--i'm a dumbass too. (but i won't deny that plenty of 'critics' are full of shit and *know* this but use their 'personal taste' as 'critique' *anyway* because... they enjoy being complete assholes and discouraging other artists i guess.)

y'all, take a class or two in art critique and literature analysis. you'll learn all the cool lingo (to later forget if you're like me~), and maybe (hopefully) walk out with a bit more of an open mind wanting to encourage more art in the world, even if you don't personally like it. take a moment to *listen* to differing opinions in their *entirety* and you might even gain a new perspective.

*no one* should be ashamed to ask questions or admit they don't know or understand something and fuck the people that would make you feel that way. *we can and should help each other.*

but stagnant or hostile fandoms with no self awareness and perpetuated elitism circle jerks? *really* fucking shameful, regardless of the form or where they are.

ANYWHO--

ugh, fuck. okay. i think i'm done with that tangent, back on topic--

BILLY BEAN~<3

and i want to reiterate that *again*, dear becky *does* confirm pretty much everything i'm going to discuss here tho technically speaking, nothing is spoiled here as it's just reiterating what is implicit (if not stated outright) throughout the series.

as far as dear becky goes, it's a good final gut-wrenching piece to the series and i loved it, but it definitely leaned on more of 'tell' instead of 'show, don't tell' (no duh in context, but probably because the rest of the comic did the 'show'--very well imo but it still flew over peoples' heads and made them misplace their brains--i'm sorry, i've just lost so much patience for the lack of reading comprehension and media literacy, but honestly? ennis is genuinely too good at knowing how to spark a strong emotional reaction in readers. and can we talk about the dense mofos that *make* authors have to 'tell' just to confirm something that is heavily implied--what, no time? oh, fuck, fine.)

OKAY--

addiction.

what about it, and why am i mentioning it. well. because if it's not clear by now, william butcher is an addict.

and it is one of, if not the core element that drives him to do what he does.

not becky or becca. not justice.

addiction.

and i don't mean traditional substance abuse (though he admits there has been as much in his life, especially with alcohol, his drug of choice is a bit more complex and maybe not so easy to spot on the surface for those unfamiliar with addiction).

in the show, we even see him mention that he's 'done 'em all' and there's *nothing* like temp v--and it's because temp v *amplifies* his *addiction* to the highest level it could exist on.

something else to note, there's a ton of stigma and widespread (ableist) misconception surrounding addiction still (which may be part of why people may not want to recognize it in billy), but it is absolutely a clinical mental disorder and people who suffer from it should be treated as *medical patients*, not reduced to violent criminals and scumbags. (fuck you drug war and prohibition, you are the root of organized crime and you're racist as shit.) it's also possible to become addicted to *anything*. and i mean *anything*.

if you can repeat a behavior and your brain no longer cares whether or not that behavior is causing you harm because there is a *compulsive* urge for that *repetition* or a specific result from it? that is addiction. money, anger, pain, violence, self harm, attention, love...

you'd think the last one might be okay, but it's not. it's an easy way to get caught in the infinite loop of an abusive relationship, just with promise of it. no delivery necessary.

but it doesn't have to be drugs that cause addiction. hell, gambling addiction is a thing all it's own that can get *incredibly* severe.

and listen, too much of *anything* can be horrible for you. fucking coconut will give you the runs if you eat too much that shit is *not* fun pun intended--

i digress.

in billy's case? he's actually addicted to two i just listed.

violence. and self harm.

i mentioned before that what drives billy has next to nothing to do with what happened to becky or becca.

there's a common misconception that, at the end of the day, billy does have some level of good intent behind his actions, and to a degree this is true in the *complete reverse* of what people often assume, and this is proven repeatedly in both the show (with just what we have seen) and comic (where its laid out too heavily to ignore).

setting aside the fact that there's *never* a good 'rEaSoN' to commit or even attempt *genocide* (EVER. i have ZERO patience for the constant apologism of this bullshit, SWEAR TO GAWD FANDUMB--) and billy's genocidal tendencies on their own, the idea that 'he goes after homelander for becca' or 'justice' has been completely debunked.

'justice is not vengeance'

something to always keep in mind.

but... in the first season? hughie called him out on this.

butcher calls him a 'disgrace to robin's memory', and hughie--bless his little heart, responds with 'i think i'm doing this *for* her.'

it's an interesting response, because hughie is essentially saying--

'you'll *die* for this woman, but that's not what she would have wanted. i'm going to *live* for robin, and for *annie*, because *that's* what she would have wanted.'

and he's absolutely right. billy loved becca, would have died for her. but he refuses to listen and *live* for her.

the group therapist too even before hughie. she literally laid it all out, front and center in the clearest way possible, 'it's a defense mechanism', and then butcher had his little meltdown just before telling hughie about becca, everything he can, including *using* other peoples tragedies and his own *specifically* to manipulate hughie and try and make sure *starlight* can't *save* him from what butcher is trying to turn him into.

*so that hughie stays stuck on his reason to die, instead of finding one to live.*

in the second season, *becca* herself calls him out on this, multiple times.

'you put me on this pedestal but i never knew how to save you'.

'--i didn't come to you, i went to vought--.'

and that's just it, becca (and becky in the comic) is *intimately* familiar with billy's *addiction* and the underlying mental health issues he *wouldn't address*. she didn't tell him what happened even after the shock of it because she *knew* that it would just become a reason for billy to *give in* and be his worst self to a degree where she would *lose him* regardless of what she felt or asked for from him.

she felt she had to *suffer in silence* to *protect him* from *himself*, something that ends up *destroying* her.

becca wanted to *save* billy, but more importantly, she wanted *him* to *save himself* because she *believed in him*, *so much*.

'i never wanted that for you.'

she doesn't want billy to drown and suffer or cause harm in his own hatred and addictions. she *loved* him so much so, that she was willing to *drown herself* if it meant she could save *him*. she loved him *too much*.

billy's mum too, even tries to help in her own way. (she is much less aware of billy's activity in the comic, but we'll come back to her. for the show, this was likely in response to seeing the news about *stillwell*, something his dad fucking *praised* him for)

'--that he wouldn't have this hold on you--'

billy's actions are almost entirely driven by the *addiction* his father forced on him. on doing the things that would make his 'daddy' *proud*. and the thing is, he's *fully aware* of this.

he constantly *says* that *becca* is his 'reason', that she was his *cure*, but she's the *excuse*. his *new addiction* and *self medication* (also billy, you fucking cunt you *know* what you do and have no leg to stand on when it comes to self medicating--)

both in the worst of what he does and his rejection of addressing his own traumas, and she is *unwilling* in this endeavor. she never wanted this hate to consume him, she never wanted all of this death with her name as the signature, *she never wanted billy to be his father*, much less be something much worse.

he even admits as much in the third season when he hallucinates lenny who tells him his actions would 'break becca's heart'

billy responds something along the lines of 'becca's dead, it doesn't matter what she thinks'. (a line presented in the comic even more harshly, but it drives the point home perfectly.)

when he sees lenny again in his nightmare--

'i'm not that bastard--.'

'come off it billy, you always have been. cause anyone who's ever loved you, you end up gettin' 'em killed, don't ya--.'

'--the last person on god's green earth tryin' to stop you from bein' a monster, and what do you do? drag him down to your level... when he dies... and he will... then no can stop you.'

OOF OUCH OWIE--. the lenny stuff hits so damn hard but it represents *perfectly* what butcher's own *internalized beliefs* are.

mallory calls him out on it literally every season.

'--but billy! not the others!'

'it's like asking a cockroach to not be a cockroach--'

'--because it wouldn't stop with just homelander--'

'this was never about ryan or becca, it was always selfish. the hate inside that you want to let loose on the world.'

'--i was wrong... you are your father, always have been...'

and then there's billy's subsequent impulsive reaction to push ryan away, and *be his father*.

but hell, even in gen v when mallory is speaking to shetty.

and truthfully, billy was even showing *withdrawal* symptoms at the beginning of the third season.

billy himself, even *self punishes*, picking fights he knows he *won't* win as a way to counterbalance *and* satisfy his own addiction, infinite loop. vicious cycle.. (ooh i will def be coming back to the big one here--), and we see this in one *HUGE* way, and in many many smaller ways, but even in the more literal sense of going to bars, starting trouble, and laughing or smiling when he's getting beat the fuck up or *losing*.

it's even highlighted in the show, billy *seeking out violence* and conflict whether he should or not, *especially* when unnecessary. getting his own face busted up and smiling because of it is something that happens multiple times in the comic (even on accident in one instance), and is def given a place in the show. it's easy to pass off as billy simply being a masochist (which is def true lmao he does admit as much), but there's also more to it than that and it goes hand in hand with his *addiction* and--

what he thinks he deserves.

billy *hates himself* so *severely* that he actually *does not believe* that he is capable of the *good* that others, such as lenny, becca, his mum, and hughie are willing to *see* in him. he *completely* believes it when others say that 'he is his father' (internalizes it, struggles with it, and frequently acts on it).

he puts on a show. bravado, posture, and 'confidence'. and he's so good at putting on that front, that he can fool himself, even for a moment. and those that believe it will even *enable* him. and the people he feels *nothing* for? again, he maintains the front. he lives his life *masking*, *faking it*--so fucking hard. homelander could never--

and it's not even necessarily the result of toxic masculinity. don't get me wrong, he def has some issues with that lingering (y'all, if you have *say* you're an 'alpha' and posture out your sweet little ass off 24/7, you're def *not* an 'alpha' lmfao), but it's more so his own *trauma* that forces him to *cling* to that.

but when he *loves*, and he loves *deeply*, he completely rolls over and shows his belly like a kitten<3... when he was with becky, he was happy and comfortable, and all of that *ridiculousness* just melted away completely... he didn't feel any need for it because he felt *safe*, because this constant *insecurity* and feeling of being *threatened* all the damn time looming overhead had suddenly cleared up with becky there.

it's not even so much that billy doesn't feel fear. he might not traditionally (at all if his amygdala is damaged), but considering the fight or flight response, billy's *default* setting literally *is* that *fight* response. he's the way he is because he is *always* afraid and he's been conditioned for it to manifest itself as *rage*.

we see bits of his love come through in a few moments he has with people he has genuine care for. (the way he loves his mum and she instantly calms him down is genuinely so sweet.)

but it's always gonna come back down to 'daddy dearest'.

because of him, *billy is afraid of living*.

and--

his father. *is proud of him*.

billy is *just like him* or *everything he wanted to be* as a *man*, or at least is compelled to *project* this on the surface. and everything in *billy* that *is* his father, *just like him*, is *everything* that billy *hates*. so it manifests into an *intense* self loathing and spiraled addiction that magnifies the worst of what his father *forced* on him.

he *doesn't want* to be *his father*, but he feels, and fully believes that *he already is*. his self hatred is another form of *hating his father*, because *he is that man's legacy*.

so *billy* doesn't *believe* that he deserves love or goodness or care from other people (a parallel we see in homelander, presented a bit differently.) so he 'doesn't care'. makes excuses to not care (about people in general, if not just the very *prominent* antisocial tendencies), or leave, or push them away, lashing out to give *them* the excuse to leave him, because he is *afraid* and in his own mind, *unworthy*.

he's *afraid* of being loved, of *losing* that love, of *hurting* those he loves. he is *afraid* of being his own father.

but it's all he's ever known, all he's ever been *conditioned* to be. intoxicated, ever present, it's this terrible thing that destroys him but he *can't* stop. *addiction*.

and what better way to protect those he loves than to keep himself as *far* away from them as possible? than to *make* them hate him. than to do the *wrong* thing, to *disappoint* them. self sabotage. self punishment.

he can't stop himself. he deserves it.

lather, rinse, repeat.

so what does that mean for homelander, or even the reason he goes after homelander? the *real* reason.

'there must be *some* good in him because homelander 'must be' this 'ultimate evil that *must* be stopped', right?

not really. he's a symptom of a much greater evil, but he was never the root of it. if billy really wanted to solve the problems at hand and get *justice*, he'd go after *vought*, NOT homelander.

homelander is not even the real villain in *billy's* mind, in all actuality.

what homelander *is*?

temptation.

he is... the *ultimate* final high for billy. in terms of addiction to both *violence* and *self punishment*.

he doesn't actually go after homelander because he wants to 'stop him' or even kill him. not really. there are times billy starts a fight *expecting* to *lose*, *wanting* it. homelander *is* one of those times to the most intense degree that billy could find. and he even senses this when they first meet--unnecessarily, privately insulting the man because why?

because he feels *threatened*. because he feels *insecure*. because if homelander is *truly good*, even with *all that power*--

then billy has no fucking excuse--

it is, in essence, the same exact reaction that lex luthor has to superman. forcing himself to *challenge* him because of a *constant* sense of *fear*. (except lex *is* afraid of dying, so 1000% a huge coward lmao--)

but~, when he finds out homelander is *bad*?

homelander is billy's *failsafe*

to stop the person he feels is the most terrible evil of all *and* to set the world on fire in the process. a way for billy to kill two birds with one stone. compelled by his addiction to *chase* this ideation relentlessly.

homelander is to billy--his ultimate end, self punishment, a death wish, a *suicide attempt*.

and a way to *unleash his hatred onto the rest of the world*, *to make it burn*, even after his death. (this would be why despite many many MANY warnings to *not* push homelander *because of the catastrophe this will ultimately instigate and the loss of life this is bound to result in*--billy does not give a shit about the potential consequences. he welcomes them--)

if homelander were a *nuke*, billy would want to *launch* him. right now, homie is more like the *demon core*, incredibly dangerous and in some instances lethal, but not *yet* explosive.

billy *wants* the *warhead*.

it was why he got *so excited* at the *chance* of homelander offering him 'scorched earth'.

the man read billy like an open fucking book, and set the bait--

y'all, in other words, homie straight up went to billy's house and offered *crack* to the *crack addict*--fuck yeah he's gonna take that offer!

homelander never actually perceives billy as a real threat *at all* (safe to say, this is the main reason he doesn't kill him. there's a bit of personal complex combined with the deals/blackmail/request involved, but this would also be why he doesn't *hesitate* to 'kill' billy at herogasm. he genuinely gives no fucks about this poor man or his many anal complexes and daddy issues beyond the mild entertainment he gets from him and just how *easy* it is to read billy or rile him up. maybe a *dash* of novelty being found in billy's obsession with him. i'll go into the homie side of things in depth maybe someday soon lol but for now--)

and here's the thing, homelander isn't the *only* failsafe. he is simply the *ultimate failsafe*

included in all the possible bad habits billy has is pawning off his *responsibility* and personal accountability, even his *will to do good* onto others.

i mentioned before that becca (becky) was like a new addiction for him. and she was. in a sense, billy was using her to self medicate. she loved him, gave him love and made him feel good, no pain, no shame--but also no pause to think about that pain, self hatred and self doubt and actively address it. she was a way to not worry about his own *goodness* because she was an *easy* reason for him to *want* to be good.

and something important to note?

billy feels that he has *cheated* on becca/becky *since* the day she left/died. (there's a whole ass deliciously intricate story there but i'm trying to avoid the spoilers lmao. kind of a freebie hint i guess.)

lenny and hughie similarly make an effort to *hold butcher back* and reach out to him. (everyone does honestly, but not everyone is so successful with it). and butcher lets them, but *also* removes the agency of his own choice in the matter.

he doesn't just *let them* make him *good*, he doesn't believe he's capable of stopping himself on his own--but he believes in *them* because they *are* good, *truly good*.

hughie all on his own is *another kind of failsafe* and lo and behold, even calls butcher out on this by the end of the third season (theme is prevalent in the comic a lil different but again spoilers lol):

'i don't think you want to do this. i think you want me to stop you.'

*ding*ding*ding*!

nail on the head, hughie... butcher does not believe he can stop himself. so he sets up *failsafes* to do as much.

and let me just say, it is *unbelievably* shitty of him to do that, to pawn off the responsibility of his own behavior, whether good or pure evil onto other people. but i get it. and it fucking breaks my heart for him.

because *that* is addiction. it feels like mind control. aggressive compulsion. you feel ashamed, and hate yourself, and don't care if you hurt yourself or even others. but you keep *hoping*, *wishing*, *leaving a breadcrumb trail* so that *someone*, *anyone*, will come along and--

*save you. from you.*

and when you stop believing in yourself, in your own willpower to fight against this *thing* that just completely *destroys* you from the inside out... without *anyone* on your side, what else is left to do but to numb the pain?

i was able to recognize billy's addiction right off the bat because i've *been* to a lot of the places he has been. including the addiction. and he makes me so *fucking* mad because it's like seeing a version of myself *still stuck*, *still lost*, *still trapped* by my own issues and self loathing, and all of the abuse i've gone through--

and the biggest fuck up, the biggest *abuser* is me.

i can't *escape* me. *no one* can escape *themself*.

that fucker breaks my heart to pieces because *i have been there*, and i know just how fucking hard it is to *be* there, just how much harder it is to *get out* and start to *learn*--*who is it you really wanna be? who are you without this drug?*

and something he even says in the comics on a few occasions is--

'i'm not really here, i'm somewhere else watching this happen'

asserting that he *truly* believes that he has *no control* over *what* he is. (in contrast with homelander, who feels the weight of something similar but more literally in some regard, and in relation to so many other aspects in his life with the world around him.)

billy butcher *is* the *true villain* of *his own story*

of his own making.

he's not after homelander or even vought. he doesn't blame society or even his father at this point. he blames himself. and he's *given up* entirely on fighting himself. he's looking for his *overdose*.

*that's homelander*

ain't that a kick in the head...

it's part of what makes their relationship and dynamic so incredibly electric and titillating. it's got nothing to do with becca or becky.

butcher sees homelander as an easy way out. as a way to control the narrative, *maintain his own*, and *stop the bad guy* without bringing someone *good*, like *hughie*, down to his level.

he *sees* the parallels, a kindred spirit. he *knows* the potential. and he wants to be the *spark* to light all that *gasoline*.

because then it won't be his fault anymore. his *guilt*. he'll have passed on his *curse*.

likewise, he actually goes after supes in general for a similar enough reason, and it ties in with why he *doesn't* go after vought directly.

billy actually *likes* the status quo. to a degree, *needs* it, *needs vought*

because *vought* is the *creator* of his *supply*, feeding this addiction. and we hear billy say this in both the comic and show--

'with great power comes the absolute certainty that you'll turn into a right cunt.'

and billy actually believes this--about himself.

when he says it about other supes and even his intense hatred of them, it is a *projection* of his own issues and what he believes to be true for himself (that he would do the absolute worst thing imaginable given the opportunity). and in a way, going after them is in some ways a metaphor for stopping and destroying himself, hating himself, as much as it is a way to maintain his addiction.

and--

maintain the narrative he has built--that he is the true villain.

and if that's the case, well... it takes a *hero* to stop a *villain*, right?

but also--y'all remember that scene in the suicide squad where polkadot man imagines everyone as his mum? how he imagines starro as his mum?

yeah, that.

that's basically billy. every fucking supe, including starlight, and kimiko, and let's *really* not talk about what this means about him sleeping with maeve in context with his 'supe=daddy' issues, but even the person he sees in the mirror. *all of them* are *his father*.

listen, i'm not kidding. billy's daddy issues are seriously severe, so fucking bad, i--

his actions aren't for becca or becky or ryan or justice. even he *knows* that's bullshit and admits as much (which just makes fandom denying it that much more fucked). but they're not even *just because* or because he's genocidal, antisocial, or anything else. he *does* want someone to stop him. he's sane enough to recognize his actions for what they truly are *behind* the mask.

billy's actions are a volatile and violent *cry for help*, because he never learned how to *ask*, or even how to *believe in himself*.

he never truly learned that *he never had to be his father*, and he didn't *need* becky or becca, lenny or hughie to *be good*.

i actually think billy's greatest magic trick is convincing even the audience and readers that he is a *total*, complete piece of shit. and don't get me wrong, he is *def* a huge, massive, incredibly rank and ripe piece of shit--.

and y'all, i'm sorry if you believed him and got played like a damn fiddle, him and homie def throwin' in some hard balls--

but he's also still human. he also still needs just as much if, honestly? maybe even more, fucking *help* than homelander. which kind of draws back into their parallels. the tomfoolery of fandom might have you believe that billy is less complex or more put together than homelander, but their situations go hand in hand and the evidence suggests (if not confirms) something quite different.

billy's plight and even goal in some sense is *convincing the rest of his world that he is a monster*. driven by the addiction his father gave him. enabled by the world around him.

homelander's? it's actually the complete opposite. his struggle is with *his world convincing him that he is a monster*, and in turn, against his own instincts, *growing* into that role. when in reality, he never got the chance to decide for himself, it was decided *for* him a long long time ago.

'i think, therefore i am.'

'i can, therefore i must.'

however, *our actions cannot define who we are, because we can choose our actions*. good or bad are not something you inherently *are*, they are something you *choose to do*.

it paints what in turn becomes quite the brutal and tragic picture when these two forces meet. homelander and billy are both of the mindset that they *don't have a choice*.

and this bit is a bit more of a personal thought, but regarding billy's mum, she was *becky*. she was sweet, and kind, and cared for her family more than anything. *it didn't matter what she suffered, she was willing to drown if it meant saving the people she loved*.

as much as i adore how cute becca and billy were, i don't think she would have saved him.

i think the implication is that she would have either 'drowned' trying and become his mum, history repeating itself in a vicious cycle as billy spread his disease to any child they could have.

or that she would have lost her mind. and in turn *become* the person billy spread his disease to, if not another enabler for him. if not billy's choice of drug, maybe she would have taken up something else and eventually overdosed. i would even say the show implies this outcome with both becca and hughie, as the more butcher pushes--the more worn down they get.

if you put enough pressure on someone--they break.

becca was *good* for him. but billy was so, so fucking *bad* for her.

it begs the question of whether or not billy *is* right, if he really is this monster, *fated* to become his father in the worse of ways. of whether or not it's too late for him.

he's certainly not 'normal' or 'right' or 'good' or even an 'anti-hero'. at best, you could maybe call him an 'anti-villain', he is meant to be the deuterantagonist.

it def doesn't help that every time he has the *chance* to do the right thing, *someone* goes and enables him, gives him a reason to do the *wrong* thing.

fucking maeve in that last episode of the third season. but she's def not the only one, and def not the only time. (and yes, if it wasn't clear enough, being completely fucking indifferent to killing *thousands* of people to go after *one* fucking guy is in fact, the *wrong* thing to do.)

butt.

rewatching the scenes with lenny and billy's reaction, and even the final fight, showed something of a *possible* silver lining.

billy *enjoys* rejecting his father. actually pretty fucking greatly if we're being honest. generally speaking, it's when he *rejects* his father and everything that man represents that billy is at his *happiest* (lmao the epitome of an unfulfilled submissive sweetheart and bratty bossy bottom~<3<3<3)

there's a moment, where soldier boy says something along the lines of--

'--fuck you. you're weaker than he is.'

in regards to homelander. it's sort of glossed over, but this is billy's reaction to essentially being called a 'disgrace' so to speak by a toxic 'alpha male'.

y'all see that? it's a smile. lmao a smirk.

this is a moment where billy is protecting *ryan* and keeping his promise to becca. it's a moment where billy is *doing the right thing*, all on *his own* (mostly lol i'm sure there's a roundabout way to justify it in his head). and i think that's key.

it's not just a moment he's proud of himself and has a legitimate fucking reason to be proud of himself, (oh btw, we shoulda *all* been proud of billy in this moment), it's a moment he's *breaking through what his father made him* and his own *addiction*.

and he's doing it *selflessly* and--*without setting that responsibility on another person*.

so we *know* he has it in him, he always has. even becky *in the comic* kept trying to convince billy that *he is capable of good without her*. and again, we actually saw this in the second season when becca and ryan were reunited and billy *changed* his plans, *for becca*, instead of doing the selfish thing and selling ryan back to vought.

but if billy doesn't believe it himself...

i don't think billy is right about himself. but it is very *very* difficult for someone to *correct course* so to speak, once they have their *core beliefs*, lay out their own destiny and start along a *self fulfilling prophecy*, something him and homelander *both* do.

enter ryan.

and suddenly (lol probably in part due to reading dear becky lol), there was a bit of... not so much new, as *confirmed* perspective in play after that rewatch, something to *look* for and ponder in regards to *why* ryan may have been added for this story, a question in mind--

'would it be wrong of *ryan* to want to save his father?'

was it wrong of becca or becky, hughie or lenny, even his mum, to want to save billy?

how would *billy* even begin to answer such questions?

a different answer for the two would be a clear hypocritical bias (which lol i would not put past billy, but i also wouldn't be surprised if he maintained consistent thinking by answering *yes* to both)

. . .

y'all...

i still can't say i'm particularly optimistic about things turning out alright for either gent or ryan, butt~<3

garth ennis literally made the saddest, most pathetic, deliciously sweet, perfectly precious, extra emo tsun tsun baby boi ever, and put him right under our noses.

some a y'all fucking sneezing all over him, straight up sleepin' on all his *best* bits. how are we not utilizing billy butcher *properly~<3<3<3*????

;)))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))

[atalana]

also, across the spider verse was everything awesome tumblr said it was, but something that really stood out to me that i haven't seen mentioned here yet is the amount of body diversity among the spider people at hq?

like. this is just from the one scene i can find on youtube just now, it's about 10 seconds of footage, it by no means covers everyone we see in the movie, but as an example

the sheer amount of fat spider people? almost made me cry, like yeah the first movie made its message anyone can wear the mask, but you're not supposed to believe that stuff if you're a fat person, society does not want you to

except all of these people are the spiderman of their own universe! and spiderman is a hero known for crazy athleticism/gymnastics, and this movie is explicitly saying that all these people with all these body types are the crazy gymnast superhero of their universe!

and it's not just a fat/thin cookie cutter pair of body types either, look at how many different ways there are to be fat or thin or anywhere in between represented here. the way fat and muscle accumulate differently on different people (and also they're all allowed to wear skintight suits bc that's what spiderman does, and no one is seen as gross for doing it)

even if it was just one face in the crowd, this movie basically guaranteed everyone could find their body type on a spider person somewhere

and that goes a lot farther than any spoken message towards saying no seriously, the hero can look just like you

[a-jaded-mirage]

Blue Beetle and El Paso

I would be lying if I said that I was not disappointed by the canonical home of Jaime Reyes being changed both in the movie and in recent comics. However, I would also be lying if I said that I absolutely detested the movie for whatever reason. I enjoyed the movie for what it was and what it meant to the Hispanic and Latinx communities. It is a huge deal, and I think it was done well. Going back to my original point, it is hard to be disappointed when it feels as though I am not missing out on much when Blue Beetle's relationship with El Paso was never done true justice anyway.

The West Texan Mexican-American experience is hard to fully encapsulate into one solid thought or idea. I can confidently say that the approach DC had in most iterations of the comics, cartoons, recent movie, and other forms of media always toned the experience down and made it a duller aspect of his story. I can not recall even a single time when El Paso was brought up or portrayed in a way that was recognizable to an El Pasoan across any of the aforementioned media. It always felt disconnected and out of touch, but I still held it close to my heart because it was something alluding to home.

In a way, I am happy that Blue Beetle is now from the fictional (emphasis on that) Palmera City, because it reiterates that heroes can only be super in Hollywood when they are superficially placed in a cookie-cutter big and flashy city. All I really have to say to that is, good for them. They did what they needed to in order to reach a wider audience. I am sure that the payoff for the corporate powerhouses at the end was worth it even at the cost of individuality. Come to think of it, my mind cannot really conjure up any mainstream superheroes that operate in any desert long term. Any time spent in the less "glamorous" parts of the Southwest is almost always smaller plot-driving settings that act as a stepping stone for bigger heroes and not as a home.

Anyway, all of this is to say that I understand why they did what they did with the setting. I even still happen to think the entire production team did a great job, but that does not stop me from wondering what could have been at any point in Blue Beetle's recent history if someone had used the beauty, culture, and complexity found uniquely in Sun City far more productively. There was so much more potential than the oftentimes vague and noncommittal nods given to the setting. It just was not utilized to its fullest potential, and if that would have been a continuous theme, then I am glad that they are no longer working with it.

Shifting to something less ranty, I absolutely suck at drawing. I am a STEM person through and through, but that did not stop me from visualizing all of the things I would have loved to have seen portrayed in a Blue Beetle story while experiencing being a teenager in El Paso. He was my absolute favorite superhero because he was one that I saw every single day in my hometown, and there were several things I felt he would have enjoyed doing.

For example, we have a ton of high schools. If I had to narrow down the ones I think Jaime Reyes would have attended, I would probably say my top three picks would be: El Paso High School, Bowie High School, or Austin High School. An interesting custom that schools in El Paso have is placing the first initial of a myriad of our high schools on the mountains. They are huge and visible, as well as a testament to our school spirit and pride. The Top 10 percent of most of our graduating classes wear different colored gowns at graduation than the rest of their peers, which is something I was told was not a common occurrence in most other states.

Homecoming is a huge deal, and people will buy, make, or sell Mums and corsages. It is kind of difficult to explain to people from around the states who may not be entirely familiar with what it is, but it is an old Texan tradition that is typically shared between sweethearts (dates) on the last day of Homecoming spirit week. It is something that a lot of people go all out for, and plenty of pictures exist on the internet of the various ways that they can be customized. I always thought it would be cool to see what Jaime Reyes would do for his Mum.

Prom is pretty much Prom wherever you are in the States for the most part, and ours are held at some great venues in the city, so there is not much more to say about that part of the high school experience. As far as colleges go, some of the most popular for teenagers at El Paso high schools to apply to are UTEP, EPCC, TTU, Texas A&M, and any of the other UTs (UT Austin, UT Dallas, and UT San Antonio to name a few). There are even several private universities like Rice, Baylor, and Trinity to name a few more. Hell, a lot of us even go to schools like NMSU in what is essentially our sister city of Las Cruces, there is also UNM, ASU, U of A, and CU. There are so many different choices for universities that are realistic and in the general area that Jaime absolutely could have chosen to apply to and attend. I think that seeing him initially as a Junior or Senior in an El Paso high school, and subsequently watching his transition into a college student in the city or elsewhere while grappling with his powers and responsibilities as Blue Beetle would have been so fascinating.

As far as places that it would have been nice to see him interact with at some point, it would be easier to just give a general list of my favorites. I wish that the following places could have been incorporated into the Blue Beetle story at some point long past: Chico's Tacos, Franklin Mountains State Park, Transmountain Road, Downtown, The Plaza Theater, Cielo Vista, The Fountains at Farah, Sunland Park, the Outlet Shoppes, Rosa's Cantina, Southwest University Park, Don Haskins Center, Concordia Cemetery, Scenic Drive-Overlook, the El Paso Star, Hueco Tanks, San Jacinto Plaza, St. Patrick Cathedral, any farmer's market or swap meet, any of our museums (Art, History, Archeology, Border Patrol, Science, Chamizal), the Coliseum, Ardovino's, Orange Cow, Burrito House, Bowie Bakery, Lucy's Cafe, any of our dulcerias, as well as literally any of our regional and national recreational chains. Obviously, there is so much more, but all of what I listed could have definitely been used for something whether it be a fight with a villain of the week, or opportunities to flesh out Jaime's character more socially and individually. That, and it tickles my funny bone to imagine the Teen Titans trying something like Chico's Tacos for the first time.

Unrelated, Jaime would totally listen to Khalid.

Naturally, there are so many other locations in surrounding cities and states that easily could have been used as well for any plot points that would have added even more Southwestern charm. I mean, part of New Mexico's tourism schtick is literally aliens (Roswell), and the scarab is in fact an alien now. However, for the purposes of this, I focused on El Paso. That is really all I have to say about all of this, if you stayed for my entire rant I appreciate it. If not, I totally understand, and I really just wanted to put my thoughts out into the world and write this love letter to my home city.

I love that Blue Beetle is now further into the general public's eye, and that his character means something for the entire extended community. He now has room to change, grow, and evolve from what he was before in a way that is far more defined by the expectations for a mainstream hero. Even if the El Pasoan Jaime Reyes can only exist truly in my mind, it is an okay price to pay for a narrative that touches my heart specifically. I am most certainly not a writer, so I hope that the next time we have a hero from El Paso, some of my city's charm can truly be done justice. After all, the only person who can characterize an El Pasoan correctly is an El Pasoan.

[theerurishipper]

I remember people said the scene in Transmission, where Ladynoir renounce their Miraculous and "seemingly" not thinking about each other are mean to be a plot hole, not character inconsistency.

Bt for me, if the character NOT even make a slight uncomfort gesture/expression when they see Scarabella and Black Minette out there instead of their team mate, then it's not a plot hole, it's character inconsistency.

"Plot hole" excuse only work if Adrinette make any comment/looks surprised/make any reaction upon seeing the new duo but the aired time won't let the show do more than that. But the show doesn't let them react negatively which resulting people interpret it as "Yeah I don't care about my team mate, I already got my gf/bf anyway" which is not plot hole at all.

It's 100% character inconsistency. Plot holes are when the plot is wonky, and some logic doesn't logic. When a character acts OOC, it is character inconsistency. Adrien and Marinette have both become wildly OOC since the second Adrienette became canon on this show. They don't care about superheroing anymore, they don't care about each other as Ladybug and Chat Noir anymore. Outside of like, one line about "I hope Ladybug/Chat Noir are okay" (which is quickly overshadowed by some Adrienette, cause we sure do need more of that when we're talking about the late Ladynoir), they just don't give a fuck.

Actually, this isn't even character inconsistency anymore, this is a whole character overhaul a la whatever happened to Felix Fathom. Cause Adrienette only works if you change significant aspects of their characters. What about Chat Noir meaning freedom and a means of escape for Adrien, what about Ladybug being the narrative opposite of his abusive father who gives him unconditional love and acceptance? Fuck that, what he really needs is to start centering his identity around his classmate (with whom he isn't even that close because she thinks he's perfect) and defining himself based on her needs. And what of Chat Noir being the only one who can understand Marinette's struggles? Chat Noir being her special partner whom she can always lean on? Nah, fuck that shit lmao, here's Marinette trying to tell Adrien something he already knows and Marinette trying to hold Adrien's hand even though she's done that before without a problem!

Anyway, like I was saying, they had to change their characters up so that Adrienette could make sense, because it sure wouldn't make sense if it became canon in the show that devoted the bulk of its development to Ladynoir, now would it? So that's why we get episodes like Determination, where Adrien is suddenly head over heels for Marinette out of fucking nowhere, right after the Jubilation dream sequence where they had those cabbage patch kids, and Ladybug initiated a kiss even though they realized this was a dream, and they were clearly having some complicated feelings about the whole thing at the end of the episode. Cause fuck Ladynoir, amirite? Like, why would we waste time on the relationship we spent 5 seasons developing when we could focus on some cookie cutter high school romance with retcons galore and multiple, I tell you, multiple scenes featuring Marinette suddenly having the inability to do things she's done before with no problem, and apparently, it's all Chloe's fault, like what a fucking shocker, who could have seen that coming.

And lets not get into the actual plot holes in Transmission too, cause those also exist? How does Adrien Agreste know and proudly state Scarabella's name when no civilian knows she exists? How does this not make Marinette question why he knows? Why does Marinette expect that someone else becoming Ladybug means she's free when she's still the Guardian? Make it make sense, please.

Anyway, that's all I got. I'm sorry for using your ask as a venting post, anon. I just rewatched Gamer today, and god, Adrienette are so cute and adorable in Season 1. Like, they actually have chemistry and fun interactions and it's the lucky charm debut episode! I will never forgive this show for taking that Adrienette away from me and replacing it with... whatever Season 5 coughed up.

Thank you for your ask!

[thepsychologicalpeacock]

✨ Remember, my fabulous friends, to see people for the dazzling wonders they truly are, not some cookie-cutter stereotype! The universe isn’t just a serious, intentional place—it’s your personal glitter-filled playground where principles aren’t stuck in the past; they’re shining bright with your unique flair! 💫 So step up, superheroes of your own story! 🌟 If not you, then who? If not now, then when? You’re not just crashing the party; you’re the life of it, maintaining it all with a sprinkle of sass and a whole lot of glitter! 🎉💃🕺

[griseldabanks]

Comfyvember 9

Story: superhero siblings (original) Prompts: Scars — Passing smile — Baking cookies

“Who keeps cookbooks in their library?” Rebecca asked, wrinkling her nose as she flipped through the ancient Betty Crocker cookbook.

“Dr. Kartal, apparently,” Jack said, and the kitchen rang with their laughter.

“He probably just gets his recipes off the internet or something,” Sophie pointed out, wiggling her fingers at Rebecca until she handed over the cookbook. She found the tab for desserts, and flipped to that section of the thick book. “Now, what kind of cookies should we make?”

“Chocolate chip?” Jack suggested.

“Sprinkles!” Grace piped up.

“Peanut butter,” Rebecca said confidently.

“Maybe we should just go with sugar cookies,” Sophie said, biting her lip. “We don't know what kind he likes....”

“Isn't it the thought that counts?” Jack said. “I think he'll be happy no matter what we make for him.”

Rebecca scrunched up her nose again. “Yeah, but you know how awful it is to get a Christmas present you can't even enjoy? Like, what if he doesn't like chocolate or he's allergic to peanuts or something?”

Sophie turned another page in the cookbook and smiled for a moment before turning it around to show her siblings. “How about this one? Sugar cookies, but you can make paint with egg yolks and food coloring. Everybody likes sugar cookies!”

Watching her smile spread to all three of her siblings, Sophie sent them all off to scour the big old kitchen for everything they needed. They'd all helped Dr. Kartal cook on multiple occasions, but he wasn't big on baking, so it took some exploration to find things like baking powder and cookie sheets.

They never did manage to find any kind of mixer, but when Sophie fretted over how much more work it would be to mix it by hand, Grace just said, “You know me better than that!” Standing on a chair at the counter in the middle of the room, she grasped the big bowl with one arm while her other arm moved so fast it was just a blur, mixing together all the ingredients they measured out. In just a few minutes, the batter was smoother than they probably would have managed to achieve even with an electric mixer, though Grace was trembling all over by the end and had to sit at the table with a cup of apple juice and a plate of bread and butter to replenish her energy.

Next they had to roll out the dough and cut out a bunch of festive shapes. Though Rebecca spent the entire time they were mixing the dough scouring the kitchen for cookie cutters, she couldn't find any. At first, they thought they might have to just use the rim of a glass to cut circles or something.

“That's boring!” Rebecca scowled. “I wanted to make Christmas trees and stuff!”

Jack paused in the process of rolling out the dough. “Hey...Sophie, why don't you do it?”

Sophie looked up from the cookbook, where she was looking over the portion of the recipe that explained how to make the paint. “What do you mean?”

“You know, like....” Jack peeled off a bit of the dough in a lopsided triangular shape. “But better, obviously. And we wouldn't even waste any of the dough, because you could make them whatever shape and size we want!”

“Well...okay,” she said doubtfully. “But I have to do it sitting down, you know, or I'll fall over when I'm done. And I can't see the counter when I'm sitting down.”

“Then we'll do it on the table,” Jack said, unperturbed. “C'mon, Rebecca, put some flour down.”

“Wait!” Sophie said before Rebecca could dip her hand into the flour jar. “Make sure you wipe the table off first and then dry it.”

“Yes, Mom,” her siblings chorused.

In just a few minutes, the table was clean, and Rebecca dusted it with a thin layer of flour before Jack placed the mass of dough onto it and carefully rolled it out again. Then the others gathered around eagerly to watch. Sophie felt a little hot around the collar and wished for a moment that they would all turn away and pay no attention to her. In recent weeks, she'd only used her powers for big things. Rough things. Knocking things over or throwing things at their pursuers. It had been a long time since she'd done much precision work.

So she began with something simple: a star. Focusing on the dough in front of her, she envisioned a star shape in the middle, then reached out with her mind and sliced apart the dough, pulling apart the bits of dough as cleanly as if she wielded a knife. Slowly but surely, the star shape lifted out of the dough and then sailed across to the cookie pan Jack held at the ready.

Rebecca and Grace clapped appreciatively, and Sophie blushed a little, but she couldn't suppress her satisfied grin. She could already feel the immobility tugging at her limbs, pulling everything from the neck down back into the chair. But she was perfectly situated to see the tabletop, so she kept going even though she knew it probably meant she'd be sitting here in the kitchen for a long time.

As she proceeded, she went for more and more intricate shapes with the dough. Not just the Christmas trees Rebecca wanted, but also gingerbread men (well, they weren't gingerbread), stockings, candy canes, presents with bows, even a series of Santa Claus in his sleigh with all his reindeer. With the last bits and pieces of dough, Sophie used her mind to squish together letters that spelled out THANK YOU DR KARTAL.

Each new design earned the cheers and applause of her siblings. As each cookie sheet grew full with Sophie's designs, Rebecca and Grace worked to paint them with the egg-yolk glaze they put together, and then Jack whisked the sheet off to the oven and watched the timer carefully.

The old, drafty kitchen was soon full of warmth, laughter, chatter, and the delectable smells of baking cookies. When Dr. Kartal opened the front door that evening and heard the happy hubbub in the kitchen, he paused in the entryway and smiled to himself. His strange little family, his children who had come to him bearing scars that could be felt but not seen, were really acting like children for once. And that was the best Christmas present he ever could have wished for.

[sol-consort]

HAIII HELLO i had to just fist fight tumblr and win cus i forgot ur name but im excited cus ur blog got me into ME and i just bought mass effect legendary edition on sale n im so happy abt the fact that i will get my heart broken and maybe fuck few aliens here n there BAIII

I hope you fuck many aliens to your heart's content. I'm really happy more people are giving ME a chance because that game is hands down really, really fun. Like at its core, it's genuinely just having a good time, entertaining, funny, engaging, badass, a soap opera of action at times, but oh, so beautifully done.

Like I would've never given this game a chance because:

it's super older gen (relative to my age)

Fandom is basically dead

The og fans can get... gatekeepy and obnoxious to newcomers

But I tried the first one, not expecting shit, thinking it's another COD or boring ass fps game where. But I literally couldn't put it down even when I tried. It's so fucking fun? Interesting and loveable characters? Cool aliens and worldbuilding? Being a kickass commander? Having choices in how you approch things?

NOT TO MENTION HOW BEAUTIFUL IT IS! ALL OF THOSE PICTURES I TOOK INGAME.

I do mean ingame, as in "in the open world" and not in a cinematic cutscene. The game has an inbuilt photography mode for a reason! They know the galaxy and planets are breathtaking! The know space is beautiful! They know you'd want to stare at the cosmos in between gunshootings!

And because it's old gen, it runs perfectly even on our present low-end pcs. Hell, it runs like butter on high graphics on my steamdeck, while I can't get Veilguard beyond low textures without the game having a seizure.

I was so worried when playing it, prepared to be treated horribly ingame because I picked the femshep, I was fully convinced that I'd be forced into a typical hetro romance and accepted that grim fate. Because oh what can you do? It's an old game. It's just how things were back then.

BUT NO! IT DOESN'T DO ANY OF THAT! It's so easy to forget that someone has had to lay the first stone in this long path of progress, and Mass Effect was one of those games that pushed the boundaries of its time! Not only is femshep equally strong, stoic, and badass. But you're completely free to pursue a gay relationship from the start. Even the straight romance choice doesn't follow the cookie cutter of hurr durr men strong, women submissive. Ashley is direct and upfront about her feelings for maleshep, she is strong headed and confident, she weilds a shotgun and dashes to the frontlines.

While Kaidan is softer, more coy and elusive with his feelings for femshep. He stammers and lags in speech with "uhh" a lot. Not to mention a good representation of a character with chronic illness! I saw myself in him whenever he spoke of his chronic migraines, how it felt like a geniune part of him and not simply crossing a checklist of character traits to meet the quota of "good writing"

The game is beautiful, interesting, and vaired, but also silly and it owns that. it doesn't attempt to be genre changing deep, it's embodies the spirit of superhero comics. It's just really fun. You don't have to pay attention, you don't have to look for clues, you don't have to do anything or collect anything! Shoot things, things die, get money, talk to crewmates, spend money on pet fish, rinse and repeat. And somehow that cycle never gets stale because there is never a repeat of a mission type, stages are set in different planets with different characters, you pick the companions you take and each of them sprinkles flavour text on your merry adventure.

YOU'LL HAVE A BALL ANON! Playing it feels like what going to the amusement park felt as a kid, except this time around your parents give in and buy you that overpriced animal-shaped balloon the guy is selling next to the exit gate.

As great as the romance was, I was simply having too much fun with the interactive world to really focus on it. Oh and your past choices actually shape the world a ton! You start a fresh save in ME1, make choices, game ends, now time for ME2, and you get to directly import your ME1 Shepard into the new game and the world you created! So if someone died in ME1? They stay dead. If you romance a character, then you're still dating. If you spare some criminals or make deals with certian people, they will remember it!

The same goes for ME3, you import you ME2 savefile and it follows the story branches you chose. Every side quest, every detail of your Shepard. You leave your mark upon the world and on every person you interact with, and they remember you in return.

[destinyc1020]

You know what's funny? Before Tom was cast as Spidey he had a classic indie actor resumé: starting in a Spanish movie with Naomi Watts and Ewan McGregor, voicing a Studio Ghibli beloved animation, voicing the son of Tom Hardy in an experimental movie (Locke), starring in a dystopian movie with Saoirse Ronan, doing a tragic movie set in a desolate Canadian winter landscape (Edge of Winter), starring in an acclaimed BBC historical miniseries opposite Mark Rylance (Wolf Hall), starring in a movie where he speaks ancient Gaelic (Pilgrimage). Then he was cast as the most popular s superhero globally (based on merchandise sold) and did 6 movies as that character, 5 of which made more than $1B and the other more than $800M. And because of that he started to be viewed as an actor that was not serious about his craft. Tom has talked about that pre-Spidey period as one full of uncertainty, fearful that offers would dry up, so much so that his parents sent him to learn carpentry apprenticeship. Spidey allowed him to finally achieve financial security. I think that some of the choices he made in this period were not the best, but people have to experience life and learn to deal with the consequences. I think that in this period his best performance has been in TDATT because he worked with a director that gets great dramatic performances from his actors. That's why I'm so excited with R+J because he will be working with a great minimalist director that really focuses on truthful emotion and not decoration. And I hope that he gets to work with Paul King because he's creatively amazing but also a really great person. Everybody has to follow their own path. There's no cookie cutter approach towards success

You know what, this is all a very good point Anon! 👍🏾

Tom really was an Indie King himself before he got the Spiderman role. He and Timmy actually had somewhat similar starts in their career. Timmy just stayed doing indie films a little longer before branching out to do more commercial, big films. But they BOTH have an indie background!

I wouldn't say that for Tom the offers weren't coming in, I just think Nikki didn't want him to have NOTHING to fall back on. The work of an actor can be VERY hit or miss. You're only as good as your last job. It's kind of like being a freelancer or contractor almost? Once the contract is up, and the job is done, that's it! 🤷🏾‍♀️

It can be kinda scary for sure, especially if you're trying to make a living. And MOST actors never even make it to the top 2% that we see on the red carpet in Hollywood. Most are struggling to make ends meet, or to book roles, and even when booking roles, they might not make as much as they need.

You REALLY have to enjoy acting, and it really has to be your PASSION if you're going to stick with it under those circumstances.

I'm excited to see Tom working with Paul King and to see him in R&J as well Anon! 😁👏🏾🥰 I can't wait!

We're fortunate that Tom is in a financial situation where he CAN afford to take risks and take long breaks, etc. 🤷🏾‍♀️

Tom HAS been going back to his indie roots actually. It's just that some haven't really liked his choices.... or, they feel like the projects he's chosen aren't well-written, or widely accepted by the critics etc.

But Tom has actually been going back to his roots for a while now.