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graysoncritic · 6 months ago

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A (Negative) Review of Tom Taylor's Nightwing Run - What Went Wrong? Dick's Characterization

Introduction Who is Dick Grayson? What Went Wrong? Dick's Characterization What Went Wrong? Barbara Gordon What Went Wrong? Bludhaven (Part 1, Part 2) What Went Wrong? Melinda Lin Grayson What Went Wrong? Bea Bennett What Went Wrong? Villains Conclusion Bibliography

In the previous section, we explored not only who Dick Grayson is and why he is so beloved by his friends, but why many people — including Taylor and others at DC — have a hard time understanding his character. By reducing Dick to a hero who is “good” and transforming into an “everyman” that anyone can project themselves onto, Taylor fundamentally removes that which makes Dick special, transforming him into a different character.

But there are other ways in which Taylor and DC mischaracterize Dick by erasing his history and transforming into a more “palatable” mainstream hero. That is what I wish to explore in more detail now.

Let’s begin by examining how Taylor’s framing Dick’s story in Nightwing (and that of the Titans in Titans) as a coming-of-age tale contributes to a grand erasure of Dick Grayson’s greatness.

In Taylor’s run, Dick is treated as if he were a new superhero. However, even if this run (not the entire title that started in 2016 with Rebirth, but just Taylor’s run) were to become a new stand-in for the 1996 Nightwing solo in which Dick arrives in Bludhaven for the very first time, Dick Grayson should not be portrayed as someone new to vigilantism. Even if one were to generously interpret Taylor’s Dick as being only twenty-two years old after starting as Robin at twelve years of age and only recently having become Nightwing, Dick would still have a decade of experience doing detective and hero work. It is notable that most of that decade was spent with him leading the Titans, serving as Batman’s partner and second-in-command, and mentoring numerous young heroes.

(Wolfram, Amy, writer. Kerschl, Karl, illustrator. In the Beginning… Part Three. Teen Titans: Year One no. 03, e-book ed. DC Comics, 2008. pp. 09)

One of Dick’s core traits is that he is a natural, if at times reluctant, leader. Many key moments in his character history are defined by Dick feeling the weight of the responsibilities placed upon him and having to push through his personal reservations for the sake of others.

Dick was the first child hero. He was the first sidekick. Out of universe and in universe. (In the introduction to Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman, Kristen L. Geaman mentions that some argue Mister America from Action Comics #2 is, in fact, the first side-kick. However, this claim is debated since Mister America played more of a comedic and “Watsonian” role [as Dick Grayson Fan C suggested], and Dick was the one who popularized the formula of the role.) He was the proof that the concept of a sidekick — a partner — could work. Proof that kids could be trained into this life. Proof that they did not need powers in order to be a hero. That is one of the reasons why, in-universe, he is admired by so many characters – because he is the trailblazer who opened the doors for every young hero and side-kick that came after him. Dick’s history is also why he has so many connections — it is because he was the one who opened the doors for everyone else, mentored so many people, and partnered with those who were his age and those who were much older that he gained so much respect in the superhero community.

And yet, that history is called into question in Taylor’s narrative when he frames Dick as a young, new hero who is just beginning to assess what he wants to do with his life. Not only is it bad storytelling to portray Dick’s connections without factoring in the experience tied into them, it also demonstrates a fundamental lack of understanding of who Dick is, what he represents, and why he’s been so beloved for over 80 years.

This lack of appreciation and of respect towards Dick is extended to the other Titans in Taylor’s Titans (2023) run. As he himself pointed out, the first arc is called Out of the Shadows because, in his words, the Titans are “stepping out of the shadows of the Justice League.”

(Taylor, Tom [TomTaylorMade]. Twitter, 22 June 2023, https://twitter.com/jesswchen/status/1636971185782259716?s=20.)

And yet, to its fans, the Titans were never in the Justice League’s shadows. They were not inferior or subordinate to the Justice League, even if they may be less known. In-universe, the Titans may have modeled themselves after the Justice League and they may be allies, but the Titans are still an independent entity. From their very inception they defined themselves in contrast with how the Justice League operates.

In fact, in JLA/Titans #02, Dick himself draws this distinction when arguing with Bruce and calling him out on his condescending behavior towards the Titans.

(Grayson, Devin; Jimenez, Phil, writers. Jimenez, Phil; Brown, Eliot R., illustrator. The Generation Gap. JLA/Titans no. 02, e-book ed. DC Comics, 1998. pp. 23)

Trying to repackage Dick and the Titans as newbie heroes who are only now experiencing independence demonstrates a lack of understanding of their history and who the Titans are meant to be. The Dark Crisis and The Dawn of the DCU attempt to frame Dick’s Nightwing series and Titans as coming-of-age tales, where only now the characters are stepping into adulthood. Taylor’s writing goes a step further and portrays them as making rookie mistakes, coming across as newbies, and as a result, erasing all of the rich history that have built these characters into who they are today.

As I mentioned above, even if we generously interpreted that Dick never lived in Bludhaven before, Dick should still have plenty of experience being a hero and living on his own. The moment in which he transitions from Robin to Nightwing (willingly or unwillingly depending on your preferred Nightwing origin story) is Dick’s coming-of-age moment. By the time he comes to Bludhaven, Dick already knows who he is, what he wants, and he knows how to care for himself. By the time Dick comes to Bludhaven, his internal struggles are not that of a young adult who just left the nest and does not yet feel like an adult, but rather that of an adult who knows his own abilities and is confident in who he is.

And yet, in Nightwing #84, the first issue in Nightwing: Fear State, Taylor has Dick pondering on the responsibilities of taking care of Bludhaven. Right on the first page, he says “Fighting an entire corrupt system? Saving a whole city? There’s no training for that.”

(Taylor, Tom, writer. Rodriguez, Robbi, illustrator. Fear State Part 1 of 3. Nightwing: Rebirth. 84, e-book ed. DC Comics, 2021. pp 03)

Except even the most basic knowledge of Dick’s character shows that he was, in fact, trained to save an entire system and to fight a corrupt system — he was trained to care for Gotham and to take out the corrupt systems that prevail in that city. Not only that, Dick has also been Batman, at which point he was also Gotham’s main protector.

This mistake becomes even more outrageous when one considers that, though Taylor’s run is at times treated as a soft-reboot, Dick is still shown to have lived in Bludhaven while operating as Nightwing. This means that that generous interpretation I’ve been alluding to is not, in fact, compatible with the story as it is written. It is a falsehood, and therefore cannot be used to excuse the “new-in-town” approach Taylor uses when writing Dick.

Dick’s apparent inexperience and, frankly, incompetence, is further highlighted by the amount of times Dick is saved by others, or the amount of times when he is dependent on others to do the work for him. These instances include, but are not limited to:

The people of Bludhaven answering Nightwing’s call when Heartless sets the tent city on fire in #81

(Taylor, Tom, writer. Redondo, Bruno, illustrator Leaping into the Light Part 4. Nightwing: Rebirth. 81, e-book ed. DC Comics, 2021. pp 13)

Dick being knocked out with a single blow and then unmasked during his first attempt to investigate Melinda also in issues #81

(Taylor, Tom, writer. Redondo, Bruno, illustrator Leaping into the Light Part 4. Nightwing: Rebirth. 81, e-book ed. DC Comics, 2021. pp 20 - 21)

Babs calling people to Dick’s rescue rather than trusting he could get out of it on his own in #82.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Leaping into the Light Part 5. Nightwing: Rebirth. 82, e-book ed. DC Comics, 2021. pp 03)

(Taylor, Tom, writer. Redondo, Bruno, illustrator. The Battle for Bludhaven’s Heart Part Four. Nightwing: Rebirth. 95, e-book ed. DC Comics, 2022. pp 24 - 25)

In #90, when his building blew up and Wally came to save him, then proceeded to force him to rest away from Bludhaven instead of letting him take action.

(Taylor, Tom, writer. Redondo, Bruno, illustrator Get Grayson Act Three. Nightwing: Rebirth. 90, e-book ed. DC Comics, 2022. pp 15)

And needing Babs’ help during a car chase in #106,

(Taylor, Tom, writer. Byrne, Stephen. The Crew of the Crossed Part One. Nightwing: Rebirth. 106, e-book ed. DC Comics, 2023. pp 16)

Which greatly contrasts how, in #113 of the Nightwing (1996), Dick handles a similar situation while simultaneously mentoring Rose Wilson.

(Grayson, Devin, writer. Chian, Cliff, illustrator The Scorpion and the Frog. Nightwing no 113, e-book ed. DC Comics, 2005. pp. 19)

The thesis of Taylor’s run is that people need to rely on one another — we have to be each other’s safety net. And while that is an interesting theme to explore and one that certainly speaks to Dick’s history of doing things on his own out of fear of putting others in danger, Dick should still, more times than not, be able to do things by himself. After all, this is not an ensemble piece — this is Nightwing’s story and as his fans, we want to read about him. Cameos are fine. They can be fun, in fact. But cameos are different from Dick constantly struggling and needing help whenever he faces a challenge – the former portrays Dick as someone with powerful connections that deeply love him; the latter portrays Dick as being incapable of doing things without someone holding his hand.

This is another thing that Waid understands about Dick and portrays it clearly in World’s Finest. When Kara explains to Clark what first attracted her to Dick, she emphasizes how, despite the fact he had no powers, he could still save himself.

(Waid, Mark, writer. Lupacchino, Emanuela, illustrator. Scream of the Chaos Monkey. Batman/Superman: World’s Finest no. 12, e-book ed. DC Comics, 2023. pp. 06 - 07)

Being not just competent, but exceeding even the highest expectations is at the core of Dick’s character. And, as was pointed out in the previous section, it also serves to feed into his toxic perfectionism — he is one of the top tier heroes, therefore people expect excellence from him. Dick does not want to fail those who put their trust in him, and so he demands perfection of himself to the point of self-destruction.

Beyond that, we cannot give Taylor credit for trying to tell a story about Dick growing out of his perfectionist bad habits by learning to rely on others. After all, if Dick is constantly asking for help, then he is not resisting help. And that removes his chance for growth. A character arc requires development and change, which means one cannot start at the endpoint. Therefore, it cannot be claimed that Taylor’s intentions are for Dick to learn to rely on others, for he has been doing so without hesitation since the beginning.

As a result, the story is not about Dick being Bludhaven’s safety net while learning that he also has a safety net of his own, but rather about Dick always relying on his safety net, always knowing it was there, and having them also shoulder the responsibilities he took when he named himself Bludhaven’s protector. There is no room for Dick to grow because he is already at the end of his journey. And there is no room for Dick to be the hero of his story because others are constantly coming to his rescue when things get too difficult.

Once more, I must clarify that I’m not saying that Dick is not loved, or that Dick is not important to many people. I’m simply stating that the way his relationships are built gives him very little room to rely on them. He is their safety net but he doesn’t trust them to be his safety net. Exploring this requires going into the nuances of each relationship, where conflicts are created, and where people hurt the other in the heat of an argument. It would mean dealing with the messiness of complex human emotions, forcing characters and the audience to sit with uncomfortable feelings as we get to the root of Dick’s perfectionism and his fears.

In June of 2022 a reader on Twitter asked Taylor about his decision to have Dick constantly falling, for, as they pointed out, this makes Dick look incompetent.

(Jonathan [@Nightwingdagoat]. Twitter, 21 June 2022, https://twitter.com/Nightwingdagoat/status/1539267708310765568)

Taylor responded by saying that these instances were Redondo’s call, and that it was their attempt to humanize Dick.

(Tom Taylor [@TomTaylorMade]. Twitter, 21 June 2022, https://twitter.com/Nightwingdagoat/status/1539267708310765568)

In fairness to Taylor, the following criticism will then be directed primarily at Redondo who believed these instances were the best way to “remind people that Nightwing is human.” That being said, as Taylor appears to support such a position, and as he has written numerous incidents where Dick is conveniently knocked over by others, I do believe this can be directed at him as well.

Simply put, to have a character constantly fall is a superficial and lazy way to humanize said character. Casual falls like this, after all, are not failures. They contribute little to the story and have very little consequence.

Nothing happens once Dick falls. The bad guy doesn’t get away, the innocent civilian is not hurt, the crucial piece of evidence needed to crack the case is not destroyed. There are no lasting consequences for Dick to deal with, no conflict that can arise from these falls, no tension to make Dick’s future success more emotionally effective. Furthermore, these falls are completely out of Dick’s control, taking away any responsibility he might have for his mistakes.

If the flaws that are meant to “humanize” Dick are falls which he bears no agency over, then he, the good guy, has no responsibility over his own “failures.” Said “failures” also end up having no consequences to the plot, which gives Dick no crisis to respond to (furthering his passivity), and this robs Dick of character development opportunities.

It creates a stasis in the story where the only conflicts Dick faces are the ones against really bad guys that always – always – lose to Dick and his connections, and ones which do not ask for moments of introspection.

Despite almost never falling in The Untouchable, Dick is far more human there than in Taylor’s and Redondo’s run. This is because Dick is forced to face the consequences of his “failure” to capture the Judge twice in the past. Dick is constantly thinking about the Judge’s victims, forcing himself to carry their lives on his shoulder. He pushes himself to toxic lengths. Whenever the Judge escapes his grasp, the conflict evolves, the stakes are raised, and the tension builds. Dick’s desperation becomes visceral to the reader, and that is what humanizes him to the reader. Similarly, the emotional pay-off of the climactic battle in the end grows with each obstacle Dick faces.

(Humphries, Sam, writer. Chang, Bernard, illustrator The Untouchable: Chapter Four: Infiltration. Nightwing: Rebirth no. 38, e-book ed. DC Comics, 2018. pp. 09)

But Dick’s newbie incompetence is not the only way Taylor mischaracterizes Dick. It is by combining the lighthearted tone of his story, his depiction of Dick as a blank canvas “good guy,” his avoidance of conflict, and his attempts at answering difficult real-world problems that Taylor ends up creating a version of Dick Grayson that is utterly self-absorbed and lacking in foresight.

Telling and not showing is an immense problem in Taylor’s writing. There’s a difference between how a writer attempts to portray a character and how, given their actions in the context of the narrative created, the story shows them to be the complete opposite. In such cases, the story triumphs over the writer. This is why I claim that, though Taylor tells the reader that Dick is caring, intelligent, and a hard worker, he actually shows Dick as as selfish, incompetent, and naive.

Take, as an example, how Taylor sidelines the Heartless storyline in favor of slice-of-life scenes. If Heartless was not there, perhaps those sweet moments could be just that. However, as in the world of the story there is currently a serial killed running around free, making orphans out of the youth Dick vowed to protect, the fact that Dick is not constantly working to catch Heartless is not only out of character, it makes it so it seems he doesn't care what happens to the people of Bludhaven (And now also Gotham, given #111, which was released as this essay was being edited). Rather than stopping crime and bringing justice to Heartless’ victims, Dick would rather spend his nights in his apartment, enjoying a relaxing evening with his girlfriend and his dog.

Please do not take this to mean that I consider a slice-of-life story to be inferior to other genres. My reason for highlighting this is not to undermine the value of slice-of-life, but rather to argue that such scenes do not live in isolation. They exist within the context of a larger narrative, and what would be sweet in a sitcom-style story comes across as something entirely different when other characters are facing life-and-death stakes. It does not matter how much the writer tells us that these characters are caring and compassionate — their lack of action and urgency portrays them as self-centered.

Just as Taylor attempts to write the big climatic moments without properly building the momentum necessary to make them impactful, he similarly forgoes the work required to win the reader’s trust, and instead expects his audience to simply accept that important plot and character developments are happening off-screen. Rather than letting the audience experience the intrigue and devastation of the Heartless mystery by showing us how the horrors of these murders motivate Dick to continuously search for this cruel killer, Taylor instead advances these elements off-screen, opting instead to tell the reader they’ve occurred.

That is not to say that writers cannot streamline plots. They absolutely can and, in some cases, they absolutely should. However, streamlining a subplot is a far more complicated matter than just telling the reader said events happened off-screen and expecting them to simply accept it.

While it is impossible to provide a precise checklist with the step-by-step guidelines on how to properly streamline a subplot, I believe one of the factors one must consider is whether that plot should be streamlined or not. Personally, I believe that Dick investigating the character who was meant to be this run’s main villain is too big and too important of a story to be played off offscreen.

Dick has hardly spent any time attempting to apprehend Heartless. Instead, as time of writing, his investigation of Heartless has practically nonexistent. Instead, after not focusing on him for the majority of the run, we are simply told by Dick and Babs that they’ve been keeping an eye on Heartless, even if their investigation is never shown to us.

(Taylor, Tom, writer. Basri, Sami Nightwing. Nightwing: Rebirth. 111, e-book ed. DC Comics, 2023. pp 09)

If we, as readers, are to believe that Dick is the selfless detective and hero — the Heart of the DCU — that Taylor tell us he is, then finding and apprehending Heartless should be one of his top priorities. If Heartless was meant to be Nightwing’s big nemesis, then their confrontation should always be a source of great tension and conflict. Such importance would be demonstrated by showing Dick working towards stopping him at every moment he has free. But either those moments are not happening at all, or they are happening off-screen.

Having such an important conflict and such a crucial antagonistic dynamic develop does nothing to enrich the plot — in fact, it only detracts from them, for because we do not get to witness this relationship grow and we are only told that it is happening, the pay off that must come when Nightwing and Heartless finally have a big confrontation will be cheapened as a result.

Heartless' actions are so brutal and create such urgency that not prioritizing Heartless' arrest makes it seem like Dick doesn't care about his victims. Batman doesn't wait around when the Joker breaks out of Arkham – he hunts the Joker down. Similarly, Dick didn't wait around on the Judge – he hunted him down.

For Heartless to be the Big Bad, Dick should have put him in jail already and Heartless should have escaped. DIck should have faced him multiple times. He should have been Dick's priority because of how cruel and urgent his actions are.

Finally, there are three particular moments that I wish to discuss to illustrate how ambivalent Taylor is when it comes to Dick’s characterization, choosing to prioritize online discourse over who Dick Grayson’s established history and personality.

The first one comes from a throwaway line. And yet, because this was a throwaway line that demonstrated how little thought Taylor gives to his main character.

When Tim makes his first appearance in Taylor’s run in #80, Dick’s narration says that many would consider Tim to be the best Robin, and that he “totally gets it.”

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Leaping into the Light Part Three. Nightwing: Rebirth. 80, e-book ed. DC Comics, 2021. pp 09)

“Who is the best Robin” is a discourse that I, admittedly, care very little for. It serves no purpose other than to get fans to fight one another, bashing each other’s favorite characters in order to prop up their own. When posed on social media, this question becomes a thinly veiled attempt to generate high engagement. In reality, when people discuss “who is the best Robin,” they are, most often than not, truly arguing about who is their favorite Robin. But the question is framed in a way to be purposefully divisive, creating conflict within the fan community. The fact that DC plays into that divisiveness that requires their characters to be brought down so others can be lifted up for marketing material is concerning, but the fact that writers such as Taylor are letting that fan perception bleed into in-universe narration is nothing less than lazy writing that prioritizes online leaning into buzz over good storytelling.

Naturally, as a Dick Grayson fan my opinion is that Tim is not the best Robin. Dick is. But my problem is not that Taylor said that Tim was the better Robin, but that I think Dick would never concede to the existence of a “best Robin.” In fact, not only do I believe that it is out of character for Dick to believe that one Robin can be defined as the best Robin, I would argue that Dick would be offended that such a question could be asked.

Dick, more than any of the other Robins, understands the purpose of a Robin, as he was the one who created the mantle. By seeing so many others inherit his family’s colors and his mother’s name for him, he also understands better than anyone that each person who becomes Robin has their purpose in their own unique way. Dick would understand how each of them made the Robin mantle unique, how they added to its mythos in their own way, and how all of their contributions are equally valid and equally important. He would never single out one of them as the best because he knows that Robin is about an ideal of justice by bringing light into the darkness. Most importantly, understanding how many Robins tied their self-worth to the mantle, Dick would never want others to feel as if they fell short of some arbitrary measure by proclaiming they are not “the best.” Dick would be against that measure, against the very idea of ranking Robins, as if they were interchangeable, as if they each didn’t make relevant contributions. He would hate the idea of the mantle he created in honor of his parents being used to judge and measure the worth of those he loves. Dick would argue that there can never be a "best Robin" because Robin is always about being your best self in the service of those who need your help, and you can't quantify that.

The concept of a “Best Robin” is a marketing strategy and a fan-oriented discourse that Taylor casually imposed into the narrative without considering whether his protagonist would adhere to such ideas. He prioritized internet discourse over characterization, and while the former may be immediately fulfilling as the page is cropped and shared a few thousand times in the first few days after publication, only the latter will leave an impression that will last decades. Taylor is embodying a current DC Comics trend to favor the former over the latter. As scholar Steve Baxi said in his review of Leaping into the Light, that page “doesn’t feel like Dick Grayson appreciating his brother, it feels like Dick Grayson saying what the audience wants to hear.” (Baxi, Steve, “TRADE COLLECTION REVIEW: Nightwing Vol. 1 - Leaping Into The Light” Comics Bookcase, August 2021)

Although they share similar problems, unlike the “Tim is the best Robin” throwaway narration, the second example I wish to discuss in detail became a big plot point in the beginning of Taylor’s run. I’m referring to the choice of having Dick become a billionaire due to the inheritance Alfred left to him.

To be more clear, my problem is not with the fact that Taylor made Dick into a billionaire (after all, Dick inheriting wealth from his parents is not a novel concept), but rather with Dick’s musings on the subject. (Dick’s financial situation is inconsistent across the years. While some like Dixon and Wolfman allude to him having a trust fund his parents set aside and that remained untouched until Dick’s adulthood, other writers like Humphrey who portray him as more middle class and sometimes struggling financially. Then there are the numerous times in which Dick was left homeless, implying that he did not have a safety fund to go to when tragedy struck.) On #79, Dick says, without a hint of irony, that he always thought that Bruce could do more to help Gotham with Bruce Wayne’s money than he does as Batman.

(Taylor, Tom. writer, Redondo, Bruno, illustrator Leaping into the Light Part Two. Nightwing: Rebirth. 79, e-book ed. DC Comics, 2021. pp 07)

This is a popular online discourse that reveals lack of knowledge about Batman and a naive understanding of how corrupt systems function. I understand we are currently very critical (and rightly so) of billionaires and the hoarding of wealth. I understand that this leads many — media critics and everyday fans — to analyzing how wealth is portrayed in the stories that resonate within our culture. But anyone who claims that Bruce has not used his wealth for the benefit of Gotham outside of funding his Batman endeavors has not engaged properly with Batman media. I’m not going to go into the merits of how Bruce’s wealth should or should not be portrayed and how DC has currently been handling this issue (that is the subject for an entirely different essay that is not relevant to this discussion), but I will say that Bruce has, canonically, used a lot of his money to fund safety net programs in Gotham, to invest in small businesses and on individuals, and in trying to make the city more affordable and kinder to those with less.

Twitter user Ashley|TheBatFamily 🦇 (@TheBat_Family) created a comprehensive Twitter thread of examples. These are but some of the ones that stood out to me and that feel most relevant to this essay:

In Cataclysm, Bruce attempted to lobby the US government to offer aid to Gotham after the earthquake;

Bruce used his money to rebuild the city during No Man’s Land;

Bruce invested in the people who were ready to start new businesses so Gotham could offer jobs to its people and rebuild itself without being fully dependent on others;

Bruce created scholarships so more people could attend university;

Bruce funds Leslie’s free clinic as well as other hospitals around Gotham;

Bruce invested on low-income housing developments in Gotham by working with local firms, providing accommodations to local residents so no one would be displaced;

Bruce expanded and modernized Gotham’s public transportation system;

Bruce ensured all Wayne properties were secured against earthquakes (which led to those residences being the only ones standing during NML);

Bruce funds libraries and museums;

Bruce funds green efforts not just in Gotham, but in other places by buying land and making them nature preserves;

Bruce funds orphanages and provided them resources (from educational supplies to toys for the children);

Bruce provided support for immigrants;

Bruce funds appeals for wrongful convictions;

Bruce provides employment for former convicts;

(Ashley [TheBat_Family]. Twitter, 13 October 2020, https://twitter.com/TheBat_Family/status/1316006509923520512.)

In short, Bruce Wayne has done everything and more that Dick claimed he wished to do for Bludhaven. There’s nothing novel about the idea. Batman narratives don’t put as much focus on these endeavors and do not place as much emphasis on Bruce’s philanthropy simply because they Batman stories are, at their core, detective stories first and foremost. Their focus is on investigation and crime solving (Though I would argue that Cataclysm and No Man’s Land put a lot of focus on issues of wealth, class, and examine Bruce’s financial responsibility towards the city).

But just because these examples are not the focus of the stories in which they are present, it does not mean that they do not exist. Neither does it mean that Batman stories do not engage with themes of wealth and class inequality, as well as systemic corruption. In fact, I would argue that many of the best ones know how to use Bruce’s privileged status to explore these issues. The Court of Owls by Scott Snyder, for example, brilliantly uses the Court and the Talons to engage with these themes. (An essay analyzing the Court of Owls through such a lens would be a fascinating study, especially when exploring the parallels and foils between the Court and the Talons, and Bruce and Dick. Alas, this is not the place for it.)

Dick, who not only has always been characterized as knowing Bruce better than most people, but who was also raised by Bruce, would know about every single one of the examples listed above. Dick, of all people, had a front row seat to all the ways in which Bruce helped Gotham with his wealth, both in examples that were covered by the press, and the ones Bruce did secretly without taking credit. Dick attended countless fundraising events, press briefs, boardroom meetings. But most importantly, Dick would have witnessed with his very own eyes that lack of funding is not at the root of Gotham’s problems. The problem in Gotham is not lack of money or safety nets, but rather, it is that its systems are so corrupt that pumping more funds into it will do nothing to help those in need. Instead, it will only further enrich those who are already in power. That’s why in this comic book world with comic book conventions and comic book logic, Batman is needed. Batman is a disruption to the system, forcing it to change, dismantling it from both the outside and the inside. In Dixon and Grayson’s Nightwing runs, Dick’s understanding of systematic problems can be observed in his motivation to become a police officer, as he joins the force with the goal to weed out the corruption and dismantle the system from within. Money alone cannot save a city if the foundation was purposefully designed to favor those on the top by taking from those at the bottom.

(Dixon, Chuck, writer. McCarthy, Trevor, illustrator The Threshold. Nightwing. 60, e-book ed. DC Comics, 2001. pp 22)

But of course, Taylor never takes a moment to wonder how being raised by Bruce Wayne would influence Dick’s perspective on this matter. Instead, he once more takes a popular online discourse and makes Dick say it out without considering characterization. A more in-character and canonically accurate approach to such a story moment would have Dick comment on all the ways Bruce used his money behind the scenes to help Gotham, and how he wishes to do the same for Bludhaven. A single line change would have demonstrated Taylor's willingness to engage with Dick’s character history rather than just copying the hot takes he sees on social media.

Not only that, this change in dialogue would also establish Bruce and Dick’s closeness as it would show that not only is Bruce a source of inspiration for Dick, but that Dick is one of the few people who have seen this side of Bruce. That would have also made the hug between Bruce and Dick in the #100 more emotionally effective and thematically cohesive, especially as they are in front of Alfred’s grave.

(Taylor, Tom, writer. Redondo, Bruno, illustrator Power Vacuum: Part Four: The Leap. Nightwing: Rebirth. 100, e-book ed. DC Comics, 2023. pp 44)

The truth is that Dick's Haven project engaged with issues homelessness only in the most shallow of manners. Rather than discussing the realities of this matter, it simply used it as a backdrop. It is an appropriation of hardships by someone who is unwilling to engage with the difficulties brought upon by said hardships. It is substance-less writing masquerading as social consciousness.

The third example I wish to cite which demonstrates Taylor’s lack of consideration for Dick’s character or his backstory comes when Haley is taken in #87. Dick’s internal monologue reads that “The last thing I’d want is for anyone to be threatened because they’re close to Dick Grayson,” referring to the fact that he is now a public figure thanks to the press conference he gave about his plans for Bludhaven.

(Taylor, Tom, writer. Redondo, Bruno, illustrator Get Grayson. Nightwing: Rebirth. 87, e-book ed. DC Comics, 2021. pp 09)

The idea that Dick Grayson, billionaire Bruce Wayne’s first child, was unaware of the dangers faced by those associated with a public figure is laughable. The idea that the first Robin, who was often taken hostage by villains who wished to get to Batman (so much so that Frank Miller famously nicknamed him “Boy Hostage”), did not understand the threat posed to those who are close to powerful figures is insulting. After well over a decade as a superhero, and after well over a decade of being associated with a wealthy public figure, Dick should know better than most how such ties can put loved ones at risk.

In-universe, this line makes Dick appear so self-centered that he does not take into consideration how his actions affect his loved ones. It makes him appear dense, unable to think through his actions and strategize contingency plans and safety precautions before taking such a giant risk.

Out of universe, this betrays a lazy way of storytelling, with Taylor going for low-hanging fruits without thinking of how that might affect the characterization of his protagonist. Out of universe, a collection of throwaway, thoughtless lines like this demonstrates just how uninterested Taylor is in giving even the slightest consideration to who Dick Grayson is meant to be, instead putting his focus on the gimmick that will get him noticed on social media.

#nightwing #dick grayson #anti tom taylor

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bronx-bomber87 · 6 months ago

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Hello my wonderful fandom :) I CANNOT believe we are at the finale already. This season went by in the blink of an eye. I was VERY excited for this finale and what it would bring. They don't have a ton of moments. But the ones they do the writers made count. My goodness I was happy and hopeful after this episode ended. Hard to believe we won't see our babies on screen till 2025. *grumble*

D sent me something about that actually (thank you bestie) Here it be. A.H. saying he's pretty sure all networks are doing this mid season 18 ep start. One of the reasons being the Election coming up. They want to protect shows and their ratings from the debates, coverage etc. And those usually happen on Tuesday nights. Which is actually really intuitive foresight from ABC. So to protect our ratings and show I get it. Especially if we wanna lock down a S8. I don't love it but I get it. Anyways lets get to it shall we? My last "mini" thoughts of the season.

6x10 Escape Plan

Always makes me nervous for Lucy going UC but still amazing to watch her in her element. Even if it makes my stomach tie in knots. Now maybe this is just me but Lucy seemed EXTRA uneasy on this OP. This is pure speculation on my part. But could be lending a little more credence to this not being the path for her? Just the feeling I got while watching her in these moments with with the kids in this one and the sneaking around.

I will say I do love seeing Lucy with the kids. Gives us a glimpse into her as a mama. I'm liking what I am seeing. Can't help but have that thought. I really can't. Chenford has taken over my brain and I'm very ok with it. Smitty's text to Lucy did crack me up. 'Red incoming.' Gotta love Smitty. Lucy is giving me a damn heart attack being undercover though.

The panic in her soul is so evident the minute she sees Monica is approaching. The way she guides the kids out of the room. Then the sheer terror when the kids wanna take a shorter exit. She has to pivot and redirect them quickly. I feel like the pressure of this specific UC mission was getting to her. I really do. It was felt in all her movements and body language through out these scenes IMO. I could be wrong but it was just a gut feeling I got watching her.

I think her expression in this scene after Monica departs is everything. Melissa be crushing it out here. Almost like she has to take a deep breath. Calm her racing heart down before unrooting herself from that spot to investigate further. I feel like her look of unease and panic here brings home the point I've been making.

Her questioning if doing UC is worth this stress? Worth the constant worry? Like I said back in my 5x20 review. Just because you're good at something doesn't mean it's meant to be your destiny. i.e. Lucy being a permanent U.C. Pretty sure her cover is blown after she runs right into him but she got the info she needed. At the expense of my own anxiety and worry though ha

The look in this scene oh my lord. How can they have so much chemistry with just one look? Melissa and Eric are a damn treasure to this fandom. To this amazing ship. Tim saying 'It's good to have you.' That loaded look between them. *screams into a pillow.*

You know that man is happier now that she's folded into this OP. His eyes were on her from the moment she stepped on scene. Be more in love with her Tim please. Then sharing a look with Angela. I’m dying. Angela is us we are Angela. She is the fandom in this moment watching this exchange. *sigh* So good.

Someone please tell me how do they look so amazing just standing next to one another? It's unreal how they can exude SO much chemistry just standing next to one another. Forever floored by the amount of physical chemistry these two have without even touching. It blows my mind in the best way.

Also I always enjoy me some Tim in T.O. mode it's sexy af. It revs my engine to watch him back in leadership mode. Not gonna lie. So very confident and sure of himself. Gah makes me need to cross my legs watching him in action LOL Sorry (sorta)Feral Caitlin made a return there haha But I do love seeing it. Like he’s getting his mojo back professionally. It’s nice to see. Does my heart good to watch it.

Oh my word they haven’t really been alone to talk (not counting the hug last ep) since 6x06. I’m so happy. I was legit buzzing watching this. My heart Tim telling her he took her advice and went to therapy. Yessss been waiting for this to unfold. Was hoping when they got a moment alone he would tell her about it. Look at him taking the first opportunity they have solo to tell her this. The growth of this man is incredible to see. I'm so proud of him it's insane. He takes a beat and makes the best of their time together. Breaking the uncomfortable ice with it. *happy sigh*.

I'm so proud of him. I can't state this enough. It is NOT easy to have this convo let alone be the one to start it. Another way to see he's grown. Tim is tackling the conversation. Being the one to broach it. Not Lucy dragging it out of him. I love her telling him that's not normal what happened for him. Definitely hasn't been my experience haha I do love her following up her little joke with being serious. Wanting to encourage him to keep going. I love this. Doesn’t want him to think one bad experience will tar the entire profession.

Tim nodding with a smile asking her if she wants to know the irony of it all? Lucy of course does. Tim continues on that she was a good therapist. The sessions they helped him. Damnit Blair.... I do adore the way Lucy is looking at him while he speaks about this. That angry look she started with has softened quite a bit. Truly hope he continues in S7 and we get to hear about it. God I would love to see sessions. Some of my all time fav Beckett scenes in Castle's S4 was getting to see her sessions with her therapist. It's on my wish list. *fingers crossed.*

His continued sharing with Lucy makes my heart so happy it might implode. Letting Lucy know therapy despite Blair being dirty has been good for him. She unearthed things he wasn't even aware of. I felt the same way too after a couple weeks. I felt more regulated tbh. I had massive sleeping problems from age 15 to when I decided to go to therapy in my 30's. After a couple sessions my sleeping issue's were gone for most part. I had been carrying my problems for so long. Like a pressure cooker with no release valve. So with no outlet they followed me into my unconscious and manifested into anxiety attacks. Couple weeks of sessions and my sleep issues all but disappeared.

Therapy when you truly lean into it can do wonderful things. i.e. Tim opening up to Lucy like this. Also look how SOFT Lucy looks with him as he bares his soul to her. I would be remiss if I didn't go in depth on this. The look of pride and love splayed all over her face is everything. Also reverence and love as well. This episode has a lot of loaded looks and I ate them all up. We started this scene with her face hard and holding a lot anger still. Then Tim melts it with his genuine vulnerability and sharing of what going to get help has done for him. Not only that but giving her props for the original advice in the first place. I'm beaming with delight.

We move onto Tim is being anxious his sessions are going be heard for evidence cause of the FBI investigation. Ugh. This kicks Lucy's brain into gear about that. Asking if he said anything revealing about her? His reply had me rolling. I adore him making a joke like this. Letting her know he mentioned ‘Freak in the sheets.' about her. I’m dying. I have no doubt there is some truth to that for them both LOL Look at our boy making jokes and getting her to laugh. God it was so so nice to see her laugh again. He earns a smile out of her too. The first time he's been the cause of that since her gifted her that KIA Radio in 6x05. I'm floating. They're both smiling by end of this scene. *sigh* We needed this.

We got to see some BAMF Lucy in this moment. Something that just like Tim in confident T.O. Mode has been missing since 6x06. I love her being like take this guy my man is in trouble. Getting him dropped off and instantly taking off after Tim. Who is also trying to pull off some bad assery tbh. A little recklessly but that's why Lucy is coming after him.

She see's his play and wants to be there to back it. Literally waste's no time in pursuit of him. Peels right out of that damn laundromat after him. Tim's play going south VERY quickly when this guy catches on to him in the bed of the truck. Sends his gun flying and my heart racing.

Adore the worried wifey look as she watches from the car. It's pouring out of her in that brief shot. Well done Melissa. Just like Eric she knows how to convey so very much with just a look. Lucy knows Tim is in trouble. That she can't just sit there in pursuit of the vehicle without helping him.

Especially after she watches him get pulled into the cab. Knowing that he is currently at a tactical disadvantage. No way in hell she is leaving him to fight this guy off alone. Telling Lopez to take the wheel as she makes her way out to help him.

Lopez's face when she makes the jump is shocked and amazed. Lucy continuing her BAMF streak on this OP. I loved the surprised look on Tim's face when she first jumps on the truck. Like he can't believe she just risked her life to come help him out. He can't stay in the feeling long as she takes the guy out for them. But it needed to be noted his utter surprise she was there to have his back. Risked her life to do so. Such a bad ass battle couple. Back to back finales we get to watch them be poetry in motion in the field with a battle.

Oh my lord what an epic scene to watch. Lucy jumping onto that moving truck bed to save her man. They take him down together. Their work dynamic easily coming back into play here. They don't miss a beat in this moment. Working as harmoniously as they always have in the past together in the field. I love the looks shared once they've stopped the truck.

Especially Tim's. He is so damn impressed with her. Always finds a way to blow him away with the bad ass she's become. Man is falling in love all over again. It shows all over the two looks he gives her in this scene. First one is his falling back in love again. I mean he already was but think sunk him deeper. Second one is more of just being in awe of her. The pride he feels watching the amazing cop she's developed into. I love these two so much.

Let me start with how happy it makes my heart that Tim smiles when she walks up to him. Despite all the hurt just the sight of her elicits a smile out of him automatically. His walking sunshine. Love of his damn life. She truly is his happy place in human form. Lucy making a crack about him taking a half day. Their banter still simmering beneath the surface. It's a little subdued in this moment but it's alive and well with Tim's reply. He is ever the gentlemen letting her go first.

His elevator version of holding the door for her. That chivalry never dying with him. It's the little things. Can't ignore how Lucy is looking at this man the entire scene. From start to finish. With such reverence and love. Still so in love with this man standing in front of her. Lucy can't help it. She is a moth to a flame with him. Especially with Tim thanking her for saving his life. Let's delve into that a little shall we? Tim Bradford is saying he didn't have it. Admitting fault he would've lost that battle without her.

Saying not only did he not have it but Lucy did. That he wouldn't be standing here without her. Giving her the kudos and all the praise for saving his life. Far cry from 1x01 and his future reaction to that moment in S5. This is a different Tim we see standing before us everyone. The amount of growth in this moment is immense. Because not only did she save his life but she saved him in a deeper sense. Feels like it's truly hitting him like a freight train the impact she's had on his life. I think there is double meaning to his words above. It's what leads him into this next section below.

The loving expression on Lucy's face when she replies ' You're Welcome.' That look of I'm still in love with you, I would do anything for you despite the hurt, and her realizing the deeper meaning of Tim thanking her. The growth she is currently seeing in him is prompting this soft/warm look and even softer reply. It's what encourages Tim to say his next portion. You can see him psyching himself up before he turns around to apologize. To own what he's done to them. To her.

Tim starts his apology by telling her he knows what he’s done (thank you lord for this) That he knows he ruined everything. You sure did babe...but you’re gonna earn it all back I know it. Lucy has the most loving and forgiving nature. The biggest heart. Also we can see there is still a tinge of anger to her expression at first above. So that journey will not be an easy one for Tim. Nor should it be. He has a lot to make up for. But my god will it be worth it in the end. I truly believe that. I'm going to be crying river's when we get there.

Look at how he has grown. Immediately spilling his guts emotionally to her twice in one episode. Not once but TWICE. Hell three times really. With saying she saved him and admitting fault to what he's done. I can't get over this. He had two really hard conversations with her in this episode. Swallowing that pride of his he's trying to hard to overcome. Doing this in order to communicate better with her. To show her he's putting in the time and the effort. To let her know he knows he messed up and is owning that. Something Tim wouldn't have done before. At least not easily. These are great strides for him. I couldn't be prouder of where they are ending the season for him. Imma need more therapy though in S7 you hear me writers?

Tim thanking Lucy for extending him the kindness she has shown him. *my damn heart.* That he can never explain how much he appreciates it. That she could've easily turned on him and he would've understood. But that's not Lucy. We all know that's not who she is. Or ever will be. It's that forgiving nature of her's that is one of the many reasons Tim is so damn gone for her. I think there is once again a double meaning to his words. To me Tim is saying this is for far more than just post break up. It's for their entire relationship. Together/apart and especially when they were not 1-4. The kindness and the empathy she's aways shown him. Even at his worst.

Like I said earlier it's all hitting him hard. The place she held in his life for so long and the impact she's had on him. Imma cry. A giant epiphany moment for Tim I think. Maybe starting to slowly understand the unconditional love she has for him. This scene made me tear up. That anger that is still present melts away a little more for Lucy. If she continues to see Tim work on himself. He shows her his continued growth. No reason she wouldn't take this man back when he's put in the work to re-earn that place in her life. Tim saying he's gonna spend rest of his life repaying her back for said kindness. *screams into the void.* In whatever small doses she allows of course.

Respecting her boundaries and hoping she will allow him to do so. It's the sweetest most sincere part of his apology. The way she looks at him as he departs. *heart clutch* You can see he's stunned her into silence. But also Lucy can see the growth in him and it’s written all over her face. This is a fantastic way to end the season for them. It wouldn’t be right to get back together right now or even just a 'we almost died' hook up. (Wonderful fic's out there for that just recently BTW.) Just wouldn’t. As much as my shipper soul LONGS for them to be back together. Legit longs so much it hurts. This was a good way to end them for the season. With some hope, some growth and a path forward leading us to S7.

Some Final thoughts below. With a Chenford hug to this lovely fandom of ours.

First off I want to thank you all for doing this not so mini review journey with me. I was nervous to do them. Even after doing 9 plus months of them with 1-5. This was different. It was first impressions. Hope you all enjoyed them. I'm more than happy to do this next season too. First impression thoughts for S7 as well if you are all interested. Let's move onto some final thoughts I'm having. You know months could pass by when we get to 7x01 in their timeline. I’m hoping he’s in therapy during this duration. Ready to prove he wants to earn her trust back. To earn her back. I don't think for one second that moment in the elevator is the last deep conversation they're going to have before we get a reconciliation. Tim has her love. Always has. Always will.

Lucy's decisions and responses in 6x10 show that. No matter what she loves this man. What he needs to gain back is her trust. To prove over and over again. He's there to stay. To show her through kind acts. To rebuild his rapport with her. I’m excited for that journey cause when we get there. *phew* God the fandom is gonna implode with happiness. It’ll be well earned. Their relationship is going to be even better with the growth Tim has done. (Hoping for some more for Lucy as well and getting the support she needs/deserves)We saw massive results in this episode alone. Can you imagine how it’ll be when they’re back together? *chefs kiss* it’ll make all the hurt and pain so worth it.

Getting emotional writing about this. This ship has a stranglehold on my emotions and I’m ok with it. Eric and Melissa love our passion for this couple. So I won’t be ashamed for the affect it has on me. I’m excited for s7. It’ll be a long hiatus. But we will get through it together. I will probably wait till mid July to do my thoughts fully fleshed out for S6. Think we all need time for finale to settle. For us too as well. I'm most definitely not ready to re-dive into everything just yet. Especially 6x05/6x06. But I'm hoping couple month hiatus for me will help with tackling that. Then we can start that journey for us all to go on with my deeper analysis.

As always thank you all for the likes, comments and reblogs. For being interested in my thoughts at all. It means the world you have no idea. Love this fandom, love this show and this incredible ship we are so fortunate to have. So once again thank you all for being on this journey of S6 with me. Like said earlier I’ll get started in my fleshed out S6 reviews come mid July. :)

~~~

Side notes-Non chenford

Monica cleaned up a mess for Blair. Manipulated her by helping her most Monica thing I've ever heard. Glad to finally have answers to that. I knew it felt like manipulation. She had too much of a conscience to be dead inside and doing it for money. Sucks cause she is very good at her job. That scene with Aaron was a mic drop moment for him. So proud of how far he came this season as well.

Friggin Nolan never listens. And get shot for not listening. In the ass. Because he's a pain in one. Was apropos. Also he's right back to being a dumb putz to me. It was short lived john you made it half an episode before falling out of my good graces LOL

Once again music amazing for their final scenes whoever handled that this season crushed it. Bringing out all my emotions.

See you all later this summer for my in-depth ones. Till then be kind and rally around each other. Gonna be a long hiatus.

#Caitlin's mini reviews #chenford #6x10 Escape Plan #the rookie 6x10 #tim x lucy #tim bradford #lucy chen #lucy x tim #the rookie #s6 #eric winter #melissa o'neil #otp: doing my job #otp: unless it is

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talonabraxas · 4 months ago

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Nature Spirit

The inhabitants of the Elemental Kingdoms

Many people who are not clairvoyant wonder what fairies look like. The occultist and writer Bulwer-Lytton provides the answer in his famous novel Zanoni (reviewed in our books section of the website.) in which he says:

"Now, in space there are millions of beings not literally spiritual, for they have all, like the animalculae unseen by the naked eye, certain forms of matter, though matter so delicate, air-drawn, and subtle, that it is, as it were, but a film, a gossamer that clothes the spirit. Hence the Rosicrucian's lovely phantoms of sylph and gnome. Yet, in truth, these races and tribes differ more widely, each from each, than the Calmuc from the Greek,—differ in attributes and powers. In the drop of water you see how the animalculae vary, how vast and terrible are some of those monster mites as compared with others. Equally so with the inhabitants of the atmosphere: some of surpassing wisdom, some of horrible malignity; some hostile as fiends to men, others gentle as messengers between earth and heaven."

As ever, this peer among mystics sums up the whole matter in a few lines. The elemental beings who direct the invisible hidden forces that drive the great storms that rage across our planet may well be regarded as 'hostile as fiends to men'. Their work seems utterly destructive and cruel, often leaving thousands dead, injured and homeless from the devastation wrought by tsunamis and hurricanes. But such elementals are not 'evil'. They have no consciousness of self as we understand it, and therefore no concept of 'right' or 'wrong.' They are simply the unconscious or semi-conscious agents of the universal laws they serve. The occultist and seer, Geoffrey Hodson, three of whose books we review in the books section of our website, gives a very vivid and true description of such air elementals in his book Fairies at work and at play. We quote his description in full in our afterword to this article at right, together with other clairvoyant observations from his books.

What about those nature spirits which are 'gentle as messengers between earth and heaven' which Bulwer-Lytton also mentions? You can read about these heavenly messengers of beauty and joy in Geoffrey Hodson's lively descriptions in our extracts from his books in our afterword at right.

From the foregoing and the examples we give in our afterword, it will be clear that a comprehensive description of the inhabitants of the elemental kingdoms is an utter impossibility. One might as well try to count and classify human beings from a physical, emotional, mental and spiritual perspective, and then distil this down to a single statement. You may object that the writer Douglas Adams did just that when he described humanity as "mostly harmless" in his book The Hitchhiker's Guide to the Galaxy, but amusing as this statement may be, it does not really tell us very much about mankind. Were we to say that nature spirits are 'mostly good' you would probably very quickly stop reading this article and look for a more complete answer, and serve us right for our levity!

Those nature spirits in charge of the waters, the woods, the hills, the mountains are mostly entirely benevolent and loving in nature. There are, further, the cloud and wind Devas, who paint those magnificent pictures in the sky at sunrise and sunset which enthral all sensitive minds. Nature spirits are only one of the ranks or orders of spirits who compose the Hierarchy which rules the Universe under God. There are vast numbers of them and they are divided into three main classes: the Bodiless; the Form Devas; and the Passion Devas. The Bodiless ones belong to the highest realms of light, completely inaccessible to all but the greatest seers, and are composed of what we may call mental elemental Essence. Form Devas are of a lower grade of evolution, and while their bodies are composed also of the same Essence, they have no direct connection with mankind. The Passion Devas dwell in the Astral World, and their bodies are composed of Astral Elemental Essence, and these are the beings most commonly seen by clairvoyants.

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drifting-pieces-blog-blog · 1 year ago

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Breaking down the Comics: Writing a legend, building a history.

Today we aren't reviewing an issue of Moon Knight. Today we are going to talk about something important.

So who wrote Moon Knight?

"Easy!", you might say. "Doug Moench!"

Sure. But you'd be surprised to find that it's not as much as you'd think.

Doug Moench wrote issues 1-15, 17-26, 28-33.

He returns in 1998 for a 4 issue mini seires Vol 3 "Resurrection Wars" which revives Marc Spector, who had been killed off in the previous volume.

He continues in 1999 with Vol 4, another 4 issue mini series "High Strangers/Strangeness" which won an award for favorite limited series.

He also wrote werewolf by Night, which gave us the first iteration of Moon Knight. An instantly popular character that made appearances in other comics like "The Hulk" before he was given his own comic.

He had time to work on the designs with Bill Sienkiewicz. They built up the weapons, the costume, the cab, and the copter.

He also built up the side characters of Gena, Gena's two boys, Crawley, Frenchie, Detective Flint, and Marlene.

He set the ground rules:

Moon Knight system is Jewish.

Marc, Jake, and Steven are a part of a system and are not one man pretending to be someone else

Jake is the one that is friendly and loves being with the people.

Steven is posh, collected, and takes care of things.

Marc is the one with experience, has the skills needed to get things done, and holds all the pain.

They are former Mercenaries who did terrible things and have deep guilt.

Khonshu resurrected them to act as Moon Knight

They strive to protect any who would come to them for help that perhaps might not get it elsewhere

I would even argue that he was building up to the fact that Moon Knight himself was his own form of alter but it has since been glossed over and replaced with the idea that Marc is most often the one under the mask.

Pretty simple rules to follow to make it a Moon Knight comics, but you'd be surprised what some writers have done with it.

These comics were written long before DID was acknowledged and the different forms of PTSD and Dissociation were defined.

And yet, here we stand with a traumazied man from Chicago slowly working through a freshly cognizant system and trying to figure out how three (four) people can work together towards not just a life, but life as a superhero who wants to help people.

Further more, an odd thing happened in this.

We had a comic that often focused more on mental health than on super powers, heroics, or villains.

More often than not, we watched Marc, Jake, and Steven struggle with themselves and one another. We watched stories unfold from the villain's point of view, often just being ordinary people pushed too far by a system that failed them.

More so, we watched Moon Knight sympathise with these villains.

How often he let them walk away or he let them kill their abusers, wondering if he was doing wrong himself.

How can he help when sometimes the help he offers is not what is needed?

We even watched him fail. We saw him lose his temper and cause damage. We saw him curl into a ball and break. We saw him get lost in his own nightmares and dissociative fuges.

Moench stepped forward and often handled current events with raw emotion. We saw his characters cry over the loss of public iconic figures. We watched people struggling as they returned from war. We saw child abuse and poverty. We watched economic struggles with classism and we watched people struggle to deal with grief.

We even watched them deal with antisemitism over and over again. How many times were the victims of his stories Jewish and trying to survive in America? What about the story that took place with the mass shooting in the Synagoug? We heard stories of Generational trauma as elders struggled with survival after the Holocaust.

Moon Knight was a unique comic unlike any other I've ever come across. For it's time and for it's topics at the time. What's more, this comic continued.

It was no 'special of the week' comic and spanned multiple years as they grew.

What do we know about Moench? Who did he write this comic for?

The Moon Knight in the Were Wolf by Night certainly didn't have all this depth. He was just a man dressed in silver, fighting a monster and ultimately choosing the side of the monster.

Moench himself was from Chicago. He knew what it was like to live in the city and see the fall of factories and hard times on the streets. We know he witnessed the times of Vietnam veterans being forgotten and abused. He witnessed a lot of changes happening in the world and the places he was writing about.

He wrote about what spoke to him and what he saw around him.

And in his stories, there often were no clear heroes, winners, or villains.

But there was one issue that he chose to add into this comic that was already filled with so many things that other comics avoided.

Moon Knight wasn't written as Jewish in that one shot cameo. He wasn't written with DID either, but I'll get to that.

There are interviews of Doug admitting that "I didn't say, 'I'm going to sit down and create a Jewish character.'"

In fact, he picked a name and later found out it was a Jewish name. This made him do research. Not just into Judaism, but into the areas that Marc Spector fought in and where his family came from.

Do you have any idea how many writers of that time and our current time simply slap the label of "Jewish" on a character and refuse to actually look into what makes them Jewish?

I can't say how much he researched and how much he got wrong or right, but I do know that when he did choose to dive into topics that touched on certain issues, he handled them with a grace that is often overlooked.

The writer that came after Moench? Alan Zelenetz, a former Jewish day school principal from Brooklyn.

Zelenetz had been acting as an editor for a bit before he took a look at Moench's early start.

And it was in Issue 37 and 38 where we get the real backstory of Marc Spector. A man running from his Rabbi father.

Marc now became the son of an Orthodox Rabbi who had been forced to flee Czechoslovakia after the Nazi invasion.

Here, we get the story of Marc running to the Marines. Running to the mercenaries, and running from home. Perhaps even, running from G-d.

Zelenetz wanted to lean into the Jewish past and Jewish story. He explored themes of using a holy book to create a villain while playing with Jewish myths. He also explored Antisemitism without toning it down or hiding it under comic bookish villainy. He portrayed Moon Knight facing white supremacist vandalizing a Jewish Cemetery. He showed Moon Knight saving the Torah from a Synagogue fire. He also showed a strained relationship and the question of Moon Knight finding his own relationship in what he does with his father's views.

Alan Zelenetz edited/wrote shorts for issues 18, 21–22, 27, 32, Then wrote the whole story for issues 36–38.

Zelenetz voiced that he was looking to add some Jewish representation into his workforce and perhaps into the comic industry at the time. Considering his background, perhaps he was the only one at the time that had the proper knowledge to play with things the way that he did in the story of Elias Spector's death and Marc Spector's pain.

He did not stick around with Moon Knight for long after. Though, he admits that he wanted to play with the fact that Khonshu was an Egyptian god and Marc was from such a Jewish background. I am sad we didn't get to see that story.

After that, Moon Knight's original 1980s run was finished. The question of what to do with Moon Knight, where to take him, and who would take up the mantle of writing him now lay in the hands of Marvel.

Many failed after this. They failed to keep the heart of what Moon Knight stood for and who Moon Knight was. His Jewishness was forgotten and his mental health became a joke.

Not to say all of them failed. There are a few shining stars that gleamed in the darkness and I like to think that it was these moments that kept Moon Knight going all these years.

Moench didn't set out to write a story about mental health, and yet his approach is the most real I've seen. Hardly a shining picture of perfect representation, there is still something there in watching the character almost seem to push back against the unintended desire to push him into a corner.

No matter how often Jake and Steven and Moon Knight were seen as Marc pretending to be someone else, there was always ALWAYS that correction. Always that push back.

Call it the writer's curse of characters misbehaving and taking on a life of their own, but perhaps there was something more there. Perhaps he felt the weight of time and cry of the suppressed and overlooked.

So many of his stories danced the line of "I can't say it because it will get edited out by the big wigs at Marvel, but if you would just look... Just look over here for just a moment..."

And years upon years later, a writer did see the whispers there and said "I see the story of pain. I see the cry of mental health." Lemire told the story that Moench couldn't and from that, we are still pushing forward with McKay.

And more, perhaps we will see the Jewish story that hides in all that also get a spotlight again.

In the era of big battles, cross-over events, explosions, and super villains cackling about domination... I still look back at Stained Glass Scarlet, The Druid, the Music Box, And Colloquy.

As I finish the original 1980s run, I brace myself to dive into what comes next.

I think I'm trying to find where and how the original run ventured so far into the dark and insulting territory it did and the journey back into a revival that now means so much to so many.

In a way, perhaps it mirrors a journey into our own mental health. How easy it is to become lost in what everyone around you tells you that you are and how you are supposed to be until your own doubt sets in to drown you. Perhaps it is the journey of Moon Knight's character emerging from this to find a path to healing that is what kept us here so long.

#Moon Knight #Moon Knight comics #Analyzing the comics #Marc Spector #Jake Lockley #Steven Grant #Doug Moench #Moon Knight is Jewish #Moon Knight has DID #A system of hope #I'm rambling again #But this is important to me

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monstersinthecosmos · 1 year ago

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🔥 + kink in VC

(also thinking like in comparison to Anne's other books like CoSB and realizing VC is so fucking mild and antis have no business being in Anne Rice fandom)

Dsjgkalsdg comrade why are you asking me this you know I’m about to launch into a TED Talk.

So like, if we compare Anne’s Sleeping Beauty books to VC, I feel like the kink is meta in two completely different ways, like opposite ends of the spectrum. In SB, the BDSM is meta in the sense that it’s built into the universe. They are not books ABOUT BDSM, they are books about fantasy and the kinks just get to exist. It’s an immersive fantasy that takes all the ways people play IRL and makes it canon. And a lot of people who dislike them (based on like bad GoodReads reviews LOL) ONLY see them as rape books and don’t really understand the way it’s giving BDSM a space to breathe.

What vanilla folks don’t understand is that IRL BDSM is also fiction a lot of the time. Even tame shit like spanking and talking dirty—do these people actually want their partners to hit them in their day-to-day lives? Do they want to be catcalled and lewded outside of the scene? Probably not! And even going to more in depth scenes like, do you actually think you’re someone’s kitty? Do you actually want an assailant to tie you up? Do you actually want to be trafficked?

No! You dont’! You want to play pretend with your partner, with whom you’ve consented.

And I think this attitude in the bad reviews is also the attitude that fanfic writers get from conservatives/radfems/swerfs/fancops in fandom, that somehow writing noncon fic or darkfic in general is somehow making these atrocious things literal, when in fact THEIR EXISTENCE WITHIN A WORK OF FICTION AUTOMATICALLY MAKES THEM NOT LITERAL. And people need to understand that the consent for stories like this is not about the fictional people involved who do not exist and therefore cannot consent, but between the reader and the author when you open the book.

Anyway I bring that up because these books tell me a lot about Anne’s sensibility for kink. SHE GETS IT MAN. She wasn’t shy about it. So I think it speaks very broadly to the way power dynamics and monsterfuckery are expressed within VC, as well, even though these are two very opposite ends of the spectrum with her writing, I think that same confidence and kink positivity still exists. There's also a foreward to the copy of SB that I read, I think she added in 2012, and it was SO insightful about her process and her intention writing the kink & porn the way she did and I just think she really fucking understood what she was doing. And it's so telling to me because like, she mentions she used the pen name when she first wrote them because her father was alive and she was embarrassed, and one of the first scenes in SB is Beauty being stripped naked and paraded around IN FRONT OF HER FATHER LOL. So like WITHOUT GOING OFF ON A SIDE TANGENT something else vanilla folks don't understand is that so often kink is about the thing being transgressive and gross and uncomfortable; IT'S HOT BECAUSE IT'S UNCOMFORTABLE. It's not something that anyone literally wants, it's just hot because it's WRONG. And I think often about how this is like, the sex equivalent of trying not to laugh at an off-color joke, and how it's not that the joke is funny but that it's so off-putting that you laugh at the absurdity of it.

I feel like the kink in VC is meta in an opposite way, in the way it’s so symbolic and understated. Also because the vampires are asexual it gives a whole layer of like non-sexual BDSM dynamics are it’s SO GOOD.

So I think coming from an author was not squeamish about writing immersive BDSM, a lot of those themes are in VC and I wonder if they come from the same place, even if it’s subliminal on her part. Like the power dynamics, consent around biting, THE CONSTANT MONSTERFUCKING & FLIRTING WITH DEATH AKA “THE SWOON”. And even later in TVA with the introduction of the whipping scene and all Armand’s comments about getting tied up and having his fuckin, pit hair tugged on or whatever.

And it has some of those like sort of dubcon romance tropes that I think we can’t discard; being TAKEN! Being OVERPOWERED! It ties into vampire fiction in general with like, vampires historically being a symbol of sexuality, going back to like Dracula comin in ur window and everything.

But VC never makes it “about” kink, it’s just like SB, just baked into the themes. And like a lot of the more obvious BDSM themes in VC are also not consensual, they’re just built into the universe. Like Armand stalking/abusing Daniel, like Marius whipping Armand without negotiating first, like Akasha’s femdom murder bender. And even how often biting gets used as a symbol for sex, and how often noncon biting gets called rape! And the characters know it! And they do it anyway! (Also I cannot neglect to mention obvious tropes like Marius/Armand just being a teacher/student trope. IT'S A PORN TROPE! Or what about Gabrielle as Mommy!Dom? PORN TROPE! Quinn/Goblin twincest? PORN TROPE! The exhibitionism/public humiliation on the TDV stage hello???? That's like an Upper Floor party come on LOL. [this type of dynamic is also SO SO prevalent in SB.])

I’m not really sure what my conclusion here is because like, I just think this is all here in the books and it’s really excellent fodder to talk about kink and character dynamics. Power dynamics is so huge in BDSM and it’s so so huge in VC, not just like, vampires being old and powerful and having that as a status symbol over one another, but even emotionally speaking like. TELL ME THAT ARMAND & LESTAT AREN’T ABSOLTUELY SOAKED IN HUMILIATION AND BEGGING. Taking inventory of VC ships like there’s ALWAYS a dominant and a submissive, it’s so rare that people are just equals with each other, and it’s always part of the appeal!

There’s this psychologist Esther Perel, I think she’s brilliant and she’s very kink positive and has a bunch of podcasts and stuff. I read her book Mating in Captivity and she brought up this whole thing about kink and power dynamics and how like, it’s not always clear who’s in charge, and you can’t judge relationships based on who’s older, who makes more money, who’s larger, etc, because power dynamics are so much more complicated than that. She uses the example that if you’ve ever been in public with a screaming toddler, which of you is really the dominant? I think about this constantly!

And like speaking about real life kink being so deeply about CONSENT means so much to me with this conversation about VC, too, because like even looking at a relationship like Marius & Human!Armand or Armand and Human!Daniel, it doesn’t matter that one is a powerful vampire if they also feel so tenderly towards their fragile little human. TVA was very explicit about this when they have that conversation about which one of them is the other’s slave. So in BDSM even though we look at the dom as being the one in control, the consent is the thing in control and ultimately the SUB is in control by permitting all of it!

So I just feel very strongly about all of this, it’s all over VC, and even when it’s less obvious (relationships like Loustat, like Lestat/Armand, even Louis/Claudia) there are so many of these power elements to examine. Even if it’s not written TO BE KINKY they’re still there and I think it’s all connected, because I’m kink positive and I love unpacking this stuff.

AND ALSO LIKE ON THE ASEXUAL FRONT, I love it so much because like as a kinky ace, and knowing as many kinky aces as I know, there’s SO MUCH KINK out there that is NOT SEXUAL so I think it just translates so nicely to VC vampires being asexual, like it all makes so much fucking sense to me and it’s so fun and I adore it so much!!!

THIS WAS PURE STREAM OF CONSCIOUSNESS IM GONNA POST IT BEFORE I GET WORRIED THAT IM NOT COHESIVE, ENJOY!!!

#asexual vc #KINK META #deep ass thoughts about vampires

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reallyunluckyrunaway · 10 days ago

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Shows and Media Starring F·cked up Animals:

Happy Tree Friends - ★ - I kind of feel this is edgy, for edgy' sake. The stick gets old fast, and I couldn't watch more than a couple episodes before growing annoyed and bored...

The Big Book of Bunny Suicides - ★★★★ - The bunny's in these comic panels, are trying to die in ridiculously over the top ways, The art work was simple but cute, and it still didn't feel sadistic somehow.

The Unicorn Wars - ★★★★ - The second movie made by the same writer's behind Birdboy: and the Forgotten Children, revolves around themes of religious fanaticism and institutional brainwashing. The story is very Cain and Abel in approach. It displays the way insecurities and even "good'' intentions can eat us up and spit out something ugly in us.

Birdboy: And The Forgotten Children - ★★★ - The feature-length companion to the short film, Birdboy... The setting was dark, the story was darker. Nuclear war, prejudicial biases, mental illness and family drama. Put that together with surreal visuals and cutsie characters... What could go wrong?

Gloomy Bear - ★★½- Not for me, each episode basically just had one gimmick: Gloomy goes crazy, and brutally mauls his owner, Pity.

..But I'm obsessed with the character design for Gloomy, and I definitely want a Gloomy plushy now...

Cat Soup – ★★★½ – Hypnotic psychedelic fatalism, an anthropomorphic cat takes a journey through the spirit world to get the missing half of his sisters soul.. A short film that disrupts the viewers sense of perception and inspires discomfort, It takes you through an Odyssey of twisted realms. And in the end, you're left to wonder, what did it all mean? Did any of it matter? Or did everything play out the way it was always going to?

Ponies, by: Kij Johnson – ★★★½ – In this ultra short story, every girl has a magical pony with wings and a horn. The main character, Barbara and her pony, Sunny, want to fit in with the other girls. They're consequently invited to a "cutting out party" a ritual that every pony goes through in order to truly conform. But it turns out to be a lot more than Sunny signed up for...

This is essentially a f·cked up Horseland/My Little Pony story about the dangers of trying to fit in, even at the cost of personal safety and individuality. A story that had mixed reviews by audiences and critics alike at it's initial release, and honestly, I don't see what the big fuss is... Is it morbid? Yeah. Not super subtle? Yeah. But are there way more offensive shock pieces of media dribble out there...? Absolutely! At least this one had a message.

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canonically47 · 6 months ago

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review?

guys i absolutely love disventure camp it has done nothing wrong ever and everything is perfect

or:

disventure camp all stars episode 10: all’s fair in love and paintball - review

SPOILERS!!! (but you knew that)

the jake slander was AMAZING. i am so petty LMFAO but seeing everyone just give him shit? amazing. 10/10. life-changing. here are some awesome screenshots of aiden being his biggest hater, excluding ones i have already shared:

god i love aiden.

anyways yul had one good line and was absolutely abused this episode, great to see as always!!

this episode was actually super enjoyable. this is the happiest i’ve been watching DCAS in a while. it is still their weakest season by far and like, tomjake still take the most screentime which is infuriating, but also, this episode is the best since episode 6.

the villains’ strategy is amazing and seeing alec plot and scheme behind the twinks’ backs is so satisfying. i love alec and riya’s duo so much.

i think the show was expecting tears and sadness at emily’s lay-off and us feeling hopeful for trevek, but we haven’t seen derek in like five episodes so whatever idc. i miss the queen tho. she always says what i want to. truly the aro aceflux lesbian of all time next to me

i did NOT expect that twist. i was getting ready for them to vote off aiden because god forbid they don’t keep tomjake in, but ASHLEY!!! i was just starting to like her too!! and not because she told jake to cram it of course but because uhhh because she ummm errr well she uhhh she breathes at one point i’m pretty sure and uhhh errrrmmm well you see uhhh ummm her farm burnt down

i find it so funny how tom and jake are acting like this when they are 30 and 27 respectively. grown ass men with puppy eyes and quivering voices talking about a hook-up from two years ago. men used to go to war

anyways very good episode, 9/10, we can finally see some of those season 1 vibes with the good strategy and season 2 shines through even more with the petty drama

also i’ve heard tom and aiden’s VAs are involved in the writing process so no wonder the love triangle is still here and getting so much of a focus. sneak alec’s VA into the writers room too cmon guys i need my fav to have screentime

leaving this pic of jake in despair here because i love when he realizes his actions have consequences:

#asks #my asks #dcas #disventure camp #disventure camp all stars #disventure camp spoilers #dcas spoilers #campamento desventura #odd nation cartoons #dcas review

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placeinthisworld · 7 months ago

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ttpdta review part one 🤠

let me preface this by stating that i am a swiftie first and person second in this situation. i have grown up with taylor and feel as if shes my big sister- yes i can make fun of her but if i see anyone else do it i will get fiercely protective. i do understand her music is not only art but also her form of therapy. that being said, throughout these nonsense notes i am constantly mentioning that taylor should go to therapy. i am aware of what she has said about therapy (and why she doesn’t go) but i would beg to differ with her…especially after this album release lol.

taylor is an extraordinary storyteller and song writer. i believe this album is full of evidence of that, but it also has some faults that prevent from being as good as i felt like it could have been. overall the album feels rushed.

i also feel like it’s important to recognize the elephant in the room. i know we probably all expected this to be a joe breakup album, so the fact that it turned out to be a “fuck you matty healy” album shook us all a little bit. i know matty had a controversial history, im not gonna sit here and defend him. i don’t know much about him other than what is forced against my will. i do however know that he struggles with mental health issues/ substance abuse/ addiction. i’m not gonna comment much about his personal issues, i don’t feel like that’s right and taylor’s constant references to drugs throughout ttpd definitely rubs me the wrong way. i should also mention i grew up with an active addict and do view things from that perspective, so i feel slightly triggered by the topic and my feelings about that may just be personal but i do mention that in my notes when it’s relevant.

lastly, i am not a music production girlie idk shit lol. i only know i am a aaron dessner stan so any song with his name im already biased towards and i am aware, if u don’t like that idk what to tell u lol. i just know what i feel like is “good” or “bad” but music is subjective🫶🏻

1. Fortnight:

Hate the functional alcoholic part. Like the beat, the chorus is catchy. One thing i love about a taylor swift song is that theres always a story and its always visual. I like the metaphor of the “good neighbors” of like having this teasing/ longing feeling for someone that you could have had a life with. “Your wife waters flowers/ i want to kill her + my husbands cheating/ i want to kill him” feeling like you were robbed of her life, feeling “all my mornings are mondays stuck in an endless february” reminiscing about the short period of time where you were together and convinced it would last forever (only for it to end before it even started). I do not listen to much post malone but i enjoyed his verse!! So many florida references we get it everything bad happens in florida.

i have not seen the video yet oooopsies

2. Ttpd:

i thought this was the opening of Hey Stephen (the remix) or something at first. gotta say i absolutely love the way she sings “you left your typewriter at my apartment/ straight from the tortured poets department” i enjoyed the vibe of this song, and lyrics up until the “you smoked then ate seven bars of chocolate (OKAY SOOOOOOO ME CODED NGL I LAUGHED at this point i could let this lyric slide- bit then she had to mention the charlie puth and golden retriever thing and ngl it almost ruins the song entirely for me. Tbh when i first listened to the leak i thought this was a fake AI song and that i was sending around a fake leak bc these lyrics started to get a little weird to me. ‘Sometimes i wonder if youre gonna screw this up with me/ but you told lucy you’d kill yourself if i ever leave” …………girl i am begging you to see a therapist (side note did anyone else have a friend in hs whos bf would say that shit a lot?? I remember straight up fighting with a friend who refused to break up w her bf bc he would threaten to end his own life is she did and he was like 16? If an adult is saying that same shit i would be Very concerned not gossiping about it???) “i chose this cyclone with you” my first reaction was: ride the cyclone the musical? Overall i liked the first half but you lost me at charlie puth (hes the one with eyebrow right? I think i get him and miles teller mixed up) (i dont know who either of these men are)

3. My boy only breaks his favorite things:

Okay tbh i thought this was gonna be one of my least favorites, but the total opposite happened. I think this is one of my top 5 favorites on this album. I do think that there is a difference between a poem and a song and that they are not always interchangeable. I feel like if this was edited into a poem it would be KILLER. The visuals, the the story, the vocabulary, the sadness in it. “Im queen of sandcastles he destroys/ There was danger in the heat of my touch/ once i fix me/ hes gonna miss me/ i felt more when we played pretend then with all the kens / cause he took me out of my box” i feel like ever since folklore, taylors been trying to push these big fancy words and sometimes it feels awkward and forced, but this is one of the rare songs that doesn't suffer from that.

4. Down bad:

meh. Chorus is catchy. I dont love the narrative “fuck it if i cant have him/ i might just it would make no difference” but i also have never once experienced that over a person before lmao……….taylor go to therapy. Nothing really stands out about this to me otherwise. No offense, but it sounds like a generic jack antonoff song lol. Like maybe if another artist released this, i would enjoy it more but idk i wouldnt expect it from taylor i guess. Just kinda feels boring to me sorry if u enjoy it <3

5. So long, london:

oh man were done with british men now for real for real. “ two graves one gun. I'll find someone” its over for joe and matty (but thats fine if all she has to say about joe is what i think she said on this album i am happy i think We Get It…) Aaron dessner i love u (remember when he reposted me on his ig ahh).”i kept calm and carried the weight of the rift/ pulled him in tighter each time he was drifting away” + “I stopped trying to make him laugh/ stopped trying to drill the safe/ i didnt opt in to be our odd man out/ im pissed off you let me give you all of that youth for free” oof i FELT that one a LITTLE too hard. I think this is both a song about matty and joe- i think she had a life and an attachment to london just in general through both relationships, “im just mad as hell because i loved this place” and so reflecting back on how both are over and how all those plans with either are done. “You sacrificed us to the gods of your bluest days” OKAY kinda hate this phrase bc it feels like shes placing blame on whomever’s mental health/ depression, like as if they made the conscious decision to sacrifice the relationship solely. This very much feels like “how much sadness did you think i could take before i got bored???” overall top favorite songs bc it doesnt have too many cringey or odd lyrics and the production is 10/10 thank u aaron dessner ilysm king

6. But daddy i love him:

tbh when i got the leak this was the first song i listened to bc i thought it was gonna be the worst one and i wanted to get it over with (i was RIGHT until she dropped that second half……..) and i DIDNT have the lyrics obviously so i couldnt for the life of me figure out if she really said “im having his baby…..NO IM NOT!” until the VERY end of the song and bro…….the cringe. The cringe. The cringe. This is also when i started to question if this was real or if i was passing out a fake leak, lol. I dont understand how she could be saying this shit about matty. And like we all know it lol. “Sometimes growing up precocious sometimes means not growing up at all” …….but like does it??? I feel like thats kinda an oxymoron or something like i understand what shes trying to say and MOST of the time her metaphors and comparisons make sense to me but like this one doesnt. Growing up precocious means to grow up more advanced in maturity, how would that also mean not growing up at all? Is it just me getting stoned and overthinking things? “Ill tell you something about my good name/ its mine alone to disgrace” true that bestie ur doin a great job by being so politically quiet over the past couple of yeats after making a whole asss documentary about wanting to be on the right side of history. But I digress i am just one of those bitches performing soliloquies you'll never see. Overall this song is very weird and cringey imo and i wish it stayed in whatever vault it was sitting in lol.

7.Fresh out of the slammer: “In the shade of how he was feeling” -_- dont like this narrative already. I could honestly go on a rant about why i dont like this song but im going to spare for the sake of my sanity in this review of thirty one fucking songs but its along these lines “to the one who says im the girl of his american dreams” oh brother. otherwise i dont care for many of the lyrics, the chorus/ melody/vibe is mid i guess. It sounds like another jack song (i was right)

8. Florida!!!: “all my friends smell like weed or little babies” okay i know what she was trying to say but im SORRY you cant tell me she couldnt think of ANY other way to say her friends are either parents partiers lmao. Deserves jail for that but luckily the vibe and the chorus of the song are really catchy and florence’s voice is beautiful in it. “Well me and my ghost we had a hell of a time/ yes im haunted but im feeling just fine” CHILLS i loved it. I didnt think i would like this song but (maybe as much as i like no body, no crime which is meh) but no i lowkey love this song and think its really fun. Once again the drug references start to get heavy here in the album and like i mentioned i do get slightly triggered by drug mentions.

9. Guilty as sin?:

okay taylor we get it you masterbate. Another strong jack song and it’s pretty similar to others on the album so nothing besides the sexual lyrics stand out.

10. Whos afraid of little old me?:

“if you wanted me dead you should have just said/ nothing makes me feel more alive” ooooooooooh i love that. I feel like a live or an acoustic version of this song would give me CHILLS. “Is it a wonder i broke / lets hear one more joke/ then we can all laugh until i cry” honestly so relatable, “i was tame, i was gentle til the circus life made me mean” oh :( that hurt bc it just reminds me of the vibe shift during midnights era/ eras tour where it *feels* like she started to pull back from being taylor swift and started to become Taylor Swift (™) and the way her fans/ media has treated her made her mean or cold or something and that just makes me feel sad. “Whos afraid of little old me? You caged me and then you called me crazy! I am what i am cause you trained me! SO. WHOS. AFRAID. OF ME? Again the narcotics line kinda makes me feel icky but thats bc i have that thing about drugs and just dont LOVE all the references to them. Like i know its not that serious but theres a reason why i dont seek out artists that typically talk or write about that stuff ya know so its weird. Overall i think the production is one of the most unique ones on this part of the album.

11. I can fix him (no really i can):

i hate it all around i think. I hate the narrative of “i can fix him!! I can handle a dangerous man!!! No really i can!!!” there is a reason why this song is barely 3 mins long lol it should have been cut but i think taylor wanted to Be Edgy. i dont care for the productions or the lyrics, its very forgetful imo.

12. Loml:

okay i really thought this was gonna be a joe song (rip) so i was thinking it was gonna be really deep and sad and like it IS but with the context of it being the pt 2 fling with matty it doesnt seem like it now. Anyone who thinks this is not about matty please look at the lyrics and be so serious “whos gonna stop us from waltzing back into reklndled flames/ if we know the steps anyway” I think matty just said too much shit to taylor during their fling and taylor WAS truly convinced this her invisible string and he promised her a lot that he couldnt upkeep and ghosted her and she took it SUPER hard, i mean two breakups in one year is a lot (me, whos never been through a single breakup once). I just dont understand how she feels like matty is the greatest loss of her life. One of my favorite tracks on the album, “our field of dreams engulfed in fire/ your arsons match your somber eyes” a LOT of these lyrics are actually really good imo. I think im the only one that didnt find the “mr. steal your girl and make her cry” line idk i thought it was actually kinda neat, the phrasing of it, kinda contradicts the title “love of my life” because he was never that serious or respectful of her and only use her from the beginning. This is another song that i think would make KILLER poem over song. Overall i think the piano is haunting and a live version of this will make me die, thank u again aaron dessner 10/10

13. I can do it with a broken heart:

ngl i thought this was the opening to mastermind for a hot second- also gave me a scare on whether or not this was a fake leak lol. Catchy ass chorus but very YOYOK. “Breaking down i hit the floor/ All the pieces of me shattered/ as the crowd was shouting “more!” ooffffffff seeeeee that is exactly WHAT i was afraid she was feeling durning the eras tour after the joe breakup/ matty situation and all these stupid twitter and tik tok swiffers were out here overanalyzing EVERYTHING and demanding rep tv like every other day. “Im so depressed i act like its my birthday” …….okay taylor. Like a lot of people have said, i think she interchanges “depressed” for “sad” a lot and the two are not the same. I think taylor wrote this song (but specifically the “i cry a lot time but i am so productive” and was like “yup this part is gonna go viral on tik tok,” initially i wrote “feels like taylor saw that depression barbie commercial in barbie 2023 and wrote a song based on that” lol which i still agree with. Overall the production of this screams midnights reject lol, very jack antonoff. Over time this song has grown on me a lot. Originally i didnt care for it but now its kind of a bop but i think its bc its so similar to YOYOK. “Try and come for my job” @taylorswift deadass you couldn’t think of anything else to say instead. cmon. I was mostly on board until that very last part, just seemed very cheesy lol like its not a big deal but i thought it delivered well without it.

14. The smallest man who ever lived:

(aaron thank u for saving me and this entire album) “they just ghosted you/ now you know what it feels like” OUCH. “i dont even want you back i just want you to know/ if rusting my sparkling was the goal/ and i dont miss what we had but can someone give/ a message to the smallest man who ever lived” oh this was somber af. I am obsessed with the phrasing of the chorus. I also LOVE taylors deeper voice its def giving me the same feelings MTR gave me from folklore, that made me CRY and this was very similar. This is another classic taylor song that i could EASILY write like a ten page essay about if someone put a gun to my head. I know that its about a *romantic* relationship, but it feels general enough to be able to relate to anyone who is close to someone with an addiction or struggles with substances. A lot of addicts dont understand the impact of their addiction or their behaviors that they display while struggling. To meeeeee, this feels very much like “you were self centered and betrayed my trust, was any of this true? Real? Am i paranoid or is this that deep?” “it wasnt sexy once it wasnt forbidden” has me thinking lots of things. I think that describes taylors “type”if that makes sense? Like i said i would need to literally break this song down line by line like its ridiculous i have too many thoughts about this song i have listened to it on repeat six times by the time im typing this. “In public showed me off/ then sank in stoned oblivion” FUCK. “you treat her like an also-ran” honestly i have never heard of that phrase/word thank u dr. swift. “Were you sent by someone who wanted me DEAD/ did you sleep with a GUN underneath OUR BED/ were you writing a BOOK?/ were you a sleeper cell SPY? IN 5O YEARS WILL THIS BE ALL DECLASSIFIED?/ AND YOU’LL CONFESS WHY YOU DID IT!/ AND ILL SAY GOOD RIDDANCE!!!!!!!!!!!!!!” tears were formed besties. Also love the gracie abrams reference. “And you deserve prison but you wont get time” i feel like is very metaphorical like you DESERVE to be punished for what you did to me but you won’t admit to the guilt, you wont admit your wrongdoings, you wont admit that i would have done anything for you and you have no problem replacing me. “You said normal girls were boring/ but you were gone by the morning” first of all red flag girlie, nonetheless heartbreaking. “And in plain sight you hid/ but you are what you did” i say this with all the love in my heart, someone take taylor swift to a really good really private therapist. I could say more but i think i need to move on because i am now on my eighth cyle of listening to this song.

15. The alchemy:

already kinda hate it. “What if i told you im back/ the hospital was a drag/ worst sleep i ever had” do you think taylor swift has ever been admitted to a real hospital in this context. Feels very out of place and like i said earlier i dont love the psych ward visuals/ references she keeps inserting in this album. “He jokes its heroin but this time with an e” thanks! I fucking hate that line so much. Feels very icky, not funny. I get what shes going for but it falls so flat for me. The football references (yall know my opinion on meathead!!!!!!!! I will not engage!!!) are fucking dumb. Production is kinda lame and uninterested. Will only listen to this song if by force and will not repeat it ive head enough lets move on.

i have Lots Of Thoughts. i don’t think anyone cares about what i have to say though so i don’t think i’ll bother posting the rest lol but i did do a lot of work so ill post just a bit to make myself feel better.

#personal #ts ttpd #ttpd #the tortured poets department

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halfmoth-halfman · 1 year ago

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we're starting to get into the spooky months now, so what better way to close out the summer vibes than with a fic rec list!!

unfortunately, the original of this post got messed up through my queue and it left me discouraged and not really with the energy to go all out like i usually do so i apologize if the reviews are a little lackluster this time around, but i did love and adore every single one of these fics 💜

if you wanna see more more of my fic recs and favs, i have em all on my recs blog, here!! please note the navi page is still under construction!!

and of course, if you have any fic recs of your own, feel free to send em my way here or on my sideblog - i love finding new fics and writers!! 💜

Javier Peña

birthday bash || a pile of cards - @mvtthewmurdvck

✧ what else can i say? cute. adorable. perfect. made me feel like it was my birthday, because this was fic was such a gift. i don't know how jo is able to write the cutest and most fun relationship dynamics, but it makes my heart soar every time.

late night texts || iv. before the gold and glimmer | bonus scene: phone sex | v. you make me feel wild | vi. the place where i want to be | bonus scene: wicked games you play | vii. oh the sweetest thing - @mvtthewmurdvck

✧ i will never not be in love with the way jo writes javi, and the absolute beauty of her writing. the way this relationship builds and feels so real with equals parts teasing and the shyness of the first time meeting someone you kinda sorta know always leaves me stunned.

John "Soap" MacTavish

run away to me || i. - @halcyone-of-the-sea

✧ i'm warning y'all now, hal has spoiled me this month and a lot of the fics on this list are gonna be hers. but to start we're talking about this fantastic fic. blacksmith!soap was not something i knew i needed and i am foaming at the mouth to see where this goes.

soap comforting reader - @nrdmssgs

✧ coming from someone who's had very similar anxieties around meeting a significant other's family, this hit very close to home and was so. damn. sweet. i love this so much and soap being an absolute sweetheart here was just icing on the cake.

John Price

glitter and gold || snippet - @writeforfandoms

✧ i could talk about this fic for hours. not only have i read it about a hundred times, but this fic helped inspire me to start drawing again. one of my top favorite comfort fics, everything about it is perfect. dragon!price being so in love with his wife, princess!reader finding joy and love and freedom with her new husband, the little appearances from the rest of the 141. it's all just perfect.

cardigan || part 1. it starts in a bar - @as-is-above-so-below

✧ price x teacher!reader was a lovely idea that i have been waiting for with baited breath and it did not disappoint. esp this part:

“Believe me. I get it. My career makes it difficult to find time for much of anything.”

“Yeah, well, I have sixteen kids.”

i love sassy teacher!reader.

songs that sound like sea-foam || (ii) | (iii) - @halcyone-of-the-sea

✧ this fic destroyed me. i had to call my mom and talk to her about it because i loved it so much. idk how to describe it, this filled me with a beautiful sense of longing and nostalgia of the classic fairytales my parents used to read me before bed

all, most, some, none - @halcyone-of-the-sea

✧ mmkay just one second while i-

lions and ibexes - @halcyone-of-the-sea

✧ i love husband!price, don't get me wrong, but i think farah was the real star of this fic. her characterization is wonderful, and the talk she and reader have is so sad (for lack of a better word) but also hopeful and real. i want to have a love the way hal writes it in her fics.

late night cookies - @halcyone-of-the-sea

✧ perfect dad!price fic right here. really hit me right in the unresolved daddy issues. good job.

where did you sleep last night - @captainfern

✧ i might just be a sucker for pet names like my love and darling, but this was so unbelievably sweet. reader missing price so much that they light one of his cigars just for the familiar smell of him?? i'm aldkasjl i love this so much.

glory to the reaper - @halcyone-of-the-sea

✧ the ability of hal to just present us with pure poetry like it's no big deal is just ugh chef's kiss. like all of this here:

How can life go on when such things are uttered to light? When they’re buried deep into your marrow like the dirt on top of a grave?

How can the Reaper knock at your doorways when love exists in such quantity…in the fractures of his eyes? Only when his lips brush yours do you understand.

absolutely stunning.

ducky socks - @halcyone-of-the-sea

✧ dad!price strikes again by breaking my heart in the best possible way and gluing it back together with pure sweetness and a wholesome father-daughter relationship.

Keegan P. Russ

for the weak and weary - @halcyone-of-the-sea

✧ i am of a simple mind. i see hal has written a keegan fic, i drop everything and read the keegan fic, i sob uncontrollably and struggle to read through my tears, i scroll back up to the top and read again.

Kyle "Gaz" Garrick

some nights are like that - @deadbranch

✧ insert ohmygod they were roommates meme here. i love gaz, i love friends to lovers, i love roommates to lovers, i love everything about this fic. it's cute, it's sweet, it made me giggle. 10/10 will read again.

cult of vagabonds || chapter six: storm-flying petrels - @halcyone-of-the-sea

✧ i crave this series like something else let me tell you, and each chapter completely delivers. reader is somehow so frustrating and so relatable at the same time, no regard for her own life but also...same.

to be in love - @lethalchiralium

✧ am i biased because i requested this? yes. but also because this is cute and wholesome and perfect and the idea of gaz buying flowers for his crush makes me smile like an idiot and keri did a perfect job with this.

paper rings - @lethalchiralium

✧ this is me staring at keri after she's written one of the most perfect gaz prompts i've ever read and giving me the cutest, sweetest, most wholesome treat.

get behind me - @writeforfandoms

✧ i love fall fair stuff. corn mazes, haunted houses, bobbing for apples, all of it. and it's even better with the addition of gaz. soap being a little shit had me laughing, but gaz being such a sweetheart (and a little bit of a tease) just had my smiling and giggling to myself.

there’s no need to panic, i’m right here now, aren’t i? you’re safe - @writeforfandoms

✧ gaz is the best boi and even more so when jen writes him. i love the way she portrays him being so soft and comforting, but also not afraid to take care of problems for his significant other. and, as someone who's had loud neighbors, i wish i had gaz there to take care of them for me too 😭

Miguel O'Hara

glass houses - @lethal-chiralium

✧ actual picture of me pretending to be okay after reading this and having my heart shATTERED INTO A MILLION PIECES HOW DARE YOU KERI

welcome to new york || 3 | 4 - @writeforfandoms

✧ i consume these chapters as if they're a decadent slice of cake made just for me and they're so fucking delicious every time. i love lyla and jess in this fic (i love everyone in this fic tbh, but i gotta support the girlies) and this part right here:

(Note to self: bring a sweater.)

literally me. i love this so much and can't wait see where it goes.

hammock by the sea - @wyvernest

✧ the way this fic made me want to enjoy a sunny july afternoon on my honeymoon with miguel in a hammock soooo bad. idk if feel-good can be used to describe a fic, but that's how i feel about this one. it's a feel-good fic, makes me soft and happy and wistful.

spider-girl!reader|| you haven't kissed me all day | jealous miguel | saying i love you for the first time - @luveline

✧ luveline never misses with the miguel fics. every single one is A+ 10/10 chef's kiss. the domesticity while also keeping miguel his grumpy self is just lakdjaksl i'm so weak for luveline's fics and her portrayal of miguel.

Multi

dead disco || chapter 6 - @peachesofteal

✧ i really gotta read this series in small doses, because the way it makes my heart ache cannot be healthy. i just want everything to work out, for them to be happy but goddamn does peach want me to suffer (and i happily thank her for it)

how do they cuddle - @homicidal-slvt

✧ this has any and everyone in it, but more importantly it has my boys, gaz and roach and that's all that matters to me. gaz being the type to do a little kiss attack is so cute and something i can see him doing and roach tracing little shapes and letters i'm screaming. also graves being an absolute menace, you're so right for that.

Nikto

ravishing allure || prologue | cake for a dead man (i) -@halcyone-of-the-sea

✧ do i know who nikto is? not in the slightest. did that stop me from dropping everything to read this series? not in the slightest. will i ever be normal about one of hal's amazing fics? not in the slightest :)

Phillip Graves

close your eyes for me, love - @writeforfandoms

✧ protective graves just does something for me. like, of course, he's a little shit and all that, but, as we've seen in canon, that man is loyal to a fault so it makes sense that loyalty would extend to his significant other. and also the way jen writes him just makes me blush and giggle so that's a plus 🤭

Rodolfo Parra

pressing their foreheads together - @writeforfandoms

✧ i read Warnings: soft domestic fluff and kissing. and knew this fic was gonna be made for me. and i was right. this fic made me sigh longingly. i am so astronomically weak for the way jen writes this man and the way she writes soft domesticity.

Simon "Ghost" Riley

the safe house has seen better days - @ghostaholics

✧ how does it feel to have such a perfect understanding of a character and then create such a gorgeous fic on top of that??

Always staying awake, always assigning himself to the graveyard shift for watch while everyone else squeezes in a few hours of rest before the sun comes up.

i am in awe of ms. ghostaholics and her beautiful ability to turn characterization into pure poetry.

hired as a live-in house cleaner - @ceilidho

✧ i👏🏼love👏🏼this👏🏼fic👏🏼 this turned me into a big ol' soft pile of hearts and mush ugghh just the perfect amount of fluff. very cute but subtle too and y'know i think that fits ghost pretty well.

the team is invited to a wedding - @rileyslibrary

✧ one thing about me: i love a wedding. and this fic right here? absolutely delivered. it's got everything: ghost, gaz cameo, a wedding, macarons. not to mention the A+ banter between ghost and reader, i love them and this fic so much.

happiness || white carnations - @lethal-chiralium

✧ happiness hurts in a way that leaves me somehow longing for more and i can't describe it any other way. i think keri is determined to figure out how many different ways she can break my heart with angst and fluff and i couldn't be more thankful.

circles and squares - @mvtthewmurdvck

✧ i know i gushed about this fic already, but i'm gonna do it again. the best way to describe my feelings about this is that i would dedicate an entire section of my bookshelf just for jo's writing. the way she perfectly balances the differences between ghost and simon. the way he's stern and struggles, but doesn't lose his snark. the way he and reader support each other while still respecting each other and they're need for space. i'm so weak for this fic.

on the edge of the universe - @kil-g

✧ it's the world-building for me. it's the captivating atmosphere for me. there's just something so beautifully haunting here, and i am desperately clinging to every little piece of it. like i'm already feral for everything isa writes, and this is another excellent addition to the collection.

civ!reader kills someone out of self defense for the first time - @halcyone-of-the-sea

✧ had me hooked from the opening line and man was i on edge the rest of the time. i was panicking right there alongside reader, and the portrayal of her confusion and fear and anxiety was so well done. and ghost coming in to comfort her?? i was crying. so unbelievably good.

badly wrapped secrets - @mvtthewmurdvck

✧ i just-

"Thank you, for all of this.

He nods—short, and full of understanding, as well as signalling: you’re welcome."

i love them so much 😭

blood was its avatar - @halcyone-of-the-sea

✧ i was fighting for my life trying to read this without blushing like a sinner in church and ended up looking something like this-

and i damn near cackled like a witch at that ending LMAO

the roommate series || lover boy - @a-small-writer-in-a-big-world

✧ i knew nothing about this series going on and when i tell you i read through it with a swiftness. my skin is clear, my knees are weak, my livestock is fed. this fic (this whole series tbh) has reached in and wrapped around my heart in the best possible way.

illicit indulgences || the ghost of you - @floralpascal

✧ i am screaming. this is so...i don't know the right word. beautiful? stunning? gorgeous? all of the above? the captivating description of loneliness, the way ella manages to capture the stubbornness of ghost missing someone but refusing to admit to himself that he does. they're so perfect and in love and i'm just alskdaj

can you imagine someone threatening you - @mvtthewmurdvck

✧ you ever hear that phrase, so nice you reblog it twice? well i have, cause that's exactly what i did with this fic. it's the least i could do for the pure artistry of this fic. i love reader here, being so confident and capable and ghost being completely infatuated by her ability and so ready to kill anyone who disrespects her.

Valeria Garza

10 years too late on that, love - @writeforfandoms

✧ hello???? this was incredible???? i am??? slightly intimidated???? and in love??? with both valeria because she's mommy and with jen because she's such a wonderful writer and i am in awe of her talent.

#moth fic recs #fave fics #monthly fic recs

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alicepao13 · 7 months ago

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Hudson and Rex S06E15

So, as I’m sure a lot of people have already figured out, we just watched the intended season finale. CityTV, you better hope I never get to cross that ocean. I mean, every season finale aside from the two where Peter Mitchell was in charge (coincidence?) were run of the mill episodes which could have fit anywhere in the season. Maybe it will be fitting for this season to start and end with viewers wondering what they watched. But I’m getting ahead of myself here and I might be wrong. Let’s focus on 15 which may very well be the best episode of the season for me, probably tied with S06E04.

The spoiled scene with Charlie and Sarah’s mentioned anniversary. Rex totally wants to stay with Jesse after their “celebration”. I’m trying to figure whether Jesse is pretending to be naive or is actually being naive about it. Or if the whole response is the writers being unable to outright say that Charlie and Sarah really spent their anniversary having sex all night.

Speaking of, two years, Charlie Hudson? What are you waiting for, an epiphany to hit you in the head? Oh, wait.

What do you mean, we didn’t save the day? There’s a dead woman? Huh?

Nice bomb explosion by the way.

“My bosses are gonna hate this but tell me more”. lol Jesse

How did we end up as security detail for the woman who might become prime minister?

Look, I like when there’s a case where they’re toying with supernatural elements. That’s why I loved Castle so much. And Jesse is always eager to believe. Charlie on the other hand looks like he’s got tons to say on the subject. Rex too. Apparently he doesn’t believe in time travel either.

Any so called time traveler should come back to the present with the numbers for the lottery. That would be ample proof for me :P

Can I say how much I like the camera work on this one? Good directing by John Vatcher.

Rex is getting so many pats in this episode. Deserved.

This campaign manager is on par with the Veep campaign managers. And by that I mean he’s ruthless and self-centered and I want to punch him.

That food now possibly has dog hair in it.

I come from a country where it’s pretty normal to put a musical montage right in the middle of an episode (even a dance number), so I’m not going to say anything about the needless song.

Thunk! There goes Charlie. Again. I’ll spare y’all the concussion speech. Besides, time moves in mysterious ways in this show, maybe it’s already been six months since episode 11.

Seriously, why do you tell Rex to chase a lead if you can’t survive being ten feet away from him?

I can’t remember the last time any of my shows put a bomb vest on one of the main characters. The latest that I remember was FBI but it was on a minor character. That had been a great episode too.

I haven’t yet decided whether that bomb vest looks too amateurish. To be fair, given who the culprit was, it shouldn’t look professional.

Sarah finding Charlie as he has a bomb vest on is like, the best thing that has happened lately on this show. Her look. His look as he realizes that he’s got his entire family now in this (and the mantra of no, no, no that must be playing in his head, I’m filling the blanks, don’t mind me). The slight zooming in of the camera in both of their shots, denoting the direness of the situation.

I was almost waiting for Charlie to say “this isn’t as enjoyable as it was last night” as Sarah was touching him while she’s checking the bomb vest. It writes itself, come on.

In my last review post I wrote that I was hoping the earphones would serve for Charlie to call Sarah and tell her goodbye or something like that. This certainly exceeded my expectations.

We’re a bit late for love confessions under duress but when Charlie was asked about whether Sarah was his wife and he replied “Not yet”, that was a nice moment. At least we know where his head is at.

Their silent communication. They’re so in sync.

Elsewhere, Joe and Jesse are quietly trying to figure out a way to save innocent people and somehow not get their friend blown up.

Superintendent Joe Donovan making airplane noises. I laughed so much.

They are holding hands as they’re walking to their doom! Oh, by the way, interesting music choice. I wonder if it’s score created for the show or non-original music. I’ve certainly not heard it before on the show.

Goodbye kiss! I love it here. And look at the shot of Charlie and Rex leaving as Sarah is staying behind.

Me: no way it’s the convict. Five minutes later: it’s the fucking convict!!! Ten minutes later: it’s not the convict???

Ha, Charlie using the mute button which is pretty convenient but almost no one uses on calls.

Okay, they fooled me with the bomber. But the takedown went pretty much as I expected. Nice communication with Rex through hand signals, again. Although the detonator flying off the lady’s hand… anything could have happened.

Rex’s influence to the system will be more K9s lol. They may also have ensured unlimited funding for the SJPD.

Can the time traveling guy tell us if Charlie is going to propose anytime soon? Or is the “not yet” considered a non-proposal proposal?

This is the first time I’m hearing about the so called Alice in wonderland syndrome.

“Everybody needs a Rex”. Ah, yes. Our catchphrase.

Charlie, put the phone down. When is that man clocking out? Who’s going to make sure Rex is getting adequate rest? I need to talk to his superior. Joe!

Well, I kept saying that I wanted Charlie and Sarah to be in danger again together since they hadn’t after they had become a couple, and I got my wish, thank you, show. We could have had an aftermath scene with them but I’m not going to complain about it in an otherwise good episode.

Promo: I’m beyond frustrated that they keep shuffling the episodes and they wouldn’t even give it a rest when they got the season finale or the 100th episode on their hands. Today’s (yesterday’s) episode would have been a better 100th episode than The Rookie’s for sure (which is embarrassing for The Rookie). But instead we get to watch it as episode 99 and have a run of the mill case for the 100th, which, unless it ends up in a huge celebration scene, is going to fall flat. We basically end off exactly as we started, expect I now know this is 100% CityTV’s fault.

Speaking of, is CityTV even going to acknowledge that it’s the 100th episode? Is anyone? I’m obviously not expecting the magnitude of promotion ABC gave The Rookie or 911 this season (and that was a lot) but something that shows they’re not completely neglecting Hudson and Rex. It doesn’t seem like we’re getting renewal news anytime soon, so I’d settle for them celebrating the episodes they already filmed. There are quite a few production companies involved too, this does not only fall on CityTV. If Shaftesbury wants to celebrate this milestone, I won’t say no.

#hudson and rex

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marvel-starwarsfangirl · 7 months ago

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Ep. 13 "Into the Breach" Review

This was another fantastic episode that packs so much into its 25 minute runtime. Seriously, the finale better be like an hour. I feel like there's so much we have to address, yet so little time. My faith in you doesn't waver Jennifer; you've guided us through thick and thin. I will say that Rampart is surprisingly a really fun character to revisit and I enjoy watching him interact with the Batch. This man doesn't learn, but he's funny now so I give him kudos for entertainment purposes. I loved the dark atmosphere as the finale draws nearer and near. This is the end of the Bad Batch. We know it and they know it.

As usual, spoilers below:

MAMA ECHO RETURNS!!! After so long, he graces us with his appearance and he serves. I loved everything from his action sequences to his sass. Watching him sneak around the Imperial ship, rolling off of crates and working his magic was awesome to watch. That's why he's the Arc Trooper. And boy was he funny too. If it were possible, Rampart would've definitely be set on fire. Between being told he was being demoted to being denied the title of "sir," Rampart was demolished by Echo. It's just so good to see Echo again. I love him so much for his kind heart, quips, and awesome action sequences. The writers delivered!

Rampart, Rampart, Rampart... what will we do with you? He certainly hasn't changed and probably never will. But honestly, I kinda hope he doesn't. Sometimes, people are just aholes who do the right things for the wrong reasons. Rampart provides an interesting moral perspective. And he's still hot. Seeing him cleaned up in the uniform didn't help either. I'm a simple woman guys. He's also hilarious and I love it. Rampart's ego is so big that he unintentionally comes across as whiny and comical. Going forward, I seriously wonder what they'll do with him because he's going to Tantiss. Will he get dropped off? Sell the Batch out? Die in the battle that is to come? Next week will tell. I'm glad he was brought back though. He did his job as a villain well. Now, we get to see him in different situations and it's fun.

Omega, my sweet bean, hang in there. This episode does so well in establishing just how much she's grown over the past few seasons. Omega's always been resourceful and clever. Seeing her scheme to escape the Vault was exciting. You can also see the influence her brothers, particularly Hunter, have had on her. Omega's become more confident and mature. She's a leader in every sense of the word. The other kids look to her for guidance as she plans an escape. I also want to give the other kids a huge hug; I can't imagine what it must be like for them. It's one of the darkest things we've ever seen in Star Wars. Also, Emerie and Scalder rivalry definitely is gonna end with Emerie's true motivations being discovered. Scalder's not gonna let her allow Omega to slip away.

And seeing the boys strip their armor of all their color... that was legitimately heartbreaking to watch. I see it as a symbol of finality. There is no going back once they get to Tantiss. Hunter's "negative" just cements that. The last 5 minutes of the episode were so tense as the boys hitched a ride. As a my discord friend put it, "all roads lead to Tantiss."

There were a lot of smaller moments I enjoyed too. Wrecker was pretty funny this episode. Crosshair and Hunter voicing their trust in Echo was sweet. It furthers just how much the Batch truly trust and know each other. It's that implicit trust that makes me love their dynamic so much.

Anyways, that's all for now. We're truly in the endgame guys. After so long, we've finally made it to Tantiss. All that's left is to get Omega, the children, and escape which is so much easier said than done. I'm so scared yet excited for what's to come. See y'all next week!

#star wars #the bad batch #tbb crosshair #tbb hunter #tbb echo #tbb wrecker #tbb omega #tbb rampart #tbb season 3 #tbb spoilers

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graysoncritic · 6 months ago

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A (Negative) Review of Tom Taylor's Nightwing Run - What Went Wrong? Barbara Gordon

Out of this entire essay, this was the section that I considered cutting entirely. After all, in the past there have been instances when Barbara Gordon and her romance with Dick Grayson have been weaponized by Taylor and his fans against his critics.

The example that comes to mind was when Taylor and Redondo were criticized for not including Duke in a Nightwing cover that parodied The Brady Bunch.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Battle for Bludhaven’s Heart Finale. Nightwing: Rebirth. 96, e-book ed. DC Comics, 2022)

Personally, I believe that, while discussions of how Duke’s positioning in the Bat Family is warranted, the matter was blown out of proportion, and many of the attempts to cancel Taylor crossed the line into harassment (make no mistake, while I believe him to be a terrible writer, I do not wish him any ill-will). That being said, Taylor also escalated the matters when attempting to pin said negative comments onto DickKory shippers who did not like that he wrote DickBabs.

(While the original Tweet has since been deleted, the screenshot used is available in this tweet

Neb | 🏳️‍🌈 [@NebsGoodTakes]. Twitter, 20 June 2022, https://twitter.com/NebsGoodTakes/status/1538939571789934593)

For this reason and this reason alone, I considered removing this part of the essay. While I have no idea if anyone will read this monstrosity, I did not want my arguments to be invalidated simply because I did not have a favorable opinion on the DickBabs.

However, after much consideration and numerous discussions with other Dick Grayson fans, I found that the subject of Barbara Gordon’s portrayal in this run (as well as in many recent DC media), and her romance with Dick perfectly embodies many of ideas I wish to explore in this essay — mainly, how shallow approaches to progress ideals create deeply problematic narratives that not only undermines the themes of a story, but they also destroy characterization.

I will start by once again stating that I do not believe this is a problem unique to Taylor’s writing. As I alluded to above, I believe DC’s modern portrayal of Babs does a great disservice to her wonderful, empowering, complex character. This is but the analysis of one of the stories she appears in. It is my hope to prove that in Taylor’s Nightwing, Barbara Gordon is not written as a woman with a strong sense of self and an internal life, but rather idealized girl whose existence revolves around the men in her life, and whose perfect yet shimmering depiction serves only to make her into the reader’s proxy-girlriend.

Barbara Gordon in the late 90s and early 2000s was a mature and confident woman in her late-20s to early-30s. She had her own job, her own friends, team, villains, and the type of confidence that can only come with age and experience. She was serious while still having a sense of humor, pragmatic, and she knew exactly what she wanted for herself.

(Gail, Simone, writer. Bennett, Joe; Barrows, Eddy, illustrator. Perfect Pitch: Part One. Birds of Prey. 87, e-book ed. DC Comics, 2005. pp. 22)

She was also flawed. She could get angry at people for little reason, she could be too cold or too straightforward without considering the other person’s feelings, she could be purposefully petty and selfish, she could get unreasonably jealous, she was impatient, she could be too proud to admit when she was wrong. It was all of these factors which allowed Barbara Gordon to be her own person — to be a fleshed out, well-rounded woman.

(Dixon, Chuck, writer. Leonardi, Rick, illustrator. The Gun. Birds of Prey. 39, e-book ed. DC Comics, 2002. pp. 16)

Babs’ life did not revolve around Dick. Yes, she loved him, but she still had some interiority. She had a life outside of Dick Grayson, outside of Bludhaven, outside of Batman, and outside of Oracle. She had her own goals, her own dreams, her own likes and dislikes that worked independently of the men around her. She had her own history that informed her decisions, she had both positive and negative relationships with other women and those relationships were not dependent on her connections with Dick or Bruce.

(Gail, Simone, writer. Timm, Bruce; Lopez, David; Melo, Adriana, illustrators. A Wakeful Time. Birds of Prey. 86, e-book ed. DC Comics, 2005. pp. 02)

By comparison, Taylor’s Barbara is not a woman, but a girl. She is very young and very immature. If Dick is written like a young man who just left home and is experiencing adulthood for the first time, then Babs is written as his girlfriend who is still in college and does not have concrete plans for her future.

Note that when referring to Taylor’s Babs, I mainly characterize her through her relationship with Dick. That was intentional. While writing this essay, I struggled to think of Barbara having any meaningful interactions with characters who were not Dick or Dick’s friends, the Titans. I also struggled to think of her doing something for herself rather than for Dick and the Titans. I struggled to define her goals independent of Dick, I struggled to describe the plans she has for her future that do not revolve around her relationship with Dick, and I struggled to give an account of what she does in her spare time when she is not helping Dick, Nightwing, the Titans, or Batman. That is because everything in Barbara Gordon’s life, as written by Taylor, is constructed around Dick (As many may know, it is really hard to prove a negative. How can I get supporting evidence from the comics that Babs does not have a life outside of Dick Grayson when my argument comes from those factors not existing? For this, though I hate to do so, I’m afraid I’ll have to rely on the reader’s familiarity with the run being discussed).

Barbara is a constant presence in Taylor’s Nightwing run. She is a secondary protagonist, and she is often portraying helping Dick Grayson behind the scenes,

(Taylor, Tom, illustrator. Redondo, Bruno The Battle for Bludhaven’s Heart Part Two. Nightwing: Rebirth. 93, e-book ed. DC Comics, 2022 pp)

Helping Nightwing as Oracle,

(Taylor, Tom, writer. Redondo, Bruno, illustrator Leaping into the Light Part 4. Nightwing: Rebirth. 81, e-book ed. DC Comics, 2021. pp 19)

Or fighting by Nightwing’s side as Batgirl.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. You are Nightwing. Nightwing: Rebirth. 105, e-book ed. DC Comics, 2023. pp. 05)

She is always present, she is always doing something… But all of that is in the service of the men around her rather than for herself.

As Dick Grayson Fan A pointed out during a discussion, “Modern Babsgirl is forced to be perfect at everything. She's never allowed postcrisis Babs' edges, her flaws and intrinsic motivations. Taylor's Babsgirl is designed to be the perfect girlfriend for his blank self insert Nightwing. There's no meat to her bones, she's just shimmer and gloss.” (The subject of Babs came up when DC announced the lineup for Birds of Prey (2023) and Babs was not included on the roster.)

In other words, Babs as portrayed in Taylor’s run lacks any bite, edge, and maturity that would make her feel like a woman with her own sense of self and with a life that is not dependent on her boyfriend. Babs’ portrayal is a shallow girlboss-type of feminism, where though Babs is powerful and intelligent, she is not allowed to be a real person for she serves no purpose other than to be the perfect, understanding, badass girlfriend.

As a result, Dick and Barbara’s relationship becomes hollow. Because Babs lacks interiority, individuality, and agency, she becomes a flat character. This, in turn, makes it so it is hard to understand why Dick and Barbara are together other than for the fact that DC mandates it. The over reliance on the childhood friends-to-lovers trope only increases this hollowness rather than fleshing out their relationship. While Taylor includes flashbacks of Dick and Babs as friends when children, growing up together as teenagers, and fighting together as Robin and Batgirl, those instances feel removed from their individual histories. These moments exist in isolation, removed from the context of the rest of their lives, be it together or separately.

(Taylor, Tom, writer. Redondo, Bruno, illustrator The Battle for Bludhaven’s Heart. Nightwing: Rebirth. 92, e-book ed. DC Comics, 2022. pp 06 - 07)

DC currently treats Dick and Babs as a foregone conclusion. As a result, Taylor does not make an effort to get his readers on board with the relationship because he assumes that they should already support it. Dick and Babs are portrayed as getting along great, never having had any conflict, tension, or disagreements. This idealized romance would not necessarily be a problem if it didn’t come at the expense of developing Dick and Barbara as individuals outside of their relationship. They are not one being, but two separate people coming together. They should be written as such, but in trying to create the perfect relationship, Taylor robs Dick and Babs of their identity outside of their romance.

Not only does this inseparability that Taylor attempts to portray as “charming” destroy Dick and Babs’ individuality, it can also be downright insulting. In #106 Taylor infantilizes Dick when making it so Babs needs to be the one to wake him up so he can start his work as Nightwing.

As I mentioned previously, Dick is known for his toxic perfectionism, his obsessive tendencies that often come at the cost of his health. Making Dick laze around in bed while people need his help and having his girlfriend tell him to get ready for the day, as if she was his mother and he was a teenager who did not want to go to school in the morning, is not only out of character, it also diminishes Dick’s competence. It makes it seem like he cannot function as a responsible adult without Babs being there to hold his hand through everyday difficulties.

Not only that, the scene also plays into incredibly sexist dynamics where women are expected to carry the domestic labor in a relationship — the man cannot keep track of his own schedule, and so it becomes the woman’s responsibility to attend to his needs. What was intended to be a “cute” scene portrays Dick as being immature and irresponsible, and portrays Babs spend her time keeping track of an adult man’s responsibilities.

(Taylor, Tom, writer. Byrne, Stephen, illustrator. The Crew of the Crossed Part One. Nightwing: Rebirth. 106, e-book ed. DC Comics, 2023. pp 08)

This unhealthy codependency further insults Dick when, in #107, Babs demands Dick come back home as he is about to help his ex, Bea. Rather than believing Dick’s capability as a vigilante who has been operating in the field for far longer than she has, Babs shows her complete lack of faith in Dick’s ability to get anything done by himself by telling him that she “wants him home now.”

(Taylor, Tom; Byrne, Stephen The Crew of the Crossed Part Two. Nightwing: Rebirth. 107 e-book ed. DC Comics, 2023. pp. 19)

This is a great contrast to Nightwing (1996) #66, where Babs encouraged Dick’s independence and had full trust in his abilities to take on such difficult challenges on his own. When Lockhaven goes up in flames, Babs trusts Dick to be able to handle the situation by himself, even though she also knows that Dick’s mind is greatly preoccupied with Bruce and the murder of Vesper Fairchild. Indeed, in the next issue (not part of Murderer/Fugitive, but happening simultaneously to it), Dick does handle the Lockhaven fire by himself, without requiring any assistance, before returning to Gotham to help with the investigation that should clear Bruce’s name.

(Dixon, Chuck, writer. Burchett, Rick, illustrator. The Unusual Suspects. Nightwing. 66, e-book ed. DC Comics, 2002. pp 18 - 19)

This healthy separation and this unconditional trust not only portrayed Dick and Babs as both trusting each other’s abilities as heroes — Dick did not worry about Babs’ capability of taking care of herself, and Babs knew Dick could handle his own — it also portrayed them as being more secure in their relationship. They were individuals first. They had their own independent lives and personalities outside of their romance. They trusted the other’s ability to win on their own and handle their own cases without help. And that, in turn, made it so that they could stand on their own, and so that their relationship did not feel so vulnerable.

That being said, it wasn’t as if previous depictions of Dick and Babs didn’t present them with hardships, or demonstrated how, at times, they could bring out the worst in each other. As much as they could compliment one another, Dick and Babs could also disagree, get into arguments, and even fights. That is because they were individuals first, with their own opinions, preferred way of doing things, and their own background that would sometimes come in conflict.

Taylor avoids having meaningful conflicts in his story. While this negatively affects his narrative in a myriad of ways, the lack of the conflict in the plot also affects the relationship between Dick and Babs. It is fine to have a wholesome, sweet romance, so long as it is balanced with a plot containing other forms of tension. This way, the relationship can be a safe harbor for the main characters, the one space in their lives where they can be safe, and the one source of strength they can draw upon when facing the challenges ahead. By balancing a conflict-filled plot with a wholesome romance, the stakes of the plot feel higher while the romance feels sweeter. They foil one another to create a cohesive and unified story.

In Taylor’s Nightwing, all major plot beats take a backseat to the sitcom-like relationship between Dick and Babs. The lack of conflict in the plot and the lack of conflict in the romance makes it so everything is stagnant.

I do believe that Taylor thought he was writing a “Will-they-won’t-they” style romance in the beginning of his run. In Nightwing #95, for example, Batwoman implies that the reason Dick and Babs aren’t together is because Dick and Babs are scared of crossing that line.

(Taylor, Tom, writer. Redondo, Bruno The Battle for Bludhaven’s Heart Part Four. Nightwing: Rebirth. 95, e-book ed. DC Comics, 2022. pp 17)

Wally also played into that idea when, in #91, he pointed out that Dick and Babs were already together and just needed to make it official.

(Taylor, Tom, writer. Redondo, Bruno, illustrator. Get Grayson Act Three. Nightwing: Rebirth. 91, e-book ed. DC Comics, 2022. pp 19)

More than that, I believe Taylor attempted to make a commentary on comics imposing needless conflicts in relationships to keep two characters apart. In Taylor’s view, Dick and Babs were always in love, always meant to be together, and never had a complicated history that prevented them from rekindling their romance when Dick is trying to regain some control over his life after recovering his memories. This shows a lack of understanding as to why Dick and Babs often break up and does a disservice to both their characters.

Now, to explain this, I’ll borrow heavily from a private discussion I had with a Dick Grayson Fan A once distinguishing the difference between external and internal conflicts in a romantic plot. While we were not talking Dick and Barbara then, much of what we said still applies to their relationship.

External conflicts, as the name suggests, involve external forces that keep the couple from being able to develop their relationship despite their mutual feelings for each other. This is the case with a romance like Clark and Lois. Given Babs’ laugh at Dick’s condescendingly sexist claim that Babs shouldn’t be with him because it is too dangerous (as if he doesn’t know very well that Babs can easily take care of herself), it seemed that Taylor believed that this was the conflict that has been keeping Dick and Babs apart. And so, with one panel, he dismissed the idea that external forces could keep Dick and Babs apart because they are able to face their enemies together.

(Taylor, Tom, writer. Redondo, Bruno, illustrator Battle for Bludhaven’s Heart Finale. Nightwing: Rebirth. 96, e-book ed. DC Comics, 2022. pp. 17 - 18)

But in the past, what broke Dick and Babs up were not external conflicts, but internal ones. If external conflicts are created due to external forces, internal conflicts preventing a couple from being together come from the characters not yet being who they need to be in order to be happy together. This can be due to a clash of personalities, worldviews, needs, wants, or goals. To prove my point, I want to look at Dick and Bab’s break up in Nightwing (1996) #87 and the Nightwing Annual #02. (I’ll be honest in saying that it pains me to cite Nightwing Annual #02 in this essay, for I absolutely detest it. I believe Dick is written incredibly out of character and it, quite frankly, captures one of my major problems with how some writers choose to depict DickBabs. In trying to prop Babs up, Dick gets knocked down and ridiculed, and often burdened with the full responsibility as to why Dick and Babs haven’t been able to get together due to timing and Dick’s immaturity. As such, writers make it so Dick and Dick alone must change in order to become a partner worthy of Babs. They greatly mischaracterize him, fault the failures of Dick and Babs’ relationships on those mischaracterizations, and then portray Babs as the patient woman waiting for her immature soulmate to grow up. This is both an insult to Dick’s character and a propagation of sexist tropes where a woman must put her life on hold in order for the man to “catch up” to her maturely. Not only that, it unfairly requires that only one party makes changes for another. It is not Dick and Babs that must change for each other, but Dick who must change for Babs.)

Just as Taylor uses Dick and Babs’ shared history to bring them together, their breakup explores how shared history can make being together so difficult.

In Devin Grayson’s run, their shared history can be painful to Babs. Not because she doesn’t look back on their time growing up together fondly, but because it was such a happy time in her life that it makes her feel bitter about what she lost. While she is incredible as Oracle, she is still frustrated that she can't be Batgirl anymore. The past, no matter how good, is a reminder of what she can no longer be, and Babs wants to move forward. So Dick bringing up their time as Robin and Batgirl, however fondly, is painful for it makes her feel like they are stuck in the past they shared rather than moving forward together.

(Grayson, Devin, writer. Zitcher, Path, illustrator The Calm Before. Nightwing. 86, e-book ed. DC Comics, 2003. pp 21 - 22)

But to Dick, the past you share with someone is what makes your relationship in the present special. The past informs the present and the future. Dick, much like Bruce, doesn’t move forward by disconnecting himself from the past. His parents are part of his past. So is Robin. His childhood with Bruce. The past is something good to Dick, even when it's also so filled with pain. Dick is not shackled by his past the way Bruce is because he does not see it as something that needs to hold him back. You can move forward while still embracing who you once were and honoring the legacy you carry on your shoulders. The past informed who Dick is now, the relationships he has, and the person he wants to be. The past is where much of what he loves exists. So when he brings up their shared history when talking to Babs, he is not doing it because he loved Batgirl but cannot love Oracle, and he is not doing so because he is just focused on who they were then and not who they are now; he does it it's because to Dick, there's no such distinction between Batgirl and Oracle. They are both Babs, and he loves both of them.

(Grayson, Devin, writer. Zitcher, Patch, illustrator. Snowball. Nightwing. 87, e-book ed. DC Comics, 2003. pp 16)

The way Babs copes with trauma is by divorcing herself from the hurt, by letting go of who she was and embracing who she wants to be. Dick, on the other hand, merges who he was then with who he is now. He doesn't see those people as separate entities, but rather as extensions of him. And that makes sense when you consider that Babs' main trauma relates to something that was taken away from her, and for Dick, the only way he can remain connected to his parents is through the past. It's a great example of incompatibility. Neither one is "at fault" for how they view this issue, neither of them is more correct than the other. They are just different. They care for each other, but the way they understand and interact with the world prevents them from being happy together at this moment. For that to work, internal change is needed.

In portraying Dick and Barbara as complex individuals first, who have different attitudes towards looking back at the past and looking forward to the future, Grayson managed to make their relationship feel real. There’s a weight to their breakup, you can see why they care for each other and why this decision is painful and not taken lightly. They love each other, but they are not in a place where they can be themselves and be happy together yet. It is not danger that keeps them apart — it is the very same differences which they admire most about each other which pushes them away.

In Nightwing Annual #02, we see other reasons why Dick and Babs failed to come together so often. These included Babs being scared of Dick eventually leaving her due to tensions between Dick and Bruce

(Andreyko, Marc, writer. Bennett, Joe, illustrator Hero’s Journey. Nightwing Annual. 2, e-book ed. DC Comics, 2007. pp 22 - 23)

Timing,

(Andreyko, Marc, writer. Bennett, Joe, illustrator Hero’s Journey. Nightwing Annual. 2, e-book ed. DC Comics, 2007. pp 25)

And, perhaps most importantly, the way in which Dick devalues his own life.

(Andreyko, Marc, writer. Bennett, Joe, illustrator Hero’s Journey. Nightwing Annual. 2, e-book ed. DC Comics, 2007. pp 37 - 38)

This is something Grayson also alludes to during her run, when she often portrays Babs being both worried and frustrated at Dick’s tendencies to push himself too far.

(Grayson, Devin, writer. Zitcher, Patch, illustrator Snowball. Nightwing. 87, e-book ed. DC Comics, 2003. pp 13)

In both Grayson’s run and the aftermath of Infinite Crisis, the toxic perfectionism referred to many times during this essay led Babs to break off their relationship despite their mutual love.

Having lost the mobility of her legs due to the Joker, Babs sees her life as Oracle as a second chance, and one which she will use to its fullest by putting herself first. It makes sense, then, that she sees Dick’s self-sacrificing tendencies and his desire for approval as both concerning and irritating. As Dick constantly puts himself in near-death scenarios for even the smallest of things, Babs decides that she would rather wait for a time when Dick learns to value himself more rather than to continue in a relationship where she is the only one who cares about whether Dick lives or dies.

Whether this is the right solution to their relationship is up for debate. Personally, it irks me that stories will often frame this as Dick having to mature to be with Babs and not place an equal burden on Babs having to learn to accept that this is just who Dick is. But that is irrelevant to this discussion, for what matters is that there have been plenty of reasons why Dick and Babs did not work out in the past, and those are almost always rooted in who they are as individuals struggling to perfectly fit together as a unit. Dick and Babs have a messy history, both as individual characters with their own stories, and together as friends and romantic interests. They are two different people who, although their morals align, approach life differently. The development in their romance, then, comes with how willing they are to change for the other, and how willing they are to accept the things that cannot — and should not — be changed. It is about a balance of give and take, and when Babs and Dick broke up in the past, it was because they were not able to find that balance. It is because they, as individuals, clashed. As Fernando Gabriel Pagnoni Berns and Cesar Alfonso Marino put in their essay analyzing Dick’s portrayal in the Batman Family (1975-1978) series, Dick and Babs will often find themselves in “point[s] of inflection which marks that both heroes must go their separate ways to avoid further tensions (developed by sexual attraction and/or problems about leadership).” (Pagnoni Berns, Fernando Gabriel and Marino, Cesar Alfonso “Outlining the Future Robin: The Seventies in the Batman Family.”Dick Grayson, Boy Wonder: Scholars and Creators on 75 years of Robin, Nightwing, and Batman edited by Kristen L. Geaman, McFarland & Company, Inc., Publishers, 2015, pp. 32)

In other words, it was about interior conflicts, not exterior ones.

When taking this into consideration, one can see how Taylor’s portrayal of Dick and Babs’ relationship is not only incredibly hollow, but incredibly cynical. Because Taylor removed Dick’s self-destructive, toxic perfectionism, that is no longer a point of friction in their relationship. Because Babs is no longer the pragmatic woman who doses out tough love, that is also no longer a point of friction in their relationship. But as a result, Dick and Babs are no longer themselves, and their relationship is no longer representative of their shared history. Instead, we are left with an insulting and purposeful misrepresentation of their past relationship, with Taylor displaying a blatant disrespect and disregard for anything his predecessors contributed to these characters. Dick and Babs were never apart because of danger. Dick would never condescend to Barbara in this manner, and Barbara would never let something so trivial go unchallenged or get in the way of what she wants. What got in their way was a matter of compatibility. They may compliment each other in the field, be great friends, get along well, but in previous attempts to make their relationship work, they found that they were simply too different to share a life together, their goals did not align, and their approaches to life did not work together. Getting and staying together was not a matter of external factors, but rather whether they could do the difficult internal work necessary to make their romance last.

I want to make it clear that I actually love the childhood-friends-to-lovers trope. But what makes friends-to-lovers interesting is the fact that it creates inherently messy romances. If you two characters who have loved each other for so long, then they naturally have a history. They have seen each other at their best and at their worst. Yet, insecurities, timing, and compatibility keep them from being able to get their happily-ever-after. That creates a messiness that adds weight and meaning to the relationship. Seeing them overcome these challenges, become better individuals, and then finally come together is what makes the narrative so effective.

Dick’s and Babs’ romance, as currently portrayed, lacks that weight. Taylor and DC want that history, that “true love” aspect of their relationship without acknowledging the complications that come from having lived so many years in close proximity. In other words, they want the appearance of a long shared history without acknowledging the contents of said history. This robs both Dick and Babs of their individual personalities and backstories, for it is there where the source of their conflicts lie. All of the things that make them interesting individuals are sacrificed for the heteronormative DickBabs amalgamation. There is no Dick Grayson. There is no Barbara Gordon. There is only a happy, wholesome, smiling couple of nothingness — as it was put earlier it is all “shimmer, gloss, and no substance.”

And this does not affect only them.

In making Dick and Babs inseparable, Babs has become heavily involved with the Titans. This leads to the majority of Babs’s interactions in the current canon to be with Dick’s friends. And because, once more, Taylor skirts away from conflict, that means that all of Dick’s friends have become Babs’ friends. However, by making Babs friends with all of Dick’s female friends, Taylor created a shallow girlboss feminist narrative where all of these women’s individual personhoods are reduced their relationship to one man. He does not take into account who they are, only their gender and their mutual connection to Dick. In trying to do a girl-boss feminist empowerment, Taylor instead creates a deeply misogynistic narrative.

Kory and Babs, for example, should be allowed to dislike each other despite being on the same team. They are, after all, supposedly fully realized women with their own personalities, values, and goals. Their existence is not dependent on Dick Grayson or their romance with him. Real world women dislike one another for various reasons that are unrelated to men. Male characters often hate each other without it being because of a woman. So why can’t the same be true for female characters?

To attempt to make Kory and Babs friends simply to undermine expectations because one of them is Dick’s ex and the other one is Dick’s girlfriend is not empowering. It sacrifices characterization for the purposes of subversion.To think of the dynamic between these two characters in terms of their relationship with Dick reduces their existence to a man by implying that the only possible reason they could dislike one another is because of said man. It is not due to different value systems (which would be incredibly reasonable given their different background and cultures), it is not because their personalities clash (as they are two different people), it is not because their likes and dislikes may contradict (once more, because they are two different people). All the things that would make them realized individuals with agency are ignored in favor of focusing on their relationship with Dick.

Babs is a cisgender, straight, middle-class white woman from New Jersey. Kory is a warrior Princess from a different galaxy. It would not be unreasonable to expect their opinions to conflict when their backgrounds, upbringings, and experiences also differ. After all, those are things that shape our value system, dictating our perspectives.

Having different values or different ways to express your opinion does not mean that one is right and the other is wrong. It does not mean one is superior to the other. It only means they are different. Diverse. To believe one must be correct and the other must be wrong is to fall into the traps of ethnocentrism. By making Kory and Babs values indistinguishable, the story implies that there is only one correct way to interact with the world. This eliminates diverse perspectives in favor of a monolithic one. The fact that Kory's culture is the one that is ignored so that they are compatible with Babs implies that Babs – the cisgender, straight, middle-class white woman from New Jersey – is the one whose culture and world views are correct and, therefore, superior.

Dick’s relationship platonic relationship with Donna is also devalued and watered down in favor of Dick and Barbara’s romance. Because Dick and Barbara are depicted as having been each other’s best friends since childhood — when, in reality, Dick was closer to Donna during his preteen and teenage years, and Donna is often portrayed as his best friend — Donna’s place in Dick’s life is replaced by Babs. Babs must be everything to Dick — his true love, his longest childhood friend, his one female best friend.

This creates a narrative in which Dick cannot have a significant interaction with another woman without it being a threat to his relationship with Babs. Needless to say, this is an incredibly heteronormative worldview which implies that men and women who are not related cannot share deep and significant platonic intimacy without some underlying romantic tension. So naturally, Donna cannot he Dick’s longest friend, his best friend, because in the heteronormative world portrayed in Taylor’s run, that would mean that she is a rival to Babs.

Perhaps it is for this reason that Melinda was revealed to be Dick’s sister so soon into her introduction. If Melinda and Dick were not related but were still meant to interact with each other, that would create a bond that some might see as romantic or sexual. So by presenting Melinda as Dick’s biological sibling within moments of the two first interacting, Taylor strips Melinda of any romantic or sexual appeal. In this heteronormative world, only by being related can Dick and Melinda share intimacy without threatening Babs’ position in Dick’s life.

Needless to say, this heteronormative worldview which only allows for the relationship between non-biologically related men and women to be seen through lenses of romance and sex is also a misogynistic, male-centric worldview. In this story, women are not treated as people and are instead perceived solely through their relationship to Dick Grayson.

#nightwing #anti tom taylor #anti dickbabs

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