#they're in san francisco

[schizoprophet]

flickr

[starry-bi-sky]

Part SEVEN of "Clone Danny"

Red Robin, Danny recognizes, steps away from him as he sits up. "My name is Phantom," he signs, blinking the exhaustion out of his eyes. (From Red Robin's perspective, it looks like he has no eyes. There lacks his signature green glow.) "I'm not a gang member, just an out-of-town vigilante."

Red Robin frowns at him, an uncertain grip on the bō in his other hand. "Phantom?" He repeats, no lacking amount of suspicion in his voice. "How can I believe that?"

Right. Yeah, okay, that's fair. Danny shrugs at him, and slumps against the wall. "Google search?" He gestures, he's been out in the daytime before and he's seen the news articles about him.

Red's eyes narrow at him and Danny simply draws his knees up and faceplants into them, half-listening to Red's murmurs into his comm while also trying to get some extra-shut eye.

("Oracle, can you pull up anything on a vigilante named Phantom? The guy here is claiming to be one." Tim says.

"On it."

"Is this Phantom wearing a white mask?" Bruce asks, his voice gruff like an aftershock. "There's a vigilante who shares the same name, but he resides in Illinois."

"Is this guy from that Amity city you visited ages ago?" Says Tim, before shaking his head. "Don't answer that. Yes, he's wearing some freaky mask. I said it reminded me of Hood's helmet for a reason."

"I've got something," Oracle interrupts, "Bats' right. as usual. The Phantom of Amity Park, not much stuff of this guy but he's only been out for over a year. Apparently, his rogues' gallery consists of ghosts."

"Oh great.")

"Look tell the Batman that I'm sorry for trespassing on his turf," He signs irritably when Red Robin eventually starts talking to (re: interrogating) him again. "It's not like I want to be here."

"How did you get in Gotham anyways?" Red Robin questions, batman was on his way to help deal with the situation but Tim doubted he wouldn't get caught up on the way with dealing with petty crime. "Your turf is nearly a thousand miles away from here."

"Two words." Danny deadpans, "Teleport ghost." (Red Robin winces sympathetically.) "I'm keeping this bastard in the thermos for a month for this alone."

(Danny was ignoring the slow-choking anxiety growing in his lungs over how he was gonna get home. He never takes his phone when he goes out, the risk of breaking it was too high. He had no way of contacting anyone to get him home.)

(He swallows the growing lump in his throat, and buries the feeling in the back of his mind.)

"Thermos?"

Danny unclips his Fenton Phantom Thermos off from his belt loop and shows it to Red Robin. "My ghost-catching device," He says with one hand, tilting it carefully for Red to inspect. "I wish I could say I made it, but its a FentonWorks invention."

(He wasn't sure if it was a smart idea to say who it belonged to, but saying it wasn't his probably loosened up any tracks on him, right?)

"Do you work with these Fentons, then?" Red asks, and something dark and shadowy flickers from the corner of Danny's eye. He glances over, and sees nothing, and his hackles raise.

(Either that was Batman, or a ghost, or Danny's mind playing tricks on him. He couldn't feel his ghost sense building in his throat, so he decided it was either the latter of the former.)

Danny snorts, quiet and gruff. "No." He clips his thermos to his belt again, stifling a smile on his face. "The Fentons hate me actually, I prevent them from catching ghosts themselves. Their son gives me their tech."

He had a cover story, so he might as well stick with it, right?

Batman shows up at that moment, appearing atop the little roof where the door is, and giving Danny a heart attack when he speaks in his low, rumbly voice like thunder rolling in, "Why would they hate you for that?"

Danny shoots up to his feet with a startled yell in his throat, clutching his chest as he whirls around and looks up. He nearly runs into Red Robin, and signs a few choice swears at the Bat.

"wow you're scarier in person, asshole."

"you didn't answer my question."

"Of course I didn't, you scared me." and Danny takes a trembling step back when the Batman jumps down and lands on the roof in front of him. He's faced ghosts before, but somehow the living is always scarier.

"But, um, the reason is a bit.. complicated, I guess." He says, fingers beginning to shake as his adrenaline wears off. God is he tired. He wants to go home. "The Fentons are the local ghost hunters and local crazies. I don't know if I can call them mad scientists because they're harmless to the living."

"But they're extremely anti-ghost. I've heard from their son multiple times the very unethical things they would do to ghosts if they got their hands on one."

Danny 'talks' a little more before calling it quits, even telling Batman that he can't tell him more without putting his identity at risk.

Plus, its getting harder and harder to hide his bone-deep exhaustion and his growing fear of being stranded in the most dangerous city in America with no way home.

"I would love to tell you more, believe me I'm dying to." Danny signs, shaky sarcasm dripping from his fingers. His hands are visibly trembling and he's withholding a slowly growing panic attack. "But I would like nothing more than to figure out a way to get home."

"Do you have no one to contact?"

"Sort of. But only one of them could probably come get me and get me back to Amity by sunrise. And I have no phone."

That one person being Ellie.

=====

Part 1 Part 2 Part 3 Part 4 Part 4.5 (Dani interlude) Part 5 Part 6 Part 7 Part 7.5 (Dan Interlude) Part 8

Taglist: @the-navistar-carol @thought-u-said-dragon-queen @gin2212 @youracearocroatneighbour @luckybyrdrobyn @deeplyconfusedbear @epilepticnerd @beautifulmomenttodrawblank @sara0055 @blusunkhild @letmesayfuxk (?) @latheevening226 @tkiesai @rosedasy @meira-3919

[indigosabyss]

Kamala, reading from a book called 'Fun Things To Know About Your Superhero Ship!': Who's most likely to kill a man? Sam: ... Miles: ... Kamala: Why are you both looking at me

[sodafrog13]

had to had to draw him w a boudin bread turtle

[pynkhues]

Really interesting point about Louis often minimising his actions and painting himself in better light while telling his tale. The problem is, that a large part of fandom tend to take everything he says at face value without critical thinking. Upon rewatching, I've noticed the disparities between Louis' voiceover and what's actually shown on the screen. The most jarring example would be Louis claiming he was being hunted and the next shot we see is Lestat looking at him with utter adoration lol. It's obvious that there was nth predatory about their courting.

There's one thing i can't stop wondering (and sorry if you talked about this before): in 1.03 Louis tells Daniel that because of his diet his libido was nonexistent and that was the reason why he wasn't having sex with Lestat and let his indulgence with Antoinette happen. However, later he was quiet eager and had no problem getting it up for Jonah. If he barely could hold a book how he was capable of having sex? I believe his libido was lower but he clearly wasn't impotent. Imo, the main reason why he wasn't having sex with Lestat- but did with Jonah- was because he was blaming him for "taking his life" and wanted to punish him by witholding sex and affection. He was also rejecting his vampirism and by extension Lestat.

I also wouldn't be surprised if once he started eating people again he also had sex with some of his victims like he did in S2, he just didn't mention it to Daniel. Apparently feeding flings are common for vampires and i don't think that neither of them would consider it cheating. Basically, I don't agree with the fandom opinion that Louis is more monogamous than Lestat and Armand. I think you're right and they all are sluts haha.

Lestat and Louis' courtship is definitely a good example of Louis framing something in a way that's both technically true yet articulated in a way that paints a less-than-generous picture. Like, I think there is a sort of element of a hunt in the way Lestat doggedly pursues Louis with the intent of getting him fall in love with him, haha, but it's a sort of hunt you'd probably use interchangably with the word chase or pursue. The use of the actual word hunt itself calls to mind a predator and prey in a way the other two don't, which isn't necessarily reflective of the dynamic that's happening on screen, like you said.

The word choice is such a deliberate one, and I think does a really good job of establishing Louis as an unreliable narrator. After all, the very nature of the interview being Louis recounting chapters of his life means that he's endlessly informed by everything that's happened afterwards. In a lot of ways, Louis needs to not just paint the picture that Lestat's a monster, but feel that he's one, because Louis needs to justify his own actions in the wake of that both to Daniel and to himself. He needs Lestat to be a predator so that he gets to be prey, and therefore blameless in all the carnage, because if that's not the case, if it's not their dynamic, then Louis is ultimately accountable too.

But yes! Agreed that the restricted diet / animal blood alone wasn't making Louis impotent - which Jonah is evidence of - although I do think it definitely would've impacted his sex drive. I agree with both your thoughts that it stems from Louis punishing Lestat, both for taking his life and I'd say for cheating on him in the first place, and as a manifestation of this rejection of his vampirism that Lestat is the physical embodiment of.

I'd add to it too that I think the withdrawal wasn't just a punishment and rejection of Lestat, but I think in some ways it was a punishment and rejection of himself too. Louis didn't want to open up their relationship initially, and I think the scene where he asks if he's enough is really telling of the deeper insecurity Louis has in his relationship with Lestat. Louis struggles with his sense of self, and at that point in the series had enormous issues of internal repression and external oppression when it came to both his race and his sexuality.

In a lot of ways, that feels partially aggravated by his relationship with Lestat, because their relationship being interracial adds - especially in that era, but arguably still now - its own degree of social taboo even outside of Louis being gay and Black.

In that sense, Antoinette, and Lestat's relationship with her, feels uniquely built to point out everything that's publicly quote-unquote 'wrong' about his and Lestat's own relationship. She's a woman, he's a man, she's white, he's Black, she's straight, he's gay, and together she and Lestat are a heterosexual, white, socially acceptable couple, while together he and Lestat are a queer, interracial, socially unacceptable couple.

Add to that Antoinette and Lestat having a shared language both in their whiteness and in music, which I talked about here, I think Louis withdrawing in intimacy and affection from Lestat was - on top of being punishing and a rejection - manifested by his own deeply held insecurities around what his and Lestat's relationship is. After all, if Lestat still wants her - if he still wants that - when he's with Louis, what's to say that he won't one day decide that the ease of that is worth more than the struggle of it with Louis?

I can absolutely see that having an impact on Louis' sexuality with Lestat, and I don't think it was coincidental that he's able to consumate with a man he shared his own language and identity with being both Black and gay, instead of with his white, bisexual husband.

[best-enemies]

I've reached season 5 on my CSI rewatch and I'm a few episodes past "Swap Meet", where a woman is murdered after attending a swing party with other couples from the neighbourhood. Near the end of the episode there's a moment that made me jump from my seat:

(Grissom walks up to Sara and takes the seat next to her. He's holding two cups. He hands her a cup of tea.)

[INT. POLICE DEPARTMENT - BRASS' OFFICE]

Erin Brady: Everybody fantasizes about other people. (She glances at Grissom.)

Even you, Mr. Grissom. A neighbor, a friend ... girl at the office.

[INT. POLICE DEPARTMENT - HALLWAY]

(The door opens. Paul Brady walks out of the hallway. Erin Brady walks out into the hallway. Sara is sitting in the hallway chair watching them. She watches as they meet and kiss.)

(Grissom walks up to Sara and takes the seat next to her. He's holding two culps. He hands her a cup of tea.)

LIKE!!!!!!!

Right after Erin ends her sentence with 'girl at the office', the first time Sara and Grissom meet again, he brings her tea. This might be an innocent interaction but to me it seemed like a nod to this relationship they have where both are into each other, know about the other's feelings, but can't/won't do anything about it (although Sara has kind of given Grissom an ultimatum). I don't know if it was intentional - I'm guessing it is, because I picked it up immediately. I might or might not have squealed in delight.

[thresholdbb]

Ok mutuals and people who are interested, which costume comes next next?

[blookmallow]

do we even know anything about the rest of the world in fallout. i know raul talks about life in postwar mexico a little but i dont remember ever hearing about anyone from anywhere else. i guess traveling long distances/overseas becomes very difficult if you dont have planes anymore (and vertibirds aren't super common/tend to explode so idk how far you could get with one)

i want to know whats going on everywhere else

[crinege]

reading early 19th century english crimis can be very fun but then you get hit by the most fucked up racism beam.

I can't even tell if these characters are supposed to be black or indian at this point, he used like at least 5 different slurs for them 😭

[aquaticxflames]

yogurt (original under the cut)

[captwiles]

I finished My Two Dads.

[illizstrations]

for being rivals, we sure do have a lot of ex dodgers on our team 🤔

[edge-oftheworld]

5sos bridge bracket part 36

🌉🌉🌉

refreshers under the cut

fly away:

i won't waste another day

wishing this would fade away

i won't waste another day

wishing this would fade away

san francisco:

we don't gotta say anything, don't gotta say anything

don't say a word at all, don't say a word at all

we don't gotta say anything, don't gotta say anything

don't say a word at all, don't say a word at all

[redheadarcher]

“ We can lay low here for as long as we need.”

@nomanslannd liked for a one-liner !

[theodoradove]

SF Silent Film Festival winter program!

Saturday, December 2, Castro Theatre

More information, tickets and passes at silentfilm.org

10:00 AM

OF MICE AND MEN (AND CATS AND CLOWNS)

A collection of animated shorts, 1908–1928

Some of the most creative films from the silent era came out of an inkwell! Our collection includes animated shorts from 1908–1928, films that outshine much of what followed. For sheer audacity and pure joy, these films by cartoon masters Including the Fleischer brothers, Pat Sullivan, and Walt Disney, can’t be beat!

Fantasmagorie (1908, d. Émile Cohl)

How a Mosquito Operates (1912, d. Winsor McKay)

Adam Raises Cain (1922, d. Tony Sarg)

Amateur Night on the Ark (1923, d. Paul Terry)

Bed Time (1923, d. Dave and Max Fleischer)

Felix Grabs His Grub (1923, d. Pat Sullivan)

A Trip to Mars (1924, d. Dave and Max Fleischer)

Vacation (1924, d. Dave and Max Fleisher)

Alice’s Balloon Race (1926, d. Walt Disney)

Felix the Cat in Sure Locked Homes (1928, d. Pat Sullivan)

Live music by WAYNE BARKER and NICHOLAS WHITE

12:00 NOON

THE WILDCAT (Die Bergkatze)

1921, d. Ernst Lubitsch

Pola Negri, Victor Janson, Paul Heidemann

Before director Ernst Lubitsch left Germany to ply his famous ‘Touch’ in Hollywood, he made a series of comedies that gave hints at what was to come. The Wildcat is his last German comedy and his most riotously zany. Subtitled ‘A Grotesque in Four Acts,’ Wildcat makes use of extravagant set design and eccentric frame shapes that lend a surrealistic edge to its antic energy. Pola Negri’s Rischka leads a gang of mountain bandits who ambush Lieutenant Alexis (Paul Heidemann) on his way to the local fortress, leaving him pant-less (and smitten) on the ice. Film writer John Gillett called the film “both an anti-militarist satire and a wonderful fairy tale.”

Live music by MONT ALTO MOTION PICTURE ORCHESTRA

2:15 PM

THE EAGLE

1925, d. Clarence Brown

Rudolph Valentino, Vilma Banky, Louise Dresser

Clarence Brown's rousing film displays a perfect blend of elements—romance, swashbuckling, a modicum of humor, and the great Rudolph Valentino! Not to mention the splendid production design by William Cameron Menzies and gorgeous camerawork by George Barnes. After Valentino's Russian lieutenant rejects the amorous attentions of Catherine the Great (Louise Dresser), she orders him arrested. Instead, he flees and becomes a masked avenger intent on righting the wrongs visited upon his father and his countrymen by loutish nobleman Kryilla Trouekouroff (James A. Marcus). But the nobleman has a beautiful daughter (Vilma Banky)...

Live music by WAYNE BARKER

4:15 PM

PAVEMENT BUTTERFLY (Großstadtshmetterling)

Germany/Great Britain, 1928/1929, d. Richard Eichberg

Gaston Jacquet, Anna May Wong

Luminous Anna May Wong goes from a fan-dancing carnival act to an artist garret and finally to the French Riviera where she accompanies a wealthy art patron around Monte Carlo, draped in haute couture. Wong left Hollywood in search of roles more fitting her talents than the racially-circumscribed ones at home. This Weimar title showcases her magnetism—when Wong is onscreen, you can't look away.

Live music by the SASCHA JACOBSEN ENSEMBLE

7:00 PM

SAFETY LAST!

1923, d. Fred C. Newmeyer, Sam Taylor

Harold Lloyd, Mildred Davis

Harold Lloyd's bumpkin salesclerk comes up with a publicity stunt that will bring attention to his department store and earn him the money to marry his sweetheart—scale the 12-story building like a human fly! Shot in downtown Los Angeles, the stunt has given us one of the most iconic images of the silent era—Lloyd precariously hanging over the city street, dangling from a broken clock. James Agee wrote: "Each new floor is like a new stanza in a poem; and the higher and more horrifying it gets, the funnier it gets."

Live music by MONT ALTO MOTION PICTURE ORCHESTRA

9:00 PM

FORGOTTEN FACES

1928, d. Victor Schwertzinger

Clive Brook, William Powell, Olga Baclanova

Heliotrope Harry (Clive Brook) and Froggy (William Powell) are partners in crime—genteel armed robbery—at least until the cuckolded Harry commits an even bigger offense. Before Harry goes to prison, he leaves his baby girl on the doorstep of a wealthy couple to keep her out of the clutches of his no-good wife Lilly (Olga Baclanova) and tasks Froggy with keeping close tabs. But Froggy is no match for Lilly...

Live music by the SASCHA JACOBSEN ENSEMBLE

[emcant]

Yet another "I'm not reading this": "a trans", as a noun