#villain ideas for big hero 6

[tenthdocter]

Disney literally need to hire me to write the big hero 6 sequel if no one else will do it lol

[nonsensology]

Later at the wish granting ceremony, CEO Magnifico announces he’s greenlit Ice Age 6 and five more live-action remakes.

_ _ _ _ _ _ _

There are so many cancelled and unrealized projects that Disney is sitting on, that they do not benefit from in any way by keeping them locked up tight. They really ought to just let them go if they don't have any intentions of doing anything with them.

Incidentally, I could never agree with the mentality of “Magnifico is actually the hero, and Asha is the TRUE villain” that a lot of people seem to have. I drew my comic based on this post. I feel like if more people had been aware of this possible interpretation, they wouldn’t have sympathized with Magnifico.

Does Wish have bad writing? Yes, it does. And it’s because of that bad writing that every single character suffers. What I think happened is that, as a result of said bad writing, Asha became a character that’s so uncompelling and lacks uniqueness that she ends up a blank slate for audiences to project their frustrations with the movie onto. King Magnifico on the other hand, is probably the most interesting and entertaining character, due in no small part to Chris Pine’s performance, and so the audience is much more sympathetic towards him and willing to ignore his flaws.

One of Asha’s problems as a character is that she doesn’t really contribute much to the story. By contrast, Magnifico’s downfall is brought about entirely as a result of his own actions. Magnifico is in fact not a good leader, because he gives in to paranoia and temptation, acts in a very unprofessional manner, and escalates the conflict to an absurd degree.

Please note, Asha does not get upset that Magnifico refuses to grant her grandfather’s wish, nor does she ever demand that Magnifico needs to grant every wish. She gets upset that he insinuates that her grandfather might have dangerous intentions, and because he does not have a convincing reason why he doesn’t return wishes that he won’t grant. Rather than calmly explaining his reasoning to her, Magnifico rudely dismisses Asha and then blows up at her.

If Magnifico were a good leader, he would have explained to each person WHY he won’t grant their wish, and given them advice on alternatives. As it stands, he knows full well that everyone expects their wish to be granted. It’s why they even came to Rosas in the first place, it is the literal reason he even built his kingdom. He clearly makes a big spectacle out of the wish granting ceremonies, which every citizen visibly goes wild for. He never elaborates to anyone his specific standards for the wishes he chooses to grant, other than a broad statement of "for the good of the kingdom". In his regard, Magnifico reminds me of bureaucratic systems that never provide every option or solution upfront, with their logic being "you didn't ask".

Not to mention, he literally tells Asha, "People think wishes are just ideas. But no, no, they are a part of your heart. The very best part." He knows, for a fact, how important wishes are to everyone. But the movie's awful writing makes him think the best solution to dealing with wishes that MIGHT have dangerous consequences, is to just hoard them. All that returning the ungranted wishes will accomplish is returning the memory of what the wish even is, that's literally it, and the people will be no better off than they were before they gave Magnifico their wish.

I dunno about you guys, but whenever I watched stories that preached “be careful what you wish for”, my takeaway was never “your desires could be dangerous and you should never pursue them for fear of disaster”, I always thought the stories were telling us, “beware of anything that promises instant gratification, because it’s usually too good to be true, and will cost you more than you will gain”. While the things you want in life may have disastrous consequences, you won’t really know until you try to pursue them through your own honest efforts, and not through “magical” shortcuts. That’s how we learn and grow, through trial and error. 

As it currently stands from my point of view, when people say "Magnifico has every right to keep ungranted wishes" it looks like they're unintentionally saying, “The Disney Corporation has every right to keep your work and ideas, because you willingly and legally handed them over. Tough luck if you regret the deal you were given. No takesies backsies!”

While I have found no evidence to confirm that the filmmakers intended for Magnifico to be a criticism of Corporate Disney, considering the inclusion of the animation sweatshop scene in Pixar's Inside Out 2, I think the probability is likely. (Not to mention, when Asha shows Magnifico her little flipbook animation, he dismissively remarks “Do we consider that a talent?”)

Please note, everyone is free to rewrite and reinterpret Magnifico however they want. He's just a fictional character after all, and fan content is supposed to be for fun. I just think it's funny how defensive people get over him a he appears in the final movie. They say he deserved better, and I agree, but we have very different ideas of what "better" means. In fact, I think every character in Wish deserved better, because again, they were all victims of bad writing. My problem isn't that they took a good man and made him arbitrarily "evil", it's that they didn't make him evil enough from the very beginning. Remember those deleted scenes featuring a villainous Magnifico with better writing, along with an evil Amaya that he can play off of? I'm fairly certain that everyone unanimously agreed these deleted scenes were much better than the final movie, and yet some still insist that Magnifico should have been a hero all along. I dunno, it's a funny dichotomy. 

EDIT: A few days after posting I came across this video essay supporting the interpretation of Magnifico as a critique of Corporate Disney and I loved it. Please go watch it!

[elmushterri]

I filled an entire page of my sketchbook with Nori!

I love them sm!!! This has to be one of my favorite of your rewrites, I seriously did not think I could actually care abt PJ Masks past the age of 6 but now I'm obsessed 😭

On another note, just a random thing I'm curious about, before breaking off from GunnTech, did the main three basically live at the facility since they were initiated? I guess they do from what I’ve seen, but I was just wondering if they ever had to go to like. School or something, when they're not training. And if they ever got to see their family again (though I doubt both the kids and their family would want to lol)

And one more thing, totally important and necessary to ask, how does Nori acquire the kids? (..that doesnt sound right)

Like does he break in to the facility from time to time or did they just bring them with him when they left GunnTech or does he take them in when he finds them just out and about??

NORI… OUR FAVOURITE PROBLEM! The way you draw eyes scratches my brain /positive.

I think the idea is that everyone does live at GunnTech, they have rooms and go to school. GunnTech also has a prison somewhere (like, sci fi, clean, sterile white prison, a glass front-wall for cells instead of bars, and that’s where everyone gets put in Season 4. But, before that, when the main three villains (or at least, just Luna and Nori) escaped, it wasn’t totally locked down so they had to walk out suspiciously/tell the security guards reasons (you need to give reasons when leaving GunnTech so, “I’m hanging out with a friend” comes with ‘who is the friend + give us contact details’) and then probably remove a tracker (unsure as to whether the wristbands are the trackers or the trackers are put into their chest implants), and try to avoid getting caught for the rest of the time (until season 3-4 ofc). The main story probably begins with the three MCs trying to find them and bring them back. Romeo’s wanted cause he stole tech, though, he’s not a mutant.

Nori risks his life basically (not literally but he risks huge punishment) by constantly breaking into the facility to get out new kids. Kids who haven’t yet been mutated all have one room (several large rooms for many kids’ bunk beds basically, not literally one big room 😭) and he goes in and saves one or two each time. Some kids don’t *want* to come with him, thinking this is a cool superhero opportunity. He has an easier time helping kids who are scared and having second thoughts. He’s very gentle.

Also reminder that Nori had their finger prints burned off yipeeee. He’s not letting that happen to the others. (It doesn’t happen to every kid, but GunnTech probably has categories (like, heroes: animals, space, spies, drivers, healers?) and if you’re in the (name is a work in progress) Spies Category (stealth category?) like Nori, you get your finger prints burned off.

Daisy is canonically one of the only two Ninjalino names we know! I might make her into a small side character so that art isn’t 100% solid but eh!

Also he can’t really just “take them back to their parents”. If you’re a child at GunnTech, your parents either gave you away for money or you’re an orphan.

Nori’s usually a sassy ‘problem’ but they have their really serious and gentle moments.

[vivsinkpot]

How to Write a Redemption Arc That Hurts (In the Best Way)

Redemption isn’t a straight line. It’s jagged. Messy. Earned.

Whether your character is a once-noble hero who made one devastating mistake—or a full-blown villain who slowly realises what they’ve become—a strong redemption arc can be one of the most emotionally resonant journeys in fiction.

Here’s how to write one that lands:

1. Start With the Fall (Or the Flaw)

Redemption means nothing without something to redeem. What did they do?

– Betrayal? Violence? Abandonment? Apathy?

Make the sin personal, and make sure your reader feels the weight of it.

✍️ Tip: Don’t shy away from their wrongdoing. Redemption is powerful because it’s hard-earned.

2. They Have to Want It (Eventually)

A redemption arc doesn’t work if they’re forced into it or if they don’t regret their actions.

There has to be a moment — big or small — when they begin to want to change. That spark is everything.

Examples:

A flash of guilt after seeing someone harmed by their choices.

Hearing a phrase they once said…used by someone crueler.

A moment of kindness that catches them off-guard.

3. Let Them Resist It

Real change is uncomfortable. Your character should stumble, fight it, maybe even relapse.

They might question if they even deserve redemption. That doubt makes them human.

✍️ Narrative tension idea: Just when the reader thinks they’ve changed, let them snap under pressure—and then feel the shame of it.

4. Give Them a Chance to Actively Do Good

Redemption isn’t about feeling bad — it’s about making amends.

They need to choose to do something selfless, painful, or courageous — not because it earns them praise, but because it’s right.

Make them:

Apologise without expecting forgiveness.

Protect someone they once hurt.

Make a sacrifice no one will ever know about.

5. Let Consequences Stand

Redemption is not a get-out-of-jail-free card. Let people mistrust them. Let them lose things permanently.

They can change and still face the cost of what they did — and that’s what makes it powerful.

6. Not Everyone Has to Forgive Them

Forgiveness is not owed. Some characters will never believe the change. That’s okay. It’s real.

Use this to:

Add tension and realism.

Explore different reactions to trauma.

Show that redemption is internal, not dependent on external validation.

7. End With Who They Become—Not Just What They Did

The final step of a good redemption arc isn’t about “undoing” the past.

It’s about choosing who they are now — and committing to being better.

They’re still carrying scars. But now, they’re facing forward.

✍️ Bonus Tip: Redemption arcs hit hardest when they hurt. Let it cost something. Let it mean something. Let them bleed for it. That’s when readers believe it.

Redemption Arc Prompts (for maximum angst & payoff)

Need a spark to start the fire? Here are some redemption arc prompts to put your character through it — and maybe, just maybe, let them claw their way out again:

🩸 The Monster Who Chose His Soul

They were never supposed to feel guilt. Their nature was cruel, cursed, inhuman — so when they start to care, it shatters something deep. But caring isn’t enough. So they go in search of what they were never meant to have: a soul, a conscience, something to make the guilt stick. Not for redemption. Not for love. But because they can’t stand not knowing what it means to be human.

Use this for…

Vampires, demons, cursed warriors, AI trying to evolve.

Arcs where the redemption begins after the obsession.

Characters whose change isn’t instant—it’s agonising, feral, and full of relapse.

Key Questions For Writers

What event or moment makes the monster realize they want a soul or conscience?

How does their monstrous nature conflict with this desire for humanity?

What sacrifices must they make to earn or reclaim their soul?

How do others react to their transformation—fear, disbelief, hope?

Does the monster’s journey lead to true redemption, or is it an ongoing, painful struggle?

Emotional Notes

The agony of clawing through darkness for something intangible.

The loneliness of being neither fully monster nor human.

The fragile hope that change is possible — even when the past screams otherwise.

Let their monstrous heart break—and witness the fierce fight to claim their lost humanity.

🕯️ The One Who Survived…and Shouldn’t Have

They lived through the massacre, the betrayal, the war—whatever happened—not because they were brave, but because they were cowardly enough to survive. They made the wrong choice. They ran. They closed the door. They didn’t look back. And they’ve hated themselves every day since.

Now the world remembers them as a hero. Statues, ballads, accolades. But they know the truth—and it’s rotting them from the inside.

So they disappear. Not in disgrace, but in determination.

Not to erase the past.

But to earn the life they didn’t deserve.

Use this for…

A reluctant protagonist with deep survivor’s guilt

A morally grey character trying to rebuild something they helped destroy

An older warrior protecting the next generation to make peace with the last

A spy, a traitor, a deserter who becomes the shield they once refused to be

Key Questions for Writers

What lie do people believe about this character?

What one decision do they regret the most?

What would it take for them to forgive themselves?

What’s the first thing they do to try to be better—and does it hurt?

Emotional Notes

Anguish that simmers under silence.

Redemption through action, not speech.

Consequences that can’t be undone, only carried.

Let the weight of survival shape them. Let them falter. Let them bleed for the right thing this time.

❤️‍🔥 Changing for the Love That Never Was

They were reckless, broken, or cold — maybe even cruel. But when the person they secretly adored barely noticed them, something snapped. Not because they wanted to be better for themselves, but because they needed to be worthy of love they’d never received. They start changing — small things at first, then big. Trying to erase their flaws, rewrite their past, and fit the ideal they imagine the other wants. But love built on self-denial is fragile.

Use this for…

Characters trapped in unrequited love or obsession

Antiheroes who want to become heroes for someone else

Stories where identity and self-worth collide

Tense romance arcs with bittersweet or tragic endings

Key Questions for Writers

What flaws do they try to hide or fix?

How does their unrequited love affect their choices?

Do they ever admit the change isn’t truly for themselves?

What happens when the love remains unreturned?

Can they find self-acceptance apart from the other’s approval?

Emotional Notes

Longing that cuts deeper than hate.

Masks slipping under pressure.

The painful difference between being wanted and loved.

Let your character wrestle with heartbreak, identity, and the price of change—for better or worse.

⚖️ The Villain Who Broke Their Own Rules

They were ruthless, feared, and driven — yet they always told themselves some deaths were “necessary.” But when their actions accidentally kill someone innocent — someone they never intended to hurt — that line breaks. The guilt crashes over them like a storm. No excuse, no justification, no second chance. For the first time, they question everything: their goals, their methods, even themselves. This moment becomes the catalyst for change, forcing them to confront their darkness — not just to save themselves, but to stop hurting others.

Use this for…

Characters trapped in unrequited love or obsession

Antiheroes who want to become heroes for someone else

Stories where identity and self-worth collide

Tense romance arcs with bittersweet or tragic endings

Key Questions for Writers

Who was the innocent? How do they affect the villain’s conscience?

What personal rules did the villain break?

How does this death change their motivations?

Can they ever make amends, or is this their undoing?

How do others react to the villain’s shift?

Emotional Notes

Crushing guilt that can’t be ignored.

A fragile hope born from devastating loss.

Inner conflict between old habits and new purpose.

Let your villain’s cold exterior crack—and watch them fight to rebuild what they’ve broken.

💔 The Final Breach of Trust

He’s broken her trust one too many times — through lies, betrayal, or neglect. Before, there was anger, tears, shouting. But now her silence is worse than any outburst. The cold, emotionless “Get out” is a door slammed shut forever. For the first time, he truly sees what he’s lost — not just her love, but her belief in him. And it terrifies him more than any punishment. Redemption won’t come from empty apologies or promises; it will come from the long, painful work of earning back a love that may never return.

Use this for…

Romantic dramas with fractured relationships

Characters grappling with addiction, betrayal, or repeated mistakes

Stories about self-awareness born from loss

Emotional arcs where redemption means more than just forgiveness

Key Questions for Writers

What was the betrayal, and why was it the last straw?

How does the character react to the silence and coldness?

What does he do differently after hearing “Get out”?

Can she ever forgive, or is his redemption truly for himself?

How does the loss change his identity?

Emotional Notes

Silence heavier than words.

The shattering weight of finality.

Redemption as a path through grief and self-loathing.

Let the moment of loss be the spark that sets the slow burn of change in motion.

A Final Note

Redemption stories are some of the most powerful journeys you can write — they dig into pain, change, and hope in ways that stay with readers long after the last page. Use these prompts to explore the messy, beautiful process of transformation, whether your character rises, falls, or struggles somewhere in between. I’d love to see what you create — tag me so I can cheer you on and share your work! ❤️

[maybe-its-5sos]

Try again (Toshinori Yagi Smut)

Requested: no

Summary: You want to add another addition to the family, he’s unsure.

Word Count: 1695

Warning(s): Self-doubt, Smut

“So What I think doesn’t matter?” You question sitting down next to Yagi on the couch.

Tho you’d been with him for years and have 2 kids, he still occasionally gets into these strange thought patterns. Yes, his self esteem has been low ever since he lost use of his All Might form, but you thought that you having been with him for so long would be worth something.

“Of course it does, dear!” His eyes shoot towards yours, as if searching for something.

“Well then, listen to me, I married you because I love you, all of you. Furthermore I prefer you in your smaller form and I’ve told you as much as thousand times. I know it’s not easy, and I know you feel down, but you need to remember that people still love you no matter what!” You say, taking a sip of your tea, offering Toshi his own cup. He takes it, looking like he’s deep in thought.

“You’re right” he says looking at you again with a smile, but it seemed a bit hollow, like he didn’t truly believe it. You decided to not push the matter further for now as your 9 year old barges into the living room from his room. “ Dad! Look” he says excitedly, he had fashioned his blanket into a cape. You smile wiggling your eyebrows at your husband.

He goes to play with him and your 6 year old joins in, playing as a villain.

You thought the ruckus in your house would never stop as your family spent their day off playing heroes and villains and god whatever else came to their creative brilliant little minds. Your husband played along with all of it.

By the end of the night, the kids were so worn out, getting them to bed was a dream. They were sleeping pretty much the second their heads hit the pillow.

You were in your bedroom, getting ready for bed as Yagi joined you. “Hey, I wanna talk to you about something when you have a moment.” You tell your loving husband as you put on your baggy sleep shirt. “What’s on your mind, darling?” He inquired.

“ I want another kid.” You blurt out, looking away, worried about his reaction. A breath hitches in his throat causing him to cough. “Y/n, Im not sure that would be a good idea, the kids would have a pretty big age gap and I don’t know if I could keep up with another kid…” he says, nudging you to face him, putting a finger under your chin to lift it, getting you to look at him.

“I know… but I miss being pregnant” you trail off. “Why would you want another child with someone like me? When we had our boys I was still All might, I still had something to offer.” He confesses quietly. Doubts swirling in his mind. It was true, you had your youngest long before his quirk became nearly un usable. It always worried him, not being able to protect his family anymore, he also thought you would lose your interest in him. To his surprise you had stayed steadfast in your love and adoration for him.

You shoot him a glare, “I love you no matter what Toshi, You have so much more to offer than just being a hero and I still don’t care what form you’re in.” You tell him, giving him a reassuring peck. In all honesty, if you had the time and he had the energy, you’d have a gaggle of kids by now. You’d be jumping his bones at every and any opportunity. Sadly tho, with your family keeping both of you busy and his injuries hindering his sex drive, that hasn’t been a possibility.

“I don’t know” he says nervously. “Just think about it, even if the answer is no, I would appreciate you giving it a thought.” You tell him, looking at him with a slightly sad look. He caught it immediately but didn’t say anything about it, giving you a nod.

Getting in bed, you fall asleep tho a little restless, he on the other hand couldn’t sleep. Toshis thoughts were racing.

He wanted to give you want you want. He always had. But at the same time he was unsure if he could handle another kid. Yagi loves his boys and would do anything in his power for them. Could he have another?

Before he knew it, the blaring alarm, rays of sunshine and tussling from your side of the bed awoken him from a slumber he didn’t even realise he was in. He keeps his eyes shut, trying to get a little more sleep while you get out of bed and make your way to the kitchen.

Cheerful giggles fill your home and delightful smells of food tingle the nose. Toshi shuffles towards the kitchen, stopping when he sees you three. Playfully preparing breakfast. The youngest is holding the spatula, while the oldest is getting things out of the fridge to set on the table. You’re cutting up fruit as you giggle at your youngest making goofy faces.

They look so much like a younger version of their father. You always wonder where your genetics disappeared to.

The breakfast was delicious, even if Toshi couldn’t eat a whole lot and everyone was all giggles. Today was the end of the weekend, meaning the boys needed to clean up their rooms and do all their homework. And man does Yagi find it sexy when you go into teacher mode. You run a tight ship. The boys already know the routine.

Your husband’s heart flutters as he watches you help your oldest do his math as the youngest also listens tho he clearly doesn’t fully understand what you’re going on about. Maybe he truly does want another kid.

Getting back to the bedroom, the boys clean and in bed, getting ready to go to sleep yourself. Toshi comes out from the shower a beautiful wide sparkling smile on his face. “I think I’m okay with trying for another.”

“What?” You question, what he said not quite registering. “ I want another baby, unless you’ve changed your mind, dear” He explains, his smile slightly faltering. “Really?!” You whisper shriek. He nods, his smile even brighter than before, you swear that smile could make you melt if you looked at it long enough.

You smash your lips into his, pulling him into a passionate kiss as you pull him closer by the drawstrings on his pj pants. “Are you sure?” You say catching your breath. “Yes.” He chuckles. As you make your way towards your bed.

He gently pulls the shirt you just put on over your head, throwing it on the ground together with his pj pants. He’s already starting to pitch a tent in his underwear. He’s gently kissing down your neck as you gently play with his hair. He reaches your breasts, gently nuzzling one as he squeezes the other, a gentle hum escaping you.

“You’re so beautiful, y/n” he says, taking one of your nipples in his mouth. He gently suckles on in, soon switching to the other. “ I wish we had time to do this more often” you murmur. He chuckles lowly, kissing down your abdomen, getting closer and closer to your core.

He gently nibbles on the soft supple skin of your inner thigh, earning a slight arch of the back from you.

He gently removes your panties, rubbing a finger in your folds. Soon his tongue follows. He’s eating you out like it’s his last supper, earning moans and groans from you, your hand stuck in his hair unable to contain your pleasure. You can feel a mile on his face as he gets you this riled up. He knows he can’t last as long as he used to, so he makes sure you feel as good as possible before the main act.

Euphoria hits you as your muscles clench, begging for a release. His tongue hits your clit perfectly, throwing you off of the cliff, bliss clouding your mind.

“ I need you” you moan, as Toshi gets back on top of you while you try to push his underwear off. He assists you revealing his massive member. Even after all these years, you’ve still never quite gotten used to it. Didn’t help that he was gone so often. “ I love you, y/n” he tells you as he’s lining himself up, giving you a deep, passionate kiss. It feels like he needs you, in a way that could never be described. It’s so loving yet needy.

“ Are you ready, sweetie?” He groans. “Yeah” you moan in anticipation. He gently pushes into you, giving you a bit of time to adjust. You roll your hips into him, signalling for him to move.

The thrusts are slow, deep and sweet. He’s making love to you like it’s the first time, no matter how many times you’ve been in this situation. He’s always just so sweet and caring. His hips roll into yours so naturally, like you’re made for each other. Youre both trying to keep it down, but it feels so good that some quiet groans escape both of you. Yagis pace quickening as his climax is getting closer.

You pull him closer, your nails gently grazing his back. He’s kissing your neck, sucking on the skin here and there but not hard enough to leave marks. Your becoming more and more breathless as you get closer to your second cumming.

His thrusts become jagged and less rhythmic as you feel him twitch in you. A few more thrusts later, you climax again, him following shortly after. He stays inside as his seed shoots into you, his breaths short and body being held up by just his elbows. Yagi shoots you a bright smile, kissing your cheek. “Hopefully that did the trick” he chuckles, slowly pulling out and laying down next to you.

“I wouldn’t mind doing that again,” you beam, sending him a wink, a deep blush gracing his cheeks.

“I love you, y/n”

“I love you too, Toshi”

Masterlist

Ask

With love,

-K

[dogpawsswapgod]

something I've appreciated about The Dragon Prince is how it eschews a good/evil, hero/villain binary and instead insists that what matters are choices: the path one chooses to walk. are you fated to walk a dark path? or did you make a choice with every step?

characters say "i had no choice," a lot, but eventually face the truth (usually before a big moment of growth): there's always a choice, and you've always been making choices. this is something pretty much everyone is going thru throughout the series but no one more obviously than Viren (and now, Claudia 😭).

when Viren faces his younger self in the mirror in season 5 and young Viren rejects the idea that he is "fated" to walk a dark path, he places his hand on the glass, saying "i am free, and so are you!" this is one of the series' main theses--alongside whether history is "a narrative of strength or a narrative of love"--that "i have no choice," is never true. our choices are all we have, and they shape our reality by paving the path we take.

Viren has been a worthy and engaging "villain" throughout the series, totally hateable, a grade A baddie, but I'm grateful for how his arc ended in season 6. i admit i shed a tear for that old war criminal.

if history is to become a narrative of love then different choices must be made.

making space for anger and holding "villains" accountable for their harmful choices, but also allowing for those same villains to change (or cut out) their hearts and thereby change the path they have walked--even if it's only in the final few days of a lifetime of wickedness-- all play well alongside the setting of the story: a magical world on the precipice of revolutionary transformation ("a long slow spiral into chaos," as one Star Elf put it).

can't guess how this will play out with the big boss battle against Aaravos himself in the final season, but for now, I'm content w how the writers seem truly invested in exploring these big ideas and applying them to the characters' story arcs.

[op-sys-chaos]

@stealingyourbones mentioned in a post I just saw that Booster Gold could be used in a DPxDC fic related to Clockwork bc they’re both invoked in time travel stuff and omg yES I have ideas now

Feel free to use any/all of these, just tag me!

1. Booster Gold being in the present is good for the timeline, but he wants to go back to the future. Clockwork sends Danny to sabotage the time machine. Shenanigans ensue. The JL thinks Danny’s a villain until a massive attack happens, Booster Gold is very much crucial to saving the day, and afterwards Danny shows up with a perfectly intact time machine (he fixed all the damages he caused while they were fighting the villain) and goes “ok now you can go home! :)” and the JL is so confused. Dealer’s choice if they get an explanation and maybe even ask Phantom to join the JL or if Danny just vanishes, never to be seen again

2. Booster Gold wants to change something in the timeline. Clockwork needs it to stay the same. Danny and BG go back and forth trapping each other in various situations (maybe it’s comedic what they end up trapped in) until one of them gives up

3. BG and Danny actually know each other in the future. Knowing how OP Danny is and knowing he’s an active hero rn, BG keeps trying to get the JL to recruit Phantom. The JL keeps refusing (“that’s a KID Booster we can’t put a kid in the JL”) until like Vortex or someone shows up and wreaks havoc and the JL is floundering and barley hanging in there and Danny shows up and beats him in like two seconds flat. The JL just kinda goes “ok, maybe Booster had a point”

4. BG, being a time cop, and Danny, being Clockwork’s personal equivalent of a time cop, keep running into each other in various situations (usually bc Clockwork sends Danny to help BG whenever he’s in over his head). But they keep meeting out of order, not even realizing that Danny’s from the time BG ends up staying in until they run into each other on a normal, non-time related mission. Spider-man meme pointing at each other, “what are YOU doing here???”, “is there some time-related issue on top of this?”, JL confused why Booster and a random overpowered teen they just met today seem to know each other. (Their meeting in their normal time is after all the meeting out of order shenanigans. After that point, they stay together for time missions that Clockwork sends Danny to join BG on; he makes sure they meet in the right order this time.)

5. Booster and Clockwork hate each other. Danny is a big fan of BG. Shenanigans ensue

6. Danny and BG hate each other. Clockwork needs them to get along for the sake of the timeline. He keeps sending Danny to BG’s time cop missions. Will they ever make up?

7. Danny and BG are the same age and start dating. Clockwork sends them on fancy fun time travel dates

8. BG keeps running into this random kid in various places in the time stream. He only ever tells BG that “Clockwork sent me” and BG is getting more and more determined to find whoever Clockwork is and kick his ass for putting this poor precious kid in harm’s way. Hell, BG might just end up adopting this poor kid himself if that’s what it takes to save him… which is exactly what Clockwork wants

9. BG is incredibly surprised when his time mentor, Clockwork, reaches out and asks him to adopt a kid, Danny

10. BG and Clockwork are dating. Clockwork asks BG if he’s okay with adopting Danny

I can come up with more if y’all want! Please tag me if you use these I wanna see what you create :)

[spenglernot]

STORIES TELLING: NED LOWE AND THE DEATH OF POOR REPRESENTATION IN OUR FLAG MEANS DEATH

In history, Ned Lowe was one of the most sadistic and violent pirates in the early 18th century, so he’s an obvious choice for a villain for season 2, episode 6 – Calypso’s Birthday.  What is interesting is what the OFMD writers chose to do with him.

Lowe announces himself to the crew of the Revenge with great fanfare (cannon ball attack) and gets right to the point.

Ed is thoroughly unimpressed.

Cut to Ed and Stede tied up while Ned attempts to set the mood so he can monologue about why he wants to kill Ed.

Ed knows what’s coming. He is going to suffer but he still can’t be arsed to meet Ned with anything but vaguely bored dismissiveness (and Stede is happy to play along).

Up on the deck, Ned prepares the crew for his big, dramatic moment of symphonic torture.

Note that the Revenge crew is tied down, braced by vices and generally unable to protect themselves from imminent torture and possible death, but their spirits are up. They don’t seem terribly fussed.

Then Stede uses his people positive management style to happily orchestrate a worker uprising in Ned’s crew.

Ned’s crew responds instantly; severing their allegiance to Lowe and telling him off.

The crew sails away and talks profit sharing while Ned dully threatens to hunt them down.

Ned is now a prisoner of the Revenge crew and seems entirely disinterested in his own survival.

And Ned sinks to the depths, without struggling at all.

There is a lot going on in this episode: pay and labor equity direct action, gay love engagement bliss, kink humor, Stede being a hero and saving his crew by playing to his strengths, then having to decide whether to kill in cold blood and feel the consequences of that choice. Ed having one more reason to be done with piracy (while being so impressed with and fond of Stede), and then watching his man make a fraught choice and having to deal with the fallout from that. (And, damn, I haven’t even mentioned the passionate sex bit.) Anyway, back to the point.

Now for the the meta part

The Ned Lowe sequences are perfectly in keeping with OFMD’s signature blend of madcap violence, humor, and big emotional gut punches. But something about Ned Lowe just strikes me as off for this show.

Ned is seriously threatening the crews’ lives, so why don’t they take him seriously?

Why does Ned have such a boring, throwaway backstory?

Why is Ned so nonchalant about his own death; like it’s a foregone conclusion?

Why does Ned have a silver violin and silver spurs on his slip-on dress shoes?

Why is Ned sartorially monochromatic?

And then I realized who Ned reminds me of.

This guy,

Earnst Stavro Blofeld in the James Bond film Diamonds are Forever (1971)

And this guy,

Scar in Disney's The Lion King (1994).

And this guy,

Xerxes, 300 (2006).

And it sure seems like Ned Lowe isn’t just an episodic villain. He is an archetype of the one-dimensional, stereotypical queer-coded villain that has been endemic in film and television throughout history. The OFMD writers have a lot to say about what to do with this kind of character:

Don’t respect him.

Feel free to openly mock him.

Don’t let him take your joy, even though he will hurt you.

He won’t disappear on his own. You have to throw something at him (take action) to make him go away.

Once he’s in the water, he’s content to drown. He’s not into what he’s doing any more than you are.

Oh and, just to be clear,

The LGBTQIA+ community has a very long history of turning shit media into better stories. So, hey, big media, prepare to have your crap characters wrecked (improved).

Now, back to our transformative pirate show with rich, complex queer characters and a multi-layered plot that surprises me every week and makes me feel big feelings - most of all, joy.

Final thought: I do wonder if Ned Lowe is monochromatically silver as a tribute to/poke at, Hollywood and the silver screen.

This meta was written before OFMD season 2 has fully aired. No idea what’s going to happen in the finale (and I’ve generally fled social media to avoid spoilers). I’ll be back, looking at everyone’s fascinating posts after episode 8 airs.

[pomefioredove]

Hear me out....

Yuu writing a book were the "hero" is just Vil. Like, keeps up the cold professional stunt but cares so much and slowly unravels to be more- not genuine, just more comfortable with the people around him and himself y'know?

Anyway Vil promoting the book (Or it going viral on it's own) and Yuu gets like- a movie deal. (The contract goes through multiple revisions from Yuu, Rook, Azul, Riddle etc.) They only accept on the condition that Vil gets to play the hero.

So imagine Vil just being so proud of Yuu because they wrote a whole book! And they're getting all the attention and admiration they deserve and they feel good.

He picks up a call from his agent or whatever one day, telling him about this brand new movie based on a viral book. Vil asks what book, he's busy with school (going to Ramshackle to watch Yuu get flustered when they read nice reviews on their book). His agent tells them it's for Yuu's movie and they specifically asked for him, though the budget wasn't as big as other movies so if he wanted to demand a higher pay it's totally understandable- And Vil just interrups her, asks her what role it is. Yuu didn't think the villain character would suit him. ...Did they?

His agent tells him it's for the hero, not his usual role so totally understandable if he doesn't want it- It's so diferrent from what he's always done- Vil immediately accepts. He tells her to call the studio right now and tell them to not even think of letting one else audition.

He hangs up- debates if he should calm Yuu or re-read the book to make sure he wasn't going crazy- And calls Yuu, demanding an explanation.

Yuu tells him that yeah they did base the character on him, and that part of the reason they wanted to write the book was so that Vil could have a chance at being in a movie where he could be the hero one day. They weren't expecting it to be so soon but...

And Vil just stands quite for a bit, baffled at how??? Adorable and determined and sweet and ridiculous and considerate and amazing and all this things his partner is. He tells them he'll be over at Ramshackle in half a hour and they should be ready for the consequences of their actions. (Marriage)

Idk man writing a whole book for your partner so there's a CHANCE that'll get turn into a movie and he'll star in it and fulfill his lifelong dream is some "I'll be devoted to you for the rest of my life kind of shit"

Ps. You can tell the entire book by the descriptions and writing that the author lives this "hero" so much.

Idk just a VilYuu fanfic thought I've had since book 6

Dropping my VilYuu fanfic ideas in the number one VilYuu inbox is terrifying but whatever I've done it befire an I'm too tired to funtion or fell so whatever ✨✨✨ Whatever go my scarab/ref Mentallity unlocks at sleep defficiency

this is really beautiful though... oh to write a book that people read and like... that's the dream, romance aside lol

this is very cute and I like it very much!!! I really like muse x artist with vilyuu too and this really captures that (๑˃ᴗ˂)ﻭ when the when the the when the love is so profound you can't hold it all and it makes a home in everything you create

[blueishspace]

Hero, Villain God 22

(Prev) (Next) (First)

Chapter 6

*Grian's pov*

You have an idea... Hotguy told you of your official introduction, you'll have to speak to the people and inspire them or something...but that's boring and you don't really want to spend the entire day standing around at a big celebration. So...What better way to start your sidekicking career then stopping a villain attack? ...

There is one small problem with your idea, where to get a villain... You could create another body and be Cuteguy and Mother Spore at once but that would mean either risking your credibility as a sidekick immediately or make Mother Spore way less scary depending on who "loses" and who "wins"... And a tie is out of the question.

You could get Grumbot to plan an attack but... You don't really want to do that to what is basically your son and unlike other options you can't be sure of your victory considering Grumbot is a god as well... also you aren't sure how mich access he's going to get since Scar has yet to decide where to do this ceremony... one would think that would have been chosen before announcing it but no, it wasn't.

That leaves the last option, using Grumbot to manipulate a smaller villain or crime group to interrupt the celebration so you can actually not die of boredom and look good at the same time... You'll make sure nobody gets too hurt but if you don't this you will actually self combust.

You walk into the lab as Mother Spore, Boogeyman is working on something you don't understand and have no reason to try to do so. You move past him and into the room you know Grumbot resides in.

"Grumbot"

The machine turns on in response.

[Mother?]

"Indeed, how has it been...being alive?"

[... Weird]

"Expected that much"

[Do you require something?]

"I do need a favour from you"

[Clarification needed: A favour?]

"I need you to find someone or someones for me"

[Clarification needed: Who?]

"Someone stupid enough to go after the hero association, powerful enough to create a scene and weak enough to be subdued easily"

[Computing Request: Why?]

"Cuteguy's official introduction, I want to disturb it a little in a way that won't be connected back to us. I want the heroes to be distracted at that point but not threatened enough to investigate too deep"

That's not actually true but you know that's a reasonable justification for it... Well, you don't want them to find you too soon, that's true at least.

[Computing... Understood. ]

"Thank you"

You walk away soon after, you wsnt to ser who Grumbot manages to fool into doing something so stupid. You are sure he will find someone though, after all he has access to all of human knowledge.

*Mumbo's pov*

Mother Spore exits from Grumbot's room, she looks towards you.

"Do not worry, merely had a request for him"

Well, you weren't worrying before but now you do, who does something suspicious and then just says "don't worry" expecting it to work?

Despite your thoughts you nod at her, she turns and leaves... That was really weird.

You'll have to keep a closer eye on her... You genuinely can't tell if she's hiding something or is just especially weird today.

[sambhavami]

Panchala in Mahabharata - Part 6

This is a selective summary of Dr. N. P. Bhaduri's 'Katha Amrita Saman' series, covering only the points that he made with regards to Panchala. Now, because Shikhandi is an integral point to that story, and the professor does note some controversial streams of explanation in relation with his story, I just want to make it clear, that this is just a summary of his work. I personally both agree and disagree with the different parts of his commentary.

Special thanks to @chahaa-piun-ja, who wanted to read the books, and gave me the chance to comb through it once again! ❤️

Parts: 1 2 3 4 5 6 7

Here, at the beginning of Virata Parva, MB gives some recognition to the trans community (well, technically, more towards the intersex and/or non-binary community, but you can still probably interpret it as an umbrella statement). Arjuna introduces himself to Virata as ‘tritiya prakriti’ (third nature). The author gives the example of the block of gold. The gold that is mined out of a ground, is ‘prakriti’ (nature) and a necklace that might be made from this gold, no matter how beautiful, is a ‘vikriti’ (disfigurement) of the pure ‘Au’ material. So, by introducing one of the main heroes of the story, in this form, as a manifestation of prakriti, MB provides intrinsic assent to this entire concept. The name Vrihannala is formed from ‘vrihat’ (big/better) + ‘naraa’ (interesting introduction of the hypothetical 3rd gender, since nara is man and naari is woman).

However, the disdain for people not conforming to the cis-binary gender idea was apparent, and while Vyasa through his authorship provides some support, but then again, we see Draupadi address Vrihannala in anger as ‘kanyaanaam nartako yuva’ (a proper comparison would be the hindi derogatory ‘nachaniya’), and Krishna with the famous: ‘klaibyam ma sma gamah partha naitat tvayyupapadyate kshudram hridaya-daurbalyam tyaktvottishtha parantapa’.

Interestingly, Draupadi never keeps her hair open. She is seen excitedly tying up her hair in the most complex hairdo she knows to do in order to attract Sudeshna’s attention.

Also, before entering Matsya (Jaipur-Jodhpur-Alwar), Yudhishthira, sends Dhaumya, and under his care, all of their servants, cooks, secondary charioteers and other staff to Panchala, Drupada. Indrasena and other personal charioteers went with their chariots and other expensive stuff to Krishna’s house in Dwarka. Ironically, Yudhishthira is the one who trains the lots of them as to what lies they should tell whom.

In a weird show of laxity, Yudhishthira instructs Arjuna, not Bheema, to pick up Draupadi on his back, and give her a piggy-back till the city (like an elephant with a rider).

Apart from the usual story, some points I found interesting in this commentary were: one of the only physical (read: uncomfortable) description of Draupadi (except her skin colours, that’s everywhere) comes from Sudeshna (makes you think, not even the male villains are able to fully objectify this woman, such a personality she has!), Virata seems to have a weakness for young women and Sudeshna is worried about that, Sahadeva is afraid of the dark and needs Draupadi to hold his hand in dark places, people from day 1 suspect that there’s something going on between Draupadi and Bheema, and weirdest of all, Draupadi seems to think there’s something romantic going on between Arjuna and Uttaraa (with a mild, mild grain of truth).

At one point, Draupadi crosses a line with her insults from Yudhishthira, and gets mildly scolded by Bheema.

After Keechaka is killed, and Bheema saves Draupadi from Keechaka’s attendants, instead of thanking him, she makes a beeline for Arjuna’s dance-room, where she proceeds to passive-aggressively chew him out for ignoring her and being too close with Uttaraa. This results in this super dialogue from a nearabout teary-eyed Arjuna, “Do I still have to tell you? After all these years?”

Not sure about Krishna and Draupadi, but Arjuna sure calls Uttara his ‘sakhi’.

Before that war, Ashwathhama and Karna almost comes to blows when Karna insults Drona using almost the same language as Drupada so many years back.

Once the Pandavas reveal their identity, Virata gives them a separate building in Upaplavya- a satellite town.

When a sabha is called, Krishna after a short one-sided fight with Balarama, gives up the control of the congregation of old Drupada, who gives them a list of Kings to contact immediately, and offers to send his personal purohit (closer to prime minister than a religious entity) with an initial message to Hastinapura.

Interestingly Yudhishthira is closer to Shalya than Nakula-Sahadeva, who probably didn’t see much of him after their mother’s death.

Also, Krishna freaked Arjuna out in private (after choosing him to be his charioteer), by pretending to be extremely offended, “How dare you ask me to do this ‘menial’ task!”

For 200 pages we have Vidura neeti, and I am not going to bore you with it, but portions of it are interesting.

Krishna also freaks out Bheema, shortly before he goes to Hastinapura, by calling him a coward. Also, Bheema, to any unrelated observer, looks completely crazy, as he has developed some ticks (running around the room unprompted, growling and grinding his teeth, hitting things, uprooting trees etc.) as a result of not being allowed any outlet for his anger and regrets. When Krishna intentionally triggers him, for a few minutes it is Krishna standing in the middle of the room, and Bheema running back and forth around him, before (after a few minutes) standing extremely still and finishing the conversation (read: cuss each other out).

Also, Bheema is a ‘maakunda/toobaraka’ – a man who is physically incapable of growing facial hair. It is something the Kauravas incessantly tease him about (sometimes his own brothers too).

Also, apart from Balarama, Yudhishthira is the only person that Krishna will sit down and take a lecture from without any retorts.

Sahadeva makes an uncharacteristic declaration, that he is willing to fight the entire Kaurava army by himself, even if the rest of them agree to a peace proposal (the author terms him: baalaka-premika).

[synergysilhouette]

10 Disney hot takes/unpopular opinions (Part 7)

I'm sure the title is self-explanatory. You know the drill! Check out part 6 here.

Phoebus is Disney's best main-supporting character--I know I stated this objectively, but obviously "best" is subjective. I always appreciated his kindness and strength, and while he doesn't really grow in viewpoint since he always has a strong moral compass, his allegiance changes, and we love to see it when a good guy stops working for the bad guy! Only wish he got to sing.

2. Aurora's dress is the best Disney princess gown--I think it's because of the uniqueness of it; the sharp elements instead of rounded aspects, as well as the pink color (which helps her stand out; blue pits her against Tiana, Jasmine, and Cinderella). Plus I love when merchandising gives her a blue AND pink dress.

3. Eric should've sang in the musical and he and Ariel should've gotten to talk after the battle--I'm glad other adaptations (the live-action remake, the Broadway adaptation, and the anniversary special) have fixed the singing part, but I do feel like it was a missed opportunity to not have Eric sing in the film. It's kind of disappointing actually that it's actually other characters who sing most of the songs rather than the main character (who only gets 1.5 songs) and her love interest. Plus I always wished we got a reconciliation scene between Ariel and Eric rather than a "back to square one" approach they did.

4. I think Disney could get away with more (censored) violence--Kind of an oxymoron, but what I mean is that "Pocahontas" and "Mulan" got away with violence in a way that was still digestible for a younger audience. Not saying that every Disney film needs a lot of violence, but when violence is warranted, they can do so by getting creative with how it's shown, rather than it being offscreen or skipped over.

5. Mirabel should be a Disney princess--I know some people see the DP line as kind of elitist and only admitting "a certain type" of heroine, but aside from adding diversity to the line by being the first Latin-American princess/first South American princess/first Disney princess with glasses, she's also a well-written character who's personality and heart makes her join the line without feeling like she's just there for the sake of optics.

6. "If I Never Knew You" is the greatest Disney love song--I've said it before, but not on a hot take post. It stands out as a song that isn't about the sweetest moments of love, but the darkest elements and consequences of love. Not saying I want the next Disney couple to have a sad ending like Pocahontas and John Smith, but a love song when all seems lost is really unique, and I kinda wonder if this song would've won an Oscar if it had been included in the final cut.

7. We need more complex stories with complex antagonists--I feel like Disney has started telling more complex storylines with "Frozen," "Zootopia," "Big Hero 6," "Encanto," and "Raya and the Last Dragon," and I want them to continue to. Obviously you want a story with a happy ending and something to please the kids who may want something uplifting, but that doesn't mean you can't have more grey-area movies with the protagonist having to change/grow their perspective, and the antagonist not necessarily being a villain.

8. "Tangled" is the wrong movie for Disney on Broadway to be working on--While I understand that it's a popular film, there are renaissance films that should've gotten that treatment before, as well as "Moana" and "Encanto" feeling like better ideas, especially in order to capitalize on their viral impact.

9. "Frozen 2" has the most (emotionally) impactful soundtrack of the Revival Era--I've thought a lot about this, but while Disney always has an emotional song or two in their musicals, "Frozen 2" is an emotional journey from start to end; even the fun songs like "Some Things Never Change," "Lost in the Woods," and "When I'm Older" have a profound meaning to them, a sense of change that Disney should've brought into the 2020s with them. While I found the film narratively clunky, all of the songs (even the ones I wasn't big on) still left me with a feeling of fufillment, like I had just went on an amazing journey of self-discovery. Mature movies like that usually aren't musicals, so I'm glad this was.

10. The Bronze Age is one of my least-favorite Disney Eras--If you know my channel, you know my opinion on animal-centric films; not a fan, with "Zootopia" being an exception because I loved the plot AND they were somewhat human in the world/setting. Almost all of Disney's films during this era were animal-centric, and none of them were good enough for me to be engaged. And while I find "The Black Cauldron" underrated, I do kinda wish Disney had made it a musical instead.

[dystopiandramaqueen]

UGH. NEVERMIND.

I'm reading it now.

Here you go

"Look what you made them do." - again, what. Blaming viewers?

"the bloodiest, most shocking, and most cathartic addition to the show yet." - cathartic for who

"Entertainment Weekly talks to co-showrunners Eric Tuchman and Yahlin Chang about why it was time for Lawrence and Nick to die"

- so he's really dead

"Let's get into the big deaths right away, of Lawrence and Nick. From interviews Max Minghella has done, it seems like he was surprised and maybe a little sad with Nick's arc this season and his death. How long did you guys know this was where Lawrence and Nick would end their stories?

TUCHMAN: We knew pretty early on when we first started breaking the season, when the writer's room got together at the top of season 6, and we were talking about each character. And for me and Yahlin, it was really important that this season would be about testing and challenging these characters and having them reveal who they really are. What have they learned or not learned over the course of this series? And that made Nick and Lawrence, no exception. And for Nick, I'll just say we know it's a polarizing fate for him and that many of our fans are upset about it, but we understand that that comes from the love that they have for this character and the relationship he's had with June. And we love Nick for those reasons too. Max is an incredibly charismatic and compelling actor, and Nick has been June's savior and oasis for such a long time on the show. But we have to remember that she's not the only thing in his life, and that he's a commander in Gilead. And if there's one thing the series has shown is there's no such thing as a good commander. No matter how wonderful you may be to our main character, he has still been a willing full participant in Gilead."

-FUCK YOU

"YAHLIN CHANG: And I would just like to add, too, because I've seen comments about how could they turn him from such a wonderful guy into a villain, and I would say that he was never either of those things. I actually have a lot of sympathy for Nick. I mean, he was a guy who did wonderful things to save the woman that he loved. While at the same time he had this job as a commander in Gilead, and I don't see him as an evil villain. I think that he was under a lot of pressure. I have sympathy for him in that moment when Wharton, his father figure, came after him and said, "You'll end up on the wall. Your son will be left without a father." Nick made a split-second decision that was a mistake. He made a mistake. He didn't think it through. 

He did not know that all these women would get murdered as a result. He wasn't thinking. He was really stressed out. So in that split second, he made the wrong decision and a terrible mistake, but who doesn't make bad decisions and terrible mistakes under stress? But it had this huge consequence. But I think all of that just makes him really human. Like Max has said, he was not interested in a character who's heroic. He's interested in a character who is complex, because all human beings are complex. So the idea that he suddenly went from white to black or from hero to villain is just that we would be doing a disservice to our characters by painting them as just one thing or the other. They're all embodied in shades of gray because that's what humans are."

-Contradicts what they said above. So he "HAD TO DIE bc ALL COMMANDERS BAD" but ... also.. in the same breath... all humans are complex shades of grey. YOU CANT HAVE BOTH YOU FUCKING MORONS.

"CHANG: Well, I think what was so brave about Bruce's storytelling in episode 10 is that he really didn't want it to suffer from series finale-itis. So there is for sure a temptation, and I myself would totally give into that temptation. I have a real kind of pander-y, feel-good vibe, and Bruce can hold that at bay, but he didn't want to tie up every single thing in a bow. And I think the power of the show is that it doesn't feel like a TV show, but it feels like real life. So the kind of rhythm and the structure of this season was that [episode] 8, and then twice as much [episode] 9, were sort of these big, epic, kind of little mini films with huge climactic explosions. And then 10 has the feeling of denouement — the fun of it is what happens the next day? So you really can't beat [episode] 9 for an execution and the plane exploding. There's just huge, huge moves, and then 10 returns to a sense of that quiet realism of like, well, what happens the next day, and that feeling that we're just dropping in on this moment."

OH GEE WOW BIG EXPLOSIONS! WOOOOOWWWWWW. Fuck you forever.

Not watching it. Lick Trump's Asshole.

[merrysithmas]

continuing my DP, Wolverine, Spidey teamup movie ideas I live for a situation where Spiderman offhandedly mentions he is going through this subplot in his own 'verse where he has this really evil villain. Like this is a vile, inhuman, violent fcker with no regard for life, no hope of seeing the light, just a downright scumbag fascist.

We see it's weighing on him because Spiderman always strives to help "villains" who have lost their way or at least lead them to redemption if possible, but in this situation it's just... impossible. There is only continued violence in the face of which an impotent Peter always fails make a difference. Spiderman - hero or menace? Deep down he feels like he has blood on his hands because he doesn't have the "guts" to do what it takes.

But we know, since he's PG-13, Spiderman can't ever actually technically unalive villains himself. So he's just being tormented by this ahole for longer than anyone can imagine, and the Villain himself knows he can't die - bc of the moral & writerly strictures on Peter - which just emboldens said Villain further to do more and more heinous shit. This, of course, just destroys Peter who we know has lost so many people and carries a heavy guilt complex. He knows he can never actually stop the Villain good.

So at one point we have Wade, bedecked in the completely ill-fitting Spiderman costume that he lifted off screen, looking significantly more sinister than usual, striding into said Villain's lair and lethally taking out every goon with next to no effort. It looks jarring because he has none of Spidey's grace and fluid aerobatics, just some cold hard heat.

And upon seeing "Spiderman" again the Villain is delighted, ready for another twisted moustache-twirly convo in which he can destroy Peter's self-esteem but before he can pop off with his Mocking Villainous Monologue, Wade just lays into him with every weapon in the book, leaving him a bleeding husk in his chair.

That's all she wrote.

Meanwhile, there's some serious shit going down and Peter cannot find his Spiderman suit so has to resort to throwing on Deadpool's too-big costume - he's like hurling about it ("Does he ever wash this!?"), but swings into action with the katanas on his back (falling and slipping several times because of the strange weight distribution) - rounding up a few DP villains with a lot more Friendly Neighborhood Spiderman than Merc with a Mouth.

Everyone's like wtf because he's doing acrobatics and looks absolutely possessed in the too-big suit. And they're just generally so afraid by the appearance of it and what they perceive to be Wade's new skills they just lay down their weapons peacefully, shaking in fear.

Meanwhile Peter is trying to impersonate Wade while talking to them and they're all soooo confused. The costume looks like a creepy, deflating balloon on Peter. Okay whatever you do just don't hurt us, Deadpool! Meanwhile Peter is like, What? Why would I hurt you? And they're all getting more and more terrified by the second lmao, volunteering for community service, screaming and promising to donate all their spoils to the poor, throwing money at him.

So in the end it results in some really good press for both of them and a moment of Justin Timberlake "Mirror" realization when Wade walks in wearing the Spiderman suit covered in like 6 gallons of blood and Peter walks in wearing the DP suit carrying like 12 bouquets of flowers and covered in kiss marks from the thankful public.

Then Wolverine comes in from a completely unrelated errand and the music stops and he's like, ??? and Peter starts to explain everything and Wolvie just stands there arms crossed listening with the most disgruntled expression. And when Peter is done Wolvie is like - Not surprised, I could never tell you apart anyway.

And we find out he could never tell the difference between the two of them while they're in their suits in the first place. Peter and Wade are sooo offended, they're like we sound totally different and we are completely different heights! We've been on like 5 missions together!

and Logan is just like, studying them, we can see from the shot they look totally different. Peter is shook, "Well?"

Logan's squinting at them, no recognition, and then rolls his eyes, grunting,

"Whatever, Murdock. I need a beer."

[paradoxbeta]

de ce ai un rain world oc pe nume fat frumos please i must know (also zmeu. i see what you did there)

oh am i excited to talk about this. buckle in because it is a bit much

preemptive tldr: i have a rainworld adaptation of the făt-frumos tales where f-f stars as an overly prideful slugteen (pictured below looking moody) getting a body horror-y reality check

so! the name of this adaptation is the împărăție colony and as mentioned above its my little for-fun project based off of the original făt-frumos stories. for those who don’t know, f-f is a romanian folkloric character

some elements were changed (f-f is no longer the son of a king because there’s only one slugcat colony in this region, so i could only have a prince or a princess but not both if i wanted to keep the generic romance plot) but most were preserved, with f-f still having calul năzdrăvan (now a noble blue lizard steed inherited from his father) and with there still being the classic villains such as both balaur (infamous mutated red lizard) and zmeu (random iterator the slugcats abstracted into the Big Bad)

the story goes that the local iterator is collapsing and its bioprinters have gone haywire, so now it bleeds out nasty and highly mutagenic sludge. the local slugcat colony has not taken kindly to the deadzone and mutated fauna, but they also dont really understand what a bioprinter or hazardous chemical agent is, so they formed a mythological universe around the iterator

his name is zmeu, he’s a wretched 6 legged monster, he’s bleeding poison, he’s representative of all ill will and evil in the world, and all of his children are accursed nightmares. anything that’s been afflicted by zmeu gets the misnomer “child of zmeu” (misnomer because almost every "child of zmeu" was not born that way)

so in comes f-f: he’s the son of rege (who is again not actually the king), and rege was renowned for his incredible fighting prowess until the balaur got the best of him and left him unable to fight like he used to. f-f isn’t supposed to step up to his fathers position yet but his dad’s hand is forced, so he hastily passes on his trusted lizard (calul) and goes hey son, surprise! youre taking the mantle effective immediately

f-f eventually ends up on a mission to go slay zmeu and to find ileana, the colony leader’s daughter, who had gone missing very recently and who f-f also happens to have a fat crush on. so boldly he sets off with calul năzdrăvan

the story starts off very lighthearted and in its own head– f-f is young, rowdy, concerned with superficial things, and he’s had his ego gassed up by his colony which has its emphatic faith in him. he’s in a total fantasy world off to slay this big monster and come home as the hero with the girl, but as the story goes on, things get too real for him. balaur hunts him relentlessly and tests his grit, he sees the extent of the pollution and the environmental havoc, everything he's heard in mythos becomes less of a concept and more a frightening reality, and surviving in rainworld is just plain difficult, so his self confidence wanes. it reaches a breaking point when he eventually finds ileana, who is by now to his horror a child of zmeu

he does find his way to zmeu’s puppet chamber but it doesnt bring him any sense of completion. his only real options are to leave empty handed or to “kill” the puppet, both of which don’t solve anything... its all in all not a fun time but it teaches him some really important lessons about humility and about how small he really is in the world

its not a narratively complex or serious story and it can be cliché or even nonsensical at times, but i have a lot of fun with the characters, and im entertained by the idea of morphing a fun and shallow fantasy shindig into something frightening and slightly depressing over time

(also this ask reminded me to go back and add zmeu to the colony tag, thank you!)