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cybernaght · 10 months

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The fandom echo chamber: fanon, microanalysis and conspiracy brain

As someone who has been in fandom spaces, on and off, for 20 years, I find some fascinating trends popping up in the last decade that I thought to be fandom-specific but clearly aren’t. So, I would like to do a little examination of where those things come from, how they are engaged with, and what it says about the way we consume media. This is a think piece, of sorts, with my brain being the main source. As such, we will spend some time down the memory lane of a fandom-focused millennial.

This is largely brought about by Good Omens. But it’s also not really about Good Omens at all.

Part one. Fanon.

The way we see characters in any story is always skewed by our very selves. This is a neutral statement, and it does not have a value judgement. It’s simply unavoidable. We recognise aspects of them, love aspects of them, and choose aspects of them to highlight based entirely on our own vision of the universe.

Recognition comes into this. There is a reason so many protagonists of romance novels have a “blank slate” problem. Even when they do not, we love characters who are like us or versions of us that we would like to be. And when we say “we”, I also mean, “me”.

(I remember very clearly this realisation hit me after a whole season of Doctor Who with writing which I hated utterly when I questioned why I still clung so incredibly hard to Clara Oswald as my favourite companion. Then I looked at myself in the mirror. Oh. Well. That would do it, wouldn’t it?)

Then, there is projection, and, again, this is a neutral statement. Projection exists, and it is completely normal and, dare I say it, valid way of engaging with — well, anything. Is the character queer? Trans? Neurodivergent? Are they in love? Do they like chocolate? Are they a cat person? Well, yes, if this is what the text says, but if the text does not say anything… You tell me. Please, do tell me. Because, in that moment of projection, they are yours.

And then, there is fandom osmosis, and that is the most fascinating one of them all, the one that is not very easy to note while you are inside the echo chamber. It’s the way we collectively, consciously or not, make decisions on who or what the characters are, what their relationships are, and what happens to them.

(Back when I was writing egregiously long Guardian recaps on this blog I actually asked if Shen Wei’s power being learning actually was stated anywhere in the canon of the show. Because I had no idea. I have read and reread dozen of fanfics where that is the case, and at some point through enough repetition, it became reality.)

We are all kind of making our own reality here, aren’t we?

Back when things were happening in a much less centralised manner - in closed livejournal groups, and forums of all shapes and sizes - I don’t remember there being quite as much universally agreed upon fanon. Frankly, I don’t remember much of universally agreed upon anything. But now, everything is in one place: we have this, and we have AO3, and it’s wonderful, it really is so much easier to navigate, but it’s also one gigantic reality-shifting echo chamber, with blogs, reblogs, trends, and rituals.

Accessibility plays its part, too. If you were, say, in Life on Mars (UK) fandom between seasons, and you wanted to post your speculation fic, you had to have had an account, and then find and gain access to one of the bigger groups (lifein1973 was my poison, but ymmv), and then, if you feel brave you may post it, but also, you may want to do so from your alt account if you wanted to keep yours separate, and then you would have to go through the whole process again. And I’m not saying that fan creations then were somehow inherently better for it than fan creations now (although Life on Mars Hiatus Era is perhaps a bad example - because some of the Speculation Fic there was breathtaking), but there is something to say about the ease of access that made the fandoms go through a big bang of sorts.

(I mean, come on, I can just come here and post this - and I am certain people will read it, and this blog is a pandemic cope baby about Chinese television for goodness sake.)

The canon transformations that happen in the fandom echo chamber truly are fascinating to witness as someone who is more or less a fandom butterfly. I get into something, float around for a bit, then get into something else and move on. I might come back eventually when the need arises, but I don’t sustain a hiatus mind-state. This means that when I float away and return, I find some very intriguing stuff.

Let’s actually look at Good Omens here. Season two aired, and I found it spectacular in its cosy and anguished way; deliberately and intelligently fanfic-y in its plot building; simple but subversive, and so very tender. (I will have to circle back to this eventually, because, truly, I love how deliberately it takes the tropes and shatters them - it’s glorious). And, to me - a person who read the book, watched the first season, hung around AO3 for a few weeks and moved on - absolutely on-point in terms of characterisation.

So imagine my surprise when the fandom disagreed so vehemently that there are actual multi-tiered theories on how characters were not in possession of their senses. Nothing there, in my mind, ever contradicted any of the stated text, as it stood. This remained a strange little mystery until I did what I always do when I flutter close to an ongoing fandom.

I loaded AO3 and sorted the existing fic by popularity. And there it was, all there: the actual earth-shattering mutual devotion of the angel and the demon; willingness to Fall; openness and long heart-aching confession speeches. There was all of the fanon surrounding Aziraphale and Crowley, which, to me, read as out of character, and to one for whom they became the reality over the last four years, read as truth.

Again, only neutral statements here. This is not a bad thing, and neither this is a good thing, this is just something that happens, after a while, especially when there are years for the fandom-born ideas to bounce around and stew. I can’t help but think that so much of what we see as real in spaces such as this one is a chimaera of the actual source and all the collective fan additions which had time and space to grow, change, develop, and inspire, reverberating over and over again, until the echoes fill the entirety of the space.

Eventually, this chimaera becomes a reality.

Part two. Microanalysis

Here are my two suppositions on the matter:

1. Some writers really love breadcrumb storytelling.

Russel T Davies, for instance, on his run of Doctor Who (and, if you are reading it much later - I do mean the original one), loved that technique for his seasonal arcs. What is a Bad Wolf? Who is Harold Saxon? Well, you can watch very very carefully, make a theory, and see it proven right or wrong by the end of the season.

Naturally, mystery box writers are all about breadcrumb storytelling: your Losts and your Westworlds are all about giving you snippets to get your brain firing, almost challenging you to figure things out just ahead of the reveal.

2. We, as humans, love breadcrumbs.

And why wouldn’t we? Breadcrumbs are delicious. They are, however, a seasoning, or a coating. They are not the meal.

Too much metaphor?

Let’s unpack it and start from the beginning.

Pattern recognition colours every aspect of our lives, and it colours the way we view art to a great extent. I think we truly underestimate how much it’s influenced by our lived experiences.

If you are, broadly speaking, living somewhere in Western/North-Western Europe in the 14th century, and you see a painting in which there is a very very large figure surrounded by some smaller figures and holding really tiny figures, you may know absolutely nothing about who those figures are, but you know that the big figure is the Important One, and the small ones are Less Important Ones, and the tiny ones are In Their Care. You know where your reverence would lie, looking at this picture. And, I imagine, as someone living in the 14th century, you may be inspired to a sense of awe looking at this composition, because in the world you live in, this is how art works.

If you, on the other hand, watch a piece of recorded media and see the eyes of two characters meet as the violins swell, you know what you are being told at that moment. You don’t have to have a film degree to feel a sort of way when you see a green-tinged pallet used, when cross-cuts use juxtaposing images, or notice where your focus is pulled in any given shot. This stuff - this recognition of patterns - has been trained into us by the simple fact that we live in this time, on this planet, and we have been doing so long enough to have engaged recorded media for a period of time.

As humans, we notice things. Our brains flare up when they see something they recognise, and then we seek to find other similar details and form a bigger picture. This often happens unconsciously, but sometimes it does not. Sometimes we do it on purpose: finding breadcrumbs in stories is a little bit like solving a mystery. It allows us to stretch that brain muscle that puts two and two together. It makes us feel clever.

So yes, we love breadcrumbs, and, frankly, quite a lot of storytelling takes advantage of this. It’s very useful for foreshadowing, creating thematic coherence, or introducing narrative parallels and complexity. It’s useful for nudging the viewer into one or the other emotional direction, or to cue them into what will happen in the next moment, or what exactly is the one important detail they should pay attention to.

Because this is something media does intentionally, and something we pick up both consciously and not, it is very hard to know when to stop. We don't really ever know when all of the breadcrumbs have been collected. It becomes very easy to get carried away. There is a very specific kind of pleasure in digging into content frame by frame, soundbite by soundbite, chasing that pleasure of finding.

But it is almost never breadcrumbs all the way down. They are techniques to help us focus on the main event: the story. I truly believe those who make media want it to reach the widest possible audience, and that includes all of us who like to watch every single thing ever created with our Media Analysis Goggles on and those who are just here to enjoy the twists and turns of the story at the pace offered to them. And I think, sometimes in our chase to collect and understand every little clue we forget that media is not made to just cater for us.

One can call it missing a forest for the trees. But I would hate to mix my metaphors, so let’s call it missing a schnitzel for the breadcrumbs.

Part three. The Conspiracy Brain.

If you are there with me, in the midst of the excited frenzy, chasing after all those delicious breadcrumbs, then patterns can grow, merge together, and become all-encompassing theories. Let’s call them conspiracy theories, even though this is not what they truly are.

So, why do we believe in conspiracy theories?

One, Because We Have Been Lied To.

All conspiracies start with distrust.

If you are in fandom spaces - especially if you are in fandom spaces which revolve around a queer fictional couple - especially-especially if you have been in such spaces for a period of time, you have most certainly been lied to at one point or another.

We don’t even have to talk about Sherlock - and let’s not do that - but do you remember Merlin? Because I remember Merlin. Specifically, I remember the publicity surrounding the first season, with its weaponised usage of “bromance” and assertions that this whole thing is a love story of sorts, and then the daunting realisation that this was all a stunt, deliberately orchestrated to gather viewership.

And, because we were lied to in such a deliberate manner for such an extensive period of time, I genuinely believe that it forever altered our pattern recognition habits, because what was this if not encouragement to read into things? Now we are trained to read between the lines or see little cries for help where they might not be. Because we were told, over and over again, that we should.

(Yes, I think we are all existing in these spaces coloured by the trauma of queer-bating. I am, however, looking forward to a world where I can unlearn all of that.)

Two, Cognitive Dissonance.

The chain reaction works a bit like this: the world is wrong - it can’t possibly be wrong by coincidence - this must be on purpose - someone is responsible for it.

Being Lied To is a preamble, but cognitive dissonance is where it all originates. In so many cross-fandom theories I have noticed a four-step process:

A) this is not good

B) this author could not have made a mistake

C) this must be done on purpose

D) here is why

(Funny thing is, I have been on the receiving end of the small conspiracy spiral, and it is a very interesting experience. Not relevant to this conversation is the fact that a lot of my job revolves around storytelling. What is relevant is that my hobbies also revolve around storytelling. And one of them is DnD. Now, imagine my genuine shock when one of the players I am currently writing a campaign for noticed a small detail that did not make a logical sense within the complexity of the world, and latched on to it as something clearly indicating some kind of a secret subplot. Their thinking process also went a bit like this: this detail is not a good piece of writing — this DM knows how to tell stories well — this is obviously there on purpose. It was not there on purpose. I created a clumsy shorthand. I erred, in that pesky manner humans tend to. And, seeing this entire thought process recited to me directly in the moment, I felt somewhere between flattered and mortified.)

This whole line of thinking, I think, exists on a knife’s edge between veneration and brutal criticism, relentlessly dissecting everything “wrong”, with a reverent “but this is deliberate” attached to it like a vice, because it is preferable to a simple conclusion that the author let you down, in one way or another.

Three, Intentionality

I believe that there is no right or wrong way of engaging with stories, regardless of their medium, and assuming no one gets hurt in the process. While in a strictly academic way, there is a “correct” way of reading (and reading into) media, we here are largely not academics but consumers; consumption is subjective.

However, this all changes when intentionality is ascribed.

The one I find particularly fascinating is the intentionality of “making it bad on purpose” because, as open-minded as I intend to always be, this just does not happen.

It certainly does not happen in long-form media. Even in the bread-crumb mystery box-type long-form media.

When television programs underdeliver, they also underperform, and then they get cancelled.

If all the elements of Westworld Season 4 that did not sit together in a completely satisfactory way were written deliberately as some sort of deconstruction for the final season to explore, then it failed because that final season will now never come.

(There will likely never be a Secret Fourth Episode.)

And look, I am not here to refute your theories. Creativity is fun, and theorising is fantastic.

But, perhaps, when the line of thought ventures into the “bad on purpose” territory, it could be recognised for what it is: disappointment and optimism, attempting to coexist in a single space. And I relate to that, I do, and I am sorry that there is even a need for this line of thinking. It’s always so incredibly disappointing that a creator you believed to be devoid of flaws makes something that does not hit in the way you hoped it would. It’s pretty heartbreaking.

Unfortunately, people make mistakes. We are all fallible that way.

Four, Wildfire.

Then, when the crumbs are found, a theory is crafted, and intentionality is ascribed, all that needs to happen is for it to catch on. And hey, what better place for it than this massive hollow funnel that we exist in, where thoughts, ideas and interpretations reverberate so much they become inextricable from the source material in collective consciousness.

Conspiracy theories create alternate realities, very much like we all do here.

So where are we now?

I am not here to tell you what is right and what is wrong; what is true, and what is not. We are all entitled to engage with anything we wish, in whichever way we wish to do it. This is not it, at all.

All I am saying is… listen.

Do you hear that echo?

I do.

#fandom thoughts #fanon #good omens #good omens 2 #bbc sherlock #merlin bbc #think piece #it's been years and I still have no idea how to tag #conspiracy theories #fandom content #all fandoms

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bet-on-me-13 · 1 year

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Dp X Injustice AU's

So, we have seen the frankly insane about of Dp x Dc AU's that have been spawned over the years. But I never really see any Injustice AU's

And then I thought, which Dp x Dc AU would you actually use for an Injustice AU?

Let me give some examples:

Justice League Member Danny: Danny is a part of the Justice League by the time Superman goes insane. He decides to step in when Shazam is nearly killed by Superman, but gets hurt himself in the process and is thrown in jail. This causes some of Superman's supporters to doubt him, since Danny is just a 16 yr old kid and Clark nearly killed him.

Danny is sill a Solo Hero: Danny is still just a Solo Hero from Amity Park in this. When Superman takes over the world, he goes to Amity to try and recruit Phantom. Danny refuses, and they butt heads. Danny eventually promises that he will continue to just act as a small time Vigilante in return for not joining Batman's side. This changes years later, when Superman is responsible for the death of Jazz Fenton.

Danny is a "Villain": Danny is seen as a Villain because he is a Ghost. At least, that's what the outside world thinks, but the situation in Amity is different. Danny has been seen as a Hero for years now, it's just the rest of the world that doesn't want to accept that fact. So when Superman takes over the world, and tries to execute every Villain, he goes after Phantom. Only for the Entire Town to try and stop him.

@little-pondhead Everlasting Trio Villain AU: So, take Little Pondhead's Villain AU and put it in the Injustice Universe. Danny can be the insane megalomaniac Villain he always wanted to be and not feel guilty because this is a Dictatorship. (Although it does remind him of Dan before his parole). He just has fun, messing with Superman, building insane crazy inventions, messing with Superman, enacting fun Villain plots, messing with Superman, and of course messing with Superman. Meanwhile Superman is just having a horrible time because there is just this random Villain, doesn't even seem to have powers, and he Just. Can't. Catch Him! Batman is looking for Fenton to recruit, meanwhile Fenton is literally here to Not be a Hero. It gets even worse when he brings in his Friends and Ellie.

Danny is the Ghost King: Danny is the Ghost King by now, and Batman's side try to Summon Him to deal with Superman during the whole "Super Pills" event. He shows up just in time to save Green Arrow, but isn't trong enough to kill Superman. He himself gets extremely injured in the process and gets forcibly summoned back to the Ghost Zone to be healed. Now the entire Dimension is gearing up to attack the Living World as revenge for their King being so hurt.

Old Man Danny AU: My own AU. Danny is still an Old Man just living in Gotham when Superman takes over. At one of his rally's to try and garner support and stop the rebellions, Danny stands up in the middle of the crowd and calls him out on all his Bullshit. This causes the whole crowd to start yelling at Superman, which in turn causes Superman to have a Homelander Moment. He kills Danny, who just laughs as he falls to the floor, and causes a riot. What Superman doesn't know, is that Danny was slated to ascend to Godhood at the moment of his Death, so now he has a God of Death chasing him to fulfill his "need to be avenged" urges (its like hunger pangs for ghosts)

Danny as a Medium: Danny is a Traveling Ghost Speaker, like the guy you pay $5 to pretend to speak to your dead loved ones, but he can actually speak to them. Superman is patrolling the world, just making the rounds now that he had conquered the Earth, and comes across Danny's Tent. He stops by in curiosity and asks to speak to his dead Wife. Danny asks if he really wants to put himself through that, but Superman insists. So Danny, instead of just speaking for the Ghost like normal, actually Summons Lois Lanes Ghost to talk to Superman. They have a heartfelt conversation about how it wasn't his fault, and how he shouldn't blame himself, but eventually they get to the topic of Clark talking over the world. She isn't proud, but understands if this is what it takes for him to be happy. She leaves, and Superman is left finally second-guessing himself for the first time in years. Because it doesn't make him happy. (*ahem* Danny still wants to be payed, soooo......)

#Dp x dc #Dpxdc #Danny phantom #Dc #Dcu #Injustice #Injustice AU #A bunch of Injustice AU's #Villain Danny Phantom #Villain Fenton #Everlasting Trio Villain AU #Superman #Batman #Medium Danny Phantom #Ghost King Danny Phantom #Ghost King AU

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yespleasetommyshelby · 4 months

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Before he cheats - Modern Tommy Shelby x reader

I've had this song stuck in my head for days and it's gotta go 😩 This literally took me all of 2 hours to plan/write/post and it hasn't been proofread so bare with!

Enjoy! 🥰

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"56, 57, 58, 59, 60, that's it, I'm done." I huffed as i threw my phone onto the sofa besides me, frown on my face as I sighed. "That's two fucking hours!" I muttered to myself stamping my feet into my trainers I threw my coat on before picking up my phone on some final hope that I'd actually had a reply, but low and behold, obviously not.

"Fucking Thomas Shelby always thinking with his mother fucking dick." I continued to mutter under my breath as I left my home on Watery Lane slamming the door behind me, my chest burning in anger. Stepping out onto the path I shoved my hands into my coat pockets, fists clenched as I headed the short distance down the road to the house where I'd practically grown up.

"Watch where you're fucking going!" I screeched as a teenager flew past on his bike almost knocking me into the road. "Fucking males and their fucking shit." I continued to slate each and every male that came into view in the 2 minutes it took to get to my destination, 'men are all the bloody same' my mum used to say, 'honestly, get yourself a women, their much easier.' Looking back maybe I should've taken her advice.

"Where is he?" I asked as I pushed open the doors to the betting shop that sat in Watery Lane, the punters and staff going silent as I watched with my hands on my hips. "Oh come on, you know exactly who I'm talking about!" I all but yelled into the silent room, after being with Tommy for 2 years now I had almost as much authority as him, almost.

"Y/n, not here." Polly's voice had my head on a swivel, finally spotting her in the doorway to John's office I stormed over ignoring the looks I was getting from everyone.

"Where is he Pol?" I sighed as I flopped down into Johns office chair. "And why are you in here?" I asked noticing that John wasn't in his own office.

"He's disappeared with Esme somewhere, honestly these Shelby boys and their dicks are ridiculous." She mumbled, lighting the cigarette she held in her hand.

"Tell me about it." I sighed, knowing that if Tommy wasn't in the office he was only going to be in one other place. "He's at the Garrison then." I asked, watching as she froze slightly before shaking her head.

"I think so, yeah, what's he done this time?" She sighed as she rubbed her eyes, having dealt with nothing but pissed up (and off) men and women placing bets they can't afford all morning, dealing with her nephews love life was definitely not on her to do list.

"Nothing Pol, he's done nothing which is the fucking problem! He was supposed to meet me 2 hours ago and I haven't heard anything since a lousy morning text all because he's too busy with that fucking whore Grace!" I ranted, reaching out and taking one of her cigarettes before lighting it and slamming the lighter down on the desk. "You know what I'm done." My voice sounded much more convinced then my mind as I said the words.

Shaking my head I stood up in a flash, out of Johns office and into Tommys within a second, without looking I reached behind Tommys desk and picked up the baseball bat that I knew he kept there in case of emergency's. Pushing my way past Polly who was stood in the doorway I made my way through the punters and out into the street without a second look, the bat weighing heavy in my hand.

"Y/n! What are you doing?!" Pol's voice follows me out into the street. "Come back inside!" She yelled, passers by stopping to look at the scenes, before a sharp look from Pol had them walking on.

"Woah! What's going on here?" I was stopped in my tracks as Arthur, John and Esme appeared from the corner ahead of me, grins on their faces as they looked from the bat in my hand to the scowl on my face.

"Looks to me that she's off to play baseball." John laughed, his input met with a thud on his chest by his wife.

"Would you two idiots shut up already." She giggled slightly as she pushed her husband into his older brother. "Now what's up with the bat?" She asked, smirking slightly as she had a feeling she knew exactly where you was going, after sitting on the phone for an hour the last time Tommy pissed you off she knew not to get in the way.

"Like John boy said." I shrugged, my hold on the bat tightening ever so slightly. "I'm going to practice baseball with a nice new shiny Land Rover I saw parked outside of the Garrison." I grinned before pushing my way through the trio and continuing on my way.

I couldn't help but let out a loud laugh as the Garrison came into view and just as I had predicted there was brand new Land Rover sat outside its doors. The brand new Land Rover that only 3 days ago I had travelled up to Scotland to collect with Tommy, not knowing that it would be the last journey I'd take with both him and the car.

"Y/n come on back to the shop love, we'll sort this shit out." Polly pleaded once more making me stop in my tracks, the Shelby's had been like a family to me, even in the years before me and Tommy had officially gotten together, being friends with Ada and all.

"I'm sorry Pol." I sighed shaking my head as I turned to face her and the trio that had followed behind. "But right now, right now he's probably slow dancing with that bleach blonde tramp and she's probably getting frisky. Right now he's probably buying her some fruity little drink 'cause she can't shoot whisky." I laughed a little, knowing for a fact that she couldn't handle the drink that Thomas Shelby worships so much. "Right now he's probably up behind her with a pool stick showing her how to shoot a combo, but he don't know." I laughed as I reached into my pocket and pulled out my keys, my hand wrapping around the longest and sharpest of them all, ironically the spare key Tommy had given me for this exact car.

I could help but grin as I stuck my key through the shiny black metal of the drivers door, the small act creating some kind of pleasure, a pleasure that only increased as I walked my way down the car, the key dragging a horribly crooked line right down the side.

"Right that's enough now! Cut this shit out!" Polly yelled, her eyes flickering between her nephews burnt lover and the door which he could come through at any second. "Think about what you're doing y/n." She almost pleaded, or at least as close as I'd ever seen her.

Ignoring her I made my way round to the passengers side, the metal bat dragging across the floor being the only sound to be heard, except for the muffled giggles that the other two Shelby brothers struggled to keep back. A wave of emotion hit me as I climbed into the car, a lone tear slipping down my cheek which I quickly wiped away.

"He doesn't deserve it." I muttered to myself as I quickly wiped it away without a second thought. "Fuck him and all the whores he's had in this fucking car." I growled gripping my keys as I began to carve my name into the leather seat.

"What the fuck is going on right now?!" My head snapped up as I heard another voice, Ada having stumbled upon my little rage room experiment, shall we call it.

"Ada! Nice of you to join us, i'll tell you what's going on shall I?" I asked as I hopped down from the car swing the bat up over my shoulder as I waved over to her. "Right now, your brother, you know the one that I'm supposedly engaged to, is in there living it up with that Irish tart of a woman!" I yelled, using the bat to point towards the door, not caring how loud my voice had gotten. "Right now she's probably up singing some white trash version of Shania karaoke, right now she's probably saying 'I'm drunk' and he's thinking that he's gunna get lucky! Right now, he's probably dapping on three quids worth of that bathroom polo!" I screamed, the more thought I put into what was actually going on just inside fuelling the rage even more.

I let out a gut wrenching scream as I swung the bat into his headlight, once, twice, three times moving on to the next I swung again laughing as the glass crashed to the floor before swing it into the windscreen for good measure. Throwing the bat to the floor I put my hands on my hips and grinned as I looked at the mess that was Tommy Shelby's new car before making my way over to Arthur.

"I need your knife." Holding my hand out infront of him. "Please Arthur." I sighed knowing that he always carried one no matter where he went.

With a sigh and grin he reached into his pocket and placed the small switch blade into my hand.

"Seriously Arthur?! Why the fucking hell did you give her a knife?!" Polly yelled as she threw her arms up in frustration, knowing that if anyone was going to be killed for this it wasn't going to be her.

"She asked nicely Pol." He shrugged, loving the fact that his brother was about to have the surprise of a lifetime and all he had to do was sit and watch.

Sticking the knife into the front tyre I smirked as the hiss of air filled the air, walking round and putting a knife slash in all of the tires for good measure, I stood back with a grin laughing at the look of amusement over the 3 Shelby siblings faces, the smirk on Esme's and the fed up look Polly had been giving me for the last 10 years.

"What the fucking hell is going on?!" The man of the hour roared as he stepped out onto the street, the pub doors banging against the walls before Grace appeared behind him, eyes cast down. "Answer me!" He bellowed, the vein in his neck popping with each syllable.

"Hi Tommy, remember me?" I asked sarcastically making his eyes jump to me, his face dropping ever so slightly. "You know, the fiance that you used to have!" I stepped forwards as I spoke shoving him back slightly, knowing if it was anyone else they would have recieved a bullet to the head, but I knew he'd never lay a hand on me.

"Y/n? I thought we were meeting later?" He asked, brows furrowed in confusion as he pulled his phone out of his pocket, the numerous texts and missed calls flashing on the screen and the time that read two and a half hours after the planned meeting time. "Oh." He muttered, wiping his hand across his face. "What have you done?" He asked as his eyes trailed along the nice long line that now travels the length of his new car.

"Yeah, oh." I nodded, laughing slightly as Grace stepped out besides him. "I suppose you missed the show while you were in there with ol' Gracie here. But I'll give you a rundown shall I? Well I dug my key into the side of your pretty little souped up four wheel drive, carved my name into your leather seats. I took a Louisville slugger to both headlights and slashed a hole in all four tires, maybe next time you'll think before you cheat." I couldn't help the tears that fell next, the adrenaline slowing and my whole body began to ache, the end of an era, me and the Shelby's.

"Y/n-" "No." I cut him off, not wanting to listen to any kind of reasoning he would throw at me, anything to get him back in the good book. "I might've saved a little trouble for the next girl, because the next time that you cheat, oh you know it won't be on me, no, not on me." I wiped my eyes before pulling of the ring that he had given me 6 months ago. "Guess I'll give it to you aye, Gracie." I muttered, throwing the ring at her feet before turning to walk away.

"Y/n!" His voice reached my ears just as I'd passed Polly, Arthur, John, Esme and Ada. "Y/n please!"

"Bye Tom!" I yelled without turning back, keeping my head up I shoved my hands into my pockets and carried on, not giving them the chance to see the tears that were currently streaming down my face.

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There you have it! My first fic where they don't end up happily ever after, hopefully you enjoyed!

Feel free to send any requests! 💖

#tommy shelby x reader #thomas shelby imagines #tommy shelby imagines #tommy shelby imagine #thomas shelby imagine #peaky blinders imagine #peaky blinders imagines

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tailschannel · 7 months

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Sonic Forces Mobile roundup: Tech Knight Silver teased, Surge the Tenrec leaked

Several character events have been teased and leaked alongside new patch notes for Sonic Forces: Speed Battle. Here's a quick run-through of them all.

Surge the Tenrec leaked

Take a look at the official SEGA HARDlight render of Surge the Tenrec, spotted within the game's files. Not much is known about her runner specifications and release window as of yet, but more is expected to be revealed later on.

Surge will join Whisper the Wolf and Tangle the Lemur as the one the latest IDW Sonic comic characters to appear in official games media.

Tech Knight Silver officially teased, Mummy Knuckles coming soon

SEGA HARDlight posted two teasers for the upcoming slates of character skins in Speed Battle: the "Tech Knight" skin for Silver the Hedgehog, and the "Mummy" Knuckles the Echidna skin.

All of the aforementioned runners were inadvertently teased by name in a spreadsheet leak from the game's developers in late June. Since then, a spokesperson acknowledged that the slate was "subject to change," but did not rule out the release of the mentioned characters, which all came to fruition as planned.

A spokesperson did not acknowledge the leaked renders of Surge and Tech Knight Silver as of press time, due to a policy that prohibits discussion of datamined content.

New in-game events

Speed Battle players can collect Special cards for Sonic the Werehog and Reaper Metal Sonic during the "Graveyard Smash" event. The mission rewards will alternate between each character in the event, scheduled between 24 to 31 October. The event's bonus box will contain 15 cards for each runner.

There is also a new "Brawl Mode" event to earn guaranteed cards for Sonic the Werehog and Reaper Metal Sonic. Scheduled between 24 October to 7 November, players will be placed into teams between the two runners.

To score points in this Team Vs Event you will need to hold the Brawl token, and carry the Brawl token over the finish line. Deal damage to rivals to steal the Brawl token from them, but if you get hit they'll take it back!

The winners of the event will receive 50 cards for their chosen runner, while the runners-up will receive 25 cards.

The new Halloween-themed events followed the launch event for the Classic Super Sonic runner, timed to coincide with the release of Sonic Superstars. Here's the specifications, in case you missed it:

Patch notes

Here's a brief look at the official update notes for version 4.22.0 of Speed Battle. Expect various bug fixes and Tails' Vault improvements.

Balance changes

Reduced damage on 'Sharp Shelter' for Boscage Maze Sonic,

Reduced radius on 'Brutal Barrier' to one lane for Linebacker Omega,

Removed invincibility from 'Twin Tail Boost' for Movie Tails.

Gameplay changes

Added a ray-beam effect on spawn of 'Cyclone Charge' for Longclaw,

Metal Sonic can no longer steal 'Steal'.

(h/t Sonic Mobile News, article contributed by Spectre, Syn, and Scarlett for the Tails' Channel newsfeed.)

#sonic forces mobile #sonic forces speed battle #sega hardlight #surge the tenrec #idw sonic #silver the hedgehog #knuckles the echidna #sonic the werehog #metal sonic #sonic the hedgehog #sega #gaming #sonic forces speed battle spoilers #mobile gaming #sonic forces mobile spoilers #super sonic #classic super sonic #sonic superstars #sonic news

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newyorkthegoldenage · 11 days

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Above: Sandra Church, Jack Klugman, Lane Bradbury, Ethel Merman, and Peg Murray in Gypsy.

Gypsy, the musical based on the memoirs of Gypsy Rose Lee, opened at the newly-refurbished Broadway Theater on May 21, 1959. It had a book by Arthur Laurents, lyrics by Stephen Sondheim, and music by Jule Styne. Originally, Sondheim had been slated to write the music as well as the lyrics, but Ethel Merman was nervous about entrusting the whole thing to such a young man (he was 29). Jerome Robbins directed and choreographed it.

Despite the title, the star of this show is Gypsy's mother, Rose Hovick, the stage mother to end all stage mothers. Often described as monstrous, she ruthlessly pushes her two young daughters into vaudeville, spotlighting the pretty blonde, June. But vaudeville is dying, and the girls are eventually forced into doing their act in burlesque theaters. It is there that one of the dancers persuades Louise, the "plain" brunette daughter, to consider striptease. She blossoms, of course, and becomes the famous stripper Gypsy Rose Lee. Her sister runs away and becomes the actress June Havoc.

Above: left, Jacqueline Mayro as Baby June (doing split) and Karen Moore as Baby Louise (Uncle Sam). Right, Sandra Church as the adult Gypsy and Ethel Merman as her mother.

The score is chock full of what would become standards: "Let Me Entertain You," "Everything's Coming Up Roses," "You Gotta Get a Gimmick," among others, as well as the most exciting overture in all musical theater. But the crowning musical achievement was the show's final song, "Rose's Turn," which one critic described as a "quick-mix of aria, stomp, anthem, hymn, recitative, shout, [and] wail." It's also the essence of the integrated musical number.

Above: Ethel Merman and Maria Karnilova.. Right, Jack Klugman and Merman.

Gypsy is often mentioned when the question of Best Musical Ever Made comes up. In addition to a film and a television version, it has been revived on Broadway four times; it would have been five if not for Covid. The 2015 West End production, starring Imelda Staunton as a stunning Rose, was supposed to have transferred. But the production is available to watch on DVD.

All photos: Friedman-Abeles via the NYPL. Click/tap on each one to enlarge.

#vintage New York #1950s #Gypsy musical #musical theater #Broadway musical #Jule Styne #Ethel Merman #Stephen Sondheim #Arthur Laurents #Jerome Robbins #stage musical #vintage Broadway #vintage theater #May 21 #21 May

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schlock-luster-video · 2 months

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On April 9, 1973, Clay Pigeon debuted in Sweden.

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oolongteacup426 · 5 months

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Guess I'm back briefly to tumblr for this.

I'm well aware that there have been some things flying around about me. That I support proshipping, frans, incest, racism - a whole bunch of things. Normally I don't give these things the time of day because who wants to waste time chasing down every little troll? The internet is the internet. I myself am not, and I have not done anything, that could support these claims.

I'm offering these screenshots to show you all that, despite attempting to write the mc of 'Lane 66' as ambiguous as possible so that she can be as close to a reader insert as possible - I still see her as her own character instead of a blank slate. 66 has more so become a chance to step into Charlie's shoes and experience the world through her than a true reader insert.

There's an important distinction I think that needs to be made. That between 'proshipper' and 'problem-shipper.' The latter is, unfortunately, also shortened to 'proshipper' despite them not being the same. A 'problem-shipper' is someone who supports problematic relationships. Underage, incest, and the like. A 'proshipper' is generally known as someone who supports any pairing EXCEPT 'problem-ships.' So you'll see a 'proshipper,' by this definition, support pairs like SansxGrillby, or MuffetxUndyne, etc. I'm the type of 'proshipper' that supports the pairings that are NOT problematic. So enjoy your GasterxAsgore or TorielxAlyphys or PapyrusxDogaressa fics. I'll support your right as a fan to love what you love as long as it doesn't hurt anyone.

I'd also like to address some creative liberties I have taken. Specifically - my writing of Undyne as bi instead of lesbian. Are y'all aware that Sans is canon asexual? You wouldn't think it based off the fandom. That's because people change things for a fanfic. Shifting something doesn't mean you're disrespecting the og character. If I had written Undyne as straight, I could see the problem. But I didn't. So where's the issue? Undyne, in my story, is still together with Alphys in a loving relationship. Yes, I've given her a crush on ADULT papyrus. Said crush only came to be AFTER he became a fully mature adult. Again - where is the issue here?

Speaking of issues - where is the evidence for any of these negative statements against me or my works? Please, present them. I want to see examples alongside these claims. Give me proof. I am more than happy to admit when I have done wrong and make apologies as needed. I am not afraid to own up to my mistakes. So again, please - show me screenshots from my stories or anything else that can prove that I'm a problem-shipping, incest, frans, and racist-supporting person. Prove me wrong about myself.

In fact - come to me directly on Discord. I'm OolongTeacup. I would love to have a conversation instead of some shitshow on tumblr, X, what have you.

Thank you and have a lovely day <3

#the house on lane 66 #fanfiction #undertale #oolongteacupwrites #oolongwrites #oolong answers #oolong

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weclassybouquetfun · 6 months

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Normally I say "Humbug" to the Christmas season but the BBC has rolled out their holiday slate and it's making me feel (a bit more) festive.

We have the Christmas specials of GHOSTS,

DEATH IN PARADISE, BEYOND PARADISE, CALL THE MIDWIFE, BAD EDUCATION with Jack Whitehall returning.

Premieres of new and returning series with FATHER BROWN, HERE WE GO, NOT GOING OUT, THE FAMOUS FIVE and series two of VIGIL and Jamie Dornan's THE TOURIST all airing.

There are special events such as:

A DOCTOR WHO Christmas special which will serve as the first adventure for the Fifteenth Doctor Ncuti Gatwa

Ken! Ncuti tells us the things he can't live without.

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An EASTENDERS Christmas special which was teased in its February flash-forward episode.

An Agathat Christie mystery: MURDER IS EASY starring David Jonsson (RYE LANE), Penelope Wilton, Mathew Baytnon, Morfydd Clark and Tim Riley.

the annual Mark Gatiss Christmas ghost story. This year's offering being Arthur Conan Doyle's LOT NO. 249 starring Kit Harington, Freddie Fox and Colin Ryan.

For musical enterainment there are many, including the dance theatre performance of PEAKY BLINDERS: THE REDEMPTION OF THOMAS SHELBY

and Jools Holland's annual Hootenanny which will feature Rod Stewart in his first Hootenanny appearance and a second mockumentary with the Kemp brothers Gary and Martin with THE KEMPS: STILL GOLD, also starring Dexter Fletcher.

#ncuti gatwa #dr who #fifteenth doctor #david jonsson #mathew baynton #bad education #layton williams #bbc ghosts #ghosts #tv talk #bbc #the tourist #jamie dornan #peaky blinders #kit harington #freddie fox

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thatonebirdwrites · 2 months

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DEO: Department of Extra-normal Operations

This will be an essay that looks into the ethical problems of the DEO. For the purpose of this essay, I am not concerned about the showrunners reasons for their decisions for how the show presents the DEO. I care only about examining the worldbuilding and stories inherent within the world created. So let's dig into some philosophy and theory. Whee! [Minor spoilers]

To start, this department was first created within the Superman/Supergirl universe in order to analyze alien activities after Superman reveals himself on Earth. It's made in retaliation to the appearance of powerful aliens that those in power deem possible threats. Already, the DEO's beginnings are rooted not in true protection but in stopping and eradicating what those in power deem a threat. It's roots start with dubious ethics.

Let's examine it's history:

It was led by Hank Henshaw, who is vehemently anti-alien. Henshaw is also slated to have ties to Cadmus, which experimented on aliens and attempted several rather horrific and genocidal attacks on aliens. (Note that in Supergirl: Season 2, Kara and Lena thwart Cadmus' activities. Lena Luthor saves the day by modifying an alien killing virus to be harmless to all living creatures. Bits and pieces of the worldbuilding around Cadmus showed that the aliens experimented on came from DEO facilities.)

Henshaw dies when Jeremiah Danvers "kills" him when saving J'onn J'ozz, who then takes Henshaw's place until exposed. He recruits Alex sometime before his exposure (Season 1). After J'onn is exposed in Season 1, Lucy Lane takes control. Then after J'onn helps Supergirl defeat the murderous Kryptonian Non, J'onn received a presidential pardon and was reinstated as director. He kept Henshaw's guise for publicity sake.

The show makes it clear that J'onn choses to be the Director to change the DEO. Yet, what evidence is there that this actually happens?

So that's the basic history.

We have a clandestine agency that has unethical procedures that doesn't change under a new director.

The DEO picks up aliens and throws them in a cell to never be seen or heard from again. This would likely terrorize the alien neighborhoods. This is never truly address in any meaningful manner by the Superfriends or Kara.

In fact, if anything, the show positions the DEO as being Good if Alex, J'onn, or Lucy are in charge (Kara, ironically is not in charge of the DEO at any point). However, the DEO becomes Bad if Lex Luthor or Lauren Haley or the real Hank Henshaw are in charge.

This creates a rather large ethical problem.

First of all, the worldbuilding builds up the argument that certain people are good and certain people are bad. The person we see skirting between those two extremes, and living in a morally grey area the most, is Lena Luhor. For the purposes of this essay, I'll put a pin into Lena's characterization and focus only on the DEO.

Secondly, we are told again and again what Kara/Supergirl's ethics are: justice and truth. Yet when we examine Kara's actions within the context of her DEO Supergirl duties, we are confronted with the following:

She must hide her identity, even from her best friend Lena, and thus deceives regularly. Her reasons for not telling Lena are rooted in the pressure from those at the DEO to not tell Lena but also in Kara's intense fear of loss. However, Kara will demand truth from others despite her hypocritical actions. This doesn't seem to fit solidly in the "good" category.

Her "justice" is defeating criminals. Humans go to the police to eventually have a fair trial. However, aliens are not afforded that same right. Her justice for aliens becomes judge and jury. Since she professes to "not kill," she at least doesn't extend that to executioner. This again doesn't fit solidly in the "good" category.

Thus, by examining Kara/Supergirl's actions, we see a disconnect with what the show claims is "good:" truth and justice. Yet, there is no true justice for the aliens fought and captured; their rights are rescinded (if they had any at all).

This is why the show must tell us who is "good" and who is "bad," because people's actions do not fit the show's claims of what "goodness" is versus what "badness" is. Thus the worldbuilding ends up defining Kara's actions as always "good" even if those actions cause harm to those around her.

[Side note: This isn't to say that Kara is "bad." It is to say that the binary within the show's worldbuilding lacks nuance for the complexity within Kara's understanding of the world and how she acts within that understanding. This binary simply cannot allow for such a complex examination as there is no room for it.

Because of this binary, the show actually butchers Kara's character to make her past "not good" actions as somehow "right" and "good" in the end. We see this with how Kara's harmful actions toward Lena (the lying, duplicity, deception etc) is turned into "I did just one mistake" when it wasn't one mistake. It was years of harm, but because the show paints Kara as "good," Kara is not allowed growth.

This binary of good versus bad is already nonsensical in the worldbuilding since Lena Luthor's very existence throws this entire frame out the window. Her actions, always with the intention to do the least harm and try to improve the world, don't fit neatly into the binary. The story often punishes her for this. (She breaks the binary too much I suppose.)

Yet when other people's actions fail to fit neatly into the binary, the show whispers: "Hush, don't look or think, believe us when we say this person is good and this person is bad.']

To reiterate: It's okay to capture aliens and disappear them without any right to trial If the Superfriends are doing it. This good/bad definition collapses ethics into meaningless words since the activities and procedures of both the "good" people and "bad" people don't differ in terms of impact on alien communities. This lack of differentiation is why we must be told who is good. Otherwise, how would we know?

To dig a little deeper, in Season 4, when Kara is on the most wanted list, she learns very little about the true plight of aliens. During this time, the DEO becomes "bad" under the control of Lauren Haley. Lena Luthor and Alex Danvers, who are both working with the DEO still, also work against the DEO but only to clear Kara's name. So justice is done for Kara's sake but not for the other impacted alien communities.

Once Kara's reputation is restored and she's no longer deemed an "enemy of the state," Kara returns to working with the DEO, as it is now labeled as "good" again because Alex is back in charge.

Ironically, the only person in Kara's friendgroup that questions the DEO is Lena Luthor. (Who in Season 5 will have her 'villain arc' only to be redeemed to the good side again at the end of Season 5. She's the only character, who is labeled a villain at one point, that is allowed true redemption.)

We learn very little about what alien communities actually think about the DEO and about Supergirl in particular. The most we get is the Children of Liberty plot line of Season 4; however, this plot line doesn't ever give us a solid viewpoint from impacted alien communities. Instead, we are confronted with:

We are told what alien communities are like and how lacking in rights they are. Very little of this is shown directly outside of "criminal aliens." Or the brief glimpses within Manchester's arc. However, Manchester is viewed as 'in need of redemption' despite having very real grievances with the state of things. The show then tells us that Manchester is 'bad' and the 'good' J'onn and friends must stop him.

The second time we see alien daily lives is Nia's return to her hometown, which is attacked by supercharged humans. This blended town of aliens and humans serve as an outlier. Nia actually admits that the town is unique and not representative to most aliens' experiences. So again, we don't see a direct experience of alien life in National City or other major cities.

Aliens either have significant powers that humans can justifiably find scary or they are human-like with little to no powers. Both are treated the same for the sake of the Children of Liberty plot line, which serves as an immigrant allegory. @fazedlight and @sideguitars did excellent analysis on this and the problems of these allegories based on the worldbuilding and story itself. (Note: thank you to fazedlight for finding the post in question! Click here o read their analysis.)

This makes it easier for the show to pretend that the DEO is "good" when the Superfriends are in charge. Since we don't meet alien families harmed by the DEO's actions, we never truly get an alternate perspective. Even Lena Luthor's critique of DEO is spat upon by the story, where her alien friends fail to truly counter her valid points. Instead, it's presented in the good/bad binary, which erases all nuance and ethical considerations.

Let's also consider the start of the Supergirl career. Kara is captured by the DEO 12 years after her initial appearance on Earth. However, prior to this moment, we had learned that Kara had nearly been taken by the government -- specifically Henshaw's control of the DEO. Jeremiah Danvers agrees to work for the government in exchange for Kara's freedom from being a government asset.

However, her saving Alex's flight puts her in the crosshairs of DEO, and eventually she is captured. Upon which she learns J'onn is in charge (not the original Henshaw), and J'onn's goals are revealed. He allows Kara to fight her first alien fights as Supergirl. Here we see that J'onn's methods have not actually changed anything about the DEO. The alien fight results in that alien being captured. Supergirl/Kara never hears what happens to the alien she fought and captured. No thought is given to the rights of that alien or if a fair trial will be given. Instead, we are told the alien is a "criminal' as if that somehow justifies the brutal treatment.

After Alex reveals she's an agent with the DEO, Kara fully trusts the agency.

So Jeremiah gave up his life to make sure Kara wasn't being used by the government, only for Kara later on working for the DEO, which is part of the government. Thus Kara ends up used by the government after all. The irony here.

Kara's blind spot here is:

she's privileged. A white-passing, human-passing alien. It's easier for her to hide as a human and not be clocked as an alien. Also, she's white, so less likely to deal with the complications of racism. The most she has to deal with is sexism and the DEO's procedures. This means she doesn't experience the worst the DEO and the systems that uphold it dish out to aliens.

Kara hasn't really interacted with aliens outside her friend group. She's relatively sheltered since coming to Earth due to Kal placing her with the Danvers and having to hide herself. She has no real knowledge of how aliens survive on Earth. This means she has nothing in which to compare the DEO's claims.

She blindly trusts Alex when it comes to DEO.

We don't see Kara questioning what happens to aliens until Season 3 (if it happens in season 1, I apologize as that season is a bit hazy for me). Here Psi saves Kara's life during a perilous mission. Kara then asks about her accommodations and finds out she has no window in her cell. She then demands Psi be given a cell with a window.

However, notice who Kara takes with her on that Season 3 mission: LiveWire (human but due to an accident became Livewire, so she's not an alien but a meta-human) and Psi (who is labeled a meta-human). So the two incarcerated people that Kara chooses are meta-humans and not actual aliens.

So again, we never see Kara interact with aliens outside her friend group unless she is interrogating them. Once the DEO is done with interrogations and the case "closed," those aliens disappear into these windowless cells. Which, need I remind that solitary confinement is labeled as torture for a reason?

Yet that is where aliens that are dubbed "too dangerous" end up by those with power. No rights given; left trapped in solitary confinement with (likely) no windows to never see the light of day again. Of course, because we are told the "good" people do this, it is thus "okay," despite it not differing in methodology with what the "bad" people did.

2. DEO's procedures don't match law. This is especially true when alien amnesty is put into law.

DEO changes NOTHING about their procedures after alien amnesty is put into law. This means that although aliens now have a legal right to a trial, the DEO does not provide this for them. No captured alien is given this right.

This means the DEO doesn't operate within the law.

So if the DEO can disregard laws if they so desire, then what is to stop them from terrorizing any citizen regardless of whether that citizen or alien or human?

What exactly is the ethics of the DEO?

Is the ethics dependent on who is in charge? But if one compares the tenure of the directors: Henshaw, J'onn, Lucy, Alex, Lauren, and Lex -- we see no difference in how the DEO acts.

They all target aliens and give them no rights. The aliens vanish into the cells never to be seen again. This includes some meta-aliens.

Some will claim that while the Superfriends are in charge only criminal aliens are thrown into solitary cells with no hope of release.

But that begs the question: Why do the Superfriends get to be judge and jury and/or executioner? What makes their decisions good but Lauren Haley's or Lex's or the original Hank Henshaw's decisions bad?

Why do the Superfriends get to decide that criminals get no right to a fair trial? Why do they not interrogate what is causing the criminal behaviors in order to change the conditions to avoid aliens resorting to "criminality" as defined by them?

In the end, it does not matter why an alien or meta-human engages in what the state has deemed "criminal" behavior; the methods used in capture and the end result is the same regardless.

The families of captured aliens see the same results regardless of whether "good" people or "bad" people are in charge of the DEO.

While alien amnesty is in law, the DEO, who is under Superfriend control at the time, does not alter their procedures to give the aliens they capture any rights. We never see the aliens or meta-humans captured ever given a fair trial. Nor do we see any programs to reform "criminals" or give them any chance at parole or redemption.

The only method for dealing with aliens and meta-humans uses a carceral prison system that is based in solitary confinement torture. Even the interrogation procedures used have elements of torture to them. In fact, many of the "interrogation" procedures use leading questions to entrap and force a confession under duress. None of these methods are conducive toward reform or fixing a system that deprives those captured of all rights.

Alternate systems for dealing with criminals are never explored. We never see transformative or restorative justice utilized. Both systems would require extensive dialogue with the communities harmed by the "criminals," and if there is one thing the DEO fail at consistently is dialogue with the impacted communities. Instead, their approach is top down, where their ideas of what is right and best is pushed down upon the communities they claim to serve.

Part of this lies with the fact the Superfriends can't engage in dialogue as long as they adhere to the oppressive methodology and practices of the DEO. Reform has failed to alter the ethical violations within the DEO. Alex Vidale wrote an excellent book called The End of Policing, which digs into the attempted reforms for police and how they have consistently failed. Vidale writes:

“At root, they [reformers] fail to appreciate that the basic nature of the law and the police, since its earliest origins, is to be a tool for managing inequality and maintaining the status quo. Police reforms that fail to directly address this reality are doomed to reproduce it.”

The DEO at its root was created to manage the inequality inherent between human rights and the lack of any rights for aliens. It was also created to control aliens and maintain a human status quo. The Superfriends attempt at reform fails to address this reality, and thus were doomed to repeat it.

Vidale continues:

“Police argue that residents in high-crime communities often demand police action. What is left out is that these communities also ask for better schools, parks, libraries, and jobs, but these services are rarely provided.”

Services to better the conditions of so-called "high-crime" communities are not shown to be rendered in the Supergirl world, while the Superfriends are in control of the DEO. It is not more policing that is needed, but more services which do not get provided for most of the show's story and worldbuilding. Thus, the communities that struggle with survival, who often must resort to "illegal" or "criminal" ways end up with only punitive measures that continue the cycle.

It's only in Season 6 when the Superfriends are no longer with the DEO that we start to see them engage in dialogue with the community in general (Kelly's arcs in particular touch on this for the lower income area that she tries to help, which is shown to be a mixture of nonwhite humans and some aliens).

If J'onn and others truly are seeking to reform the DEO, then that requires them to be in dialogue with the affected communities and to put forth new procedures that provide rights to those impacted. This is never done.

3. The DEO suffers no consequences for its actions.

The "Bad things" that happen under the "Bad" directors -- original Henshaw, Lauren Haley, Lex -- aren't ever addressed. Nothing really changes; instead the "Good" guys get back in control and things continue.

Was any reparations made for those harmed by the bad actors? Are the families impacted ever given compensation? We see some aliens rescued from Cadmus in Season 2 and Lex's Power Plant in Season 4, but what of the families of those murdered by Lex and Henshaw? The show fails to address this.

Instead, we are told that the "good" people are now in charge again and only "criminals" are being taken and incarcerated with no rights.

The concept of "criminality" depends entirely on who is in a position of power to dictate what constitutes "criminal" acts. One of the biggest problems with "criminality" as a concept is that it fails to interrogate the why these behaviors happen. What led to the "criminal act?" Are the people engaging in the act just "bad" people?

Often when basic needs are not being met, people may engage in acts of desperation to meet those needs. These actions may fall under what that society deems as "criminal." However, if the people's needs were met, then they wouldn't need to engage in desperate acts to meet their needs.

Another reason for "criminal" behavior stems from people who lack rights in a society. The oppressed will often fight against their oppressors using a mixture of methods (sometimes nonviolent, sometimes violent) in order to win their rights and transform society for the better. Until they win that fight, their actions are labeled as "criminal" by those in power.

Some rarer individuals may engage in acts of harm because they enjoy it such as Lex. However, this is actually very rare. Property crime and burglary is far, far more common. Yet, even those engaging in horrific violent crimes are still afforded a fair trial. Something aliens in the Supergirl universe are never given.

There's quite a few scenes where the aliens fought by Supergirl are engaging in robberies/burglaries or other property crimes. Those that seek to violently mass murder is actually rarer, and often the big villain of the season. At no point does anyone in the show reckon with the reasons someone may choose to engage in "criminal" behavior. Instead, all "criminals" are painted as "bad" regardless.

J'onn professes to be "reforming" the DEO to stop its reign of terror among alien communities. Yet, the most crucial components in changing an oppressive system? We don't really see him utilize them until Season 4, but by then the DEO is in the hands of Alex, who continues the procedures put into place by J'onn,

Paulo Freire writes in Pedagogy of the Oppressed concerning the "radical" as in the person seeking to end an oppressive system:

"The radical, committed to [human] liberation, does not become the prisoner of a 'circle of certainty' within which reality is also imprisoned. On the contrary, the more radical the person is, the more fully he or she enters into reality so that, knowing it better, he or she can transform it. This individual is not afraid to confront, to listen, to see the world unveiled. This person is not afraid to meet the people or to enter into a dialogue with them."

J'onn recognizes that the DEO's methods are wrong and unethical. When he takes over and poses as Henshaw, he wishes to transform the system. Except, this is where he fails, because he justifies his changes by claiming that now the DEO only locks away forever criminal aliens.

No thought is given as to why these aliens are making these decisions. What pushed them to rob a store? What pushed them to attack? Did they feel like they had no other choice? Was there no opportunities other than to rob for what they needed? Or to fight against a system that they deem is harming them and their communities?

These questions are not analyzed at all by J'onn or the Superfriends. They do not listen to those most impacted by the DEO. The only time we see J'onn seem to listen is when he is trying to work with Manchester in Season 4, but that results in Manchester being presented as bad in the end, while J'onn is shown to be good. Where he tried to redeem Manchester.

Yet Manchester had valid points about the treatment of aliens. His methodology in fighting back against what he saw as oppressive system is problematic, but he listens far more than Kara and the Superfriends to those being harmed by the systems that created the DEO.

So J'onn and the other Superfriends are failing to engage in dialogue with those harmed by the DEO. They fail to unveil what is truly horrifying with the DEO: incarcerating aliens in solitary confinement with no fair trial and no hope of ever seeing the light of day again.

The justification that because they are "criminals" this is somehow okay erases all the contributing factors that may make up the circumstances that lead to the "criminal" behavior. Nothing is truly done to remedy the situations that may drive someone to what the state labels as "criminal" behavior. It also unveils a horrible truth. Any alien (or meta-human or even human) can be marked an "enemy of the state" and thus a "criminal," where all rights they had prior be rescinded. We see this happen to Supergirl in Season 4. The only reason she isn't locked away in a cell with no windows is because Alex and Lena don't allow it. Unlike most aliens the DEO fights to find and capture, Kara has people fighting for her. But what about every other alien? Who is actually fighting for them?

J'onn's attempt to reform the DEO falls into the biggest trap for all radical liberators: it is all too easy to become complicit with the system at be and justify this than it is to actually change it from within.

As Paulo Freire puts so succinctly:

“Oppression is domesticating. The gravest obstacle to the achievement of liberation is that oppressive reality absorbs those within it, and thereby acts to submerge human beings' consciousness.”

Thus the DEO fails to be reformed. It's reign of terror in alien communities is not truly diminished. Nor does those fighting to "reform" the DEO engage in any dialogue with those communities to determine their needs or ways to improve conditions to decrease the need to resort to "criminal" activities.

In the end, the DEO stays an oppressive, clandestine agency that has no transparency, answers to apparently no one, takes away the rights of those they catch, and disregards laws as they please.

What the Superfriends have failed to learn and understand is that oppression cannot be defeated by reforming the system that causes the oppression. In other words, liberation cannot be achieved be reform alone.

This is why the destruction of the DEO in Season 6 is perhaps the best result at least within the rules of the Supergirl world. The Superfriends could not reform it from the inside, and by trying to do so, they ended up complicit to a harmful system. As long as they were tied to the DEO, the Superfriends would never be able to live out justice and uplift the rights of aliens and humans alike.

ADDENDUM: However, the Superfriends decision to go full vigilante is a whole other can of worms. They do attempt to be transparent in their actions for the communities they serve, but is there a way for people to hold them accountable? That isn't fully addressed. However, that would require a full essay, and this essay is only about the DEO.

#I know it's CW who failed to ever think about these topics #I wanted to get philosophical about this #if I had more energy I'd give the good/bad problem further depth as it deserves more examination than I gave #The simplification of ethics to good/bad based on who the show labels as 'good' and 'bad' is a bastardization of ethics #I love me some paulo freire #trying to reform a corrupt system from within runs the danger of becoming part of that system #Liberation cannot be achieved by reform alone #I wrote this mostly as an exercise in examining worldbuilding within a liberatory framework #I'm solidly in the DEO cannot be redeemed or reformed camp and needs to be completely taken down #A new method for dealing with dangerous aliens that respect their rights is needed #Restorative or transformative justice is my jam

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blueparadis · 2 years

Text

▏spaces in between ▏s.kiyoomi ▏

CWs— bodyguard au , fwb tropes, female anatomy, smut, she/her pronouns, mutual masturbation, branding, cunnilingus, dub-con, orals. word count — 1.1k

precis — your brother, Hanma Shuji recruits a watch dog for you when you're back in town after years.

NOTES — this is for @luvbladez ’s all suited up collab and sizzling sextember self collab event.

+ links section + tags— @kentoangel

The weather was warm and the sunlight was bearable today. Clouds seem to be a little playful today since you were bestowed with shade every now and then. You could have booked a cab, but it is just a five-minute walk from your brother's home to the office.

The moment you stepped into the huge building a tall, well-built stature blocked your way. Looking up, you noticed a boy with wide-almond eyes with two flawlessly symmetrical moles on the side right side of his forehead.

A new face. The last time when you visited there was a different bodyguard. You secretly thanked Shuji for choosing such a handsome face this time. His hair was gelled back yet you could tell he had curly hair since those thin curled hair near his descending hairline was evident.

“Ma’am, could you please step aside?”

Of course, how would he know that you're the sister of CEO of the company, Hanma Shuji’s sister? You parted your red lips yet hesitated to speak. What if he doesn't come to know? What if you were just a mere visitor? Wouldn't that be fun?

“Raise your hands, ma'am.”, he barked and it suggested that he was getting impatient.

“Like this.”, you mumbled almost curling your arms around his broad shoulders. It was indeed a great choice that you decided to wear his. You thought he would inform the security of your misbehavior but he didn't.

He inspected you. The device roamed all over your body barely grazing your skin. There was flickering eye contact when he was done.

“There you are.”, and you immediately recoiled back recognizing Shuji’s voice. “Why do I bother buying you a phone if you do not use it?” The urge to have a glance at that boy was tempting but Hanma would deduce all of your mischievous ploy.

Hanma swings his hand pointing toward the man behind you. “Meet him. Sakusa Kiyoomi. He is your bodyguard as long as you plan to stay here”,

“Wait, so you did not fire your bodyguard?”

“UH-AH!”, Hanma nods his head sideways. “Secretary with special skills, y/n”, you rolled your eyes at his response. Wait, does that mean he knew me already? And played along with me?

As the realization hit you, you turned around to look at him, finding nothing but a slight curve at the corner of his lips. Fuck. Sakusa enjoyed it. In his whole career, no one has dared to pull that kind of stunt before. He is hired more for females rather than males. It is his clean reputation of not having any record of misbehavior or affair. He works for short tenures but yours was a rare case.

It has been more than a year since you visited your brother. Everything has changed so drastically that without Sakusa you had trouble knowing the city lanes. Well, you were always accompanied by Hanma but he can’t tuck you in his pocket everywhere he goes. He has a job to do, a company to run.

Sakusa was flawless. Punctual. Neat and handsome. When you read his file you were taken aback by his clean career like a brand new slate, with no stroke of any kind of chalky behavior. But his silence, his obedience was becoming quite annoying and so you tried to stir this awful pool of silence by a pebble of thought.

You ran your hands through the row of floral dresses murmuring, “Did you tell your boss about that day?” At first, there was a silence that made you cock your head at him.

“About what day?”, he quipped as soon as you looked at him. You parted your lips to speak but were halted by his stares. He eyed you up and down. Clearing your throat you mentioned that he has a clean reputation, why bother tainting it?

There was a party to be held this evening for various kinds of donations. Actually, it is just an occasion to make bonds with other business tycoons and to keep up the lustrous reputation of the company. You did not want to go, you wanted to enjoy long rides alone but your brother reserved a bodyguard for you. He was no less than a bounty hunter.

“My previous Bodyguard was a lot more fun. He used to take me anywhere I wanted to go, anytime I wanted to go”, that was enough. Sakusa was a cocooned man but you sure knew which string to pull to have him unwrapped, naked. He quickly pulled over and before you could protest he was already beside you holding your wrists firmly, “What do you want princess?”

Your eyes flashed from his dreamy dark pitch pupils that shone in hope to his perfectly moistened lips. Nothing needed to be told anymore. You were already on his web of charms before you knew it.

The shrill cry of cicadas was getting louder and louder as Sakusa’s lips ghosted over yours. Your mind feels all mushy when he rubbed your feminity in circles sloppily. It was getting so warm inside the car that it was getting hard to breathe.

He would not stop exploring your skin with his lips making you moan so roughly. Sometimes he bit too hard yet your sharp winces did not stop him from getting a taste of your blood.

“I’m going to be late Sakusa”, you moaned as he slides two fingers in.

“You should have thought before saying such things to me.” He quickens his pace abusing your puffy pussy lips with his long hefty fingers.

“You see, I'm a very jealous person” Now, that was something you could play with. He could feel your cum on his palm yet he continued.

While he continued his ministrations, you quickly unbuckled his belt having his cock in the display. “Fuck”, Sakusa uttered as you started to pump his cock. You were already soaking wet but giving him a hand job accelerated you enough to have you beg him.

“Do you have a condom?”, you asked but he was too drowned in his high. He was close since he was rubbing your clit so very roughly that felt his fingers so deep inside your femininity. “Ah noh!”, he managed to reply before his breathing shrugged, head thrown back having his cum all over your satin red dress.

He leaned against the car window. You sat having your legs hanging while he asked. “Should I stop by a shop? You could grab a dress and I could grab some condoms?”, breathing still ragged as he put his huge cock under his trousers and zipped it. He smirked noticing your eyes shift from his cock to him.

You looked at him blowing a kiss in his direction making him palm his face and chuckle merrily that reverberated in his ribcage so melodiously that you want to kiss him, tickle him till he grins again.

—

@tokyometronetwork

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