#but slotting him into present day DC just feels... wrong

[redrobin-detective]

I realized I’ve talked big game about Billy and Jason coexisting as a young Captain Marvel and Robin Jason but never really explained it. I swear it’s not just because I think Jay and Bill would be the absolute best friends ever and deserve each other. So! Captain Marvel started off with Fawcett Comics in 1939 and was eventually absorbed by DC comics sometime in the mid 70s before becoming more prevalent in the 80-90s. Jason was introduced in 1983 so Jason and Billy’s introductions to the DCU are much closer together than the other Robins. So on that front I like the continuity but it’s also deeper than that.

Despite being created alongside the Golden heroes like Superman, Batman and Wonder Woman, I really like the idea of Captain Marvel coming into play after that first wave and with the second. It’s kind of mentioned in First Thunder that the Wizard saw that a great era of heroes was dawning and wanted his champion to be there to help with any threats, magical or otherwise, that may result. By the time Billy is granted his powers, the Justice League is well established and its main heroes considered to be the shining example of heroics. Hell, in this timeline Billy was probably born around the time these heroes first became active. 

The JLA is in many ways considered and run like a business, especially as it expanded beyond the original seven and required more care and coordination. The League is in this weird time where it’s starting to expand but doesn’t quite have all the kinks worked out like they will later and thus it’s the perfect time for Cap to be able to keep his identity under wraps. But also the idea of people looking up to the original heroes who paved the way, there’s some metaphors there not only of Billy growing and coming into himself through their example but in many ways exemplifying the ideal they may stray from. I really like the idea of initial tension between Supes and Marvel because, for all his kindness and goodness, Clark can be flawed. I can see him being nervous around a magical version of himself with seemingly no weaknesses. As the League gets bigger, gets involved more on social/political issues, having Billy/Marvel to serve as a reminder of what they stand for, it’s something I like. 

This period of transition extends also to Robin Jay. We had the first wave of superheroes and their sidekicks but now those sidekicks are growing up. Nightwing is with the Titans and then his own solo, Wally has assumed the mantle of the Flash from Barry, Speedy was struggling with addiction. Jason (to my mind don’t jump down my throat) was one of the first times a legacy character was properly replaced by a new character (Dick Robin -> Jason Robin). There’s a realization there that there will be heroes beyond the originals and their first set of sidekicks, that time is moving on and change in inevitable. To me and their respective origins and places in the larger DCU, Jason and Billy are symbols of change. 

This rant is getting away from me so I’ll wrap it up. Basically I think the second wave of heroes is the perfect era to slot in Billy Batson with him eventually becoming friends with newly inducted Robin Jason Todd. This, of course, later leads to tragedy with Jason’s death which poor Bill doesn’t deserve but also opens avenues on how Bill would interact with the League as it, and himself, grew up. I like most have trouble imagining Billy past 13 but imagine him giving advice and reminiscing with Tim Drake about Jay when they’re about the same age. Imagine Bill as an older teen on the cusp of adulthood when he learns his best friend has come back from the dead as a criminal. Imagine young adult Billy, trying to make his way in the world now as a proper adult having to deal with Damian’s attitude and arrogance. 

We all love perpetually baby Billy but there is a certain poetry in slotting him in a young, still getting itself together, Justice League. A Justice League that is, in itself, in its awkward preteens and trying to find it’s footing and place in the world. It puts him elbow to elbow with Superman who is struggling to find himself in his new role as the Man of Steel and is now confronted with a godlike being who absolutely could kill him and also with Jason, a street rat like him working to make a difference for the little people. I will always feel its the best place for Billy to find himself alongside a heroics organization which is looking to do the same.

#billy batson #i did not explain myself well here so i hope you can at least appreciate the vibe #i know we want to keep bill perpetually young (and I understand believe me) #but slotting him into present day DC just feels... wrong #bats supes wondey and co have been operating by this time for like 20 years #they're older in their 40s and even early 50s (if DC wasn't cowardly enough to admit it) #it just feels awkward to throw in 10ish y/o Bill who really wont have a connection #compared to an early 30s crowd who Really are feeling the pressures of being literal superheroes and adults in a way #theres a better connection there especially as theyre trying to really get the JLA up and running as it expands #theres themes of growing up and periods of transition of different perspectives that I just like #there's something about watching Bill grow up with the League #aging into an adult as it does #of losing his best friend as a child only for said friend to come back as a murderous adult #i could talk about it forver but my words arent working so I'll shut up #but please ask me about it ahha

[thebowerypresents]

POSITIVE SPINS: NEW ARTISTS, NEW ALBUMS, AND NEW LIVE STREAMS THAT PUT OUR 2020 ON A BETTER TRACK

2020 proved to be one of the hardest years we have collectively gone through.  While we didn’t have live music to lean on when times got tough, these are the albums, artists and livestreams that got us through the rough patches and will carry us into a brighter 2021.

Listen to our playlist of Positive Spins!

BEST NEW ARTISTS OF 2020 (in no particular order)

THICK

“Brooklyn-based pop-punk three-piece, THICK, are not afraid to say (or sing) what’s on everyone’s mind - with a fierceness and confidence I can only aspire to assume. Sticking it to the establishment is the name of their game - take “Mainsplain,” for instance - and they manage to do so with catchy chord progressions and an uplifting vigor. I can’t wait to see what’s next for the trio, and who else they’ll put in check.” - S. D.

Ela Minus

“Brooklyn-based techno-pop artist Ela Minus broke onto the scene this year with her debut album “ acts of rebellion.” The Colombian-born musician has a background in emo bands, is a trained jazz drummer, and she wrote, produced, engineered, and recorded the album on her own. “acts of rebellion” is moody and sultry, while still making you want to grab your friends and dance.” - K. C.

Arlo Parks

“Without even having released her debut album yet, Arlo Parks has made a name for herself this year. Singles released throughout the year, paired with 2019’s EP ‘Sophie’ and her slot as support on Hayley Williams’ (cancelled) tour have boosted Arlo to a new level this year, that we can only assume will continue to rise in 2021 when her debut album drops.” - K. C.

Beabadoobee

“Beabadoobee’s interesting name is only matched by her sound - bedroom-pop fused with nineties indie-rock, tinged with a tender, DIY aesthetic. Her track “If You Want To” will have you singing along, while her single “She Plays Bass” will take you back to your hormonal, vulnerable, teenage years met with sublime nostalgia. She’s without a doubt a silver lining in 2020.” - S. D.

BENEE

“I first saw Auckland’s BENEE at Rough Trade in October of last year - her sincere, to-the-point lyrics and quirky hooks instantly hooked me. You may know her track, “Supalonely,” which found popularity on TikTok during the height of lockdown, but BENEE’s sound isn’t limited to the confines of one social media trend. In her debut album released this year, BENEE displays an uncanny ability to tackle alt-rock, hip-hop and electro-pop all at the same time, in an unbothered, endearing way - making her a “one to watch” in 2020 and beyond.” - S. D.

Christian Lee Hutson

There isn’t a lack of acoustic singer-songwriters out there, but Christian Lee Hutson is an important new voice. Hutson first full length album, “Beginners,” released this year, has a warm and honest quality to it. The production is subtle (thanks to producer Phoebe Bridgers), and so perfectly complements a simple, acoustic narrative. The result is a soulful, beautiful, and special work of music. - S. D.

Do Nothing

“2020 newcomers out of Nottingham, UK, Do Nothing have already made a big splash in the post-punk world. Releasing their first EP, Zero Dollar Bill, earlier this year, the band have been compared to Idles and are setting out on a similar path of success. Upon first hearing their earlier single Lebron James, countless fans are sure to be sucked into the world of Do Nothing.” - K. C.

Kate Bollinger

“I first listened to Kate Bollinger when she released I Don’t Wanna Lose in 2019. I played the track Candy on repeat all year long. It has been so lovely to watch her grow into the artist she is today. This year she released an EP called A word becomes a sound, which quickly became one of my favorite releases of 2020. Her voice is so comforting. Whenever I listen, I feel like I am being coddled in a fluffy blanket with a cup of herbal tea and nothing could go wrong at that moment. I can’t wait to see what Kate has planned for 2021 and beyond!” - L. S.

SAULT

“After a year of intense racial unrest in the United States, SAULT’s importance is more significant now than ever.  With themes focusing around the Black Lives matter movement, this mystery soul-funk group has become more than buzzy in the music scene, and has earned a spot on tons of year end lists.” - K. C.

Sorry

“London-based genre-defying band Sorry released their debut album ‘925’ this year, produced by James Dring (Gorillaz, Jamie T) which is already reason enough to pique the interest of most. The album certainly does not disappoint, with each song giving you a different taste of the many interesting sides of this up-and-coming group.” - K. C.

Honorable Mentions:

Gracie Abrams Remi Wolf Hailey Whitters KennyHoopla Jade Hairpins Jockstrap Model/Actriz Mild Orange Your Smith Neal Francis

BEST NEW ALBUMS OF 2020 (in no particular order)

Fiona Apple – Fetch the Bolt Cutters

“Fiona Apple is fearless in this album. The song structures and sounds take you on a listening experience I can only describe as emotional in the best way. Eight years of waiting was totally worth it.“ - S. D.

Fleet Foxes – Shore

“This album had been bright spot in a difficult year. St. Ann’s Church was the perfect location for their Colbert performance of Can I Believe You and the live stream will be the perfect holiday present. Ready to feel all the feels!” - K. A.

Khruangbin - Mordechai

“Khruangbin is one of my go-to bands, and “Mordechai” has been heavy in my rotation in 2020. It’s really a great album – I play it cover-to-cover and pairs well with a cocktail and cooking at home, infusing some needed spice and energy in what could otherwise be ‘just another night’ during a long, monotonous several months.” - C.M.

Moses Sumney - Græ

“The highly anticipated second album from Moses Sumney, shows us more of the highly personal, raw and emotionally moving music we have some to expect from him. The cluster of emotions that Moses works through with his beautifully unique voice in this 20 song album give us a look into the complicated mind of one of the most interesting artists of the last 5 years.” - K. C.

Perfume Genius – Set My Heart On Fire Immediately

“*Bill Hader’s Stefan voice* this album has everything! From the heavy and distorted bass on “Describe” to the melodic harp stringing of “Leave,” to the dance ballad (is that a thing?) “On The Floor,” Perfume Genius’ album Set My Heart on Fire Immediately really does have it all. Each song feels vastly different from the next in tone, instrumentation, and influence – yet they all come together so perfectly to make this stunning album, all while showcasing his vocal depth and range. There’s a reason he’s called Perfume *Genius*, and that is because Mike Hadreas can take familiar feelings and turn them into unconventional pop ballads that feel both relatable, but new and exciting at the same time.” - R. E.

Phoebe Bridgers – Punisher  

“How does Phoebe do it? (a question I ask myself daily). I remember waking up on June 18 as if it was my birthday. Punisher is everything I hoped for and then some more. The last song on the album, “I know The End” concludes with a scream which is the perfect cherry on top to this masterpiece. This album is a rollercoaster of Phoebe’s emotions and I feel blessed to be along for the ride. It is relatable, heartfelt and honest. Thank you to Phoebe for this gift. The world will never be the same after this.” - L. S.

Rina Sawayama - SAWAYAMA

“SAWAYAMA is the early 2000s pop resurgence we didn’t know we needed, mixed with all the best parts of nu-metal. Rina Sawayama uses catchy pop hooks reminiscent of early Britney Spears, and pairs them with heavy guitar riffs to give us arguably the most fun album of 2020 that we cannot wait to experience live.” - K. C.

Tame Impala – The Slow Rush

Thundercat - It Is What It Is

“I love how this album embraces the darkness while managing to find the light in despair - it seems to acutely reflect the times we are in yet is simultaneously so personal to Bruner. The lyrics are set against a backdrop of funk, electronica, jazz, and soul, so there’s a little something for everybody.” - S. D.

Waxahatchee - Saint Cloud

“This album was released early in quarantine, and was the perfect musical escape during some of the toughest days. The imagery and reflection of the lyrics are why Saint Cloud tops my list of albums of 2020.” - J. F.

Honorable Mentions: The Beths – Jump Rope Gazers Fontaines DC - A Heros Dream Kevin Morby – Sundowner Jason Isbell & the 400 Unit – Reunions My Morning Jacket - The Waterfall II CHIKA - Industry Games Megan Thee Stallion - Suga Christian Lee Hutson- Beginners Idles- Ultra Mono Sturgill Simpson - Cuttin Grass Pup - This Place Sucks Ass Futurebirds- Teamwork Adrianne Lenker – Songs / Instrumentals Tom Misch, Yussef Dayes - What Kinda Music + the bonus tracks EP Some Kind Of Peace – Olafur Arnalds Tyler Bryant and the Shakedown - Pressure Josh Ritter - See Here, I Have Built You a Mansion Sahara Moon - Worthy Local H - Lifers Deep Purple - Whoosh! Indigo Girls Look Long Taylor Swift - folklore Against All Logic – 2017-2019

TOP TEN LIVESTREAMS 2020 (in no particular order)

Christine & The Queens (Live on KEXP at Home)

https://www.youtube.com/watch?v=3bavZe47um4

“Live on KEXP at Home” was home to some of my favorite quarantine livestreams, and this one did anything but disappoint. Not only does Chris, aka Christine & The Queens, perform, but interviews are woven throughout the livestream. The drama of her performances, juxtaposed with her witty and humorous banter with the interviewer was such a breath of fresh air. If you’re a fan of Chris, this is a must watch.“ - S. D.

Courtney Barnett and Lucius & Friends: Live From Our Lounge Rooms with Sheryl Crow, 3/25/20

https://www.youtube.com/watch?v=xbfRbw3o1jU

“This was a gift that kept on giving. The stream started off with Courtney Barnett and Lucius in matching pajamas. I truly thought it could not get any better but I was in for a treat! The stream included performances by Nathaniel Rateliff, Sheryl Crow, Sharon Van Etten, Waxahatchee, Kevin Morby and more. I can safely say this was my favorite live stream I watched in 2020.” - L. S.

Julien Baker, Themfest Instagram Livestream, 4/16/20

https://www.youtube.com/watch?v=tINSbY4wRjs

“Recorded for Themfest during the early days of quarantine, Julien Baker’s in-home livestream was a welcome respite from the Cuomo briefings and general despair of mid April. Just kidding, Julien Baker is the queen of Sad Shit and I certainly didn’t tune into this livestream expecting a mood boost. But if you subscribe to the “sad songs make me feel better” aesthetic purveyed by our sweet little siren, this moody, intimate shot-on-iphone set will scratch that itch. But let’s not fool ourselves, nothing will ever replace the feeling of holding your breath along with 1,799 others at Brooklyn Steel while JB rips your heart out, in a nice way.” - E. M.

Kurt Vile, Love From Philly Livestream, 5/3/20 (covers John Prine’s “Sam Stone” near the end)  

https://www.youtube.com/watch?v=pjKG-7d5loY&feature=emb_logo - Jared

“Back in May, Kurt Vile took to his basement for a solo acoustic stream to benefit 30 Amp Circuit, a non-profit dedicated to support the health, wellness, and professional needs of Philadelphia-based musicians and artists. The intimate 3-song set rounded out with a special tribute to the late John Prine, as Kurt did his own rendition of “Sam Stone.”” - J. D.

Radiohead, In Rainbows - From The Basement, 6/4/20

https://www.youtube.com/watch?v=sWqDIZxO-nU

“This is the one die hard Radiohead fans have been waiting for. This session originally from 2008 existed in some pretty esoteric places and has been almost impossible to find – until now.” - G. A.

Sturgill Simpson, Live at The Ryman Auditorium, 6/5/20  

https://www.youtube.com/watch?v=kO73im4J2sU

“2020 was supposed to be a banner year for Sturgill, until he got COVID-19 in April. He’s ok now, but something about this performance in the sacred church of country music The Ryman, hits different.” - G. A.

Haim - Women in Music PT. III Live Show, 6/25/20

https://www.youtube.com/watch?v=V_eJU6X3_jQ

“I love pretty much everything the Haim sisters do - so much so that I aspire to be a sister myself. When I was feeling those very familiar mid-pandemic blues, their “Women in Music PT III” livestream, which celebrated their new album of the same name, was the exact pick me up that I needed. For the first time since March, the 30 minute set made me feel as if I was at an intimate gathering - rather than behind a computer watching a YouTube video along with thousands of others. The stream will have you grooving, laughing, and you may even want to be a Haim sister yourself.” - S. D.

Nilufer Yanya, Boiler Room: Streaming From Isolation with Night Dreamer & Worldwide FM, 6/28/20

https://www.youtube.com/watch?v=kAaAicIJE7s

“Hauntingly beautiful and yet also somehow grounded, Nilufer Yanya’s June livestream was a special one to watch. It makes the case for how intimate an artist’s performance can be, even virtually.” - G. A.

Brittany Howard, Live From Ryman Auditorium, 10/17/20

https://www.youtube.com/watch?v=zLH59WLQbZo

“Watching Brittany Howard and her incredible band rip through a set on the Ryman stage like no one and everyone was watching all at once was cathartic. The combination of such a singular artist and historic venue hit a similar nerve to seeing an artist you’re excited about play a show in the flesh with people you love – not an easy feat!” - M. L.

Tkay Maidza - Live on KEXP at Home, 11/3/20

https://www.youtube.com/watch?v=iPJgrDvyRbw

“13 minutes and 11 seconds of pure energy. This livestream is the moment we’ve all been waiting for, and, in my opinion, showcases Maidza as the star that she is. A must-watch if you’re looking for a refreshing and colorful approach to hip-hop.“ - S. D.

[wantstoflyafraidtofall]

Chapter 5: Dread

read on Ao3 here

****TRIGGER WARNING****

LIGHT DESCRIPTIONS OF PAST RAPE!!! IF THIS BOTHERS YOU, STOP READING AT WHERE DEAN SAYS "Yes sir," AND START AGAIN WHERE IT SAYS "He didn't stand up."(its the last paragraph before the switch back to the present)

ALSO SOME HOMOPHOBIC AND DEROGATORY LANGUAGE.

---

Dean wakes up to the unfamiliar feeling of warmth and protection and curls deeper into it, craving the feelings. His thoughts were still fuzzy as he snuggled further into the heat. As he became more awake, his thoughts began to clear as he comes to a sudden realization of where he is.

He has his head snuggled into the crook of Cas’s neck, both his arms wrapped around his torso and one of his shins slotted in between Cas’s. Cas’s arms were wrapped around Deans midsection, his ankles crossed over Deans calf.

Dean’s body instantly tensed up and he pulled away from Cas and scooted to the furthest side of the bed before rolling onto the floor, landing on his hands and feet and scrambling to stand as he ran towards the bathroom.

He runs into the bathroom and locks the door behind him. He leans against the cool wood of the door and slides down to a sitting position. He hears muffled rustling and soft footsteps approaching the door.

A few soft knocks shake the wood and he hears Cas’s concerned voice, “Dean? Is everything all right?”

“Yeah,” Dean says, voice cracking. He clears his throat, “just peachy.”

“...ok, I’m going to go and make some coffee.”

“Ok I’ll be down in a minute.”

He waits till he hears the door to his room close before he lets the gates open. Tears stream down his face and gather at his chin before dripping onto his shirt.

He shouldn't be doing this. Not with Cas.

Not with another guy.

---

Dean could feel the rough bricks scraping against his back through his shirt as he was pressed into the wall.

The alleyway was dark. The perfect place to do this.

Warm lips smashed into his mouth in a messy, hard kiss full of tongues and teeth. He moaned as the man's hands snaked under his shirt, fingers leaving warm trails on his back.

Dean slid one hand up the man's shirt, letting it explore the warm skin while his other hand rested on the back of his head, fingers gently pulling on his curly hair.

Heat begins to pool in his stomach as Dean pulls the man closer, their aroused bodies pressed together, only breaking apart to gasp for air before crashing together once again.

“What the fuck it this?” A firm, raspy voice roared down the alley.

The two men suddenly pulled apart to look at whoever caught them, still breathing heavily. Dean’s aroused body suddenly tensed up when he recognized the seething man at the entrance to the alleyway.

“D-dad? This- Its not- He- '' Dean stuttered as John backed him into the corner of the alley and slapped him across the face.

“You disgusting little faggot.” John growled, curling his lip like an angry dog.

He grabbed Dean by the back of his neck and yanked him forward as he led him out of the alley and to the car. The other man fled the scene as soon as he had a clear shot to run without getting too close to John.

He drove all the way to the motel in silence and got a separate room to not disturb Sam. John shoves Dean through the door into the room and points a finger at him.

“Don’t you fucking move.” John snarled.

John slammed the door but didn't leave. Instead he stood outside and pulled his phone out of his jacket and dialed in a number before pressing it to his ear. After a few minutes of conversing with whoever was on the phone, he hung up and came back into the room, a ferocious gleam in his eyes.

“Don't worry, Dean, I thought we solved this years ago but now I'm gonna fix you and I can have my son back again,” John grined, “Now clean yourself up, I have someone coming over to help.”

“Yes sir.” Dean replied before heading to the bathroom to shower.

He washed up quickly and exited the bathroom but the room wasn’t empty. A woman in a red dress and tight leather jacket with black heels was sitting legs crossed in a chair.

Dean recognizes her as Jazmine, John’s favorite hooker. With a sinking feeling he realized what his Dad wanted him to do with her. She smiles slyly and rises from the chair before sauntering over to Dean, placing her hand on his bare chest and walking him back till his knees hit the bed.

She curls her fingers around the towel and untucks it, letting it drop to the ground, leaving Dean completely naked before her. The hooker pushes his chest and he falls back onto the bed, too much in shock to resist.

She kicks off her heels and slowly pulls out of the leather jacket as she crawls onto the bed over Dean, hands snaking over his body.

The smell of strawberries and cigarette smoke intruded his nose as she laid against him.

Her hands were everywhere. He wanted them gone. He wanted them to stop touching.

He tried to push away but she just sat up and pulled off her dress before coming back down on him.

He hated the feel of her lips. He wanted her to leave. He wanted to cry and scream. To escape. But he couldn't.

John would then have nothing stopping him from hurting Sammy. Dean can’t leave.

Dean moaned into his release, despite it being unwanted, Jazmines own climax followed shortly after.

Jazmine stands from the bed and shuffles into the bathroom to clean herself up. She came back out and pulled on her skin tight dress and jacket before sliding into her heels and going to the door, giving Dean a small wave and a satisfied smirk before leaving.

He didn't get up. He just laid there, tears streaking down his cheeks as he silently sobbed. Wishing for a normal, happy life. At least John didn't come back from whatever ditch he fell asleep in until a few days later.

----

Fuck bisexuality as Sam calls it. Dean is not going to pine over some guy who he's sharing a house with and will forget once he leaves. Having two straight, strong sons was probably his father's dying wish anyway.

He’ll have to stop whatever is going on with Cas now before it goes too far. He has to keep their relationship as close to strangers as possible from now on. Only necessary interactions.

Dean stands up from the floor, his back cracking as it straightens from its uncomfortable position(that's about the only thing that's actually straightening right now) He cleans his face with a damp cloth, checking his reflection in the mirror.

Dean unlocks the bathroom door and steps out onto the hardwood floor. He puts on jeans and a flannel, he's ready to go downstairs but instead, he just stands there. He just stands and breaths.

He hates himself so much.

Pathetic

Cock sucker

Disappointment

Disgusting

Fairy

Twink

Filthy

Useless

He can hear John's voice echoing a variety of insults and derogatory words in his head.

Dean just stands, counting his breaths. He tunes into his senses, trying to turn away from his thoughts.

The usual sound of birds or rustling leaves isn't there. A dry and empty silence fills the house, sending a cold shiver down Deans spine. He spins around on his heel, half expecting to see the shadow creature watching him but the room is empty.

The odd air doesn't leave until he enters the coffee scented kitchen. The sounds of the old Mr. Coffee pushing through another round of their caffeine demands and the clank of mugs as Cas sets the on the counter breaks the spell of silence that seems to rest on the house.

Cas pours him a mug and slides it across the island before pouring one for himself and sitting in the chair next to Dean. He angles his body towards Dean looking at the side of his face with a worried expression.

Dean just sits, ignoring Cas and drinking his coffee in slow sips. He wanted so badly to talk to Cas, to make him smile and rid of the worried frown on his lips. But he instead sat refusing to meet his eyes and burying all his feelings.

He finished his cup and placed it in the sink. He turned and tried to hurry out of the kitchen but was stopped in his tracks by Cas’s deep voice.

“Dean?” Cas asked in a gentle, sad voice. An perfervid amount of emotion put in his worried frown.

“Leave it, Cas.” Dean said in a flat voice without meeting Cas’s gaze.

He left the kitchen and marched up the stairs all the way to his room. Closing the door hard behind him. Dean walks over to his bedside table and opens the drawer.

He takes out his old Walkman and puts the earbuds in his ears before falling back on his bed. He presses play and I Want To Know What Love Is begins playing. Dean scoffs then sits back up and stops the song, taking out the cassette.

He reaches in his drawer and checks the label this time before putting in an AC/DC tape. He laid back on the bed again as Shoot To Thrill filled his head. He tries to let the music cloud over his thoughts but they don't seem to be going away.

He tries not to think of how sad Cas sounded. So abandoned and helpless. Dean had not even given him any explanation to… well, anything. He left him without any warning or even a reason and now all Cas could do is wonder what he did wrong.

Dean countered his thoughts. If he kept going with whatever they had, it would make it harder to leave. He is doing them both a favor by stopping this before it starts. This is for the best and-

A cold hiss can be heard through the music and the tirade of thoughts in his head. Dean bolts upright and pulls out his earbuds, looking around the room with wide, fearful eyes. But the hissing is gone.

He puts the Walkman back in his drawer and gets up from his bed. He walks to the door on the wall by his bed and opens it. Dean walks out onto the porch, bombarded by the sounds of outside that were seemingly not filtering through walls and windows today.

He wonders if it is the shadows doing but quickly tucks away the idea. He doesn't want to think of the strange creature in the house. He doesn't want to think at all. Not of his Cas, the shadow, his father, his mother, Bobby and Ellen, Sam… any of it.

Dean walks out onto the balcony and rests his elbows on the rail, tilting his head up to the blue noon sky and takes a deep breath of the fresh outside air. A gentle breeze blows through the trees and gently brushes Dean’s face.

He stands there, listening to the leaves rustle and birds sing to each other. He doesn't know how long he’s been standing out there but he doesn't care. His mind is clear and peaceful here.

His serene peace is interrupted by a burst of bright, bubbly laughter from down below. Through the canopy of the trees he can see the bright red hair of Charlie and the dark hair of Kevin.

Dean backs up from the railing and goes back into the house, closing the door and letting the empty silence swallow him up once more. As soon as the door closes, the cold chill of being watched seeps into his bones, the turmoil of his brain instantly resumes.

He would have to go downstairs and talk to, not only the neighbors, but Cas. Dean ran his hand down his face and began making his way downstairs. He had just reached the bottom when he heard a knock.

Cas walked out of the library, his shoulders were slumped and his steps slower than his normal brisk pace. He answered the door and straightened up as soon as he saw who it was.

Dean walked up and stood just to the side of the door.

“Hello Charlie. I’m guessing this is Kevin. It’s nice to see you two.” Cas smiled at them.

Charlie rushed in and hugged them both, Cas first then Dean, who barely remembered to reciprocate the gesture. Kevin just walked in behind his bouncy companion and gave awkward smiles.

Dean plastered a grin on his face. “Come on back to the kitchen, I can make you something if you'd like.”

“That’ll be great! Thanks!” Charlie beamed up at him

“Yeah, thank you.” Kevin said, following Dean who was leading them to the kitchen.

They both sat at the counter while Dean rummaged through the fridge. He pulled out a 2 liter of Coke that Dean had definitely not bought and looked over at Cas who just shrugged and went on listening to Charlie rant about some asshat in one of her classes.

Dean was a bit confused on the fact that Cas drank soda but also why did he put it in the fridge?

He made the quick decision that he could make ice cream floats and set the bottle on the counter. He got vanilla Ice cream that he had bought(It was for the apple pie he bought but he didn't finish the tub) and set that down two before grabbing two glasses from the cabinet.

He scooped in the ice cream and poured in the soda before rummaging in a draw for some straws and spoons. When he found them he put them in the glasses then handed them off to Kevin and Charlie who both looked delighted at the treat and thanked him.

He sat down and began listening to the conversation going on between Cas and Charlie.

“-and after he glued Gilda’s binders together, he stole my pencil case and dumped it down the stairs! All we ever did to him was tie his shoelaces to his desk when he fell asleep during one of the lectures so he’d fall when he stood up! So later that day...” Charlie ranted

Dean began to tune out of the conversation. He was looking out the window above the sink when Kevin turned to him and asked a question.

“So, why'd you get the house?”

“My Dad’s friend, who is basically my surrogate father's wife, Ellen, inherited her great aunt's will. She knew I needed a place to stay after coming back from the military so she gave it to me.” Dean replied.

Kevin nodded. “You know, The house has been empty for so long because everyone thinks it’s haunted. The first owner of the house was said to be a witch who mercilessly slaughtered people in the basement and their spirits still reside here.”

Dean snorted but he felt a cold twist of worry in his gut. “Well it doesn't seem that haunted to me. Haven’t run into a single spirit.”

Charlie had decided that her conversation with Cas had grown old so she decided to move to theirs.

“No KeViN, that’s not what’s haunting the house. There was some cult that broke in and sacrificed the children of old Fletcher's Granddaughter and they haunt the house.” Charlie argues.

“No! Old Fletcher’s Granddaughter didn't have any children till she moved away so the timelines wouldn't match up!”

Charlie and Kevin began bickering back and forth over who was haunting their house. Dean felt eyes on him, not creepy like the shadows, but still there. He looked up and saw that Cas was staring at him. He looked sad and confused.

Dean wiped his face of emotion and stared blankly back. He wouldn't let his weakness seep through his cracks, not again.

Charlie checked her watch and stood up from the counter. She and Kevin placed their empty glasses on the counter and thanked Dean as he led them to the door.

Dean braced himself, prepared for the hug he knew was coming. He watched Charlie hug Cas then she moved over to him.

She wrapped her arms around him tightly then stood on her tippy toes to whisper in his ear so no one else would hear.

“I don’t know what happened between you and Cas but please, fix it. It's hurting him.” She whispered.

Dean remained silent, not sure how to answer and Charlie backed away. She looped her arm through Kevin who looked fairly startled at the gesture before walking out the door and making their way down the drive.

Dean closed the door and sighed. He turned to head upstairs but his path was blocked by Cas.

“Dean, what's wrong?” Cas asked, his voice practically dripping with concern.

“Nothing. I'm fine.” Dean said and tried to push past his housemate.

Cas moved to block him again and spoke again, his voice now angrier and more stern. “No Dean, you're not fine. You woke up this morning and had some kind of panic attack and now wont even talk to me! You have been having nightmares since I’ve been here and I actually saved you from falling down the stairs!” Cas was fuming now. “WHAT IS WRONG DEAN!”

“IT’S NONE OF YOUR CONCERN CAS! You're acting like Sam! I told you I'm fine so why can’t you just leave it?” Dean yelled back

“Because,” Cas said in a small voice, “I care about you and your hurting and I want to help but I don't know how and I don't know if its my fault or something that happened in the past and seeing you like that and being able to do nothing makes me feel so useless-”

Dean grabbed Cas and pulled him into a tight hug. He heard Cas sniffle and could feel how shaky his breath was.

“I’m sorry,” Dean whispered, “I shouldn’t have cut you off like that. I- I’m not sure if I can tell you everything. Not all at once for sure, but I can try. You deserve an explanation.”

Cas released a huge shuttering breath and relaxed into Deans embrace. Dean held him for a few moments longer before releasing him and putting an arm around his shoulder and leading him into the living room.

The both settled on the couch and waited for the other to speak. Dean felt Cas’s eyes on him but he couldn't bring himself to look up and meet them.

“Wha-”Dean’s voice comes out a bit squeaky so he clears his throat and starts again, “What do you want to know?”

“What happened this morning?” Cas asked before adding, “Take as much time as you need, it’s ok.”

Dean sighed and looked up from the floor at Cas and began to talk.

@stuff-that-is-other

#pieces of heaven and hell

[aceofthorns]

Why "THOR: RAGNAROK" Disappointed Me

***WARNING: SPOILERS AHEAD***

***Go ahead and scroll right to the end for the TL;DR version, but I would appreciate it if you read the whole piece, and gave your response in the comments. I will do my best to respond.***

First, a disclosure: Yes, I am currently experiencing a difficult time with a sick relative, which has been extremely stressful at times, but presently, things are "back to (something approaching) normal". I would like to make it clear that I am in no way lashing out at this movie as a result. Looking forward to this movie has certainly helped recently.

Second: this is not a trolling exercise. I am not a DC fan looking to prick holes in the ultra-successful Marvel Cinematic Universe. I'm a fan of both (cue gasps of amazement), and I want BOTH to succeed - I fully intend to be there on Opening Day for JUSTICE LEAGUE, and I already really like what I've seen (and the same was definitely true for THOR: RAGNAROK).

Third: I am the most forgiving soul in the audience. There are many movies that others have been very scathing about, yet I am always there to give a production the benefit of the doubt. I really enjoyed AVATAR, but I can see why people have drawn parallels with DANCES WITH WOLVES - even so, I love a movie/book/whatever that creates a vibrant world, and lets you immerse yourself in it. That's partly why I prefer THE DARK CRYSTAL to LABYRINTH (painting another target on my back in the process)...

I have never - NEVER - walked out on a movie.

That said, there are two movies that really bugged me in recent years: STAR TREK - THE FINAL FRONTIER, and ALIEN 3. I'm sure there are others who will agree with me on those, and some still who will argue otherwise. More on the reasons for the latter choice later...

Okay, on to the "review". But before that, a bit of explanation.

I have been a Marvel fan from my earliest recollections. I remember the original SPIDER-MAN cartoon series, and the weekly British black-and-white reprints of classic Marvel stories (yeah, I'm THAT old). I remember being SO disappointed by THE INCREDIBLE HULK TV series... I remember crying out "YES!" in the cinema when that Phoenix-shape appeared under the waters of Alkali Lake  at the end of X-MEN 2... I will never forget that encounter between Tony Stark and Nick Fury at the end of IRON MAN - and I will always cherish the memory of sitting down in my seat in a packed local cinema to watch AVENGERS, a movie I genuinely never, NEVER imagined I would EVER see.

There's one other moment - again from an end-credits scene - that hit me the hardest. Coulson out in the desert, reporting in that he'd "found it", and the camera panning down to the crater, and Mjolnir.

They were making a THOR movie. A THOR MOVIE. That was the bravest thing I've ever seen anyone try - to start building a down-to-earth superhero universe, and then, so early on, bring in some of the most outlandish elements in the comic-book world. The Thunder God - a favourite character of mine - Asgard, Loki, The Warriors Three...

...and, to my delight, IT WORKED. The THOR movies may not be the most fondly regarded in the Marvel Cinematic Universe, but they're still a good deal better than the worst others have tried to make - like, say, X-MEN - LAST STAND, or SPIDER-MAN 3. It fitted together, it felt RIGHT. Yes, Josh Whedon gave Thor some funny lines in AVENGERS, and there was "The Punch", but it was well-executed light relief - not almost wall-to-wall comedy. That, dear reader, was what dragged THOR: RAGNAROK down.

THOR: RAGNAROK is a very entertaining movie. That we can, hopefully, agree on. It's visually very potent, with some eye-popping moments... but no sense, in the end, of any gravity. The events that transpire are quite literally cataclysmic - but they all end in a joke from a character who is, to be honest, wasted. Yes, Korg, I'm looking at you.

The MCU has been regularly criticised for weak villains - sometimes unfairly - but Hela stood a great chance of righting that balance. When she was dark, she was SERIOUSLY dark; when she was menacing, she was SERIOUSLY menacing... SHE DESTROYED MJOLNIR - and then she sat on the throne and started cracking jokes like Joanna Lumley's character in ABSOLUTELY FABULOUS. She animated the dead, woke the Fenris Wolf, had that cool scene where she tore down the gates of the Asgardian sanctuary.... WHY did she NEED those bloody funny bits?

Skurge was wasted, too, and that's an even greater crime when you consider that's Karl Urban in the armour. He's AWESOME as McCoy in the Kelvin Timeline STAR TREK movies, and he absolutely NAILED IT as DREDD, but here, he comes across as a bargain-basement Johnny Depp character. His final change of heart, and ultimate sacrifice, should have been a stunning moment, classic in the comics, but it ended up blunted somewhat.

The deaths... oh, those bloody deaths. That's what pissed me off about ALIEN 3; the wholesale slaughter of characters you'd come to know and care about in ALIENS. Hicks. Newt. Bishop, sort of... but NEWT. Goddammit, THOR: RAGNAROK slaughtered The Warriors Three like they were NOTHING - and maybe, compared to Hela, they were, but THEY DESERVED BETTER. If you wanted to do a comedy Thor movie, well, there's your team... oh, wait, they're all DEAD now. Nice one.

"They're DEAD, okay? Can we go now...?"

Sorry, Newt, not just yet.

There's also the matter of Odin's passing, which also felt very empty - like a lot of deaths in comic books these days, I guess. Never mind, we can just "Force Ghost" him, right?

Right...?

(cue echoes)

The best parts of the movie were the heavy action. The battles in Muspelheim, realm of Surtur - including the brilliant end of the chase sequence; the first encounter between our heroes (!) and Hela; pretty much everything on Sakaar, especially the battle between The Lord of Thunder and The Green Scar (yeah, they kinda hollowed out PLANET HULK for that part of the movie, but at least they tried); and of course, the return to Asgard, and all that entailed. There isn't much time for comedy there, but when it comes, that's when it DOESN'T feel out of place. Paging Dr Banner, paging Dr Banner...

I'm not against there being ANY comedy in these movies. I LOVED GUARDIANS OF THE GALAXY, and the second one - although I felt the soundtrack wasn't anything like as strong as the first - and I was greatly impressed by ANT-MAN, which managed to be light-hearted AND slot firmly into the MCU ongoing narrative. The previous two Thor movies were played pretty straight-faced, with the comedy coming from other, Earth-born characters, softening the edges just enough. THOR: RAGNAROK came across as a bit TOO much of a departure from what had been set out before, and all in a story which is guaranteed to have repercussions that will rock the rest of the Nine Realms.

Pity it just didn't FEEL that way.

Oh, and this is a Marvel Studios movie that you can walk out on as the credits roll, 'cause you won't miss anything. Any foreshadowing is right there in the middile of the movie: Hela knocks over the Infinity Gauntlet, declaring it "fake", and Loki gives The Tesseract a longing look - hey, we all know where that's going, don't we...?

Three months to BLACK PANTHER, six to AVENGERS: INFINITY WAR. I remain a dedicated MCU fan, and look forward to both these movies - and a return to form. This is a ship I have no intention of abandoning, but I still reserve the right to be disappointed, when it is, I feel, justified.

The TL;DR version: This was the wrong movie to take along the comedy route. It went against the tone of the previous Thor movies, and felt false as a result, with an underwhelming ending.

7/10

#thor ragnarok #marvel #marvel studios #marvel cinematic universe #thor #avengers #avengers infinity war #guardians of the galaxy #ant man #personal review

[briangroth27]

Sleepy Hollow Season 4 Review

Full series spoilers…

I loved Sleepy Hollow in Seasons 1 and 2: the chemistry between Ichabod Crane (Tom Mison), Abbie Mills (Nicole Beharie), Jenny Mills (Lyndie Greenwood), and Captain Irving (Orlando Jones) was infectious, the twists on American history and Washington Irving’s original story were ingenious, and the supernatural plotlines were often fearlessly bonkers in the best way. They boasted some great villains, like the iconic and terrifying Headless Horseman (Neil Jackson, Jeremy Owens, Richard Centrone, Craig Branham), the architect of the apocalypse, Moloch (DJ Mifflin, Marti Matulis, Grant Spingdale, Austin Filson), Ichabod’s lost son Jeremy/Henry (John Noble), and Crane’s wife Katrina (Katia Winter). I enjoyed most of Season 3, even if the villains were ultimately underwhelming and Abbie’s death was really poorly done; the magic was still there. Season 4 opened with an uphill battle following Abbie’s death and a complete change of scenery as the series left Sleepy Hollow. I didn’t think the show could—or should—go on. Though the series definitely wasn’t the same, Season 4 largely proved me wrong: there was still life here.

Tom Mison still seemed game to play the time-lost Ichabod as he moved to Washington DC and continued trying to acclimate to the 21st century (while maintaining his Revolutionary style, of course). His reactions to the present were as good as always and I’ll miss him now that the show has been cancelled. I thought it was smart to put him in the capital of the nation he helped found and I loved that he finally got his American citizenship in the finale. That felt truly fitting; the perfect way to end his onscreen arc (though the adventure always continues!). Yes, it also ended with his soul bartered away to the Devil, but I loved the confidence Mison exuded in that closing scene: it was just another problem they’d solve, like the kraken. Carrying on in the face of impossible odds has always been a hallmark of the Witnesses (and the best heroes), and Crane exemplified that perfectly. Ichabod as a guardian/pseudo-stepfather to Molly created some fun moments (like his soccer “battle” speech!) and brought a new side to his character, which was a clever contrast to the tragedy of being robbed of the chance to raise Jeremy. It was great to see Mison and Noble play the next evolution of their father/son relationship, even if we only got to see initial baby steps of that this year. I would’ve liked to see that develop in a potential fifth season. Mison definitely lost an incredible scene partner with Berhie leaving, but Ichabod and Jenny had great chemistry too and their friendship carried the show for me this year.

If there had to be a new Witness, I wish Jenny were the chosen one; I remember the new Witness being said to be someone from Abbie’s bloodline anyway (though I missed it if that connection was ever explained this season). Having her sister’s destiny forced onto Jenny would’ve been a strong arc, particularly as this year found her bristling under the responsibility of staying in one place for so long; she’s always been a treasure hunter and clearly wanted to get back into the field. A Witness who didn’t accept the title, even though she was already in the fight, would be an interesting wrinkle (as would Jenny living up to Abbie’s legacy, if she went all-in with the mantle). Still, I liked her investment in making sure her sister’s legacy was carried on and I love that even with Agency 355’s introduction she still held her position as the show’s occult object expert (a weak point in Season 2 for me was that Matt Barr’s Hawley seemed to largely do Jenny’s job for her). While she didn’t have a sweeping arc of her own this year, Jenny worked well as a stabilizing influence for Crane in his new surroundings, Molly in her role as Witness, and for me as a viewer; she was a steady dose of classic Sleepy Hollow as it transitioned into something new. Greenwood was one of my favorite parts of the cast and always a delight onscreen. If FOX were interested, I’d definitely be down for a Jenny Mills: Supernatural Treasure Hunter spinoff starring Greenwood!

Maybe it’s because the show nailed the character chemistry right out of the gate, but I’ve consistently had trouble accepting new cast members on this show, particularly if they’re playing roles the core four characters already held (though there were exceptions, like Zack Appelman’s Joe Corbin). I liked Agency 355’s Jake Mills (Jerry MacKinnon) and Alex Norwood (Rachel Melvin) best of the new additions; Mills as an Ichabod fanboy was fun and Alex’s “OK, the supernatural is real; makes sense” non-reaction to monsters made sense this far into the series (also given their job, even if they hadn’t encountered real proof yet). Plus, Alex’s aptitude for building arcane devices wasn’t a skill we’d seen before on the show, so it really felt like she offered something unique. They had good chemistry and their slow-burn romance was sweet, if a little well-trod. There was a problem were a few times—even if Alex discovered a map or an artifact—Wells would explain how it was used or what it led to. Why not just let her do it? I also couldn’t help feeling like we didn’t need another semi-skeptic/believer pair, especially with Ichabod/Diana (Janina Gavankar) replaying dynamics we’d already seen repeated last year to various extents with Sophie Foster (Jessica Camacho) and Daniel Reynolds (Lance Gross), and of course Abbie in the first season. This far in, did we really need three new set of eyes (four if you count Molly) on the supernatural, especially when Ichabod and Jenny could’ve served as the audience surrogates into the government’s Agency 355 and their way of doing things? Why not put Diana in 355 as well and make her, Wells, and Alex already knowledgeable about what’s really going on, and at least somewhat experienced at fighting it? Flip the setup so Crane and Jenny still bring new skills to the team, but they don’t have to retrain everyone and they’re the newbies to how the Agency deals with monsters. It already seemed like this scenario was set up in Season 3’s cliffhanger and I wonder if something changed in the development process. I also wondered why Crane had never come looking for 355 with Abbie; he clearly knew it existed in his time, so why didn’t he ever bother to see if it still did? I feel like looking for fellow soldiers in Washington’s secret army would’ve been one of the first things he did upon waking up. In any case, Agency 355 made me really wish we’d gotten an X-Files/Sleepy Hollow crossover instead of (or in addition to) the Bones one from last season.

I wasn’t a fan of how Season 3 rewrote Abbie’s Witness role to be something handed down over the centuries instead of it just being her and Crane as originally presented, mostly because it seemed to make Abbie’s look less essential/important than Crane instead of them being equals. Losing Abbie should’ve had much more of an impact beyond Crane having to protect a secret identity from the new characters early on: it should’ve weighed on him and hampered his fight against evil. A friend pointed out they also skipped over Ichabod dealing with killing Katrina (to move past an unpopular storyline?), and it felt like a similar thing happened here. I did, however, love the scene of Crane visiting Abbie’s grave and updating her on the world; I just wish we’d gotten more about what Abbie brought to the role that Molly maybe wasn’t or couldn’t yet. If I were running things, I wouldn’t have introduced a new Witness at all. Make losing a Witness a major win for the forces of evil; something they were never supposed to be able to pull off. Instead of making Abbie the latest in a long line of replaceable Witnesses, make her loss matter. Make a significant hole in the team that can't be filled by slotting in some other character as the (latest) Chosen One; not only do you honor Abbie’s sacrifice by crystalizing what made her special and important (both in terms of Abbie as a person and as a Witness), but you raise the stakes for everyone still standing.

However, this is the story they went with. As it played out, I thought making a kid the new Witness yielded a good, fresh dynamic between Crane and Molly (Oona Yaffe)—Mison and Yaffe had an easy, fun rapport—but her age and Diana’s protectiveness ultimately hampered how much she could contribute to the point where it seemed like we didn’t need a second Witness for most episodes. While Diana’s function on the team as the official law enforcement officer felt very similar to Abbie and Sophie’s (making it feel a little stale, as if they were keeping the character dynamic status quo), I liked the added wrinkle of giving her a kid to worry about, particularly as Molly was drawn further and further into the supernatural. I think Molly could’ve been special for some other reason without having to be a new Witness, but I have to admit scenes like her pulling Crane back to the real world from the Sicarius Spei were powerful. Gavankar and Yaffe felt like a real mother/daughter family unit and it felt like the writers were (successfully) going for a Sarah Connor Chronicles “I’ll fight the monsters so my kid won’t have to” thing, particularly given how the season played out. Introducing “Lara” (Seychelle Gabriel) as adult Molly was a surprising way to invert the Rip Van Winkle premise of the show with a Days of Future Past twist (and a fine full-circle connection to Ichabod’s initial time travel). I liked that Lara was so skilled at magic, but I wish her skills had paid off Ichabod and Jenny training her as a kid more directly, because having Lara eventually take the Witness mantle from Molly made all the attention paid to her feel a little pointless. I definitely wish they’d met.

I liked Benjamin Banneker (Edwin Hodge) recurring in the flashbacks and J Street was a neat idea. Banneker’s concern for everyone’s standing in the new country, not just white people’s, made for a smart reminder that as idealistic as the American values are, we were never perfect. He and Ichabod also had a well-developed friendship and I liked that Banneker’s concerns challenged Crane’s adoration of what the Revolution was building. Banneker’s presence was also a cool use of a Revolutionary figure I’d never heard of; I loved that—supernatural twists notwithstanding—you could learn new things about real history on this show. Uncle Sam (Rick Espaillat), Sacajawea (Dayana Rincon), Davey Crockett (Daniel Parvis), and Paul Jennings (Zae Jordan) were a cool Revolutionary-era Government team. I wasn’t expecting something like that at all, but it fit perfectly in with the tone of Sleepy Hollow: that they were some sort of early American supernatural Fantastic Four was exactly the kind of crazy idea the show excelled at. I would’ve liked to see more of their exploits.

Jeremy Davies’ business mogul Malcolm Dreyfuss was the season’s weakest link. He never came off as threatening or imposing in any way to me; he just seemed eccentric rather than evil. I’ve been increasingly bored with businessmen villains in superhero fare (there are other evils out there!), but more pressingly, the execution of Dreyfuss’ goals seemed so small-scale. He gains immortality, gathers his Horsemen, kidnaps the President…and then waits for the army to attack him, so he can display his power on TV? Why not attack them first? Waiting—seemingly so Team Witness could organize and mount a defense—felt contrived. It would’ve been much more dramatic if Ichabod and Co. were scrambling to catch up. I didn’t see the need to connect Malcolm’s immortality to Ichabod and Death’s first fight by adding the Philosopher’s Stone ritual either. However, it was clever that the Philosopher’s Stone made Headless weaker, allowing Crane to behead him and Headless’ part of the ritual required his return, so that’s cool. I just thought the tie to Ichabod’s death was unnecessary and a little confusing: until I read reviews of that episode, it seemed like another retcon had occurred and the Stone was what made Ichabod immortal for his sleep, not Katrina and her coven.

I initially thought Malcolm’s bodyguard Jobe was a little bland, but I liked the deeper implications that he was involuntarily tethered to this guy who’d cheated the Devil out of their bargain. I would’ve liked to see what Jobe was like when not stuck as an enforcer for Lucifer’s contracts or Malcolm’s errand boy. Is there something he could’ve done to undermine Malcolm and ensure the contract was fulfilled beyond assisting Team Witness? Did he want to? Did he have goals and aspirations of his own (perhaps ambitions to displace the Devil himself?)? I don’t think we saw enough of the Devil (Terrence Mann) to judge whether I liked this portrayal or not, but he didn’t really leave a menacing impact after villains like Moloch. I enjoyed the depiction of the entrance to the gates of Hell, but I was underwhelmed by the business office appearance of Hell itself once Ichabod and Lara got to the Devil. That’s probably intended as a connection to Malcolm, but it just came off as a metaphor that I’ve seen as far back as Angel at least; I would’ve liked a more distinctive feel to the Underworld that matched the show’s historical side. Perhaps depicting Hell as a distorted Continental Congress would’ve been more in line with the show’s roots; maybe Ichabod signing his soul away could be framed as him signing a twisted Declaration of Independence or something.

Whether it was designed to get back to the glory days of the show or not, Dreyfuss’ plan to start the Christian apocalypse Moloch failed to accomplish certainly felt like they were trying to play their greatest hits instead of striking out into new territory. I understand the impulse to go back to what worked, but playing it safe was never what made this show great. Sure, we finally got to meet the Horsemen of Pestilence (Robbie A. Kay) and Famine (Kathleen Hogan), but they didn’t do anything of note beyond their introductory episodes. I liked Season 3’s apparent idea that each season could feature a different culture’s apocalypse as the Witnesses worked through their seven years of trials; as inhibited as the Hidden One was and underutilized and rushed as Pandora was last year, at least they were something new. That shows like Supernatural and Constantine lean so heavily into the Judeo-Christian religions for their adversaries and allies also served to make returning to those standards stand out less. And hey, the US was blatantly founded without a national religion, so continuing to explore what else the world has to offer would’ve tied in nicely with the American roots at the core of the show. Since it felt like we’d been through all this before, it didn’t spark my imagination like the show had done in the past.

The callbacks to the show’s glory days that did work, however, were the returns of Headless, the series’ best, most iconic villain, and Henry Parrish. Henry being something of a better man thanks to being reconstituted from Crane’s memories was a clever way to bring him back from the abyss, both literally and morally. I wish there’d been more time to explore his new status: his resurrection is wholly original and could’ve yielded the ultimate “I’m not what my father wants me to be/thinks I am” arc. I liked that their relationship took on new levels when Ichabod sacrificed himself and briefly became the Horseman of War; I hadn’t seen that coming at all! I do wish it had lasted for more than an episode to fully explore both Crane as War and any new understanding of Henry he gleamed from the experience (that they both ended up as the Horseman of War had a nice poetic flair to it, though). I also would’ve preferred Henry become War again in a ploy to save Ichabod instead of an attempt to get his power back; he seemed to go evil again a bit too easily, and becoming consumed by the evil of War in a bid to save his father would've been tragic. I’m glad Ichabod was able to convince Henry to withdraw from the final fight, so he’s still out there somewhere.

Most of the new monsters of the week worked well. The demon John Wilkes Booth (Alexander Ward, Adrian Bond) possessed himself with and used to kill Lincoln was a nice chance to explore America's secret occult history beyond the Revolution. The Sicarius Spei (Ward), with its dream torment, was possibly the best new monster of the season, combining a creepy monster with a unique problem with personal stakes for Ichabod and resulting in the eventual resurrection of Henry. Malcolm’s former partner Ansel (Bjorn Dupaty) gaining power through the demonic sigils burned into his body was intriguing. He seemed to do more with his power than Malcolm ever did and bending the supernatural torment inflicted on him to gain the power to fight back made for an interesting, desperate anti-hero. The Barghest (Ward again; the monster was from Little Red Riding Hood) was a good demon, even if it was predictable that it had taken the place of Molly’s dad Mitch Talbot (Bill Heck). Still, it allowed for a good, well-executed opportunity to explore Molly’s family life. Similarly, Mr. Stitch (Derek Mears) was a great villain who personally affected Molly. That episode was probably the best use of a kid as the Witness, with Molly having to save Ichabod and deactivate the Vault’s lockdown protocols by herself. I liked the Hunger Demon (Ward) and its connection to the Donner party; another nice look outside the Revolution. 

Less impressive villains included the Sphinx (Marti Matulis), which seemed largely limited to being an arrow-shooting deterrent rather than its own force. I was disappointed they didn’t show the Sphinx’s riddle and just had it solved offscreen; this was a chance to test the heroes' intellects rather than their physical skills in a way few villains on the show could. I'm imagining a monstrous Riddler here, with Team Witness racing to solve its brain teasers before people die (or to access the piece of the Philosopher's Stone before they die, as the case may be). The Dyer sisters (Sara Sanderson, Courtney Lakin, Kelley Missal) and their infernal machine were cool, particularly as Washington allies who’d gone bad, but ultimately I wish they’d gotten to do more. Even if they weren’t going to have the presence of Katrina and her coven, I wish the show had explored the parallel between them and Ichabod as time-lost Washington agents. The Djinn (Fedor Steer) and his Pictagram pestilence was a neat way to update the supernatural via social media stars, but he was ultimately underwhelming when it came time for the final showdown. I did like the explanation for spontaneous combustion and the tie to history, though.

Thanks to the show’s new setting, when they did go back to Sleepy Hollow, it truly felt like an event (as did the focus on the memory of Abbie in that episode). At the same time, the new DC location worked well and felt appropriate given the Revolutionary history of the show. I enjoyed the added historical facts, such as the meaning of “Colombia” in D.C. However, while writing this it occurred to me that there could’ve been a much more effective use of the DC setting: why not set Ichabod against a government perverting what George Washington set in place or at least using methods to fight the supernatural that Crane would find unacceptable? What if a demon-involved government were using the supernatural to further their own goals? Instead of a single businessman aiming for immortality and world domination, what if it was a significant portion of the government? What if after all his fighting in the Revolution and in Sleepy Hollow, Crane found out the government had teamed up with different demons a long time ago? I’m reminded by Wikipedia that Ezra Mills hinted the government division he was connected to became split in its goals and the mystery men who kidnapped Ichabod at the end of Season 3 certainly seemed to be working for the government, so the seeds were already there. A corrupt government plot would’ve paid off Banneker’s fears about how idealistic the new American government really was too. More pressingly, it would’ve truly tested Ichabod’s desire to be an American and what that means nowadays compared to the ideals of his time. Has he outlived the American Dream? They could’ve taken a page from Captain America to ask if Ichabod is still fighting for the country he thought he was, whether “his” America could be improved upon at all, and where he and the country could go from here. This line of questioning would’ve been especially timely and important now, as Ichabod is an immigrant, not an American citizen. The other characters could all be tied in easily too. How would Jenny react to knowing the system that locked her up for speaking the truth about demons was deeply involved with the paranormal all along? What happens to her black market connections if she’s tied to a government agency that wants to control the supernatural? Diana, Wells, and Alex could’ve become the Black Widow/Sharon Carter/Sam Wilson to Ichabod’s Steve Rogers as they realized how corrupt their bosses were and joined him in rebelling against their leaders. Molly could’ve been earmarked by someone in the government to be used in one of their nefarious plots, putting her in much the same danger Malcolm did. What if the show were totally bold and had Ichabod instigate a new revolution to reestablish American values (and demon-free living)? Even without a full-on revolution, Ichabod vs. America would’ve been thematically perfect and the biggest hurtle the show could’ve thrown at him after losing Abbie. Perhaps this was the plan for Season 5, since this year ended with Ichabod working for the government and threads hinting at its corruption were still dangling. Signing up with a compromised government would parallel Ichabod literally selling his soul too. If that’s the case, I wish they hadn’t waited and it’s a shame we won’t get to see it.

Despite some plot choices I didn’t agree with over the years, I still loved Sleepy Hollow and I'm sorry to lose it. It was a fun, inventive show that never feared going totally crazy with supernatural twists on historical events. That's one of the lessons I'll take from it as a writer: absolutely nothing is too outlandish if you ground it in your characters and fully commit to it. The characters, particularly those core four originals, were great and the actors were perfectly cast. Importantly, the show also featured a diverse cast of actors. Like Captain America and the National Treasure movies, Sleepy Hollow’s use of American history—and Ichabod’s reverence for the founding American ideals—made me proud of what this country was founded to be. Irving’s Legend of Sleepy Hollow is one of my all-time favorite stories, and this show was a great (if very lose) adaptation. I would’ve come back for a fifth season and wish we could’ve gotten more.

So long, Sleepy Hollow. It lost a step or two along the way, but when it was good, it was great.

[aion-rsa]

Action Comics Presents The End of The New 52 As We Know It

SPOILER WARNING: The following article contains major spoilers for “Action Comics” #976 by Dan Jurgens, Doug Mahnke, Jaime Mendoza, and Wil Quintana

The conclusion of the Superman-centric crossover story arc “Superman Reborn” has arrived in “Action Comics” #976, bringing with it some massive changes to the Man of Steel’s status quo in the past, present and future, as well as some shocking clues for the what to expect from the post-“Rebirth” DC Universe.

Identity Crisis

Picking right up from last week’s “Superman” #19, we learn that Clark’s efforts to rescue his son from Mr. Mxyzptlk’s trap have transformed both he and Lois back into their “New 52” incarnations, and unsurprisingly, those changes weren’t just cosmetic in nature. The Clark and Lois on the page, meeting Jon, are literally the resurrected versions of Clark and Lois from the main continuity of the New 52 — meaning they have no recollection of ever having been in a relationship, much less being married and having a son.

In case you need a refresher, this Clark (which is to say, the New 52 Clark) was killed just before the start of Rebirth in an event called, appropriately, “The Final Days of Superman.” Similarly, New 52 Lois was killed immediately after the start of Rebirth, in “Superwoman” #1, leaving the only active Superman and Lois Lane in the Rebirth line the married pair who were shifted to the Rebirth universe with their son, Jon, from the formerly alternate pre-Flashpoint universe. Since Rebirth began, this version of Clark and Lois have slotted into the vacancies left by their dead counterparts with only a few minor hiccups, including gaining the trust Batman, figuring out how to fit in at the new Daily Planet, etc.

If you think that sounds a little morbid and a little, well, tricky to keep track of, you wouldn’t be wrong. The dissonance found in knowing Clark and Lois have been existing in Rebirth, literally replacing people’s dead friends and coworkers, has been a pretty common off-and-on thematic undercurrent in nearly all the main Super-family titles. But now, it would seem, the coin has been flipped and the replace-ers have become the replace-ees — that is, at least, until Jon gets to have his say in the matter.

Puppet Masters

New 52 Superman is understandably confused and enraged to have been dragged back into being by an imp from the 5th Dimension that he’s never met, with a coworker he only barely associates with, and a child claiming to be his and said coworker’s son. Clark rounds on Mxy, only to be met with typical Mxyzptlk rejoinders, questioning the nature of his reality and identity, claiming that any real answers he provides Clark will be met with trouble.

More specifically, trouble from “him.” Mxy claims that if he explains any of what’s going on beyond the confines of his own little extra-dimensional game, he’s going to attract some unwelcome attention from the person responsible for this whole universe-twisting debacle in the first place.

He doesn’t offer any more hints about this mysterious entity’s identity, so it’s unclear if he’s talking about Mr. Oz or another party, but whoever it is, Mxy is clearly desperately afraid of him — a fact that’s as concerning as it is interesting, given Mxy’s continuous meta-commentary on the very nature of the DC Universe from a perspective that feels almost editorial in nature.

As it happens, Mxyzptlk’s pseudo-editorial jabs were only the tip of the meta-ice burg.

The Children Are The Future

In his desperation, Jon is able to make contact with a set of strange blue lights, similar to the red lights he interacted with upon his teleportation into Mxy’s game. As he tries to speak with them, they slowly take more humanoid shapes and reveal themselves to be none other than the “echoes” of his parents, apparently reaching out from beyond whatever extra-dimensional limbo they’ve been caught in.

The light “remnants” of Jon’s Clark and Lois are able to bestow power in their son to help them “become whole again.” These powers allow Jon to not only genuinely hurt Mxyzptlk, but also fuse their remnants with their New 52 counterparts.

Which, of course, is exactly what he does. After forcing Mxy into a hasty retreat, Jon turns his attention back to his parents to, well, “fix” them.

The two sets of Clark and Lois are merged into one, a shockingly literal move to apparently begin to “delete” all vestiges of New 52 from continuity. The merging prompts a complete reconstruction of their history, apparently overwriting nearly everything that happened between 2011 and 2016, or at least somehow combining that with the experiences of Jon’s parents.

In Mr. Oz’s words, Jon has “realigned (…) the memories and experiences of all (…) so it all fits,” but the specifics are still a bit vague. A double-page spread hits the highlights of the new status quo in a sort of timeline — everything from Clark’s origin story, to Ma and Pa Kent, to “The Death of Superman” and Jon’s own birth — but doesn’t explicitly explain how this new history affects the rest of the DCU. The idea is, clearly, that at some point, everyone will suddenly have their memories altered right along with the Kents and their friends (“everything solidified, locked into place”), but that poses more than a few complications for characters who have yet to have their own New 52 stories modified in ways that fit into the new (old?) past.

With the imminent arrival of April’s “Batman” and ”Flash” crossover “The Button,” it seems all the more probable that we are going to see similar efforts to delete and re-write the New 52 history for the rest of DC’s major characters in the coming months. After all, DC is certainly no stranger to the merging and re-aligning of multiple continuities, even if taking it on a character-by-character basis is a different approach to the endeavor.

Regardless of how it transpires, the message is clear: the New 52 as we know it is done for.

The Manhattan Project

As the dust settles, the newly restored Clark proclaims “I’m back. We’re back, and everything is going to be fine,” a statement which begs the question: Will it?

Mr. Oz doesn’t seem to think so.

The very last page of the issue is focused entirely on Oz as he watches from a distance (in his mysterious, decidedly Ozymandias-esque viewing room) and wonders if Superman actually gets the final say here, or if “he” (meaning the mastermind behind everything) does.

This narration takes place over a slow zoom to Mars, yet another piece of evidence to add to the growing pile in support of the “Dr. Manhattan caused the New 52” theories that have been swirling around since “DC Universe: Rebirth” #1. Perhaps more troubling, if it is indeed Manhattan who has been pulling the strings, these panels seem to imply that he’s located within the main universe of “Rebirth” rather than somewhere beyond it; camping out in the solar system, just a hop-skip-and-jump away from Earth.

If “he” — Dr. Manhattan or otherwise — really is that close to home, it would seem a counter offensive is bound to happen sooner rather than later. And with Jon’s new ability to “heal” the fractured universe unlikely to just fade away, it’s all the more likely that Superboy will find himself a major target in days to come.

The post Action Comics Presents The End of The New 52 As We Know It appeared first on CBR.

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