Sonny watched you cook pancakes for he and yourself as he sat atop the kitchen counter. You were in nothing but his Fordham Law sweatshirt and panties. He was only in his boxers.
“So Wonder Woman was a good movie, yeah?” He asked remembering what you two did for date night last night.
You plated the final pancakes and looked back at him, “Yeah! It was great! So much about women empowerment and badassery.”
Sonny smiled, “Yeah, and Diana.” He whistled, “She’s something else.”
You put a hand on your hip and cocked an eyebrow, “Oh?”
“Don’t get me wrong, babe. I love you to death, but that Wonder Woman. She does things to me.”
You walked the short distance between you and him, “Are you saying I don’t do things to you?” You asked suggestively as your hands began to rub up and down his thighs.
Sonny gulped, “N-No, doll, that’s not-shit.” He muttered as you palmed him through his boxers.
“What was that, Sonny?” You pulled him out of his boxers and began to pump him.
Sonny put a hand on your shoulder, “Baby, you-fuck!” He exclaimed as you lowered your mouth on him. Sonny leaned back on the counter, his arms keeping him up as he watched you bob your head up and down his length.
You then pulled him out of your mouth and licked a stripe from the base of his cock to his tip, “Think Wonder Woman can do this to ya?” Sonny shook his head, “That’s right. ‘Cause she’s a fictional character.” You pulled away and bent over on the opposite counter, “Think Wonder Woman will let you fuck her on the kitchen counter?”
Sonny hopped down from the platform, discarded his boxers, and stood behind you pumping his cock. He chuckled, “Jealous over a fictional character.” He slowly slid himself into you causing you both to moan.
“I’m the real deal, baby.”
Sonny began to thrust into you and moaned, “Yes, you are, doll.”
So after binge watching a ton of Marvel’s new Iron Fist series, I went onto tumblr, wondering what the fandom was up to now, what with all these new gifs and stuff to make. ‘Maybe I would find some fan art or something’ I thought innocently to myself,
BUT BOY WAS I WRONG
instead, I was greeted with SO MUCH DISCOURSE on how Iron Fist ‘needs a chinese-american actor’ or ‘has terrible dialogue and is slow’.
the best part is when I found out that some of y’all are trying to get this show boycotted like ‘????’
Now as a Chinese-speaking Asian female, living in Asia, with an Asian background and a good know-how of Chinese history, as well as a decent knowledge of comic books, (although I confess I got into the animated series first) I’m here to end the discussion before y’all get your full rage on and start fighting fans of the show like it’s Lord of the Flies up in here
So keep reading if you want to be educated or if you just want to fight me before you know what you’re even talking about
“THE SHOW INSULTS CHINESE CULTURE”
Uhhhh…no? I’ve seen a few episodes and I mean so far there isn’t really anything that screams ‘insult’ or even offensive in the slightest. Besides maybe the fact that they take the beliefs and twist them a little bit but honestly even that ain’t that bad as to what I’ve seen elsewhere.
I’ve read the boycott post and let me say that yea, they dressed him with an eye for Asian elements, but maybe that’s because it’s supposed to be resembling Asian clothing? I mean how is that offensive? Is it the part that it looks Asian? Or that you simply feel that white people that direct these shows should not be using Asian stuff for entertainment? Because I hate to break it to you but it’s still not offensive. Even the dragon tattoo is totally fine because it’s supposed to resemble Asian elements yea but also have y’all read the comics? Because he punched through a dragon and basically took it’s heart. So I mean a dragon tattoo kinda matches the theme.
I mean in the first episode they speak almost flawless Chinese for Pete’s sake! Hell, I was surprised that they even had it in them to have a non-Google translated line. Sure the accent was a little overdoing it cuz not even I have that thick a Chinese accent but I’ll excuse it since he was apparently learning and speaking 15 years. (I speak it maybe a few times a day for like the last 14 years or so only)
So no, the show doesn’t really insult Chinese culture, sure they might be ignorant, but you must understand that after generations of stereotypes and misconceptions that that can’t just go away with one show
“Danny Rand should be played by an Asian guy/be a Chinese-American”
I can’t even begin to tell you my frustration about this.
Y’all do know this show is based on the comics right?
You know, the one with the white guy.
I know Marvel is infamous for not including enough representation in their shows but seriously? This is like the Harry Potter thing all over again with Hermione being black, it’s not that we don’t want representation or anything, but it’s the fact that this hero that us comic fans have come to already love has been replaced. Or at least it feels like it. Like when a movie is made from a book and people go crazy because character XYZ suddenly has different traits or isn’t quite what was described as compared to the book.
Frankly, it sucks.
So even though yes, Marvel should have more Asians in their shows, don’t expect them to completely give the main character a makeover, even if the makeover was supposed to provide representation. And honestly? I don’t want them to change him because I really freaking love Iron Fist, just as he is.
“This show just villainizes Asians”
So you tell me that my race is being made villains because Marvel decided that most of their Asians on their shows are evil ninjas (aka the Hand) and at most there are like 3 sorta good Asians. Oh and I’m sorry, you want more Asian men that are good guys? You want a balance of Asian heroes?
Well I guess that would be kind of hard to fit into the story since, oh, I don’t know, everything happens in the USA?
If you want more Asian characters well then look no further because you do have them. Daisy Johnson from Agents of Shield? What about her extremely brave mom? Or maybe Colleen in Iron Fist? Everyone seems to be blatantly ignoring her badassery and only seeing the part where she’s a sorta love interest.
Facts are, there are Asian characters, you’re really just looking hard enough. I agree wholeheartedly when you say that more Asian men need to be in the Marvel universe that aren’t part of the bad guy team but you gotta say that they are still awesome.
Does anyone even remember the Japanese ninja yakuza guy from Daredevil? Dude got set on fire and STILL came back to kick ass. That’s a plus in my book because even though he’s considered bad, he’s been proven to be cunning, smart, and overall awesome.
“The show has terrible stunts/acting/dialogue/fight scenes”
From here on out it’s mostly just me trying to explain why the directors and writers of the show made decisions in the show to make it what it is, so let’s dive right into it.
Actually the stunts weren’t half-bad. If you’ve seen other shows or movies that are heavily reliant on stunts and action, and compare it to this show, they really aren’t that much different. Sure it might seem a little unbelievable sometimes like they’re breaking physics or something, but he already has a glowing fist. I think we’ve crossed the line of believable long ago.
I have nothing to say about this except that go and take some acting or drama classes before coming and criticizing these awesome men and women who did indeed try their best
Now I get the dialogue might be a little weird at times and what not, but you must understand that this show was partially written with the Defenders series in mind. So almost everything that was said in the show is meant to lead to something more. Thus, you must take it as a bigger picture. Sorta like how everyone said that Fantastic Beast and Where to Find Them wasn’t as good as they thought it would be, that movie was also meant to lead on to a bigger story so you might want to excuse the weird speech and cryptic lines at times.
FIGHT SCENES & ACTION
Okay seriously people, please read the comics. Danny Rand is supposed to be an accidental hero, one that doesn’t want to fight unless he really has zero choice in the matter. So yea, the fight scenes won’t be that interesting, but only because the character in question is more interested in ending the fight than anything.
So there you have it, my whole slightly angry info-dump on Iron Fist and Marvel’s representation problem in general. If you want to correct me or scold me even then by all means message me or shoot me an ask. But just keep in mind that Marvel can’t make all your problems go away in one show, and please for the love of all that is good read the comics before coming to rant okay?
So I binged the first season of Into the Badlands the other day, and wow… think southern gothic
meets wuxia badassery. The martial arts are physics-defying and showy as heck, the scheming and back-stabbing rivals Game of Thrones (all of the power-play machinations, none of the gratuitous rape!), and the small character moments can be surprisingly affecting given how off-the-wall some of the world-building can be.
Also, Daniel Wu is reeeeeeaally easy on the eyes. Just sayin’.
Maggie never expected it to actually happen, but she’d thought about it sometimes, daydreamed about it. But even in her wildest dreams, in her wildest most vengeful daydreams of running into her parents again, it never happens like this.
She used to dream about seeing them in the crowd for her high school graduation, or her college graduation, or her academy graduation, or her ceremony when she made detective, and they’d sob with regret and shame and she’d be magnanimous but a little cold. Or she’d see them as she sauntered down the street, hand in hand with a gorgeous woman. Or she’d run into them back in Blue Springs, after she just bought the town with all the money she won in the lottery and painted every street in rainbow colors.
But as each occasion passed without word from her parents, without seeing her parents, without hearing that they missed her or regretted what they did to her, those types of dreams faded. Now she thinks less about them groveling and admitting their faults and begging her to forgive them and more about turning her nose up at them, fucking them up with her disinterest and casual disdain.
Hey, a girl can dream, right?
In her daydreams now she’s with Alex, and she looks great and happy, and Alex looks just as beautiful as ever, and, depending on her mood, she and Alex either make out while pointedly ignoring them, or Alex yells at them, or – and she’s never admitted this to anyone – sometimes Alex wails on them.
But she’s never had a daydream anything close to the way it actually turns out.
Because she and Alex are out in Midvale visiting Eliza, and Kara is there too but had to run off on Supergirl duties, so it’s just the three of them today. And they’ve just finished a delicious brunch at Eliza’s favorite restaurant and they’re walking along the beach, and Alex is holding Maggie’s hand and is gently keeping her thumb moving, swiping up and down Maggie’s skin at the cadence of their feet in the sand. And Alex and Eliza are nerding out about something that Maggie can’t possibly follow, and Maggie is just watching the love of her life and watching the ocean and listening to the waves and feeling the sand between her toes, wet and cool and firm, and feeling the sun on her face and listening to the birds, and she’s so perfectly content.
They’ve been passing other people walking the other way on the sand, and Eliza usually raises a hand or smiles in greeting, but Maggie hasn’t been paying attention. But they must be approaching a couple, and Maggie’s been looking out at the ocean or over at Alex, so she hasn’t seen the coming. So when a surprised voice from right in front of her says, “Magdalena?” her first reaction is startlement.
But her second is fear.
Deep, cold, powerful, abject fear.
Her third is disbelief.
Her fourth is fear again, harder and faster and more urgent.
It’s all she can do to grip Alex’s hand, her soft grip turning into a vice, holding herself up and holding herself together only through the connection of Alex’s skin on hers, Alex’s fingers up against hers.
“Mom?” The word slips out of her without her permission. It’s not how she wanted to open, with a painful gasp that’s as much a word as a whisper as a plea as a cry. She hates herself for how vulnerable she sounds, how young she sounds.
How vulnerable she feels. How young she feels.
But in one way it’s a good thing, because now Alex can identify the threat that’s in front of her, and she seems to grow in physical size as she turns her head away from Maggie, fury and protectiveness swelling her body. She doesn’t release her grip on Maggie’s hand – she, somehow, impossibly, tightens it – but she takes a step forward. She isn’t blocking Maggie from their sight, but she’s clearly standing between them.
She’s full on Agent Danvers now, and she doesn’t need her gun or her tactical vest, because when she spits, “You have some fucking nerve, speaking to her,” it’s so clearly a threat.
And she can so clearly follow through on it.
But Maggie isn’t sure her parents have even noticed Alex. Her mother is staring at her face, and her father is looking at their hands, still joined, his lip curling up in something that looks suspiciously like disgust.
“I see you haven’t changed,” he says, and it’s the first time Maggie’s heard his voice in over fifteen years, and it nearly shatters her.
Alex is raging, taking another shuffle forward, her bare feet doing nothing to temper how ready for a fight she looks. She points a finger at them, and her shoes are still hanging from her hand, but she’s still terrifying. “You don’t get to talk to her. Ever. She is fucking perfect and you don’t deserve the right to even look at her.”
Alex is shaking, and Maggie is genuinely concerned she’s going to get physical. Maggie drops her own shoes, using her free hand to pull on Alex’s arm, tugging her back a step, into herself, turning her to face Maggie. “Baby, it’s okay,” she says as softly as she can. “It doesn’t matter.”
Alex opens and closes her mouth, clearly at war with herself. She wants to throw down for Maggie, clearly, but she can see that Maggie doesn’t want her to, and she’s stuck.
Her desire to keep Maggie safe, to keep her out of danger, to wrap Maggie up in her arms and shield her from the world seems to be winning out. She drops her shoulders, just a centimeter, and Maggie can see her eyes starting to clear, just the smallest amount.
But before she’s completely disarmed, Maggie’s father opens his mouth again, his voice cold and hateful. “You continue to disgrace your family, walking around like that where anyone could see you.”
And Alex is whirling back around, but she’s still tethered to Maggie, so she’s not as quick as she’d usually be.
But Eliza isn’t tethered to anything, and Maggie had forgotten she was there, and Maggie has never thought of her as particularly combative or badass – tough, sure, with what she’s been through – but never aggressive.
But, it turns out, Alex may have gotten it from somewhere.
Because Eliza has stepped forward, and she’s made a noise that has turned everyone’s attention to her, and she’s pointing her finger at him, and her voice is commanding and sharp and furious. “You have no right to speak to my daughter that way.”
And everyone stops for a minute, and it seems like even the waves have stopped crashing. Maggie can hear her own heartbeat as that word settles.
Alex is frozen in place, still a half-step in front of Maggie, still gripping her hand. Maggie wonders if she’s going to charge in, but she seems to waiting, just like the rest of them.
It’s Maggie’s mother that breaks the silence. “Magdalena is our daughter,” she says. Her voice is soft but firm, and Maggie wonders if her mother still loves her.
But Eliza is not having it. Her finger is still pointed, but now it swivels to Maggie’s mother. “You gave up that privilege the day you abandoned her when she was a child.”
Maggie’s father gets aggressive right back. “Don’t talk about things you don’t understand.”
And Eliza laughs, actually out-loud laughs. It’s cold and angry and hard and scornful. “What don’t I understand? What’s it’s like when your child tells you that she’s gay?” She motions behind her, to where Alex is still standing, completely still, clinging to Maggie’s hand. “I love my Alexandra even more since she told me, since she brought us Maggie.”
He sneers at her. “This is a family matter.”
And Maggie hadn’t realized that Eliza had been holding anything back, but she must have been, because she shifts into another gear entirely.
She doesn’t take another step, she doesn’t move her body at all, but somehow she’s towering over him. The next words she says come out in a snarl, and they’re territorial and predatory as hell, and Maggie’s parents both take an involuntary step back.
“Maggie is mine,” Eliza snarls. “Mine, and Alexandra’s, and Kara’s. She belongs to our family.”
Maggie’s parents both sputter, and Maggie and Alex both seem to be holding their breath.
But Eliza isn’t even close to done. She speaks clearly and firmly, each word landing like a punch, leaving no room for argument or disbelief.
“Blood doesn’t make a family. Alexandra and I have known that since we adopted her sister when she was a teenager. Kara is just as much my daughter as Alex is, and Maggie belongs to us now. You don’t just get to claim her because of blood when you’re the ones who tried to destroy her. Maggie is perfect. She is brilliant and kind and that is despite you, not because of you. She’s a Danvers, she is my daughter, and you will never speak to a member of my family like that again, or so help you god, it will be the last thing you ever do.”
Maggie’s parents stand, shell-shocked.
Eliza turns away from them, like they don’t even matter. “Come on, girls,” she says, suddenly back to being the sweet woman Maggie’s always known. “Let’s keep going.”
Alex looks at Maggie searchingly, clearly trying to see if Maggie wants to stay and talk with them. But Maggie just shakes her head a little bit.
What else could she possibly say?
Even in her wildest, most private dreams, she was just trying to prove to them that she’d survived and flourished on her own, without them. That they hadn’t crushed her into dust.
She never even imagined that she’d have a family to show them, that she’d be claimed not just by Alex or a faceless hot woman, but by a mother who loves her and chose her and wants her.
So the three of them pick up their shoes and set off down the sand, this time with Maggie sandwiched in the middle. And Alex still hasn’t let go of her hand and is walking as close to her as possible, hip to hip. And Eliza wraps her arm around Maggie’s waist and just holds onto her as they walk.
And, for the first time in over fifteen years, Maggie lets herself lean into a mother, and she rests her head on Eliza’s shoulder, and Eliza kisses her head softly.
“I love you, Maggie. I am so lucky to have you as a daughter.”
And Maggie just nestles a little closer to them both, safe inside of her family.
I'd like to ask, how do you know when fight/smut scenes are necessary? Or how to make them effective & not simply as fanservice or just for word count? Usually, I find myself skimming through fight scenes as a reader, bored. As a writer, I'm inclined to just 'fade to black' and imply stuff at the next chapters. I'm not really a fight/smut-scene writer, even though my characters know & need to fight. Thanks for keeping this blog. :D
A good fight scene (and a good smut scene for that matter) always works in the service of the narrative. It works toward the cohesive big picture.
From an entertainment standpoint, violence is boring.
You need your audience invested in the characters participating in the violence, in the actions and events leading up to the fight, in the aftermath and how this will effect the character’s overall goals.
In a narrative context, if you’re bored during a fight scene or a sex scene it’s because the build up to that moment failed. The scene itself may also have failed. However, your foundation is what makes your story sing.
Think of a story like building blocks. You’re playing Jenga with your reader on a homemade house, they’re slowly pulling out the pieces and you’re betting you built your blocks well enough to withstand scrutiny. You’ve got to keep them interested long enough to get to the end before the whole thing comes tumbling down.
A fight sequence which works in concert with it’s narrative is enjoyable, doesn’t overstay it’s welcome, and ultimately works to build up the story it’s telling. Fighting isn’t fighting, you see. Combat is a form of problem solving, the fight itself is an expression of the character’s individuality. Everything we’ve been learning about them, their goals, and their behaviors are being put in a pressure cooker and dialed up.
You should be learning about the character as the fight progresses, the fight working on multiple levels in concert with its narrative to get the story where it needs to go. Often, a first fight is like an establishing shot in film. You get a feel for who this character is when under pressure, who they are. Peril can be a great way to get the audience invested, but its up to the author to prove why they should.
Poor fight sequences don’t tell you anything. They’re there to establish the character as capable of fighting but don’t even do that because their concept of combat is generic.
The combatants aren’t individuals expressing themselves, the fight isn’t proving anything except fighting, it doesn’t have meaning except for its attempts to prove the narrative’s poor concept of badassery. This often happens with no regard for the setting’s rules, the aftermath consequences, what the character’s actions will effect in the long run.
It doesn’t mean anything and, while violence is shocking and terrifying in real life, in fiction violence has to mean more than just an exchange of blows.
How many times have you read a book where several mooks show up to get their ass kicked by the protagonist? They limp off at the end and while they’re often in a perfect position to be seen again due to their connections, we never do.
In even just a moderately competent narrative, those same mooks are characters. We’ll see them again in bit roles. They’ll play a role, either to help or hurt later as an aftermath consequence of the protagonist’s earlier actions. These are callback characters we can use to remind the audience of what happened previously in the narrative, and offer up some catharsis.
In a really well written scene, these mooks serve an important purpose when it comes to establishing the protagonist’s character in a quick snapshot. Like the moderately competent character, they come back later to the aid or the detriment of the protagonist. The mooks’ response actions are a direct result of their encounter with the character, often acting as an inciting incident. The protagonist suffers direct consequences as a result of their actions, whether its injury, loss, or the attention of the villain which causes them to lose something. In these fight scenes, you can see the story’s trajectory because it acts as another way to get to know the hero, the secondary characters, the tertiary characters, and whoever else is participating. It’s working on five different levels.
What you often see in a good fight sequence, whether it’s in a written medium or film, is the culmination of a great deal of hard work on the part of the author. A smut sequence is a reward, it’s a way to pay off on the reader’s investment in the relationship between these two characters and the narrative’s investment in them. It doesn’t matter if that’s hardcore sex, or a Victorian hand touch, or a knockout blow to the jaw, the end result is the same. It’s entertaining, satisfying, and even cathartic.
A poor sex scene is just dolls bumping bits. A poor fight scene is just dolls trading blows. Nothing occurs, nothing happens, there’s none of the underlying satisfaction or catharsis in the outcome. You don’t have any investment, no consequences, it overstays its welcome and tells you nothing about the characters.
You’ve no reason to care, so you don’t.
As a reader, you don’t owe a writer attention when reading their work. They’ve got to earn it. If they aren’t, then it may be that the story isn’t for you and that’s okay. Take into account your tastes,
It takes practice to choreograph a fun fight scene. Writing sex and violence is mostly about learning to find your limits (i.e. what you’re comfortable with writing), and overcoming embarrassment. Determine the difference between need and want.
Are you avoiding writing these scenes because you’re scared of being bad at them or because they just don’t interest you?
These are two very different issues, and it’s easy to hide from the first behind the second. Be honest with yourself. If it is fear, then don’t give into it. The easy solution if you’re afraid of being bad at something is to practice. Start looking critically at the media you consume, when you start to get bored during a fight scene or a sex scene, when you want to skip ahead, ask yourself, “why?”. Check out the sequences and stories where this doesn’t happen, and try to figure out the differences between the two.
When it comes to the mechanics of both violence and sex, the more you learn the better off you’ll be at writing it. The more you practice writing violence/sex/romance then the better you’ll be. Like with everything, it’ll probably be pretty terrible in the beginning but the more you practice, the better you get. Writing itself is a skill, but its also a lot of sub-skills built in underneath the surface. Being good at dialogue doesn’t mean you’ll be good at action, having a knack for great characterization doesn’t mean you’ll be good at writing setting description. Putting together great characters doesn’t mean you’ll automatically be good at worldbuilding.
Don’t be too hard on yourself.
All it takes to figure out whether or not the time to fight is right is by listening to your gut.
Remember, the best scenes are based in narrative cohesion and emotional investment. They’re a pay off in and of themselves for your audience, dessert after dinner. They aren’t the meat and potatoes. If you set out to just write a fight scene or write a smut scene then it’ll get gratuitous. Then the focus is on the fight or the sex itself, hangs entirely on their shoulders, and you’ve just upped the ante for how entertaining you need to be.
It’s not “how do I write a fight scene”, it’s “how did my characters get to this point and why are they fighting”. If you start from a character place, it gets easier. The same is true with romance. “How do my characters participate in a romance (sex or not)”.
Make it about the individuals, that’s when it really gets fun.
And, if you get too stuck, try writing fight scenes with characters who don’t know much about how to fight. Sometimes, it’s easier to get into it when you begin at the beginning. There’s a lot less pressure convincing an audience with a character who knows nothing than one at the top of their field.
There’s a lot less stress about “is this right?” when you’re trying to get a feel for the flow if you’re dealing with a character who doesn’t know jack shit. Fight scenes with characters who know nothing can also be really, really, really fun. They’re wild, improvisational frenzies where all you have is the character sorting through their alternative, non-fighting skills trying to figure out how to survive.
Believe it or not, this will help you because you don’t get to cheat with the idea that your character already knows what they’re doing when you don’t. It’ll help you tap into the character, seeing scenarios from their perspectives, and writing to that instead of “generic fight scene”. When you’re unsure, characters who know nothing about the subject matter they’re engaging in but still have to engage are great. They teach you how to write from the standpoint and perspective of the individual. You need those skills just as much when writing characters who are professionals or at the top of their field.
If you don’t think you can write an interesting fight sequence with a neophyte, then that might be a part of the problem. A character doesn’t need to be good at something to be entertaining. A smut sequence where everyone’s fumbling, knocking into each other, embarrassed, stuck in their clothing, cheesy, corny, and laughing can be just as fun (if not more so and more honest) than the ones that generally get envisioned.
For me, good is entertaining and the entertainment is based in humanity but you need to define “good” for yourself in your own writing. Be honest with yourself about your fears and you’ll find a way to bridge yourself to the kind of writing you want to be doing.
Freeing yourself of your own internalized preconceived notions will help a lot, and produce stories that are way more fun.
What SVTFOE Season 2 has Done to our Sweet Children
Stepped her toe out the closet; it was a magical experience for everyone involved. Acquired 16 years of badassery training. Lost her best friend/source of summer fun overnight.
Gained the father figure he always wanted for two entire days, and it only cost him his soul.
Was slowly stripped of her capacity to chill and learned to access the Avatar State of Emotional Breakdowns on command in the process.
Promoted from bland love interest with two lines to lesbian stereotype love interest and walking plot device. Wanted to try a go at the fabled childhood friend romance, but got roped into an angsty love triangle instead. 100% did not ask for her life to turn into a soap opera, what the hell, Cupid?
Got two (2) homoerotic episodes. Left the rest to the fanfiction writers.
Made her first appearance and broke up with her boyfriend 6,784 times.
Lives and breathes off Marco being upset, but has discovered her one weakness: Star being upset.
Took her boyfriend to a couple of /clubs/ last month. [90s laugh track]
I was FROZEN today!
["The Boys Are Back in Town" plays on repeat for 10 hours]
I’m rewatching Avatar: The Last Airbender, and you know what I just realized I really want?
A prequel story about Kanna (Gran-Gran). This is a woman who, when she was barely older than Katara, left her home, escaping from an arranged marriage, and traveled across the entire world, presumably alone most of the time, in the midst of a world-wide war.
That’s some badassery right there, and I want to know the details.
In this hour alone, we got: • Sanvers’ “I love you”s • Winn, once again, being the smartest guy in the room. • Alex exceeding human levels of badassery • Lena being a motherfucking queen • Sanvers saying “I love you” • Kara being so crazy worried about Alex • J’onn being the best space dad • Kara and Lena have a “date” • Minimal Mon-El • ANGST • Maggie and Kara hugging and realizing how badass of a team they are • Did I mention Sanvers said “I love you”?