Marvel Preference- Who is the good cop parent and who is the bad cop parent
Tony is the good cop parent and does not punish your child one single bit. Even if they’re on time out Tony will blow kisses and pull silly faces to make them feel better. You on the other hand believe that children need punishment if they’ve done something bad and you always dish out the punishments.
Ororo is the good cop and they pretty much have her wrapped around their little finger. She will sacrifice so much for these kids and always put her own comfort aside for them. You on the other hand believe that children need to learn that life isn’t always fair and we can’t wait on them 100% of the time.
Natasha is the good cop, she is super supportive and almost has them wrapped in cotton wool. She’s the first one to notice when they’re upset and will give them kisses and love no matter how old they are. You also want to support your child but believe they shouldn’t be wrapped in cotton wool and need to deal with problems themselves sometimes.
Steve is the bad cop and is very protective of your child. They are barley allowed to go out, can’t date anyone and he has to meet all their friends and their parents before any form of hanging out happens. You on the other hand are the good cop and let your children have fun and always say yes to them going out.
You know what I want in the Black Panther movie? A Storm (Ororo Monroe) reference, like Cap is chilling in Wakanda with T'challa and the rest of team cap, and they see a storm brewing outside. Steve is all it was so sunny before, what happened? And t'challa just grins and says yeah that’s my wife, she does that sometimes
Once again, author by Christ ClaremontIron Fist #15 1977
I know I posted this, but not complete. So here you have: Claremont making jokes of Storm and like I mentioned before, it’s not the first or last time he did this to Storm. And like I also mentioned before, it’s hilarious. Claremont made her kind of goofy.
Storm: “I was hit… I… A bowl of… of… soggy, smell… I… felt so em… embarr–I… GODS! I wish I was dead.”
so we’ve got Iron Fist getting knocked out in an alley, which leads him to forget that his not-girlfriend (that he’s on the outs with anyway) Misty Knight won’t be at home, as she’s away on an undercover mission in the Caribbean. This he realizes after he’s broken into her apartment.
Anyway, Iron Fist accidentally throws Wolverine out a window, but luckily, Nightcrawler and Colossus - on their way to Jean’s party - walk by just in time and catch Logan. Wolverine claims there’s a burglar in the apartment, and suddenly surrounded by more freaky people, Danny’s first reaction is to punch. Then this glorious page happens:
Iron Fist tries fighting all the X-Men at once, but with those odds, of course he fails.
Wolverine’s about to put the hurt on Danny when poor Jean arrives back at her now wrecked apartment (and Scott says the word “munchies”).
It's implied in Animal Man that the REM song "Superman" exists in the DCU. It still totally flows, but how would other songs/movies/etc be changed in the DCU to reflect that Superman's a celebrity and not a fictional character? We know he's licensed his image out to cartoons for charity work, for instance.
I’d say that obviously anything directly referencing his secret identity would be right out, but maybe not. The Golden Age story “Superman, Matinee Idol!” (the first marked as an “Imaginary Story”) had him and Lois go to a movie with a Superman cartoon serial at the front…a sequel to the classic Superman versus The Mad Scientist Fleischer short, which reveals Superman’s secret identity! With no more explanation than pondering if the creators - credited from “Action Comics and Superman Magazine, Based on the famous comic strip created by Jerome Siegel and Joe Shuster” - were clairvoyant, Superman spent the whole story making sure Lois’s attention was divided whenever ‘Superman’ changed on-screen. You’d think this would be pretty pointless given everyone’s going to know now anyway, but I admit, if it was my secret identity that was blown wide open, I’d probably use my last few minutes of privacy to screw with a friend too. And logic be damned, it got us this panel:
So Superman as a fictional entity in-universe has been established for awhile; as you said, he licensed his image out to charity, and Gregory Reed is consistently his most prominent actor in the movies (in one version he hitchhiked to Metropolis from Chicago and made a living as a pizza delivery boy while fighting “Dr. Cosmos”). He exists in the in-universe DC Comics, too; in a Mark Millar short where he interviewed Wally West it was mentioned that Superman didn’t have a secret identity in the comics since they didn’t believe he had one, whereas I know Young Justice once mentioned his comics self had a name that Impulse referred to him as for months. According to Jimmy Olsen’s Big Week, he also had a video game made by Lexcorp of all companies, because money’s money no matter who your arch-nemesis is.
So Superman’s out there in all media in the DCU, but that invites the question: what did comics and movies and whatnot look like before superheroes arrived, stripping away their influence on pop culture? We can assume Iron Munroe was around in comics given he’s been cited as a childhood hero of Clark’s once or twice, but what else is there to fill the gap (unless you’re assuming the JSA was already around long before Superman and his allies, but that was always dumb so I’m ignoring it)?
I have a semi-serious suggestion on that front.
If you’re not familiar, America’s Best Comics was a Wildstorm imprint run by Alan Moore, and while it’s most well-known for being the starting place of The League of Extraordinary Gentlemen, its main accomplishment as far as I’m concerned was in the shared universe it built between Tom Strong, Top 10, Promethea, and Tomorrow Stories. Top 10 was the only one of the bunch to prominently feature ‘traditional’ superheroes, and even there it was about the police-procedural adventures of cops in a city full of them; almost everyone else was more directly inspired by superheroes’ pulp predecessors, or comics outside the traditional superhero genre like MAD Magazine or The Spirit. They were universally excellent - as indicated by them all being written by Alan Moore, with the likes of Chris Sprouse, Gene Ha, J.H. Williams III, Kevin Maguire, Rick Veitch and more in tow - and one of Moore’s explicit driving ideas behind it was wondering what comics would have looked like had Superman never been created, i.e. adventure comics would still have reigned, and superheroes inevitably still would have emerged, but multiple genres would have had a better shot at coexisting.
In that light, I definitely could see little Clark Kent reading about Tom Strong growing up. The ABC universe is probably the biggest expansive superhero concept DC has its hands on that it hasn’t attempted to integrate into its main universe one way or another, and unlike Watchmen, these were at least actually meant to be eternal ongoings in the same way as Superman or Batman. You could just suggest that all the most explicit superhero stuff are additions from a recent reboot to account for Superman and his kin - the original ABC #1s all acted like these were preexisting concepts being relaunched that we were all already familiar with, so Top 10 being a retcon could easily fit - and just having them pop up as comics in the background would be better than trying to shove all the decades of history implied into DC’s own setup. Not that any of this needs to happen, but DC has a habit of not leaving anything alone, and this would be a way of slotting them in that addresses an aspect of how the DCU works without stepping on the actual original comics.