The Lion in the Room

The fight scene between Jack and Hannibal is fantastically satisfying, but what really delighted me was the sequence that immediately precedes it, when Jack stalks Hannibal. We have never seen Hannibal in this position: the prey rather than the hunter. He combs the exhibit hall, uncertain of Jack’s position. But it’s abundantly clear that Jack knows exactly where Hannibal is. Hannibal has completely lost the upper hand.

His powerlessness is emphasized by shots like these: Hannibal spinning in place, showing the camera his vulnerable back. Meanwhile we don’t see Jack at all. He could be hiding in every shadow – this invisibility endows him with an almost supernatural power. He is everywhere and nowhere.

Jack puts on a record to unnerve his quarry, but the music serves another purpose, too. It reflects Jack’s emotions in this scene, a controlled jauntiness as he hurls Hannibal through glass pane after pane (and pain after pain). Very unlike the tense soundtrack for the previous Hannibal/Jack matchup. 

Hannibal is the character on the show who most frequently gets control over the soundtrack. We hear the Lacrimosa when he’s sad, Vide Cor Meum when he’s blissed out, that devastating slowed-down version of the Goldberg Variations when he’s heartbroken. But here the music belongs only to Jack, the surest sign yet that Hannibal has lost control over his own story. 

Jack adds insult to injury by using Hannibal’s old methods against him: he takes off his shoes and soundlessly sneaks up on Hannibal, just as Hannibal once did to Miriam Lass.

Hannibal used to be so sly, so quick to improvise, that he appeared almost superhuman: a murder wizard who could dematerialize himself out of any sticky situation. But now Hannibal is very human indeed. The fallen angel has fallen even further.

Captain Swan spec based on the new EW article about Dark Emma

According to Eddy Kitsis, OUAT is going to be exploring “love and what happens when you use it as a weapon.” (x) Reading that sentence I immediately recalled one of the last times that phrase was used on the show, when Killian said to Belle in 4x12 “love is a weapon, as dangerous and persuasive as magic.” Now that conversation was in the context of how the previous Dark One, Rumple, used Killian’s love for Emma to manipulate him. Is it a coincidence that Eddy is using practically the same exact phrasing in the EW article? I think not. 

We’ve seen Killian manipulated by the Dark One before due to his love for Emma. Would Emma, as the new Dark One, be willing to use Killian’s love for her against him? And that idea also extends to the Charmings too—would Emma use the Charmings & Henry’s love for her against them

Interestingly enough, considering these possibilities makes Emma an even more fearsome Dark One than Rumple ever was for Rumple was never really loved by anyone other than Belle. If Love is a weapon as dangerous as magic, Emma possesses that in DROVES. She has MANY people in Storybrooke who love her deeply and she can use that to her advantage. That’s a quality that Rumple never contained and in fact, makes her pretty dang POWERFUL. 

anonymous asked:

did stiles look kind of foxlike to you in the beginning of 4x02? his face and body when he was talking to sheriff?

i guess you mean 5x02?

i think it’s pretty interesting you know, these are associated with the fox:

  • Physical or mental responsiveness, increased awareness
  • Cunning; seeing through deception; call to be discerning
  • Ability to find your way around, to be swift in tricky situations
  • Affinity with nocturnal activities and dream work

the first two definitely apply to stiles - he immediately noticed his dad’s wedding ring was missing, and he was suspicious of theo from the beginning (in fact he often showed mistrust of the soon-to-be-revealed bad guy in previous seasons) and, thinking back, i’m pretty sure we can assign the other two to him as well. like lydia said, he’s the one who always figures it out. and if there’s someone out in the woods at night on the hunt for bad guys, it’s stiles.

it was never mentioned, but he also seems to dislike dogs, or at least he’s not the biggest fan of them. in the very first episode he almost got attacked by his dad’s police dogs, he wanted lydia to get rid of her dog (to protect her, but i mean i as a dog person would understand and never ask someone to give their dog away bc they’re like a family member) and he clearly was afraid of mr tate’s dog, i mean he was ready to jump into scott’s arms. not to forget ‘i hate coyote’ - foxes and coyotes usually have a hostile relationship.


The fox is known for sneaking into homes and getting away without being caught. Because of it’s characterized by its cunning ability, this animal has acquired the image of trickster in a number of cultures.

The fox is often associated with the dark side of magic. In a lot of cultures, seeing a fox as you start a new project or endeavor is a bad omen. In some Native American belief systems, this animal represents the practice of negative sorcery and the dark manipulation of magic powers.

The fox has long been considered as a witty, quick and intelligent. In some European traditional tales, he’s the character who outsmarts humans and other animals alike and gets away even in the trickiest situations.

as for the ‘foxlike’ look you mentioned. i think it might be bc dylan has this really distinctive ‘pointy’ kind of features.

and my personal favourite

brak666 asked:

Something interesting I haven't seen mentioned anywhere. But I re-watched 5x01 with the closed captioning on (because I have trouble catching what the doctors are saying), and captions identified the three different doctors speaking as The Surgeon, The Pathologist, and The Geneticist. Not sure if that helps us figure out what they're up to. I just haven't seen it mentioned by anyone.

Nicely spotted!! You’re definitely right. The three doctors have different names. 

I’m assuming this means they have different duties or talents? I’ll let you guys hash that out. 

But I sort of went on the hunt and found which doctor is which so we know when we look at them: [in order from left to right] The Geneticist, The Pathologist, and The Surgeon.

And the actors who play them: The Surgeon, The Pathologist, and The Geneticist.

isabeljoanvalentine replied to your chatrose quartz: *literally kisses her girlfriend in…

Yeah! But I think she’s going about it the wrong way. Both Greg and Pearl are clearly not exactly happy about being in a poly relationship, so she’s not exactly a model poly/pan character… sorry, tangential ranting there. :P

oh for sure! she’s far, far from a role model for polyamorous relationships… but even being a flawed and kind of inappropriate one, it doesn’t really change the fact she’s pretty clearly written as poly?

like, she does hurt people – though it remains to be seen whether greg had actually taken issue with being in a poly relationship as much as being in a poly relationship with PEARL, who keeps demeaning him and undermining his role in it? i mean, i kinda doubt that’s something they’ll really go into on-screen, but i can see rose and greg having a talk that basically goes, ‘oh you’re adorable and i’d totally kiss you, but jsyk i’ve been also kissing pearl for the past 5k years and have no intention of stopping’ 'oh uh sure i guess that’s cool?’ and then he actually gets to know pearl and realizes it’s not that cool.

there’s a lot that’s wrong in this relationship, stemming from what may well be a lack of societal model of what a relationship looks like for gems, rose’s instilled sense of superiority and entitlement, her inability (or lack of desire?) to read others’ feelings beyond a surface level and apply proper weight to them, and pearl’s view of herself as lesser and therefore unworthy of confronting rose about her feelings and demanding more of her….

however, i still think there’s merit and importance to representation even if it’s not portrayed in a fully positive light, like how i find it incredibly significant that pearl’s written as a lesbian even though her defining romantic relationship was awful for her. in the end, it depends on how those negative aspects are addressed – with the way pearl’s written, i find it very clear that the root of the problem is completely unrelated to her being in a relationship that’s queer. unlike many other fictional works, they’re not equating the bad and unhealthy aspects with the queer ones? they coexist independently. and those things DO happen in real life a lot, queer people can find themselves in harmful relationships just as well. so i think that’s important to show, too.

so the question is really – will rose be ultimately written in a way that comes off as 'she’s dating two people at once because she’s greedy and inconsiderate, that’s awful, don’t do it kids!!’, which would obviously be a Not Good Message, or will it be shown in a more nuanced manner, with a message of 'if you want to have a relationship with numerous people, make sure you talk to them, listen to them, and respect their feelings so that everyone can feel happy and loved’. i have enough faith in the crewniverse to believe that if the issue is addressed any further, it will be done in a way much closer to the latter.

as a bonus: i just find it really cool that rose, as a fat woman, is portrayed in such a captivating light and is shown to be a very sexual and desirable individual. that’s not something you see – basically ever, not to mention in a kids’ show. dang.

Why sit/sat and not sit/sitted?

Ever wonder why we have words like sing when the past tense is sang, but other words like talk that have a past tense with the suffix -ed? Here’s why…

A little background: a primary derivation makes words using roots (that aren’t really words themselves) and a secondary derivation makes words based off of words that already exist in a language. 

In proto Indo European (PIE), a lot of roots had the form of CVC (consonant-vowel-consonant), with the V being interchangeable with different vowels to create different words.

Ablaut refers to when vowels alternate inside the root. 
Example: The root l_g in Greek exists. Within the space, vowels can alternate to create different words, such as logos (n. word) and legein (v. to speak). If I’m correct, Arabic is another example of a language that has this feature. 

If you see things like sing (v.), sang (v. past tense), and song (n.), then it’s a native English word. Another example of this includes sit/sat and run/ran. 

These are all primary derivations. 

Secondary derivations don’t have the ablaut feature, so these verbs have their past tenses with the suffix -ed that we all know and love. 

*sed- (PIE) –> sit (present) & sat (past)
 setl (Old Eng. “seat”) –> settle (present) & settled (past)

Here, setl is a primary derivation, and settle is a secondary derivation. Because settle is a secondary derivation, its past tense is settled with the -ed suffix.

Voila, magic. 

snowingbooks asked:

but why would Bellamy resent Clarke?

Here’s the way I see it:

Over the course of these last two seasons, Bellamy and Clarke have become extremely close to one another. They’ve both shared the feeling of leading a group of teenagers, of making impossible decisions, and of feeling terrible for the things they’ve had to do to ensure the survival of both themselves and, primarily, their group. They are not totally dependent on each other, but they are indispensable to one another. They work best together. That, coupled with the fact that they care about each other immensely, is why I see Bellamy resenting Clarke for leaving.

He understands why she had to. He understands part of what she is feeling as he’s been there almost every step of the way. As Bellamy had once said about himself, she feels like she’s a monster - she can’t stand to see the faces of everyone she helped to save and remember all that she did and all that they lost. She did what she had to do, but not without destroying her image of herself in the process. He understands. That doesn’t change the fact that it hurts him.

She leaves him with the task of taking care of the group, to preserve what they worked so hard to save. While Bellamy is certainly up to it, I think he knows that he leads best when Clarke is by his side. So, for unselfish reasons, he resents her for leaving the group after all she did for them and when, perhaps, they need her guidance the most. The fallout from Mount Weather has caused a lot of pain and suffering and I think a lot of those kids are gonna feel a bit lost.

For selfish reasons, I feel he’d resent her because he needs her too. She’s always been the one to steer him in the right direction, even when it’s so hard. She picks him up when he’s down. He wants to leave camp and run because it’s easiest? Nope, Clarke reminds him of all he has to lose and that she has his back and they’ll figure it out. They always find their way, together. She was the first one to defend him and she constantly reminds him of his worth (I know you’re not a killer; You saved my life today; We can’t do this without you). They share a bond that no one else shares simply because of the fact that they lead together. They experienced things that no one else had to because they decided to shoulder the burden together. They understand what it means to make the tough choices that are for good of the group. I think that, when they are together, Bellamy feels that his burden is lessened by her sharing it. I think that’s why he put his hand atop hers in Mount Weather and pulled that lever with her. He wanted to return the favour and take some of her burden. They are each other’s confidant and co-leader and best friend. He resents her a bit for leaving him. She constantly tells him of her faith in him and that she can’t lose him too and then she leaves. While he understands, it’s a bit confusing for him, I feel. He just risked life and limb at her request (he wasn’t going to because she asked him, remember?) and then, when the war is won, she leaves. Just like that. It’s hurtful to him, as someone who cares so much about her and believes that she cares about him, too. We know that she does care, so much, and that’s why she can’t stay.

In seasons three, I think we’ll see Bellamy putting on a brave face in front of everyone and leading. In private, I think we’ll see the cracks. I feel like we’ll see him break down, both sad and angry, and wonder why, particularly when times get tough. Clarke’s no longer there to share the burden. Octavia will be there to soothe him and I think that her current resentment of Clarke may affect how Bellamy feels, too. Unless we have a significant time jump and Octavia’s feelings cool off a bit and she begins to understand why Clarke did the things she did. The Blake siblings are passionate and stubborn, though, so I could see O holding a bit of a grudge.

Anyways, that’s just what I think may happen and why I think Bellamy’d be hurt and angry at Clarke! Sorry for the novel ;P

From the South Pole Iceberg to the Republic City Portal: A Critical Study of the Avatar Franchise: Part Three

In which Iroh and Zuko consult a map, Aang plays with some marbles, and Sokka wears a dress.

So it’s basically the “girl power/ sexism is bad episode”, right? No?

First off, let it be noted that I have next to no problem with episodes of television that certain sections of largely male fandom will dismiss as either “girl power” or “sexism is bad” episodes, mostly because the depressingly large swathes of that type of fandom will act like “Oh great, it’s the ‘Girl Power’ episode” is a legitimate criticism of episodes of television like “The Warriors of Kyoshi”. I’ll also defend the type of episodes that simply celebrate girl power or point out that sexism is bad because those are still (sadly) rare to see on television, and good, valuable things for a show like ATLA to do. But I think this episode and its exploration of gender politics takes on so much more depth than those descriptions suggest.

It’s worth examining what the show has done with regards to gender so far. At this point, it has seemed to follow the often used model in genre fiction where there is one significant female character in the main cast in Katara, and the world itself (see the original Star Wars trilogy as a prime example of this model). However, it is worth noting that the show has already created a wonderful female lead within this model – Katara is given narrative weight as the narrator and the viewpoint character of the show, and it has been hinted that she is on a similar journey to Aang, as both head towards the Northern Water Tribe to learn waterbending. And she has already been given a wonderful amount of complexity, with hints of her grief at losing her mother, her maternal nature, and her ability to fight past her limitations already having been demonstrated throughout the first three episodes. And of course, she had her wonderful takedown of Sokka’s sexism in “The Boy in the Iceberg”, a character note that is picked up on for both characters (though mostly Sokka) in this episode. The show has demonstrated through Katara that it can treat its female characters with real respect, but this episode shows what it can become as it slowly moves away from the “One female character of note” model.

The episode does so on the largely female space of Kyoshi Island, a place founded by the last female Avatar, protected by a female warrior troupe who style themselves after Kyoshi, and it’s a notable fact that these are the first group of non-bending fighters we meet. Kyoshi Island also acts as the setting for the show’s first “The Gaang visits a village” episode – a type of episode that is particularly prominent throughout season one (although it is still used in the later seasons as well). And this female space, defined by the figures of Kysohi and Suki, becomes a place for a deconstruction of the harmful masculinity demonstrated by the male leads.

The deconstruction of Sokka’s problematic values is in evidence from the beginning of the episode, as we see a repeat of pattern from the opening scene of the series, as Katara calls him out on his sexism by hurling back the trousers she was sewing for him unrepaired after he casually makes a gender stereotype. It’s an interesting moment because, as well as being a fun joke, it demonstrates how limiting Sokka’s ideas of gender roles are for him – he considers sewing a woman’s job, but after insulting Katara by vocalising these thoughts, he is left stranded, and unable to help himself, because he’s always considered himself above learning what he considers a female role. It’s an effective demonstration of how Sokka’s brand of toxic masculinity is ultimately self destructive.

Yet Sokka persists in his attitudes, being unable to  accept his capture at the hands of the Kyoshi Warriors, downplaying the idea that women can be strong until he is confronted with the inadequacies of his attitudes face on (or rather, with his face on the floor). However, as was noted in my first post, Sokka has always had the capacity for redemption in the fundamental decency he shows when he faces down the Fire nation ship and when he helps Katara rescue Aang in “The Avatar Returns”.  And after being humiliated by Suki, it is this decency, and not his pettiness, that shines through: Sokka kneels down before Suki as a mark of respect, admits he was wrong, and admits he would be honoured if she would teach him. And being taught by Suki allows him to embrace a more healthy attitude towards gender that embraces both the traditionally masculine and traditionally feminine aspects of himself: he learns to fight, but does so in the style and garb of an all-female warrior troupe, with the moment where he starts to embrace wearing Kyoshi-style robes being more of a revelatory moment than him becoming proficient at Suki’s fighting style. Yet even at the end of the episode, Sokka needs reminding that “warrior” and “woman” aren’t mutually concepts. He has been internalising the fact all episode, but his goodbye to Suki is the moment his attitudes truly change.

The episode is also interesting for the figure of Kyoshi herself, who offers the earliest possible revelation that the Avatar Spirit can be reincarnated into male and female bodies. Aang (on the whole) embraces this spirit, being comfortable with more traditionally feminine activities, a prime example being the “Maybe instead of saving the world, you can go into the jewellery making business”/ “I don’t see why I can’t do both” exchange from “The Fortuneteller”. Similarly, he happily shares the fact that he used to be Kyoshi with the people of the village, demonstrating his comfort with having a female past life. Notably, this is the first time we truly see Aang embrace the role of the Avatar.

However, this leads to a deconstruction of Aang’s performative masculinity, and the way being the Avatar feeds his ego. As this essay on the first episode of the series points out, Aang is incredibly comfortable performing in the female gaze for the female gaze, which is largely a positive thing. However, in this episode, Aang doesn’t perform within the female gaze, but instead actively seeks female attention to feed his ego, in particular the attention of an increasingly unimpressed Katara. This decision results in the Gaang staying in Kyoshi Island long enough for Zuko to burn down the Village, and for Aang to end up getting hurt by the Unagi, and need rescuing by Katara, who saves Aang with another piece of brilliant improvisation within her currently limited bending skillset. In the episode, Aang falls into a form of masculinity that is harmful to himself and the society around him. And Aang is only able to save the day by rejecting the hyper masculine “stand and fight” mentality, and listening to Katara’s advice, just as Sokka rights his toxic masculinity by learning to listen to Suki. He also saves the village by riding the Unagi not out of a desire to feed his ego, but to right the wrongs that desire caused: Aang gets rid of the harmful masculinity that caused damage, and replaces it with the desire to right his mistakes that makes him a hero.

And that’s “The Warriors of Kyoshi”: a story where a female space becomes a place for male characters to reevaluate the harmful aspects of their constructions of masculinity. It’s a wonderful little episode.

End of Part Three.

kidudontknow asked:

Why do you think dean stopped wearing his "artifacts" such as the leather jacket and samulet?

Dean’s leather jacket (which formerly belonged to John) was stolen along with one of Castiel’s trench coats when they were sent from Vancouver to L.A. for season 6 promotional shots. They had back-up coats for Cas, plus that trench is pretty easy to find, but they only had one of Dean’s jackets and it had been aged/distressed which made it unique. Even if they bought the same brand of jacket, it’s impossible to age/distress something in exactly the same way and fans would have noticed inconsistencies. 

The jewelry Dean used to wear was Jensen’s idea and I believe he picked it out himself. The samulet is a heavy, pointy piece of brass. They had to have a rubber version made for action scenes but Jensen has said he’d forget to swap them sometimes and has chipped some teeth from it hitting him (the scene in Fan Fiction 10.05 where Siobhan talks about it hitting her in the lip was based on real life). Dean wore a few other pieces of jewelry, including a silver ring that he used to open beer bottles with causing it to be really scratched up after a few seasons. Before season 5, Kripke approached Jensen about getting rid of the samulet and he agreed then suggested they get rid of the rest of it too. The samulet is the only piece that they drew attention to. Kripke did say he left room in the script for the samulet to return someday. Dark Side of the Moon 5.16 ends with Cas leaving, Dean tossing out the samulet and walking away, but Sam still in the motel room. It’s possible that after the scene ended Sam took it out of the garbage but hasn’t told Dean that he has it.

The signs as Castiel

Aries: Godstiel

Taurus: Homeless!Cas

Gemini: Insane!Cas

Cancer: Doof!Cas

Leo: Figurine!Cas

Virgo: Babysitter!Cas

Libra: Claire!Cas

Scorpio: Leviathan!Cas

Sagittarius: 2014!Cas

Capricorn: Sales associate!Cas

Aquarius: Sassy!Castiel

Pisces: Emmanuel!Castiel

Why Wonder Woman and Batman Should Be Your Ship

In commemoration of the newly released images on EW, I thought I’d write my reasons for this ship, from a romance reader’s point of view. The contents of this post have been floating about in my mind for months, ever since I read this on Heroes and Heartbreakers and wondered where the DC equivalent was. Since I don’t write for Heroes and Heartbreakers or Smart Bitches Trashy Books, I am putting my analysis of Bruce and Diana’s relationship here, complete with GIFs and images that do not belong to me.

Specifically this, which was essentially the validation my childhood JLAU-watching days required post-New 52

1.  It’s Beauty and the Beast

Before you stop reading because we all know Bruce Wayne and Diana are both ridiculously attractive, let’s think about the classic aspects of this romance trope: there must be at least one character that believes him or herself utterly unworthy of the other’s love, because of their inherent brokenness and ugliness, whether internal or external. That is the short description of Bruce’s psyche, because he has an inability to trust even his longest allies (checking Dick Grayson’s alibi in The Court of Owls when he has known Dick forever being a key example of this character trait), is obsessive about his mission for justice to the point of unhealthiness, and is emotionally unavailable for the most part to all who know him. Courtney Milan’s Smite from her Turner series actually strongly reminds me of Bruce, in how he wants to remain scarred and alone despite the pain it causes him, because it aids his single-minded focus on justice. Thus Bruce is unlikely to want to save himself by allowing someone to come close even if he admits to himself that he is emotionally broken. Suffice to say he’s not going to confess that to anyone, not even Alfred.

Alfred is sad because Bruce will not tell him the truth

Enter Diana, who stands for openness, truth and compassion. Not counting the post-Azzarello incarnation, Diana grew up in a supportive environment as their ideal child. Diana is different from most other superheroes because she’s a person who hails from a perfect world that wants to come to an imperfect one to inspire others, because she feels compassion for its inhabitants. Diana never has had to hide anything about herself, which is why she experiences so much cognitive dissonance in our world and why it was brilliant in writing the Clark/Diana relationship (much as I hate it, I’ll give credit where it is due) to capitalise on this difference between her and Clark, who has to hide everything out of fear. Now Clark hid aspects of himself out of fear, but Bruce hides himself because on the surface he wants to preserve his effectiveness for his cause. On a deeper level he will not allow himself to experience the emotional wholeness a healthy relationship because of his fear of being vulnerable. The classic way he address Diana as ‘princess’ can be tied in here as evidence that he intentionally tries to create distance.

Will Diana be able to see the truth behind Bruce’s intentions? Will she be able to accept anything less than full openness? Will he want to be with her intensely enough to save himself? Will it jeopardise his effectiveness at all? My inner romance reader wants to know, even if purely from a characterisation point of view. At the very least we’ll get a will they/won’t they romance that is characterisation-driven.

2. They share values

I hear a lot of protests about how Diana and Bruce are too different for a romance to ever work, but they in fact share a lot of values, which I think can form the foundation for something that is lasting, merely because these core values will be the common ground they find in each other when their differences cause them to fight.

Obviously we all know how it is going down if they do indeed come to arms

Matt Wagner’s Trinity showcases the fact that Diana’s warrior spirit and upbringing drives her to strive to do better, something that she does not have in common with Clark, who’s more of a get-mission-done-as-soon-as-possible guy. Bruce obviously places a very high premium on constantly training and improving himself, being the embodiment of a self-made superhero.

Both of them have a very strong inclination to uphold justice, at all costs. Jokes aside that is precisely the trait that Greg Rucka explores in his Hiketeia story: the point is that neither will budge when they believe that their way is the right way. This can mean they will fight when they argue with each other on how to define what justice requires, but when they agree? They will be an amazing team. Bruce’s previous relationships rarely reach this common commitment; he in fact dates a lot of morally ambiguous women, apart from civilians. Those relationships make for great reading because of the will they/won’t they element but they are not going to last unless someone budges, and I think it’s just a teensy bit demeaning to require the woman to change.

3. They complement each other

Which brings me to my third point: Wonder Woman and Batman are a great team precisely because their strengths and weaknesses complement each other, and the fact that they are equals requires them to work together as opposed to just overruling the relevant member of their mythos that they are working with. Bruce has a lot of access to our human world; Diana has the monopoly (arguably shared with Aquaman) on the gods and their customs. It’s precisely this that makes writing a joint story so hard. But imagine how awesome a well-executed story arc will be when both elements are tied in!

Their personality traits correspond to this as well. Diana has been increasingly portrayed as a warrior type (probably because she needs to contrast with the comparatively more pacifist characterisation of Clark) but as Susan Eisenberg has pointed out, Diana can also be played where her compassion is the dominant trait. This means readers can be treated to good cop, bat bad cop routines when they require information if all of DC’s hackers go on a holiday. Alternatively it also makes their teamwork in solving a problem interesting to read/watch, because Diana will be inclined to see the good in people, while Bruce’s suspicious nature will cause him to assume the worst on the pretext of being thorough.

When it comes down to a fight, their modus operandi make them very difficult to beat. Batman is known for his preparation, while Wonder Woman’s reaction speeds surpass even Superman because of how she has been trained.

Originally posted by ninyocubano

Though the transportation may potentially be a problem

4. They have common interests

If the above wasn’t enough impetus to ship them, the question of what they would do when on dates is often raised as if it is a criticism against the very premise of the ship. Again, Diana and Bruce are both highly driven individuals who are very focused on their mission and improving themselves. Is it any wonder they will fight crime together, train together and get very pleased over personal improvement?

Originally posted by kinasin

Justice League bonding activities will be about comparing performance statistics. Hawkgirl and Superman wiped the board with their improvement today.

The training aspect has been covered in the comics. Bruce’s wide knowledge of various martial arts styles will fascinate Diana’s warrior instinct, while Diana’s ability to react quickly will titillate Bruce’s intellectual interest in sparring. The question they will have to answer whenever they train together is, can Bruce outthink Diana’s capacity to react to her circumstances? I can see them going over the details of the battle again to learn from each instance.

It has been said that Bruce’s appeal for Diana lies in the fact that he is the modern Odysseus. Given DC’s consistent line on her power levels I don’t think punching harder is necessarily going to impress her, but punching smarter is a good way of appealing to her mind - an important part of her warrior spirit.

5. Enemies to friends to lovers

There are sufficient differences on the surface and in working style, and similarities in core values between Bruce and Diana for them to be written as enemies upon first meeting, then reluctant allies, then finally good friends who would be lovers if not for the first reason in this list. Their relationship can be written dynamically, not necessarily developing linearly along these lines, while maintaining an epic romance that underlies it all, where they will always love each other to the very end. We can thank Joe Kelly’s JLA #90 and Wonder Woman: Blackest Night for showing what that can be like, and the humour in it all will be watching Bruce try to deny things (this happened in JLA #80 and in the JLAU) or their supporting casts either being meddlesome or completely oblivious.

Originally posted by slashwolf


We’ve seen quite a lot of other ships in their stories thus far but apart from the JLAU and that new picture from Batman v Superman, DC has yet to explore what would really happen if these two crazy kids get together. We’ve had a couple of years of Clark/Diana and Bruce being unable to sustain a relationship with anyone else. For a new phase in their character development, or even just for the upcoming film itself, what do you say to Diana and Bruce finally officially being a thing?

Originally posted by wonderwomansbitch

anonymous asked:

why you didn't like will's interaction with chiyoh?

I’m glad you asked! He’s just been channeling Hannibal so hardcore this season, nonnie, that every interaction between him Chiyoh has been really uncomfortable to watch. Just…he’s really creepy and skeevy around her, and he says all these pretentious, awful things that Hannibal would say. He’s trying to psychic-drive her the way Hannibal did to him, talking to her about how good killing that man felt and just…wow. 

He tears this woman’s life at part, literally puts her life in danger because he was curious to see what would happen (just like Hannibal would), and tries putting her in a position where it seems like she owes him for forcing her to kill that man. So yeah…I love Will Graham and I’m really hoping to see a return of the character I once knew and admired because this guy…he isn’t it. He isn’t the Will Graham I knew and loved at all. He’s a dangerous, unbalanced, obsessive mirror image of Hannibal Lecter, and it’s frightening, and nowhere is it more obvious and terrifying than in the way he talks to Chiyoh.

I might get hate for saying this perhaps, but Will Graham deserved to get thrown off that train for everything he did to her. And I will not lie, I jumped from my seat and whistled and cheered when she pushed him over the rails! I just…ahhh, I have a lot of feels about Chiyoh, she’s rapidly becoming my favorite character on the show now tbh, and Will…I have a lot of negative feels about Will this season, ones that I’m hoping to see get turned around in the coming episodes but…I’m not holding my breath waiting for it to happen either. :/ I hope that answers your question, nonnie!

Bucky Barnes, soldier and sniper, is the heart of the Howling Commandos. Steve may be the soul, but Bucky’s their motivator. Without Bucky, they never would have been formed, without Bucky they’d never have learned the importance of putting a common cause above one’s self.

Bucky Barnes, who made jokes about the littlest things and always had to have the last word, is the heart of Steve Rogers. Steve has no business being in the modern world of gray and ambiguity, and he knows it. When Bucky resurfaces, it throws all those shades of moral grayness into sharp relief and Steve has a motivation once more. He doesn’t care so much for the mission, he’ll do what needs to be done, but that takes a backseat to his motivating goal: find Bucky, and ensure his safety. 

Bucky Barnes, who doesn’t know who he is so much as he knows the horror of what he’s done, is the heart of the conflict between Steve Rogers and Tony Stark. He’s the catalyst for their strife, and the reason for the implementation of policies which eventually lead to Civil War. Steve Rogers sees his heart, his soul, his greatest friend. Tony sees an assassin, a liability, someone who needs to be locked up. Bucky, who’s still unsure of himself, who still doesn’t believe he deserves be saved, sides with Steve. For him, it’s automatic. There’s no question who he’ll go into battle with– Bucky, if he has a say in it, will only ever fight for Steve.

Bucky Barnes plays an immense role in all three films, his presence unparalleled by anyone’s except the eponymous Captain America. Bucky Barnes is in the process of undergoing the Hero’s Journey. Bucky Barnes is not a villain, he’s a protagonist with heart.