only care family

Anyone other than me noticed how thin Chuuya is, compared to the other three…

omega hux au where he’s unknowingly pregnant when alpha kylo turns back to the light and leaves him and he gives birth to their baby boy and raises him on his own

four years later and hux & his son are captured by the resistance, and ben senses something is off as soon as hux disembarks the shuttle with a small boy held in his arms whilst the surrounding resistance fighters point their blasters at them

ben gets permission from his mother to sit and talk to hux, who refuses to acknowledge ben’s relation to the boy, arguing that kylo ren is his father and was killed by ben and that’s what he’s been telling his son

but the boy, in ben’s presence, tells his mother than ‘that man looks like papa’ and hux just hugs him tightly and tells ben to get out

ben doesn’t know what to do; it’s the first time he’s been conflicted since he forced himself to forget hux when he broke their bond when he left the dark side behind

even leia doesn’t know which path to take, because the boy, bless his innocence, looks so much like ben did when he was younger, with his messy brown hair and big wonder-filled eyes, but hux is a war criminal

so, take the boy, give him to ben to raise and lock hux up for his crimes? or allow ben to take hux and his child somewhere safe where no one will ever find them and let them live in peace but potentially lose ben too?

but one night, when hux takes ill and passes out and ben feels his son calling out to him for help through the Force, and ben holds his son for the first time whilst watching vigilantly over hux in the medbay, he knows what he wants; he wants his family back, he wants hux, and he’ll do anything to revive kylo ren

4

favorite once upon a time moments | 17/??

2.06, emma swan and snow white.

When Felix says he was somewhere on holidays with his parents he means that they actually were spending time together.
When his classmates say they were somewhere with their parents they mean the servants were spending time with them meanwhile parents were minding their own business.
This leads to some misunderstanding when they are comparing expirences.

Narrative structure as Dean/Cas possibilities/viewpoints in Dabb Era

I’m sitting here trying to remember the “lesson” of all the cases this past season and really I do think it’s all going to point to what’s coming next for Dean and Cas. Besides some mirrors that portray Mary against Sam and Dean’s histories, there’s been a few cases of one sided love (12x07 and the one with the camping couple where the girl was leaving but the guy loved her more than she loved him) , one of a lover “saving” another by dying with them (12x13), one accidentally getting a best friend killed (12x06), two settling for a reanimated sibling instead of living without them (12x11 and 12x20). I’m sure there’s more (but since I mostly stopped caring deeply where Dean/Cas was going I stopped looking at this show through the meta/predictive lens). It all feels like possible depictions and shades of Dean and Cas’ relationship as it has now found itself. Which situation are they most like? We can’t really tell… for one, because the season isn’t done, and for two because we are given multiple relationship avenues/labels for them while simultaneously committing to none. We see no definitive outcome/depiction for Dean and Cas in a way that can be deemed consistent.

This.

This right here is why it has looked like there’s no narrative structure this season (well, this and the fact that the few Mary mirrors we have been given have just seemingly been shown with no greater purpose than to recap old history, PLUS with no brotherly conflict this year the show hasn’t focused any structural efforts towards the Dean/Sam relationship depiction so when it compares Dean/Cas to siblings it’s a bit jarring). In Carver era, for example, the Dean/Cas relationship was ALWAYS depicted by interspecies/interracial relationships or same sex relationships, or sometimes both. Because of this CONSISTENT defining structure you could always tell the “status” of Dean and Cas’ relationship by looking at these particular “C” plot character mirrors/folds.

In Dabb era this is no longer the case.

My mind compares it to a car now being put in reverse (exclusively romantic being dropped for mixed ones), that has hit the metaphorical gas, but is miraculously being dragged forward by something stronger, a narrative burnout if you will. And that something is the text. The mirrors no longer need to be so precise because Dean is being fairly verbal to Cas this season, and Cas’ problems (the main two being he’s still probably suicidal in his need to clean up his messes while protecting Dean and Sam and he’s feeling eternally “put out” by Heaven by which this season human/Angel interaction “rules” gets an extended highlight and a full episode) are what is driving half the story and have been given a fair bit of text/dialogue themselves.

The whole thing feels like a now blended label of what Cas is specifically to Dean. But since the text is creeping towards being more clear, the subtext and structure can theoretically, therefore, be more loose if the storyline was still a possibility on their radar. Really, I don’t know how I feel about it. As many of you know (or hell, might not know since I mostly converted my blog into an art blog), I was a loud canon supporter and structural meta writer who supported Carver hard (I thought we were headed fast into canon text in S9 before I realized Sam’s “cure” was going to derail the storyline), but became fairly jaded because it became increasingly clear that he was going to leave the subtext as subtext. Like Korrasami, Destiel was canon because of the narrative mirror comparisons (which told the story where the characters would not put said feelings into actual words/text), but easily ignored if it wasn’t your thing. Text is harder to ignore, obviously. So here I am making this post because I’m beginning to see talk of canon again.

While the structured narrative subtext is no longer romantic exclusive for Dean and Cas, the text is, somehow, amazingly, getting closer for Dean to either tell Cas explicitly some feelings in text, or for Dean to give Cas a big romantic gesture (whether this will be healthy is unlikely, but let’s face it… Dean loves in unhealthy ways) of some sort (most possibly in a way that “saves” Cas and/or mourns him in death). I always said I’d be honest with how I felt the show was portraying Dean and Cas and this is currently it. This is what it looks like they are currently doing and setting up. But make no mistake, without a cohesive romantic mirroring structure the whole thing looks narratively weaker and all together more unlikely to lead to canon (regardless of SPN’s history with this storyline’s execution or rather lack there of). But on the plus side, those that want/discuss canon will no look as “delusional” when discussing this possible narrative scenario because it’s definitely no longer being told mostly through wardrobe cues/lighting and other characters. Dean and Cas are using words and actions. We just don’t know yet what *exactly* is going to be said/done between them and we still likely won’t know the true extent for some time.

anonymous asked:

I just thought about what if Jason accidentally fakes his death? Like the batfam thought his still in a warehouse or something when it blew, and his comms destroyed so they can't call him, and he just went to a safe house after to sleep and like he doesn't know until a few weeks later when he shows up at the manor to meet up with Alfred for tea.

would it be better or worse if he wasn’t even really getting along with the rest of the family at that point? either way you play it, jason has a bunch of redundancies for his safe houses, and he was trained just as well as any of them. there has to be at least one or two he’s managed to keep secret from the rest of the bats. 

jay doesn’t really make a habit of carrying explosives in his helmet anymore; that was really more of a one-off when he first came back to gotham. since then, he generally just carries more explosives with him to make up for it. because of that, and because he’s usually fighting standard-grade humans, it’s not all that likely that he tosses his helmet aside in the middle of a fight.

a warehouse blows. red hood was in it, they know that (it all but had “This Is A Trap For Red Hood” written all over it), and when searching it, the bats find the badly burnt remnants of hood’s shattered helmet. no body, but –

it’s easy to assume the worst. it’s already happened once, after all. they hold on to hope for a week, but they haven’t been able to find any sign of jason. he can’t be raised on his comms, he hasn’t been in any of the safe houses that they know of, oracle couldn’t find any sign of him on cameras. 

no sign of him in a hospital or even leslie’s clinic, no body matching his description in the morgue. (that last doesn’t mean anything. no body at the warehouse, but someone had set the trap – they could have easily dumped it somewhere else.)

there’s no sign of him, living or dead, anywhere in the city so far as they can tell.

red hood’s been throwing himself into ever-escalating fights since he came back to gotham, and finally they have to assume that this time, his luck didn’t hold long enough for him to get out. 

the family sinks into some kind of shock. it’s impossible to believe that they lost him again.

it’s not something that can even be explained to the public. how do you explain that you’re in fresh mourning for a son and brother that was declared dead over half a decade ago? 

then again, all the bats are good at hiding how they feel. 

they mourn quietly, but they mourn.

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They actually touched upon this briefly in the movie, but in Spider-Man: Homecoming, when Spider-Man tells the Vulture he’s in the wrong for selling weapons to criminals, he just says that Tony Stark isn’t any better and has a history of war profiteering.

But the parallels between the two go deeper than that, like, both are resourceful middle-aged men who made the best of a shitty situation and revamped sophisticated tech to make flying exoskeletons. In fact, while Tony Stark only needed the suit to escape, and could then have proceeded to focus on Ark Reactor technology to save the world, he kept making suits as expensive toys to feed his ego.
If he’d been from a working-class background like Toomes instead and had he needed the money, maybe Tony, with his disregard for rules, would have turned to crime as well. Also, both of them continue to use their suits to do what they see as good, even though they operate on completely different scales; Toomes wants to help his family, Tony wants to help the world. In my opinion, the case could also be made that they’re both primarily in it to uphold some sort of image or reputation, because they’re both raging narcissists.

Anyway, I’m mostly just playing devil’s advocate, and I do see that me advocating for Toomes is a side-effect of good writing that tries to make the villain more relatable and thus render the story more complex. However, I think this dumb, fun movie might even be making the case that neither Tony nor Toomes are truly either hero or villain; Peter’s final decision and step away from his hero-worship of Stark might prove that. Instead, the people we should really be looking to are two different red-and-blue-clad poor kids from New York, who mostly just care about their neighborhoods; smaller scale than Tony’s hybris, grander than Toomes’ care for only his family, and less selfish than either.