then i wonder if superman ever feels that way towards batman

thoughts on duality in bvs

man, i love how at the end of bvs, superman is still a mystery to the general public.

“all those circuses back east for an empty box.”

“they don’t know how to honor him–except as a soldier.” 

what the film seems to say is that superman and clark kent can be separate; they can be buried in two coffins, he can be his own person without worrying about the public defining him because they will always define him as something different. in the suicide squad trailer, we see that many officials still worry about deterrence against metahumans, despite clark’s ultimate sacrifice. the questions still exist, though there’s certainly a lot more goodwill toward superman than there’s ever been before. but clark has finally accepted that he can’t control that–and they can’t control him. he’ll always just do what feels right to him–as kal-el, as clark, not as Superman the Idol. it’s like he’s managed to bury both sides of himself that didn’t feel whole.  

and that ultimate separation is what bvs is about–acknowledging that these characters are perceived as larger-than-life and often behave as uncontrollable gods, but they are themselves in a way that is often impossible for them to express. the movie doesn’t tell us about the dualities they’re dealing with. it shows us.

the two supermans are so distinct by the end that it’s impossible for the audience to mistake one for the other. 

diana has lived as a mere mortal for hundreds of years, but bruce and the doomsday threat convince her to use her powers again. she is herself in battle, even if she still mourns the consequences of violence. she’s tried to give up the image of herself as a goddess, but she’s closed herself off too much from what she can do.

bruce has lived too long as a legend and dreads the return to humanity, to what’s supposed to be a normal life. but by the end of bvs, he’s let new people into his heart, and it reminds him of what he set out to do in the first place. he no longer fears his own vulnerability quite so much, so he can be bruce wayne in a way that doesn’t feel like he has to put on a mask to exist. he has people who care about him, and he can’t fail them. 

(for some visual cues on the concepts of duality/separation, check the funerals that frame the narrative. there are two funerals at the end, one spare and desaturated in kansas, one loud and colorful and full in metropolis. pairs of horses pull the coffins, which we can link to the riderless horse we see in the fog after the metropolis destruction and the rearing, soldiered horse we see after the capitol bombing. those images are evocative and strange, and there’s no one way to read them, but i love the idea that they’re linked to death, powerlessness, and power, respectively–which all our characters are grappling with in more explicitly stated ways.)

the movie is really about how the trinity has to make a choice between humanity and power, with all the guilt that goes along with that, and then the movie asks if that’s even a choice they have to make. lex doesn’t think you can be powerful and good at the same time, and the trinity choose different versions of that–bruce wants power (to force the world to make sense), diana cedes her power so she can live with herself, and clark dies (Ultimate Human Act!) in the process of killing an unkillable demon (Ultimate Godlike Act!). he’s definitely managed to separate himself from the public’s view of him, but he’s also able to strike the right balance between his powers and his morals that bruce and diana struggle to do. but they all make it there in the end. they’re not simply behaving as mortals are supposed to, or as criminals/waynes are supposed to, or as saviors are supposed to. they’re just them, supporting one another, choosing to do good with the power they have, no matter how difficult or impossible that might seem. 

Together - fic

Characters: Damian Wayne, Bruce Wayne, Jon Kent, Koriand’r, Clark Kent
Summary: Damian had no idea what was going on.
A/N: Sequel to Titans. Jon ends up spending the night and so do their dads and it’s just a big nice family party at Titans Tower. Clark also gets a pie and Damian and Jon eat the whole thing without sharing with ANYONE. Based on that panel in Super Sons #2 where Damian mentions Bruce is pissed about the Titans thing.


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anonymous asked:

Hi. Do you think the event in BvS perfectly setup the friendship between batman and superman after that big emotional moment during MARTHA scene? Would it be even more established than Tony and Steve friendship? I know civil war is supposed to be breakdown of the friendship between steve and tony but I kinda agree with some of the viewpoints where tony and steve is more like a working colleagues if judging from the past avengers movies.

I’m not an expert on Steve and Tony but I have been told on good authority that they’re more allies/colleagues than real friends per se. In my opinion Tony probably does think they are friends because he is emotionally stunted and all his friends (like Rhodey and Pepper) express exasperation at him on a regular basis anyway. Steve probably sees Tony more as a fellow soldier (correct me if I am wrong), so he would die for him in a mission because that’s who Steve is, but Tony does get on his nerves. Feel free to correct me on this point, but we’ll just go with them being fellow soldiers, possible friends.

Contrary to the ‘OMG WE SHOULD BE BEST FRIENDS’ meme circulating the internet, I don’t think Bruce and Clark are friends at the end of BvS. The Martha scene is not about them being friends. It’s about Bruce’s PTSD being triggered and about Bruce realising that he failed to see Clark’s humanity all along - anagnorisis, if we’re being specific. If we see Bruce’s arc in BvS as an allegory about the dangers of dehumanising the Other in a national security situation, neither the text nor the subtext of the ‘Martha’ scene is about friendship as it is about the possibility of friendship. You cannot be friends until you look at the other, the hitherto enemy, in the eye, and realise that he is no different from you in your shared humanity. So when Bruce says he’s a friend of Clark’s later on, it’s actually meant more as a reassurance to Martha and foreshadowing what is to come between them.

BvS never allows that possibility to come to fruition within the space of the film, because of the ending. Instead we’re given a lot of Christ imagery and the allusion to the legend of King Arthur in the last part of the film, and the subtext for this is partly why I really don’t understand why there are Superman fans who think the DCEU is putting Batman at the centre just because Batman is the one gathering the Justice League (possibly with Diana’s help). Snyder intentionally wants you to make the association between Christ and his disciples, the founders of the Church, with the way he directs the Death of Superman scene. Clark is also Arthur, slain in the battle with Mordred, and to return from Avalon only later. Like Bruce and Diana and Lois, we’re given the promise of Clark’s return, and in the meanwhile (this is the whole ‘Man can rebuild’ and ‘I will not fail him in death’) they are to continue his legacy as faithful believers of the movement he began. Clark is the embodiment of the hope that Bruce now has, and he is the reason why Bruce is doing the work of preparing for Clark’s return and preserving his legacy. It’s Jor El’s prophecy to Clark in Man of Steel (‘You will give the people of Earth an ideal to strive towards. They will race behind you, they will stumble, they will fall. But in time, they will join you in the sun, Kal. In time, you will help them accomplish wonders.’) becoming true. Since Bruce is following behind Clark’s example, they are not actually equal in the movement, at least not yet, and this means Clark is the pin upon which JL hangs (until you realise that the pin upon which Clark hangs is Lois, making her and Clois literally the centre of everything in the DCEU).

Tony and Steve were always about opposite equals sparking off each other and then diverging because of their temperaments and ideals. The whole tension their narrative arc depends upon is a Will they? Won’t they? dance where the audience wonders what would be the straw that breaks the camel’s back in bringing them together or tearing them apart. As characters, if they become close friends, it will be a bone-deep sort of loyalty to each other, but one will probably always get on the other’s nerves. 

Bruce and Clark have the same potential (see: ‘Did you get the spear?’ ‘I’ve been a little busy’ snark and also just about every rendition of their team dynamic) but BvS allows Clark to be more than a fellow soldier or friend to Bruce - all the signs in the film point to the message that Clark is Bruce’s inspiration and symbol of hope in the good of man. We’ll get the World’s Finest banter we’ve loved for a long while now when we get to later instalments of the DCEU, but Snyder transcends mere team dynamics (it is possible and probably right to say that they acknowledge each other as teammates during the Trinity v Doomsday battle though I think it’s also safe to say that Clark and Bruce both recognised that they were outclassed on a fighting level by Diana in that battle) and friendship (again, not present in the text or subtext of the film, unless someone wants to pull the they fought together so they experience friendly feelings for each other after sharing that intense experience) in BvS. Snyder makes Clark the spark that ignites a whole movement, and Bruce the faithful one that continues that movement by building the organisation that embodies that belief as preparation for Clark’s return. Bruce and Clark are not friends yet in the DCEU, but they are already linked by something stronger than Tony and Steve will ever have (unless Civil War turns out very different from what I’m expecting in its adaptation of the comics storyline).

Tuesday, August 18, 2015

New American Ultra Promo Interview with Uproxx

Earlier this month, Kristen Stewart and Jesse Eisenberg made a popular Funny or Die video where the two skewer the type of interview questions that they are usually asked. And, now, here, I enter the lion’s den, so to speak (actually, it was more like a hotel conference room) trying to ask interview questions. I’ve interviewed heavyweight champion boxers before, but’s these two, together, made me feel a little overcome with anxiety.

Stewart and Eisenberg are promoting American Ultra, their second feature film together following 2009’s wonderful Adventureland (and they will both appear together next year in Woody Allen’s next film). In American Ultra, Eisenberg and Stewart play Mike and Phoebe, two pot-loving human beings who must cope with adversity after Mike discovers that he’s a secret government agent and is being hunted by bureaucrats who want him dead.

Ahead, Stewart discusses how Twilight still looms over her career, even when it comes to her award winning performances, like in Clouds of Sils Maria — and as Stewart moves on from a big franchise film, Eisenberg explains why he wants to get involved in one with Batman v Superman: Dawn of Justice. They also both talk about the nature of interviews and their general attitude toward the whole process. Additionally, Stewart shares her thoughts on an inevitable Twilight reboot.

Nothing is more uncomfortable to me than interviewing two people at the same time.

Kristen Stewart: Because we’re ganging up on you. Do you use those journalistic tricks?

I don’t have any tricks.

Stewart: Where you say something and don’t comment? Isn’t that one of the things where you ask questions, but don’t contribute anything?

Jesse Eisenberg: So, what do you mean? What would that be?

Stewart: So, you ask someone’s opinion about something, but it’s a very one-sided conversation. You will not effect or make them think you accept or deny anything to keep them going – talking, talking, talking, talking.

Eisenberg: Yes, yes, I’ve seen that.

Stewart: And you get to the end of a conversation and you feel like you’ve just divulged everything and you’ve gotten nothing back and it’s like, how did you do that? You kept talking to me and yet I’ve gotten nothing from you, yet I’ve given you everything.

I probably interject my own opinions too much.

Eisenberg: That’s comforting, in a way.

I should take this advice.

Eisenberg: [Laughs] Yeah, you should hold your cards close to the vest.

But you two have known each other for a long time, and I’m this stranger who enters the room.

Eisenberg: Do you want to lie down?

And then you two made that video about the dumb questions you get asked.

Eisenberg: Oh, I see. But I can’t imagine you would ever do questions to her that would be offensive to her based on gender normative behavior. I’m serious, that’s not your style.

But I know that happens a lot. I call it the “If you could steal a smooch from anyone in Hollywood?” question, from Natalie Portman’s SNL Digital Short rap.

Stewart: Oh, Natalie Portman rapping! I did see that because I was blown away by her rapping.

But both of you get those type of questions.

Not me. I don’t really feel like I do.

Stewart: Recently, I’ve been doing slightly more and it really does pertain to the five minute, overtly commercial interviews.

A video where you have to play a game or something?

Stewart: Yeah, exactly. Or if you’re doing a movie that is also very commercial – they want it quick and they don’t want anything that will make you stutter or think twice about anything. So, if you’re not good at being cute and funny in five minutes, you feel condemned. And it’s like, my God, maybe I’m not good at that – I acknowledge that – but why should the reaction be that I’m stupid in some way.

A couple of years ago, the headlines were that Jesse is “a jerk” because of one of those segments.

Stewart: I saw that! My friend showed me that, because they were like, “Jesse Eisenberg seems like such an asshole.” And I was like, “Why? That’s crazy. Why?” And then they showed it to me and I’m like, “He’s not a jerk.”

I spent like 90 minutes with you once for a large piece and in that time I got used to your quirks and humor. Knowing that, that video felt like you were just playing along.

Eisenberg: Yeah, you can’t control how somebody cuts something.

Stewart: She was very, I’m sorry, [looks at my recorder], I’m not speaking to that. [Kristen Stewart whispers into Jesse Eisenberg’s ear.]

When I write this up, this is the part where I insert, “Kristen Stewart whispers into Jesse Eisenberg’s ear.”

Eisenberg: [Laughs] Yeah. “[Dramatically gasps] Kristen?!?! What?!?!” But the thing is, things are so fleeting and transient. You’ll watch them for a day, then no one else remembers making them.

Stewart: And I love how people like to make statements as if they’re feigning true passion, when really they’re just using you opportunistically to get hits on their website. And I’m like, oh, cool, so you pretend like you care about something where you don’t have a thought – you don’t even have a fucking thought about any of it. It’s literally just, “She said one word? Enter it. Fucking harpoon her.”

Eisenberg: With my experience, she had to have done a lot of research and printed out funny pictures. I saw it once, I don’t know if she edited it out, but she had lots of different stuff. It seems like she had plans. And it was a nice interview, I don’t know if she chose to frame it a certain way because it’s more popular that way.

With American Ultra, I’m a fan of “hidden secret skills” in movies, because it gives me hope.

Eisenberg: Like you just start speaking Portuguese or something.

Maybe I am secretly a government spy and I have a skill.

Eisenberg: There’s still hope. It’s funny about this movie because (A) they are the least likely people to have these hidden talents and secretly be fighting machines. But, also, it’s about people who would be government plots to brainwash them.

Between this and Adventureland, I enjoy watching the two of you together in movies. You’re like the new John Travolta and Olivia Newton-John. That’s a terrible comparison.

Eisenberg: Did they do other movies together?

They did Two of a Kind.

Eisenberg: Oh, they did?

It’s not very good. Again, this is a terrible comparison. But people think of them together in a nice way.

Eisenberg: Because of Grease, yeah.

Stewart: Katharine Hepburn and Spencer Tracy. I said that the other day in an interview and I felt like such a prick, “We’re like…” [laughs]

Eisenberg: Oh yeah? Tossing that off?

Stewart: Whatever!

But we don’t see this kind of thing a lot.

Eisenberg: Yeah, it’s not by design, but it’s wonderful that it has happened.

Stewart: Yeah, when we worked together on Adventureland, I loved it. Well, it’s weird because sometimes you have to fabricate a dynamic and we have happened to fall onto pictures that completely cater to what we already have going on. Which is really fun because the best “acting,” quote-unquote, or the most powerful, I feel, performances, or when people move you, is usually when they are just showing themselves — rather than make something, then show you. So, yeah, it’s fun. I said like years ago, “We need to do this all the time.”

Kristen’s recent movies — American Ultra, Camp X-Ray, and especially Clouds of Sils Maria — are very different. Do you seek that out? Or do you know what you’re looking for when you see it?

Stewart: I had read the script; it was brought to me by a producer I had worked for before…

But even more generally, what do you look for? I’m wording this poorly.

Stewart: I word everything poorly.

I apologize.

Stewart: I apologize for every single thing I’ve said I wish I didn’t.

Eisenberg: I apologize to the two of you.

My headline will be “Kristen Stewart and I Apologize To Each Other While Jesse Eisenberg Watches.”

Eisenberg: Thanks.

Stewart: But I think somebody’s choices, if you’re any kind of creative person — whether you’re an actor, a fucking writer, an artist, anything – it kind of says a lot about you. I have total ADD, I’m not choosing projects to create any sort of library. Like, “Oh, this is going to be my legacy,” or in regards to perception. I’m really going by the gut. I think most people who are really good at what they do usually do it because they just have to. I’ve chosen really instinctively.

Perception is interesting with you, because you’ve been getting good acting reviews since Panic Room with David Fincher, through Clouds of Sils Maria, which you won an award for. But every time, people seem somehow shocked that you’re good.

Stewart: Because Twilight is so huge. Do you know what I mean? Because Twilight infiltrated everyone’s [perception]. I think if you walked into a grocery store and asked somebody if they saw Clouds of Sils Maria or Twilight, they’d probably be like, “Twlight, and she’s a terrible fucking actress.”

Eisenberg: I think if you’re in a really popular thing, it gives people license to criticize you. Not because of the thing for which they are criticizing you, which is not being good for whatever the person is doing in the thing. But just by virtue of that thing being very successful and it’s human instinct to take down that what is successful.

Stewart: It’s just instinct, exactly.

Eisenberg: Any criticism of something in that is usually separate from what the criticism is.

Stewart: I also feel that anything overtly popular in the United States feels entirely owned by the public, therefore if they don’t deem it worthy, then they’re like, “We put you here. And if you do not bend over and give us absolutely everything we want, then we need to let you know.” They become vindictive. They’re like, “Excuse me…”[

There was some vindictiveness toward the Twilight movies, but I also feel people have been mostly kind to Kristen for her work in recent roles.

Eisenberg: Anyone who works with Kristen or who makes movies or has an understanding of how they’re done thinks she’s one of the greatest actresses right now. People who write mean things are on the outside.

The celebrity blogs?

Eisenberg: Yeah. And those things, if you want to read those, you could spend your life reading them and never finish. But they’d also be very unhelpful.

And now Jesse is getting involved in a huge franchise with Batman v Superman, why did you want to do that, knowing what you just said about how people treat popular things?

Eisenberg: Well, I mean, the thing is great.

Stewart: Big movies can be great.[

But you got a taste of it with the Comic-Con controversy, which is one of the weirdest controversies I’ve seen in some time.

Eisenberg: Right. But if you let that kind of stuff govern your decisions, you’d probably never leave the house, let alone act in a thing. So you can’t. It hurts my feelings terribly, but I guess not enough.

Speaking of big franchises, do you care if Twilight is rebooted?

Stewart: Are they saying that they have to redo them? Like, we have to do them again?

It feels just like talk right now, but everything popular eventually gets rebooted.

Stewart: Right. I was so genuinely, heavily entrenched in that and not in a way that felt like an obligation. Even though after the first one, which stood alone, it lasted a long time. It’s hard to speak to a five year period in a few sentences, but I loved doing it. But that doesn’t mean I want to keep doing it. But if other people? Yeah, sure. To be honest with you: I would be interested. I’d be kind of fascinated, but it wouldn’t emotionally affect me one way or the other.


From deep down in my heart this is an awesome interview.  I so wish it had been taped. 

anonymous asked:

Alfres fiercely trying to make Bruce ask Diana to dinner as she eavesdrops on their conversation

A/N: This may be horrid and awful, but I hope it’s good. It’s my first Wonderbat fic and well, I’m nervous. It’s short but hopefully I’ll do something longer later on. Maybe. Depends. Anyway. I hope you like this.

Diana and Bruce had come back from another dead end. Finding the metahumans was a lot harder than both of them had predicted. Alfred would often insist on Diana staying for the night, saying that it was irresponsible of him to leave her to call for another car to get her. He had set up the spare room for Diana, even letting her unpack some clothes for whenever it was late and she needed some clothes for following days. it had become a routine, something she found familiar.

Something that was also familiar was the fact that Bruce was never found when dinner came around. Alfred would cook meals and set places every single time, but he would, more often than not, take the dish down to the cave and return hours later with the meal not touched. It took a lot of patience on Alfred’s part, and sometimes would yell at Bruce to “eat something you complete child”, as Alfred would say. That made Diana giggle.

Diana excused herself whilst Bruce and Alfred were unpacking the rest of the car. She stopped when she got inside, her bags dropping carelessly to the floor before she started to gather her things back up. She was tired, but was looking forward to a nice hot meal and a good shower later on in the night.

“So, Bruce,” Alfred started. Diana didn’t mean to pry, it wasn’t like her to, but there was something about Bruce that always made her fascinated. “When are you going to ask Ms Prince to dinner?” she heard him ask Bruce. She perked up before hiding herself away; she wasn’t sure why she felt so intrigued for an answer.

Bruce cleared his throat before he spoke. “Alfred, are you trying to -”

“When, Master Wayne?” Alfred interrupted with a stronger tone than before, a forceful one that made Diana a little more eager to see what Bruce looked like when he answered. She peered around the corner, just peeking in to see without being seen.

“You’re a ridiculous old man, you know that?” Bruce laughed, shaking his head. Diana bit at the inside of her lip. He avoided but never answered.

“Master Wayne, you are exhausting me. You can’t deny you have feelings for this woman,” Alfred persisted, moving around the car and looking at Bruce, inspecting him of lies. Alfred always knew a lie on Bruce’s face. So did Diana. She had known Bruce for a little while, and she knew him far more than she thought she would. He seemed easy to read, then he became closed off. Bruce was difficult on a good day. Intolerable on his bad days.

“What makes you say that?” Bruce tucked away his hands, thumbs resting on the outside of his pockets.

“I raised you for many years, Master Wayne, I know when you want a woman.” Alfred chuckled but Bruce groaned in a reply.

“Oh, god,” he cringed, Alfred still giving off tiny chuckles. “This feels like when I was thirteen and you tried to teach me about the birds and the bees.” Bruce shook his head as he obviously thought back on it. Diana’s brow furrowed as she kept in a laugh.

“Still one of the hardest conversations I’ve ever had with you, Master Wayne.” The old man shook his head, sighing as he gripped into Bruce’s shoulder. “But, I’m old now, and I’d like to see you married with children before you die.” Alfred shrugged and moved to the car, broken items that Bruce used or just fiddled with along their journey. It was like whenever they sat still, Bruce had to keep moving; an inability to sit still for any given time.

“You mean, before you die.” Bruce corrected, but as Alfred came back up, tossing aside the fractured throwing knives and the tattered wires.

“With the way you’re going, Master Wayne, you’ll barely make it to next week.” Alfred groaned before returning to the car.

“The thing is, Alfred,” Bruce suddenly sighed, leaning his weight against the side of the car. Diana peered around further, watching as Bruce tucked his hand behind his neck and rubbed at it. He seemed almost defeated. Alfred stood up, watching Bruce’s face as he had done numerous times before but as he held him, Alfred suddenly seemed sad. “There’s a point where you realise you don’t deserve to have a princess.” Bruce confessed and sighed as Alfred tried to give a convincing smile of apology.

Diana had never known Bruce not to have faith in himself or what he could do, so his utter disregard when it came to even thinking about Diana in any sort of way, made her almost angry. She picked up her chin and walked back to the men. They both perked up as they saw her, tucking things away and giving small smiles as they beheld her.

“Alfred, are you having dinner tonight?” she asked, Alfred and Bruce exchanging a look as Diana tilted her head. She held onto a smirk, but knew if she broke it, it would turn into a wide smile.

“Yes, Ms Prince, would you like to attend?” he asked, clearing his throat. Delicately, Diana’s hands met in front of her, a simple curve of her lips as she looked between Alfred and Bruce. Whenever her eyes would land on him, he seemed to perk up like he needed to seem mightier in her eyes.

“Of course, AIfred. I look forward to it.” she nodded before she stepped towards Bruce just a little, her complete focus directed at him. “I hope you’re looking your best tonight, Bruce. I’d hate for a nice dress to go to waste.” she smirked before turning around and walking back the way she came.

“See, now that’s how you ask someone out.” Alfred whispered to Bruce as they both seemed to be watching her leave. Diana felt confident in her stride and started to gather her things once more.

“Yes, Alfred.” Bruce sighed as he turned to the computer in front of him. “Can you -” he turned to Alfred, who seemed to already be leaving.

“I’ll go make sure your tux has been pressed.” he called out and Bruce laughed, nodding.

“Thank you, Alfred.”he gave back quickly. Diana watched as Bruce looked at the computer. He let his knuckles touch against the table before he broke into a large smile, one that he couldn’t shake. Diana had never seen him smile so nicely, and she hoped that she was the cause.

So, Batman vs Superman: Dawn of Justice. I heard a lot of spoilers before I went to see it, but everything suggested Wonder Woman was great and I am big Wonder Woman fan so I went to see it. And… I liked it. A lot.

Don’t get me wrong, as a Superman movie this is mediocre. Mainly because there’s not enough Superman. As a Batman movie, though, I really like it.

(Long, spoiler-filled review follows.)

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anonymous asked:

why do you love superman so much?


i mean, really? why don’t people love superman so much? i guess it’s just really difficult to put into words everything that makes me love clark kent. have you ever listened to the song “superman’s song” by the crash test dummies? if not go listen now because you’re seriously missing out and it sums up a lot of my feelings towards clark kent.

so why do i love clark kent?

a good hero shouldn’t be defined by his powers. cap isn’t just some peak human conditioning and a shield. spidey isn’t spider powers. batman isn’t a rich dude with lots of conditioning, gadgets and a good brain. superman isn’t the sum total of his powers. there’s a person there.

many people, both in the comicverse and in our world, confuse superman for some muscle-bound thug who flies around punching and lifting things. in so, so many media depictions of the man of steel, he’s there simply to lift something big. superman is actually a very complex individual who many writers don’t, can’t or don’t even want to understand. he’s filled with so many dimensions as a being alienated from society, as a being who cherishes life and who uses it to help others to keep moving. 

i just think that clark is, at heart, an incredibly good person. and i like imagining a man like that. i even like to just imagine that one could exist. everyone is so obsessed with the bad guy these days, including me at times, but when i was growing up, superman was my hero. i read all of the old comics, collected them, had a stack of superman paraphernalia stashed under my bed, ran around my house in a red cape. i took a lot from him. i even still do.

sometimes when i’m frustrated with someone, i think “what would clark kent do?” and i realize that he’d be patient and polite and understanding, because those things don’t cost you anything. and it makes me a better person. anyone can be a superman. we all have great power within us and we can use it to change the world and make a better life for ourselves. and we learn that through clark kent.

that’s an incredible feat. not a lot of heroes are that inspirational. a lot of them are messed up, or just as full of selfishness and rudeness as most of us are. as much as i love them in their own rights, i certainly would never ask “what would bruce wayne do?” or “what would tony stark do?”

it’s the warmth of the character and the underlying optimism and belief in life’s worth, which i think has been characteristic for all the best superman stories. batman was cool, mysterious and tough. that’s his appeal. superman is a more good-hearted guy who wishes to do well simply because he can and because he loves his adopted planet. in some ways, he is even more human than bruce wayne.

i disagree with the popular analysis that superman is the only superhero who uses a human disguise to conceal who he really is, whereas the other heroes use the costumed alter ego to conceal their true identity. it could also as easily be argued that bruce wayne the millionaire is the disguise and the only life that really matters to wayne is life as the batman (hell, alfred tells robin this in knightfall). superman is as much clark as he is kal-el. he needs clark to remain in contact with humanity and to be a part of humanity.

in part, it’s why i hate a lot of new superman stuff because all of superman’s challenges are of a physical nature. he’s superman- you aren’t going to beat him! they’ve moved away from his quasi-roots in moral and emotional dilemmas that force him to determine how he’ll apply his godlike strength. i think those would serve the better purpose of storytelling than the generic muscle-bound baddie trying unsuccessfully to bring down the god of steel.

i am a huge fan of smallville, lois and clark, the first two christopher reeves movies, dcau superman, dcnu/new 52 superman, fleischer cartoons. i got into superman because of my dad’s old comics and then smallville and the it’s superman novel because they show superman as a fallible human being who has the potential for doing great things. to me, it has never mattered if clark kent was the disguise or if superman was just what clark could do. the costume didn’t matter as long as he had the superman “s”, red and blue and didn’t wear a mask- i could tell he was superman, and it’s not the costume but what he did that makes him superman.

because clark kent is the gold standard of what it means to be a superhero. he’s the original. he’s got all the power of a god and yet doesn’t try to play one. he knows his place in the universe and doesn’t abuse his power. a real guardian angel. the man is humble to a fault. he’s always there for his friends and doesn’t belittle. he actually brings out the best in them and makes them feel special.

clark kent should be an inspiration to everyone. because he symbolizes the best in people. he is the purest, modern incarnation of the hero archetype, of humanity’s highest ideals and noblest aspirations.because superman tells us to be the best person we can be. take action, not just talk about or think about things. to stick to and defend what you believe is right. to treat other people with respect and to hold life as sacred. and that’s a hero i can get on board with. that’s a hero i want to read about every day. one who fights against corruption, greed, war… all the things that cause unnecessary suffering and death. a hero who appears at peoples’ darkest moments, in a dark alley or in the path of a tornado, when everything looks hopeless and they are sure they are going to die-

and gives them back their lives.

what could be a greater superhero than that?

as wonder woman said to him after he is transformed into doomsday form by circle, “i won’t let you give into your pain or guilt. the whole world needs you right now because of who you are and what you do. because of what you mean to everyone. because of what you mean to me. just by being as good as you are.”

anonymous asked:

Hi, I came across this song on YouTube "Still by Gerrit Hofsink" I think the words really relates to Amelia's and her Unicorn Baby, thinking maybe it could make for a good song fic, a story that could go with it? :)


This is the continuation of ‘ Unicorn Baby.’

 I’ve been waiting for you
For such a long time
You’re always on my mind

And I’m lying awake
Most of the night
Waiting to hold you tight

Now that I do
And look at you
My heart is breaking
This can’t be true

 That night after her full fledged confession to Owen about her unicorn baby, Amelia couldn’t sleep. As Owen snored softly beside her, she lay awake thinking about her unicorn baby.

 She remembered when she first discovered that she was pregnant a couple of months after Ryan’s death, after coming out from rehab. She was still grieving over his death, it was like a part of her died inside. But then, the discovery of a little life growing inside of her gave her new hope and new life. Ryan had left a piece of himself inside her, and that way- he was never truly gone.

 Then the universe dealt her with another blow. When she entered her second trimester, she finally agreed on an ultrasound. On her very first ultrasound, she learnt that her baby was anencephalic. When Addison broke the news to her, a piece of her heart was taken away from her. Her entire world crumbled around her again. How ironic was it that her, a brain surgeon, was having a baby with no brain?

 When she was given the option of aborting the baby, she refused, knowing in her heart that abortion wasn’t an option. She decided to keep the baby instead , so that she could donate his organs after his birth.

 The birth of the baby itself was a painful but at the same time such an amazing experience for her. She refused drugs, not even an epidural and felt the full brunt of the labor pain. But it was all worth it when she held the baby in her arms. When she removed the blanket covering his head, she thought he was the most beautiful baby she had ever seen.

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Fate brings you together, fate pulls you apart, fate teases you, and fate rewards you, as long as you are willing to go along for the ride.

Riley meets a Cowboy, and Lucas meets a City Girl, but will they meet again and when?

Cross-Posted to

Sixteen going on Seventeen | Seventeen going on Eighteen 

Author Note: You guys are all amazing with the reviews, comments, reblogs etc. thank you so much! Also who just wants to give Zay a hug and tell him it will be okay?

Oh, What A Night

Eighteen going on Nineteen

Zay was enjoying the unseasonably warm December afternoon now that he was done with work and classes for the day. He was sitting on the steps of the Met watching a group of girls try to do their best imitation of Blair Waldorf while he drank an iced eggnog latte.

He was scrolling through his phone when he looked up and saw Riley pacing around the steps, she didn’t even have a jacket on as she looked around for someone. Her face lighting up when she saw someone.

Oh shit.

This was it.

Zay realized Riley was about to have her yearly date with Mr. Once-A-Year.

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Film Review - Batman V Superman: Dawn Of Justice

The glass is shattered. The Dark Knight himself, Batman (Ben Affleck) rises from the ground surrounded by shards of glass. He stumbles over to his enemy, the man with “the red cape,” Superman (Henry Cavill). Batman decked out in a grey, and black protective body armour, more high-tech than his ordinary costume, beats the living daylights out of the Man of Steel. The lighting, a continuously flashing white and blue, reminiscent of purity, and water. Batman, a mere mortal, is delivering a colossal smackdown to a God. Like man desires to destroy God, we also aspire to walk side by side him. With that interesting thought in mind, Zack Snyder’s superhero epic, Batman V Superman: Dawn Of Justice delivers a massive punch in the superhero game. However, is it as successful as we hoped?

In case the trailers have not mapped out an idea of the film for you (or you have not read the title of the picture), here is a brief synopsis: Batman believes Superman is responsible for the destruction of Metropolis and has to be “destroyed.” There you go, pretty simple right? Right?? Well, like most films in this genre, Batman V Superman does not stop at being Batman V Superman, it goes up and beyond what is necessarily required, and this is not a problem. The film, a colossal two hours and thirty-one minutes, packs a lot in, almost like an overflowing lunch box. However, with the caring hands of a Mother (in this instance, Zack Snyder and Chris Terrio) the film is perfectly balanced, providing sufficient screen time for every important character (as well as a few not-so-surprise cameos).

Snyder is no stranger to controversy, and its quite funny that the film opens with you guessed it, controversy. A reimagining of the climax of Man Of Steel, however, this time, told from the perspective of Bruce Wayne, played by a brilliant Ben Affleck. The scene is powerful, the lighting, sound and costume add to the sense of horror being displayed on the screen. The scene has a very 9/11 feel to it, and may come as a bit of a shock to audience members, but this was what this film needed. The second I witnessed the scene, especially when Bruce asks a little girl “where is your Mum?” only to be directed to a burning and destroyed building, I knew the film would be something more than your typical superhero films. From the get go, Snyder and his comrades attempt to right the wrongs of Man Of Steel, and they succeed wholeheartedly. This film does not suffer from wasteful dialogue, or crappy, made-for-TV scenarios. The film is rough. When critics say the film is dark, believe me, it is indeed bleak. But that does not mean there is no fun to be had. I saw the film with my twelve-year-old brother, a kid who is obsessed with DC Comics, and I have never seen him more emotional in my entire life. Happy, sad, confusion, shock and utter excitement, all adjectives that describe my brother and my own experiences watching this film.

The film’s casting is seriously perfect, akin to Man Of Steel. The Bruce Wayne/Alfred dynamic is as vibrant as ever, with Jeremy Irons owning the role of the latter. The performance will remind Batman fans of the animated Batman series in the 90s; as their relationship is extremely similar to that. The funny thing is, despite having an amazing trilogy with Christian Bale and Christopher Nolan, I cannot help but feel like Ben Affleck is the Batman. He is dark, brooding, humorous and just brutal. If you are a fan of Frank Miller’s work in The Dark Knight Returns and All-Star Batman & Robin, you will thoroughly enjoy this interpretation of Batman. In fact, everyone in this film is expertly cast, especially Jesse Eisenberg as Lex Luthor. A casting that had everyone scratching their heads honestly made a huge impact on me. Eisenberg adds a real sense of bizarreness and comic book pop to this film and delves into the deranged mindset someone like Luthor would have. A scene in the movie which stuck with me happens towards the end, in which Superman and Luthor come face to face, and Lex reveals that his Father used to beat him, and he states how there was no Superman to save him. The relationship, the idea that Lex wanted God to be with him, saying that “God cannot be good and fair,” actually develops why he has such an intense hatred for Superman and everything the character believes in. Henry Cavill portrays Superman once more, and despite criticism being delved in his corner for being “stale” and “boring,” I quite adored his performance. Cavill plays Superman in ways I do not think anyone else would have; he is broken. He does not understand who or what humanity wants him to be, and this is reflected in his performance. Gal Gadot provides a (get ready for a wicked pun here) wonderful performances as Wonder Woman. She is smart, funny, strong and sexy. In fact, Hans Zimmer and Junkie XL have developed the coolest sounding score for her character, an incredible guitar riff, leading into a bombastic orchestra.

The film portrays Superman as this Messiah figure, akin to Jesus Christ, and in doing this, the movie allows itself many incredible sequences. Without revealing too much, the film’s final hour is some of the best Biblical-allusions I have ever seen, mainly dealing with the Trinity. While many found this a huge problem with Man Of Steel, I found it one of a the most unique parts of that film. The parallels are continued in this movie. The Biblical allusions are carried over into the film’s soundtrack, as Hans Zimmer and Junkie XL deliver the definitive DC Comics soundtrack with their score. Perhaps this is the coolest part of the picture, as it genuinely adds a lot to the characters existing in this world, and dealing with the consequences of these actions. I will discuss a spoiler here, so be warned. Towards the end of the film, Superman is killed by Doomsday. This entire sequence is ripped straight from the pages of the classic Superman story arc, The Death Of Superman. The scene, accompanied by ‘This Is My World’ from the soundtrack, is soul-crushing. Beautiful, but absolutely crushing. The Biblical comparisons are exemplified here, as we see Superman being carried on Batman’s shoulders like Jesus was carried down from the cross. The final shot of Lois Lane (Amy Adams) crying over Superman’s body was ripped straight from the comics, and featured two crosses in the background, reassuring the idea that Superman is a Messiah, as Jesus died surrounded by two other crucifixions. If you are into film techniques, there is visual foreshadowing of Superman’s fate at the start of the film, as he flies to Mexico to save a girl from a burning building during The Day Of The Dead. Women, children and men are all decked out in skull costumes, and they all desire to touch Superman, looking like they want to drag him down to death. In case you have not noticed, the film is quite smart.

All in all, Batman V Superman is a huge success. If you love these characters, you will love this movie. If you go to this picture wanting it to suck and be awful, you will probably find the movie to suck and be completely awful. However, who the hell wants to live like that? If this movie has taught me anything, it is that life is precious. The people we love will help us define who we are, and who we are meant to be. In doing so, Zack Snyder has brought a God, down to mortal level, and into the stratosphere of Superman’s personal conflict. The film not only makes humanity understand a God, but it also develops the understanding that everyone feels pain, even Gods.

Superbat headcanon

Bruce has nightmares sometimes, which is something he keeps a secret.

Because of this he made constant excuses to prevent Clark from sleeping over, and never spends the night at Clarks apartment.

One night after weeks of detective work, stakeouts and locking up gothams criminals, Clark insists on Date night. He misses his boyfriend

Staying in together with pizza, trash tv, and ending the night with amorous love-making; Bruce can’t help but fall asleep in Clarks arms.

Half way through the night a nightmare takes hold and Bruce starts to shake and mumble.
A light sleeper, Clark wakes and notices his bedmate trapped in his subconscious. He quickly rolls Bruce towards him and pulls him in close, tangling the fingers of one large hand in his hair.

“Baby wake up, its just a dream” he kisses each eyelid, then his forehead.

Bruce wakes up to the feeling of Clarks other hand rubbing up and down his back, lips in his hair now, breath ruffling the strands. It’s the first time he’s woken from a nightmare not covered in a cold sweat.

Bruce’s throat tightens with embarrassment as the fog in his brain clears and he realizes that he isn’t alone. Clark doesn’t skip a beat, whispering affirmations of love, holding him firmly.

The combination of Clarks naturally high body heat, and the gentle hand on his back quickly banishes the embarrassment and starts pulling Bruce back down into slumber. He wonders why he ever thought this would be an issue in the first place