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psychoblush · 26 days

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A quintessential early-career Robin that fits the tone of The Batman

This post was originally written for Reddit, where folks are much more opposed to having Dick be in The Batman universe than on Tumblr. But still, I thought I would share it here!

Bruce, in trying to be more publicly a part of Gotham’s community, is out in the world again and in one of his public outings, he comes across the orphaned 15 year old Dick Grayson. This could be Haley’s circus but it doesn’t have to be - but Dick’s acrobat and gymnastics past should be retained.

(Another way to modernize it is to have Dick be an Olympic gymnast prodigy - but it’s not the most relevant. Theoretically you could tie this into the Grayson murder plot, but you don’t have to. Anyway…)

Bruce, against Alfred’s advice, wants to foster Dick himself and let him live with them at Wayne Tower. Alfred thinks this is a crazy idea because of Bruce’s nighttime activities as The Batman and because he’s far too young and emotionally-detached to be a father-figure, but Bruce is insistent on it after recognizing the extent to which Dick’s pain mirrors his. Bruce has an opportunity here: to give Dick what he wish he had when he was young and orphaned. Alfred comes around once he sees this too, in a moment mirroring Alfred seeing the footage of the mayor’s son in the first movie. Bruce gets an opportunity to emotionally reach a younger version of himself, and Alfred gets a chance to be more of what he wish he could be, a warmer father figure to both Bruce and Dick. This is a story about second chances. It’s a second chance for Bruce, it’s a second chance for Alfred, and it’s most vitally a second chance for Dick.

Here’s where things get interesting: even though Bruce adopts Dick early-on in the film, for most of it, neither of them are operating as a duo. Bruce and Alfred are keeping The Batman identity away from Dick, *and Dick is secretly hunting down his parents’ killer as a street vigilante inspired by Batman* - using a rudimentary version of the Robin identity. This becomes a major subplot and eventually connects back to the central antagonism of the film - whoever they choose, the killing of the Graysons is banally tied to this similarly to how the killing of the Waynes is ambiguously tied to the Falcone story in the first movie. At the same time, the dual deception between Bruce and Dick on each of their respective nighttime activities is a core obstacle to their relationship deepening. They can’t truly reach each other because they don’t trust each other- and Dick is singlemindedly focused on vengeance. It also gives us a chance to show Dick as a smart kid; he’s able to successfully elude the suspicions of both Bruce and Alfred while living with them and living a double life.

At the end of the second act, Batman comes across this proto-Robin and sees through it, and realizes the extent to which Robin is the same as him. He’s also a young boy who can’t move past his pain and is lashing out at the world and trying to make sense of the horror of it. Bruce does what he’s never done before. He takes off the mask and he lets Dick see him for who he truly is. *This* is when the Dick-Bruce relationship really begins.

Have Dick play a supporting but pivotal role in the third act. He needs to sabotage, distract, inform, scout, something. Give him agency and let him navigate the world, in between his new relationship as Batman’s semi-partner and still grappling with what this means for him. And have it coalesce in a moment where he chooses to accept his pain in a healthier way, to follow Bruce’s example. And the film ends with Bruce choosing to train Dick, to better him as a person and to offer him what Bruce sorely needed when he was his age.

Okay, now that the thematic plotting is out of the way, let’s talk about vibes. Vibes are super important to this universe and a core reason why people seem to have hangups around including Robin in the Reevesverse.

Early vigilante proto-Robin should navigate this world of orphaned street-bound teenagers who are parts of gangs and criminal networks. It should feel kind of like Victorian London’s child street gangs, but it can also be reminiscent of modern organized crime recruiting children. This is the world Robin navigates to get what he wants in the story, and it’s a world that is unfamiliar to Batman until Robin officially becomes his partner. Then it becomes a resource he can use to keep tabs on different goings-on in the city and make Gotham safer. This also echoes how Batman treats children and sex workers in the comics. Because Batman treats the vulnerable and disenfranchised with respect and humanity, it makes him a stronger and more capable hero to protect the communities he operates in.

Proto-Robin operating separately from Bruce should have a similar ad-hoc DIY vibe to The Batman, just lower tech and more discreet. It’s important textually that Robin was also inspired by The Batman without knowing him or coming into contact with him. It parallels Riddler ironically, it shows that the tragedy of Edward’s descent into vengeance and rage has had an effect on Bruce and that’s why he fights so desperately to keep the same fate from happening to Dick. Dick is someone who has had everything taken away from him, he was a brilliant gymnast whose aspirations were dashed when he lost his parents. Bruce can’t let him descend further into that spiral.

Robin isn’t a fighting partner in this film. He’ll become that when he’s older, closer to 16-17 in Part Three, but right now he’s a rogue agent navigating this world on his own, and Bruce has him as a mix between an informant, a spy, and an intel source. We need to sidestep the child soldier allegations, and it also means that Robin can do things Bruce can’t. Robin isn’t famous, Robin isn’t a fully grown adult. He can navigate spaces and places and worlds Bruce can’t, and that makes both of them stronger heroes for it.

In this sense, this version of Dick Grayson is a loose amalgamation of the first three Robins. He has Jason’s rage, brashness, and involvement in the underworld; he has Tim’s shrewdness, detective skills, and sense of loyalty; and he has Dick Grayson’s backstory and sense of optimism. We’re not just watching this boy become Robin, we’re also watching him transform into the version of Dick we know so well - the same way we’re watching Bruce transform into Bruce in this story.

Why I think we fucking need Robin in The Batman Part Two? Because Part One is a film about Bruce realizing that he can’t be vengeance alone, that he must be hope as well. Part Two needs to be a film about Bruce coming to understand what vengeance has done to those who have seen his example, and Dick presents a tangible opportunity to actually instill a better example in someone who went through what he did. They would act as foils to one another, they would be permutations and mirrors of each other, and we would finally get a faithful, beautiful, and compelling version of the Batman-Robin dynamic on the live action big screen.

#the Batman #Robin #Nightwing #dick Grayson #teen titans #the Batman 2022 #batman and robin #batman #dc comics #the Batman part two #the Batman sequel #the Batman part II #the Batman part 2 #the Batman 2 #jason todd #Tim Drake

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psychoblush · 26 days

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@/folkoftheshelf on Twitter has made a thread of fundraising links for Gazans. I’ve transferred the links here, please boost them as the conflict is worsening:

Help Ahmad Hassan and his family escape Gaza

Help Halla Morshed’d family escape Gaza

Help Dr. Yousef Alsweisi and his family escape Gaza

Evacuate Sohad’s family out of Gaza

Help Donia Tanani and her family escape Gaza (they are close to reaching their goal!!)

Help Zinh and her family escape Gaza (they are close to reaching their goal!!)

Help this Gazan family rebuild their lives (they are not close to their goal as of writing)

Help the Zack Family

Help Hala Jad and her family (they are at a 1/3 of their goal)

Help Walid and his family escape Gaza (they are close to reaching their goal!!)

Help Mariam Radi and her family (as of right now they are not close to reaching their goal)

Help Maha Abu Shammala evacuate the family from Gaza (they haven't met their goal as of writing)

Help Ronza Alaa and her family (they haven't met their goal as of writing)

Help Noor and her family evacuate to safety (they haven't met their goal as of writing)

Help Manar Abuqata get his family out of Gaza (goal hasn't been met as of writing)

Help Farah save her family

Help Ahmad’s family escape from Gaza to Egypt

Help evacuate Mohammed Harara’s family out of Gaza (they are halfway through their goal!!)

Help Dana and her family escape (they have almost met their goal!!)

Help Anas’ family escape from Gaza (goal has not been met as of writing, note that the money is in krona, 1 usd=11 krona)

Help Ibrahem Ra’fat Daher and his family evacuate Gaza

Help Hakam Albalawi save his family (goal had not been met as of writing)

Help Tabseem AbuJamie’s family evacuate (goal hasn't been met and only has two donations as of writing)

Rafah Masterpost

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Andor - S1E1 "Kassa" - Structural Analysis

This is a written analysis of the plotting and structure of Andor from a screen/TV writing perspective. I'm an aspiring screenwriter studying TV, film, and theater writing in college and this is my pet-project: to examine the way Andor constructs story in order to achieve certain dramaturgical effects. I hope to do similar analyses for the rest of the season as well. Thank you for reading!

This will contain spoilers for all of episode 1, spoilers for the first arc (E1-E3) and mild spoilers for the rest of the season.

Show premise

Petty-thief Cassian Andor is hunted by the Empire while a revolutionary movement coalesces across the galaxy.

Ferrix Arc (S1E1-S1E3)

Stories (Arc-wide)

A-story: When a pursuit for information regarding the whereabouts of his long-lost sister leads to him being a wanted man, petty-thief Cassian Andor is forced to do anything he can to remove himself from the attentions of corporate security, but the ensuing confrontation leads to death and destruction within his community.

B-story: (in flashback) When a mysterious starship de-orbits over Kenari, young Kassa embarks on a quest to prove himself as a capable member of his community, but the confrontation results in the destruction of his community and his abduction by off-world scavengers, never to see his family or his sister again.

C-story: Deputy inspector Syril Karn seeks to prove himself as a capable officer and a force for justice by apprehending the killer, but does so by disregarding his orders and endangering the lives of his comrades.

D-story: When Timm gets jealous of Cassian’s reentry into Bix’s life, the relationship is strained by mutual secrecy and miscommunication, leading to Timm’s death at the hands of a corporate cop.

S1E1 - “Kassa”

dir. Toby Haynes, wri. Tony Gilroy

streamed September 21st, 2022

Stories

A-story: Petty-thief Cassian Andor seeks to lay low and cover his tracks after a fatal shake-down with two corrupt cops leaves him a wanted man, but finds that his community distrusts him after overdrawing one too many favors.

This A-story is very central to the entire episode and with the exception of the B-story, all other stories causally spring from this story and end up relating to it in some way by the end of the arc.

B-story: In flashbacks, young Kassa wants to prove his worth by embarking on a scouting mission with the other “adults”, but abandons his sister in doing so.

The B-story serves both in the arc and the episode as a way to provide an elegate symmetrical structure. There’s a scene in the beginning of the primary action of Cassian’s pursuit after the opening sequence, one in the middle, and one in the very end. At the same time, the flashback serves to articulate some of the internal dysfunctions of the character, even though it takes a few episodes for it to fully manifest.

C-story: Security deputy Syril Karn wants to solve the murder of the two cops to fulfill his vision of justice, but finds that nobody in his organization, especially his boss, wants to help with his pursuit of the killer.

Here, Tony starts to flex his muscles in devising institutional drama and plotting. The main antagonistic force in the story does not operate unimpeded; he instead is faced with his own antagonism that articulates two key themes: 1) the empire stifles the freedom of those that serve it, and 2) fascist societies generate fanaticism regardless of whether or not it advances their cause or helps to maintain the preferred status quo.

D-story: Cassian’s reentry into Bix’s life prompts friction and secrecy between Bix and her romantic/business partner, Timm.

This almost functions as an addendum to the A-story, but gets its own special attention in how it chooses to articulate the Bix/Timm relationship. But it comes to have a direct causal effect on the A-story in subsequent episodes. Infact, the way causality transcends the stories becomes extremely intricate in its own right. Dramatic action becomes an emergent property of these interactions.

Scene sequences

OPENING/CLOSING IMAGES

OPENING IMAGE: Streetlights moving rapidly in the rain; Cassian in pursuit of his sister.

CLOSING IMAGE: After Kassa leaves his sister for the last time, she watches him as he runs away.

1: I./E. BROTHEL, MORLANA ONE - NIGHT (A-STORY)

Cassian enters an upscale brothel in search of his sister. When he receives special attention from the hostess, two on-duty corporate cops start antagonizing him. Cassian gets too pushy in getting information from the hostess, prompting him to get kicked out of the club and his pursuit thwarted.

2: EXT. MORLANA ONE - NIGHT (A-STORY)

Cassian tries to exit discreetly, but is held at gunpoint and shaken down by the two offended corporate cops. They attempt to rob him, but Cassian is able to outwit them, inadvertently killing one of them in the scuffle, and recovering the gun. With the tables now turned, the remaining cop tries to persuade Cassian to spare him, but Cassian kills him to make his escape.

Let’s talk about these two scenes as a sequence, because they function as one discrete unit of storytelling. Andor doesn’t do cold opens - though this sequence could very easily serve as a riveting cold open if they moved the title card to right after this scene. Being a streaming exclusive without commercial breaks, Andor also doesn’t use hard act structure with distinct act outs, even though we’ll come to see Andor as employing techniques similar to traditional TV act structure at times.

In TV writing, we sometimes encounter this idea of cold opens or opening sequences serving as story microcosms. In the sense that the structure and action of the sequence is representative, in a small way, of the way the world we see in the episode, season, and series functions. Andor’s opening sequence has him engage in a seemingly innocuous pursuit, enter a highly dangerous yet extremely familiar situation of power-tripping LEO, and leads him to make a difficult choice to escape the dangerous situation. It’s telling us that this is a world where good people have to make hard choices to survive because of the danger of the society they live in, which we will come to see in subsequent story units, is a racist, fascist, imperialistic, and capitalist society.

3: I./E. FERRIX / MAARVA’S SHIP - MORNING (A-STORY)

An extremely quick scene introducing us to Ferrix before work-hours, B2’s winning personality, and establishes the pretenses for Cassian’s flashbacks in the B-story.

This isn’t really a real scene because it doesn’t have conflict, it doesn’t have antagonism, and it doesn’t have pursuit. But it serves as a good framing device and orients us to where we are on Ferrix.

4: EXT. KENARI VILLAGE - DAY (B-STORY)

This scene introduces us to Kenari, Cassian’s sister, and Kassa (the young uncontacted version of Cassian). We don’t get much action or context in this scene, but discerning viewers are able to pick up on the fact that this is a society populated solely by children and teenagers wearing and using old industrial equipment. Something very bad clearly happened here. We also see the mysterious ship de-orbiting, and the reaction the community has tells us this isn’t something they’re used to.

The decision to completely eschew subtitles is a pretty fascinating directorial choice and one that has gotten a lot of attention online. But It does a lot to ground the movement solely on the acting and visual language, as opposed to dialogue construction - though arguably it makes the plotting of this story a bit more sparse.

5: INT. MAARVA’S SHIP - DAY (A-STORY)

We get a short scene with Cassian where he starts to formulate a plan. We also get some indication that Cassian has a community on this planet with Bee mentioning Maarva and Brasso. In some ways, Maarva’s the antagonist in this scene because she’s besmirching Cassian to the others, even though she’s not there and it’s coming from Bee.

“Spectral” antagonist: A representation of the antagonistic force in the story by a character who isn’t that main antagonistic force. Bee’s just passing on information from someone else, but in doing so, he’s softly acting as the antagonist for the moment. We see this technique employed a lot in this episode and this show, especially since shows operating in the prestige mode often go entire episodes without main oppositional characters meeting (i.e. Cass and Dedra still haven’t met).

6: EXT. RIX ROAD - DAY (A-STORY)

Cassian convinces Brasso to spin a lie for him, but in doing so, it becomes apparent that Cassian’s sleaziness has overstayed its welcome in the community.

This is when the main sense of antagonism in the episode starts to crystalize for Cassian. Maybe once, his petty crime and hustler antics were overlooked in the community, but those days are coming to an end as Cassian’s options dwindle. That’s the source of danger, more than the possibility that he’ll be caught for the time being.

7: INT. PRE-MOR SECURITY CHIEF’S OFFICE - DAY (C-STORY)

Syril delivers the report of the double-homicide to Chief Hyne - keen on making a good impression and presenting himself as a dutiful officer, but Hyne sees through the bullshit and orders him not to investigate the murder in an effort to sanitize Pre-Mor’s crime reports under Imperial jurisdiction, leading Syril to be incredulous.

This is a great scene. It works wonderfully schematically, the scripting is stellar, and the acting is spot-on. This is the scene where I was truly convinced of what Andor’s storytelling was capable of. Syril comes in with a pursuit (deliver a report) with a deeper motivation (pursuit of justice) which is fueled by dysfunction (he is deeply insecure about his position as an officer and is desperate to please). The pursuit is met with opposition (Hyne has a completely different perspective on justice, being a pragmatist and someone who doesn’t want to rock the ship) and reversal (Hyne orders him to drop the matter and implies he wants to fire him), which leads us with a clear emotional context from Syril (anger and disbelief) which propels him into action (go behind Hyne’s back) for the rest of the story arc. It’s Emmy-worthy writing in a single scene. And it all happens in 3 minutes.

8: I./E. TIMM AND BIX’S SALVAGE SHOP - DAY (A-STORY) / (D-STORY)

Cassian comes in to convince Bix to contact his black-market dealer so he can sell his Starpath unit for a premium, but it generates friction between him and Bix because Bix assumes he’s been undercutting him. When Bix offers to buy it off him, Cassian refuses and convinces her to make the call. Timm expresses resentment for Cassian’s past with Bix - when Cass tries to dissuade his concerns, Timm gets more jealous of the two of them.

This scene’s also a banger. It has a complex shape - the danger is threefold: Cass doesn’t want Bix to know what trouble he’s in, he’s externally threatened by the sense of fear he has over being caught, and neither Bix nor Cass want Timm to discover the extent of their black market side-hustle. Bix is an antagonist to Cass, Timm is an unknowing antagonist to both Cass and Bix, and Timm thinks Cass is his antagonist. It’s great, and from here the causality gets pretty wild.

9. EXT. KENARI VILLAGE - DAY (B-STORY)

Kassa tries to go on the war march by joining in on the face-painting, even though he knows it means abandoning his sister. An older boy tries to stop him from participating, but the older female leader lets him join, prompting him to paint his face the same way she did.

This is a good scene with sparse plotting befitting the style of this story. The antagonistic force is the sense that Kassa should stay with the community and be with his sister, while the pursuit is that Kassa thinks he’s of more service if he leaves with the war party. The two antagonists are his sister and the older boy. Kassa gets what he wants in this scene, like he does in all the scenes this episode. This is because this story functions on an inverted sense of danger: the closer Kassa gets to what he wants, the more dangerous things will be for him. So the stakes are actually higher if his actions aren’t opposed very firmly. His dysfunction drives the story forward, with opposition deferred until it gets extremely bad in the third episode.

10. INT. PRE-MOR CORRIDOR / AIR TRAFFIC OFFICE - DAY (C-STORY)

Two security workers laugh and greet Syril in the hallway - Syril’s awkward response causes him to feel isolated. Syril corners the air traffic controller into reviewing the logs for him, but when the controller expresses apathy over the matter, Syril threatens him into compliance by invoking his authority.

GREAT LITTLE SCENE. It illustrates dysfunction: Syril is lonely, all he has is his job and a black-and-white view of morality and justice. It shows him acting transgressive to get what he wants, specifically by abusing his power over others. And it articulates the antagonism the same as the previous scene with him: what he perceives as laziness and apathy is what keeps him from getting what he wants.

11: EXT. FERRIX BACKALLEY - DAY (A-STORY)

Cassian is cornered and hustled by Nurchi, a local to whom he’s greatly indebted. Nurchi attempts to intimidate him with the help of Vetch, but Cassian is able call Nurchi’s bluff and escape from the situation.

It’s a good scene, really short and sparse. Thing to track here is that the town is becoming increasingly hostile to him and he’s generally unliked by folks.

12: I./E. TIMM AND BIX’S SALVAGE SHOP / FERRIX STREETS - DAY (D-STORY)

Bix is cagey about where she’s headed when Timm asks. Bix leaves, Timm attempts following her but quickly loses her trail when it’s clear Bix knows the streets better than he does.

13: I./E. PAAK WORKSHOP / RADIO TOWER - DAY (A-STORY)

Bix goes to Salman and Wilmon Paak’s workshop, asking to use the radio. Bix radios the buyer to come to Ferrix.

I put this as A-story because this scene has more to do than the previous one with Cass’ situation than the friction emerging between Timm and Bix.

What’s important about this scene is that it clues us into a larger underground network on Ferrix - Salman, Bix, Cass. It's a community where folks otherwise look the other way at this kind of stuff. Otherwise it’s sparse, no conflict, no antagonism.

14. INT. PRE-MOR SECURITY HQ - DAY (C-STORY)

Syril recruits the main security IT staff to help him apprehend the killer, but the staff express a general unwillingness to help him - both because they don’t care and because Syril doesn’t actually possess the authority to sanction an operation like this. Syril bullies the staff into compliance, telling them to put out a notice for the killer on Ferrix, despite the lack of authority Pre-Mor has there.

I like this scene, it plays slightly double-beaty because Syril is employing the same tactics as before on different staffers, but it also establishes it as a pattern. Syril advances unopposed in this story - especially in the context of later events, we know this is because we need to see him get into danger faster. It's another example of inverted danger.

15: EXT. PEGLA’S JUNKYARD - DAY (A-STORY)

Cassian tries rewire the ship he borrowed’s transponder codes, but in trying to justify his actions, pisses off Pegla and tells him he’s no longer welcome to take out favors from him.

This is a pretty lowkey scene, but it’s the closest we get to a crisis/climax moment for Cass in this episode. I’ll talk more about why that is later; it refers specifically to the way Andor modulates story in ways that work distinctly from other TV shows. Still, it has everything a scene should. A pursuit/tactic, opposition, reversal. And those elements push the story forward in more dangerous ways, as we’ll come to see in the next two episodes.

16: EXT. KENARI VILLAGE - DAY (B-STORY)

His sister tries to plead with him to stay, but Kassa leaves with the other war party members - promising to return for his sister.

Yeah, this bookends the episode. The episode begins with Cass in pursuit of his sister, the episode ends with Cass leaving his sister, never to return for her.

What do we hear Bix say of Cass in the last episode? “Cass always comes back.” It’s a gut-punch.

GENERAL NOTES AND OBSERVATIONS

Andor is a show that functions in a strange and specific way compared to a lot of serialized long-form narrative TV. Andor uses episode as building units to articulate larger discrete units of story within the season. In this sense, Andor’s “pilot episode” (I put this in quotes because most streaming dramas don’t have pilots) isn’t really the first episode, but all three of the episodes in its first season story-arc.

The way I was taught TV, is that all three-act narrative hinges on the elements of set up, play out, and pay off. Andor’s three tri-episode story arcs - which I will call the Ferrix Arc (S1E1-S1E3), the Aldhani Arc (S1E4-S1E6), and the Narkina Arc (S1E8-S1E10) - all hinge on this principle of modular three-act structure. Kassa doesn’t have a typical hard crisis/climax because it isn’t really a complete self-contained episode of TV. I suspect that’s also why the Ferrix Arc was ultimately aired all at one, as opposed to one episode at a time.

Still, Kassa is a strong and capable episode of TV because it demonstrates the strengths of Andor’s storytelling: the principles of causality, dysfunction, and institutional characterization.

causality: the chain of events in story that facilitate and heighten dramatic action in a linear manner. Andor shows us the investigation of the murders that happened in the first sequence - having the action of earlier scenes spiral into increasingly dramatic and complex action in subsequent scenes. The way the D-story with Bix and Timm loops into stuff that happens in the next two episodes is absolutely exquisitely done. Later in the show, the fallout of the Aldhani Arc is central to all of the action that happens in the second half of the season.

dysfunction: a character’s internal dilemma, ideology, or experiential understanding of themselves and the world that makes them operate transgressively within the world of the narrative. This is sometimes a character flaw, but can also be a sense of righteousness that puts them against unjust actors within the narrative. Cassian’s dysfunctions have to do with his desire for self-preservation and an easy payday, Syril’s dysfunctions relate to his inability to live up to his idealized notions of justice, and Timm’s dysfunctions come from the feeling that he can’t be as close to Bix as someone like Cassian can appear to be.

institution: the man-made structures that characters navigate within the story world and define the shape of the narrative. These institutions function as characters in their own right; Pre-Mor has as much of an effect on the narrative as a character like Cassian, as does Ferrix’s tightly knit working class community. And in subsequent episodes, we’ll look closely at how the empire’s administrations and power structures have material effects on the world. This principle is why Syril and Dedra spend much more time fighting their own institutions than fighting Cassian or the rebels. It’s a story about how highly-motivated actors navigate the challenges of their environments; dramaturgical complexity is almost an inevitable emergent property of this paradigm.

This episode and the one following it are among the least-tightly plotted of the season, but there’s still some intricate stuff. There are little moments in scenes where a single line provides an oppositional reversal that redirects the character’s trajectory for the rest of the episode. This isn’t a testament to Kassa’s weakness, it’s an appraisal of how Andor as a whole is a narrative that benefits from emergent complexity. When things go on for longer, more moving parts are in play, the story can move in unpredictable and highly dynamic ways. It’s a staple of prestige TV as a mode and Andor’s first season executes it exquisitely. With that being said, a lot of fans tend to underwrite the first arc of this season. And while I agree that it is personally my least favorite, it’s still really well-done. In the same way Andor has three tri-episode arcs, this is the “set up” one, and it does a lot of heavy lifting that allows the show to play uninhibited in future episodes. Don’t underwrite this one.

Thanks for reading! Let me know if there are any questions about terminology, theory, or just about the show in general, or my interests as a fan and writer.

#andor #andor meta #andor analysis #media analysis #star wars #andor 2022 #cassian andor #rebelcaptain #rogue one #story structure #writing #screenwriting #tv writing #story themes #writing tips #tv analysis #media discussion #media discourse #andor review

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psychoblush · 1 month

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zany to me how these um actually nihilists like to pretend that "um actually love/friendship/cooperation/kindness isn't real bc we evolved that way to benefit ourselves as a species..." um YES? that's also where tool use comes from? that's where cooking comes from? am i supposed to think social bonds & tool use & cooking aren't "real" because they evolved over time instead of appearing fully formed from the ether?

sorry u can't enjoy things. im a superior being twirling a fork in my bowl of delicious noodles whilst staring in adoration at the world

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psychoblush · 1 month

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I theorize the reason "bottoms" appear more prevalent than "tops" on these types of spaces is that it is simply easier to be funny about being a bottom than about being a top without sounding like a sex offender

"uuuuu 🥺 pls cock me aaaaaaaa *runs into wall like Wile E Coyote running into his own tunnel painting*" easy as shit comedy

"I want to put my DICK in someone" whoa dude calm down, take it easy

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psychoblush · 1 month

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eagerly awaiting the day daniel radcliffe, elijah wood, and robert pattinson just make the most fucked up bizarre unmarketable film together

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psychoblush · 1 month

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All it means when people say “you’re speaking from a place of privilege” is that you’re likely to underestimate how bad the problem is by default because you are never personally exposed to that problem. It’s not a moral judgement of how difficult your life is.

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psychoblush · 1 month

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You know what maybe Catwoman is just Trans and thats why theres no Pussy to eat

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psychoblush · 1 month

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I think the Batman (2022) sheds light on such an underrated detail of Batman's story, and that's, ironically, Batman himself. We see Bruce. As in actually, truly see him. the way he's so repulsed by himself when he's not Batman. The most apathetic we ever see him is towards himself. Bruce does not care If Bruce lives or dies because ultimately, he does not care for himself.

He's lonely and starves for people and contact but he doesn't want to be BRUCE. Even when he shares intimate moments, he's Batman, while everyone around him wants the man behind the cowl, because no one cares about an empty mask.

But the final scene? Where he's helping, saving, holding people tenderly? Where he doesn't wear the contacts? That's BRUCE.

Bruce who's tragedy with heartbeat, who has all the reasons to be a villain and leave Gotham for death and rot and he DOESN’T because at his core Bruce loves people so MUCH. Not Batman, not The Bat, not the Knight, -- it's BRUCE. BRUCE IS THE HEART. YOU CAN'T WRITE A GOOD BATMAN IF YOU DON'T WRITE A GOOD BRUCE WAYNE!

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psychoblush · 1 month

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he’s so funny

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psychoblush · 1 month

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Alternate posters for The Batman (2022)

source x

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Battinson and the JL ft. His Eventual Identity Reveal

(If you’re just here for the cutesy bits, skip to Attempt #2. Otherwise, STRAP IN CUZ IT’S A LOT)

Bruce Wayne of Matt Reeves’ The Batman is not the founder type.

He wouldn’t voluntarily join a book club, much less join a league of super powered vigilantes whom he does not know personally.

So in this universe, you probably wouldn’t call him one of the three Founding members.

But he’s still integral to the formation of the Justice League

It starts out with a friendly visit :)

Bruce is patrolling on a random night in Gotham when he notices a weird thing in the sky. It’s floating just far enough behind him that a less vigilant person wouldn’t have noticed, but Bruce is always watching his own back, and he takes it as a threat.

He strays from his usual path and then heads to a warehouse roof before turning to face the threat.

It’s Superman. All smiley and dressed in primary colors. The strongest, most powerful being on Earth just floating over like he wasn’t stalking Batman a second ago. Bruce does not like that.

“What do you want with Gotham?” He asks. “I don’t,” Superman says. “I wanted to talk to The Batman.” So this is some kind of fight? An intervention? A warning? Then Superman frowns. “You…are The Batman, right?”

Bruce only nods as he considers his options, but he can’t really do that when Superman has super speed, super sight, super strength, super breath, super lots-of-things-that-Batman-probably-doesn’t-know-of.

Then Superman surprises him by landing on the roof and giving him this pitch about a superhero group.

Superman and a few other vigilantes have been bouncing around the idea of teaming up together so they can help one another protect their cities. And The Batman was a “perfect candidate.”

“I’m not joining your club.” “It’s not a club. It’s a league.” “What’s your mission statement, then?” “A what?” Bruce fights the urge to roll his eyes. He still doesn’t trust this guy. “Take your league idea back to the drawing board then we can talk.” He does not intend on talking.

But two months later, Superman is back. This time, he brings another super powered vigilante named Wonder Woman.

She smiles, politely approaches him, and says “Superman tells me you want to learn more about our league.” That is not what he said, but he doesn’t bite.

Bruce can’t decide which they remind him of more: college recruiters or cult leaders. But because Wonder Woman genuinely seems to care about seeing this project through, and the roster she has of current like-minded vigilantes is impressive, he lets her talk.

And to give her credit, she definitely thought out the logistics more. It almost makes up for the time they’re wasting.

Okay, fine. They’re still way behind on concept, and it’s pitiful. He actually feels bad.

They obviously care! They just have no idea how to run a business like he does. Is it a bit cynical to think of this league of Justice as a business? Yes, but that’s the only way he can even conceive this happening and working.

Bruce asks about their organization’s leadership structure, and that’s when Wonder Woman falters a bit. “We want to work with each other, not for.” Bruce bites his tongue on that subject.

He asks about their scope of work. “We want to help as many people as we can, but that can be ironed out later.” Bruce bites his tongue on that subject.

He asks “Who’s funding this?” She answers, “We have a few members willing to pitch in, but the majority will have to come from generous citizens.” And that’s when he just stops asking questions. Because what?

If he could cry the grease paint off, he would.

They can’t just think every super-powered vigilante is going to sing Kumbaya and braid each other’s hair. There needs to be checks and balances within the organization to avoid tyranny and corruption. They need a reliable source of donations (that doesn’t immediately out Bruce.) They need a proper chain of command. They need to map out their area of responsibility. They need to design a VERY strict vetting process. It’s not sunshine and rainbows. It’s hard work!

So he says he’ll think about it again and complains to Alfred about the weird super stalkers.

But for SOME reason, Alfred doesn’t see the problem

Alfred encourages him to join so he can “make some friends.” But how can he trust these people if they can’t even make a half-decent pitch? It’s like a bad episode of Shark Tank.

And “make friends?” They’re all masked

But after a week of gentle nudging (read: very firm lectures), Bruce agrees. ONLY to keep tabs on the rest of the vigilante world and possible threats to Gotham

(And without his help, they’ll probably butt-dial Lex Luthor the nuclear codes or something)

And he is damn well going to figure out who these people really are before he helps them make a Super Organization.

Alfred figures out about half of their secret identities purely as a brain exercise while Bruce is out fighting crime and collecting head injuries like Pokémon cards. They figure out the rest together.

They also develop contingency plans for every single member. Just in case.

And after months of Batman being visited by random vigilantes, whom he has several choice words for about personal space—“This is my city. Go away.”—he accepts. On several conditions.

Not all of them are appreciated.

Attempt #1: “Making Friends”

After several scheduling conflicts, a lot of prep work, and a really good hype session in front of the mirror, Bruce heads on over to the first official meeting.

Batman arrives with a long list of things they need to do before going public. The first thing on the list?

Write A Mission Statement

What the fuck are they actually trying to do? Bruce thinks this is a great starting point.

And you’d think (you’d think) this Justice League thing would be easier to tolerate than the drawn-out exec meetings he has to sit through with boring, old businessmen who keep delaying things so they can hash out every little detail.

To Bruce’s absolute horror, he BECOMES the boring businessman who’s delaying things so they can hash out every little detail. He misses the boring, old businessmen. At least they knew what they were doing.

Every turn, he is argued with.

“Why do we need a mission statement?” “‘Power Structure’ feels authoritarian. Can’t we just share leadership duties?” “Do we really need this much paperwork?”

Bruce has the audacity to say, “We need to develop some sort of protocol that helps us analyze any possible threat.” But no. “Why can’t I just jump in? I have eyes.” “Jumping in without studying an opponent’s behavior could cause more harm than good,” he insists. “So what? I’m going to watch an alien monster go on a rampage through my city instead of fighting it?” “Yes. You don’t know what it’s capable of.”

Bruce already regrets joining.

All he hears is the others gossiping. “Is this guy really telling us how to be heroes?” “He’s got a major stick up his ass.” “I knew we shouldn’t have let him join.” And if that doesn’t dissuade him, he doesn’t know what will.

“How was the first meeting?” Alfred asks. Bruce scowls. “I’m not making friends.”

Nonetheless, Bruce sticks it out for weeks until they have some semblance of an organization. And, to his shock and amazement, it…kind of works.

The Justice League makes its debut, and Wayne Enterprises generously donates some money “out of spite” after Lex Luthor publicly denounces the league. (Honestly, Bruce would too if he hadn’t personally duct-taped it together himself.)

But the league starts small, just like he told them, they respond to natural disasters and public safety threats first (as per the outreach initiative) and focus on protecting communities in need (as per the mission statement.)

Yes, they still think Batman has a stick up his ass because he’s a stickler for writing incident reports, but no one else reads them so he has the right to be pissed.

He’s almost kind of sort of content with how it’s going. Even his reputation as a vigilante is improving.

That’s when another glaring difference between him and the other members appears.

Despite looking the same age as the rest of the team, Bruce is actually much younger?? Even excluding the aliens, gods, etc.

Most of his teammates are in their late 30’s, early 40’s. Meanwhile, Bruce is at the ripe age of 29 and a half.

He is the youngest by ten years.

Everyone kind of just assumes he’s the same age, though, so they make references to 80’s kids stuff that he only vaguely understands through Alfred and his business partners. He just sits there in silence like a child who snuck over to the adult table and is waiting to get caught.

So on top of the rift he (accidentally) created when they started the organization, it’s even harder to connect through similar interests. Other than punching people together.

And Bruce Wayne has a bad case of imposter syndrome when it comes to their superpowers.

He’s always in the corner brooding, and everyone’s like ummm antisocial much?

But 50% of the time, it’s because he’s thinking “I’ll never amount to the incredible heroic feats everyone else has accomplished. How can I possibly make a difference to the world if I’m already struggling to save Gotham?” Like a little emo freak 🖤

(Meanwhile, you couldn’t pay those mf’s to step foot in Gotham. This Bat guy’s crazy and he’s human apparently?! No way. Nuh uh.)

The OTHER 50% of his “brooding” is Bruce standing to the side with a mixture of concern and judgment because his teammates’ competency in certain areas is…alarmingly low sometimes.

One week, he finds himself thinking, “How do these grown-ass adults not know their way around a digital map? They’re 40, not geriatric.”

Then like a week later, it’s “These fucking war fossils don’t even know Morse code. I gotta do everything around here.”

One of the final straws is when he says, “Did they just break another fucking Keurig? Who does that, Alfred? It’s the fifth one.”

Suffice it to say, he’s not very personable. But is it his fault? Well yeah, a little bit. Like……..65% his fault.

(The remaining 35% is their moaning and groaning whenever Batman calls a meeting.)

Bruce’s irritation is totally justified.

God, he just wants to go home.

Why is he doing this again?

Attempt #2: Actually Making Friends

The first JL member to break through his cold, black exterior is Wonder Woman. She needs help with search and rescue after a sinkhole opens up near an elementary school, but no one’s available until Batman responds to her call.

He’s on the scene in less than an hour and makes quick work in securing the area. Thankfully, she catches him once it’s over. (He always runs off without saying goodbye.)

“Thanks for helping. Everyone else was just so busy. I’m glad you could fly over.” Batman mumbles something that she can’t quite hear. “What was that?” she asks. “I was busy too,” he repeats. She gives him a weird look, and he freezes up for a second as he realizes that probably wasn’t appropriate to say. “I mean…this was more important. There were kids in danger so it didn’t…matter if I was busy.”

Wonder Woman considers how awkward The Batman looks for a moment then smiles. So he really is human. “Well, thank you. The help was very much appreciated.”

Since then, several small acts of kindness and solidarity earn Batman some respect from the rest of the team.

One day, Flash complains about how boring their meetings are so Batman brings a massive bin of fidget toys. After placing them in front of the Flash, he mumbles, “These are for ADHD. They’re useful.” Flash almost cries with relief. He is very touched.

Another day, Green Arrow is severely injured in battle. Without a word, Batman leaves the fight, takes him to a safe location, stops the bleeding, and does it all while repeatedly making sure he’s awake and asking permission to remove certain pieces of clothing.

In another fight, Plastic Man’s mask is thrown off, and Batman sees his face. In a second, Batman tosses a smoke bomb, picks up the mask, and hands it back before anyone else can look. It costs them time and the element of surprise, and Plastic Man knows it, but Batman did it anyway.

A JL member’s stomach grumbles during one too many meetings. Suddenly, their little break room becomes a fully stocked kitchen with shelf-stable meal items and all the basic necessities. There’s a nut-free section, a gluten-free section, everything. The only reason they know it’s him is because anyone else would have admitted to it.

(He renovated the whole fucking thing. In one night. By himself.)

And they all see how gentle he is with children. Countless times, The Batman is spotted prioritizing young civilians at any given moment.

He has lollipops in his belt. And Bluey bandaids too.

It’s the little things that make them feel closer to him :)

And okay maybe his goddamn Mission Statement lecture wasn’t so bad

So they stop moaning and groaning

Okay, now it’s bonding time WOOHOO!!

Attempt #3: Kinda? Friends??

One day, Superman says he isn’t too fond of billionaires (because of Lex, obviously) and goes on a rant about capitalism. Bruce doesn’t dare contribute because 1) he’s the richest man in the world and 2) every other billionaire he’s met is insufferable.

(Including Oliver Queen who Bruce refuses to look at while Green Arrow “defends his city’s billionaire.”)

(And while we’re on the topic of Green Arrow, Bruce cannot forget the disappointing almost-fling two summers ago. He still holds a grudge.)

Green Arrow: “You’re all fashion nightmares. Who wears a cape in the 21st century?” Batman: “At least my facial hair isn’t longer than my dick.” GA: “What was that, Batman?” B: “What?”

Also Bruce is very attracted to Superman.

(He likes older men.)

(Yes, I am referring to Henry Cavill’s Superman.)

(Sue me.)

(But don’t get your hopes up. He does literally nothing about it.)

(Coward.)

One of the JL members complains about how sore they are after a few missions so Bruce cashes in his Monthly Attempt to Socialize and says, “Try yoga. It helps me.” “…Batman, you do yoga?” “Yes. My son got me into it….It’s good for you.” “You have a son?!” He is never socializing again.

They also learn that Batman has the smallest frame on the team. (Like yeah, he’s tall, but he’s also lanky, and everyone else is either an alien or a human dorito.)

One night, they need to sneak through the vents of some building so Bruce offers to do it. Someone says, “It’s a tight squeeze. Are you sure you can fit?” Then he just takes his cape and pauldrons and shoulder pads off and is suddenly like a foot skinnier

“Wait…is this why you’re so good at hiding in the shadows?” Bruce just glares at the Flash for a second before climbing into the vents.

(The answer is yes.)

A betting pool is started over whether or not Batman is part Bat.

In fact, several betting pools begin because no one knows anything about the guy??

Aquaman and Plastic Man go to great lengths to figure out what his hair color is.

They lose their shit once Bruce tells them he’s vegetarian.

Green Lantern: “Every time he opens his mouth, we learn something new. Next, he’s going to tell me he speaks Swahili!” Batman: “I do.” GL: “Oh, come on!”

Superman: “We need someone on the inside for this international operation to work, but that’ll take at least three months undercover.” Batman: “Don’t worry. I have connections.” S: “…In Shanghai?” B: “Yes.”

The Flash adds SHANGHAI?? to his conspiracy board

Bruce needs to stop trying to socialize. It’s better for everyone’s cardiovascular health.

A year or two in, they’re all introduced to Captain Marvel. Bruce is the first and only person to learn his true identity (kid Billy Batson) because Bruce is the only one with a kid. That way, he understands the weird Gen-Alpha humor and references.

Millennia-old deities don’t use the term Flop Era.

And, of course, they play FMK at some point.

(I mean, come on. There are like TWO mature adults on this team, but Martian Manhunter doesn’t know what’s going on until it’s too late, and Wonder Woman is busy at her day job.)

During that particular round, the celebrities are Bruce Wayne, Lex Luthor, and Kylie Jenner. Bruce does, in fact, want to kill himself, but he chooses Fuck instead because of this exact conversation:

Green Lantern: Come on, Bats. It’s just a game! Choose already. Batman: No. I’m against killing. GL: Oh, go fuck yourself. This situation is completely hypothetical, and you know it. B: Fine! Fuck Bruce, Marry Kylie, Kill Lex. GL: See? That wasn’t so hard :) Bruce:

He tried

Attempt #4: Ah shit, FRIEND?

The identity reveal comes about three years after he joins. He’s 32, has three kids, he’s been on hundreds of missions with them, the team’s over twice its original size, and there are domestic terrorists overtaking Manhattan.

Superman, Wonder Woman, The Flash, Green Lantern, Martian Manhunter, and The Batman try to extract as many civilians as possible, but now they’re being hunted. After hiding in a warehouse and considering their options, MM finally suggests that they pose as civilians, which immediately creates uproar.

Bruce, however, realizes this is the only way out.

But it’s not dramatic or badass like that one JL episode. No, instead, he thinks about it, swallows the regret, and just—

Takes off his cowl.

And the whole room falls dead fucking quiet.

Then, “Oh fuck.”

(That was Green Lantern.)

Bruce just shrugs and mumbles, “Martian is right. It’s the only way.” And really fucking hopes the grease paint hides his red face because he is not having a good time right now.

He would rather die, actually, but they need to get somewhere safe and Fast.

The others look him up and down then nod slowly. “Uh yeah.” “Okay, sure.” “This is fine.” “We’ll do that.”

The others begin slowly taking off their suits and changing into something more casual. Bruce takes his off, revealing the skin-tight compression suit underneath, and stuffs his armor in the roll-up duffel bag that’s kept in his belt.

He changes into his drifter outfit, wipes his face clean, and suddenly, The Batman’s just a normal guy. (A very pretty normal guy, mind you. His teammates have eyes.)

“We can head to my place,” Bruce says. “It’s closer, and I know the train system pretty well.” And yes, he’s pretty soft-spoken outside of the suit, but now it feels even more obvious.

Meanwhile, the others are like—

Oh. My. God.

Oh my god, he’s fucking shy. Batman is acting shy in front of us. Dear fucking god. Batman is Bruce Wayne. And Bruce is shy so Batman is fucking shy?? Bruce is pretty too. Holy fuck. He is very pretty.

And he’s so young?? Oh my god, he’s a BABY wtf?! He’s like four inches shorter. Four inches tall! They’re all towering over him without his massive boots and armor, and he just hunches over with the big duffel bag like he wants to sink into the floor, and he’s so small.

Wonder Woman wants to put him in her pocket.

Sue her.

They end up taking the train back. Bruce has on the mask and cap that hides his face (poor Superman, he really likes his jawline) and they all follow Bruce as he gets off and on several trains at seemingly random stops. THEN when they’re finally in Gotham, they head into an abandoned-looking subway station that leads them into a…cave?? WTF

And in the middle of the cave is an elderly man with a cane and a three-piece suit just lounging on a recliner. (WHAT THE ACTUAL FUCK—)

He looks up from his crossword puzzle and says, “Ah! You’ve finally made friends, I see?” Bruce rolls his eyes. “This is not a sleepover,” he gripes. “Shame. I was about to grab your footie pajamas for you.”

The man smiles at them. “A pleasure to meet Master Wayne’s work friends in person. Would you like some coffee? Tea? If you’re like him, this is going to be a long night.”

No one dares to question why this man recognizes them in their civvies

They also can’t tell if the footie pajamas line was a joke or not. After tonight, nothing is off the table.

(This is a minefield of information. Barry is having flashbacks to his conspiracy board. No one is going to fucking believe him.)

They all settle into one corner of the cave. Bruce leaves to change and comes back looking like this:

(Goddamnit, Clark is having a meltdown. His hair looks so good wet.)

At one point while they’re plotting, Wonder Woman glances over his shoulder to see Bruce checking some sort of security camera. A boy, maybe nine or ten, is sleeping in bed. “Is that your son?” Bruce clearly doesn’t want to answer, but Alfred gives him a look, and Bruce sighs. “One of them. Yes.”

Later, they have to analyze some explosive samples in the cave, and Barry, forensic scientist extraordinaire, has some choice words about the non-sterile environment.

Barry: This doesn’t look safe. Bruce: My lab is perfectly clean and functional. *bat screeches* Don’t worry about that.

For the rest of the night, they use the evidence they have to track down the organization while the rest of the JL suits up and saves NYC.

After a few hours, they’re safe to return to NYC for damage control. But Alfred refuses to let Bruce go with them. “Your sons are worried. Drive them to school, then you’re coming home and sleeping.”

Bruce clearly wants to argue, but the mention of his kids stops him. He sighs and turns to the others who are already changed. “Let me know if you need anything. I can be there in ten minutes.”

They all nod, knowing full well they will not be doing that. The guy clearly needs rest.

(Also, he is a single father of three and still goes out every night to punch robbers and crime bosses? Is he doing okay?)

Then they head back to NYC with so many questions.

But a lot of it makes sense too, actually. Maybe they just weren’t thinking about the man behind the mask enough to see it.

They learned a lot about their friend that night.

And they have a lot of bets to cash in.

FIN

Okay :D that was a lot! If you enjoyed it, please let me know. This has been simmering in the back of my head for months <3 Have a great day and drink some water :)

Hey bestie @bruciemilf

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