THATS DON?!?
Not confirmed (yet) but I'm pretty fucking confident on this one.
A random blue eyed human speedster in purple and grey was being used as the only power source for a city sized ship and Bart just happens to be drawn to him and just happens to decide to steal a 'random piece of tech' (while staring at it like it holds the secrets of the universe) during an arc where Iris and Barry were talking about kids and their future family? That's Don.
On the left? Teenaged Don Allen from a flashback in Finish line. On the right? The mystery kid Don Allen in One Minute War.
I cannot stress enough how absolutely insane it is that this kid was powering the ship.
^ this thing is fucking gigantic and this tiny child was the only power source
That's an Allen. That's just not possible unless he's an Allen or a West. And he's not Wally's kid with those Barry-Blue eyes.
This is also their first time on Earth. And they needed the speedster kid to power the ship to get to Earth. So this isn't a random earth speedster they just picked up. They already had this kid. This kid has a story. Like, say... oh I don't know.... time travel?
Also the kid didn't get to say his name because he got cut off. And Bart was cut off from speaking when he was explaining to Max. Which you would only really do if there was a reason to hide who he is. I'm guessing it'll be the twist next issue.
Oh also also? The kid had no clue who Bart & Ace were but he knew Wally West. Sound familiar? Don and Dawn didn't know about Bart, Jenni or any speedster lore when they were kids. But they did hear about Wally. Non-stop.
No reaction to Kid Flash, Impulse or Max Mercury. Reaction to Wally West.
And I see what they did here with Wally conveniently having his cowl down (when he had it on the scene earlier). Can't have a repeat of Wally's last time meeting the twins when they immediately thought he was Barry. That'd give away the whole surprise!
Anyway yeah this is Don it's just not confirmed yet. I'm ready to die on this hill.
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Hot take for the Robinwest nation
I think the scene in season 1 where she gives him the puppy eyes could have been more interesting if he did stick to his firm NO. He storms off and that’s the end of that.
But what if that was just the set up?
Cut to the Robinsons scrambling to figure out how to make it work with just John’s weight in the shuttle, and Maureen is stressed but determined in her calculations, and Judy is clearly considering going with her dad when-
Enter Don West, clad in a bright orange spacesuit, swaggering into the passenger seat of the shuttle saying, “If anyone asks, I got paid for this.”
“Don?” Maureen gasps.
“A lot,” Don carries on, settling into the co-pilot station. “And if I die up there I better get a statue. My own holiday on Alpha Centauri.”
And Maureen is smiling in disbelief and John is skeptical but at a loss, and Penny and Will are relieved. Don sees all of that but he hasn’t looked at Judy. Not yet.
Thing is he didn’t see her behind him in that room when Maureen and John tried to sell him on the idea, and he told them to send him a postcard.
He’d said no because it is his life on the line too, he likes being alive, and doing the right thing does really suck.
So he doesn’t look at Judy right now as he doesn’t know what he’s going to find behind those big brown eyes that previously beseeched him to help. The ones he couldn’t stop thinking about later.
She had looked so devastated by his refusal, so vulnerable, that he is honestly not sure risking his life is enough to get her to talk to him again.
Probably for the best.
He flipped that tanker for her and he lost the money, then they lost Evan eventually. It was all for nothing. From where he’s standing, doing things for Judy doesn’t help him in any way, and that’s a problem because he can’t seem to stop. It’s entirely irrational.
He locks eyes with her later on, after various trials of his recovery time in test launches. He’s even more sluggish with each trial but it can work. They can do it. Don can’t tell what Judy is thinking and she looks away just as quickly as he does. But one thing he knows for certain is how she looks when she’s pissed and this — is not that.
Now they’re about to leave and Don needs an excuse to be near Judy one last time. Debbie clucks beside him and Don figures if he dies up there with John, he should make sure the lucky chicken is with someone else, maybe bring them a bit of extra luck like she did for him.
“I don’t want your chicken,” Judy says, when she realizes what Don has for her.
He thought she looked almost eager when he called out for her (it was endearing, really), and the way she rolls his eye at him right now is—that’s what it is.
That’s what does it for him.
The reason he’s risking even more than he already has is not because Maureen asked or because John needs someone else in the shuttle.
“And I don’t want to hurtle through space in a tin can,” Don replied, “but here we are.”
She doesn’t seem mad at him, not anymore, and that’s good enough for him. If he goes out doing something for her, it’s good enough for him.
He’s a decent person who has been dealt a bad hand and it’s still so awkward for someone like him to admit he’s a smuggler—he never liked that word—and the thing about Judy is, when she looks at him, it’s like she can see who he actually is underneath everything.
That’s why all her appeals to his better nature always succeed. It’s how the prior caught-off guard No eventually turned into a Yes.
It’s not just his life on the line, it’s her life too, and everyone else’s lives. He wants to reaffirm that he is a better man than everyone thinks, that they are past the money.
“Bye Debbie,” Don says gently.
“Don?” Judy calls after him just as he turns to leave. Her eyes are different, almost shimmering with emotion. Doing that thing from earlier but for a different reason. “Hey, try not to die up there, okay? Make sure you fight.”
There it is. Now he knows for certain they’re back on good terms. Beneath the hefty space suit, a flutter blooms in his chest.
Judy is preparing herself for the possibility that they may never see each other again. Don gives her a smile. He wants her to remember him well.
“Do my best. See you on the other side.” He winks at her and departs, hiding his own bittersweet smile.
. . .
When the shuttle explodes as it hurtles through the atmosphere Judy lets out a scream before she even knows it, and her eyes fill with tears for her Dad and for Don, because Don didn’t want to do this. She tried so hard to convince him and she thought she failed until he came back and strapped into the copilot seat.
And now he’s gone. He’s dead because of her. How can she live with that?
. . .
But then when she hears his sweetly bruised voice through the comm, thick with emotion, her eyes fill with tears again. “Are you crying?”
“No?” Don says.
“Yes you are!” Judy laughs and cries a little too, already thinking about when she’s going to see him again.
“They’re happy tears,” John confirms.
Don is so heroic. He made it. Judy is overjoyed and she can’t wait to hear his voice his person, to see the crinkles near his eyes when his smiles begin to form.
. . .
Don shuffles a few paces behind John Robinson. He knows the family is going to be all over the man, so he figures he’ll just give them some space. Although he’s been thinking about Judy he can’t let that show in front of everyone, and so when he becomes aware of her presence, Don tries his best to maneuver around everyone and maybe go see about Debbie.
But Judy pulls away from John and comes to him. Her eyes are full of admiration and pride and relief. It’s crazy how one person can make him feel like he’s a hero among men.
“Hey Doc,” Don says, watching as her arms extend. He catches her quickly, glad to see someone is happy to see him, and not just anyone — her. “That’s right Judy, I am amazing.”
Judy laughs, her arms tightening around him, basking in his warmth. “I’m glad you’re okay,” she says softly.
“Yeah. Me too.” Don pulls back to see that something is different about Judy’s demeanor — like calling her princess might do some things to her. “You good?”
Judy nods. “Never better.”
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On your recommendation, I read How I Live Now by Meg Rosoff. Holy crap.
Yes, YESSSSS. My evil plan to get people to read Heckin Good Books is working!
For those of you still on the fence about reading How I Live Now, might I just mention it has:
Complex but deeply supportive extended family dynamics.
Strong energy of that "we went to my aunt's house and I had two pastries, Mussolini no longer in power" diary entry, where the apocalypse is a background inconvenience in the characters' lives.
But also, you know how Cloverfield gives you an ant's-eye view of the end of the world, where the whole point is ordinary civilians' powerlessness in the face of the monsters? That too.
Survival horror. So much.
Discussions of mental health and trauma that are not for the faint of heart.
You thought the ash snow from Avatar was scary? My dude, you ain't seen nothin' yet.
A surprisingly soft and loving appreciation for nature, amidst the horror of industrial weaponry.
Written in reaction to the "preemptive strike" doctrines of the early 2000s, and it shows.
There aren't really villains, except for the people who allow the plot to happen to them, because the whole point is that everyone is caught up in systems far far beyond their ability to understand, much less control.
A heartbreaking amount of hope, for a story that's also about how humanity cannot possibly persist under its current circumstances.
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There’s an interesting parallel between Arjuna and Ekalavya that comes up towards the end of the Mahabharata. At the beginning, Ekalavya suffers a hand injury to secure Arjuna’s destiny as “the best archer.” But once Arjuna has fulfilled his major purpose in the world and larger story/Krishna leela, he too suffers a hand injury, marking the beginning of the end of his status as “the best archer” and the loss of all his famed combat ability.
During ashwamedha after the war, Arjuna follows the sacrificial horse and fights the rulers of the kingdoms it enters. Right at the beginning, an arrow pierces his hand as he’s fighting the Trigartas, and he drops his bow Gandiva for what I think is the first time ever.
This is the point at which Arjuna, like Ekalavya after cutting off his thumb, is never as good as he once was.
While he’s fighting the Saindhavas, he’s overcome by their arrows to the point where he actually freezes, becomes confused, and drops Gandiva again. It’s only the prayers of rishis that give him the power to collect himself again and fight again. Later in Manipur, he takes a very painful shot from his son that penetrates his shoulder, and then takes an arrow to the chest that pierces his armor and actually kills him. Arjuna only survives because he’s revived through the power of his naga wife Ulupi.
Arjuna would have lost the first encounter were it not for outside intervention and he literally dies in the second, again only coming back because of outside intervention. His skill is fading, but he still has to watch the sacrificial horse, so powers outside of himself (the rishis and Ulupi) step in to ensure that he can do this.
Once the sacrifice is complete and after Krishna has departed this world, that’s when Arjuna is truly no longer needed. In a massive contrast to the caliber of warrior he used to be—what his entire identity is predicated on—he’s now completely unable to protect the women of Krishna’s decimated clan as they travel away from Dwarka. He can barely lift Gandiva anymore, all its inexhaustible arrows are gone, and he’s unable to do anything effectual as bandits attack them, kidnapping women and stealing supplies.
It’s like the story is telling Arjuna—and us—that his skill is no longer needed anymore; his part to play in life as a fighter is finished. But that might be hard for Arjuna to accept; after all, he still carries the now useless Gandiva around until Agni himself appears and tells him to return it.
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