u/Robot_Was_BMO

Think about 40-45 years

https://www.tiktok.com/t/ZTSaFHUru/

From Batman and Superman: Battle of the Super Sons

https://www.tiktok.com/t/ZTS5345rS/

Audio from Bob’s Burgers

I say this becomes their song

Rick killing Gareth. He made him a promise, but I was always struck by the fact that Rick took into account that him and his group could have harmed other people.

Besides it just being a great superhero identity for her, as Daken lays out, this scene just takes us the reader right with Gabby through her feelings. The comic panels behind her are perfect! It’s hard not to fall in love with it with her. Is there a better superhero name claim out there?

Kitty and Colossus, please never again 😭

Re-watching their segments, and I’m struck by the lack of dialogue we see on Brock staying in the church for five years after Rae left. It colors so much of the way Rae interacts with Brock in my opinion, even if she doesn’t realize it. I think a large part she doesn’t feel so ashamed for her infidelity is because, from her perspective, Brock betrayed her first and more consistently in those years. At some point in that time frame, he must’ve had enough context to know what the Church had robbed of Rae, and if that’s true, and he still went back, I can see from Rae’s perspective why there was so much clear resentment. That’s not to say she was in the right, but if you see someone you love cozying up to you abuser for five years, even when they know what was done to you, I can imagine what recourse a vengeful mind might go to.

We can see this expanded on in the co-living situation discussion, where Brock discusses wanting a separate bed from Rae. Rae keeps affirming that she willing to sacrifice some autonomy to go back to living with Brock, where Brock misinterprets that as Rae seeing it as a sacrifice where he doesn’t and thinking she doesn’t actually want it. She views cohabitation as inherently coming with some sacrifice, which is reasonable, where Brock has a more romantic view of if they want it, then it shouldn’t be so hard or seen as a sacrifice. They just see it differently. And then, when Rae expands that she feels like she has to fight harder for her POV because she feels like Brock dismisses it and she feels like she’s “fighting for her life”, that feels like it’s analogous to the Church situation, where Rae left first and Brock stayed.

I’m not trying to paint Brock in a villainous light, he seemed like a nice guy who wore his heart on his sleeve and was trying to clearly keep the relationship up, but that first betrayal is a really hard one to swallow. Nice isn’t the same as being good, and It seemed like he was just going along to get along at a certain point, the path of least resistance, which also seems like why both of them stayed in the marriage, even though it was clearly incompatible for both. Both of them just didn’t have a lot of agency or responsibility for their selves, and that goes back to the fault of the Church, who is the real villain in all of this. We can argue on Rae being purposefully difficult, cruel, or pretentious, but we should at least credit the bravery of finally getting out of all of it.

The sad thing is, the two of them probably could’ve been good friends. There was real love there along with deep history, but the compulsion the Church put on them to get engaged and defined to a romantic relationship tainted what was clearly a platonic connection. They were sibling coded, but because they were the opposite sex, they had to be arranged. And that’s the failure, not seeing that some love doesn’t fit in the romantic, marriage box.

For a while, James has been toting that the DCU is being planned out by a group of writers and creatives, so that everything’s in lockstep with each other. That’s really exciting, as it promises continuity and multiple passes on scripts by talented creatives to fine tune. That’s a big comfort and reason for confidence.

So that’s what makes it so confusing when the creatives behind the movie misread and misinterpreted the end of the book they were adapting, and that nobody caught it. Especially when the writer of the book, Tom King, is accessible and in the room. He’s more than a phone call away, so it makes it seems like he wasn’t a creative consult on his own book’s adapt, and that maybe other creative weren’t given visibility into this project either.

That takes a lot of confidence away when Gunn specifically advertised this writer’s room working to architect the DCU. It’s disappointing and has definitely shaken and confidence, and it makes me think that Gunn, Ala showrunner, isn’t utilizing the writers room like it should be.