Rebelharkness - Randomness

My cats have this meow that means "please come with me to fix this" after which they'll lead me to the problem in question, usually a empty (or 'empty') food bowl or a closed door they want open. They look at the 'problem', they look back at me, clear message.

What fascinates me is how this illustrates what they percieve as being in the realm of my 'power.' I control the food, I control the door, sure, but my cats love to sit on the balcony in the sun, and it has happened plenty of times that on a rainy day they come get me, go to the balcony and show me... the rain. "Please fix this" they say. "Please get rid of the wet"

"Silly kitty," I say, "I can't control the rain." I then walk into the shower and turn on the rain.

How Would I Write A Batman TV Series

Hello! So I'm a huge fan of Batman. He's been my favorite superhero since I was five and one of my favorite movies of all time is The Batman (2022). So as a writer of course I've had ideas about a Batman TV series (animated or live action). It would be werid if I haven't thought about it. Now I doubt I'll ever actually get to make that idea a reality but it's the thought that counts!

Back when I first came up with the idea for this hypothetical series I actually wrote part of a script for it. It's just first and last scene of the episode but it counts for something. It was the first time I had written in screenplay format and I haven't done it since so It's most likely a little rough but my thought process behind all of it was simple.

Here is the last scene of the hypothetical first episode. The Wayne Murders.

Why is this the last scene?

I wanted to be different. In a lot of Batman stories the story kicks off with the death of Thomas and Martha Wayne. So having the first episode end with their deaths seemed fun. I wanted the viewer to spend time with the Wayne's before tragedy struck.

Why is Selina Kyle there?

I was inspired by the show Gotham's take on the Wayne Murders, where Selina Kyle was actually present for them. I thought it would be cool to have Selina and Bruce be duo protagonist of the series. Throughout this first episode we are not only following Bruce but we are also following Selina. I wanted to parallel them in cool intresting ways.

We see the difference between them and how they live. Bruce is a sheltered and carefree while Selina has seen far to much for some one her age. Bruce is the son of a wealthy family while Selina is the daugther of a family living in poverty who has to steal to survive. Bruce has a happy loving family and Selina doesn't.

Bruce wears pristine fashionable clothes his parents bought for him while Selina's clothes are more run down and worn. Bruce goes to a private school and Selina goes to a public one. Bruce has a circle of close friends while Selina has her little sister and stray cats she feeds

Even the lightning of their scenes would be different. Selina's would be cold and dark while Bruce's would be warm and bright. Selina is in closed spaces while Bruce is in open ones.

They have nothing in common until one day Bruce and his parents step foot in a dark, cold alley way. Then suddenly they have a lot in common while still being different in so many other ways.

Now on to the first scene which I never finished writing.

Now I don't have much for this scene. I wanted it to be clear throughout the episode that Thomas is worried about something or is working on something beacuse I thought it would be a cool set up for the Court of Owls. And that's it. That's why this season exists. Told you I didn't have much.

That's all for now. We'll talk about this again whenever I decide to work on character arcs and villians.

So... about the "Ironwood Was Right" thing.

I recently saw this resurface a bit, in the context of Ruby's regrets in Volume 9. Basically, taking the fact that she felt like she'd failed as the show saying that yes, actually, she was wrong to go against Ironwood's plan in Volume 7.

I feel like I went into thinking about this trying to debunk it on a logical level. Like, is it actually a good idea to fly off into the sky in one big long stalling measure when your opponent is literally immortal? What's stopping Salem from grabbing all the rest of the relics and then just waiting as many generations as it takes, until the people of Atlas forget why they came up there in the first place and return to Remnant out of curiosity?

The thing is, treating it as an argument about what's the more "rational" choice is missing the point that like. We're talking about a story. We don't know exactly how many people are in Atlas and in Mantle and where they are and how many more trips they'd have to take to finish the evacuation, because details like that would just bog things down.

This is not a trolley problem with x number of people from Mantle on one side and y number of people from Atlas on the other. This is a trolley problem with a wealthy and powerful person on one track, and a disadvantaged person an alternate track, and Ironwood choosing to pull the lever instead of trying to stop the trolley. The point is not "how many." It's not about math. The point is that there is a fundamental difference between dying in the central location while a bunch of Huntresses and Huntsmen do absolutely everything in their power to protect you, and dying abandoned in the mines you used to work while the city built off of your labor flies away to safety.

The question this conflict is asking is about whether or not other people can be sacrifices. Ironwood says yes—team RWBY disagree. That's the actual crux of this argument. Does Ironwood have the right to decide who deserves protection and who isn't worth the risk? Do we get to give up on other people before we've even tried to save them? It's about the idea of certain people being disposable. Mantle's wall isn't important, Amity is. Amity will protect all of Atlas, and that wall will only help the people in Mantle. It implies that their safety is an acceptable sacrifice for the greater good. It treats them as disposable.

There's a reason it was Nora who spoke up and pointed out that it's always Mantle being asked to bear the burden for the greater good. Nora has been a disposable person before. Hell, Cinder has been a disposable person! The way Atlas (through the madame) treated a living person as a resource to be exploited or sacrificed is the entire reason that Cinder is trying to burn the kingdom down. Thematically, Atlas cannot escape the danger she poses by sacrificing more disposable people.

One of the biggest themes of this show is cooperation. It's all about how Salem can only be defeated by working together. But working together is not possible if certain people are taking on all of the risk, all of the sacrifice. Everyone has to be willing to put some skin in the game. Like, imagine trying to do a group project if you knew half of you were guaranteed to get an A no matter what and the other half weren't.

So the idea that Volume 9 is supposed to come back around and say that actually, that plan that would have literally divided a city in half and cut loose the poorer half like fucking ballast, that was the right thing all along and Ruby Rose was wrong to challenge it... that would be an absolute disaster of a thematic statement.

This is not a show about hard military men making hard military choices. It's not going to contrive a situation where cold-blooded calculation determines that the right thing to do is to pull up the ladder. Because outside of weird philosophical experiments about trolleys, the right thing to do usually has more to do with empathy. Compassion. Cooperation. All that gay shit.

you can only reblog this once

Don't forget to leave some cookies and milk out for Misha Collins tonight.

I love everything about this

This is the only thing that brings me joy

one of my personal favorite dichotomies in atla is how iroh, once the top strategist and highest-ranking general of the fire nation, now directs all his energy and considerable tactical experience towards attempting to keep his teenage nephew from throwing himself into life-threatening situations AND IROH REGULARLY FAILS TO PREVENT HIM FROM DOING SO.

he lead a six-hundred day siege and now iroh can't keep up with a sixteen-year-old armed with two swords and a passionate deathwish. zuko's motto is "act first, think never" and he's running rings around his uncle. it's like!!! who's gonna come out on top, iroh's west point education vs. zuko's deep and abiding commitment to always choosing the stupidest possible course of action, and zuko manages to win every single time

The only way to upgrade an already iconic duo is to add Winston Duke into the mix