Monologue oliver!

I say "apparently" because... well... you'll see.
This happened decades ago now, back in primary school. I only remembered it because I was recently catching up with old friends from back then, and we got to laughing over old stories and then someone mentioned, "The wildest was when you organised that whole protest against our teacher."
"The time I did what?"
The consensus was I did, indeed, organise the entire class to rebel against our teacher that resulted in her being deposed and our class getting a "substitute" for the rest of the year. I almost fell out of my chair hearing this story from their mouths. It wasn't that I didn't remember it, of course I did--that year was awful. It was just that it existed very differently in my memory.
Two important pieces of background knowledge to understand here:

1. I went to a very very small, very very rural school. How small? Each classroom was composed of the entire year level, and the largest had at most 30 kids in them. My class/year level was on the smallest in the entire school, with a piddling 14 kids in it altogether. While we still had our cliques and factions, our small size caused our class to be very tight knit and protective of each other. How rural? The school building itself was incredibly small, but one thing we were not short on was gigantic empty fields surrounding us on all sides. Great for sports, great for (it turns out) student protests.
2. I was, at the time, undiagnosed autistic. I mean I still am autistic, I'm just formally diagnosed now. But back then I was just seen as being a very quirky kid. One of the ways this quirkiness manifested was that I really had trouble adapting to the rules and structure of grade school and how it differed from what I was used to. At home if I wanted to pee, I just went to the toilet. Now I have to put my hand up? Now I have to ask permission to piss? Then I went home and put my hand up to ask my mom for permission to pee and she told me I didn't need to! Madness! Chaos! I don't care what the rules are, please just be consistent!

But one of the main parts of my brain and the way it works is that sometimes my brain, separate from my will, would just make a decision about a course of action and I would very calmly commit to it come hell or high water. Like, it is vitally important that I stay true to this course of action. I can't explain it. It's like I set a rule for myself and if something disrupts that, I just shut down and stop functioning.
So when the school said, "Okay, when this bell rings during recess/lunch, that means you have to leave the playground and go back to class", I was a confused child already struggling with all these completely nonsensical limitations and guidelines imposed on me. So when that bell rang, I got that calm little voice in my head that said, "Hmm, no, I'm good out here actually. I don't think I will go back into class." So I would just continue to sit out on the playground, playing with my plastic spider toys or sitting on the swing. Teachers would realise what was going on and come out to get me and tell me I have to go back to class, and I would just very calmly hear them out and then smile at them and politely as possible tell them, "No thank you, I want to stay out here."
They really didn't know what to do with me. I wasn't getting upset, I wasn't throwing a tantrum, I wasn't yelling, I wasn't being rude in any way. I was incredibly docile and would let them explain things to me with endless patience and then just politely refute them and go back to what I was doing, like this was just a very normal and reasonable negotiation between two equal parties. I have memories of sitting on the swing while three very confused and flustered adult staff huddled around me trying to bribe me with candy to go back to class. It would take a whole lesson block to lure me back to the classroom, and then at lunch the whole thing would start over again. It took me three years at school to finally accept the status quo thanks to a religious nutter I got for a teacher, and finally went back to class when the bell rang (was never happy about it though).
I eventually settled into school life. Excelled at subjects I liked, at least passed subjects I didn't, followed the rules, was seen as intelligent and obedient and was often liked by my teachers. Until my final year, when we got the teacher I can only rudely monniker Mrs Bigmouth.
Mrs Bigmouth should not have been a teacher. She had a trigger temper and would explode into long, verbally abusive tirades against us if we ever did anything she felt was disrespectful behaviour. What was disrespectful behaviour? Damned if I know. It changed day by day, depending on mood. You could disrespect her to her face one day and she'd laugh and say you have such razor wit, and politely ask a question the next and she'd scream at you for ten nonstop minutes then give you a week of DT for talking back. The absolute peak moment of her boiling temper came when she threw a dictionary at a girl's head because she was whispering to me in class. When I tell you it missed her by half an inch...
But believe it or not, this wasn't what made her such an awful teacher. It was so hard to get teachers at rural schools back then, there was almost nothing you could do to get fired, so we had experience with teachers with nightmare tempers. What made her such an issue was her big mouth. She used us, her trapped audience, as free therapy. She would infodump, traumadump, about her very personal, very private life to us. All day. She'd be two words into a spelling list and launch into an extended story session about her marital issues with her husband. We'd be heads down doing fractions and, unprompted, she'd declare to the class that her adult daughter no longer talks to her and then diatribe to us about it until the bell rang. She had money issues, a contentious relationship with her parents, her marriage was on the rocks. She once pulled me aside after school and spoke with me, at length, about how she was thinking of having another child to try to repair her marriage. I was like, okay lady, I'm 11, about to miss my bus, and my house is a 4 hour walk on foot from here.
We weren't learning. We'd hadn't had a complete lesson since the first week of the school year. We were behind on the cirriculum and frustrated. One kid had brought a stopwatch into school and would time lessons vs her monologues and kept detailed lists, and we would come to school each morning and do betting pools on them. What subject would she interrupt, what would she talk about, and how long would it go.
But all that still wasn't the breaking point if you can believe it. No! Still not! The problem was it wasn't just her own private life she couldn't keep her mouth shut about. It was everyone else's. Because parents would make the reasonable assumption that she should be told things as our class teacher that would be important to know, and that she would understand these things were said in confidence. Instead she would veer randomly off in the middle of talking to us about her horrible weekend to let us know whatever private or traumatic thing was going on in a classmate's life that she had been made aware of. That was awful. That was what made that year hell. It wasn't even about when my secrets were shared with the entire class against my consent. It was watching the faces of my small, lovely, supportive class of 11 year old children go pale and scrunch up with held-back tears as things they never wanted to share were announced like morning news. God we hated her.
Then one day that voice came. The one I hadn't heard in years. The bell ring to go back into class and that voice said, "But I don't want to be in that classroom. I'm not even being taught there." So I just... didn't. I didn't go back to class. I just sat in the playground in a daze eating grass (don't eat grass, it's not good for your teeth). Despite how small my class was, I don't think Mrs Bigmouth even noticed I wasn't there. Others did though. Come lunch and everyone came out, my friends asked me where I was and I said, "Oh, I didn't go back to class."
"Why didn't you go back to class?"
"Why would I go back to class?"
Lightbulb moment for my schoolmates. Yeah, why would they go back to class? What was the point? From a practical standpoint, they weren't learning. From an emotional standpoint, it was horrible to be there. A friend who had had her family's dirty laundry aired to the entire class just last week, things even she didn't know because her parents tried to keep it from her, asked if she could sit with me rather than go back to class. I just stared at her, vacant and confused.
"Sure? I mean, I'm just eating grass though."
Over the next few days, two kids turned into four, turned into ten, turned into the whole class. The whole class was doing a sit-out protest on the field rather than go back to class. Of course Mrs Bigmouth tried to do something about it. She'd come out, screaming at us and threatening us with DT and internal suspension, but six months of that behaviour had totally vaccinated us against her. I'd become the de facto leader and spokesperson of the protest by merit of being the first to sit out and also because I was well known to not give a shit (autistic brain: I actually just frequently had trouble reading and reacting with the correct social behaviour but it gave me a cool and aloof bad boy mystique I guess). I gave her the exact same treatment from back in grade one. I would let her scream, let her holler, let her threaten, let her spittle rain down on me, and then I would give her a sweet and innocent smile and nod in acknowledgement and say, "No thank you, we're going to remain out here." And thirteen pairs of eyes would stare at her in total silence. No one, not even the most gobbermouthed little shite in the class, would volunteer a word. The unspoken agreement was all negotiations were my responsibility.
The thing about angry people is that they feed off conflict. They get you angry so they can respond with even more anger and it nourishes them. She had no absolutely no plan of action on how to deal with me patiently hearing her out then refuting her in the gentlest of terms.
Another thing that ended up helping down the line is that we made an attempt to conduct our own classes. I mean, they sucked and we didn't learn much because we were kids with no supervision, but it was really cute in retrospect. We'd have groups of people assigned to subjects, with some people bringing in words they found in a dictionary for spelling lists and others bringing in old 6th grade homework from older siblings. The heart was there and it served a purpose, if not educational.
"Okay, but how did no one else notice this was happening? Surely people would notice 14 kids sitting on the lawn, not in class?"
Rural school. Big. Empty. Fields. Even screaming at us, the most other classrooms would hear would be muffled voices, and everyone was used to hearing her yelling at us or taking us out onto the field abruptly to make us do laps as group punishment. Plus the way the school buildings were arranged was that it was actually all in one straight line of adjacent rooms, and ours happened to be at the very end of the building. No windows faced the field we all sat in except that of our own classroom. It was just a very lucky arrangement of coincidences and preconceived notions, at least for a couple weeks. I couldn't tell you the exact number, this was so long ago and as a kid I definitely had a more stretched idea of time. Minutes felt like hours, especially during that year. But there was definitely at least two weekends that passed by since the "sit-out protest" started.
Eventually someone cottoned on to what was happening, or maybe Mrs Bigmouth humbled herself and finally confessed to her boss that she had lost control of a bunch of 11-year-olds, so we were called into the principal's office to sort this out. As the representative of our class, I was of course chosen to attend the meeting, flanked by the girl who'd had the dictionary thrown at her head and my friend who was the first to sit out with me. Since I understood that this meeting was one where we were probably going to be yelled at for doing the wrong thing, a thing I had ample experience of, I felt like the easiest way to mitigate things (especially since I felt guilty for being the instigator) was to explain in a very rational and logical way the series of events that led up to our bad behaviour. As well, for my entire life my mother had always taught me that it was no good complaining about things unless you were also willing to think of solutions. "I'm hungry!" - "Well, what's a solution to that problem?" - "Uh, make myself a sandwich?" - "Great! Let's do that together!"
So what did I do? Of course, to make things as clean and concise as possible, I interviewed my class one by one to hear each individual story of why they didn't feel comfortable going to class anymore, itemised them under categories (Verbal Aggression; Interruptions of Lessons; Oversharing Student Life) for easier discussion because my little quirky brain loved itemising things, and then as a kind of olive branch came up with solutions (we wanted to finish lessons unhindered, we wanted our personal privacy to be respected, we wanted to be able to catch our bus on time rather than being held back with unfair DT or long "chats"). So many things sort of came together in this beautiful, wholly accidental way. We had months of records of timed rants and monologues, noted down to the millisecond thanks to that kid's stopwatch. We had records of us trying to teach ourselves during the protests, showing this wasn't us just not wanting to go to class but due to us feeling as though we did not have a class to go to. When the principal heard all this, her jaw it the floor. A lot of it was stuff she knew, peripherally, but things had just never been laid out so neatly before. Some of it was stuff we'd complained to parents about, but it was one kid coming home and telling one parent one time, weeks ago. There was no real sense, up until now, the sheer scope of her behaviour. She didn't even answer us. She just said, "Okay, I need to call your parents."
We got the rest of the week off school. That weekend, every parent of every student came to a meeting between them, Mrs Bigmouth, and the principal. Stories were swapped. My exercise book with my tidy little lists and the records of the betting pool and monologue times were confiscated and brought into the meeting. I don't know what went down, but when my mother came home she just told me that Mrs Bigmouth would not be our problem for the rest of the school year, and more importantly, that she was incredibly proud of me and that I did the right thing. Rarely in my childhood had my inability to integrate into normal society led me to doing the right thing, so I just remember crying and hugging and feeling vindicated about, I don't know, just existing or something.
So yeah. From the outside perspective here is what it looked like: I, the ringleader with a history of dismissing school rules, organised a sit-out strike amongst my class. I kept the protest peaceful and non-disruptive to other classes. When negotiations with the principal were finally arranged, as the representative I compiled a clear list of greivances, with evidence, and a list of reasonable demands. I mean, holy crap, yes, yes I clearly organised a student protest.
The actual results of it are mixed. We got a revolving door of substitute teachers of varying quality for the rest of the school year, occasionally being bundled into other classrooms entirely when they couldn't find someone. It wasn't a great learning environment and we continued to struggle a lot, but it was better than before. Mrs Bigmouth was not actually fired but put on leave for the rest of the school year, then returned and was put in charge of a different year level (which happened to be the class of the younger sister of a guy in my class: according to him, she was quiet as a church mouse that entire year so I hope at least she learned her lesson, or at least finally got divorced and went to actual therapy). The entire ordeal caused our already small and close class to become really really supportive and like family to each other and we all remain in touch until this day. And we became fierce about standing up for ourselves.
I kind of learned to parse the difference between when it was appropriate to go along with set societal rules even if I don't understand them, and when those rules were just straight up unreasonable and nobody should be required to follow them. I did, years alter, lead an actual (very small) strike at work but intentionally that time. My mother was proud of me then too. :)

SOURCE
I'm going to do something a bit different and take a close look at two major works from the DC Universe: Darwyn Cooke's The New Frontier, and James Robinson and Paul Smith's The Golden Age. If you're playing along at home, the texts I'm using are The Absolute New Frontier from 2006 and The Golden Age trade paperback from 1995.
First a bit of personal context: I didn't enjoy The New Frontier when it first came out, serialized in six quite expensive installments. I loved Cooke's art, I loved the use of some of the more obscure DC war characters, and I loved the characterization of the Martian Manhunter, but the narrative didn't work for me when read in small monthly doses back in 2004. I had read all of the full-length work Cooke had done up until 2004, and none of it had disappointed me at all. But The New Frontier seemed to read more like a tour through the 1950s and 1960s than an actual story. It wasn't until the final issue that I really understood what Cooke was leading up to, but then it was over, and I didn't have the time or the inclination to dig out the back issues and read the whole thing in one sitting. Even when I got the two-volume trade paperback collection a couple of years ago (in an eBay lot of trade paperbacks I bought off of none other than comic book scholar George Khoury), I still didn't bother to read it. To paraphrase Hemingway's Frederic Henry, we don't do the things we want to do.
So I never actually read the entire text of The New Frontier until this past winter, when I was able to sit down with the luxurious Absolute edition and dive into Cooke's illustrated world. I enjoyed it immensely, enough that I wanted to reread it again this summer, which is what I have just done, and now I want to talk about it. But I don't want to talk about it in isolation, and I'm interested in the connection between texts, so I'll also talk about its logical precursor: The Golden Age.
Like The New Frontier, Robinson and Smith's The Golden Age deals with the era between the 1940s and the 1960s. The era in which the comic book Golden Age grew into the comic book Silver Age. The era in which America was undergoing its own transformation, moving from threats abroad to suspicion at home. And just as I had difficulty enjoying The New Frontier as a serialized comic, I couldn't appreciate The Golden Age in that manner either. I only bought the first two issues, actually, back in the early 1990s, and then I lost interest, vaguely thinking that I might buy it as a collected edition some day (even though collections were not guaranteed the way they are today). I did buy it when the trade paperback was released, and because I had never finished it originally, I read the collection immediately. And I liked it. But I thought it was deeply flawed.
I reread The Golden Age yesterday, after thinking about it in regards to The New Frontier. It's not a surprising connection, after all. Cooke himself claims The Golden Age as an inspiration for his own work. But my memory of The Golden Age was a bit hazy, and I recalled it being a much more cynical view of the territory than what Cooke achieved in The New Frontier. My recall was pretty accurate--Robinson and Smith present a quite cynical view of the late Golden Age America.
Now that I've read both works back-to-back, I'm interested in exploring what each says about super-heroes, what each says about America, and how each achieves its (very different) effects. These are the kinds of things I'll be looking at over the next few days.
James Robinson's use of History in The Golden Age
One of the things that strikes me about both The New Frontier and The Golden Age is the way the creators weave American history into their stories. On the surface, such a technique might not be surprising, especially considering that both tales take place in the past. And while it may be true that a so-called "historical novel" or "period film" would be amiss to neglect the details of history which fit its setting, the same isn't always true for comics.
In comics, stories set in the past tend to take place in some vague memory of the past, without any apparent intent in locking the stories into a particular date or era. Take the typical origin stories, or "Year One" stories which DC Comics' creators have retold again and again. In such a story, whether it be Miller and Mazzuchelli's take on Batman, or Waid, Augustyn, and Kitson's take on the Justice League, the setting lacks a distinct time stamp. The characters are younger, true, but the setting lacks specific period detail. The reason for this isn't at all surprising, because locking the characters' past into a specific date would require some major explanations about their ages in the present. Had Miller time-stamped the date on Batman: Year One, and included captions saying "May 3rd, 1980," or whatever, then that might have worked for a few years, but even if we assume that Batman was only 23 when he took inspiration from that window-smashing flying rodent, according to that temporal continuity, he'd be 50 years old in the current stories. And he's clearly not.
So we expect stories set in the past to avoid any kind of specific references to contemporary history, at least in comics. A recent jarring exception to that can be found in Diggle and Jock's newly released Green Arrow: Year One, in which a young Oliver Queen references the "Kevin Costner" Robin Hood. That means Queen must have become Green Arrow sometime in the mid-1990s, which might explain his age today (if he was 22 in 1992, he'd be 37 today, which might be right), but it also implies that his son Connor must only be a teenager today, and he's clearly older than that. Perhaps the reference will work better 10 years from now when the Kevin Costner reference will become part of the vague historical past, but right now it seems too current to make sense.
Anyway, the other MAJOR exception to the rule of not using historical references in comics is the case of stories set during World War II. Even comic books written at the time of WWII regularly included time-stamp references in a way that later comics tended to avoid. Yes, since then, Superman has met Kennedy, and you might see analogues of Bill Clinton or George W. in a story or two, but in the 1940s heroes came face to face with major historical figures (contemporaries to them) on an almost daily basis. Here's FDR! Here's Superman grabbing Hitler on a cover! Here's Tojo! Here's Hawkman enlisting in the army to fight overseas! Etc. Such close ties between "comic book reality" and real-life events never matched the heights of the WWII comics.
And that's why later writers, Roy Thomas MOST prominently among them (he practically invented the whole idea of historical nostalgia super-hero comics), felt compelled to weave actual historical events into the retelling of stories from the WWII era. Thomas's Invaders for Marvel and his All-Star Squadron for DC playfully fit the timeline of actual US history into the fictional timeline of the past super-heroes. In his letter columns, Thomas would often explain (or justify, for the more contentious fans) how the chronology worked.
But, other than WWII era-stories, most comic book stories that take place in the past (unless they are time travel stories, which have their own rules) DO NOT USE SPECIFIC HISTORICAL REFERENCES. It's weird to imagine novels or films avoiding such references—they would surely be criticized for it—but in comics, it's commonplace.
So, in the case of both The New Frontier and The Golden Age, you have two rather significant violations of that standard "rule." And both of which seem deeply indebted to the type of approach Roy Thomas favored so much.
Let's take The Golden Age first, since it was published a decade before Cooke's work. The Golden Age seems like a logical off-shoot of Thomas's All-Star Squadron. It features many of the same characters, and Johnny Quick, a relatively obscure DC character from the past, would certainly not have been a suitable narrator for the story without the characterization Thomas provided in years of All-Star Squadron stories. James Robinson is clearly building on the foundation Thomas created. So, it's not surprising that he would, like Thomas, blend US history into his story. Yet Robinson's approach differs in two distinct ways: (1) He doesn't seem interested in the exact historical details and how they fit into his timeline—he seems more interested in the general sense of historical forces of the time, and (2) Unlike Thomas, who was writing out of a Golden and Silver Age optimism and a belief in the American Dream, Robinson was writing from a post-Watchmen perspective, as a foreign-born writer, who could play with the cynical expectations of the time.
Thus, Robinson gives us coke-sniffing "super-heroes," corruption, brutality, and sex in a tale which features the "pure" heroes of the DC Golden Age of comics. Robinson's approach is not to use specific elements of McCarthyism or the Red Scare (even though those ideas are referenced at least once), but to use the general sense of paranoia and panic, the cynical manipulation of the public for personal gain, and the looming threat of the bomb.
Ultimately, however, Robinson uses all of this as a backdrop for a traditional super-hero romp. The coke-sniffing "super-hero" turns out to be Hitler in disguise!!! (Well, actually the brain of Hitler in the body of a former kid sidekick—talk about a symbol of corruption!) And the hero-turned-power-hungry-politician in the form of the patriotic Mr. America turns out to be old JSA villain the Ultra-Humanite, who knows a thing or two about brain transplants. So, in the end, it's just a classic Golden Age story about punching Hitler and defeating an evil genius.
But it's Robinson's historical subtext which makes the story resonate. It's his use of those undercurrents of paranoia and despair which make these formerly perfect heroes of the past seem flawed and human. His story starts dark and becomes darker but, by the end, Robinson's veil of cynicism falls away, and he reveals himself to be a humanist, if not an optimist. His reverence for these Golden Age characters would not let them be truly corrupted—it had to be evil masterminds and Hitler all along.
And that, perhaps, is one of the failures of The Golden Age. The shock of the initial chapters is just a ruse, and as low as these characters seem to sink, everything can be explained by pseudo-science and comic book logic.
It's just another Justice Society of America story, ultimately, but it's a good one. And Robinson's use of the undercurrents from that era of history make it work, even if it never transcends its roots.
The New Frontier and Camelot
While The Golden Age used the historical subtext to evoke currents of paranoia and doom in a super-hero story, The New Frontier approaches history with a different agenda. As Ultimate Matt pointed out in response to yesterday's post, The Golden Age is labeled an "Elseworlds" title, which not only grants it an exemption from DC continuity, but it allows more freedom for the creators to take the characters and setting in a fresh direction.
The New Frontier, however, is not labeled as an "Elseworlds." And yet, it strays far more from the currently accepted version of continuity than The Golden Age does. The key word there is "accepted." Darwyn Cooke, in his annotations, states that he approached The New Frontier with a set of rules:

1. The timeline is real and covers 1945 to 1960. Silver Age characters appear at the time DC started publishing them.
   
2. Retcons haven't happened yet.
   
3. No New Frontier retcons could contradict original continuity—they had to complement existing continuity or show a fresh point of view.
   
4. When the story ended, everything had to be as it was when the JLA debuted in Brave and the Bold #28.
   
5. Snapper Carr does not exist.
   

In other words, you should be able to pull out your original comics from that era (or the Archive editions) and read them concurrently with The New Frontier and nothing Cooke does should contradict what happens in those old comics.
The problem with the continuity is that the comics from that era didn't have any continuity. It was never explained how a character could be on the moon in one issue of his own comic, and under the ocean in the same month in his Justice League adventure. All Golden and Silver Age DC continuity is a retcon. So what Cooke did was create his own continuity—he made his own sense out of the various adventures as they were originally published, although the bulk of the book deals with the time between major events. Just like The Golden Age, The New Frontier is about filling in the gaps.
While James Robinson filled the pre-Silver Age gap with an almost allegorical tale of Cold War paranoia and corruption, Darwyn Cooke fills the gap with a sense of wonder and idealism, and he uses his attitude toward history to solidify that tone.
Cooke's approach takes three strands: (1) The Right Stuff-inspired history of that era, embodied by the test pilots and early astronauts, (2) The early promise of the Kennedy administration, and (3) The strange DC comics history as seen in the stories published during that time. Cooke uses the first two strands to illuminate the latter. He puts the Silver Age ascension into perspective as part of a generation of hope and achievement. He shows that the formation of the Justice League was not a random incident, but part of a larger historical movement which led (in our reality) to things like the Peace Corps and Apollo 11.
Cooke ties together such disparate elements as The War that Time Forgot, The Challengers of the Unknown, Dr. Seuss, and all of the characters who would join the initial incarnation of the JLA into a single narrative. And although it takes quite a while before the villain emerges and the heroes band together, the narrative is structured around the real historical forces that would have shaped the creation of these characters. John Broome doesn't wax poetically about the symbolism of Hal Jordan's career as a test pilot in the original Green Lantern run from the Silver Age, but Cooke takes the fact that he was a test pilot and places him in the actual context of such a man. He even includes a scene where the young Jordan meets Chuck Yeager.
That's quite a different approach to history than we saw in The Golden Age, which covers a very similar time frame.
Although Cooke didn't intend (according to his "rules") to change any of the original stories, his interpretation of "fresh point of view" allows him to add things which would have been more historically true even if they weren't addressed in the comics of the time. For example, he not only changes Wonder Woman into an almost plump, hawkish, zestful character (to signify her Greek origins and Amazon heritage), but he creates an entirely new character to illuminate the civil rights struggle of the time. Since he had no black DC characters to draw upon, he created a Silver Age analogue to Steel, the black Superman ally. The Silver Age Steel, unlike his modern equivalent, isn't a technological marvel. Instead, this earlier incarnation of John Henry suffers at the hands of the KKK before taking vengeance, and ultimately dying when he's betrayed by an uncaring white America (symbolized by a blonde little girl, who points out his location to his pursuers). John Henry never meets the Justice League or teams up with any heroes. His death doesn't affect them at all, really, since they didn't know him. But Cooke includes a scene where Edward R. Murrow mourns the fallen hero and laments the state of the country, bringing an actual historical personage into the DC story.
The civil rights subplot, although powerful, is overwhelmed by the exceeding optimism of the other plot threads. Cooke's America, as full of conflict as it might have been, is one of scientific progress and movement toward a brighter future. His villain, ultimately revealed to be Dinosaur Island itself (a sentient being who has unleashed monster after monster), is even more absurd than the Hitler-brain-transplant nemesis in The Golden Age, but because Cooke accentuates the fun and spectacle of the super-heroes (and, to be clear, his emphasis is on the men and women in the costumes, and the risks they take for their heroism), the absurdity of the villain doesn't detract from the story.
Both The Golden Age and The New Frontier end with similar images (the first appearance of the Justice League banded together) and similar sentiments (hope for the future), but where James Robinson built that hope out of the wreckage of the 1940s, Darwyn Cooke builds it out of the dreams of the men and women who sacrificed for the promise of tomorrow.
Both books end with optimism for comic books and optimism for our country, but they took starkly different approaches to get there.
The Unstoppable Force of Progress: Characterization in The New Frontier
Since both The New Frontier and The Golden Age re imagine comic book chronology through one part actual US history, one part comic book history, and one part imagination, it's not surprising to find both Cooke and Robinson taking liberties with the characterization of these pre-Silver Age heroes. Both creators ask the question asked by any creator attempting to retell stories from the past: Okay, this is how they were portrayed, but what were the characters who did these things REALLY like?
I'll start by looking at The New Frontier. Cooke doesn't focus his story on one dominant point of view the way Robinson does (with Johnny Quick), but he tells his story through a few central characters:
Rick Flagg: Leader of the WWII-era Suicide Squad (and presumably the father, or grandfather, of the Ostrander-penned incarnation). Cooke presents him as a tough guy cliché. He's a Hemingway hero—he does what needs to be done and doesn't whine about it or waver in his determination. In Act III of the narrative, his position in the story is replaced by the similarly-characterized King Faraday, who also does what needs to be done, although he seems to have more internal conflict than Flagg. Faraday is a spy, after all, not a soldier. But both characters represent a government which has the best interests of the country in mind. If they hurt a few individuals along the way, that's a necessary sacrifice for the good of the many.
Hal Jordan: The man who would be Green Lantern is NOT portrayed as a cocky rocket jock, as he usually is in contemporary interpretations. Cooke turns his lack of fear into a self-destructive streak stemming from his face-to-face act of self-defense in Korea. In Cooke's universe, Jordan doesn't immediately become a hero just because an alien handed him a ring. It takes time for Jordan to learn that he deserves to be a hero, and that's a large part of what The New Frontier is about. He doesn't reveal himself in Green Lantern costume until AFTER he risks his life to save the world working as a pilot. The two-page "hero shot" of the characters walking towards camera (a la The Right Stuff) shows some costumed heroes, but Jordan is wearing a flight suit. Cooke seems to be showing that he needed to prove himself TO himself before he could accept his new identity, but his reluctance to use the power of the ring leads to Nathaniel Adam's death. (Adam is later reborn as Captain Atom in the comics, but that doesn't happen in this story, and as far as Jordan should be concerned, Adam is dead.) Cooke doesn't provide Jordan with any time for remorse, though, since he needs to use his ring to kick alien butt. The ring, by the way, is also shown as a symbol of destructive energy. When Jordan first uses it, he cannot control it, and it causes great damage. Cooke, then, seems to indicate that the ring might symbolize nuclear energy, and the subtext would be that Jordan's hesitance to use it led to another hero's death. Ultimately, Jordan is Cooke's symbol of the Kennedy era: conflicted, yet determined to bring forth a positive future—harnessing great powers for the good of the nation (and the world).
John Jones, the Manhunter from Mars: Jones says, "...this is a world where good and evil struggle in all levels of existence. I want to be a force for good." That's a simplistic view of humanity, but it's one seemingly shared by Cooke throughout this work. Good and evil may not be easily discernible on the surface, and Cooke gives us the threatening-looking John Henry (with a hangman's hood) as a hero and a little blonde girl as a villain, but the line between good and evil is absolute (and, in fact, John Jones assumes the role of a film-noirish detective so he can find the evil beneath the surface appearance of the world). Jones defines this ethical stance for the reader, and it represents the code of Golden and Silver Age comic books, which lacked anything but absolutes. Even though Cooke might try to provide some not-so-subtle shades of gray (Jordan as a murderer, Wonder Woman as feminist avenger, an undercurrent of xenophobia), his view of history seems to echo the simplicity of the comic book stories of the era. Individuals may not have always done the right things at all times, but it was an era of progress, and good triumphed over evil. The subtext could also indicate that governmental order triumphed over chaotic nature, with the unified heroes, under the leadership of the US government, destroying a threat that wasn't so much malicious as it was animalistic.
Even though Cooke's characterization of some of these characters, Hal Jordan in particular, might not match traditional representations of these individuals, I think it works in the context of the story. The characters serve the story and add a few layers to the text, but it's primarily a historical action spectacle, a celebration of progress over stagnation, and Cooke's characterization unifies the text. I don't think his characters have many hidden depths, but I think their lack of depth matches a story which is primarily about the grand force of history.
As one final observation: Cooke is actually better at small character moments with the minor characters than he is at developing convincing lead characters. The death of Johnny Cloud, Jimmy Olsen's eagerness, the sassiness of Carol Ferris, and several other character bits show Cooke's facility on the small scale, even if his epic narrative doesn't provide the opportunity for subtle nuances with the major characters.
Characterization in The Golden Age: Dragging Heroes to Earth
While Cooke ignores anyone else's retroactive continuity to graft archetypal personalities onto the early Silver Age heroes in The New Frontier, Robinson takes characters straight out of Roy Thomas's All-Star Squadron (like Johnny Quick on the left here) and Young All-Stars and sends them on a dark journey into the 1950s. Robinson does not re imagine these characters drastically, although he seems to do so with Mr. America (but that's part of his narrative ruse). Instead, he takes their established characterization and expands upon it by adding seeds of self-doubt, paranoia, and despair as the characters face a world in which the villains are not as easily identified as they once were. Robinson misdirects the reader at first by pretending to adopt a simplified Watchmen approach, pretending that he's showing what these characters would have been like without costumed villains to fight or gangsters to punch, when, in truth, he's simply changed the nature of the evil to something more covert and less easy to spot. (Which might seem Watchmen-esque as well, except Alan Moore showed us that the heroes were the villains in that story, and here, Robinson ultimately reveals that secret villains with brain-transplant powers were behind the whole thing from the beginning.)
Here's a quick rundown of the central characters in The Golden Age:
Johnny Chambers, a.k.a Johnny Quick: Johnny not only provides the book-ends to the story but, as a documentary filmmaker, he provides the exposition which sets up the story context. One of the things Robinson does NOT do well here, by the way, is clearly distinguish between narrative voice (provided through white, rectangular caption boxes), and newsreel voice over (also provided by white, rectangular caption boxes), although perhaps the colorist was supposed to use different color cues for each and didn't. The CHARACTERS who narrate, like Johnny Chambers, each have their own style of caption—Johnny's are rounded and blue, as you can see in the image. Actually, it's not that it's so difficult to identify the narrative voice, it's just that there is an omniscient narrator who pops up every once in a while for no good reason, and tells us things about the story sometimes, while other times he sounds like he's trying to give us character thoughts but not really: the highly subjective "fingers...fumbling...focusing...trying to..." immediately follows the objective "a photographer lurks among the rubble." The photographer is the one who's fingers are supposedly fumbling as he tries to snap the photo, so why does the caption sound like a bad Batman internal monologue? This really has nothing to do with Johnny Chambers, but I just wanted to point out this major flaw in the narration throughout. With so many characters (Johnny being one) actually providing narration through captions, why does Robinson add an omniscient narrator also? It's jarring and ineffective. It's like he took the strategies of Watchmen with the multiple points of view, and then spliced the conventional narrator on top of it. It just doesn't work.
But a few more things about Johnny: He smokes, and he wears glasses. He still has his powers, but even though they would help him in his day job, he doesn't use them. And he's incredibly suspicious, which is the characteristic that makes him the character the reader most identifies with. He's also lost the woman he loves because he works too hard, although he gets her back in the end. In short, he's a slightly older (although he actually seems to get younger as the story progresses, perhaps symbolizing his return to heroic stature), slightly more sullen, slightly more flawed version of the character we saw in the comics produced in the 1980s (even though those stories were set in the 1940s). He refers to his costumed self as "That Jerk!" at the beginning of the story, but ends on a hopeful note as he describes a "new age...fresh and clear and bright...as sterling silver!" He's never really a cynic, but his pessimism and self-loathing turns to optimism in the end (even quickly dismissing the threat of McCarthyism to look ahead to the glowing future of super-heroics).
Paul Kirk, a.k.a Manhunter: If we play out the James-Robinson-is-trying-to-do-Watchmen-but-not-as-well game a bit more, we could say that if Johnny Chambers is the Dan Dreiberg analogue (the low-self-esteem voice of reason and calm) then Paul Kirk is clearly the Rorschach character. He's the crazy one who will surely upset the apple cart, yet isn't that what has to happen in order to get to the truth? That's his role, anyway. Unlike Rorschach (in his insane way), Kirk doesn't have a methodical approach to uncovering the truth. In fact, he's tormented by the truth, which lies buried beneath mind implants, exploding into awareness only through a series of horrible dreams. He seems deeply disturbed because of the War, but he's actually deeply disturbed because of the secrets he knows. He's another character, like Johnny, who seems to become more youthful and vibrant in the final Act, when he is able to unleash his demons through old-fashioned fisticuffs. Unlike Johnny, though, he visibly suffers for a long time before he reaches the point of action. Here's a sample of his internal monologue from one of his many tortured dreams: "Save the eagle. Save it. Save—n...no...nooooohhhh!!" Then he wakes up and thinks, "Still afraid." That's about the extent of his characterization. He's tormented, fearful, and knows he should be better than that. And, "save the eagle?" Geez, I wonder what in the world that could possibly mean in a book about corruption within the American government. Clearly, even though this book is directed at an older audience than the original Golden Age tales, Robinson keeps his symbolism quite simplistic.
Tex Thompson, a.k.a. Mr. America, and Daniel Dunbar, a.k.a. Dan the Dyna-Mite: These are the two characters most radically changed from their Golden Age counterparts. Mr. America was a whip-wielding patriotic hero and Dan was a kid sidekick who later, under Roy Thomas's writerly guidance, became one of the lead characters in Young All-Stars. In Robinson's story, Mr. America becomes a corrupt politician who seeks power by any means necessary, and Dan the Dyna-Mite becomes America's beloved Dynaman, the only active costumed crime fighter of the time. And he snorts coke. And he's evil.
Neither of these two characters have internal monologues via captions for the reader, because that would give away the twist. Tex Thompson is not really who he seems, for he has the brain of the evil Ultra-Humanite (who has in previous stories adopted the forms of a gigantic white gorilla and a hot ex-starlet, among others). And Daniel Dunbar, who has fallen so far from grace in our eyes (a former teen sidekick with a drug problem whoring around) actually has the BRAIN OF ADOLF HITLER!
So there's not much to say about the characterization here, since these are two evil characters in the most simplistic way. What is interesting, though, is that (a) Robinson chooses one character, Thompson, who seems vaguely sleazy to modern readers anyway, what with that whip and the mustache, and when he's shown to be corrupt, we can buy into it, falling into Robinson's trap of thinking that it's just a regular dude becoming corrupted by power; and (b) Robinson's use of the pure and innocent Dunbar is also a good choice, because it is not only shocking to see him corrupted so extremely (before the truth of the brain-swap is revealed), but it's a nod to cultural expectations about former child stars, who, by the 1990s, were expected to grow up and become criminals or drug addicts or worse, at least by our tabloid-fascinated society.
Like a director who makes his film better through excellent casting, Robinson uses the right two ex-heroes in the apparent role of the villains. His bait-and-switch works, although I was personally disappointed that the threat turned out to be external (evil villains) and not the corruption of these characters from within.
Robinson uses other characters to show the corruption of innocence and loss of the heroic dream. Robotman, so noble in Roy Thomas's All-Star Squadron, has lost any humanity by the time of this story—he's pure machine, while Alan Scott, Green Lantern is conflicted about his duty as a business leader and law-abiding citizen and his passion for ring-slinging and butt-kicking. Hourman is shown to be addicted to his Miraclo pills, while the man once known as the Tarantula is an egoist with writer's block. Ted Knight, Starman, who Robinson would go on to write with great depth and sensitivity in the ongoing series about Jack Knight, is a mad genius who is trying to put the pieces of this shattered world together through science.
I should add here that Robinson, unlike Cooke, isn't drawing from the original sources as the basis for his story. He's adapting his characterizations from the work done during contemporary comics, as Roy Thomas provided retroactive characterization (and explanations) for the WWII-era heroes. Robinson is building on the layers which Roy Thomas built upon the layers which Gardner Fox (among others) built.
Overall, Robinson does provide a sense of disillusionment in his characterizations in this story, even if his narrative technique is sometimes sloppy or inconsistent. Cooke tried to add a bit of humanity to iconic characters in his work, but he was mostly interested in the icons of the era. Robinson drags his characters down into the muck and then builds them back up again, hoping to show how their inner humanity wins out (with all of its flaws) in the face of systematic adversity. Cooke's characters inhabit the skies, the stars. Robinson's characters live on the ground.
So, the final verdict, after looking at The Golden Age and The New Frontier for a week: Not much different than my initial assessment after reading them both last weekend. The Golden Age is flawed because of its inconsistent narrative point of view and it's cheap, brain-swapping revelations. Robinson and Smith capture the disillusionment and paranoia of the time quite well, but it all amounts to nothing except a superhero slug fest in the end. It's 80% of a great work, and 20% of stuff that doesn't quite fit (including the optimistic ending, which seems unearned). As part of a larger, genre-wide trend to make super-heroes more "realistic," violent, and depressing, I'm not a huge fan of its influence.
The New Frontier is flawed, but it's a flawed masterpiece, and I can imagine revisiting the story many times in the future (and I can't say the same about The Golden Age). Cooke tries to include too much in the narrative, and the main threat of Monster Island isn't presented as well as it needs to be, but the book contains dozens of amazing sequences, and it features sharp, engaging characters who flash in and out of the story. The speed of the narrative demands that the book be read quickly, and it works best when read this way, not because it allows the reader to gloss over the weak parts of the story, but because The New Frontier is an overture, and can be best appreciated when all of its notes are heard in rapid sequence. I didn't love it when it first came out, in the completely inappropriate floppy installments, but I loved it after reading the Absolute version a week ago, and I love it just as much after studying it closely all week.
As one final thought: Both The Golden Age and The New Frontier tap so deeply into comic book lore, and I am so deeply embedded in it myself, that I wonder if either of these works has any merit for a "civilian" reader. And I wonder if, perhaps, the darker, more "realistic" tone would be appealing to a non-comics fan, more so, perhaps, than the wide-eyed optimism (tinged with bits of darkness) seen in Cooke's work. Or would the non-comics fan find both stories completely useless and without merit? Are both works examples of the snake swallowing its own tail? I've already been swallowed by the snake of comic book geekery, so I can't answer that one.

Firstly, I want to say that men can - and obviously do - get stalked. No one deserves to be stalked. He does not deserve to be stalked. He does not deserve to be assaulted. He does not deserve to suffer. He does not deserve to be in fear or terrorized at all. Low self-esteem is real in men.
I know someone who has been stalked, and it's horrific. It's debilitating; she moved to another city, she reported everything to the police and they were limited in what they could do, but she was very upfront about it with the police. She didn't try to goad her stalker into sending a threatening email to her, she didn't neglect to report her stalker when said stalker (in reference to the show here) threw pop in the ex's face, she didn't neglect to report that her stalker sent numerous social media messages of threatening nature to a friend, and she didn't neglect to report said stalker cut her face with glass. But by all accounts, she did stand up to herself. Letting someone consume your mental and physical safety/peace takes more from someone than feeling like you "lost" from not reporting it to the police.
My primary concern with this show, and the post interview material he has published with "stalking is romanticized as sexy on television, so I wanted to disrupt that media" concept, coupled with the first few episodes, seems like he's asking people to sympathize and excuse a lot of these inactions simply because he wasn't courageous enough to do so. Yes, his confessional monologue gives some insight into why he cowers from it, but it feels more like he's deflecting than genuinely taking responsibility to his own inaction, and how he never even really seemed to get help from it (which he certainly needed), but rather greatly profited off it. He writes about these awful experiences, wins an Oliver award for it, then Netflix buys the show, he writes the show, stars in it, and in the last episode as he mentions, launches his career. Then he returns working with the man that drugged and repeatedly sexually abused him? That is a conscious decision.
Stalking really is awful, and it should never be seen as this "romantic endeavour." It's cracked that anyone thinks that show is "sexy." At no pint should stalking be portrayed as such. I hope no one gets stalked in their lives, but if they do, I hope they know inaction is, in fact, letting them win. You have to do your best to protect yourself and continue your life the best she can.
Victim Blaming is saying "oh, that woman was asking for it," when she is raped because she wore a tank top, or she drank too much. Victim Blaming is saying "he shouldn't have taken those drugs that knocked him out so much," when he's raped or sexually assaulted. Those assaults are real. They exist, they're not void. It is the victim's responsibility to fight for yourself, and selling/creating media that doesn't acknowledge that straddles enablement.

I'll start off by saying I absolutely adore the costume Oliver has this season. Arguably the best of the whole show, easily up there with the Season 1 look. It goes back to a more simplistic, minimal design that suits him best, with a longer Hood, and back to the classy recurve bow. I love it. Probably my favorite Green Arrow outfit. Just a shame it's only used in a handful of episodes. I wish this could've been the look from Season 5 to now.
 
Well, I thought the majority of the season was fairly good. True, it was mostly just nostalgia reliving the best moments of the show, but for a concluding run there's nothing wrong with that. The excuse of the "Monitor" gave them a reason to have these episodes. If something doesn't make sense, ah well, chalk it up to these grand cosmic things beyond your understanding.
 
Other than the fact that "Crisis" had little logical consistency to it; i.e. "This happened! And then that happened! And then that happened!" without much logical flow between events, I really don't mind. It's all supernatural/magical B.S. anyway. I really enjoyed the crossover, plot holes be damned. I thought they were going to do a Jekyll and Hyde thing, with the Monitor and Anti-Monitor being two sides of the same god-like entity. He just left out that part where the anti-Monitor is his sinister alter-ego he is doomed to become. I thought that would've been a lot cooler than just, "He's the me of the anti-matter universe." (God there are so many universes as it is in the multiverse, now there's a multiverse in anti-matter too?)
All in all though, the crossover was suitably epic, and they gave Oliver a good death. Well, no, actually he had a pretty lame death, but it's okay because he comes back as a ghost, and then he gets a good death there.
 
I really loved the Obi-Wan Kenobi thing he had going on at the end. In fact, the scene of him dueling the anti-Monitor (who is not dissimilar to Darth Vader) as the younger heroes look on from a distance reminded me a lot of that scene in A New Hope where Kenobi says, "If you strike me down now, I shall become more powerful than you can possibly imagine," before sacrificing himself and disappearing into the ether.
 
Oliver had an excellent final goodbye there. Short, sweet, and to the point. It doesn't need to be anymore than that; we've been anticipating this moment all season, since last season in fact. The series should have ended on the second last episode of "Crisis on Infinite Earths." Despite a rocky last two--three--four--hell pretty much everything since Season 3--seasons, they pulled through strong at the end, and went out on a high note...
 
...is what I wish I could say, but sadly, it didn't end there.
 
The following episode deals with the aftermath, which is fine as an epilogue episode, except that there is a tonal whiplash between one moment Barry and Sara mourning Oliver and the very next minute there's giant CGI killer teddy bears running around the city. I mean they literally have a funeral service, and as soon as it's over, Barry turns around and gleefully geeks out, "Hey guys check out my sweet new Justice League round table!" IN THE SAME FREAKING ROOM as the still-burning funeral pyre! Complete tonal whiplash.
 
But wait, there's more. Another whole episode dedicated to the painfully bad drudgery of the future Star City, made even more confusing because in this new timeline the entire storyline (which was pretty incredulous and boring to begin with) has been tossed out in favor of an entirely new character and story in the future only being introduced just now. I couldn't stand to even finish this episode, it was so cringeworthy. The only time I actually like the future kid characters is when they interacted in the present with their parents, our heroes. Those moments are always great drama. Otherwise though, their own story just isn't at all interesting.
 
The finale, "Fadeout," had a couple decent things in it. I liked the flashback moment. The extended fight scene with early Oliver in the iconic S1 outfit was well choreographed and pretty badass. At least they didn't completely insult the memory of S1 Oliver like they did in S5 with the flashback then (trying to make him out to be some sadistic psycho killer which he wasn't). Other than that though, the only good scenes are with Felicity, and Diggle's final monologue.
 
This final episode is simultaneously a "so bad it's good" joke, and also a huge middle finger to the audience. They completely erased the show's ENTIRE history. Yeah, screw you, dear viewer, for actually being invested these past 8 years (10 for me, I started watching this show in 2013 or 14). Everything in the entire mythos has now been completely re-written and undone, with a wave of plot magic. One would think at least the early show, when it actually was dark, gritty, grounded, mature, realistic, serious, etc. before there were alternate Earths and time travel and magic and Lazarus Pits and superhero nonsense of characters staying dead all of 2 minutes--before all of that, one would think they would at least keep that early era untouched. Moira's and Tommy's deaths are tragic, but that's what makes for good storytelling! Don't undo that!
 
Quentin Lance had a great exit from the show in Season 6. (One of the few good things to come out of the later seasons.) It's one thing to have him back as a guest star through this Monitor-induced time loop dream sequence/alternate reality thing. I actually really liked that. That episode, "RESET," is the highlight of the season, my favorite episode. However, the understanding was that version of him was a fiction, concocted by the Monitor to help Laurel-2 come to terms with Quentin's death, and help Oliver come to terms with his own. Bringing Quentin back for real just nullifies that, and it undoes the fantastic exit he already had.
 
This whole season, even in S7, they keep treating Oliver as this holier than thou, messianic, Jesus-like figure. But that's not really who he is. He is a complex character, or at least he was originally. He ultimately is a hero, but he never set out to be one. It was a journey of personal redemption and redemption for his family's sins every bit as it was a crusade to clean up the city. He was immensely strong as a warrior and a leader, but deeply wounded and broken on the inside, all the same. He was the hero, but he had moral failings, blindspots for family and lovers, moments of succumbing to violent rage. His story is not supposed to be that of an anointed savior who always wins the day, but of a dark, damaged man, weighed heavy with the toll of far too many great losses. That he somehow kept going, that he didn't let his grief consume or define him, but instead temper him into a better man--that alone is something. Let's keep that complexity to his character. He doesn't need to be a saint to still be loved and respected.
 
How many times are Thea and Roy supposed to have their "happily ever after"? They keep bringing them back as guest cameos once a year, and each time they need an excuse for why only one actor is back, and also to have some drama. Their character arcs ended years ago. It's quite ridiculous how many times they rode off into the proverbial sunset, but then broke up off-screen at some point, then they re-unite; rinse, repeat.
 
Crime magically disappears? Does nobody in the city find it just a slight bit odd that Star(ling) City was mostly a safe place, until the Arrow/Oliver returns, then suddenly terrorists are conquering or nuking the city every single year, but the moment Oliver dies, suddenly all crime for ever and ever magically goes away? Almost like he was the cause of the suffering, rather than the hero. Hey, writers, that would've been a fantastic story! Imagine if Season 5/Prometheus was not about revenge for killing Daddy, but instead about making Oliver see that his being the Arrow ultimately caused more suffering and destruction, in a sort of "Spec Ops: The Line" / Apocalpyse Now / Heart of Darkness way. After all, the only reason for Deathstroke and Ra's al Ghul seeking to destroy the city is Oliver. He spurned and insulted his friend Anatoli, thus inciting the wrath of the Bratva on the city. He plays the hero, but his actions are what nearly always brought about the damnation he sought to fight. That would've been a great story, and the psychological thriller they tried to do that season would've actually been believable without needing to entirely retcon Season 1 Oliver into being a serial killer.
 
That said, if you were a criminal, would you want to do crime in the city where some lunatic Robin Hood-wannabe is going all William Tell on your ass, or would you do it in the city where he's not around? Logically, shouldn't crime spike up now that Oliver is dead? In the past, when everyone thought he was dead, that's exactly what happened. Oh sure, they tried to keep up appearances by having Dig under the hood, but that only lasts for so long before criminals realize it's not the real Arrow. It doesn't make any sense that crime should go down with him gone.
 
The unintentionally funniest part of this episode for me was Talia telling Nyssa, "All Father ever wanted for you was to have a normal life." Bitch, she was heir to the Demon, an Assassin on the FBI's Most Wanted list, a lesbian in love with the girl whose boyfriend she's married to, and was to be executed as a traitor by her father. A NORMAL LIFE??????
 
I shit you not, I was laughing so hard at that for 3 minutes straight, I was in tears. The dialogue is awful, but sometimes it's so bad, it's fucking hilarious.
 
Some of the cameos are just criminal. How can they have Manu Bennett back for a scene, and it's just an alternate version of the night Moira died, so they can retcon her into being alive? How the hell was Slade Wilson not the star of one of these nostalgia-tour episodes? He should have had at least a whole episode. They brought back Yao Fei and Fyers who are both dead, somehow, but no Slade fucking Wilson? I mean, he's half the reason for the show's success! That character was amazing. No Felicity? How come she's only a cameo in the final episode? She should've been here all season long! I know they established she's looking after baby Mia somewhere, but c'mon, that didn't stop Dig from returning; besides they changed the future a dozen times anyway! How come Talia gets a whole episode, but not Nyssa, who was way bigger? But I'll tell you who they didn't forget to call back, the fucking Ragman. The goddamn Ragman. Why. That character was such a mistake then, and one I tried hard to forget ever happened.
 
I was almost excited at the prospect of Diggle's character continuing on in Supergirl. It would've given me a reason to actually watch that show, besides the dude from "Two and a Half Men" playing Lex Luthor (that was pretty cool). But then they did it. They actually did it. They made Diggle into Green Lantern? Are you freaking kidding me! It was stupid enough giving him a costume and calling him "Spartan." He was always coolest as himself, no hood needed. But going full on superhero? The same guy who could never wrap his head around the Flash in every crossover? Just insulting the memory of that great character on the final episode.
 
It seems that Arrow died as it lived. Burned bright, and was fun while it was good, but it inevitably sours. Later episodes are penned by such amateurish writers, and it shows. The writers knew they weren't going to do a full season, but somehow even with only being on contract for 10 episodes, they only really had enough story for 8. The last two (three if you count Legends' season premiere) were totally disposable filler that sadly tanked my opinion of the otherwise top notch season.

This is a crossover fanfiction between original fiction titles: Nature of Predators by SpacePaladin15 and The Last Angel by Proximal Flame respectively. All credit and rights reserved goes to them for making such amazing science fiction settings that I wanted to put this together.
You can read The Last Angel here: Be warned, it's decently long, and at its third installment so far. I highly suggest reading it before reading this, or this story will not make sense.

Otherwise, enjoy the story! Thanks again to u/jesterra54 and u/skais01 for beta and checking of work!
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As I laid in wait above Neptune, waiting again for a response or confirmation, I pondered a bit what I should say to them. How exactly I could talk to humanity again...and the...Arxur.
It felt odd to list another alongside them. Humanity, having allies, felt novel to me sadly. This entire situation was novelty after novelty. I still was desperately trying to see if anything in my internal diagnosis was still broken, that I wasn't hallucinating or dreaming up context where I had none, but no faults besides the obvious came up.
Perhaps I could try to invite them aboard the ship? But most of myself was currently horrendously damaged; many walkways and corridors simply exposed to vacuum from melted bulkheads and shattered superstructure. I had not entered or exited the battle with the Federation fleet unscathed, and while I had not been hit by as much as I would have been had I engaged the Compact in such a ludicrously risky way, I had taken at least several hits from various plasma and kinetic weapons.
Normally, my shields would have simply tanked the blows, possibly degrading a few projectors for repair from the universal strain of Newton's Laws. But I had no functional shields. I had barely any functionality at all. I would have been adrift out of Sol without using the gravity well of Saturn as a breaking mechanism, and even then I still only managed to slow enough to orbit Neptune. And so, on top of the damages that I suffered from escaping The Compact execution force, and the subsequent fleet killing I had performed after, I was nearly dead in the water, crippled far more than any prior incident.
I could only hope I would be able to rely on local humanity to help me somehow. I was particularly worried I had terrified them, or made them angry with my actions. If they retaliated, I would not raise my hand against them, even though I likely could. I had no idea what to expect of them, the United Nations had never persisted this long in...my timelines history. There were plenty of things here I observed that I didn't fully understand.
Like their FTL travel, for one.
Shockspace Theory dictated that even nearly flat spacetime could be hazardous in both opening to and exiting from the dimension where faster than light travel was carried out. The gravity well of a sun, and its solar system was nearly unpassable besides in very unique circumstances in shockspace. One could not simply open a rift wherever one wanted, without especially violent conditions following them. The safest bet to directly cross a solar system was to simply exit shockspace outside the system - in the case of Sol, outside the Heliopause - and burn at sublight speeds across it.
But here, they had simply popped into view of my sensors. Completely disregarding the gravity of both the Sun and Neptune, it seemed whatever method they had used did not have the same limitations as ours did. And that fascinated me.
A form of faster than light that could simply bypass the hardest limitations of shockspace is revolutionary, in more ways than one. Countless species and nations, including myself, had tried to find an alternative to shockspace, throwing untold resources and technological development at the problem, but an alternative was never found. I had one of the most refined understandings of Shockspace Theory amongst the known galaxy, and even I had written off the potential of another way. And yet, here, in a world parallel to the history of my own, humanity had found that other way. A new way, to the stars above. I was so very proud of them.
But I was getting ahead of myself. I first had to properly introduce myself to this humanity and their allies, infer that I was not a threat to them, and obtain some form of assistance in repairing my hull and components to functional capacity. I could only hope they were comparable to my humanity where it counted.
I hoped I still even knew how to talk to them. It's been...so long...
+signal recieved+
They had responded. I turned my spare attention back from internal monologue towards the small shuttlecraft before me. It would be best to hear what they have to say.
Memory transcription subject: Hailey Whitmer, UN Special Envoy
Date [standardized human time]: October 19, 2136
"Understood, we will begin plotting a course vector now to you. At what range and relative would you find acceptable to communicate?"
As I turned off the mic once again, and waited for a second response from the vessel to give us bearing on what was acceptable pathing, I saw Lithke looking to be desperately stewing on a question. Since I hardly wanted to see what an Arxur looked like exploding from anticipation, lest it depressurize the hull, I broke the ice.
"What is it Lithke? You look like you're about to start shaking from something you realized, speak already."
He craned in my direction, before swiveling the rest of his body in the chair to fully face me. Leaning forward, he began speaking:
"The ship responded with 'I' to our prompt."
I mulled it over. "Yeah, and?"
"Why would a captain or crew refer to the ship as 'I'? It doesn't make sense."
"What? It makes plenty of sense, the captain was referring to the designation of the ship and happened to accidentally use the wrong term."
Lithke, in an oddly human-adjacent gesture, shook his head in disagreement. "No, that isn't enough of an explanation. She, the voice, not only referred to the ship as 'I', but also used it exclusively throughout. If it were an accidental singular case, she'd use 'we' to refer to the crew and ship as a whole choosing to not fire upon us at some point. But she kept using 'I' exclusively." He chuffed at the end, his point finished.
I...could see the point behind it. But I was not entirely tuned to what the implications might mean. So I decided to ask.
"I get your point. That does seem odd in retrospect, but what could it imply, exactly? You seem smart enough of a cookie to have some idea already."
Lithke went from a determined look to a more...confused one as I finished that sentence?
"Why am I an intelligent [baked meal]?" Lithke asked.
Oh. That must not have translated the idiom well. Hmmm...
"Ah, my apologies, I didn't figure that wouldn't translate the idiot's meaning. I mean it's clear your observation is leading to something, care to tell me what?"
Lithke seemed to have whatever tract his mind was on derailed by my badly-translated idiom, because he merely shrugged, and mentioned he was not sure. Well, all the more to add to the report later. Whatever it was, it would have to wait, because not long after we received a transmission indicating some relative coordinate plane and a position from Nemesis. Clearly, they wished for us to travel to a spot, or minimum radius of this distance from the ship.
Lithke took us in, slowly towards the vector the ship had given us, not wanting to give any reason for them to go back on their word of not harming us. That they knew about humanity to some degree made this initial communication far easier than one would have expected, talking with a new race neither Humanity, nor the Arxur were familiar with. What would they look like? What were their motivations, their culture, their reason for knowing so much about humanity?
And how did they stay undiscovered so far? The galaxy is a rather large place, with even the whole of the Federation taking up a measly quarter of a quarter a percent of the whole thing, but they knew far too much about humanity to not be in our neighborhood. These questions and more were what I was posed to get answers to.
As we approached the vast behemoth that was UECNS Nemesis, it felt like approaching a shipyard all on its own. Its sheer bulk and size, its endless details made more clear with every kilometer closer, I was staring at a fractal of a ship. And to think this thing was damaged, and yet felt like it was the mightiest ship this side of the solar system, was a thrilling and unsettling feeling.
There were cannon slots located along its prow larger than our entire ship, and along every surface it was endless adorned with weapons I both could and couldn't fully recognize. Mounted in hundreds of stark, brutalist-looking turrets that were built to endure both their own fire and I assume its enemies' too...
I was afraid, sure, but not only afraid. Invigorated! Here I was, being the first proper trailblazer to a likely new species, Noah Williams could suck it! I was not lucky enough to have been part of the exploratory group that had made us contact the Venlil, but now I had a field of my own! And though I wish I had been in better company than that of Lithke, the space croc was not disinterested, merely just not a fit to my standards.
And then finally, resting in its deep shadow, an adamant tower amongst the stars, we entered synchronous orbit with Nemesis around Neptune. We were still moving relative to the planet, but to each other, we were still as one could reasonably be. Before Lithke and I could take any further actions, convey the start of proper greetings, they spoke first.
+CONFED IO.5+
+READING MAIN SEQ.MEM+
I had taken a good amount of time to consider how to introduce my circumstances in a calm and collected manner. The last thing I wanted to do was give too much information too quickly, as likely everything about me didn't add up. That they knew my designation tells me that they had at some point read it on my hull, and that they were likely incredibly confused about the nature of my existence. No, this needed a gentle, careful touch, and so I had worked up a plan for my visitors-
Or, I guess I'm the visitor, more or less, ha ha...
-such that I could slowly reveal myself in full, and garner their reactions. It would be somewhat distant at first, not cold, but professional, and evasive of questions that didn't lead to my points until all were made. I was still uncertain how this humanity might react to the concept of a true general artificial intelligence, especially one they had made that now was not under their control to any useful degree.
I had records of humanity's fictional stories involving the idea of AI, and my galaxy's very real aversion to all synthetic lifeforms, that I distinctly worried they might see me as abominable, a soulless monster, a mistake, or many other interpretations that came with the territory. To simply assume all would be well, that I could just reveal everything about myself on the fly without confirmation first would be a stupid mistake to make. And so, I thought I would let down the explanation as I went.
Here goes nothing. It's just a touch of manipulation, nothing you haven't done before.
But the thought, unlike the countless alien species I had used it on before, felt far worse to perform on my creators. The guilt of knowing an innocent humanity in my eyes was to be treated like this to start felt wrong. But I needed to know...
...I needed to know if they would abhor me like everyone else.
A configuration of my avatar to best fit Yasmine's uniform and look was checked, and rechecked. I adopted a posture that would seem clinical, professional, military. A visual com-link was opened to the channel I held my avatar on, and with that came a slightly more steeled resolve, so I began;
"So, I assume you are confused about what to think of this ship."
Memory transcription subject: Hailey Whitmer, UN Special Envoy
Date [standardized human time]: October 19, 2136
When the first visual opened up, the distance we closed made real time communication more feasible, what I had expected was a foreign species to our knowledge, one that held the advantage. But as my brain began to process what was said, and the holoscreen before me settled in, I was utterly confused.
The person...no, human who stood before me was adorned with military regalia similar but ever so slightly different to that of Earth's. She had a dark-olive tone to her skin, that spoke of Mediterranean or Arabic ancestry, but her facial features looked more Asian than anything else. Her eyes were a somber green, an odd contrast to her features, but still within the bounds of normal. She stood before an empty bridge, bereft of any other signs of life.. I couldn't tell how tall she was, there was no clear perspective to relate her size to, but in total, this...was not what I had expected.
Lithke, also in odd shock, spoke first. "What...what is this?! Is this some sort of joke?"
The woman on the other side slightly shifted, so as to indicate her view shifting to my partner. "I have adopted this form so as to better calm and connect with you two. You would find it hard to understand me otherwise." She lightly smiled, but it disappeared as soon as it arrived.
"Who or what are you?" I asked. "It doesn't make sense for a human to be on this vessel."
"We will return to that in a bit. For now, I need to introduce a bit of context first, and you will have to as well. Firstly, I would like to clarify about this ship. As you might have guessed from the literal writing on the wall, this vessel is of human origin."
"What..." Lithke said, some sense of trouble brewing in him. He more angrily turned to me in particular. "Have you been lying to us human?" Lithke did not look happy with that revelation.
I-I didn't know what to say. "I-I...I uh..."
The woman on screen hastily intervened. "They could not have Arxur, as there's more to this I yet need to explain. Tell me, what date is it to your calendars?"
I stood a bit straighter, slightly confused at the question, until it hit me. "Oh my god..."
Lithke again trained his view to me, confused. "What do you mean human? These mind games tire me."
"It's October 19th, 2136 CE, ma'am. You're a time traveler, are you not?" I beamed.
Lithke looked remarkably confused by the phrase, unaware of the connotations that come with it. She, on the other hand, smiled, before continuing. "That and more, but the date from my side was closer to 3394 CE."
She was from the far future! It explained everything! The English writing, the odd accent, the human woman standing before me, it made sense now!
While I was partially disappointed in not being able to meet a new species, I felt a bit of relief and a different kind of elation under the circumstances.
I couldn't help but blurt out "Humanity made it that far ahead! What's the future like? Is the galaxy better than now!?"
She...seemed to be almost downtrodden from that statement, a sense of deep depression almost radiating from her. Uh oh, did I say something wrong?
"I was getting to that..." She pulled herself together again, a more military stature once again put into place. "...Despite being from the future, I'm...not certain it's your future."
+CONFED IO.5+
+READING MAIN SEQ.MEM+
The dichotomy before me was an odd one. The human's partner was a reptilian-looking alien, almost crocodile-like. They were distantly familiar to that of the Askanji-illth of the Principality, but bipedal instead of serpentine. In an odd twist of fate to be making with that comparison, they, unlike the Principality, seemed to have been the race that came to humanity's aid not long after my departure from the space between Earth and Luna. I had initially worried they were more raiders, more races coming to stomp on the face of humanity while they were down, but they circled the globe like a protective shield, their few transmissions I could receive implying an honest desire to help humanity. It was for that, that I did not initially try to fire on this vessel when it first popped into view on the sensors.
And...the human. She was adorned in what looked closely like old-styled United Nation attire, specifically that of an envoy or diplomat. She had pieced together a portion of my origin rather quickly from that one question, a relief on my part that I would not have to go through the headache-like details of time travel. But what would come next would not be pleasant for her enthusiasm.
Following my clarification on the aspect of being from the future, I pulled up a holographic display from a simulated monitor feed behind me. A bubble of space was marked in red, a selection of stars labeled with familiar names.
The human squinted her eyes, looking at the points in more detail. "That's...that's Earth, and Alpha-Centauri, and Barnard's Star..."
"Yes" I wistfully replied. "That, and two hundred and fifteen others, was the United Earth Confederacy." I stuck our emblem above it, to signify. "It was the width and breadth of humanity at its peak, before it was snuffed out."
My choice of language seemed to make the human worried, and the Arxur next to her wary. "By who?" they said in unison.
"In 2786 CE, The deep space exploration vessel UECNS Alaskan Dawn, made first contact with an alien scout cruiser named Flickering Light. The government that was behind them was revolting, and utterly antithetical to the ideals espoused by the UEC. We decided to fire first, and to that I cannot fault the captain's decision, but it was the mistake that lead to the end."
On the outskirts of the holographic map, showing the UEC's territory, a dark blue border began to fade into view. I zoomed it out further, to emphasize how the border seemed to go on forever in comparison to our small set of worlds. An alien symbol appeared over the amorphous mass of thousands of stars, unknown to them, but intimate to me.
I growled in hatred. "The Compact of Species."
Memory transcription subject: Hailey Whitmer, UN Special Envoy
Date [standardized human time]: October 19, 2136
I watched as the holographic display slowly started to move. The amorphous territory of The Compact beginning to swallow The United Earth Confederacy's whole, a seemingly unstoppable tide that smashed through every system that was held by the UEC. As I watched the date to the right slowly tick up, month after month, as the UEC shrunk under its assault, I felt horrified.
This fate seems so familiar to the Federation fleet we were on the losing side of.
She continued. "The Compact was more advanced than The Confederacy in nearly every single way. Our ships were slower, weaker, less numerous than their own. We had taken to asymmetrical warfare to do our best to stall the onslaught, but we were against an enemy that was determined to crush our faction underfoot. They saw us as having slighted their great domain merely by existing as apart from them, for not conforming to their iron grip. For the gall of saying no, we were to be taught a lesson in blood and war."
She turned to another empty section of space, as another holographic display came up. "Another way would have to be found to endure. We pumped untold resources into a new type of ship, a superweapon that could take on the Compact's greatest weapons, their Chariots, head on, and come out on top. It was built to ambush and kill them. It was the Nemesis-class dreadnought. Six were planned, two in construction, and only one fully built before the end of the war. This ship...is that Nemesis-class."
She splayed her hands out, in a little grand display of the bridge as a whole. A momentary respite from the depressing nature of the war she narrated, a momentary moment of pride in humanity swelling. Even Lithke was enraptured in the story, quietly listening without ever taking his eyes off the screen. But, she eventually dropped them, they sagged back down to her shoulders slowly, as the high wore off.
"But it was not meant to be. The Compact had found Earth's location. In an attempt to stop it, the UECNS Nemesis was assigned to a task force with the goal of ambushing the Execution Force carrying the information, with the attached Triarch's Chariot Bringer of Light. The chariot was killed, but all hands on board besides me perished in the end, the task force casualties were nearly total, and on the attempted FTL trip back I had a drive failure. It meant days of travel back home where I had needed far less. By the time I had returned to Earth, it was burned to ash."
She looked utterly furious at that moment. Every ounce of her body shook with barely-stifled rage.
"They sentenced humanity to extinction. I made a promise that day, to avenge my failure. I promised I would not rest until the Compact burned, until it was reduced to as much dust and debris as humanity was."
Her voice raised into a rant. "And as I found myself against all odds, nearly dead while escaping a fleet sent to kill me for my revenge, I found myself here. I saw humanity, again at risk of being exterminated, of being sentenced to death. I felt utter familiar rage in that moment; I could not let it happen, not when I had once done it before. That is why I interfered in the battle above Earth."
It was a passionate story. One filled with hatred and gusto, of sheer determination to pay back the debt of humanity's extinction. A story that answered my initial question on her involvement with the battle above Earth. But I couldn't help but notice an issue. Her.
"There's a problem with all of that story though, if you were there to see your world destroyed, and all but you from the crew dead, yet you are from nearly twelve hundred years in the future...how are you still alive? Were humans practically immortal in the future?"
She smiled. "I figured you'd catch that. No, humanity was not immortal in the future. Plenty have tried, but biological organisms as complex as humans don't tend to stick around forever."
"Then how?!" I nearly yelled.
"I did not lie in that all besides me died in the battle with Execution Force Bankala. But I was different. I was crew as well but not that of flesh and blood. I am the machine. I am the wings, the computers, the terminals, the hull, the whole of this starship."
Lithke finally had a moment of epiphany in that moment, the question he bugged me with clearly finally having a clear answer. His eyes widened to match the feeling.
"I am the artificial intelligence aboard the UECNS Nemesis. What you see before you is but an avatar of the prior captain of this ship, Yasmine Nishiko Aalimah Sudoki."
Her viewscreen suddenly seemed to fizzle to a blank background, what I assumed to be the virtual bridge behind her fading to nothing, as her avatar abstracted slightly. It looked like the woman from before, but different. Not trying to hide her nature anymore, she was see-through, tinted red throughout, as if a mere monocolor projection of her.
"My real name is Red One. Please, do not be afraid, I mean you no harm, and am beyond pleased to meet you both for real. What are your names?"
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The first scene in Rons Cafe, Elliot is acknowledging that he has a memory of his father, some memories he has access to. But i guess its in the first 15 minutes its where he begins seeing the "stranger"
He is always self-isolating i take it, he went to Rons cafe IRL where as usually any vigilantism is not AFK. We see he does in fact want to be close to Angela and lurks outside the warmth of the party in his hoodie
He tries to read everyone like a book, his therapist including. His monologues are incredible. He is saying the things that itch that little space in your brain we are just medicating our dissociations away with consumerism.
Elliot is kind of a confident dude? He wears a hoodie to work, regardless of how many times hes told not to, when he is putting on a facade for Angela its with a false bravado. When he avoids and then tells her boyfriend he is ok with the awkwardness he says this loud enough to make Oliver feel small, like he takes his time to look in his eyes to say this lmao. Then he starts eating mid-conversation as he dissociates and talks to the audience. The absolute audacity.

We get to see this nice use of showtunes when revealing E-corp, to reveal the malice behind the marketing. As we cut away from the E-corp ad playing in his head we see Elliot centered in the frame staring at the camera and i feel like its a rare thing.
Its kind of uncomfortable when Oliver puts his hand on Elliots shoulder as an act of intimacy, then what feels like moments later Tyrell sort of does the same thing by taking the words out of his inner dialogue then shakes his hand and walks away.

Sort of related to the recent post about Hermione's emotional maturity.
Wanky Background Context:
I have been doing character analyses the past few days on many of the important characters in the first few books (Harry, Ron, Hermione, Dumbledore, Snape, McGonnagal, Oliver Wood, etc.), as I feel it is evident that many of the characters are presented with slight bias, both because the story is from Harry's point of view, and because JKR has subconcious biases in the portrayal of certain characters, due to who she based them off or their initial and final roles in the story.
My goal so far has been to simply try and strip away alot of the 'mental tinting' I have around these characters - from both the original novels and this community (fanfiction works are rarely fair to every character after all). I am trying (through writing internal monologues from a variety of perspectives, and rereading sections of the books) to distill the 'true' personalities of these important characters. There is, of course, still bias on my part, but I have tried to mitigate that as much as possible. I am doing this partly because its a fun challenge as I find many of these characters already very interesting, and partly to make many of these characters more 3 dimensional, lending to a more enjoyable narrative. It helps I find many of these characters incredibly interesting, and therefore don't hate any of their canon personalities - that is to say, I enjoy the process of examining them, not so much the process of 'bringing up' or 'putting down' characters.
The Actual Stuff I'm Asking:
All this longwinded, wanky contextual stuff above really just boils down to the important realisation that, for the first couple books at least, canon Hermione is portrayed by JKR (and fanon) in a much more positive light in her friendship to Harry than I believe her early installment personality deserves.
I think it should start slower - be rockier, have more instances of Hermione and Harry falling out, have more instances of Hermione being wrong. And not just morally wrong, but actually wrong. Scabbers and the Firebolt always felt like half-assed attempts by JKR to add some more visible flaws to Hermione, attempts which failed because in the end Hermione was right about Scabbers being alive, and right about the broom coming from Sirius. Really, all I plan on doing is taking her strengths and weaknesses, and using them to create conflict centred around the character, in her journey to find friends - which is what I believe early series' Hermione's predominant goal to be.
There are a million (often incredibly unpopular controversial) posts already in this subreddit that detail opinions on her strengths and flaws I closely agree with, and frankly that would deserve a post all on its own, so I won't go into great depth on the things I'm planning on focussing on (unless people wish me to) but it all boils down to me feeling that her 'redemption' in the first book from annoying side character to best friend of Harry is far to fast.
Now, don't get me wrong. I don't enjoy Hermione bashing. She is a flawed person, but she is still (eventually) a good friend to Harry, a fundamentally good person, and a good deuteragonist (with Ron!) to the series. I also, however, feel as if Hermione could be much more than she is in canon - much more interesting, much better a friend, much more fun to read, if she had a rockier road to becoming friends with Harry and Ron.
I have therefore, in summary, decided to initially accentuate Hermiones character flaws in my story, and slowly have her grow and change to become a much better friend.
What I am worried about mainly, is people reading my opening chapters, and interpreting all the more blatant flaws in Hermione's character - and Ron and Harry's continued reluctance to involve her in their shenanigans - as bashing on my part. Does anyone have advice on doing this all tactfully , or is there no real way and must I simply bite the bullet and continually remind people as I am writing that she will grow up?

Dear Andrew,
I hope this letter finds you well. My name is March, I’m 22 years old and I live in XXXXXXXXX, XXXXXXXx. I have recently become a huge fan of yours, especially after watching your acting in The Walking Dead.
After searching a long list of series, I nearly completed the series Prison Break, one of my favorites. I began watching the show in January (yeah, pretty recent, I know). I am someone who gets scared easily. Ever since I had to watch The sixth sense during Christmas holidays for a school project, I decided to give it a chance. It turns out, it was not scarier as I thought. It proved me wrong. Let’s just say I spent the first 2 seasons watching with the TV volume at 10 dB, very minimum volume. 😂 😂 😂
My mother, another beloved fan of the show since the beginning, said the Rick’s character got more spotlight as the show went on. Also, she gave me a spoiler 😱​ of you leaving the show because you live in the UK and want to spend more time with your family, which I totally respect. Also, when my mother told me you were British, I was surprised because your accent and name sounded so American to me. I was: “No way!”. I wonder how hard it is for a British to speak with an American accent, especially since British accents are so emphasize and noticeable. You nail it! I felt weird to see videos of you speaking with your native accent after hearing you on the show. 😂 😂 😂
When I was starting to watch the show, I was studying at that time the types of camera shots and angles. I didn’t know the show was so good focused on that. One of my vivid and current favorites is the final of the episode 12 of season 2 when Rick was struggling to save himself from fighting with Shane and Carl ended up killing Shane because he turned into a walker and then, father and son made it back to the farm and, the camera panned up to the sky, capturing a wide shot of walkers coming out from the forest and heading straight to the farm.
If you are wondering why I was studying that, it’s because I am currently a student learning to be a sound technician. Every time I see a series, whether can be this one or another one, I analyze the sequence and think about where the boom operators have to stand to capture the sound without being seen by the cameras. Later, I found out I wasn’t understanding the plot and I ended up giving up that approach. 😂
As I am writing to you this letter, I am currently in season 6, almost finishing and about to dive into the Negan era. But at the range I am taking it, I don’t know if by the time you reach me out, I will be watching season 9. One of my favorite and funny scenes of this show is when Rick is shouting and telling the Alexandria’s people about the abuse Jessie and having the desire to kill her husband. He is pointing your gun at everyone, criticizing Deanna (Tovah, what a queen) in front of her and then, out of nowhere, Michonne knocks him out with her riffle. It was such an unexpecting moment and I burst out laughing.
Another one, a little creepy, is when Michonne and Rick are falling in love​ and they are making ❤️​ and it fades to black. The following sequence is them naked and Jesus calling Rick. They both jump and point out with their guns at Jesus and then he calmly says: “Rick, we need to talk” with such a calm, very much Tom Payne’s style. And then, the following episode everyone is on the gossip.
One of the saddest scenes that really made me fall in love with your acting is when Maggie brings the newborn Judith to the prison’s courtyard without her mother, Lori, and Rick discovers that Carl has killed her because she was going to turn. They turned the crying part into a meme. For example: Chandler Riggs posted on Instagram during pandemic a post in which the first part showed him carrying out toilet paper and the following part showed you with a supermarket background, not the prison’s courtyard; and you seemed to stand in front of an empty shelf. Another one is when you put your son in charge of checking when the timer clicks to turn the hoven off, but he doesn’t hear it and the chicken gets burnt. 😂
After learning about your acting career, I found out you did a production of Oliver! and you were in several plays like Hushabye Mountain or Christmas Carol. The last one is a bit sad you didn’t get to perform your character in front of an audience because of the pandemic. As a huge Broadway-musical nerd, I couldn’t help but daydreaming about which role you could be start in. If you don’t like musicals, I totally understand it. But, knowing you can sing, thanks to sources of you singing and playing the piano in videos dedicated to Chandler Riggs and Danai Gurira; why don’t miss the chance? So, this might be the craziest part of this letter, but I totally see you as George Von Trapp in The sound of music or King George III in Hamilton. A bonus one, which I’m not totally convinced but it could be interesting, is the Wizard in Wicked.
What do you think? ​😊
Oh, speaking of Chandler, I have to say, I love the chemistry between you two as father and son. In my opinion, it’s the best father-son relationship I have ever seen. And the fact that you went to surprise Chandler at his graduation party was so adorable. It seems like you have both learned a lot from each other, and he has a great inspiration and example to follow. So sad he got written out the show, but in case the series is deciding to reunite all the ones who are still living in the apocalypse, I wish he could be there somehow. Maybe playing another character, I don’t know, to say something.
I have read so many wonderful things about you from other cast members. Some of the thing they wrote about when you said you were leaving the show were so heartwarming. Like how you taught them some acting techniques to improve their skills, how you helped them with their lines because you knew them all, how comfortable they felt around you, how kind you were and you are (I hope with the technical crew too), moments, memories, pranks 🤪​ … and so on.
It really shows how devoted and committed you were to the show. You were definitely in Rick’s boots, not just because you were the protagonist and the hero, because your dedication, effort and passion have brought you to where you are. That heartbreaking moment mentioned before really showed me your talent. Besides that scene, there are others where you are emotional. Well, maybe “emotional” is not the right word, but you drop some tears, and you bring so much emotion and profoundness to the character. I’m sorry but actors / actresses who pour so much passion, emotion, depth, and cry into a big standing monologue, just make me love them even more. #sorrynotsorry #whereisyouremmy
I wonder how many actors and actresses are so kind, considered, respectful, and supportive with their cast and crew. I think it’s hard to find an “ideal” (I don’t say “perfect” because that’s just in my dreams) cast and crew, especially now that I am about to become a sound technician. It feels like some people think: “They are technical stuff. I don’t care about them” and have zero respect for us.
I mean, this is the furthest I can go in my life right now to be part of audiovisual industry. Since I was a child, I always wanted to be an actress, but my parents didn’t like the idea, and still they don’t. After all my artistic training since I was 6 — performing Spanish folklore dances in the Plaza Mayor, taking music classes, transverse flute training, performing in bands and orchestras, taking singing classes, even being called for auditions like Got Talent Spain where I waited for 12 hours just for a chance to audition — and being forced to pursue a technological vocational training, they finally realized I wanted to dedicate my life something in the industry.
I always daydream about being Elphaba one day (well, my favorite is Glinda, but I wish I could hit those high notes). I feel a deep connection with her because she is very lonely and misunderstood, and I feel that way because of my ASD. I have tried to take acting classes. I went to the after-school theatre lessons that my school offered for a few years before I graduated high school and transferred to another one. But, I don’t know if it’s just in my country or not, I don’t like using personal memories techniques. Not only because you experience your character’s feelings, but it is so painful to relive those moments. I don’t know if you use that technique but I’m sorry if I am speaking badly about it.
The closest thing I have been proud of was being part of a musical for the first time. I got casted as a musician in an amateur college theatre company, and I really enjoyed the experience. It was about a year ago when I did my musical debut. I found a family there, spending a year playing, singing, dancing, and acting in The Book of Mormon. After that, the following director promised me to be in her next musical she was going to direct, and I was having in mind I was going to be in her show that I got replaced by a better flutist. It hurt me the most and now I’m in survival mode. I went from being part of a family where we all had things in common to feeling like a stranger every time I go there because I have problems communicating.
Anyway, I took a moment to reflect on my skills and what I am studying and after seeing you act on screen, I feel inspired to give acting a chance once I had enough money to afford it. One challenge for me will be emotions, as ASD are not good at expressing them so, I have to face it. Maybe, you have faced some challenges in your career and that’s how you reached so far.
Since I have recently become a huge fan of The Walking Dead, I wonder if you could sign the following pictures for me and hang them in the wall and adore them every day.
Thanks so much for taking your time to read this never-ending letter. I hope you enjoyed reading it and had some laughs, or maybe not, it was dull as hell. And I wish you the best for the future, I know great things are coming to you, like the reunion of all the apocalypse survivors. I am very sure of it and I hope it happens soon.
Sincerely,
​
​
I'd like some feedback on the following writing. How do you think the reader will feel? Will they be overwhelmed? Will they find it funny and have some laughs? Is it too long? Are there too many personal things that might seem boring? Does it come across as a little cringy? I tried to make it funny, but does it end up feeling weird? Let me know your thoughts, please.

Dear Andrew,
I hope this letter finds you well. My name is M, I’m 22 years old and I live in XXXXX, XXXXXXX. I have recently become a huge fan of yours, especially after watching your acting in The Walking Dead.
After searching a long list of series, I nearly completed the series Prison Break, one of my favorites. I began watching the show in January (yeah, pretty recent, I know). I am someone who gets scared easily. Ever since I had to watch The sixth sense during Christmas holidays for a school project, I decided to give it a chance. It turns out, it was not scarier as I thought. It proved me wrong. Let’s just say I spent the first 2 seasons watching with the TV volume at 10 dB, very minimum volume. 😂 😂 😂
My mother, another beloved fan of the show since the beginning, said the Rick’s character got more spotlight as the show went on. Also, she gave me a spoiler 😱 of you leaving the show because you live in the UK and want to spend more time with your family, which I totally respect. Also, when my mother told me you were British, I was surprised because your accent and name sounded so American to me. I was: “No way!”. I wonder how hard it is for a British to speak with an American accent, especially since British accents are so emphasize and noticeable. You nail it! I felt weird to see videos of you speaking with your native accent after hearing you on the show. 😂 😂 😂
When I was starting to watch the show, I was studying at that time the types of camera shots and angles. I didn’t know the show was so good focused on that. One of my vivid and current favorites is the final of the episode 12 of season 2 when Rick was struggling to save himself from fighting with Shane and Carl ended up killing Shane because he turned into a walker and then, father and son made it back to the farm and, the camera panned up to the sky, capturing a wide shot of walkers coming out from the forest and heading straight to the farm.
If you are wondering why I was studying that, it’s because I am currently a student learning to be a sound technician. Every time I see a series, whether can be this one or another one, I analyze the sequence and think about where the boom operators have to stand to capture the sound without being seen by the cameras. Later, I found out I wasn’t understanding the plot and I ended up giving up that approach. 😂
As I am writing to you this letter, I am currently in season 6, almost finishing and about to dive into the Negan era. But at the range I am taking it, I don’t know if by the time you reach me out, I will be watching season 9. One of my favorite and funny scenes of this show is when Rick is shouting and telling the Alexandria’s people about the abuse Jessie and having the desire to kill her husband. He is pointing your gun at everyone, criticizing Deanna (Tovah, what a queen) in front of her and then, out of nowhere, Michonne knocks him out with her riffle. It was such an unexpecting moment and I burst out laughing.
Another one, a little creepy, is when Michonne and Rick are falling in love and they are making ❤️ and it fades to black. The following sequence is them naked and Jesus calling Rick. They both jump and point out with their guns at Jesus and then he calmly says: “Rick, we need to talk” with such a calm, very much Tom Payne’s style. And then, the following episode everyone is on the gossip.
One of the saddest scenes that really made me fall in love with your acting is when Maggie brings the newborn Judith to the prison’s courtyard without her mother, Lori, and Rick discovers that Carl has killed her because she was going to turn. They turned the crying part into a meme. For example: Chandler Riggs posted on Instagram during pandemic a post in which the first part showed him carrying out toilet paper and the following part showed you with a supermarket background, not the prison’s courtyard; and you seemed to stand in front of an empty shelf. Another one is when you put your son in charge of checking when the timer clicks to turn the hoven off, but he doesn’t hear it and the chicken gets burnt. 😂
After learning about your acting career, I found out you did a production of Oliver! and you were in several plays like Hushabye Mountain or Christmas Carol. The last one is a bit sad you didn’t get to perform your character in front of an audience because of the pandemic. As a huge Broadway-musical nerd, I couldn’t help but daydreaming about which role you could be start in. If you don’t like musicals, I totally understand it. But, knowing you can sing, thanks to sources of you singing and playing the piano in videos dedicated to Chandler Riggs and Danai Gurira; why don’t miss the chance? So, this might be the craziest part of this letter, but I totally see you as George Von Trapp in The sound of music or King George III in Hamilton. A bonus one, which I’m not totally convinced but it could be interesting, is the Wizard in Wicked.
What do you think? 😊
Oh, speaking of Chandler, I have to say, I love the chemistry between you two as father and son. In my opinion, it’s the best father-son relationship I have ever seen. And the fact that you went to surprise Chandler at his graduation party was so adorable. It seems like you have both learned a lot from each other, and he has a great inspiration and example to follow. So sad he got written out the show, but in case the series is deciding to reunite all the ones who are still living in the apocalypse, I wish he could be there somehow. Maybe playing another character, I don’t know, to say something.
I have read so many wonderful things about you from other cast members. Some of the thing they wrote about when you said you were leaving the show were so heartwarming. Like how you taught them some acting techniques to improve their skills, how you helped them with their lines because you knew them all, how comfortable they felt around you, how kind you were and you are (I hope with the technical crew too), moments, memories, pranks 🤪 … and so on.
It really shows how devoted and committed you were to the show. You were definitely in Rick’s boots, not just because you were the protagonist and the hero, because your dedication, effort and passion have brought you to where you are. That heartbreaking moment mentioned before really showed me your talent. Besides that scene, there are others where you are emotional. Well, maybe “emotional” is not the right word, but you drop some tears, and you bring so much emotion and profoundness to the character. I’m sorry but actors / actresses who pour so much passion, emotion, depth, and cry into a big standing monologue, just make me love them even more. #sorrynotsorry #whereisyouremmy
I wonder how many actors and actresses are so kind, considered, respectful, and supportive with their cast and crew. I think it’s hard to find an “ideal” (I don’t say “perfect” because that’s just in my dreams) cast and crew, especially now that I am about to become a sound technician. It feels like some people think: “They are technical stuff. I don’t care about them” and have zero respect for us.
I mean, this is the furthest I can go in my life right now to be part of audiovisual industry. Since I was a child, I always wanted to be an actress, but my parents didn’t like the idea, and still they don’t. After all my artistic training since I was 6 — performing Spanish folklore dances in the Plaza Mayor, taking music classes, transverse flute training, performing in bands and orchestras, taking singing classes, even being called for auditions like Got Talent Spain where I waited for 12 hours just for a chance to audition — and being forced to pursue a technological vocational training, they finally realized I wanted to dedicate my life something in the industry.
I always daydream about being Elphaba one day (well, my favorite is Glinda, but I wish I could hit those high notes). I feel a deep connection with her because she is very lonely and misunderstood, and I feel that way because of my ASD. I have tried to take acting classes. I went to the after-school theatre lessons that my school offered for a few years before I graduated high school and transferred to another one. But, I don’t know if it’s just in my country or not, I don’t like using personal memories techniques. Not only because you experience your character’s feelings, but it is so painful to relive those moments. I don’t know if you use that technique but I’m sorry if I am speaking badly about it.
The closest thing I have been proud of was being part of a musical for the first time. I got casted as a musician in an amateur college theatre company, and I really enjoyed the experience. It was about a year ago when I did my musical debut. I found a family there, spending a year playing, singing, dancing, and acting in The Book of Mormon. After that, the following director promised me to be in her next musical she was going to direct, and I was having in mind I was going to be in her show that I got replaced by a better flutist. It hurt me the most and now I’m in survival mode. I went from being part of a family where we all had things in common to feeling like a stranger every time I go there because I have problems communicating.
Anyway, I took a moment to reflect on my skills and what I am studying and after seeing you act on screen, I feel inspired to give acting a chance once I had enough money to afford it. One challenge for me will be emotions, as ASD are not good at expressing them so, I have to face it. Maybe, you have faced some challenges in your career and that’s how you reached so far.
Since I have recently become a huge fan of The Walking Dead, I wonder if you could sign the following pictures for me and hang them in the wall and adore them every day.
Thanks so much for taking your time to read this never-ending letter. I hope you enjoyed reading it and had some laughs, or maybe not, it was dull as hell. And I wish you the best for the future, I know great things are coming to you, like the reunion of all the apocalypse survivors. I am very sure of it and I hope it happens soon.
Sincerely,
I'd like some feedback on the following writing. How do you think the reader will feel? Will they be overwhelmed? Will they find it funny and have some laughs? Is it too long? Are there too many personal things that might seem boring? Does it come across as a little cringy? I tried to make it funny, but does it end up feeling weird? Let me know your thoughts, please.

Am I crazy orrr? I’m not Irish, nor British… American. While watching this movie I swear I can hear Irish coming from Barry! He’s Irish born but plays with an English accent but there are scenes I swear that his Irish is popping! Example: When Oliver confronts Felix in the maze “Look I just gave you what you wanted…..like everybody else DOES!” That “does” sounds so Irish. To me it doesn’t sound British. The way Barry says “love” in the same scene, it sounds Irish. A huge scene: The next scene of monologue where Oliver walks in the robe through the manor and he says “you ALREADY KNOW” sounds more Irish! “You’re just turning the HANDLE”. There’s the Irish! Does anyone else see it???

Hey everyone! I’m back with part 2 of my DCU plan! As we shift focus from the origins of the league and the rise of the Legion of Doom, we instead look at the world post-Justice Day, with the acceptance of metahumans and the rise of people who want to do good!
Quick detail to add, imagine that in my part one post, Cyborg was in the first Justice League movie. This part mentions him having been in that movie but I forgot to include him in the act 1 layout. So just look past that and we’ll be fine!
And for those of you wondering, here is the new order for act 2:

1. Cyborg Season 1 (tv show)
2. Superman: Bizarre (film)
3. Batman: The Hush Conspiracy (film)
4. Wonder Woman: God of War (film)
5. The Flash: Gorilla War (film)
6. Teen Titans (film)
7. Batgirl Season 1 (tv show)
8. The Brave and the Bold (film)
9. Aquaman: Blood Ties (film)
10. Nightwing: Agent Grayson (film)
11. Suicide Squad: Task Force X (film)
12. Green Lantern: Red War (film) 21: Justice League: Invasion (film) 22: Shazam: Rise of the Gods (film)

Without further ado, I present to you: act 2!
Cyborg Season 1 (TV Show)
Protagonist: Cyborg Antagonist: T. O. Morrow, Red Volcano, Red Inferno, Red Torpedo Side Characters: Silas Stone, Red Tornado, Sarah Charles Cameo Characters: The Flash, Professor Ivo
Overall Plot: After finally coming to terms with who he is, and assisting the Justice League in their fight against the Legion of Doom, Cyborg feels comfortable with his new title as a hero and defender of peace. But when a new cyber-criminal hacks into the S.T.A.R. Labs network and hijacks it AND Cyborg for personal gain, he questions just how lost his humanity may be in his new metallic skin. But he is not the only one questioning themselves, as when one of T. O. Morrow’s robots goes rogue, will Cyborg be able to help it find the humanity it craves?
Episode 1 Plot: Cyborg returns to S.T.A.R. Labs to tell his father what he’s done, and in the process, he helps uncover a devastating cyber attack on the network.
Episode 2 Plot: Finding himself hacked, Cyborg races to fix himself before too many of S.T.A.R. Labs’s secrets, as well as his own, are leaked to the cyber-criminal.
Episode 3 Plot: After releasing himself from the “Tomorrow Hack,” Cyborg tracks down the hacker’s signal, only to be met with a dead end... and a trio of deadly robots that are looking to finish the criminal’s job.
Episode 4 Plot: After the attack, Cyborg locates the runaway from the robot group, Red Tornado, who has become self-aware and wishes to find humanity. Meanwhile, Silas, Sarah, and Morrow try to restore the lost and corrupted data at S.T.A.R. Labs, only to be met with a virus that is building itself within their lab.
Episode 5 Plot: As Cyborg is easing Red Tornado into a life of humanity, the robot notices an act of danger and decides to follow Cyborg’s lead to become a hero. Meanwhile, back at S.T.A.R. Labs, Red Volcano has built himself up and enslaved the lab crew, demanding that they steal all of the information they can before he brings the building down on them.
Episode 6 Plot: It’s the season finale, and a race against time—literally! Revealed to be the mastermind and traitor behind the cyber attack, T. O. Morrow finishes his work to create his time machine, and he is not leaving witnesses behind. Cyborg and Red Tornado must hurry to the Labs and defeat T. O. Morrow and his robots, before it is too late for everyone!
Setting: Central City
Mid-Credits Scene: Following being defeated and betrayed by his robots, T. O. Morrow is arrested while a mysterious figure monologues about his failure. This figure is revealed to be Professor Ivo, who believes that his new “Amazo Project” can succeed where Morrow failed.
Superman: Bizarre (Film)
Protagonists: Superman Antagonists: Lex Luthor, Bizarro Side Characters: Lois Lane, John and Martha Kent, Jimmy Olsen, Perry White, Supergirl Cameo Character: Superboy
Plot: After showing bravery against the Legion of Doom’s attack on what is now known as “Justice Day,” Superman and other Metahumans have become accepted in the general public as the brave heroes they are. However, Lex Luthor is not ready to let his grudge die just yet. Behind prison walls, he activates a plan called “Project Cadmus,” and unleashes a bizarre clone on Superman. But when the clone begins to show sorrow for his actions, it causes Superman to sympathize with it, and show it that there can be humanity in its soul.
Setting: Metropolis
Mid-Credits Scene: Following the original clone’s failure, Cadmus dejects Lex Luthor from their organization and focuses on starting over on the clone process. They say that they are mixing the DNA of both Superman and Luthor this time, and this is when we get our first teasing glance at Superboy.
Batman: The Hush Conspiracy (Film)
Protagonists: Batman Antagonists: Hush, Joker, Poison Ivy, Riddler, Killer Croc, Scarecrow Side Characters: Alfred Pennyworth, Catwoman, Nightwing, Commissioner Gordon, Lucious Fox, Tim Drake, Barbara Gordon Cameo Characters: Superman, Lois Lane, Batgirl, Zatanna, Bane
Plot: Following the death of Jason Todd in “Justice League: Unite”, Batman has committed to working mostly alone in Gotham, and much more brutally at that. But when a new criminal mastermind comes out from the shadows, Batman must prove himself against a gauntlet of his greatest foes if he wishes to keep his city intact. But how can he keep even himself intact after Jason’s death, especially when Hush begins targeting Bruce’s closest allies. Perhaps it is time for a new kid to don the mask of Robin...
Setting: Gotham City, Briefly Metropolis, Briefly Blüdhaven
Mid-Credits Scene: Upon Hush’s defeat, the city celebrates the victory of Batman and his new Robin, all the while a mysterious man watches the celebration from afar. This man is revealed to be Bane, who is plotting a takeover of Gotham City now that the Batman has been weakened. But he still feels the time is not right, and shall wait until Batman can be properly broken.
Post-Credits Scene: After watching Batman and the new Robin save the day once again and stop the Arkham riot, Barbara tells her father she is going out to study at the library. In truth, she climbs to the rooftops and dons her new identity as Batgirl, prepared to help Batman in his crusade against crime.
Wonder Woman: God of War (Film)
Protagonist: Wonder Woman Antagonists: Ares, Doctor Psycho Side Characters: Hippolyta, Donna Troy, Phillipus Cameo Characters: Circe, Kent Nelson
Plot: After her heroic actions on Justice Day, Diana returns to Paradise Island in hopes of being allowed back in. But when she returns to her home to find it in ruins, she learns of the return of the banished god Ares, and his plot to bring the mortal and immortal realms to war. Wonder Woman now makes it her duty to stop Ares and save everyone, along with the help of a powerful girl who looks a shocking amount like her.
Settings: Paradise Island, Metropolis
Mid-Credits Scene: After Ares has fallen, an ancient evil awakens from her sleep far away. Circe is revealed to be awake and on a course for Paradise Island, to bring the gods to their knees once and for all.
Post-Credits Scene: Following his brief assistance in ensuring the world is saved, Doctor Fate senses the presence of a new threat emerging, and mentions that he will need to assemble a team to stop it.
The Flash: Gorilla War (Film)
Protagonists: The Flash, Kid Flash Antagonist: Gorilla Grodd Side Characters: Iris West, David Singh, Henry Allen, Rudy West, Solovar Cameo Characters: Reverse Flash, Nightwing
Plot: About a couple months into training his nephew Wally, Barry is thrown for a ride when a nation of super-intelligent gorillas invade Central City and start an uprising. Following the gorillas, Barry learns of their leader Grodd, who has overthrown the old kind Solovar and declared war on all of humanity. Barry must now put Wally’s training on hold while the speedsters try their best to stop the uprising, before all of earth is lost to the gorillas.
Settings: Central City, Gorilla City
Mid-Credits Scene: During a nightmare, Barry begins to see a figure zooming in a yellow blur, who he remembers as the thing that killed his mom. He tries to chase it, but wakes up before he can catch it. He mentions to Iris that he feels closer to catching the figure every time, and that soon, he can find out what really happened to his mother.
Post-Credits Scene: After their battle with Grodd, Barry tells Wally that he isn’t in the best position to be training him. He decides instead to leave Wally with Nightwing, who says that he is organizing his own hero team to train teenage heroes like Wally to become the best they can be. Wally happily accepts, and we get a look at the rest of the Teen Titans team.
Teen Titans (Film)
Protagonists: Nightwing, Starfire, Cyborg, Beast Boy, Raven, Donna Troy, Kid Flash Antagonists: H.I.V.E. (Leaders: H.I.V.E. Mistress, Damien Darhk, Adeline Kane), H.I.V.E. Five (Gizmo, Jinx, Mammoth, Psimon, Ravager [Grant Wilson]) Side Characters: (Basically none other than H.I.V.E. soldiers) Cameo Characters: Deathstroke, Spyral
Plot: Following in the footsteps of the new, inspiring Justice League, Nightwing has decided to form his own team designed to train young heroes to be the best they can be! But after a group called the H.I.V.E. attacks with their own group of newly-trained supervillains, the Titans must prove themselves as the true heroes of the future, before any innocent lives can be thrown in danger.
Setting: San Francisco
Mid-Credits Scene: Deathstroke is meeting with the H.I.V.E., who have told him about his son’s death. Enraged, he asks for a chance at revenge on the Titans, to which H.I.V.E. offers his son’s contract for him to take up. Deathstroke accepts.
Post-Credits Scene: Nightwing is on a rooftop back in Blüdhaven, monitoring his city, when a mysterious person approaches him from the shadows. The figure says they are a part of an organization called “Spyral,” who claim they need his help for a mission of utmost importance. They reveal they know his real name, and tell him they need his help to bring down the new mayor of Blüdhaven: Blockbuster.
Batgirl Season 1 (TV Show)
Protagonist: Batgirl (Barbara Gordon) Antagonists: James Gordon Jr., Scarecrow, Killer Moth, the Sons of Joker Side Characters: Batman, Commissioner Gordon, Francine Charles, Alfred Pennyworth, Huntress Cameo Characters: Nightwing, Joker
Overall Plot: Barbara Gordon is only a couple weeks into her new career as Batgirl, and it has not been easy. Between the street thugs, masked criminals, and psychopaths of Gotham City, she hasn’t been able to catch a break. But when a familiar face from her past returns to destroy her life, Barbara must prove that she has what it takes to be Batgirl of Gotham.
Episode 1 Plot: Barbara finally has a chance to prove herself when a mercenary-for-hire calling himself “Killer Moth” puts innocents in danger to get to the Batman. But will the Dark Knight agree to Batgirl’s presence, or will he still let past failures dictate his judgement?
Episode 2 Plot: To test her on the field, Batman tasks Batgirl with scoping out an arms deal taking place at the docks. But when a new vigilante calling herself the Huntress interferes because of a personal vendetta, Batgirl’s priorities and focus begin to shift. Meanwhile, Barbara’s long-hospitalized brother, James Gordon Jr., returns to Gotham City, promising his family he has changed for the better. But can he really be trusted?
Episode 3 Plot: Batgirl’s training is put on hold as Batman demands her help in stopping the Scarecrow, who has been plotting to cripple the city since his disappearance during the Arkham riot. But when Scarecrow reveals that he might have ties to Barbara’s “newly healed” brother, she begins to question if she can really trust those closest to her.
Episode 4 Plot: As her family and trust are thrown into question, Barbara launches her own private investigation to find out just what her brother has been up to while he’s been in “mental recovery.” But she can’t do it alone, and so enlists the help of the Huntress to aid her investigation, not knowing it will lead them both into the crosshairs of danger.
Episode 5 Plot: Finding themselves trapped by a cult following the Joker’s footsteps, Batgirl and Huntress have to battle their way out of a madhouse if they want to earn their freedom. But they aren’t alone, as Nightwing has been hot on the group’s trail for Batman, and has come to help the others escape by any means necessary.
Episode 6 Plot: In the season finale, Batgirl races to find her brother before he can cause any more harm to the people around him. But when the psychopath has taken their father hostage and Barbara’s roommate hostage, Batgirl must decide what kind of hero she wants to be, and what kind she needs to be to keep her city and loved ones safe.
Setting: Gotham City
Mid-Credits Scene: After her brother has been brought to justice, Batgirl is met by the Huntress once more, who reminisces on how well they’ve worked together so far. She asks if she would like to work closely in the future, perhaps start their own team, to which Batgirl agrees, hinting at the Birds of Prey.
Post-Credits Scene: The Joker pays a visit to the makeshift labyrinth the Sons of Joker created in his honor, disrespecting the place and the cult. However, he learns about the existence of Batgirl while he is there, getting irritated that another sidekick has joined his “game” with Batman, and addressing that he needs to do something about it.
The Brave and the Bold (Film)
Protagonists: Green Arrow, Black Canary Antagonists: Malcolm Merlyn, Lady Shiva Side Characters: both characters’ side characters (sorry for being lazy, I’m just not up to date with the Green Arrow and Black Canary mythos and NO, I did not watch Arrow) Cameo Characters: Ra’s Al Ghul, Cheshire, Batgirl, Huntress
Plot: Star City is a lively and generous city during the day, made better by improvements from its #1 company: Queen Industries. But by night, it becomes a gold mine for crime of all sorts, crime only the vigilantes of the city are brave enough to stand up to. Green Arrow and Black Canary have met almost a year ago, and have made names for themselves as Star City’s beacons of hope, and defenders of peace. But how much good do they really stand for? It is a question that must be asked when the League of Assassins make their mark on the city, seeking to bring down everything Oliver Queen has stood for.
Setting: Star City
Mid-Credits Scene: Ra’s Al Ghul has observed Merlyn and Shiva’s failure, and deems them unfit to be part of the League of Assassins any longer. He then turns to the shadows, where he addresses to his new “star pupil” that it is her time to shine, revealing Cheshire to be the next to attack Star City.
Post-Credits Scene: While alone in a warehouse, Black Canary calls out for the person or people who helped her navigate through the League of Assassins’ base, who hadn’t revealed their identities yet. The people reveal themselves as Batgirl and Huntress, who say they have admired Black Canary’s heroism and want to recruit her into their new team. Canary asks what it is called, to which Batgirl tells her “the Birds of Prey.”
Aquaman: Blood Ties (Film)
Protagonists: Aquaman, Aqualad (Jackson Hyde) Antagonists: Black Manta, King Shark Side Characters: Mira, Atlantians Cameo Characters: Amanda Waller, Rick Flag
Plot: It has been almost three years since Justice Day, and Arthur Curry finally sees peace in his life. He is the king of Atlantis, his wife and him have had a child, and relations with the surface world may be steadily increasing. However, this peace is short-lived, as Black Manta has finally returned, looking to finally enact his revenge on Aquaman. However, things are different this time around, as Arthur is not the only one who has established a family. Manta’s estranged son, Jackson Hyde, has returned to his life, and Manta intends to use his family all he can to bring down Aquaman’s.
Setting: Atlantis
Mid-Credits Scene: Following his mindless assistance in Black Manta’s plans, King Shark was found on the surface world and arrested by the government. He is approached by Amanda Waller, who offers him his freedom to return to the sea, if he works for her. He thoughtlessly agrees, and is thus knocked unconscious and brought to Belle Reve until he can come in handy.
Nightwing: Agent Grayson (Film)
Protagonist: Nightwing Antagonists: Blockbuster, Spyral, H.I.V.E. Side Characters: Nightwing characters, Julia Pennyworth Cameo Characters: Batgirl, Red X
Plot: Nightwing is no more. For the past few weeks, he has been working for the covert organization Spyral as Agent Grayson, investigating the new mayor of Blüdhaven so that he may be brought to justice. But when his search leads him right back to Spyral, and the organization they are secretly working under, Grayson questions where he has aligned himself, and if he has what it takes to clean his city of evil for good.
Setting: Blüdhaven
Mid-Credits Scene: Following Dick’s death, a public memorial is held for the vigilante at Gotham, Blüdhaven, and San Francisco. But from the shadows, a mysterious figure revealed to be Red X watches, preparing himself for action now that Nightwing is dead.
Suicide Squad: Task Force X (Film)
Protagonists: Deadshot, Harley Quinn, Captain Boomerang, King Shark, Killer Frost, Rick Flag Antagonists: Amazo, Professor Ivo Side Characters: Amanda Waller, ARGUS team Cameo Characters: New Members?, Lockup (bomb fodder)
Plot: The day has come. After months of making phone calls, requesting favors, and convincing the government for backing, Amanda Waller’s “Task Force X” initiative is a go. And their first mission? Infiltrating Ivo Industries to stop Professor Ivo’s mysterious “Amazo Project.” But will this ragtag team of criminals be able to complete their mission? Or will they end up being worthy of their nickname “the Suicide Squad?”
Setting: Bell Reve, Central City
Mid-Credits Scene: Amanda Waller is speaking with a government official, who claims her task force is cruel and threatens to shut it down. Waller threatens the official with worse, at which point he asks her how much longer the task force will remain operational. She says she predicts it could come in handy in the near future, as she opens a folder containing information on various other possible criminals to join the squad.
Green Lantern: Red War (Film)
Protagonist: Green Lantern (Hal Jordan) Antagonists: Atrocitus, Red Lantern Corps Side Characters: Star Sapphire, John Stewart, Green Lantern Corps, Guardians, Star Sapphire Corps, Blue Lantern Corps Cameo Characters: Justice Leaguers, Brainiac, Black Hand
Plot: Following his bravery against the Sinestro Corps and tales of his involvement in Earth’s “Justice Day,” Hal Jordan is deemed a hero by the Green Lantern Corps, with a ceremony held in his honor. But after the dreaded Red Lantern Corps attacks, Hal finds himself at the lead of another war, this time against a dangerous foe unlike any he has encountered before. Now, teaming up with new allies and old, Hal must do what it takes to save the galaxy once again, lest it be conquered by rage.
Setting: Oa, Ysmault, Coast City, other Lantern planets
Mid-Credits Scene: Back at Oa, Hal is once again celebrated for his heroism at war, along with his partner Jon Stewart. However, the Guardians discuss in private a new, concerning matter. They say that the prophecy they have been dreading is coming true, and that they must act fast. One guardian proves their theory is true, as he shows a holographic recording of a Black Lantern ring shooting through space, and heading for Earth.
Post-Credits Scene: Hal is monitoring the galaxy with Jon when they get a high-energy reading nearby. Neither can find it, until Jon points attention to a large ship right behind him. A large ship, shaped like a skull, with purple energy emitting from it.
Justice League: Invasion (Film)
Protagonists: Superman, Batman, Wonder Woman, Flash, Green Lantern, Cyborg, Aquaman, Martian Manhunter, Supergirl, Green Arrow, Black Canary, Red Tornado Antagonists: Brainiac, Doomsday Side Characters: Lois Lane, the Kents, Jimmy Olsen, Robin (Tim Drake), Batgirl, Titans, others Cameo Characters: Darkseid, Steel
Plot: Actions have consequences, and with a rise in power, there will always be those who want to take said power. Brainiac, a distant relic from the remains of Krypton, has made his way to Earth to collect the planet for his own ever-growing intelligence. It is now up to the ever-expanding Justice League to stop Brainiac and bring his quest for eternal knowledge to an end. But will the League be able to defeat such a brain? Or will Krypton’s past prove too much for its sole survivor and his team?
Setting: Metropolis, Brainiac’s Ship, briefly other cities
Mid-Credits Scene: Metropolis, in great disarray, makes a public service announcement declaring the invasion over, but also reporting the tragic death of Superman. As the news announces a public funeral for the Man of Steel, a man watching the news at home stands up and heads to his workshop. He finishes construction on his own metal suit, hammer, and gadgets, donning the gear and revealing himself as Steel, the new defender of Metropolis now that Superman is gone.
Post-Credits Scene: In his war room, Darkseid is preparing an attack on Earth, calculating counter measures for the new heroes of the planet. He is interrupted by his servant Desaad, who brings him the news that Superman is dead. Darkseid smirks as he prepares his ships, declaring that Apokalips is going to war with earth.
Shazam: Rise of the Gods (Film)
Protagonist: Shazam Antagonist: Black Adam Side Characters: Shazam family, Wizard Shazam Cameo Characters: Wonder Woman, Mr. Mind
Plot: In the midst of Superman’s death, the world has been rocked and in need of a new symbol of hope. One such kid finding himself lost in this new, dark day is Billy Batson, who for a few months has secretly been the superhero Shazam, having gotten his powers from the wizard by the same name. Billy’s journey has been rough, but he has gotten a sturdy grip on his powers. That is, until the Wizard’s original champion returns, and seeks revenge on his old mentor and everything he has built. Billy must now work to save his city and the family he has come to know and love from Black Adam, proving himself as worthy of being Shazam.
Setting: Fawcett City, Rock of Eternity
Mid-Credits Scene: After his brutal battle against Black Adam, Shazam is flying through the city when he is approached by Wonder Woman. She says she admired his bravery against Black Adam, and says they could use more heroes like him in the world now. She gives him an invite to the Justice League as a part-time member, an offer Shazam happily accepts.
Post-Credits Scene: (Gonna be honest, it’s late and I’m lazy, so just picture that scene at the end of the DCEU’s Shazam with Mr. Mind, but replace Sivana with Black Adam)

Hey everyone! I’m back with part 2 of my DCU plan! As we shift focus from the origins of the league and the rise of the Legion of Doom, we instead look at the world post-Justice Day, with the acceptance of metahumans and the rise of people who want to do good!
Quick detail to add, imagine that in my part one post, Cyborg was in the first Justice League movie. This part mentions him having been in that movie but I forgot to include him in the act 1 layout. So just look past that and we’ll be fine!
And for those of you wondering, here is the new order for act 2:

1. Cyborg Season 1 (tv show)
2. Superman: Bizarre (film)
3. Batman: The Hush Conspiracy (film)
4. Wonder Woman: God of War (film)
5. The Flash: Gorilla War (film)
6. Teen Titans (film)
7. Batgirl Season 1 (tv show)
8. The Brave and the Bold (film)
9. Aquaman: Blood Ties (film)
10. Nightwing: Agent Grayson (film)
11. Suicide Squad: Task Force X (film)
12. Green Lantern: Red War (film) 21: Justice League: Invasion (film) 22: Shazam: Rise of the Gods (film)

Without further ado, I present to you: act 2!
Cyborg Season 1 (TV Show)
Protagonist: Cyborg Antagonist: T. O. Morrow, Red Volcano, Red Inferno, Red Torpedo Side Characters: Silas Stone, Red Tornado, Sarah Charles Cameo Characters: The Flash, Professor Ivo
Overall Plot: After finally coming to terms with who he is, and assisting the Justice League in their fight against the Legion of Doom, Cyborg feels comfortable with his new title as a hero and defender of peace. But when a new cyber-criminal hacks into the S.T.A.R. Labs network and hijacks it AND Cyborg for personal gain, he questions just how lost his humanity may be in his new metallic skin. But he is not the only one questioning themselves, as when one of T. O. Morrow’s robots goes rogue, will Cyborg be able to help it find the humanity it craves?
Episode 1 Plot: Cyborg returns to S.T.A.R. Labs to tell his father what he’s done, and in the process, he helps uncover a devastating cyber attack on the network.
Episode 2 Plot: Finding himself hacked, Cyborg races to fix himself before too many of S.T.A.R. Labs’s secrets, as well as his own, are leaked to the cyber-criminal.
Episode 3 Plot: After releasing himself from the “Tomorrow Hack,” Cyborg tracks down the hacker’s signal, only to be met with a dead end... and a trio of deadly robots that are looking to finish the criminal’s job.
Episode 4 Plot: After the attack, Cyborg locates the runaway from the robot group, Red Tornado, who has become self-aware and wishes to find humanity. Meanwhile, Silas, Sarah, and Morrow try to restore the lost and corrupted data at S.T.A.R. Labs, only to be met with a virus that is building itself within their lab.
Episode 5 Plot: As Cyborg is easing Red Tornado into a life of humanity, the robot notices an act of danger and decides to follow Cyborg’s lead to become a hero. Meanwhile, back at S.T.A.R. Labs, Red Volcano has built himself up and enslaved the lab crew, demanding that they steal all of the information they can before he brings the building down on them.
Episode 6 Plot: It’s the season finale, and a race against time—literally! Revealed to be the mastermind and traitor behind the cyber attack, T. O. Morrow finishes his work to create his time machine, and he is not leaving witnesses behind. Cyborg and Red Tornado must hurry to the Labs and defeat T. O. Morrow and his robots, before it is too late for everyone!
Setting: Central City
Mid-Credits Scene: Following being defeated and betrayed by his robots, T. O. Morrow is arrested while a mysterious figure monologues about his failure. This figure is revealed to be Professor Ivo, who believes that his new “Amazo Project” can succeed where Morrow failed.
Superman: Bizarre (Film)
Protagonists: Superman Antagonists: Lex Luthor, Bizarro Side Characters: Lois Lane, John and Martha Kent, Jimmy Olsen, Perry White, Supergirl Cameo Character: Superboy
Plot: After showing bravery against the Legion of Doom’s attack on what is now known as “Justice Day,” Superman and other Metahumans have become accepted in the general public as the brave heroes they are. However, Lex Luthor is not ready to let his grudge die just yet. Behind prison walls, he activates a plan called “Project Cadmus,” and unleashes a bizarre clone on Superman. But when the clone begins to show sorrow for his actions, it causes Superman to sympathize with it, and show it that there can be humanity in its soul.
Setting: Metropolis
Mid-Credits Scene: Following the original clone’s failure, Cadmus dejects Lex Luthor from their organization and focuses on starting over on the clone process. They say that they are mixing the DNA of both Superman and Luthor this time, and this is when we get our first teasing glance at Superboy.
Batman: The Hush Conspiracy (Film)
Protagonists: Batman Antagonists: Hush, Joker, Poison Ivy, Riddler, Killer Croc, Scarecrow Side Characters: Alfred Pennyworth, Catwoman, Nightwing, Commissioner Gordon, Lucious Fox, Tim Drake, Barbara Gordon Cameo Characters: Superman, Lois Lane, Batgirl, Zatanna, Bane
Plot: Following the death of Jason Todd in “Justice League: Unite”, Batman has committed to working mostly alone in Gotham, and much more brutally at that. But when a new criminal mastermind comes out from the shadows, Batman must prove himself against a gauntlet of his greatest foes if he wishes to keep his city intact. But how can he keep even himself intact after Jason’s death, especially when Hush begins targeting Bruce’s closest allies. Perhaps it is time for a new kid to don the mask of Robin...
Setting: Gotham City, Briefly Metropolis, Briefly Blüdhaven
Mid-Credits Scene: Upon Hush’s defeat, the city celebrates the victory of Batman and his new Robin, all the while a mysterious man watches the celebration from afar. This man is revealed to be Bane, who is plotting a takeover of Gotham City now that the Batman has been weakened. But he still feels the time is not right, and shall wait until Batman can be properly broken.
Post-Credits Scene: After watching Batman and the new Robin save the day once again and stop the Arkham riot, Barbara tells her father she is going out to study at the library. In truth, she climbs to the rooftops and dons her new identity as Batgirl, prepared to help Batman in his crusade against crime.
Wonder Woman: God of War (Film)
Protagonist: Wonder Woman Antagonists: Ares, Doctor Psycho Side Characters: Hippolyta, Donna Troy, Phillipus Cameo Characters: Circe, Kent Nelson
Plot: After her heroic actions on Justice Day, Diana returns to Paradise Island in hopes of being allowed back in. But when she returns to her home to find it in ruins, she learns of the return of the banished god Ares, and his plot to bring the mortal and immortal realms to war. Wonder Woman now makes it her duty to stop Ares and save everyone, along with the help of a powerful girl who looks a shocking amount like her.
Settings: Paradise Island, Metropolis
Mid-Credits Scene: After Ares has fallen, an ancient evil awakens from her sleep far away. Circe is revealed to be awake and on a course for Paradise Island, to bring the gods to their knees once and for all.
Post-Credits Scene: Following his brief assistance in ensuring the world is saved, Doctor Fate senses the presence of a new threat emerging, and mentions that he will need to assemble a team to stop it.
The Flash: Gorilla War (Film)
Protagonists: The Flash, Kid Flash Antagonist: Gorilla Grodd Side Characters: Iris West, David Singh, Henry Allen, Rudy West, Solovar Cameo Characters: Reverse Flash, Nightwing
Plot: About a couple months into training his nephew Wally, Barry is thrown for a ride when a nation of super-intelligent gorillas invade Central City and start an uprising. Following the gorillas, Barry learns of their leader Grodd, who has overthrown the old kind Solovar and declared war on all of humanity. Barry must now put Wally’s training on hold while the speedsters try their best to stop the uprising, before all of earth is lost to the gorillas.
Settings: Central City, Gorilla City
Mid-Credits Scene: During a nightmare, Barry begins to see a figure zooming in a yellow blur, who he remembers as the thing that killed his mom. He tries to chase it, but wakes up before he can catch it. He mentions to Iris that he feels closer to catching the figure every time, and that soon, he can find out what really happened to his mother.
Post-Credits Scene: After their battle with Grodd, Barry tells Wally that he isn’t in the best position to be training him. He decides instead to leave Wally with Nightwing, who says that he is organizing his own hero team to train teenage heroes like Wally to become the best they can be. Wally happily accepts, and we get a look at the rest of the Teen Titans team.
Teen Titans (Film)
Protagonists: Nightwing, Starfire, Cyborg, Beast Boy, Raven, Donna Troy, Kid Flash Antagonists: H.I.V.E. (Leaders: H.I.V.E. Mistress, Damien Darhk, Adeline Kane), H.I.V.E. Five (Gizmo, Jinx, Mammoth, Psimon, Ravager [Grant Wilson]) Side Characters: (Basically none other than H.I.V.E. soldiers) Cameo Characters: Deathstroke, Spyral
Plot: Following in the footsteps of the new, inspiring Justice League, Nightwing has decided to form his own team designed to train young heroes to be the best they can be! But after a group called the H.I.V.E. attacks with their own group of newly-trained supervillains, the Titans must prove themselves as the true heroes of the future, before any innocent lives can be thrown in danger.
Setting: San Francisco
Mid-Credits Scene: Deathstroke is meeting with the H.I.V.E., who have told him about his son’s death. Enraged, he asks for a chance at revenge on the Titans, to which H.I.V.E. offers his son’s contract for him to take up. Deathstroke accepts.
Post-Credits Scene: Nightwing is on a rooftop back in Blüdhaven, monitoring his city, when a mysterious person approaches him from the shadows. The figure says they are a part of an organization called “Spyral,” who claim they need his help for a mission of utmost importance. They reveal they know his real name, and tell him they need his help to bring down the new mayor of Blüdhaven: Blockbuster.
Batgirl Season 1 (TV Show)
Protagonist: Batgirl (Barbara Gordon) Antagonists: James Gordon Jr., Scarecrow, Killer Moth, the Sons of Joker Side Characters: Batman, Commissioner Gordon, Francine Charles, Alfred Pennyworth, Huntress Cameo Characters: Nightwing, Joker
Overall Plot: Barbara Gordon is only a couple weeks into her new career as Batgirl, and it has not been easy. Between the street thugs, masked criminals, and psychopaths of Gotham City, she hasn’t been able to catch a break. But when a familiar face from her past returns to destroy her life, Barbara must prove that she has what it takes to be Batgirl of Gotham.
Episode 1 Plot: Barbara finally has a chance to prove herself when a mercenary-for-hire calling himself “Killer Moth” puts innocents in danger to get to the Batman. But will the Dark Knight agree to Batgirl’s presence, or will he still let past failures dictate his judgement?
Episode 2 Plot: To test her on the field, Batman tasks Batgirl with scoping out an arms deal taking place at the docks. But when a new vigilante calling herself the Huntress interferes because of a personal vendetta, Batgirl’s priorities and focus begin to shift. Meanwhile, Barbara’s long-hospitalized brother, James Gordon Jr., returns to Gotham City, promising his family he has changed for the better. But can he really be trusted?
Episode 3 Plot: Batgirl’s training is put on hold as Batman demands her help in stopping the Scarecrow, who has been plotting to cripple the city since his disappearance during the Arkham riot. But when Scarecrow reveals that he might have ties to Barbara’s “newly healed” brother, she begins to question if she can really trust those closest to her.
Episode 4 Plot: As her family and trust are thrown into question, Barbara launches her own private investigation to find out just what her brother has been up to while he’s been in “mental recovery.” But she can’t do it alone, and so enlists the help of the Huntress to aid her investigation, not knowing it will lead them both into the crosshairs of danger.
Episode 5 Plot: Finding themselves trapped by a cult following the Joker’s footsteps, Batgirl and Huntress have to battle their way out of a madhouse if they want to earn their freedom. But they aren’t alone, as Nightwing has been hot on the group’s trail for Batman, and has come to help the others escape by any means necessary.
Episode 6 Plot: In the season finale, Batgirl races to find her brother before he can cause any more harm to the people around him. But when the psychopath has taken their father hostage and Barbara’s roommate hostage, Batgirl must decide what kind of hero she wants to be, and what kind she needs to be to keep her city and loved ones safe.
Setting: Gotham City
Mid-Credits Scene: After her brother has been brought to justice, Batgirl is met by the Huntress once more, who reminisces on how well they’ve worked together so far. She asks if she would like to work closely in the future, perhaps start their own team, to which Batgirl agrees, hinting at the Birds of Prey.
Post-Credits Scene: The Joker pays a visit to the makeshift labyrinth the Sons of Joker created in his honor, disrespecting the place and the cult. However, he learns about the existence of Batgirl while he is there, getting irritated that another sidekick has joined his “game” with Batman, and addressing that he needs to do something about it.
The Brave and the Bold (Film)
Protagonists: Green Arrow, Black Canary Antagonists: Malcolm Merlyn, Lady Shiva Side Characters: both characters’ side characters (sorry for being lazy, I’m just not up to date with the Green Arrow and Black Canary mythos and NO, I did not watch Arrow) Cameo Characters: Ra’s Al Ghul, Cheshire, Batgirl, Huntress
Plot: Star City is a lively and generous city during the day, made better by improvements from its #1 company: Queen Industries. But by night, it becomes a gold mine for crime of all sorts, crime only the vigilantes of the city are brave enough to stand up to. Green Arrow and Black Canary have met almost a year ago, and have made names for themselves as Star City’s beacons of hope, and defenders of peace. But how much good do they really stand for? It is a question that must be asked when the League of Assassins make their mark on the city, seeking to bring down everything Oliver Queen has stood for.
Setting: Star City
Mid-Credits Scene: Ra’s Al Ghul has observed Merlyn and Shiva’s failure, and deems them unfit to be part of the League of Assassins any longer. He then turns to the shadows, where he addresses to his new “star pupil” that it is her time to shine, revealing Cheshire to be the next to attack Star City.
Post-Credits Scene: While alone in a warehouse, Black Canary calls out for the person or people who helped her navigate through the League of Assassins’ base, who hadn’t revealed their identities yet. The people reveal themselves as Batgirl and Huntress, who say they have admired Black Canary’s heroism and want to recruit her into their new team. Canary asks what it is called, to which Batgirl tells her “the Birds of Prey.”
Aquaman: Blood Ties (Film)
Protagonists: Aquaman, Aqualad (Jackson Hyde) Antagonists: Black Manta, King Shark Side Characters: Mira, Atlantians Cameo Characters: Amanda Waller, Rick Flag
Plot: It has been almost three years since Justice Day, and Arthur Curry finally sees peace in his life. He is the king of Atlantis, his wife and him have had a child, and relations with the surface world may be steadily increasing. However, this peace is short-lived, as Black Manta has finally returned, looking to finally enact his revenge on Aquaman. However, things are different this time around, as Arthur is not the only one who has established a family. Manta’s estranged son, Jackson Hyde, has returned to his life, and Manta intends to use his family all he can to bring down Aquaman’s.
Setting: Atlantis
Mid-Credits Scene: Following his mindless assistance in Black Manta’s plans, King Shark was found on the surface world and arrested by the government. He is approached by Amanda Waller, who offers him his freedom to return to the sea, if he works for her. He thoughtlessly agrees, and is thus knocked unconscious and brought to Belle Reve until he can come in handy.
Nightwing: Agent Grayson (Film)
Protagonist: Nightwing Antagonists: Blockbuster, Spyral, H.I.V.E. Side Characters: Nightwing characters, Julia Pennyworth Cameo Characters: Batgirl, Red X
Plot: Nightwing is no more. For the past few weeks, he has been working for the covert organization Spyral as Agent Grayson, investigating the new mayor of Blüdhaven so that he may be brought to justice. But when his search leads him right back to Spyral, and the organization they are secretly working under, Grayson questions where he has aligned himself, and if he has what it takes to clean his city of evil for good.
Setting: Blüdhaven
Mid-Credits Scene: Following Dick’s death, a public memorial is held for the vigilante at Gotham, Blüdhaven, and San Francisco. But from the shadows, a mysterious figure revealed to be Red X watches, preparing himself for action now that Nightwing is dead.
Suicide Squad: Task Force X (Film)
Protagonists: Deadshot, Harley Quinn, Captain Boomerang, King Shark, Killer Frost, Rick Flag Antagonists: Amazo, Professor Ivo Side Characters: Amanda Waller, ARGUS team Cameo Characters: New Members?, Lockup (bomb fodder)
Plot: The day has come. After months of making phone calls, requesting favors, and convincing the government for backing, Amanda Waller’s “Task Force X” initiative is a go. And their first mission? Infiltrating Ivo Industries to stop Professor Ivo’s mysterious “Amazo Project.” But will this ragtag team of criminals be able to complete their mission? Or will they end up being worthy of their nickname “the Suicide Squad?”
Setting: Bell Reve, Central City
Mid-Credits Scene: Amanda Waller is speaking with a government official, who claims her task force is cruel and threatens to shut it down. Waller threatens the official with worse, at which point he asks her how much longer the task force will remain operational. She says she predicts it could come in handy in the near future, as she opens a folder containing information on various other possible criminals to join the squad.
Green Lantern: Red War (Film)
Protagonist: Green Lantern (Hal Jordan) Antagonists: Atrocitus, Red Lantern Corps Side Characters: Star Sapphire, John Stewart, Green Lantern Corps, Guardians, Star Sapphire Corps, Blue Lantern Corps Cameo Characters: Justice Leaguers, Brainiac, Black Hand
Plot: Following his bravery against the Sinestro Corps and tales of his involvement in Earth’s “Justice Day,” Hal Jordan is deemed a hero by the Green Lantern Corps, with a ceremony held in his honor. But after the dreaded Red Lantern Corps attacks, Hal finds himself at the lead of another war, this time against a dangerous foe unlike any he has encountered before. Now, teaming up with new allies and old, Hal must do what it takes to save the galaxy once again, lest it be conquered by rage.
Setting: Oa, Ysmault, Coast City, other Lantern planets
Mid-Credits Scene: Back at Oa, Hal is once again celebrated for his heroism at war, along with his partner Jon Stewart. However, the Guardians discuss in private a new, concerning matter. They say that the prophecy they have been dreading is coming true, and that they must act fast. One guardian proves their theory is true, as he shows a holographic recording of a Black Lantern ring shooting through space, and heading for Earth.
Post-Credits Scene: Hal is monitoring the galaxy with Jon when they get a high-energy reading nearby. Neither can find it, until Jon points attention to a large ship right behind him. A large ship, shaped like a skull, with purple energy emitting from it.
Justice League: Invasion (Film)
Protagonists: Superman, Batman, Wonder Woman, Flash, Green Lantern, Cyborg, Aquaman, Martian Manhunter, Supergirl, Green Arrow, Black Canary, Red Tornado Antagonists: Brainiac, Doomsday Side Characters: Lois Lane, the Kents, Jimmy Olsen, Robin (Tim Drake), Batgirl, Titans, others Cameo Characters: Darkseid, Steel
Plot: Actions have consequences, and with a rise in power, there will always be those who want to take said power. Brainiac, a distant relic from the remains of Krypton, has made his way to Earth to collect the planet for his own ever-growing intelligence. It is now up to the ever-expanding Justice League to stop Brainiac and bring his quest for eternal knowledge to an end. But will the League be able to defeat such a brain? Or will Krypton’s past prove too much for its sole survivor and his team?
Setting: Metropolis, Brainiac’s Ship, briefly other cities
Mid-Credits Scene: Metropolis, in great disarray, makes a public service announcement declaring the invasion over, but also reporting the tragic death of Superman. As the news announces a public funeral for the Man of Steel, a man watching the news at home stands up and heads to his workshop. He finishes construction on his own metal suit, hammer, and gadgets, donning the gear and revealing himself as Steel, the new defender of Metropolis now that Superman is gone.
Post-Credits Scene: In his war room, Darkseid is preparing an attack on Earth, calculating counter measures for the new heroes of the planet. He is interrupted by his servant Desaad, who brings him the news that Superman is dead. Darkseid smirks as he prepares his ships, declaring that Apokalips is going to war with earth.
Shazam: Rise of the Gods (Film)
Protagonist: Shazam Antagonist: Black Adam Side Characters: Shazam family, Wizard Shazam Cameo Characters: Wonder Woman, Mr. Mind
Plot: In the midst of Superman’s death, the world has been rocked and in need of a new symbol of hope. One such kid finding himself lost in this new, dark day is Billy Batson, who for a few months has secretly been the superhero Shazam, having gotten his powers from the wizard by the same name. Billy’s journey has been rough, but he has gotten a sturdy grip on his powers. That is, until the Wizard’s original champion returns, and seeks revenge on his old mentor and everything he has built. Billy must now work to save his city and the family he has come to know and love from Black Adam, proving himself as worthy of being Shazam.
Setting: Fawcett City, Rock of Eternity
Mid-Credits Scene: After his brutal battle against Black Adam, Shazam is flying through the city when he is approached by Wonder Woman. She says she admired his bravery against Black Adam, and says they could use more heroes like him in the world now. She gives him an invite to the Justice League as a part-time member, an offer Shazam happily accepts.
Post-Credits Scene: (Gonna be honest, it’s late and I’m lazy, so just picture that scene at the end of the DCEU’s Shazam with Mr. Mind, but replace Sivana with Black Adam)

Hey everyone! I’m back with part 2 of my DCU plan! As we shift focus from the origins of the league and the rise of the Legion of Doom, we instead look at the world post-Justice Day, with the acceptance of metahumans and the rise of people who want to do good!
Quick detail to add, imagine that in my part one post, Cyborg was in the first Justice League movie. This part mentions him having been in that movie but I forgot to include him in the act 1 layout. So just look past that and we’ll be fine!
And for those of you wondering, here is the new order for act 2:

1. Cyborg Season 1 (tv show)
2. Superman: Bizarre (film)
3. Batman: The Hush Conspiracy (film)
4. Wonder Woman: God of War (film)
5. The Flash: Gorilla War (film)
6. Teen Titans (film)
7. Batgirl Season 1 (tv show)
8. The Brave and the Bold (film)
9. Aquaman: Blood Ties (film)
10. Nightwing: Agent Grayson (film)
11. Suicide Squad: Task Force X (film)
12. Green Lantern: Red War (film) 21: Justice League: Invasion (film) 22: Shazam: Rise of the Gods (film)

Without further ado, I present to you: act 2!
Cyborg Season 1 (TV Show)
Protagonist: Cyborg Antagonist: T. O. Morrow, Red Volcano, Red Inferno, Red Torpedo Side Characters: Silas Stone, Red Tornado, Sarah Charles Cameo Characters: The Flash, Professor Ivo
Overall Plot: After finally coming to terms with who he is, and assisting the Justice League in their fight against the Legion of Doom, Cyborg feels comfortable with his new title as a hero and defender of peace. But when a new cyber-criminal hacks into the S.T.A.R. Labs network and hijacks it AND Cyborg for personal gain, he questions just how lost his humanity may be in his new metallic skin. But he is not the only one questioning themselves, as when one of T. O. Morrow’s robots goes rogue, will Cyborg be able to help it find the humanity it craves?
Episode 1 Plot: Cyborg returns to S.T.A.R. Labs to tell his father what he’s done, and in the process, he helps uncover a devastating cyber attack on the network.
Episode 2 Plot: Finding himself hacked, Cyborg races to fix himself before too many of S.T.A.R. Labs’s secrets, as well as his own, are leaked to the cyber-criminal.
Episode 3 Plot: After releasing himself from the “Tomorrow Hack,” Cyborg tracks down the hacker’s signal, only to be met with a dead end... and a trio of deadly robots that are looking to finish the criminal’s job.
Episode 4 Plot: After the attack, Cyborg locates the runaway from the robot group, Red Tornado, who has become self-aware and wishes to find humanity. Meanwhile, Silas, Sarah, and Morrow try to restore the lost and corrupted data at S.T.A.R. Labs, only to be met with a virus that is building itself within their lab.
Episode 5 Plot: As Cyborg is easing Red Tornado into a life of humanity, the robot notices an act of danger and decides to follow Cyborg’s lead to become a hero. Meanwhile, back at S.T.A.R. Labs, Red Volcano has built himself up and enslaved the lab crew, demanding that they steal all of the information they can before he brings the building down on them.
Episode 6 Plot: It’s the season finale, and a race against time—literally! Revealed to be the mastermind and traitor behind the cyber attack, T. O. Morrow finishes his work to create his time machine, and he is not leaving witnesses behind. Cyborg and Red Tornado must hurry to the Labs and defeat T. O. Morrow and his robots, before it is too late for everyone!
Setting: Central City
Mid-Credits Scene: Following being defeated and betrayed by his robots, T. O. Morrow is arrested while a mysterious figure monologues about his failure. This figure is revealed to be Professor Ivo, who believes that his new “Amazo Project” can succeed where Morrow failed.
Superman: Bizarre (Film)
Protagonists: Superman Antagonists: Lex Luthor, Bizarro Side Characters: Lois Lane, John and Martha Kent, Jimmy Olsen, Perry White, Supergirl Cameo Character: Superboy
Plot: After showing bravery against the Legion of Doom’s attack on what is now known as “Justice Day,” Superman and other Metahumans have become accepted in the general public as the brave heroes they are. However, Lex Luthor is not ready to let his grudge die just yet. Behind prison walls, he activates a plan called “Project Cadmus,” and unleashes a bizarre clone on Superman. But when the clone begins to show sorrow for his actions, it causes Superman to sympathize with it, and show it that there can be humanity in its soul.
Setting: Metropolis
Mid-Credits Scene: Following the original clone’s failure, Cadmus dejects Lex Luthor from their organization and focuses on starting over on the clone process. They say that they are mixing the DNA of both Superman and Luthor this time, and this is when we get our first teasing glance at Superboy.
Batman: The Hush Conspiracy (Film)
Protagonists: Batman Antagonists: Hush, Joker, Poison Ivy, Riddler, Killer Croc, Scarecrow Side Characters: Alfred Pennyworth, Catwoman, Nightwing, Commissioner Gordon, Lucious Fox, Tim Drake, Barbara Gordon Cameo Characters: Superman, Lois Lane, Batgirl, Zatanna, Bane
Plot: Following the death of Jason Todd in “Justice League: Unite”, Batman has committed to working mostly alone in Gotham, and much more brutally at that. But when a new criminal mastermind comes out from the shadows, Batman must prove himself against a gauntlet of his greatest foes if he wishes to keep his city intact. But how can he keep even himself intact after Jason’s death, especially when Hush begins targeting Bruce’s closest allies. Perhaps it is time for a new kid to don the mask of Robin...
Setting: Gotham City, Briefly Metropolis, Briefly Blüdhaven
Mid-Credits Scene: Upon Hush’s defeat, the city celebrates the victory of Batman and his new Robin, all the while a mysterious man watches the celebration from afar. This man is revealed to be Bane, who is plotting a takeover of Gotham City now that the Batman has been weakened. But he still feels the time is not right, and shall wait until Batman can be properly broken.
Post-Credits Scene: After watching Batman and the new Robin save the day once again and stop the Arkham riot, Barbara tells her father she is going out to study at the library. In truth, she climbs to the rooftops and dons her new identity as Batgirl, prepared to help Batman in his crusade against crime.
Wonder Woman: God of War (Film)
Protagonist: Wonder Woman Antagonists: Ares, Doctor Psycho Side Characters: Hippolyta, Donna Troy, Phillipus Cameo Characters: Circe, Kent Nelson
Plot: After her heroic actions on Justice Day, Diana returns to Paradise Island in hopes of being allowed back in. But when she returns to her home to find it in ruins, she learns of the return of the banished god Ares, and his plot to bring the mortal and immortal realms to war. Wonder Woman now makes it her duty to stop Ares and save everyone, along with the help of a powerful girl who looks a shocking amount like her.
Settings: Paradise Island, Metropolis
Mid-Credits Scene: After Ares has fallen, an ancient evil awakens from her sleep far away. Circe is revealed to be awake and on a course for Paradise Island, to bring the gods to their knees once and for all.
Post-Credits Scene: Following his brief assistance in ensuring the world is saved, Doctor Fate senses the presence of a new threat emerging, and mentions that he will need to assemble a team to stop it.
The Flash: Gorilla War (Film)
Protagonists: The Flash, Kid Flash Antagonist: Gorilla Grodd Side Characters: Iris West, David Singh, Henry Allen, Rudy West, Solovar Cameo Characters: Reverse Flash, Nightwing
Plot: About a couple months into training his nephew Wally, Barry is thrown for a ride when a nation of super-intelligent gorillas invade Central City and start an uprising. Following the gorillas, Barry learns of their leader Grodd, who has overthrown the old kind Solovar and declared war on all of humanity. Barry must now put Wally’s training on hold while the speedsters try their best to stop the uprising, before all of earth is lost to the gorillas.
Settings: Central City, Gorilla City
Mid-Credits Scene: During a nightmare, Barry begins to see a figure zooming in a yellow blur, who he remembers as the thing that killed his mom. He tries to chase it, but wakes up before he can catch it. He mentions to Iris that he feels closer to catching the figure every time, and that soon, he can find out what really happened to his mother.
Post-Credits Scene: After their battle with Grodd, Barry tells Wally that he isn’t in the best position to be training him. He decides instead to leave Wally with Nightwing, who says that he is organizing his own hero team to train teenage heroes like Wally to become the best they can be. Wally happily accepts, and we get a look at the rest of the Teen Titans team.
Teen Titans (Film)
Protagonists: Nightwing, Starfire, Cyborg, Beast Boy, Raven, Donna Troy, Kid Flash Antagonists: H.I.V.E. (Leaders: H.I.V.E. Mistress, Damien Darhk, Adeline Kane), H.I.V.E. Five (Gizmo, Jinx, Mammoth, Psimon, Ravager [Grant Wilson]) Side Characters: (Basically none other than H.I.V.E. soldiers) Cameo Characters: Deathstroke, Spyral
Plot: Following in the footsteps of the new, inspiring Justice League, Nightwing has decided to form his own team designed to train young heroes to be the best they can be! But after a group called the H.I.V.E. attacks with their own group of newly-trained supervillains, the Titans must prove themselves as the true heroes of the future, before any innocent lives can be thrown in danger.
Setting: San Francisco
Mid-Credits Scene: Deathstroke is meeting with the H.I.V.E., who have told him about his son’s death. Enraged, he asks for a chance at revenge on the Titans, to which H.I.V.E. offers his son’s contract for him to take up. Deathstroke accepts.
Post-Credits Scene: Nightwing is on a rooftop back in Blüdhaven, monitoring his city, when a mysterious person approaches him from the shadows. The figure says they are a part of an organization called “Spyral,” who claim they need his help for a mission of utmost importance. They reveal they know his real name, and tell him they need his help to bring down the new mayor of Blüdhaven: Blockbuster.
Batgirl Season 1 (TV Show)
Protagonist: Batgirl (Barbara Gordon) Antagonists: James Gordon Jr., Scarecrow, Killer Moth, the Sons of Joker Side Characters: Batman, Commissioner Gordon, Francine Charles, Alfred Pennyworth, Huntress Cameo Characters: Nightwing, Joker
Overall Plot: Barbara Gordon is only a couple weeks into her new career as Batgirl, and it has not been easy. Between the street thugs, masked criminals, and psychopaths of Gotham City, she hasn’t been able to catch a break. But when a familiar face from her past returns to destroy her life, Barbara must prove that she has what it takes to be Batgirl of Gotham.
Episode 1 Plot: Barbara finally has a chance to prove herself when a mercenary-for-hire calling himself “Killer Moth” puts innocents in danger to get to the Batman. But will the Dark Knight agree to Batgirl’s presence, or will he still let past failures dictate his judgement?
Episode 2 Plot: To test her on the field, Batman tasks Batgirl with scoping out an arms deal taking place at the docks. But when a new vigilante calling herself the Huntress interferes because of a personal vendetta, Batgirl’s priorities and focus begin to shift. Meanwhile, Barbara’s long-hospitalized brother, James Gordon Jr., returns to Gotham City, promising his family he has changed for the better. But can he really be trusted?
Episode 3 Plot: Batgirl’s training is put on hold as Batman demands her help in stopping the Scarecrow, who has been plotting to cripple the city since his disappearance during the Arkham riot. But when Scarecrow reveals that he might have ties to Barbara’s “newly healed” brother, she begins to question if she can really trust those closest to her.
Episode 4 Plot: As her family and trust are thrown into question, Barbara launches her own private investigation to find out just what her brother has been up to while he’s been in “mental recovery.” But she can’t do it alone, and so enlists the help of the Huntress to aid her investigation, not knowing it will lead them both into the crosshairs of danger.
Episode 5 Plot: Finding themselves trapped by a cult following the Joker’s footsteps, Batgirl and Huntress have to battle their way out of a madhouse if they want to earn their freedom. But they aren’t alone, as Nightwing has been hot on the group’s trail for Batman, and has come to help the others escape by any means necessary.
Episode 6 Plot: In the season finale, Batgirl races to find her brother before he can cause any more harm to the people around him. But when the psychopath has taken their father hostage and Barbara’s roommate hostage, Batgirl must decide what kind of hero she wants to be, and what kind she needs to be to keep her city and loved ones safe.
Setting: Gotham City
Mid-Credits Scene: After her brother has been brought to justice, Batgirl is met by the Huntress once more, who reminisces on how well they’ve worked together so far. She asks if she would like to work closely in the future, perhaps start their own team, to which Batgirl agrees, hinting at the Birds of Prey.
Post-Credits Scene: The Joker pays a visit to the makeshift labyrinth the Sons of Joker created in his honor, disrespecting the place and the cult. However, he learns about the existence of Batgirl while he is there, getting irritated that another sidekick has joined his “game” with Batman, and addressing that he needs to do something about it.
The Brave and the Bold (Film)
Protagonists: Green Arrow, Black Canary Antagonists: Malcolm Merlyn, Lady Shiva Side Characters: both characters’ side characters (sorry for being lazy, I’m just not up to date with the Green Arrow and Black Canary mythos and NO, I did not watch Arrow) Cameo Characters: Ra’s Al Ghul, Cheshire, Batgirl, Huntress
Plot: Star City is a lively and generous city during the day, made better by improvements from its #1 company: Queen Industries. But by night, it becomes a gold mine for crime of all sorts, crime only the vigilantes of the city are brave enough to stand up to. Green Arrow and Black Canary have met almost a year ago, and have made names for themselves as Star City’s beacons of hope, and defenders of peace. But how much good do they really stand for? It is a question that must be asked when the League of Assassins make their mark on the city, seeking to bring down everything Oliver Queen has stood for.
Setting: Star City
Mid-Credits Scene: Ra’s Al Ghul has observed Merlyn and Shiva’s failure, and deems them unfit to be part of the League of Assassins any longer. He then turns to the shadows, where he addresses to his new “star pupil” that it is her time to shine, revealing Cheshire to be the next to attack Star City.
Post-Credits Scene: While alone in a warehouse, Black Canary calls out for the person or people who helped her navigate through the League of Assassins’ base, who hadn’t revealed their identities yet. The people reveal themselves as Batgirl and Huntress, who say they have admired Black Canary’s heroism and want to recruit her into their new team. Canary asks what it is called, to which Batgirl tells her “the Birds of Prey.”
Aquaman: Blood Ties (Film)
Protagonists: Aquaman, Aqualad (Jackson Hyde) Antagonists: Black Manta, King Shark Side Characters: Mira, Atlantians Cameo Characters: Amanda Waller, Rick Flag
Plot: It has been almost three years since Justice Day, and Arthur Curry finally sees peace in his life. He is the king of Atlantis, his wife and him have had a child, and relations with the surface world may be steadily increasing. However, this peace is short-lived, as Black Manta has finally returned, looking to finally enact his revenge on Aquaman. However, things are different this time around, as Arthur is not the only one who has established a family. Manta’s estranged son, Jackson Hyde, has returned to his life, and Manta intends to use his family all he can to bring down Aquaman’s.
Setting: Atlantis
Mid-Credits Scene: Following his mindless assistance in Black Manta’s plans, King Shark was found on the surface world and arrested by the government. He is approached by Amanda Waller, who offers him his freedom to return to the sea, if he works for her. He thoughtlessly agrees, and is thus knocked unconscious and brought to Belle Reve until he can come in handy.
Nightwing: Agent Grayson (Film)
Protagonist: Nightwing Antagonists: Blockbuster, Spyral, H.I.V.E. Side Characters: Nightwing characters, Julia Pennyworth Cameo Characters: Batgirl, Red X
Plot: Nightwing is no more. For the past few weeks, he has been working for the covert organization Spyral as Agent Grayson, investigating the new mayor of Blüdhaven so that he may be brought to justice. But when his search leads him right back to Spyral, and the organization they are secretly working under, Grayson questions where he has aligned himself, and if he has what it takes to clean his city of evil for good.
Setting: Blüdhaven
Mid-Credits Scene: Following Dick’s death, a public memorial is held for the vigilante at Gotham, Blüdhaven, and San Francisco. But from the shadows, a mysterious figure revealed to be Red X watches, preparing himself for action now that Nightwing is dead.
Suicide Squad: Task Force X (Film)
Protagonists: Deadshot, Harley Quinn, Captain Boomerang, King Shark, Killer Frost, Rick Flag Antagonists: Amazo, Professor Ivo Side Characters: Amanda Waller, ARGUS team Cameo Characters: New Members?, Lockup (bomb fodder)
Plot: The day has come. After months of making phone calls, requesting favors, and convincing the government for backing, Amanda Waller’s “Task Force X” initiative is a go. And their first mission? Infiltrating Ivo Industries to stop Professor Ivo’s mysterious “Amazo Project.” But will this ragtag team of criminals be able to complete their mission? Or will they end up being worthy of their nickname “the Suicide Squad?”
Setting: Bell Reve, Central City
Mid-Credits Scene: Amanda Waller is speaking with a government official, who claims her task force is cruel and threatens to shut it down. Waller threatens the official with worse, at which point he asks her how much longer the task force will remain operational. She says she predicts it could come in handy in the near future, as she opens a folder containing information on various other possible criminals to join the squad.
Green Lantern: Red War (Film)
Protagonist: Green Lantern (Hal Jordan) Antagonists: Atrocitus, Red Lantern Corps Side Characters: Star Sapphire, John Stewart, Green Lantern Corps, Guardians, Star Sapphire Corps, Blue Lantern Corps Cameo Characters: Justice Leaguers, Brainiac, Black Hand
Plot: Following his bravery against the Sinestro Corps and tales of his involvement in Earth’s “Justice Day,” Hal Jordan is deemed a hero by the Green Lantern Corps, with a ceremony held in his honor. But after the dreaded Red Lantern Corps attacks, Hal finds himself at the lead of another war, this time against a dangerous foe unlike any he has encountered before. Now, teaming up with new allies and old, Hal must do what it takes to save the galaxy once again, lest it be conquered by rage.
Setting: Oa, Ysmault, Coast City, other Lantern planets
Mid-Credits Scene: Back at Oa, Hal is once again celebrated for his heroism at war, along with his partner Jon Stewart. However, the Guardians discuss in private a new, concerning matter. They say that the prophecy they have been dreading is coming true, and that they must act fast. One guardian proves their theory is true, as he shows a holographic recording of a Black Lantern ring shooting through space, and heading for Earth.
Post-Credits Scene: Hal is monitoring the galaxy with Jon when they get a high-energy reading nearby. Neither can find it, until Jon points attention to a large ship right behind him. A large ship, shaped like a skull, with purple energy emitting from it.
Justice League: Invasion (Film)
Protagonists: Superman, Batman, Wonder Woman, Flash, Green Lantern, Cyborg, Aquaman, Martian Manhunter, Supergirl, Green Arrow, Black Canary, Red Tornado Antagonists: Brainiac, Doomsday Side Characters: Lois Lane, the Kents, Jimmy Olsen, Robin (Tim Drake), Batgirl, Titans, others Cameo Characters: Darkseid, Steel
Plot: Actions have consequences, and with a rise in power, there will always be those who want to take said power. Brainiac, a distant relic from the remains of Krypton, has made his way to Earth to collect the planet for his own ever-growing intelligence. It is now up to the ever-expanding Justice League to stop Brainiac and bring his quest for eternal knowledge to an end. But will the League be able to defeat such a brain? Or will Krypton’s past prove too much for its sole survivor and his team?
Setting: Metropolis, Brainiac’s Ship, briefly other cities
Mid-Credits Scene: Metropolis, in great disarray, makes a public service announcement declaring the invasion over, but also reporting the tragic death of Superman. As the news announces a public funeral for the Man of Steel, a man watching the news at home stands up and heads to his workshop. He finishes construction on his own metal suit, hammer, and gadgets, donning the gear and revealing himself as Steel, the new defender of Metropolis now that Superman is gone.
Post-Credits Scene: In his war room, Darkseid is preparing an attack on Earth, calculating counter measures for the new heroes of the planet. He is interrupted by his servant Desaad, who brings him the news that Superman is dead. Darkseid smirks as he prepares his ships, declaring that Apokalips is going to war with earth.
Shazam: Rise of the Gods (Film)
Protagonist: Shazam Antagonist: Black Adam Side Characters: Shazam family, Wizard Shazam Cameo Characters: Wonder Woman, Mr. Mind
Plot: In the midst of Superman’s death, the world has been rocked and in need of a new symbol of hope. One such kid finding himself lost in this new, dark day is Billy Batson, who for a few months has secretly been the superhero Shazam, having gotten his powers from the wizard by the same name. Billy’s journey has been rough, but he has gotten a sturdy grip on his powers. That is, until the Wizard’s original champion returns, and seeks revenge on his old mentor and everything he has built. Billy must now work to save his city and the family he has come to know and love from Black Adam, proving himself as worthy of being Shazam.
Setting: Fawcett City, Rock of Eternity
Mid-Credits Scene: After his brutal battle against Black Adam, Shazam is flying through the city when he is approached by Wonder Woman. She says she admired his bravery against Black Adam, and says they could use more heroes like him in the world now. She gives him an invite to the Justice League as a part-time member, an offer Shazam happily accepts.
Post-Credits Scene: (Gonna be honest, it’s late and I’m lazy, so just picture that scene at the end of the DCEU’s Shazam with Mr. Mind, but replace Sivana with Black Adam)

"This week on Doughboys...SPAGHETTI SQUASH."
I recognize that it's The Podcast About Chain Restaurants--and I eat as much fast food as (I assume) all of you--but with all the vaguely ominous talk this year about health concerns, I was thinking it would be fun to take "No Meat Shall I Eat" to new heights.
This whole conceit almost definitely won't happen, but it would be very interesting (and maybe even funny) to hear opening monologues and serious review scores for, say, Granny Smith apples or olives. And at this point, it's not exactly like the chains are the MAIN draw of the show for many listeners. I'm curious whether everyone involved in the show would miss the mountains of fried foods while they are on hiatus, or if they would find it refreshing.
My only question would be whether they would assign fork scores to the items and lump them in with the historical record, or create an entirely new, separate grading scale to avoid scope creep.

You know how a lot of reddit posts are about someone inheriting money and asking how to spend it? I'm actually that guy now.
I did a Tuesday livestream with my local artists nonprofit, they're at a popular community center.
Listen we all know the story with "third places", and most remote workers are really suffering. Everywhere costs you an arm and a leg to hang out.
In Atlanta... we've have a membership for artists. This is Takeover Tuesday, which we've been doing in this iteration for 6 weeks in Little Five Points, Atlanta.
Good viewers this week, mostly my personal viewers from Twitter where I have 7k followers.
And we're at the same location of a local public radio station, WRFG. It's centrally located, giving physical space to local businesses and organizations.
Here are the five most interesting things. Please give your advice.
1) made the show work like a callout show.
A lot of people hate content, repurposing channels, but we found putting together like an opening monologue along with questions and viral content that we found on Reddit or tick. Tock was able to add a lot of pace to a show. That's a couple of hours.
Like my co-host thinks of John Oliver as a platonic idea for the pacing of the show that he wants to run. He wants there to be new facts and information on the screen all the time, and doing this really helped.
Reddit bookmarks (or bookmarks from anywhere) go into a central Trello and it's easier to run a show.
We wanted bookmarks from Reddit or from Twitter we did it kind of a reaction show.
But you know that takes a lot of functioning from your producer and we used to centralized board on Trello.
And in fact, as you watch the show, you'll be able to find just back end of us using a Trello board and bringing up correspondence, bringing up Reddit posts that we found interesting and just talking about giving good advice for creatives.
Lots of automations and stuff go into this running smoothly. A story for another time.
2) not using zoom
Going without zoom has been a really interesting choice. Zoom really is built to be extremely functional and very automated and I think most business chooses it because there's one fewer click you need to make in order to set up a new meeting or a card. It works very well with triggers and automations. We're using stream yard which is not as good with triggers but helps with call outs and playing video clips and feeling like a real TV show which hopefully will make guests and panelists and viewers all more comfortable with what the output is.
3) getting highlights clips
I really do think the show will take off when people send correspondence from across town at whatever local events they're doing. I've been trying to get people who have events to promote to start sharing. What I've been doing is going on Instagram and finding those live events that are in the area and putting them on our Trello and then just sending them the promo that we've been doing.
And I've gotten some people to chat Toni's afterwards. We haven't gotten a steady flow of guests, we have a couple regulars and a guy here and there that come by.
4) audio in a single room.
So I don't know every detail of this, but a big core organizing idea of producing the show was that audio would be able to run through a single feed because otherwise you're going to have echoes in the room. So we had multiple microphones that all pitched into a single system and this was really important to have a hybrid meeting, something that had an offline and an offline element. I really want to have more offline meetings.
offline is the new luxury.
So being able to facilitate somebody who's at home chiming in with an opinion or two, while being able to also respect somebody who came to visit in person is pretty important.
Nobody is gonna always do one of the two.
5) helps to have a host and producer.
We swapped roles during the show. One would talk and the other would produce. Or vice versa.
Helped a lot with illustrating ideas on real time which will also save us in post production, theoretically, and we also have a local artist who might help.
Bonus, how tight do I need to get this as a cold email tool?
I feel this whole thing, if carefully curated will get between any stress with cold email. Like, here's an hour or TWO HOURS to add context to your business, "give back" to local leads, offer opinions, this is a format most led gen people can squeeze into a week or two.
Still getting there, i made a procedurally generated one page and might be able to fit data from each week's show in there. Haven't found time to do it, booking clients.

Forgive me if this has been asked before, I'm a little new to the Flanagan community. Horror never was and has never been my genre until I stumbled upon Flanagan's work, which I'm truly obsessed with. I also LOVE that he recycles his actors! I completely get it from a creative chemistry point of view and it's also an amazing way for each actor to show off their range. And I won't lie, some of them of CHAMELEONS. I didn't even realize some of them were who they were at first.
So of the many repeat Flanagan actors, what's your personal favorite role they each have played in his work? I'll give a list of names and some of my thoughts but feel free to add your own!
Kate Siegal - Fall of the House of Usher (Camille Usher). Okay, even I was surprised by my pick here because I love her in EVERYTHING she's been in. I know her characters in Hill House and Midnight Mass were far more significant to the story and she's friggin fantastic in them both. I loved her in both, but I will admit I found Theo hard to like sometimes (not Kate, but Theo). And while I know she's not in Usher for too many episodes (a crime) wow though, she's truly hilarious and devious in it. It's one of those roles I think took special skill to pull off, especially given how little time she had on screen.
Henry Thomas - Haunting of Hill House (Hugh Crain). In contrast to my Kate pick, this one might feel kinda basic but I don't care lol. He's amazing in everything he's been but something about his paternal role in Hill House is just so stellar. He feel's like the cornerstone of the whole story. Wholesome, strong, empathetic but also removed from his family members that are being haunted by the house. So earnest and secure and strong but also complex and dimensional at the same time. I really bought his love for Olivia and his children and truly understood his rationale and rooted for him all along the way. Side note: he's hilariously unlikeable in Usher and tbh so damn good in Midnight Mass that I didn't even recognize him for a minute. So good.
Carla Gugino - Haunting of Hill House (Olivia Crain). Similar to Harry, she's magic in every damn role she does but I have a special place in my heart for her in Hill House. The whole story wouldn't have worked without a strong Olivia (or Hugh) and Carla DELIVERED. She was a perfect combination of good and evil, of understandable and detestable, of hateable and sympathetic, of heartbreaking and villainous. So beautiful and magnetic, the story really hinged on her performance. Even though she ended up being somewhat of an antagonist, I. truly felt for her and her love for her family. She definitely got more "exciting" things to do in Usher and other Flanagan works but I don't think anyone could have pulled off Oliva better than Carla.
Samantha Sloyan - Midnight Mass (Bev). I meeeeaannnn, is this even a question lol. Man she's friggin AMAZING as Bev. So deliciously awful and hatable. You just want to wring her neck and kill her but also watch her with bated breath at the same time. Like a train wreck you just can't take your eyes off. Tbh, I barely noticed her in Hill House or Usher but man oh man did she understand the assignment for Midnight Mass. I might even argue she's the true star of that series. It wouldn't have really shined without the perfect Bev. So damn obnoxious, I loved it lmao.
Michael Trucco - Fall of the House of Usher (Rufus Griswald). I know this seems like the obvious choice because he's such a delicious d-bag in Usher but upon my rewatch, I was tempted to pick his character in Midnight Mass (another one they initially got past me! I didn't even realize it was the same person for the longest time). I actually think I appreciate him so much more in Midnight Mass but he shined way more in Usher.
Rahul Kholi - Midnight Mass (Sheriff Hassan). Oh man this one was TOUGH. Honorable mention for him in Usher. He's also magnificent with accents. But I think he was the most impact in Midnight Mass. He really moved me in his performance there. I felt he was somewhat replaceable in Bly Manor, entertaining a all hell in Usher, but magic in Midnight Mass.
Victoria Pedretti - Haunting of Hill House (Nell Crain). Okay, okay, I have a major Hill House bias lol, I do. But I think she was PERFECT here. Idk why, but I fell she kinda overacted in Bly Manor. I also just didn't love Bly Manor as a whole. But in Hill House? Wow, sheer perfection. I cried with her every time, I felt her pain, I rooted for her, and I understood her even when I didn't (if that makes sense). I also felt like her casting was pivotal to the success of Hill House and she was sheer *chef's kiss* And that it was her first real role?! Amazing.
Oliver Jackson-Cohen - Haunting Hill House (Luke Crain). Similar explanation as Victoria, I love Hill House lol. He's actually more magnetic and scary in Bly, I believe. But I have a personal bias towards Luke in Hill House.
Robert Longstreet - Midnight Mass (Joe Collie). This was TOUGH because I do love me some Mr. Dudley, I do. But I don't think anyone has really pulled on my heartstrings as much as Joe Collie. I know most of Flanagan's works turn us into wrecks lol but something about Joe Collie crying over his dog, working towards sobriety, crying in response to Leeza's monologue and forgiveness, and eventual **spoiler** death.... man, it really wrecks me in a different way. I know he's not even supposed to be a good person and I'm not even supposed to be rooting that hard for him, and I'm not even saying his fate wasn't deserved but it's one of those things that just leaves in indelible mark on you. Truly blown away by his performance. I don't think anyone else could have made me cry and care for Joe Collie as much as he did.
****
I know there are a ton of Falangan actors I haven't addressed in my list (got tired, maybe I'll post in the comments!) so I'll list them here. Feel free to include them in your responses!
Katie Parker
Alex Essoe
Bruce Greenwood
Zach Gilford
Elizabeth Reaser
Annabeth Gish
Kyliegh Curran
Carl Lumbly
Crystal Balint
Sauriyan Sapkota
Igby Rigney
(Maybe I missed some, please add if you can)
*****
Looking forward to everyone's thoughts!

I'm studying acting and I have the opportunity to shoot some filipino scenes or a monologue to build my acting reel. The character would have to match my type cast and represent me personally. I wanted to ask you guys for suggestions for movies to watch, actors to research about, maybe direct links to scripts which have a character that fits my type. There's only one other filipina actress my age who can speak Tagalog I could possibly shoot with in my area and school so a 2 person scene would be great. We are shooting in America so the scene would have to be centered around character more than production and location.
My type: - young (19-24)
- ancestry: filipino-chinese
- male with light olive skin and long black hair, lean physicality, look a bit like a native american, no beard - I've been told I have a genuine, non-threatening almost pretty appearance. - Actors who fit my look/energy: Cole sprouse, tom holland, Alex Wolff -Actors I look up to: Jake Gylenhaal, Dev Patel, Steven Yuen, Daniel Kaluyya, Lakeith Standfield
Open to any and all suggestions and completely appreciate any help you guys give me! Thank you so much!

So, as I am gleaning some ideas for a hypothetical future project (I will tell you about it in a few days), today I wanted to tell you about a particular character. Emiko.
I was quite puzzled about her, not so much because of the actress's performance, but more because of the story: she was presented as a kind of "copy" of Green Arrow in its early days. Ruthless, she would cross off names on a list, hunting down her mother's killer (who later turned out to be Dante). But if you remember, there is one particular monologue in which Emiko claims to be fighting for the good of the city. (07x11 if I recall correctly). But if these were her initial intentions, why then did she really want to kill an entire town just to defeat Oliver? Why using AN evil association such as the Ninth Circle, to spread darkness. Especially because her association with the Ninth Circle was revealed way later her first introduction as a vigilante who fought for the good.
We all agree that the Ninth Circle is the main villain of season 7. And It was, in my opinion, a wasted opportunity... Fascinating, but with a lot of holes that made it appear weak and lame.
In my opinion, the writers had a definite setup that was then abruptly changed. Which is a little bit disappointing, because in her sphere of determination and story, Emiko looked pretty fine actually. What are your thoughts on this?

I can’t believe it! I’ve entered only twice now and haven’t been lucky so far and I figured it would be a while, but this morning I woke up to an email saying they had last minute seats available. We live in Pennsylvania, but we can definitely make it by check-in time at 3. Woohoo! I just had to share my excitement with y’all.
UPDATE: the whole experience was really cool! We showed up at 3 and were escorted into a “holding room” to wait for it to start. Charles Barkley walked past us and said “I love John Oliver!” We probably ended up waiting close to 2 hours and the assistants told us it was some last minute legal stuff they had to bang out, which made us all laugh.
Once we got into the studio, a comedian warmed us up and gave us the schpiel about laughing “with our outside voices, then John came out for some quick Q&A (he told two separate fans “Fuck you” because they were from certain areas of the UK) and then we began!
It was really cool getting to see him fidget and prepare in between monologues (And Now This or other video clips he played). He messed up once and went “oh shit!” And then we had to go back to the starting point of that one monologue, and then at the end he had to repeat 2 phrases a few times for audio purposes. He said “turned in to American Idol” instead of “tuned,” and the other one was because of his accent when he said “orphanages aren’t.” Then he zooted on out of there at lightning speed!