I've said it before and I'll say it again, Donald J. Trump is literally Dong Zhuo, except Dong Zhuo was actually accomplished
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@grazztthedark
I've said it before and I'll say it again, Donald J. Trump is literally Dong Zhuo, except Dong Zhuo was actually accomplished

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He sold his soul.
As in, he literally fucked up so bad last time he sold his soul to an arch lord of the underworld.
Superman The Man of Steel 53
He sold his soul to Nero for a healthy body, but didn't even get his hair back as part of the deal?
That's just bad business Lex old boy,
Reminds me of Lex getting turned into a gorilla in JLU, and still being completely bald. There are limits to both sorcery and super science, and returning Lex his hair seems to be beyond them.
Messing with the Babylon 5 fans by arguing that J Michael Straczynski's best work was Captain Power and the Soldiers of the Future and it's all been downhill from there.
This is The REAL Ghostbusters erasure.
That would probably be a less effective troll because in my experience a lot of Babylon 5 fans would actually agree that his episodes of The Real Ghostbusters are the better work.
I've long suspected that many people's nostalgic feelings for Ghostbusters in large part stem from conflating childhood memories of The Real Ghostbusters with the live-action movies.
Also, as someone who was in his 20s when Captain Power came out, your thesis has many valid points.
I don't regard the idea that The Real Ghostbusters had better writing and acting than the films it's based on as particularly controversial, but I'm admittedly deeply biased by six-year-old me's worryingly intense crush on specifically the cartoon version of Egon Spengler.
*walks up to gay couple* So which of you is the taciturn one who's a lot smarter than they pretend to be and which of you is the talkative one who uses big words incorrectly?
@tyrannosaurus-trainwreck replied:
Were Kidd and Wint biting on an existing trope, or is this the primary cultural contribution of that entire film?
In its broader form it goes at least as far back as the vaudeville stage, but Diamonds Are Forever definitely did a lot of the heavy lifting in terms of specifically associating it with gay villainous henchman duos in popular culture. There are probably prior examples of gay henchman duos adhering to the type, but I'm not aware of one off the top of my head.
Abbott & Costello?
Neither especially villainous nor particularly gay, unfortunately.
Sadly doesn't pre-date Diamonds Are Forever (1971).
Jasper and Horace (101 Dalmatians) do pre-date it (1961) but I'm not sure I can claim they're particularly gay
They're also more an example of the "villainous duo where one is short and fat and the other is tall and thin" trope, which often overlaps with but is not identical with the "one is wily and laconic and the other is loquacious and prone to malapropism" thing.
Rosencrantz and Guildenstern
Now we're just saying the names of characters where there's two of them.
Okay here's a shot; the gangsters from The Maltese Falcon as an incomplete prototype (we have fat and skinny with differing temperaments between Cairo and Gutman, but Cairo and Wilmer are the gay ones).
Oh, 100% – Fleming is so obviously doing a Hammett pastiche with the original novel's versions of Wint and Kidd that it's kind of comical. As you say, though, it's not quite there; heck, even the novel versions of Wint and Kidd themselves aren't quite there compared to their film counterparts.
*walks up to gay couple* So which of you is the taciturn one who's a lot smarter than they pretend to be and which of you is the talkative one who uses big words incorrectly?
@tyrannosaurus-trainwreck replied:
Were Kidd and Wint biting on an existing trope, or is this the primary cultural contribution of that entire film?
In its broader form it goes at least as far back as the vaudeville stage, but Diamonds Are Forever definitely did a lot of the heavy lifting in terms of specifically associating it with gay villainous henchman duos in popular culture. There are probably prior examples of gay henchman duos adhering to the type, but I'm not aware of one off the top of my head.
Abbott & Costello?
Neither especially villainous nor particularly gay, unfortunately.
Sadly doesn't pre-date Diamonds Are Forever (1971).
Jasper and Horace (101 Dalmatians) do pre-date it (1961) but I'm not sure I can claim they're particularly gay
They're also more an example of the "villainous duo where one is short and fat and the other is tall and thin" trope, which often overlaps with but is not identical with the "one is wily and laconic and the other is loquacious and prone to malapropism" thing.
Do you think we can fit The Maltese Falcon into this lineage? The Fleming version of Wint and Kidd feel reasonably Hammett coded, and I don't think they would have been so queer in the film if they hadn't have been queer in the book.
That said, The Maltese Falcon (the book at least, haven't seen the film) has a trio of gay bad guys: Gutman, Cairo, and Wilmer.

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A Cruel Barbie's Thesis
Look, if I have to know this exists, so do you!
What's up with this Helen Keller truther movement?
My favorite bit of evidence is that her writing style changed over her life, which, yeah, that thing that happens to all writers.
It's just so funny that it's popping off now because it's such a low-stakes conspiracy.
And even if she was a fraud, it's just,
Wow, the blind deaf dead woman got us, fuck
I read her politics swung left as she got older. That's inconvenient for the right, who like her as a posterchild for the value of hard work overcoming any adversity. So I'm guessing this truther movement exists to address that.
so, Next death battle is Sentry vs Superboy-Prime. I'm hoping for SB-P to win :3
(for those unfamiliar, this is what he's referring to)
I think you're the only person cultured enough to give us the Superboy Prime/Fat Grandma crossover that the public does not know it needs.
It's fine to disagree with the IAU about the definition of "planet"; however, if your definition includes Pluto but not Ceres, Orcus, Haumea, Quaoar, Makemake, Gonggong, Eris or Sedna, you don't actually care what a planet is – you just want the exact list of nine planets you learned in primary school back. Your cute little Pluto-including orbital distance mnemonic ought to be at least seventeen words long, and good fucking luck with the Q!
my very eager mother just served us nine pizzas cold on her quaint mock gold engraved silveware
Sorry, but Ceres is between the orbit of Mars and Jupiter. In fact, if we're bringing back all the former planets, we would also need to bring back the asteroids Pallas, Juno, Vesta, and Astraea.
Steam workshop filling me with incandescent rage
Oh no. What did they do?

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But what if the other end of my red string of fate was tied around the neck of an endangered animal.
Dian Fossey.
Galaxy's Edge: Echoes of the Empire #1 (2026) main cover by Phil Noto
He looks so... sad... Has he discovered that they closed "Star Wars: Galactic Starcruiser" before he could visit it?
Or that he missed the Duro Droids gig at Oga's Cantina?
He got sat behind a pole at the Gaya show.
A Concept:
Stray (Robin but Catwoman's sidekick) AU but Stray only exists when [Insert Robin of the Era] is mad at Batman.
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Selina: "Why are you here, you have a home."
10 Year Old Dick Grayson: "Bruce is stupid."
Selina: "This is an objective fact, I shall teach you how to do crime."
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17 Year Old Jason (in disguise): "Catwoman I require independent funds. Also I want to piss off Batman. Help me break into this vault."
Selina: "You're super suspicious for no real reason but sure. I'm in charge though."
Jason 'Mommy Issues' Todd, really needs funds that don't come from Talia: "...okay."
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(chronologically this is before Jason)
14 Year Old Tim Drake: "Catwoman teach me crime."
Selina: "What?"
Tim 'wrapping up his training arc and international travels' Drake: "I have learned how to fight now I want to learn B&E."
Selina: "What am I, an educational service?"
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16 Year Old Stephanie: * is breaking into a thing.*
Catwoman: "What are you doing?"
Stephanie: "I need evidence to send my shitty father to prison forever."
Catwoman: "Say no more."
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11 Year Old Damian: "I wish to pet your cats."
Selina: "Sure, why not. Would you like to be a cat for the evening?"
Damian: "...I'm listening."
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Selina: "So I hear you can turn invisible..."
17 Year Old Duke: "Yes I can break into places. Let's go."
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Yes I do have over 1k written about this already it has joined the WIP Parade
the first few paragraphs of the first draft (written while half asleep, i make no claim to grammatical quality for this)
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I just have to nitpick that Jason died at 15. He even muses during a Titans mission that he can't wait to be 16, which, like everything else about his time with the Titans, is more offensive in hindsight. (Donna almost crashed the T-jet into the World Trade Center.)
Since Jason mentions Talia and living off her money, I have to assume this is post Jason's return to the land of the living.
I'm not even sure he met Talia as Robin, did he?
Did some digging, there are literally two issues where they appear together before his death: Detective #526 ("All My Enemies Against Me") and Batman #400 ("Resurrection Night"). Not sure if they actually meet within those issues.
I was actually shocked how few appearances Talia makes in the '80s. She shows up all throughout the seventies and early 80s, but there's a big gap between '83 and '88 where she only shows up for big villain ensembles. Those happen to be the same years that Jason was active as Robin, which is an odd coincidence.
One thing I see a lot in stories is group dynamics that are too archetypal. As in, every member of the group is made so unique that these people really would not associate with each other if given the choice, and even when forced together they kind of just fall into a role rather than generating interesting contrast or foils. What's a bit more interesting is giving two members of the group different expressions the same personality trait or archetype.
There are two leaders in the group but one is a charismatic heart while the other is tactical and plotting. That charismatic heart also has a charismatic seducer to play off of. That seducer's use of the more primal urges contrast with the more intellectual but creepy manipulation of the aforementioned tactical plotter. That kind of thing. It also avoids the token trap if two people have very different expressions of their background/identity/role.
Counter-argument: a lot of groups are thrown together in such a way that the people don't really have a choice in whom they associate with. Like, say, they're professionals that are thrown together as part of the functioning of a larger organization, like a Star Trek crew. Or they're the opposite, people who are so low that they've been forced together because no one else would have them, like the adventuring party from Konosuba. Or maybe there's a threat so big that it necessitates a weird alliance, like the Fellowship of the Ring.
In those cases, the author either needs to have the characters undergo arcs where they do become closer to each other, and/or just keep whatever outside uniting force constantly present.
A 'Moriarty' series about Sherlock Holmes' enemy is coming from Fremantle and Archery Pictures - he was played by Andrew Scott in the BBC dr
The team said Moriarty will be a “modern reinvention of the crime procedural, based on the most famous villain in all of detective fiction.” Moriarty is a Professor of Criminal Psychology at Durham University but leads a secret double life as the mastermind behind every crime of sophistication in the North of England. When a rival criminal begins an assault on his underground empire, Moriarty will have only one choice: to join the police as a consultant, using the law as a weapon to dismantle his foe while keeping his true identity hidden from the police. Paired with Detective Imogen Burrows, a stoic Yorkshire detective, they’ll form a fearsome team, but Moriarty will soon realize that the real threat isn’t the rival criminal faction he’s dismantling.
So it's that Blacklist show but with a Sherlock Holmes coat of paint?
While the idea of "eccentric character solves crimes with regular detective/cop" has been done to death, the concept that the "eccentric consultant" is actually on the supply side of crime (like Hannibal) and that the big bad could actually be Sherlock Holmes dismantling his operation could be really funny.
The dramatic irony of the seemingly super-intelligent villain who is always five steps ahead of the hero (like the Light in Young Justice, Moriarty in Moffat's Sherlock, or Hannibal in Hannibal prior to the cops working out that he was actually the one eating people and turning others into serial killers) actually IS THE HERO in this scenario, could be a fun twist.
Although admittedly considering how there have been multiple publicised cases with the cops in the UK where it turned out that they were working with high profile gangsters and were willing to turn a blind eye to literal murder if they kept sneaking the cops info on their rivals (one case in Scotland relating to the Glasgow Ice Cream Truck Wars had a guy bring up how he'd been framed by cops working with a prominent gangster, which was true, only for the judge to call him a brazen liar as he considered such an idea to be ridiculously insulting to the police force), I'd argue they could have just had Moriarty's criminal activities be known to those high up in the regional police force but with his operating as a "supergrass" giving him immunity from prosecution.
Then with Moriarty working as an intelligence asset, it makes Holmes' slow dismantling of Moriarty's syndicate more exciting and heroic as he'd also have the British legal system working to try and stop him too.
"Moriarty is a Professor of Criminal Psychology at Durham University but leads a secret double life as the mastermind behind every crime of sophistication in the North of England. "
Then that's not Moriarty, that's Deacon Brodie, the partial inspiration for Robert Louis Stevenson's "The Strange Case of DrJekyll and Mr Hyde"
Moriarty was a professor of mathematics, and one who had to quit even that job due to dark rumours about his activities. He had no public connection with crime in any way, that was the main part of his camouflage.
This does sound like quite a fun series conceit, but I am really not seeing it as Moriarty in any part of the description.
If I want Moriarty as the protagonist, I'll go read Michael Kurland's "Moriarty" ovels, or Kim Newman's very entertaining short story collection "The Hound of the D'Urbevilles"
I also liked "Moriarty the Patriot", an anime where the conceit is that Moriarty was actually using his criminal resources to murder corrupt wealthy people, who were untouchable by the law. So if you want a Moriarty who fights crime without also being a tool of the police, "Moriarty the Patriot" might be a better fit.

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I have posted before about how sometimes well-meaning attempts at running D&D without some of the more unfortunate dynamics can often backfire but in a way where most people don't even register it backfiring. Because when you take the step of "oh D&D's various 'evil humanoids' don't just exist in a vacuum and given the renfaire colonialism on display it's kind of impossible not to read them as somewhat racialized" many people will then go "okay but we still need some people who player characters should be allowed to kill guilt-free, so let's replace 'orcs' with 'bandits' because killing bad criminal people is perfectly ideologically neutral." At that point it's like "okay so your characters are no longer the racist kill squad, now they're just the Tough on Crime Vigilantes."
But I feel I should make clear that D&D the game itself is not exactly at fault here: like, okay, it is sort of at fault in the sense that it is a game of fantasy killing people with swords and magic. And it is easier for people to accept the killing with people with swords and magic part when they can imagine that their characters are at least to a degree justified. That is sort of just built into the game (and the game has built into its lore varying levels of making the fantasy of killing certain types of guy justifiable).
But D&D is not at fault for making people go "okay so it's bad when you kill orcs simply because they're orcs. It's better when you kill people who are bandits, who are a class of evil criminals where killing them is actually wholesome and sensible." Like, yeah, most people probably don't think about it that deeply, but the reason people don't think about it that deeply is ultimately ideological.
And the ideology is basically "it is bad to be racist but it's good to be a tough on crime vigilante."
You're probably not going to be the person who figures out how to make the game of fantasy frontier justice and grave robbing leftist. I don't think this is an entirely fruitless endeavor and it can even be useful from the point of view of thinking about what sort of buy-in the game requires. And ultimately these questions are a lot bigger than the game of D&D itself.
Out of curiousity, is this inspired by the discourse about bandits that has been going around recently?