Anika Skywalker

geeky person who worked in film, now works in TV. I probably know too much personal info about your favourite celebrity.

[three-semicolons]

ROY HARPER WITH PUPPIES LOOK AT HIMMM

[anikaskywalkerlives]

The thing about Dick Grayson is every single relationship - platonic, romantic, familial he has ever had feels like an amazing and groundbreaking thing.

And that's because the writers clearly adore him even when someone above doesn't and wants him dead.

[anikaskywalkerlives]

The thing about Dick Grayson is every single relationship - platonic, romantic, familial he has ever had feels like an amazing and groundbreaking thing.

And that's because the writers clearly adore him even when someone above doesn't and wants him dead.

[waveoftheocean]

here's the full 2 page comic i did for @batfamilyzine ft. little richard sneaking away from a boring gala!! 🤸‍♂️

[three-semicolons]

The Dick-Talia beef from Tomasi is top 10 of possibly anything ever. I have never encountered such shit-eating-ness in any other collection of interactions ever.

The smile at Talia getting held up in the lobby.

Her offense and the patronizing ass clap.

THE FEATHER. TALIA BEING LIKE “WHY THE FUCK A FEATHER”.

THE BACK AND FORTH BETWEEN THE PHOTOS OF HOSTAGES.

OH THEY’RE SO CATTY. SO WONDERFULLY CATTY. PETTY THY NAME IS DICK GRAYSON. SCHEMING THY NAME IS TALIA AL GHUL.

FIGHT FIGHT FIGHT.

[three-semicolons]

Dick and Tim are so. They’re so. They’re.

[acediscowlng]

devin grayson's nightwing run finally getting reprinted and collected!! 🎉🎉🎉

[acediscowlng]

okay wow. so more people noticed this than i expected. but uh. source:

[jackietaylorfart]

Fighting for my life in this male dominated fandom 🫩

[residentwordsofaffirmationdealer]

batgirl (2009) #3

babs taking the oath with steph is genuinely so meaningful bc they both were left out (of the batman family) for so long and now they have each otherrrrrrr

[thatoneautisticfnaffan]

The New Teen Titans (1980) Issue #28

And they were roommates…

[forgottenarchai]

[1965] The Pogles — The Children’s Series Deemed Too Frightening by the BBC

📺 Forgotten Television

The Witch appeared in The Pogles, a six-part stop-motion story created by Oliver Postgate and Peter Firmin and first broadcast in 1965.

The story followed Mr and Mrs Pogle as they protected an abandoned baby carrying the silver crown of the King of the Fairies. A sinister shape-changing Witch wanted the crown for herself.

After its original broadcast, the BBC considered the story too frightening for its intended young audience. The six episodes were not regularly repeated, and Smallfilms was asked to create something gentler.

The characters returned in 1966 as Pogles’ Wood. The Witch disappeared, while Pippin and Tog joined Mr and Mrs Pogle for quieter stories about woodland life.

The first image shows the surviving original Witch puppet created by Peter Firmin. The final colour photograph came from the glossy Pogles’ Wood storybooks—the television series itself was entirely black-and-white.

All six original episodes survive.

[sparrowlucero]

honestly i think we kind of lost the plot on "therapy speak" as a bit of media criticism

[sparrowlucero]

i swear it used to refer to a story using a very formal, almost workplace safety-type tone of dialogue that's unintentionally jarring in context and feels like the writer is trying to make extra sure the characters come off as healthy and nice even though the language doesn't make sense contextually, now it seems to frequently refer to characters having any conversation about their feelings at all or even stories that are about therapy/are deliberately evoking that sort of verbage throughout as a stylistic choice. very odd.

[saccharinescorpion]

[three-semicolons]

Sometimes I’m like “I don’t get why people make a big deal out of Discowing’s V-neck when it isn’t even exceptional compared to other heroes of the era”.

Most of the time this is true. But there are moments.

[thelolaveart]

I drew dickkory but this time with chalk (everyone is shocked)

PEOPLE GO OUTSIDE AND DRAW WITH CHALK ITS SO MUCH FUN‼️‼️‼️

[anikaskywalkerlives]

If anyone wants to know what working in TV is like: I just had to search the legalities of flying medication overseas and discovered that you can hire a person with a visa to just get on a plane to bring meds to someone's doorstep.

[androxys]

[androxys]

#drop the thoughts op

Really, my thoughts boiled down to explaining to this friend (who is primarily a Marvel reader) that the Ric Grayson arc was ~3 years of Dick Grayson being isolated from the rest of the DC community due to amnesia. Tom Taylor and Bruno Redondo were the team who were getting Nightwing back in the saddle, which resulted in Taylor putting a heavy emphasis on Dick's connections to the greater universe. There is a lot of Babs, since she's one of his most important friends and a long term romantic interest. There's a good amount of Steph and Cass, since Babs was also starring in Batgirls for a while, which made casual crossovers easy. Tim would pop in and out. Taylor also wrote Son of Kal-El, so there were a few crossovers with Jon Kent. There are Titans appearances/stories. I think these were all very intentional responses to the preceding era, but a common resulting complaint is that at times Nightwing felt more like a "buddy book" than a solo. There were also criticisms that characters weren't being used to their full potential, which tbh is just a weakness of teamups in general. Nightwing also crossed over into several events during Taylor's tenure: Fear State and Knight Terrors and Beast World are the big ones, but Dark Crisis happened in there, as did the more casual aforementioned crossovers with SoK-E and Batgirls.

I think another thing that Taylor focused on was a more slice of life approach, aiming for something a little more fluffy and wholesome than the book's previous tone (and indeed, the tone of most Bat-books). This had mixed reactions from fans. Does it make sense as an artistic choice, to tone shift away from the grim and grittiness of getting shot in the head and forgetting everyone you love (and rejecting their attempts to be in your life)? I think so, but that doesn't mean that people will like it.

One of the other big criticisms that folks have (which admittedly I wholeheartedly share) is the pacing. Maybe it's because of the fluffier approach, maybe it's just not Taylor's strength. I think this book moves so slowly. The "big bad" was introduced two years and 34 issues ago, and in Heartless' 14 appearances he has done only slightly more than nothing. I think part of the pacing problem comes from the events, in service of reconnecting Nightwing to the broader universe, but honestly I don't think that explains enough of it. The pacing is... choppy, let's say.

I did specifically praise the art, because this book's art has been so good. I will sing the praises of Bruno Redondo's work forever, and even when he departed the art stayed consistently good. And as I've said elsewhere, I really like the more bold artistic experiments that Nightwing has done. #87's "single panel" approach was SO cool. #105's "first person POV" was additionally a really interesting approach. Neither are something that I think would work for every issue of a run, but I like that these issues celebrate the artistic medium and do something so interesting.

But yeah in conclusion:

[anikaskywalkerlives]

The one problem I had with Our Flag Means Death is that season 2 ending is beautiful and perfect with an eternal happiness just around the corner....

Until you remember just a few episodes previously explaining exactly why that ending will never work or be happy.