obsessed with the way there are only six (6) total brad/nate edits on tiktok⦠thatās actually so beautiful⦠untouched by evilā¦
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obsessed with the way there are only six (6) total brad/nate edits on tiktok⦠thatās actually so beautiful⦠untouched by evilā¦
Sgt. Brad Colbert & Lt. Nate Fick in 1.01 "Get Some" | GENERATION KILL
WAIT THE TEEN TITSNS REJECTING DICK MEANS LIAN MUST REJECT DICK BECAUSE LIAN IS ON THE TEAM
ITāS SO OVER THATāS HIS NIECE THATāS HIS BABY GIRL HE CARRIED HER HE SAVED HER ITāS SO OVER
Generation Kill + The X-Files šø
The Figurehead by Anonymews Chapters: 1/? Relationships: Brad/Nate. Tags: Alternate Universe, Alternate Universe - Supernatural Elements, Alternate Universe - Detectives, Alternate Universe - X-Files Fusion, Paranormal Investigators, Slow Burn, Coworkers to Lovers, Case Fic, UFOs š½
Summary: When Brad is assigned to an obscure FBI office dealing with 'unexplained phenomena', he assumes it's a subtle way to make him quit. Everybody at the department is lamenting his fate while he packs up, too, which doesn't inspire confidence. "Good luck working with Spooky," Josie says and quickly corrects herself, "I mean, Agent Fick. Since you're partners now." Behind his back somebody titters. So this is what it takes for Brad to lose his hard-won reputation: a posting at the loony bin where they investigate Tinkerbell and the Bigfoot.
It is fascinating how we can all watch the same media and come out with various interpretations. That's the beauty of a communal experience. Our takeaways from the same media can be coloured by our biases and our own experiences projected onto the characters and story lines we consume. A character onscreen makes easy banter, casually talks philosophy, openly expresses affection without saying so in as many words - but where one consumer sees a person who values actions over words because words are nothing if not backed by actions; another sees a person emotionally repressed because they don't use a thousand words to communicate every emotion. Perhaps the first is themselves a restrained consumer, perhaps the second is an extroverted consumer who cannot understand how important emotions can be communicated without several words accompanying a shake of the head, a touch on the shoulder, or a gift of gun lube etc.
Both readings are beautiful. And I'm sure there are way more readings than the two mentioned. More the merrier, that's what makes fandom so interesting.
As someone who finds words exhausting and often limiting (that doesn't stop me from typing a few hundred words meandering through a subject lol) I'm fascinated by characters that choose their actions. Action is hard, and once committed, can't be taken back. A word said carelessly could be apologised for and could be forgiven; but an act of denying a bridge recon can result in an ambush that didn't take out a platoon out of sheer dumb luck in the guise of a Sergeant who saw the men in the trees, another who ducked because he cared for his TL more than returning fire, and an LT who believed he was already a walking dead.
Just like an act of bringing a container of gun lube for his lead vehicle is more important for morale rather than the gun as it probably didn't last long.
It can be limiting, however, to consider such open acts of communication as "emotional repression". Maybe there is a confusion with "emotion suppression", which is an active choice. Nate chooses not to entertain his TLs' decision to offer mutiny because entertaining this emotion could lead him down a hard road of second guessing his own engagement with command for fear the men could mutiny. He needs his men to focus on the mission, so they can focus and stay alive. The LT's well being isn't their problem.
Nate is the classic example of a stoic leader - but modern media showcases male stoicism as men who refuse to engage with their emotions. Nate's brand of stoicism is older. Nate ascribes to Hellenist stoic philosophy which says one should focus exclusively on what is in one's control (actions and consequences) and accept whatever external fate throws at him. This isn't emotional repression, it is self-discipline to avoid negative passions like anger, anxiety and fear. And that's exactly why Nate looks fascinated and horrified by Captain America. Captain America is what giving into negative passions looks like; and in a war zone, that puts the entire platoon, if not others, in serious jeopardy.
The argument against Nate being emotionally repressed is right there as text too - his interactions with Mike are open, well expressed, and occassionally humourous. He sings with Mike and the lads. He asks about Walt. He smiles at Ray's antics. He empathises with Doc. But he won't forget his focus is his men and so he won't participate in gawking at the hundreds walking from Baghdad or offer to pick up their luggage and/or babies. He won't force his men to stop doing the same either.
The scene with Q-tip where Nate lays down the parameters and Q-tip argues he meets those and therefore he should not be casevac-ed is a beautiful moment of leadership by both Nate and Doc Bryan. Either of them could have made a blanket decision - Q-tip is hurt, he needs to go; but Doc cedes the floor to Q-tip who argues for himself, and Nate listens. And concedes.
I suspect some of the Nate as emotionally repressed read might come from his interactions with Brad. The story is from PoV of Brad's team as reporter was with them. So a lot of the chatter comes from Brad and his ATL's team due to proximity. But crucially. Nate has, very early on, done his own math and concluded Brad as TL of his lead vehicle is the crux. Their first scene onscreen is where Brad offers an alternative to help a wounded Marine that is openly accepted by Nate. (No repression there - there is no unconscious brushing away of a different opinion. Nate is ALWAYS making choices). Nate is uber focused on Brad, he is often very aware what Brad is thinking and what he needs. The iconic headshake followed by Brad standing down scene - this wouldn't happen if Nate was emotionally repressed. Nate actively chooses to communicate to Brad here, he puts Brad first here. Brad comes out of this mission smelling of roses, now imagine if Brad had chewed out Schwetje at that moment. Brad is too important to be NJP-ed or worse but not important for command to find ways to screw him. They still screwed him after all that.
Brad is a Recon Marine whose job is to observe. He observes and calibrates what Nate is doing. Brad sees Nate engaging with him everytime he goes to Nate about something. Nate comes to him as he doesn't go to other TLs. Nate shields his men from shit rolling downhill, whether it is Ray burning himself with the coffee machine or war related shittery. That's why Brad is visibly hurt that one time Nate chooses NOT to engage with him. "I'm in awe". And Nate has had enough of command, he doesn't have it in his fuel tank for one more chat about them, even if it is with Brad.
There are so many moments in canon where Nate engages openly with people over their feelings and occasionally bares his own. The night patrol scene - another important BradNate scene where Nate verbalises exactly what his manifesto was during the war. Bring 22 men back home alive. He does it again, in the latrine-offer scene too.
He's smarting from Pappy's leg. Oh and observe too - Nate who has barely slept in 3 days chewing out Greigo for sending Lovell and team into the swamp without their LT's permission. Nate does this rather publicly. That's a choice.
An emotionally repressed Nate wouldn't put his hand over his Captain's to stop him from calling an airstrike down on his own men. Nate is actively choosing his actions throughout the series. He actively chooses his reactions to what command is doing to him too. That's not emotional repression - that's a man who knows his own limits and would rather not test them in a war zone where 22 men's lives depend on him.
Well, I have babbled away and I could go on and on and bore everyone even more. Time to go back into the real world LOL
Every time I read a fic that has Brad riding a bike or talking about owning one, I end up wondering what he would actually ride.
And then I saw this.
In my head, Brad is 100% a Royal Enfield guy now. I will not be taking questions or alternative comments, sorry š
nate fick and buster posey are kind of the same person in my mind⦠not entirely sure why i think this but it just makes sense
friend: do you have any soothing music or something? i cant sleep
me: oh sure, no problem *plays a 2 min clip of nate fick giving the smackdown to casey kassem in genkill* relaxing right?
happy birthday to the man whose hollywood portrayal took over my life (nate fick)
After being endlessly entertained by Nate and Encino Man's ship name being Schwick, @alone-on-takodana hit upon the fact that Nate and Doc Bryan would potentially be Brick š§±
We are at WORK. There was no good way of explaining why we were laughing like drains.
Add to this that the proper surname/surname ship name for Brad/nate would rightfully be Cock, a solid days entertainment all round (so to speak)
The Marine Corps motto is "semper fidelis" - always loyal. It's the motto every Marine in Generation Kill is theoretically serving under. Watch closely though and throughout we see how the campaign splits that single word into as many objects of loyalty as there are men holding it. By the end of the invasion, what each of them turns out to be faithful to - the Corps, the mission, each other, their own conscience - that is the real story the show is telling.
Take Brad and Nate, for example.
Brad's fidelity is to his craft. Everything about Brad, whether in the book or on screen, is oriented around mastery. It is all about his precision, his control, him being the best Marine. He summits Mt Shasta on a broken ankle, he tells Evan the only thing he misses from home is his motorcycle "speed, solitude, no one can touch me." His sense of self was built inside a controlled, disciplined system. Based on what we know of his chaotic domestic life - given up for adoption, wayward childhood, a fiancƩe who betrayed him - it's not hard to see why. The Corps isn't a means to an end for him, it is the point. The Corps is where he found that one arena which appreciates his particular gifts. So even though OIF tests him morally in ways earlier deployments didn't, he stays in.
By the finale he's recovered from his crisis of conscience and looks almost serene over an MRE. He got to keep the thing he's faithful to.
Nate visibly looks drained by the finale because Nate's fidelity is to his conscience.
Nate's whole arc is a slow-build reckoning of how much the institution he serves is broken. Schwetje is a coward, Griego is petty, dangerously so; Godfather only cares for a ribbon. Nate sees the chain of command's willingness to sacrifice lives for optics. And that is a struggle for his conscience to calibrate. Nate never stops being a good officer, but he finds that increasingly, he has to fight the system to be one. By the end, Nate has concluded the Corps is not a place for what he values - intellectual honesty, competence, and care for the men under him. The Corps is a bureaucracy (he sees this is what command is, after all) that forces him to choose between doing the right thing and staying in line.
For Brad, the Corps is the fullest expression of who he is. For Nate, the Corps was a proving ground for his values of leadership, integrity, and compassionate care, that ultimately point him past it.
To the Brad/Nate shipper in me, this reading is exactly what binds them together. Their dynamic was forged in intensity, they are two people who understood each other completely inside one specific, extreme context. For two people adept at managing men and superiors, they carry an air of melancholy that only the other sees. And despite their difference in rank, the show often has them blurring the lines to communicate via gaze and words. In Iraq, they build a bond, permanent and singular, that civilian life cannot touch or diminish and which cannot be replicated in ordinary life.
Brad's respect for Nate's judgment and Nate's reliance on Brad's candour is the emotional throughline that sustained them in Iraq and that doesn't need combat to function. It only needs two people who still tell each other the truth, who each recognizes the other's version of integrity as real even when it points to a different direction than his own.
So the new Pennyworth butler is rehashing the original Alfred introduction from Batman vol 1 # 16, huh.
Dan Watters is Establishing a Blockbuster-Level Crashout. Or: The Parallels between Nightwing (2016) #136/137 and Nightwing (1996) #89/90/91
Having had a little bit to reflect on the most recent two issues of Dan Watters' run of Nightwing, I've come to the conclusion that the setup, themes, and depicted conflicts almost perfectly mirror Dick's fall from grace during the Blockbuster arc. Here me out:
Thereās a sudden, dramatic civilian casualty, which *can* leave Dick implicated if he has a guilty enough conscious (he does).
In #136, Dick's culpability in the 9 civilian casualties is due to letting a woman into his car, who then holds Dick at knife point and takes the wheel, causing a pileup.
Meanwhile, #89 of the 1996 run has Dick technically responsible for the deaths of at least a few dozen in his apartment complex due to Blockbuster's discovery of his identity, causing Blockbuster and his gang to go after all civilians associated with Dick Grayson.
In either case, despite external parties telling Dick that it isn't his fault, he carries the burden of these deaths and is driven to reckless action to ameliorate his perceived wrongs. In both cases, the weight this death toll holds for him, which drives his irresponsibility and self-destructive tendencies, is augmented by his failure to save civilians *during* mass casualty event he is ostensibly "culpable" for. It isn't just that people died in ways that could be blamed on him, but that he attempted to help on the scene in both cases, with little to no success.
The parallels between #136 above and #89 from the 1996 run seen below are a bit more explicit here, with both having him literally dig through rubble for survivors only to find bodies, and taking that to heart. From here, in #136, it leaves him desperate enough to pursue the witch lead by any means necessary, while in #89, it leads him desperate enough to pursue the Blockbuster gang by any means necessary.
So, okay, the setups are thus far quite similar. In the most literal sense, there are deaths that can technically be traced back to Dick, but that he holds himself far too accountable for. His failure to aid on the scene and personal witnessing of the bodies amplifies the guilt, and this leads him to a state of reckless and self-destructive investigation as a means of penance.
The penance itself pans out quite similarly, or at least it has thus far, in #137 and #90.
In both cases (left being #137 and right being #90/91), we see Dick:
Put himself in dismal or unlivable conditions due to some combination of obsessive fixation on "solving" his problem and also not believing he deserves the comfort.
Lying to family about adequacy of self-care
Taking needlessly suicidal risks and ignoring injuries
I could go on.
The point is, the similarities between the crashouts are undeniable. If the trend continues, we're gearing towards a situation where Dick either brings himself to some state of physical/mental collapse or needs to be physically stopped to prevent further self-harm. I'm wondering if Watters will take it as far as DG did, though I very much doubt it. If we're lucky, though, this could possibly *address* how terribly Dick takes his own perceived failures, his perfectionism and self-hatred for not living up to those standards, his willingness to disregard his own mortality in pursuit of that "penance", etc.
I am, put simply, hyped AF.
>āDick⦠brings himself to some state of physical/mental collapseā
>āhis willingness to disregard his own mortality in pursuit of that āpenanceā
-> seeks penance in a CHURCH, does so in disregard of his health/mortality by forgoing rest.
I JUST KEEP WINNING DUDE. I JUST KEEP WINNING. HOW DOES IT FEEL TO WIN? KINDA LIKE SHIT HONESTLY.
They were friends, they said. Purely the admiration of one bro to another, they said.
I love how much Nightwing is Blüdhavenās.
It isnāt like Batman or the family arenāt Gothamās, but Gotham has the Bats like city has a good climate. There was not a choice in the matter. Their operations are liable to change. And as much as you might want to control things, when a storm hits, like your Failsafeās or the other dozen times one of them has gone rogue and altered Gotham, you donāt have much response other than to endure. And, sure, the police have tried to restrict them at times, including in the current run. Public sentiment has waxed and waned. But Batman and his posse respond as they please. For that matter, most of his additional network donāt face the world ā or accountability ā at all.
But Nightwing is something Blüdhaven feels it owns. Nightwing is a man to them. Whether through how Nightwing interacts with civilians, directly and in the daylight, or in the numerous collaborations with civilian detectives and law enforcement and other random citizens.
More specifically, I love the fact that the 9 deaths from the pileup spark outrage. God knows how much death and destruction from collateral occurs in other places, but here, it doesnāt slide. People mention it. I love not just how righteously angry Blüdhaven feels entitled to be, but how sure they seem that this will lead to their hero responding. Their hero is no greater or bigger or different than them, and on some level, there is belief that he will turn himself in because he is accountable to them.
I donāt know. I just really like that.
little lian with uncle dick āļø
BradNate fic withdrawal symptoms hit hard this summer, so naturally I went trawling through old fandom archives and forgotten websites.
The pickings are slim these days, what with so many accounts gone, purged, or locked. But good lord. Some of the fic that's survived is breathtaking. The kind that leaves you clutching your chest over a single sentence. Gorgeous prose, gorgeous feelings, and enough eyefucking to sustain me for sometimeā¤ļø
Bravo!
(thank you gif artist)