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bc i don't block anything but i'm on the spnblr side of tumblr, every once in a while i get a wincest post suggested "FOR ME!!11!" that says how people enjoying wincest are "fReAkS!!". and everytime i'm like "oh honey don't worry you're totally not, you just like two conventionally attractive white american men".

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from peter de potter’s 2024 zine, “a spartan for a single bed”

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Some Like It Hot 1959, dir. Billy Wilder

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Hmmmmmmmmmmm

This is my foxy wife Cindy

Hmmm. Foxy makes me think of

&

Honey, make me a martinini ~

makes me think of

Samuel, be a dear~

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Seinfeld – 4.14: The Visa

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Chhath Puja, North India

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by Armani Privé, F/W 2018-19

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good morning to horror fans, fat bitches, people with psychosis, they/thems, people who can’t drive, trans women, witches, and single dads. the rest of you... you’re on your own

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god i fucking hate it when my themes and symbolism show thinks it can survive on just themes and symbolism. you need a fucking plot for the themes and symbolism to thematically symbolize.

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I love Castiel absolute confidence in his work.

1. No demon can escape that trap. I made it myself.

2. I don’t get words wrong. 

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okay so the plot thickens.

i'm doing some very ultra-light research on milan and witches in the XVIIth century and apparently there was this area, now called Via del Laghetto but back then called "Ca’ di Tencitt", or "house of the dirty people", because it was home to coal dockers and "vetraschi"... aka tanners! the tanning job was so INHUMAN that orphan children were taken from orphanages and forced to work until they died.

this area was believed to be the home of "Arima the witch" who, supposedly, thanks to her knowledge of magic/herbs, managed to keep the 1576 plague at bay in this area inhabited by exploited workers, prostitutes and outcasts.

so a story is slowly developing here because Rowena is the daughter of a tanner and she, we've got reasons to believe, was taken advantage of because of her "lower" social status. and she was also persecuted for withcraft which was something she was born with. so it'd make sense for her to flee somewhere else and find refuge among people who can "understand" her even if she finds herself in a different country.

i was joking about the expat life and now i'm feeling sorry that i've made that joke because the story that i'm discovering is actually very sad but also way more compelling than I could initially imagine!

also thinking about rowena studying under letitia di albioni, the milanese witch. i wonder where the inspo came from, witches are kinda big in milan, also tarots and magic, generally speaking.

also the idea of rowena in milan in whatever century just fills me with joy.

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okay so " di albioni" means "of albioni" and... albioni doesn't mean anything to me but albione is the italian translation of "albion", aka the uk. but wiki also tells me this:

The name for Scotland in most of the Celtic languages is related to Albion: Alba in Scottish Gaelic, Albain (genitive Alban) in Irish, Nalbin in Manx and Alban in Welsh and Cornish. These names were later Latinised as Albania and Anglicised as Albany, which were once alternative names for Scotland.

So basically this tells me that rowena went to study witchcraft in milan under a woman who was of scottish origins like her!

okay now i have something i can work with. rowena living expat life in XVIIth century italy. now that's something interesting to think about.

also thinking about rowena studying under letitia di albioni, the milanese witch. i wonder where the inspo came from, witches are kinda big in milan, also tarots and magic, generally speaking.

also the idea of rowena in milan in whatever century just fills me with joy.

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also thinking about rowena studying under letitia di albioni, the milanese witch. i wonder where the inspo came from, witches are kinda big in milan, also tarots and magic, generally speaking.

also the idea of rowena in milan in whatever century just fills me with joy.

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since i'm apparently in my " spn granpas era" i feel like i should also mention grandma rowena. i like to think about rowena specifically in comparison with john but i also like this angle bc i makes me think about rowena in relation to henry and chuck as well.

i'm quite fuzzy on the details and i need to say that i hate the gavin storyline with a passion BUT rowena's family is indeed connected to the winchester's, particularly henry, via abaddon BUT ALSO via the men of lettes organization (both the british and the us one).

this means that i just HAVE TO parallel rowena with henry and... it kinda works? they both abandon their respective children because they were harassed (interestingly, henry's organization is what persecutes rowena) and had to flee (henry travels through time, rowena becomes an exile and goes to poland and probably italy? eventually she goes to the states), their children, john and crowley/fergus well... let's just say that they won't end up very well and their nephews, gavin and sam and dean are the ones who'll eventually have to sacrifice themselves for the family "sins".

and like, isn't there an episode in S12 that's about how no monster can "immigrate" to the uk bc they are detected&killed within few hours? i'm saying this bc i'm thinking about rowena's story related to colonization (i have a whole post about how characters in s10 can be seen like characters in "the tempest") and integration (not only did rowena had to flee persecution but she was never "accepted" into any covens bc magic was her inherent power, she was native to it in a way, and apparentely bc she mingled with "non-magic" people (?) + her son, crowley, and his struggle for power, his "self-made demon" vibes and his obsession with being king) vs henry winchester being part of an organization with a colonizing mindset + clear intent of annihilating what's magic and/or monstrous (his son, john, was a soldier in the vietnam war + he travelled across the us killing monsters and looking for THE demon).

mmmh. these are very unorganized thoughts because i'm missing some pieces but i'm kinda lovin grandma rowena!

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Padre Padrone (Paolo Taviani, Vittorio Taviani, 1977) Cast: Omero Antonutti, Saverio Marconi, Marcella Michelangeli, Fabrizio Forte, Marino Cenna, Stanko Molnar, Nanni Moretti, Gavino Ledda. Screenplay: Paolo Taviani, Vittorio Taviani, based on a book by Gavino Ledda. Cinematography: Marino Masini. Production design: Gianni Sbarra. Film editing: Roberto Perpignani. Music: Egisto Macchi. Two great themes coalesce in Padre Padrone. One is older than Oedipus, the primal conflict of father and son. The other came to the fore in the Enlightenment and the democratic revolutions it spawned; we now call it “social mobility.” Poets used to write of flowers “born to blush unseen” and “mute inglorious Milton[s],” the victims of rural isolation, primitive ignorance, societies atrophied in feudal patriarchy. The Tavianis find both themes surviving in rural Sardinia, where Gavino Ledda’s father drags him from school at the age of 6 and keeps him in servitude and illiteracy as a shepherd for the next 14 years. Padre Padrone could have been just a feel-good story about Gavino’s triumph over his father’s sternness and greed – though the elder Ledda thinks what he’s doing is for the son’s own good – but the Tavianis won’t let it be just that. Though Gavino, rescued by compulsory military service from isolation and ignorance, becomes a celebrated linguist, an authority on the Sardinian dialect, the actual Gavino Ledda, appearing in a frame story for the dramatized part of the film, lets it be known that he has been permanently marked by his father. The Tavianis also find witty ways of letting the outside world irrupt into the young Gavino’s isolation, as when the young shepherd hears an accordion playing and the soundtrack bursts into the overture from Die Fledermaus, a correlative for the world beyond the Sardinian hills. Later, after Gavino has begun to find his vocation but has been forced to return home, the aching beauty of the adagio from Mozart’s Clarinet Concerto, to which Gavino is listening, is stifled when the father angrily drowns the radio in the sink. Gavino’s feeling of being suppressed by his father finds a correlative when he joins a group of other young men carrying the effigy of a saint to a festival at the church. Hidden underneath the heavy statue, the men plot an escape to be guest-workers in Germany, but the camera pans up to the statue, which has changed to an image of Gavino’s father, whose refusal to sign the necessary papers prevents Gavino from fleeing. Padre Padrone was made for Italian TV, and has been restored from 16mm film, so its images are sometimes a little muddy, but it gains real power from its storytelling and from the performances of Omero Antonutti as the father and Saverio Marconi as the grownup Gavino.