#almost comforted even.

[ihophashbrowns]

visited my grandparents' house for the first time since my grandma's funeral...... an odd but not awful feeling.

[flwrkid14]

Bruce shares custody of Tim with Harley Quinn

Yeah, you read that right. Gotham’s broodiest billionaire vigilante and the queen of chaotic energy are co-parenting Tim Drake. And, somehow, that’s not even the weirdest thing that's happened to the bats this year.

Why? Two words: Joker Junior.

The details are locked down tighter than the Batcave, but here’s what everyone knows (or guesses): Joker broke Tim in ways none of them can fathom. He didn’t just try to kill him—he tried to make Tim like him. And while Tim clawed his way back from the brink, he didn’t do it alone. Harley was there.

She was part of the nightmare. And then, unexpectedly, she was part of the healing. She stepped in, helped Tim survive when Joker was doing his worst. When it was all over, when Joker was (temporarily) gone, she didn’t vanish into Gotham’s chaos. She stayed.

And somehow, somewhere along the way, Tim started calling her “Mom.”

And Bruce didn’t stop him.

Cue the Batfamily losing their collective minds.

Dick is pacing the Batcave, gesturing wildly. “Bruce, this is Harley Quinn we’re talking about! You don’t just co-parent with a rogue! There are laws against this! Or, like, there should be!”

Jason is sitting on the Batmobile, arms crossed, voice dripping with disbelief. “She’s literally a former rogue. She tried to kill you! Like, more than once. This is insane, even for you.”

Steph is perched on the edge of a desk, trying (and failing) not to laugh. “Okay, but, like, can you blame Tim? Harley does make amazing pancakes. Better than Alfred’s, honestly—”

A scandalized gasp echoes from the other side of the room.

Cass just watches quietly, her head tilted, but there’s a small, knowing smile on her face. She gets it. She’s seen the way Tim softens around Harley, how he relaxes in a way he doesn’t around anyone else.

Damian glares at Bruce like he’s lost his last shred of common sense. “Father, you have truly surpassed yourself. Allowing that woman into the sanctity of our home—”

Duke raises a hand cautiously. “Okay, but can we at least talk about how Tim basically has diplomatic immunity now? No rogue in Gotham is gonna mess with him. He’s Harley’s kid!”

And it’s true. Between Harley’s reputation and Poison Ivy stepping in as Tim’s unofficial stepmom (because of course she and Harley got back together), the rogues have adopted a weird kind of reverence for him. Tim’s no longer just a bat to them—he’s Harley’s kid.

Picture this: Tim’s out on patrol, and Riddler has the gall to interrupt with a riddle—only to end it with, “You’re sharper than I thought, kid. Guess Harley taught you well, huh?” before disappearing into the night.

Harley’s brand of parenting is chaotic but deeply personal. She knows Tim’s tells, the way his hands shake when he’s overwhelmed or the too-quiet moments when he’s retreating into himself. She’s the one who sits cross-legged on the floor with him, working on puzzles and cracking jokes until the tension lifts.

She carries extra band-aids in her purse because “Ya never know when a fight with some thug is gonna leave ya with a paper cut!” She also leaves sticky notes on his projects with scribbled messages like “You’re a genius, baby boy!” or “Don’t forget snacks!” They’re goofy, sure, but they make Tim smile when he needs it most. She keeps a stash of snacks in the Manor because Tim forgets to eat when he’s working. She shows up with pancakes at 3 a.m., douses everything in syrup, and calls him “baby boy” in that soft tone that makes Tim feel… safe.

Even Harley’s chaos has an odd kind of comfort to it. She’ll burst into the Manor unannounced, dragging Tim into impromptu “self-care parties” with face masks, bad rom-coms, and every flavor of ice cream imaginable. Somehow, it works.

Ivy, on the other hand, balances Harley’s energy with her own structured nurturing. She insists on “proper nutrition” and occasionally sends Tim home with meal prep containers filled with organic, eco-friendly food labeled things like “Stress-Busting Smoothie” or “Brain-Boosting Soup.” If Bruce raises an eyebrow at it, Ivy simply reminds him that “The human body can only fight crime properly with the right fuel, Bats.”

One time, she cornered Bruce in the greenhouse, pointing an accusatory finger. “If you send Tim out on patrol without a proper meal or at least six hours of sleep, I swear, Bruce, your rose garden is compost.”

And while Harley is the queen of hugs and chaos, Ivy is the one who sits with Tim on the porch at night, talking softly about resilience and regrowth, using plant metaphors Tim pretends not to understand but secretly finds comforting. Once, after a particularly bad night, she gifted him a small cactus with a note: “Even when it feels like the world is trying to tear you apart, you’re stronger than you think. Also, low maintenance, like you.”

Bruce knows the family doesn’t fully understand. But as he watches Harley teaching Tim how to make lasagna one night, the two of them laughing as the kitchen turns into a war zone of flour and tomato sauce, he doesn’t regret it.

Sometimes family doesn’t look like you think it will. Sometimes it’s stitched together from the most unexpected pieces.

And sometimes, it’s an ex-rogue, a traumatized teen, and a brooding billionaire all trying to figure out how to keep the lasagna from burning.

Welcome to Gotham.

[reineydraws]

kyojuro corruption arc

[sunnyirry]

pink diamond going to the garden after she got denied her own colony for the 1000th times </3

[alicornze7]

Silly guys goin' on silly adventures:]

@rorydrawsandwrites's puppeteer au but the only difference is that jax gives consent

My contribution to this wonderful au has been long overdue:')

Rambling in tags ehe (cw: ribbun:p)

Well maybe it's not the only difference

[bunnieswithknives]

erm can we see more deer dale he's so silly

Deer Dale!!! Now with full antler face like I initially intended but could not figure out how to draw at the time

[fear-no-mort]

favourite thing: his new habit of saying uhuh/mhm and also this

[whumpitisthen]

Leashed to the floor by a short lenght of chain. The chain has just enough give to let them scramble back just a couple inches, low to the ground on their hands and knees, when they get scared. They can't even look up from how hard the unforgiving leash pulls their neck back towards the ground unless they stay where they are supposed to, right where whumper wants them to be.

[bones-of-a-rabbit]

fear was the first and last defense of all your kind. and yet, you had not thought you would ever find yourself so paralyzed by it, especially not like this. not with him.

aka i think abt what it must be like to be a mouse in a world where animals are people a lot and i bet it would especially suck if ur love interests suddenly got infected with some kind of virus that made them murderous and bloodthirsty lmaooooo

[silusvesuius]

testing out drawing maormer 🪸🐚🪸 and a nelvas 🧣📜🩷 i'll ramble about maormer a bit in the tags

[mossdogs]

last prom

[starry-bi-sky]

Blood Blossom Au: before the nightingale sings

---------

for my batdad blood blossom au, the one where Vlad poisoned Danny with blood blossom extract and Danny ran away from him and ended up tumbling into the care of one Pre-Robin Battinson Batman :). A quick oneshot telling the tale of the tragic deaths of the Fentons

TW: Major Character Death Warning

-------

Not all deaths are created equal.

That is a valuable lesson in life to learn. One that Danny learns when he is eleven years old, standing in the pit of his parents’ creation; the culmination of their life’s work. The portal to the other side, the realm of the dead. To the infinite. 

He learns that when he’s eleven years old, in a hazmat suit that sags on him, and boots that clunk when he walks because the only ones that fit are his mom’s, and even those are too big. In gloves that he has to clench his fists in because otherwise they fall off. In goggles that slide down his nose even when he’s tightened them the farthest they can go. 

He learns that when he’s eleven years old, choking on giggles that harmonize with the laughter of his friends’ who stand at the mouth of the tunnel. Sam’s holding a polaroid in her hand. They’re just being kids. 

They’re not laughing when Danny’s hand hits the safety lock — the one with faulty wiring, the only one in the tunnel. The only one he could possibly hit. They’re not laughing when the portal buzzes to life, and the lights inside switch on row by row as the generator begins to rumble and hum. 

They’re not laughing when Danny dies. They’re screaming. They’re not screaming when he comes back.

Not all deaths are created equal.  

Some are poetic, beautiful. The satisfying close of a book as it comes to an end, of the hardback thumping soft against the pages like the sound of a door closing. A train run its course.

Some are violent; unsatisfying; unfair. The unexpected shattering of an egg as it rolls off the countertop when nobody is looking, the unmistakable crack as it falls to the floor. It is abrupt and messy. 

But most are just… unremarkable. Unintentional. Clumsy. 

Danny’s family dies one night in late January. He is thirteen years old, barely a month away from fourteen. It is unforeseen. It is preventable. It happens. 

It happens like this: 

Their water heater breaks one Monday in January. It’s old, sitting in the garage, and has dealt with nearly sixteen years of Fenton-grade chaos and shenanigans. Of parents tossing scraps and junk into the garage as brief storage to come back to later. Of illegal tune-ups on their vehicles that result in something exploding. Of little children running around and knocking things over, playing with poles and sticks they find on the ground, on the shelves. Of being lived and used.  

Something had to give. 

Jack Fenton notices it immediately when he comes upstairs that very afternoon — his children at school, his wife downstairs — to grab something from the garage. The very same scrap and used material they store like squirrels to use later. 

He stops what he’s doing to fix it.  

It wasn’t supposed to be permanent. 

Despite what many believe, Jack Fenton is not the idiot people make him out to be. He knows what he’s good at, he knows what he’s not. He knows he can be passionate and obsessive and single-minded about things. He knows that he is a scientist, an inventor; an engineer. 

He knows that he is not a plumber. That fixing water heaters is not something he knows how to do, not safely. And he loves his family. What he does is only meant to be temporary — a fix meant to only last a few days until they can call someone in who can fix it for them. 

So Jack Fenton futzes with the water heater, gives it a temporary stitch to last a short while, and reminds himself to call a plumber later that day to come in and fix it. He turns and leaves the garage with the part he came for —  a sheet of metal for his wife to melt down — and disappears back downstairs. 

He does not make that call; it slips from his mind. 

It is not his fault. 

One day passes, then two, then suddenly it is Thursday. The water heater has still not been fixed, the water heater has been forgotten. It is nobody’s fault.  

Danny asks his parents at breakfast if he can stay over at Tucker’s house for the night. Just one night. They’re going to study for their math test and then play video games until midnight, but he only tells his parents that first half. 

He’s been doing well in school. Really well — better than he has in a while. There’s been a delightful lull in ghost appearances for the last few weeks. The living don’t know why, but Danny does. The Winter Truce always calms the dead down for a while, something about how the Zone cleanses itself twice a mortal year and that fresh wave of ecto clears out the old and brings in the new. 

This year Danny got to participate. He’s feeling the effects of it too, and he’s been sleeping consistently well for the first time since the accident. 

It’ll never happen again. 

His parents agree under the condition that he doesn’t stay up late, and Danny harmlessly lies through his teeth and agrees. He goes and throws overnight clothes into his school backpack, and when he leaves for school with Jazz his parents are already departed into the lab. 

The last conversation he has with his sister is in her car on the drive to school. Inane, mindless conversation to fill the air and pass the time. Jazz comments on how relaxed he’s been lately; Danny tells her about the Winter Truce. She listens in rapt attention. 

She tells him that she’s glad to see him so well-rested. She thinks her little brother’s been growing up too fast these days. She thinks he’s been too tense. Too caught up with the spinning of the world around him that he forgets about himself sometimes. 

When they reach school, before Danny can get out of the car, Jazz looks to her little brother and says; “I love you.” 

Her little brother’s cheeks turn an embarrassed shade of red. He makes a scrunched up, grossed-out face, but can’t hide the smile pulling across it. “Don’t be a sap, Jazz. I’ll see you later.” He tells her, yanking his hood up over his head. She hears the bashful, ‘love you too’ before he walks away. 

That is the last conversation she ever has with her brother. 

Thursday is unremarkable, passing by in its normality as it always does. There’s one, maybe two ghost sightings; shades lurking around in curious infancy that are easily spooked away by the presence of a greater being. Danny doesn’t even have to go ghost. 

Thursday evening is even less so. Danny goes to Tucker’s house — Sam has a prior arrangement with her slam poetry club — and the two of them study for an hour before they toss their textbooks aside and reach for the game console. 

Danny sleeps in Tucker’s room with one of the extra blankets on his bed, curled across the room in one of the bean bag chairs. It shouldn’t be comfortable, but to Danny it is. He sleeps throughout the night, the portal shut down by his parents before they’d gone to bed. 

Early Friday morning, before the sun has even risen yet, before it’s even so much as a concept to grace the horizon, the water heater breaks again. It was supposed to be fixed. 

Carbon monoxide is a silent killer. Odorless and scentless, it kills within minutes. It fills the house like a shadow casting over the ground, creeping into the rooms. 

Danny’s family die in their sleep; painless and unaware. 

It’s not Jack Fenton’s fault. He didn’t mean to.  

Nobody wakes up with their alarms. 

Danny wakes up to Tucker Foley’s alarm on Friday morning, and he turns his head intangible and shoves it into the beanbag chair like an ostrich hiding its head in the sand. Tucker gets up before him, and throws a pillow at him as he reaches for the alarm. 

There’s laughter, messing around. The both of them get dressed, and Danny has breakfast with the Foleys that morning. He takes the bus to school with Tucker, and they meet Sam by their lockers. 

To him, everything is as normal as it should be. There are no ghosts for him to fight right now, school is as school does, and he’s on top of all his schoolwork. 

He does not see Jazz at all that morning, he doesn’t notice. Their schedules are so different, their routes on different paths, that it’s not uncommon for Danny to not see Jazz until he gets home some days. That’s if there’s no ghost attacks. 

At lunch, he gets approached by her friends. Worried creases between their brows, they ask him if he’s seen Jazz. She hasn’t shown up to any of her classes. She’s not answering their texts. It’s unprecedented of her; unheard of. 

Danny doesn’t admit to the concern that swells in his gut when they tell him this. He shrugs at them, and says he hasn’t seen her either. But it was probably nothing to worry about; she might just be sick and sleeping it off. 

He offers to text her and let them know if he gets a response, and that seems to ease her friends enough that they shuffle away in uncertainty. He keeps his word, and does exactly that. He pulls out his phone and opens her contact, and shoots her a message.

‘Where are you?’ 

He doesn’t get a response back, Danny is left on sent. He puts his phone in his pocket, and with a sense of unease creeping in the back of his mind, goes on with his day. He gets no response by the time the final bell rings; and he tries not to be worried. 

The house is quiet when he opens the door. Unusually quiet. He drops his backpack to the floor, it lands with a hearty thunk, and begins to take off his jacket. “Mom! Dad!” He yells. He hangs it up, and slips his shoes from his feet. “Jazz skipped school today!”

A laughable untruth that would get his sister all riled up normally; she should be able to hear him from the front door if she was in her room. The house just stays dead silent. 

He can’t even hear the usual banging and crashing from the lab. His unease returns. He reaches for the intercom that leads directly down to the basement, and presses the button to turn it on. A burst of static, and then he speaks;

“Mom? Dad?” 

Danny lets go, and waits for a response. He gets none back. That never happens, not when the house is this quiet. Not when he knows they should’ve heard him. 

Something sickly and fearful borns in the pit of his stomach, and begins to snake upward. He heads for the lab. The cool metal of the door is familiar in the grooves of his hand, and he doesn’t even need to think about the code as he punches it in;  he simply lets muscle memory guide him. It’s been the same since he was little. 

The door hisses as the pressure is released, and he swings the door open. He takes the stairs down two at a time. Something is wrong. His parents aren’t answering him. His feet pound against the metal. 

“Mom? Dad?” He calls again, more worried, more frantic. More scared. His voice echoes down the stairwell, and he reaches the bottom before it’s fully faded. The lab is empty. The portal is still shut down. 

It was four in the afternoon, they should still be down here. 

Danny races back upstairs, fear-raised nausea coiling in his throat. “This isn’t funny you guys!” He yells when he reaches the top, shoving open the door with more force than necessary. His head swims, his voice cracked. 

He checks the garage, the car is still there. 

“Mom!? Dad!” His voice bellows out throughout the first floor, loud enough that it bounces back at him and rings against his ears. He’s never raised his voice this much — mom would scold him if she heard him. But she doesn’t show up. “Jazmine!” 

Finally, he goes upstairs, and he can’t tell if what he’s feeling is anger or terror. Something is very, very wrong. 

He swings the door of his parents’ rooms open first, and there they are, with the lights still off and the curtains still drawn. As if they hadn’t left their bed all day. Some of Danny’s fear lifts from his shoulders just by the sight of them, but he’s still trembling. Something is still wrong — the room smells… off. Not good, not bad. Just… off. 

He swallows dryly, his throat still thick, and steps into the room. “Mom, dad?” They do not stir. “Didn’t you guys hear me yelling?” 

There is only room static. Danny’s heart shrivels in his chest with a tenfold return of terror, he feels ill. He remembers, just now, that they’re not heavy sleepers, and his dad should be snoring like a freight house. 

Danny reaches their bedside in seconds, hand outstretching for the covers, “Momma? Dad?”

Not all deaths are created equal. 

But many of them are accidental. Unmeditated. Shocking.

Danny Fenton finds his family dead in his childhood home. He runs to his neighbors in hysterics, inconsolable, in tears. Nine-one-one is called, but there is nothing that can be done. They were dead for hours by the time Daniel Fenton returned home. 

He sits on the front steps of the neighbor’s house beside FentonWorks, his jeans slowly becoming wet from the snow that was unable to be scraped off, and watches the paramedics cart out his family beneath white sheets. There are police cars blocking off the street, yellow tape blocking off his house, red-blue lights lighting up the block, an ambulance on the scene. He is wrapped in a shock blanket, and he is missing his jacket and his shoes. His tears are freezing onto his face, he can’t feel the chill. 

Not all deaths are created equal

But all of them are unforgettable. 

[nelkcats]

The Spiteful Ghost

Danny loved space, and loved exploring it almost as much as he loved the Realms (yes, apparently he had made a home there, and learned to love its quirkiness, who could knew right?). The problem was that over the years the halfa acquired another characteristic: He hated heroes.

It might seem ironic, considering his teenager years but he just couldn't stand the concept of heroism (he never chosed to be one), not after all he had been through. Not after losing his family and ending up with more than deep wounds, not after humanity called him a villain for protecting the ghosts, not after the world chosed to sacrifice him after all he did for them (Amity was his world, and the city handed him over on a silver platter to save itself, they forced him to take drastic measures, actions he should never have taken, but when you're alone it turns out that no one can stop you)

They say that rancor can change you, the halfa can confirm. The point is, Danny hated heroes (he hated what they had to go through, hated that adult heroes weren't there for him, hated what it took to be a hero, leaving everything for the world was absurd, why would you accept something like that?). When the ghosts told him about the DC dimension he didn't take it exactly well. Although at least those heroes had a base in space.

Clockwork forbade him to go for a few months (he understood his grudge, quite personal, but he didn't want it to destroy him, he didn't want him to destroy himself), but when he saw him lost and depressed he allowed it, probably because he knew it would cheer him up for a while. Maybe he saw some future where he reconciled with the "profession", or maybe he thought he needed it (the halfa wasn't evil, Clockwork knew he wouldn't hurt anyone).

So, Danny arrived in the hero dimension and set out to be the world's biggest nuisance: moved chairs, ate their snacks, disappeared their stuff. He wasn't doing anything exceptionally big until he overheard an argument between the Red Hood and Batman.

After that, Batman ran out of gadgets in no time and Red Hood found little desserts everywhere. By the time they called JLD, it was pretty obvious they had an invader (the invader strangely loved Young Justice, and anti-heroes, seemed to hate Batman thought).

John Constantine entered feeling that he was walking to his funeral, why the hell had the Ghost King installed himself in a hero base, if it was rumored that he hated them to death?

[secriden]

Watching Joong's Hurt Me Please MV with the context of how episode 6 ended and how this is likely a song about Fadel's thoughts and feelings about Style after Finding Out, I wanted to take a deeper look at the lyrics.

I have transcribed the English lyrics on Youtube side by side with a fan translated version (credit: bl_zonee on Twitter) just because there's different shades of meaning between them that I find really interesting and I'm curious which one is the more accurate translation or if both are valid, but just give different nuance. (Perhaps a mutual who understands Thai would be willing to give some insight? *u*)

Verse 1 makes a lot of sense to me: Fadel must be wondering how Style could be so cruel ("unkind" / "heartless") because every instance of Style being honest and asking for honesty in return, all of Style's genuine desperation to bare his heart to Fadel in episode 5 and 6, now looks like a calculated, cruel deception.

And after being so afraid to reveal his secret to Style for fear that it would make Style walk away from him, there's a painful irony in Fadel now wishing Style had walked away before. Because the betrayal hurts so much more now that Fadel has given in to his heart.

The chorus is where the nuance between the translations gets interesting.

The Youtube version seems almost like Fadel is taunting Style, putting up a front that he can take the pain Style is dishing out and more. It's like he's hiding behind the bravado of being able to handle the hurt, and even more.

The MV also depicts Style smiling sadistically after slapping Fadel, as if he's enjoying the pain he's inflicting. Meanwhile, Fadel looks up almost in adoration, a strange softness in his eyes at odds with how cruelly he's being treated. The knowledge of Style's betrayal has turned Style into a monster in Fadel's mind, one which he cannot help but to still have soft, affectionate feelings.

But the fan translation sounds much more hurt and accusatory. Fadel is expressing his pain and anguish much more plainly and "you did this to me" is a line that demands responsibility.

In both translations, though, the last line ("can't get enough" / "enjoying the pain") gives us a hint that Fadel isn't willing to give Style up even now. Despite the pain, despite feeling as if he's simultaneously burning up and drowning, there's a part of him that still wants this. That still wants Style.

Interestingly, as Fadel sings the last line he begins to visibly struggle against the rope tying him to the chair. The soft look vanishes and in place is a determination and shadow that spells trouble for Style. The shock is wearing off and Fadel is starting to fight back.

Verse 2 is where the agony really hits, for me.

In both versions, Fadel recognises the way Style's love was (maybe still is?) precious to him ("your love feeds my soul" / "your love nourished my heart"). But because Style's love is a lie, it's transformed into a weapon ("poison"). It twists Style's love into a source of "hurt" to Fadel.

Which is why I think both versions have a line where Fadel admits that there's a part of him that wants Style to keep hurting him -- or rather, to keep loving him; because these are the same thing to Fadel now -- ("hurt me, make me feel used" / "the more I was hurt the more I enjoyed it") whilst also remaining accusatory ("the more I loved, the more sorrow/I suffered").

The lines about "nothing left to write about our love" / "our story" also feel very pointed and final. A closing of a chapter; a closing of the possibility of their former, uncomplicated happily ever after. Style has nothing left to write (report) back to his superiors (the police) because Fadel's love is already complete and his deception has reached the inevitable conclusion of Fadel being found out/destroyed.

All this happens while we see Style continuing to threaten Fadel with a golf club and an almost crazed expression of glee juxtaposed with flashes of Fadel and Style in much happier times.

Also the fact that this line comes with this scene where Fadel lets Style kiss him despite “knowing” it’s all a lie *sobs uncontrollably*:

The first chorus comes back once and the music reaches a plateau. We are clearly preparing for a drop or a modulation and we get exactly that (twice!) with the second chorus:

Here, both versions converge: Fadel is angry, he's furious. Style hurt him and he's going to repay all of it and more ("you'll hurt [by much more]" / "you must suffer more than I did"). The lyrics tell us that, while Fadel cannot take back the hurt (take back his love), he can certainly ensure he isn't alone in the suffering (this love will also hurt Style).

It is at this part where my heart sank as I realised that Fadel's "I think I love you" line in episode 6 now takes on a much more sinister tone.

Because I think that discovering Style's betrayal was also what made Fadel realise the truth of his love for Style; the very agony he was in was the sign that Fadel's heart was lost to him. But even as it is true, I also think he still made the choice to ruin Style in the same breath. Because if Style could use Fadel’s love as a weapon then Fadel is going to use it (Fadel’s love) to hurt Style too.

A decision was made in this moment, and everything Fadel does afterwards in this scene is deliberate.

There is, however, one piece of hope:

Despite Fadel's expressed fury, what the MV shows us is Fadel breaking out of his bonds, shoving Style back and punching him once and then:

For all his anger, for all his rage, for all his threats of manifold vengeance, what we see is Fadel pressing close and kissing Style; once on the lips, and once on his chest (heart), all while the lyrics makes space for one last plea:

("don't betray me")

For me, its the way the line is shown together with this direct visual parallel between the ignorant Fadel in the past (left) and the Fadel of the present who has seen through Style's deception (right) that I find particularly compelling. Even now, even at the point of Fadel discovering Style's betrayal, there is still hope for forgiveness.

Because Fadel cannot help himself. Because Style made Fadel's bleeding heart whole again; and it beats, it feels, and despite how much it hurts, what Fadel still wants more than anything else in the world -- desperately and simply -- is Style.

[tyrianludaship]

yeah i think there's a difference between selfshipping with a antihero/ a antagonist/ a morally grey character, ect; and selfshipping with a rapist or a character who attempted imperialism / genocide. and the fact that i and others need to clarify such, is kind of sad.

Proship / Comship / RPF Do Not Interact Please !

[shalom-iamcominghome]

My jewish community, friends, rabbi, and educators: We are very invested in helping you be jewish. Do you want to help read the haftarah? Here's a chanukiah! You can have it!! Borrow these books! Here's some books! You need more books... Come to pesach! Come to the chanukah party! When are your classes done? We need a minyan for once!

Me and my 50000 IQ: What if I am Secretly Appropriating judaism? What if I am doing a Cultural Appropriation........