#reclamation arc

[coquelicoq]

it's about...longevity? stability? it's about natsume believing he'll be somewhere long enough to plant flowers and see them bloom. it's about him taking touko seriously when she asks him to tell her what flowers he wants to plant. it's about making something with his own hands, building a future with the fujiwaras. it's about him repairing a rundown home for someone else, restoring it because it's beloved to them, because it's the home of someone they love. it's about him seeing touko's joy and thinking about the youkai saying we'd like to look upon her happy face forever. it's about the box garden making him think of the fujiwaras' garden and his parents' garden, about the flowers being both the memory of flowers that bloomed there before, and the flowers that he and the youkai planted earlier that day. it's about him waking up in both worlds with sensei. it's about touko finding the petal in his hair. it's about him feeling how he falls short and the youkai saying, but you have such gentle hands...

[kindaorangey]

wait you guys... iwbft2 being an adult novel also means that jimmy could actually call lister a faggot on page in canon. life could be a dream

[fromtheseventhhell]

Remember George's outline notes that had "joy of giving" and "mercy at the gate" for Arya? Mercy is crossed out and we obviously have that as her sample chapter, so what if Arya's next alias is "Joy"? Over-thinking the significance of that phrase and how it could apply to the rest of her Braavos arc🤔

[vanilla--villain]

You're new. You can make a splash. Let it rip.

Let what rip?

Make the judges look! I'm not talking about putting a cute little smile on your face as if they're doing you a favor. Make them look! If you're gonna eat mat, you're gonna eat mat hard. Don't play it safe. You gotta throw your best tricks as hard as you can.

[vanillablankcanvas]

My Villain Origin Story

When I was a kid, I was very sheltered.

I didn't realize exactly how much, until I was older.

I was kept safe.

I was quiet.

Movies and TV shows were my window.

Drawing pictures was my outlet.

Which was fine.

But also...

I didn’t know how the world worked.

Didn't know a lot of common knowledge things.

Didn't know how big the world truly was.

Didn’t even know you were even allowed to say “no tomato on my burger, please.”

On my eighteenth birthday a friend wanted to take me to another town to go to a huge shopping centre.

I called my mum to ask permission.

My mum was about to say no...

Until my older sister grabbed the phone off my mum and told me to go.

I think I was 21 when my mum said "You know what? I don't think I want you watching this show." It was Two and Half Men. I had already seen many episodes.

I didn't know...

Didn’t know the rules were bendable, breakable, up for debate and negotiation...

And sometimes?

That the rules were completely made up.

So now?

I'm starting from blank.

I’m building an empire.

That's why I'm VanillaBlankCanvas.

No sprinkles, no toppings, no scribbles, no rough sketches.

Starting from blank.

And now I will do everything.

This is for the ones who were quiet.

The ones who didn’t get the manual.

We build our own map.

We build our own empire.

Together.

When we start at zero.

We have everything to gain.

@vanilla--villain

[leonardalphachurch]

i don’t think i quite agree with this. i think tex was done better than other characters but to say it was her being able to finally leave on her own terms is. messy.

in the scene where she’s taken by the capture unit

she very much appears to be struggling against it, which would imply that she is not actually making the choice to leave on her own terms. and obviously that contradicts the later scene of caboose

implying that she did intend for this to happen. which i do think is the more coherent reading, and so saying that this was the intended character arc for tex here and they just did a pretty bad job with their visual storytelling is fair. but it is like i said. very messy.

and i do still have a problem with how she was handled otherwise, because

“allison church”. if the intention here was supposed to have them be “meeting” for the first time to actually try and have a real relationship for the first time (implied through the commentary and deleted scenes which i don’t have the ability to pull up) but to establish this with her calling herself “church” the foundation is her already being tied to him. it’s reinforcing the fact that she’s his wife. she isn’t staking her claim on her own identity she’s just. reaffirming that she exists in reference to church.

i do acknowledge that i have biases in the way i enjoy tex to be portrayed, and so while “allison church” does kind of negate a lot of the other good aspects of how she was handled here, i can understand how others might be able to overlook that and enjoy the rest of it for what it offers. but because of how messy it is i do just wanna push back on saying tex is “the only character who got any form justice”, especially because i do actually like the way caboose was handled*. but. hm. actually yknow. i wrote all this but thinking at what you actually said i guess i don’t disagree with this statement as much as i thought. she was given some form of justice, in that i definitely think she was given more justice than she got in season 9. and the other scenes with her were pretty wonderful. so i guess there is the question about how much justice, which i think we may have some disagreements on, but i think “some form” is fair. tho i do still think caboose was given more

*this is a link to a post that refutes the reblog earlier in this thread and does an analysis on caboose’s character and his arc in restoration

the fact that sarges season 8 speech literally breaks down the fact that grif and simmons don’t actually want what they say that they want (to leave/be a leader) and then over ten seasons burnie can say “we gave the characters what they wanted :)” god what a dogshit ending. what a fundamental misunderstanding of character development and storytelling.

[stackslip]

me: but the true genius of fma 03 is in how alchemy is first presented as an essential view od the world, but turns out to be a tool of imperialism and dehumanisation much like many early 20th sciences—which is why the amestrian military is directly paralleled to the nazi regime! alchemy's equivalent exchange is really an attempt to justify the systems in place and the cruelties inflicted upon others to maintain amestris's status and prolong dante's life, and alchemy quite literally consumes lives to function! amestrian society's little comforts rely on that dehumanisation, whether it be of racial minorities such as ishbalans and liorites or of groups created by alchemy that are immediately deemed subhuman, like homonculi and chimera and armour-bound souls! the homonculi truly believe they are denied humanity and dont have souls when really they are manipulated to be told they're nothing but empty vessels. which is why lust and sloth's parallel arcs are so important, they both find a point to their existence outside of being homonculi but come to opposite conclusions—because fundamentally homonculi are people!!! lust's reclamation of her identity as an ishbalan woman is particularly crucial as lust has been quite literally objectified and turned into nothing but a vessel of desire, stripped of her name much like scar was, and that's the parallel between the two. the genocide has killed them, they are ghosts walking in its aftermath trying to figure what it means to be ishbalan *now*. lust's answer is to reclaim her identity as a human and ishbalan both, and die as such. but she can only so so once scar has showed the same way, once he becomes the man who crippled the amestrian military and finally gave his people a chance to escape and live without the military on their back. his murder of soldiers is righteous for 03! he is not a terrorist or a monster or a stupid man seeking vengeance, he is 100% correct on his analysis of amestrian power and military might and he ends his life on his own terms, making peace with his brother and handing the stone to al, because al and himself recognized one another as the dehumanized younger brothers who lost their lives and identities and have been defined as less than by alchemy! so really fma 03's true genius is in proclaiming strongly that scar is right and always has been—

the casual fma brotherhood fan who just wanted to know if 03 is worth a watch:

[mauromance]

A case for Kastle | A way forward (my fan theory)

In the comics, Karen Page’s brutal death at the hands of Bullseye shattered Matt Murdock. But the MCU has a rare opportunity to subvert that fate: what if Karen doesn’t die… but fakes her death?

Instead of a corpse, she leaves behind a carefully orchestrated lie. A final, irreversible act to protect herself and the people she loves. A way to take control of a life that has been defined, over and over again, by other people’s violence.

Karen has been teetering on the edge of darkness since Daredevil Season 1, when she shot James Wesley. As more of her past is revealed—marked by guilt, grief, and survival—we see a woman constantly forced into life-or-death decisions. That history, and her relentless pursuit of truth and justice also makes her a permanent target for Wilson Fisk. To remain Karen Page is to remain vulnerable. And after Born Again opened with the devastating loss of Foggy Nelson, to kill off Karen too would feel like another lazy gut-punch. Just more pain to fuel Matt’s torment. 

But a faked death? That’s not trauma for shock value. That’s character evolution. A conscious choice that preserves Karen’s autonomy, lets her reclaim the narrative and grants her a rare gift in genre storytelling: the chance to walk away from trauma on her own terms.

Karen’s reinvention

After losing Foggy and distancing herself from Matt, Karen relocates to San Francisco, trying to rebuild a life out of the wreckage. But we know, she can’t stay away.

We’ve watched her grow: from a small-town girl with a tragic past, to a murder suspect, to Nelson & Murdock’s moral anchor, to a fearless investigative journalist at the Bulletin. Karen has reinvented herself before. But this would be her boldest reinvention yet. A total reclamation. Killing “Karen Page” allows the woman underneath to finally live.

MCU continuity

The MCU has already built the scaffolding for a story like this. Faked deaths. S.H.I.E.L.D. coverups. Clean slates. If Frank Castle can be given a second life, why not Karen? This opens the door for powerful storytelling while honouring the existing gritty, grounded, and emotionally complex tone of Daredevil and The Punisher. 

It also offers other character threads to be woven: Dinah Madani, David Leiberman, and more. A storyline where Karen fakes her death could organically pull some of those characters back in for final, meaningful resolutions without stretching plausibility.

Matt’s path forward

Karen’s "death" would devastate Matt, but it would also liberate him. It carries the emotional weight of her comic death, but with a quieter, more tragic finality. She’s not taken from him. She chooses to go. And in many ways, that choice might be even harder to bear.

But narratively, Daredevil is designed to endure. In the comics, he has loved and lost many times, and within the current state of the MCU has several romantic avenues to explore (Elektra, Kirsten McDuffie, She-Hulk, the list goes on). His romantic arc can evolve without being forced to erase or overwrite what he had with Karen.

And let’s be honest—the MCU rarely lets its heroes keep their great loves. From Star-Lord to Doctor Strange to Peter Parker, romance is often sacrificed on the altar of serialized storytelling. If Daredevil is here to stay (which it appears he is), a respectful, mature close to Matt and Karen’s chapter, one where she gets to decide when it ends, feels like the right choice.

How this ties into the Kastle ship

Frank Castle is nearing the end of his war. His body is breaking down—Born Again hints at his dependence on painkillers. His mission is losing meaning—everyone involved in the murder of his family is already dead. His grief has calcified into something quieter, heavier, more remorseful. “Look what it got me,” he tells Matt. One thread remains unresolved: his feelings for Karen.

Bullseye’s return forces a reckoning. And this time, Frank isn’t choosing between revenge and survival. He’s choosing between vengeance… and love.

In Born Again, Frank only springs into action when Karen calls on him—an unmistakable sign of his feelings for her. After their subtextually loaded moment together, their connection is further confirmed in a quiet conversation between Matt and Karen. Later, Frank is shown listening to radio chatter, monitoring the Punisher copycats. But he’s not tracking them for sport or ego. He’s listening for mentions of her. And when he hears them mention “the blonde”, and “hunting”, he moves. Because this isn't about his legacy. He couldn’t care less about that. What he cares about is protecting Karen. 

If Karen were to fake her death, it would become a natural out for Frank as well. He could finally walk away from the Punisher—not in defeat, but in purpose. He becomes her shadow. Her shield. Because let’s be honest: Karen Page, even under a new name in a new place, will still be chasing truth. Still investigating. Still lighting fires. And when things get too close, she’ll need someone who can keep her safe. Frank can give her that. And she’ll give him what he needs, too. Connection. Stability. Family.

It’s the most fitting conclusion to the slowest burn in MCU history. Not explosive. Not dramatic. Just a quiet, earned escape.

Why Kastle works

The Kastle dynamic fits perfectly because it’s not about saving each other. It’s about understanding each other. Reflecting each other. Becoming something whole, together.

Frank facing mortality: Karen represents his last chance at something more than violence.

Karen choosing agency: Faking her death isn’t surrender, it’s a declaration of autonomy.

A poetic reversal: Frank lost his family to violence. Karen refuses to be lost in the same way.

And unlike Matt, whose romantic arc resets and reboots, Frank’s emotional world is singular. Monastic. If Karen is the only person who ever made him believe peace might be possible after the tragedy of his family’s murder, then her survival becomes the final thread anchoring him to life.

A fitting farewell

This twist respects the comics’ emotional beats but refuses to fridge Karen Page. Her “death” marks the end of a chapter, not a life. It allows Matt to grieve, Frank to grow, and Karen to finally, fully reclaim herself.

And most importantly, it understands a hard truth: in the MCU, happy endings are rarely loud. Sometimes, they’re quiet. Fragile. Earned. For Karen and Frank, that ending doesn’t lie in a grave. It’s somewhere else. Somewhere far, far away from Hell’s Kitchen. 

A sunrise. A new name. A chance to be born again. 

--

Want to dive deeper? 

Coffee in the MCU

Why Karen and Frank are end game

Kastle scene breakdowns: The subtext you missed [WIP]

--

Published: April 23, 2025

Last edited: April 23, 2025

[thelibraryofemory]

TODODEKU IS NOT JUST A SHIP IT'S AN EMOTIONAL THESIS.

You cannot convince me that the Todoroki “I don’t need anyone” Shoto™ didn’t have a quiet, possibly tear-filled crisis the moment Midoriya grabbed his face and said “It’s your power, isn’t it?” Like no one talks about how much that moment CHANGED HIM.

That wasn’t just a pep talk. That was a reclamation of self. That was therapy. That was a love confession in the language of battle.

Meanwhile, Midoriya’s out here doing what he always does—trying to save people—but with Todoroki?? It’s different. He doesn't just want to save him. He wants to understand him. He wants to pull him out of that ice-covered fortress and show him there’s warmth on the other side. HE WANTS TO MELT HIM.

Like—TODOROKI LAUNCHING HIMSELF INTO A BUILDING FOR DEKU DURING THE WAR ARC?? The way he watches Deku like he’s sunlight incarnate??? The way he chooses him again and again???

Also let’s not forget Shoto literally smiling when he sees Deku. Like please. This is a boy who didn’t even know how to smile at his classmates. But when Deku is near?? Hope.exe has rebooted.

And don't even get me started on how Shoto canonically calls him Izuku and it always sounds so soft. Like even in battle. “Izuku.” I’m sorry. That’s not platonic. That’s "I dream about your freckles at night" energy.

AND THE WAY DEKU LOOKS AT TODOROKI LIKE HE HUNG THE STARS??? Like please. Deku does not even react to Kacchan like this. When Todoroki walks into a room, Deku’s inner monologue goes full romance novel. Every. Time.

Bottom line:

They are soulmates.

They are duality.

They are the slow burn with healing arc, trauma bonding, opposites-attract-but-actually-same-core-values blueprint.

And if they don’t end up together I’m suing Horikoshi for emotional damages.

---

[theopolis]

Adaptations/alternate comicverses/certain 616 comics that try to empower Harry Osborn and showcase how he's broken free from Norman's influence by making him appear more in control are, imo, kind of missing the point of his original empowering act of self-reclamation in Spectacular #200. Because the entire arc that had led up to it was about him clawing for total control of who he is, what he can do and how he is perceived. That climactic moment where he rescues Peter from the bomb is not born out of a newfound confidence and bravado - to the contrary. It's prefaced by the same panicky indecision that had continously sabotaged Harry's quest to truly become the Green Goblin; someone worthy, someone deserving of his father's approval, someone who would never be hurt again

Depictions of Harry where he doesn't possess, or rises above, his frailty, while often well intentioned and certainly helpful to some people who get different takeaways from them, do nothing for me. Rather, they feel inspired by that same notion of having to "grow a thick skin" and embody an ideal of someone who's assertive and has it together, even if that ideal is much less extreme and overtly toxic than the Goblin. Is it really about self love, or is it about becoming more "admirable", more "respectable", less of a "burden", less "weak"? Someone who is no longer affected by past abuse in ways they perceive as shameful?

I believe Harry's kindness and intense love for Peter can not be neatly separated from the less noble traits rooted in his sensitive nature. He loves and gives easily, just as he gets scared and nervous and self conscious easily. All of it was punished and scrutinized first by his father and then by himself. Harry's ultimate choice to save Peter's life in #200 is him finally giving up on that struggle for invulnerability and surrendering to the command his soft heart has over him. It's the opposite of control and he says it himself when Peter asks why he came back for him: "What else could I do?"

I think this is an immensely important message. Certainly one I needed to hear when I read that comic. Must we try to attain that mythical self who repels harm? Isn't it much kinder towards ourselves to accept that keeping an open heart means that we have wounds, some of which may never fully heal and will need tending to by more hands than our own?

[otp-after-dark]

Final THT thoughts: What Could Have Been.

As a long-time fan of the book — and the book version of the Nick/Offred relationship — I’m honestly sickened by the ultimate message this show chose to send. Atwood’s novel isn’t just a dystopian masterpiece —

it’s an empowering, ahead-of-its-time feminist work that dared to show how women can be brave, sexual, flawed, and still worthy of love and freedom.

It’s about reclaiming power in the most personal and political ways. And Nick and Offred, as written in the book, are central to that. Their relationship is not just romantic — it’s radical. It’s about desire in a system built on oppression. About choosing for yourself, when everything else is chosen for you. Offred’s relationship with Nick was not an escape — it was a reclamation. A choice. A refusal to be broken.

“I did not do it for him, but for myself entirely.”

And this was never just about desire — it was about safety, intimacy, and resistance in the harshest conditions. It was about what it means to find a corner of love in a world built to erase it:

“We make love each time as if we know beyond the shadow of a doubt that there will never be any more, for either of us, with anyone, ever. And then when there is, that too is always a surprise, extra, a gift. Being here with him is safety; it’s a cave, where we huddle together while the storm goes on outside.”

As a woman who has embraced desire, fire, and freedom in her own life, I really despise the message this show ultimately landed on. Instead of honoring the complex, layered love story between Offred and Nick — one born of resistance, defiance, and mutual recognition — the show punished June for her desire, her rage, her grief. It pushed her into a narrative of guilt and “healing” that felt hollow, and worst of all, erased the feminist power of her relationship with Nick.

And let’s be honest — the show completely lost its footing when it ran out of source material. Season 1 was gold. And there are moments in Seasons 2–4 that still shine. But the further it drifted from Atwood’s vision, the more it lost the nuance, the fury, the purpose. Instead of sharpening its message in the wake of our current political climate, it softened. It sanitized. It forgot what made the story dangerous and important.

And in that unraveling, they did Nick so dirty. He was one of the most compelling, quietly radical characters the show had — a man who chose love and rebellion from within the system, who risked everything to protect June, not because she needed saving but because he loved her as she was. His emotional repression, his deep moral conflict, the way he operated in the shadows — it all built up to a portrait of someone torn apart by love and war. It's shameful we never got to see his shift into his real Testament-style characterization — not just the man who loved June, but the man who helped take the system down from within.

“More likely it was ‘Nick,’ who, by the evidence of the very existence of the tapes, must have helped ‘Offred’ to escape... A number of Mayday operatives are known to have infiltrated the Gileadean power structure at the highest levels... Nick must have been at the same time a member of the Eyes, as such chauffeurs and personal servants often were.”

That’s who he was — a double agent with everything to lose and a deep, dangerous, unwavering love at the center of it. The show gave him crumbs. The book gave him purpose.

Through it all, Max Minghella gave one of the most nuanced, understated performances on television. He brought depth, longing, and an aching restraint that said more in a glance than most characters said in a monologue. For the show to sideline him, to reduce him to a narrative obstacle, to not even give his arc closure — it was not just a disservice to the character, but to everything Nick symbolized. He was part of the heart of the story, and they let it go silent.

What makes that even worse is how the show treated Serena. A woman who was not just complicit in Gilead’s violence — she was architectural to it. She helped build the system that enslaved and raped women. She abused June physically and psychologically. And yet, the show bent over backward to give her a redemption arc. It tried to frame her as a mother, a victim, even a potential ally — and in doing so, tried to sell us a version of female “sisterhood” that’s frankly insulting. You don’t get to brutalize women and then claim solidarity. The fact that Serena ends in a place of relative peace while Nick is treated as a monster? That’s not justice. That’s a betrayal.

The power of what this story could have been lives on in the moments they couldn’t erase. The quiet tenderness. The resistance that looked like a hand on a belly. The truth of a kiss shared on a bridge in a burning world. The bridge kiss will live on in infamy.

I will always love Season 1. It understood what this story was. Some of 2–4 had glimmers of that brilliance. But ultimately, The Handmaid’s Tale betrayed its own thesis. It punished the very kind of woman the book celebrated — angry, passionate, morally complicated — and tried to redeem the kind it condemned. And that’s a shame.

[the-dye-stained-socialite]

yes yes canon to me as well!!!

they even both have red ribbons as devotion to their partners,,,, they can bond over that too!!!

(oh gosh yeah sustainined in game roleplay is hard, i just like doing little things in there mostly, i tend to work the bigger details out via dms anyway)

You see a cute socialite. they have lots of stains on their clothes

you find out the synthesize these stains themself

you find out they synthesize poison as well

they learned this by performing a water and blood ritual in the super toxic water of the fuckung blood red river

they use these poisons while playing a game where you kill people. slowly.

they're possibly fucking the master that runs these games

(and half of the damn neath too)

this master made them royalty and adored whereever they go

(they're friends with the Poet-Laureate?!?!?!)

(they're paramount presence and every single faction knows them)

royalty made them unhappy, so a fucking Parabolan Power kidnapped them off that poison river

they won a game after being kidnapped and traded their heart to the Dream Controlling Horror

said Horror also gave them New Powers

they can't control these new powers once they start.

they corner you in a room and read off all you hidden wants, desires, and secrets while you feel them tugging on your heart strings

they start crying and get really upset at you?

they've cut you open with the dagger they got from their spouse from that master

they have now literally stolen your heart

[relaxxattack]

I humbly request your dave nonbinary thoughts, we may not be ready but I want to know, I want to be enlightened

okay so here’s the thing.

dave strider is a closeted and repressed queer boy in 2009.

in the culture at the time (especially on the internet where he basically grew up) "gay" is used as a catch-all for basically all things evil, stupid, and wrong. as kids grow up they learn that— because patriarchal privilege is something you can lose the second you’re not performing your masculinity to an insane degree— being gay makes you not a real man. being gay means you’re an effeminate little freak, a subversion, a pervert. something to be scorned and taught a lesson. which is terrifying to these kids.

on top of all this, dave is being abused daily in the name of becoming a real man a hero. his ultimate example of heroism is a hypermasculine freak who physically, mentally, and sexually abuses him. of course dave doesn’t want to do introspection into the idea of liking men. just being a man is a burdenous ideal, and the sexuality of men is something that has been consistently used to harm him.

that’s where we come to the meteor trip. dave seems to be of the opinion that because earth is long gone, a lot of those restrictive social conventions should be gone as well— especially things like toxic masculinity, and gayness as a complete “other” that you have to “turn” to; he claims (correctly) that a lot of these restrictive social boxes are imaginary lines built by prejudice, and less absolute then people assume.

so, dave does not subscribe to the idea of hard labels.

it’s important for him to reclaim the idea of gayness, of course. dave has been agonizing over that for the entirety of the comic. his own sexuality is something that terrifies him, to the point where he cannot even manage to date women he actually likes. even if he really is truthfully interested in women, he cannot really handle that until he’s finally come to terms with himself as “gay”. (which is why i don’t think dave would use the term bisexual. even if he does know what that means, that’s not the word he’s been terrified of embracing for the past 16 years. dave strider is gay. his entire arc revolves around accepting this.)

but i think if dave was contemplating gender as much as he was contemplating sexuality on that trip, he would come to a similar conclusion about labels. and besides, masculinity isn’t exactly something that he’s had a positive relationship with.

this is why i think he’d be some form of nonbinary or agender. dave calls himself gay because of his hard-earned reclamation of that word, not specifically because he is never interested in women. i think if he were to call himself a guy, it would be along those same lines.

(i could also go on a tangent about dave’s existence as a hussie self insert and his arc and dialogue with these concepts as a reflection of someone who eventually came out as agender, but this post is long enough as it is)

basically, gay nonbinary dave strider. he’s real.

[fakesorbet]

ik obviously fabian will kill chungledown But like . He’ll Finally get to kill the last bit of the reminder of his father’s horrifying legacy . fabians whole arc is reclamation and self discovery, once chungledown is dead it rlly will be whatever he chooses to do with his life, his name . like Do u get it

[thetepes]

I feel like people are mixing up the term “fan behavior” for when people were pointing out “hey it’s weird af to draw fanart of Lily’s OCs, even in a reclamation sense” With Sai’s April fools video. Which is almost understandable since that sentiment was popping off in the tags right before April fools.

But if one thinks for a moment, you’d be able to realize that making a parody showcasing how dumb and full of dogwhistles Lily’s videos are isn’t the same as drawing her ocs, even to “fix” them, which was the main critique of the weird Fan Behavior

Exactly, but people don't understand there's a difference. I don't think they ever really sit and think about it. There's an entire world of difference between openly mocking an abuser and what boils down to a coffee shop au of that abuser's coffee shop au of a poorly comprehended portion of some children's media.

You can't FIX IT. It's not broken. It's been run through the filter of someone who's an ABUSER. You're looking at how they see things and going "Well, that's not right!" completely ignoring that this person is bent and twisted. Of course it's not right, but you can't fix it and you can't fix her characters. They're pieces of her. They're pieces of how she sees things. You can't "save" her characters either. They aren't her victims even when they're stand ins for them. They're her. It's her.

Stop playing with it. Leave her abuse porn where it deserves to be left. Ignored, forgotten, and completely loathed. That's what abuser's work deserves. There's no redemption arc to be had for anything involving her.. She's spit and shit on every chance she's been given. It's gone too far. Good faith here is dead.

[the-most-humble-blog]

🛐 THE REAL PROTAGONIST WAS A DRUNK IN A TRAILER — AND HE SAVED THE F*CKING WORLD (A Blacksite Eulogy for Russell Casse, the Only Man Who Deserved Fireworks on July 4th)

You want to talk about heroes?

Not the sanitized TikTok military kids. Not the squeaky clean captains with million-dollar jawlines and scripted redemption arcs. I’m talking about a crop-dusting, beer-swigging, alien-abducted burnout who flew his last plane straight into God’s teeth — because nobody else f*cking would.

His name was Russell. F*cking. Casse. And you will put respect on it.

🧠 THE MEASURE OF A MAN? It’s not who he was at his cleanest. It’s who he was at his brokenest.

Russell Casse was mocked, alienated, ignored. He lost his wife. He lost his mind. He lost custody of public opinion the moment he said the words, “I was abducted.”

But when the aliens actually showed up — that so-called lunatic was the only one who already had the flight path drawn.

🛑 YOU MOCKED HIM FOR BEING A VICTIM Let’s call it what it was:

He served in Vietnam.

Got abducted.

Experimented on.

Left hollow by forces beyond comprehension.

And then America turned him into a punchline.

People didn’t just ignore him. They laughed. They whispered. They pointed. They pitied.

Until the skies cracked open and daddy was right the whole time.

🍺 HE WAS A DRUNK. SO WHAT? He still showed up. He still climbed in that cockpit. And when the fancy jets couldn’t finish the job? When every pilot with medals and IQs and magazine cover teeth ran out of ammo?

He flew straight into that alien’s colon and died like a warrior.

📡 WHAT HE REALLY REPRESENTED: Russell Casse is the walking metaphor for every man this country abuses and discards — until the chaos hits, and suddenly they need him.

They need the flawed one. The dirty one. The "unstable" one. The real one.

The guy who says, “Tell my kids I love them,” while flying a missile-less jet into an interstellar gaping death ray.

That’s not a death. That’s a sermon.

💥 THE REST OF Y’ALL GOT TO HUG YOUR KIDS Russell did not.

He died in flame. So you could kiss your daughter on the forehead. So Will Smith could light a cigar. So a president could give a speech.

But it was Russell Motherf*cking Casse who gave everything left when he had nothing left to give.

🧠 TL;DR He wasn’t the main character

He wasn’t on the posters

He wasn’t respected

But he was necessary

And he won the war

You salute Captain America. You tweet about Iron Man. But deep down? You’d have died without the crop duster with PTSD and a hangover.

💣 CALL TO ACTION: 🔁 Reblog this if you know America only survives because of men like Russell 🛩️ Save this post for the next time someone tells you broken men can’t be heroes 💥 Send it to anyone who still thinks “main character energy” is a hairstyle and not a body count 📡 Bookmark it so future generations know who actually saved the planet

⚖️ LEGAL DISCLAIMER:

This post is satire, historical memory reclamation, cultural eulogy, and unsanitized masculine mythos protected under literary commentary and spiritual war doctrine.

If you’re offended: Go cry in the cockpit you never had the balls to enter.

🛐