#was a footnote

[starchaserdreams]

Most of the time I am firmly in the "there's no such thing as an original thought" camp but there had to be one first person who thought of Sirius' brother Regulus Black (a side character who's basically a footnote in HP) and Harry's dad James Potter and put them together with a little slash in the middle.

And I'd just like to talk to that person.

You, my friend, had an original thought. And I want to know how it started. Was it a crackship? Was there any genuine sentiment? I need to know. I would watch an entire documentary on this phenomenon. I should check if ColeyDoesThings has a YouTube video on the subject.

[nyancrimew]

i feel like one of the weirdest realizations you (or at least i) eventually have a few years into transitioning and being mostly around other trans people, is that moment where u notice that like ur brains mapping of like specific voices to specific genders is just kinda gone. like it rly is just all social constructs programmed into u by society, and living outside societies idea of gender just kinda melts that shit away, and it's not just voices, like other traditionally gendered attributes also suddenly don't matter anymore*

*except for myself of course, i am obviously totally failing at being a girl but everyone is doing it perfectly, dysphoria is so awesome lmao

[biggest-gaudiest-patronuses]

Of the 19 hijackers who carried out the Sept 11 attacks:

15 were from Saudi Arabia (a powerful/oil-rich country the U.S. works hard to maintain diplomatic relations with)

2 were from the United Arab Emirates (also a powerful/oil-rich country the U.S. works hard to maintain diplomatic relations with)

1 was from Egypt, 1 from Lebanon.

None of the hijackers were from Iraq.

None of the Sept 11 hijackers were Iraqi.

None of the 9/11 hijackers were from Iraq.

[notbecauseofvictories]

I'm re-reading the Discworld series for reasons, and honestly the most relatable part of reading these as an adult is how many of the protagonists start out being tired, used to their little routine and vaguely disgruntled by the interruption of the Plot. Sam Vimes wants to lie drunk in a gutter and absolutely doesn't want to be arresting dragons. Rincewind is yanked into every situation he's ever encountered, though he'd much rather be lying in a gutter too. (Minus the alcohol. Plus regretting everything he's ever done said witnessed or even heard about fourth-hand in his whole life.) Granny Weatherwax is deeply suspicious of foreign parts and that includes the next town over; Nanny has leaned into the armor of "nothing ever happens to jolly grannies who terrorize their daughters-in-law and make Saucy Jokes"

Only the young people don't seem to have picked up on this---and that's fortunate, because someone has to run around making things happen, if only so Vimes and Granny and Rincewind have a reason to get up (complaining bitterly the whole time) and put it all to rights. Without Carrot, Margrat, Eric, etc. these characters don't have that reason; they're likely to stay in the metaphorical gutter and keep wondering where it all went wrong or why anything has to change.

............well, that's not quite true. You get the sense that Vetinari knows how much certain people hate the Plot. And as the person sitting behind the metaphorical lighting board of Ankh-Morpork, he takes no small pleasure in forcing the Plot-haters specifically to stand up, and say some lines.

[politijohn]

Left-wing populism is, and always was, the answer

[astralnymphh]

loser!ellie: who goes completely dumb when you kiss her. not a regular kiss—but one that clothes her skin in clandestine crevices. eating her neck, licking the skin fresh, pulling the hems loose on her. it all drives her pupils up inside her head and tends her to a state of scattermindedness, one where she minds the things standing outside of her head. “joel's gonna be wonderin' where i am if you don't stop..” mumbling against your ear, her eyes going as far as searching the room for spectators. that is, until you begin pricking the reddened skin too breathtakingly; with kisses that form deeper colors, and surface the most quiet-soft, long and delighted noises to the corners of her almond-shaped lips. it begins a requiem for her thoughts.

she is oblivious to how lost she gets. you nip her, and all the definition fades from her features; dope-faced. in fact, she doesn't grasp what you're really doing to that precious spot on her neck, and the sudden pressure there, until your lips have already left. hurried fingers flee and feel for her neck. “did you—you did not just do what i think you—” there is a smile playing on her face. however, it is hard-pressed. she rummages for her phone in the pillow cradling her head, and paints her neck with the illumination of the camera screen. “fuck, babe, really?” she drags, prods and palms at the scarlet-red blotch, wincing with her teeth bare. you watch her throat bob as it clears. “that high on my neck, too?”

you had no head for remorse; tonguing for the treat again. “you deserve it,” you whisper, the ends of it warming her skin. it flinches under your lips. “for being so cute all evening, huh? holding, and squeezing my hand under the table where your friends won't see?” a gulp plummets through her throat, and you taste it. some reproaching tension is building in there, too strung inside her feelings and sensations to let it become words, and furthermore too bashful to let them glance along your mouth, and potentially stutter. she imagines she will, and it restricts her. but the tight, skin-hot knuckles curling in your shirt are a clear representation of what she keeps in her throat. “got so red when i let them see, yeah?” something delicate along the lines of: “such an asshole.” perching there in phantom response, but she scratches the words into your back instead. your lips make her want to be obedient.

she is so distracted—from your questions, from your lips— that when her throat does loosen up, a roll of your hips on hers is all it requires to descend her opinion and forget about the movie she wanted to watch with joel. the warmth in her pants made mush of her mind. “fuck— more,” she shivers with a gaping breath. begs with her waist arching into you, inciting you to do what you just did again. the voice in ellie cracks. “i mean, joel can wait a second longer, right?”

a/n: apologies for the lack of blurbs writers block is hitting everyone atm i think..

[vavoom-sorted-art]

Page one of a post s2 Good Omens Comic I'm working on!

[benevolenterrancy]

~ Extremely Unwilling Magical Protagonists Attempt To Outrun The Plot And Not Fucking Die ~

(@takofukkatsumi this tag is from a while ago but it hasn't left my brain -- L-Space got very weird all of a sudden)

[anghraine]

It's always been intriguing to me that, even when Elizabeth hates Darcy and thinks he's genuinely a monstrous, predatory human being, she does not ever perceive him as sexually predatory. In fact, literally no one in the novel suggests or believes he is sexually dangerous at any point. There's not the slightest hint of that as a factor in the rumors surrounding him, even though eighteenth-century fiction writers very often linked masculine villainy to a possibility of sexual predation in the subtext or just text*. Austen herself does this over and over when it comes to the true villains of her novels.

Even as a supposed villain, though, Darcy is broadly understood to be predatory and callous towards men who are weaker than him in status, power, and personality—with no real hint of sexual threat about it at all (certainly none towards women). Darcy's "villainy" is overwhelmingly about abusing his socioeconomic power over other men, like Wickham and Bingley. This can have secondhand effects on women's lives, but as collateral damage. Nobody thinks he's targeting women.

In addition, Elizabeth's interpretations of Darcy in the first half of the book tend to involve associating him with relatively prestigious women by contrast to the men in his life (he's seen as extremely dissimilar from his male friends and, as a villain, from his father). So Elizabeth understands Darcy-as-villain not in terms of the popular, often very sexualized images of masculine villainy at the time, but in terms of rich women she personally despises like Caroline Bingley and Lady Catherine de Bourgh (and even Georgiana Darcy; Elizabeth assumes a lot about Georgiana in service of her hatred of Darcy before ever meeting her).

The only people in Elizabeth's own community who side with Darcy at this time are, interestingly, both women, and likely the highest-status unmarried women in her community: Charlotte Lucas and Jane Bennet. Both have some temperamental affinities with Darcy, and while it's not clear if he recognizes this, he quietly approves of them without even knowing they've been sticking up for him behind the scenes.

This concept of Darcy-as-villain is not just Elizabeth's, either. Darcy is never seen by anyone as a sexual threat no matter how "bad" he's supposed to be. No one is concerned about any danger he might pose to their daughters or sisters. Kitty is afraid of him, but because she's easily intimidated rather than any sense of actual peril. Even another man, Mr Bennet, seems genuinely surprised to discover late in the novel that Darcy experiences attraction to anything other than his own ego.

I was thinking about this because of how often the concept of Darcy as an anti-hero before Elizabeth "fixes him" seems caught up in a hypermasculine, sexually dangerous, bad boy image of him that even people who actively hate him in the novel never subscribe to or remotely imply. Wickham doesn't suggest anything of the kind, Elizabeth doesn't, the various gossips of Meryton don't, Mr Bennet and the Gardiners don't, nobody does. If anything, he's perceived as cold and sexless.

Wickham in particular defines Darcy's villainy in opposition to the patriarchal ideal his father represented. Wickham's version of their history works to link Darcy to Lady Anne, Lady Catherine (primarily), and Georgiana rather than any kind of masculine sexuality. This version of Darcy is a villain who colludes with unsympathetic high-status women to harm men of less power than themselves, but villain!Darcy poses no direct threat to women of any kind.

It's always seemed to me that there's a very strong tendency among fans and academics to frame Darcy as this ultra-gendered figure with some kind of sexual menace going on, textually or subtextually. He's so often understood entirely in terms of masculinity and sexual desire, with his flaws closely tied to both (whether those flaws are his real ones, exaggerated, or entirely manufactured). Yet that doesn't seem to be his vibe to other characters in the story. There's a level at which he does not register to other characters as highly masculine in his affiliations, highly sexual, or in general as at all unsafe** to be around, even when they think he's a monster. And I kind of feel like this makes the revelations of his actual decency all along and his full-on heroism later easier to accept in the end.

------------

*The incompetently awful villain(?) in Sanditon, for instance, imagines himself another Lovelace (a reference to the famous rapist-villain of Samuel Richardson's Clarissa). Evelina's sheltered education and lack of protectors makes her vulnerable to sexual exploitation in Frances Burney's Evelina, though she ultimately manages to avoid it. There's frequently an element of sexual predation in Gothic novels even of very different kinds (e.g. Ann Radcliffe's The Mysteries of Udolpho and Matthew Lewis's The Monk both lean into this, in their wildly dissimilar styles). William Godwin's novel Caleb Williams, a book mostly about the destructive evils of class hierarchies and landowning classes specifically, depicts the mutual obsession of the genteel villain Falkland and working class hero Caleb in notoriously homoerotic terms (Godwin himself added a preface in 1832 saying, "Falkland was my Bluebeard, who had perpetrated atrocious crimes ... Caleb Williams was the wife"). This list could go on for a very long time.

**Darcy is also not usually perceived by other characters as a particularly sexual, highly masculine person in a safe way, either, even once his true character is known. Elizabeth emphasizes the resilience of Darcy's love for her more than the passionate intensity they both evidently feel; in the later book, she does sometimes makes assumptions about his true feelings or intentions based on his gender, but these assumptions are pretty much invariably shown to be wrong. In general the cast is completely oblivious to the attraction he does feel; even Charlotte, who wonders about something in that quarter, ends up doubting her own suspicions and wonders if he's just very absent-minded.

The novel emphasizes that he is physically attractive, but it goes to pains to distinguish this from Wickham's sex appeal or the charisma of a Bingley or Fitzwilliam. Mr Bennet (as mentioned above) seems to have assumed Darcy is functionally asexual, insofar as he has a concept of that. Most of the fandom-beloved moments in which Darcy is framed as highly sexual, or where he himself is sexualized for the audience, are very significantly changed in adaptation or just invented altogether for the adaptations they appear in. Darcy watching Elizabeth after his bath in the 1995 is invented for that version, him snapping at Elizabeth in their debates out of UST is a persistent change from his smiling banter with her in the book, the fencing to purge his feelings is invented, the pond swim/wet shirt is invented. In the 2005 P&P, the instant reaction to Elizabeth is invented, the hand flex of repressed passion is invented, the Netherfield Ball dance as anything but an exercise in mutual frustration is invented, the near-kiss after the proposal in invented, etc. And in those as well, he's never presented as sexually predatory, not even as a "villain."

[thoodleoo]

the "reading the footnotes on a translation of pliny the elder's natural histories" experience

[luthienne]

Fady Joudah, from Footnotes in the Order of Disappearance; "Horses"

[Text ID: My heart's a doe's. A doe's made for running away.]

[dumplingsjinson]

List of “mix of random dialogue and non-dialogue, smut and non-smut” prompts

“I’m a mess because of you.” “You’re my mess.” “I’m… I’m your mess.” (FUCKING HELLO BITCH DO NOT- WLKFNFKLN I’ll get on my knees for you, my love—)

“That’s my baby girl/baby boy.” (Can he just— HEWOQKNFWKELNF) 

“You look so hot like that.”

“God, you turn me on so much.”

“Fuck, I’m gonna come—” Character B whimpers, hips bucking into Character A’s. “Mm, yeah? Then come for me,” Character A murmurs, stroking their fingers through Character B’s hair. (The noises he made as he came undone were SO FUCKING HOT BYE. those WHIMPERS?? FUCKING DELICIOUSSSSS LET ME HEAR MORE OF THEM, I BEG- ALSO WHO KNEW I HAD IT IN ME TO SAY THAT TO SOMEONE LMFAO, “then come for me” WQBHRELWJKNEWF BITCH. GET OUTTT-)

Those sweet little noises Character B tries so hard to suppress but is unable to as they come undone.

“I’m such a fucking wreck right now…”

“Imagine how good I’d feel inside of you.” (FUCKIFKSKSKKSKSKS WHEN HE SAID THAT AND I WAS LIKE LKENFKLEWNF-)

“I love you so much,” Character B murmurs, hugging Character A closer to them. (🥹🥹🥹 HE SAID IT HE SAID IT HE SAID ITTT 😭 He’s said it over text before but now it’s in person and I’m actually gonna WEEP EWKLNFWEEFN)

“I love you for you, and I’m going to continue to love you. I’ll always love and support you no matter what,” Character B reassures after Character A spills out their anxieties and worries to them about a situation they’ve been so, so scared to tell them about; scared of how Character B would react. (…I’m just going to say I love this man so much.) 

“When I first met you, I didn’t know you were like this,” Character A murmurs, slowly grinding their hips down against Character B’s. Character B grins up at them, hands wrapped around their thighs, squeezing gently. “Yeah, and I didn’t know I was like this, either. And I thought you were shy when I first met you... Now look at you, huh?” 

Character A not knowing how sensitive their breasts are until Character B pays full attention to them with their mouth. (…I WILL NOT SAY ANYTHING ELSE BUT FUCK YES—) 

Character A tearing up as they try to be vulnerable with Character B, and Character B reassuring them by telling them they can take their time and it’s okay if they can’t say it right now; that they can say it when they’re ready. 

“I don’t think I’ve ever been so enamoured by someone,” Character A murmurs, caressing Character B’s face. (I’M A POETIC SIMP, WHAT CAN I SAY—) 

“Fuck, why are you— Mmh— why are you doing this to me?”

“We can take things as slow as you want. I want you to be comfortable, and as long as you’re happy, then I’m happy.”  (PLEASE WJDJJS IM CRYING AHH, how’d I get someone so sweet sjkdms)

“We can rent a hotel somewhere… You can be as loud as you want then, hm?” (HE’S JUST FUCKING OUT HERE, YOUR HONOUR!!) 

“Fuck me,” Character A whimpers as Character B’s hips picks up with speed. “I could if you wanted me to,” Character B grunts. (SIR- FUCK OFF ISTFGGG)

Character B placing their hand on Character A’s thigh while they’re sitting down.

Character B wrapping their arm around Character A’s shoulders and pulling them closer to them, letting Character A rest their head on their shoulder.

Character B leaning in for a kiss and Character A shyly leaning in to give them a quick peck on the lips. 

“Whatever I do, I’ll always be adorable to you, won’t I? Even if I do the most heinous shit known to mankind—” “Yes. Yes, you’ll always be adorable to me.” 

“You sure you don’t wanna close the blinds? People outside could see us…” “Trust me, they won’t.” (this FUCKING GUY, but I guess he wasn’t wrong after I took a closer look at the blinds—) 

“You’re enjoying yourself up there, aren’t you?” Character B teases, watching through hooded lids as Character A rides them while clothed. “Does it look like I am?” Character A questions, breathless. 

“You just… You make me happy.” (YOU DO TOO, MY LOVE <333) 

“You’ve always been so caring and supportive of me so I don’t know why I doubted you… I’m sorry.” 

Character A being ticklish on their neck whenever Character B plants soft feather like kisses there, so Character B plants even more soft kisses there, turning Character A into a giggling mess. 

Kisses on the eyelids. (The softest shit EVER)

“Didn’t realise your objective was to get into my pants all this time,” Character B teases, and Character A rolls their eyes, a breathless laugh leaving them. “You know that’s not true. I think you’re the one who has the objective of getting into my pants,” Character A throws back. Character B shakes their head with a chuckle. “That’s not true.”

“How are we gonna manage being away from each other for a whole month?” Character A murmurs softly. “Mmmh, we’ll somehow manage,” Character B reassures, stroking their fingers through Character A’s hair.

“How are you going to manage without this for a whole month?” Character B questions as Character A grinds down on them. “I don’t think I fucking will is the thing,” Character A admits, unabashedly.

Character B moving Character A’s hair out of their face to plant gentle kisses on their face.

Character B laying their head on Character A’s stomach and Character A fondly saying to them, “You’re such a baby,” while carding their fingers through their hair.

Character B snuggling up next to Character A, post-orgasm. (SIRRRR- PEHFLKEWNELKWNF) 

Character A moaning Character B’s name and Character B losing their self-restraint over it. (Maybe I did it on purpose to turn him on—)  

[mohntilyet]

veilguard spoilers regarding a josie romance. but can we talk about the letter josie sends to a romanced inquisitor because. i’m sorry. fucking losing my mind at the fact that the inquisitor and josephine are close enough friends with the guy the inquisitor duels in her romance to be invited to meet his third child. implying they’ve been invited to the other two. at a baby shower and getting introduced as the one who dueled the baby’s father because he was trying to steal your girl. antivan romances insane.

NO LITERALLLYYYYY. AND HE’S AN IN LAW. ITS TOO FUNNY. i cannot imagine how they met and how yvette probably was like “teehee…. the man that my sister spurned…. has fallen in love with ME!” and the best/worst part is that ortranto really has. i like to think of them running around with each other and secretly meeting as though their families actually hate each other (they really don’t lol) . the ortrantos would probably be delighted to have their son actually marry a montilyet like they wanted, even better that they’re actually in love and it’s not arranged!

i have this image of josie going like “you can’t marry him. is this a joke, because it’s not funny. i almost embarrassed him! the only reason the ortrantos do not hate us is because he is a very kind man who saw that i was in love with the inquisitor! ….yes i suppose a very kind man like that could love you…….. yes of course i want you to be happy…… yvette gabrielle montilyet, i fear you are not hearing what i’m saying— DON’T SAY YOU ARE ALREADY AN ORTRANTO. DID YOU ELOPE? ah okay. don’t do that. i said don’t do that. yvette come back and listen to me” etc etc

of course i must believe that there was a big scene caused (once again) by a montilyet and ortranto that ends with lord ortranto making a speech where the publicly declares his love for yvette in front of all of antiva city to see and hear. so there’s no backing out from this one. in my mind there’s a rehash of the big “BECAUSE I LOVE HER!” (ortranto, desperate but genuine), “you do?” (completely aghast josie who has somehow missed the fact her sister has been giggling even more than usual), plus an “OF COURSE HE DOES!” (a thrilled yvette) that reminds josie so fondly of her own love story that she's immediately relaxed (and suddenly accepting) about this whole thing <3

[nellasbookplanet]

Mentioning Tusk Love and the potential of other independent stories set in Exandria reminded me of an old discord conversation about how they could Fix the courting of the crick for publishing (seeing as it's canonically a Bad Book due to being super dry and also racist towards drow) without breaking canon:

Rename it 'The Courting of the Kryn - a Reimagining of the Classic Story, by Jester Lavorre'

Present it as an in-universe fanfic-ish rewrite. There's a foreword where 'Jester' elaborates on the inaccuracies of the original, the impact the story had on her, and the importance of Dynasty-Empire relations. There's an acknowledgement section where she thanks Caleb and Beau as 'consultants on Empire culture', as well as an unnamed/under fake name/clearly Essek as an 'expert on the Luxon, dunamancy and Dynasty culture'. All his information on spy networks is eerily accurate and has his former co-workers scrambling. (He makes her keep all the dry historical accounts, but now it's accurate (with added dick-related puns)). She mentions that she reached out to the Bright Queen who reluctantly (after 5 messages in a row) gave some pointers. In her frantic research she possibly made some breakthroughs on the nature on the Luxon that has Essek reeling (there's a 'further reading' section where she lists the academic paper he wrote building on her discoveries and an entire list of the sources her consultants used).

For extra fun and meta-ness, include footnotes where she comments on things she changed/removed from the original and why, how various scenes may have been inspired by a real life couple or events, etc. Some of the footnotes are written by her consultants. Caleb and Essek get into arguments on dunamancy theory which is actually thinly veiled flirting. There's anatomically accurate drow sex (it's unclear whether the consultant was Essek or Caleb or possibly a certain brother, who was also consulted on Dynasty military practices).

[aingeal98]

More Jason and Cass thoughts (sorry but also not sorry) but if I was magically given full control over DC and could write what I'd want obviously I'd make Cass Batman but I've been thinking of what sort of reaction and role Jason would have in response. I think I'd write his version of "Congrats on the new job!" as a test, involving the Joker and civilians and gangs and Red Hood and a ton of explosives. Bruce failed me, and now he's given up. You're his successor, let's see how you handle this dilemma that freaked him out so badly he threw a batarang into my throat rather than let me avenge my own death in front of him.

So obviously Cass will overcome the traps and the puzzles. That's the fun part to show how competent both of them are and sprinkle in little character moments as we go. But then we reach the emotional crux of the matter, probably laid out as some sort of saw trap because it's Jason. Here I am, a victim of murder. You say nobody dies tonight but I did, and I want the man who did it dead. Not only did Batman fail to avenge me but he failed to stop the Joker from going on to create even more victims. What right do you have to stop me from getting justice for myself? What right does this man have to life after what he's taken from me and from countless others? I'm not trying to kill a random stranger, I'm specifically demanding justice for my own death that I never got while I was gone.

There are two ways this could go. The straightforward route if I knew my time on this run was limited would probably be a pyrrhic victory like the ones Cass's og series was so fond of. Just like Bruce in utrh, she acts on instinct and saves the Joker (and Jason this time) . A win technically, but she fails the test. Jason is once again vindicated but with nothing to show for it. The story ends with Cass sending the Joker back to jail and going back to the batcave, where the old Robin costume looms judgementally, highlighting her failure. It would be the most fitting end given their character molds, all tragedy and conviction and unstoppable force meets immovable object etc.

However... I think the option I prefer would be a little different. Cass levelling with Jason, a killer talking to a murder victim. She has no right to stop Jason from getting justice, she has no love for the Joker but she knows any death she allows to happen like this would devastate her, just like that death row inmate long ago she tried to break out but ended up letting go once the family of the victim talked to her and demanded justice. I think... In this specific situation, she'd just be honest. Morally she has no right sure. Personally she just really really doesn't want anyone to die. Give her one chance, please. Let her try it her way. Not demanding, not lecturing or insisting, just... Please. Don't do this. Let me try another way.

And then what? Jason asks.

In the end a deal is struck. Cass will take the Joker and lock him up, ensuring he never harms anyone again while also trying to rehabilitate him. But the second she fails and he gets free, Jason kills him and she won't stand in his way. It's the kind of deal that leaves both of them mildly disgusted and dissatisfied with themselves, neither of them naturally creatures of compromise when it comes to this specific topic. But Cass is willing to do anything to avoid death and Jason did not expect the new Bat to be so... Flexible? Kind of? Of course maybe she won't actually hold up her end of the deal and when the Joker gets loose she'll try and stop Jason from killing him and he'll get his miserable vindication, but right now this is something strange and new and he's mildly confused and curious about where it will go. He doesn't believe in her ability to contain the Joker forever but he's willing to let her try because her reaction to that future failure interests him. She's given him a sword of damocles to hang above her head and he didn't ask for it or expect it. It's the type of power he never thought the Bat would just... Hand to him.

The conflict ends with neither of them fully winning or losing. They both don't really know what to feel about this.

The thing is, the second Cass let's Jason kill the Joker she's hanging up the mantle. She's staking the Bat on this, because it's always go big or go home with her when it comes to saving others, even someone like the Joker. In this magical universe where I have unlimited power, Cass would lock the Joker in a secret bunker and have Leslie Thompkins talk to him daily, mostly because I think her pacifism speeches and debates in the comics would make a fun contrast to the Joker's evil sadism. (But what about his rights? Doesn't he deserve a trial and to be held in a regular prison? I'm going to be honest I think Cass would be very comfortable bending the rules on this specific situation. Morally questionable but I'd have fun with it. She's going to let Leslie treat Joker like her personal pet project to save his soul because yes she wants him to change but also she's got a city to save every night so go crazy Leslie, have fun.)

And the Batman series would continue with Cass as the lead, new challenges and new antagonists and every twenty issues or so for the first hundred we'll cut back to the Joker briefly if his chats with Leslie can help highlight some thematic element of the current arc. But bit by bit he'd slowly fade away onto oblivion, maybe getting referenced every hundred issues or so until eventually no one remembers or cares about him because there's so much else going on. Meanwhile Jason's got a good thing going as Red Hood, primarily based in Park Row and a tentative ally on the occasion when their vigilante work aligns. Unlike Joker he's a much more frequent character in the comics, and after say 10 years (this is my magical fantasy universe Cass's batman run is going to last for a very long time alright) when people think of DC characters they think of Red Hood long before they think of the Joker.

Is any of this realistic? Right now of course not. It's why I'd go with the pyrrhic victory if I actually got the chance, because it would be the best way to tell the story in the larger context of the Bat narrative. But it's my fantasy DC editor and writer daydream and I'm going to dream big. They're never going to be normal happy siblings, their personal demons will never fully let them be free and the looming possibility of losing everything they currently have narrative wise if Bruce comes back as Batman will always be there. But it's maybe the closest to peace they'll ever get. Unsatisfying and tame compromise that probably violates several laws and ethical codes but whatever. Cass has never read the Geneva convention and Jason's not going to shed tears over the Joker. Let him die relevancy wise if not physically.

[angelsdean]

SPIRIT OF THE WEST: The Major Motion Picture

It's a summer evening in the late 90s and you and your friends are looking for something to watch at the slumber party. You go into your local Video & Variety and happen upon the coming of age romance, Spirit of the West. Let's hope this doesn't awaken anything in you....

SUMMARY:

Dean grew up on a horse farm and can't imagine any other life. There are drawbacks to working for his father, but they're worth it if it means remaining with his beloved horses. Besides, between his broken arm and his lack of prospects, he hasn't got much else.

Something of an outsider, Dean always feels like there's something he's missing. But this tense summer brings back a figure from his past: years ago, a teenaged Cas worked for a season at the Winchester ranch. His return could change everything.

Reviewers rave: "If you ever wanted a 90s horse girl book, but starring a young Dean Winchester, this is your flick."

Spirit of the West is written and directed by Teen_Dean / @urne-buriall

▶️ PLAY Spirit of the West ⏪ REWIND with Spirit of the West Prequel by @foolondahill17 ⏩ WATCH IT AGAIN with SOTW Daily 🌟 BONUS FEATURES ✨ Director's Commentary 🎶 The Official Motion Picture Soundtrack