ok you said go wild and i will fully embrace that. i wanted to brainstorm about this idea I had and had also posted but like in a sentence, when it’s more of an outline. it’s of a robin!tim that can sense dead people so when the red hood makes his debut he’s naturally curious and tim follows him around and jason obviously realizes, holds up a knife to his throat and startles when tim asks “how are you here” with just no regards for his own safety and genuine curiosity?? literally not knowing he’s jason but jason stops and goes “you know who I am?” and tim whispers “I know you died” and jason coils back because that is as much confirmation as he needs cue panic because the kid knows surely then the bat knows too and that just won’t do, so in his panic he ends up kidnapping the kid and taking him to his safehouse where he keeps pacing because jason needs answers and he refuses to get them torturing the kid (because fucking kid had gone out looking for him despite knowing the red hood had it out of his head, did this kid even have any self preservation skills? he didn’t even seemed fazed jason’s back??which wow, hurt not gonna lie) then when tim wakes up because jason knocked him unconscious the reveal happens and Tim is so shocked that Jason is shocked because bitch I thought you knew!!! what how the fuck would I know!! chaos ensues but then jason abruptly realizes this is great! his plans did not derail *looks at timbo munching his food and watching indiana jones* his plan with the bat he means
Jason, sitting in a room with all his plans on fire: This is fine :’D
No but seriously, I LOVE a Tim with the self preservation instinct of a wet paper towel. He’s a competent teen vigilante, but where it concerns the Bats (and especially his hero, Jason) he’s an absolute human disaster.
Ok but first of all we need to talk a bit more thoroughly about “sensing the dead” thing. Dead as in ghosts? Or dead as in— murder victims and such. Either would apply to Jason if we go with a “Death clings to people who’ve seen beyond the veil” scenario, but Tim’s thoughts would differ vastly upon first meeting the Red Hood.
And Jason, poor Jason, the Pit Madness didn’t stand a chance faced with what is essentially a toddler looking at him with wide and curious eyes, so damn trusting despite that knife to his throat, and he’s just losing his mind because he could have slit Tim’s throat and nobody would have found out until it was too late. What if Jason had been literally anybody else? The kid would have died.
Obviously this Robin can’t be trusted to keep himself safe/alive, that means Jason has to do it for him. Easy. He can do this. It’s cool. Jason is freaking the fuck out.
Tim, upon realizing that the Red Hood is Jason, promptly goes from mildly alarmed over his kidnapping to ✨starstruck✨ and steadfastly refuses to leave Jason’s safehouse unless Jason agrees to come back to the manor. No, he doesn’t care about the multitude of death threats (he totally calls the bluff from the get go).
Jason promptly decides to make the best out of a shitty situation and pretends to be an evil kidnapper and just— keeps dangling the baby bird over Bruce and Dick’s head, slipping them concerning photos (Tim wasn’t exactly happy about the “hostage photo shooting session” but he agreed after Jason promised to make him his special coffee flavored cake) and telling them he’s torturing their Robin with a crowbar (because Jason is a drama queen).
And you know what else would be funny? If, after a few days, Tim slips out to go on patrol with Jason. He completely ignores Bruce and/or Dick when the call out to him and actively helps Hood with his crime stuff (while also sneakily forcing Hood to cut down on the killing by about— 80-90%).
Bruce and Dick are fairly convinced they’re looking at a brainwashing situation.
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"disturbed, depressed, inadequate": Edward Cullen & George Costanza, cringefail twinsies
as we all know, Twilight and Seinfeld are canonically set in the same universe. we see blatant clues scattered throughout both series. (e.g., Stephenie Meyer prefacing New Moon with the entirety of Jerry Seinfeld's opening stand-up from season 4's "The Outing;" Jerry making a Twilight reference in "The Soup" episode of Seinfeld, etc.) most notably, we see Edward Cullen & George Costanza's personalities mirror each other in a way that extends far beyond "pure" "coincidence." upon closer examination, they are the same person in parallel universes.
the two are, canonically, absolute losers seemingly broken beyond repair, self-saboteurs who waffle between moments of self-aggrandizement and self-loathing. their negative self-image, insecurities, & belief that they do not deserve love are recurring themes in their respective series.
among other things, George describes himself as "disturbed, depressed, inadequate," ("The Visa," S04) "completely insecure, paranoid, [and] neurotic" ("The Beard," S06). he is the self-proclaimed "Lord of the Idiots" ("The Apartment," S02) who is sure of only one thing: "There is no bigger loser than me" ("The Strike," S09).
in the Twilight Saga, Edward repeatedly calls himself "selfish" & a "monster." in Midnight Sun, he's a "coward" (37), "evil" (374) & an "obsessed stalker" (94). clearly depressed in the way he describes his "long melancholy" (138) as "an unending, unchanging midnight" (136), he quickly pinpoints the feelings behind his hatred for Bella: "What I really hated was myself" (26). his distaste for Mike Newton & jealousy of Jacob Black stem from his insecurity, while his paranoia has him assuming, among other things, that a meteor will crash down & bonk Bella out of existence (131). Edward's telepathy has him always on the alert for intruders, resulting in baseless conclusions. "Idiot," Rose calls him (97, 129, 145, 202, 314). idiot, indeed.
Edward & George's low self-esteem compel them to lie, unable to live up to the perceived expectations of others. after Edward saves Bella from a car accident, he lies to her to keep her away. "I had a show to put on now. I knew the role I would play—I had the character down: I would be the villain. I would lie and ridicule and be cruel" (MS, 90). beyond shielding her from his true nature, he is shielding her from a deeper truth: "I didn't deserve any link, any claim to her at all" (728). that is, Edward does not consider himself worthy of Bella's love. he even point-blank admits it to her at prom: "I'm not worth it." (782)
George, too, struggles to live up to assumed perceptions: “You see, this is what I do with women. I start out too strong, now I have to become real. That's when it all falls apart. What good is real?" ("The Visa," S04) like Edward, he engages in deceptive tactics throughout the series to keep his partners at arm's length, from creating falsehoods about himself to preventing his fiancée from fraternizing with his friends & entering his world. ("The Pool Guy," S07) Edward, more succinct, sends Bella the same message in New Moon: "My world is not for you." (37)
in fact, one of the few traits George & Edward possess that is not negatively regarded is their ability to lie. Edward's declaration that "I was not an incompetent liar" (MS, 77) seems an understatement when, not 10 pages later, he says, "Perhaps I was too good a liar if I could fool Carlisle" (85). he claims to feel guilty; then again, Bella often notes him lying outright or by omission in the series.
"I lie every second of my life," George brags in season 2's "The Apartment." "My whole life is a sham." other characters acknowledge & praise this ability. in the episode "The Beard" (S06), Jerry begs George to help him beat a polygraph test, calling his ability "a gift." just as Edward dramatizes his lying to "putting on a show," George likens his talent to singing opera: "It's like saying to Pavarotti, 'Teach me to sing like you.'" the advice he gives Jerry aptly sums up George's philosophy: "It's not a lie if you believe it." how fitting that this is the mindset Edward employs to stay in Bella's life a little longer.
George & Edward's relationships not only showcase their ability to lie but follow similar paths. George faces Edward's exact dilemma: the choice to deny his nature (to the point of becoming vegetarian!) for an attractive woman in "The Secretary" episode of season 6. "You're luscious," he says to a beautiful applicant for an open secretary position. "You're ravishing. I would give up red meat just to get a glimpse of you in a bra." George chooses not to hire the attractive secretary... but ends up sleeping with his 'unattractive' secretary anyway. Edward, meanwhile, does the opposite: he chooses vegetarianism and to date the object of his affection, albeit with personal turmoil. where Edward chooses to be the man, George chooses to be the monster.
unsurprisingly, however, their low self-esteem is a frequent barrier to their romantic pursuits. these insecurities even lead them to preemptively decide to break up with their significant other. in George's case, the breakup in season 3's "The Pez Dispenser" is a means for him to protect himself & regain control:
“A preemptive breakup. This is an incredible idea. I got nothing to lose. We either break up, which she would do anyway, but at least I go out with some dignity.”
Edward seemingly breaks up with Bella to protect her. he knows he will leave her by page 368 of Midnight Sun. by page 746, he admits he's lying when he swears he won't leave her. "[T]he time would come, I was sure now, when I would have to convince her [I didn't want her]" (747). best-case scenario, he thinks, she will outgrow him (781), though it's clear she intends on forever. despite the evidence from Alice that Bella will be a catatonic mess, he leaves...several months later, after a near-fatal brush with Jasper. one might argue Edward's fear of love & intimacy leads him to break up with her as a means to protect himself from the harsh reality that she will die.
ultimately, George & Edward's failures in physical & emotional intimacy are rooted, at least in part, in an aversion to sex.
for both, the desire to feed presents a barrier to their lovemaking. Edward is unable to prolong his kisses with Bella, citing his thirst. he compares himself to "an alcoholic" & Bella to "a glass of hundred-year-old brandy, the rarest, finest cognac..." (Twilight, 13). similarly, in season 9's "The Blood," George finds he is always hungry around his partner & can't make love to her without eating. his attempt to introduce strawberries, chocolate sauce, & pastrami on rye into the bedroom snowballs into him sneaking sandwiches into bed. though George, unlike Edward, can satiate himself without murdering his girlfriend, his desire to feed still leads to his demise.
this aversion to sex extends beyond a conflict with their baser selves, however. we see George & Edward's insecurities & low self-esteem take a central role in their inability to engage in intimate relations.
“I don't like when a woman says, ‘Make love to me,’" says George in season 3's "The Stranded." "It's intimidating. The last time a woman said that to me, I wound up apologizing to her.”
this quote perfectly encapsulates Edward & Bella's wedding night. despite being intimidated by Bella's demand for sex, Edward acquiesces. upon discovering he bruised Bella, Edward confirms his worst fears, calls himself a monster, and says: "I'm...so sorry, Bella. [...] I am more sorry than I can tell you" (Breaking Dawn, 61). he then promises, "I will not make love with you until you've been changed. I will never hurt you again." (66)
oddly enough, the bleak outlook Edward takes on his sex life (i.e., not possible (Twilight, 147) & unrealistic (Eclipse, 299)) mirrors George's feelings re: sexual intimacy in "The Pony Remark" (S02):
“You know, I've been thinking. I cannot envision any circumstances in which I'll ever have the opportunity to have sex again. How's it gonna happen? I just don't see how it could occur.”
is this aversion to intimacy with women a product of George & Edward being queer-coded characters? even if Edward didn't worship the ground on which Carlisle "the soul of [the] family" (MS, 96) walked to the point where he hopes his face resembles Carlisle's "perfect" one (24, 387), he constantly thinks of his creator & tries to live up to Carlisle's perception of him (28, 347, 383, 387). this seems innocuous enough until we consider the fact that the vampire genre itself has queer roots. vampires have always served as a symbol for social outcasts; homosexual depictions, from the 1872 novel Carmilla to the 2020s reboot of Interview with a Vampire, are a common feature of the genre. through this lens, the virginal Edward Cullen pushing away his heterosexual partner while he envisions Carlisle's face takes on different connotations.
George, deeply in denial of his sexuality, upholds odd "rules" to avoid being seen as gay, from refusing to sit "boy-boy-girl" in a car ("The Ex-Girlfriend," S02), to reminding Jerry of his "unblemished record of staunch heterosexuality" before declaring Jerry's new jacket "fabulous." (his singing show tunes throughout "The Jacket" (S02) still earns him the title of gay by another character, however.) he frequently goes into a gay panic: from being called out on his attraction to Jerry ("The Cartoon," S09), to being accused of falling in love with his friend Tony ("The Stall," S05), to being explicitly labeled as Jerry's romantic partner in season 4's "The Outing," he responds to challenges to his heterosexuality with anger, anxiety, dismay, & denial. he even shouts "IT [his penis] MOVED!" in response to being touched by an attractive male masseuse ("The Masseuse," S05). regardless of whether George may be gay or bisexual, George's record of "staunch heterosexuality" seems not as "unblemished" as he would like us to believe.
given all the similarities, one might think the biggest difference is their species: Edward is a mindreading vampire and George is a human. but George does note having an advanced sense of perception akin to Edward's telepathy: "I was personable, I was bright. [...] I was perceptive. I always know when someone's uncomfortable at a party" ("The Opposite," S05). additionally, while George may not be a literal vampire, he does have a parasitic nature. cheap & selfish, he frequently mooches off his friends & leaves them footing the bill. he also lies & manipulates for his own gain, including but not limited to faking a disability to have access to his own private bathroom at work ("The Butter Shave," S09), setting up a fake charity to avoid buying Christmas presents for his coworkers ("The Strike," S09), & falsifying statements to extend his unemployment benefits ("The Boyfriend, Part 1," S03). leeching off of others & the community is a hallmark of vampirism.
ultimately, the uncanny parallels between these two characters are impossible to ignore. George & Edward seem indeed the same person mirrored into different universes. so, what does this say about their creator(s)? this "coincidence" naturally begs the question: Are Jerry Seinfeld and Stephenie Meyer the same person? in Part 2 of this essay, we expl—
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[HEADCANON/FAN THEORY #4]
The Tarantinoverse and the Schneiderverse are both set in the same universe as each other.
Even though Tarantino is thankfully not a raging, horrible and highly questionable asshole like Schneider is to where I'm 100% sure that Tarantino would be like "Jesus Christ, I've already dealt with Harvey Weinstein. I don't need to deal with another asshole like him", the two of them interestingly have a lot in common when you look at their work:
• They cast reoccurring actors and actresses in their work always but have them play completely different characters.
• They have their own fictional products that appear and pop up in almost all of their work.
• There's PLENTY of dark humor and comedic sociopathy left and right in all of their work as well.
• Their characters are all larger-than-life and for the most part are obsessed with pop culture.
However, there's one major connection that ties the two of them that I've come up with on my own —
Victor "Vic" Vega (Michael Madsen) and Vincent Vega (John Travolta) are the (obviously long deceased) uncles of Tori (Victoria Justice) and Trina Vega (Daniella Monet) with their father David (Jim Pirri) or their mother Holly Vega (Jennifer Carta) being their younger sibling with Tori having inherited her talent from her uncles' side only instead of dancing, it's singing.
The whole universe now in chronological order:
• Django Unchained
• The Hateful Eight
• Inglourious Basterds
• Once Upon A Time In Hollywood
• Reservoir Dogs
• True Romance
• Natural Born Killers
• Pulp Fiction
• Jackie Brown
• Kill Bill Duology
• Drake & Josh
• Unfabulous
• Zoey 101
• iCarly
• Victorious
• Sam & Cat
• iCarly (Paramount+ sequel)
and last but not least,
• Zoey 102
Where it started vs. Where it ended (for now that is but after Quiet On Set, I HIGHLY doubt it)
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