#i WOULD tag anna to credit her contribution to this but she’s not far in enough yet shhh. | Explore Tumblr Posts and Blogs

dweemeister · 4 years

Text

2019 Movie Odyssey Award for Best Original Song (final)

*breathes deeply*

TAGGING: @cokwong; @dansmonarbre; @emilylime5; @fredsbarandgrill; @halfwaythruthedark; @ideallaedi; @introspectivemeltdown; @loveless422 (of @classicladiesofcolor administering); @maximiliani; @memetoilet; @mindo80; @monkeysmadeofcheese; @myluckyerror; @nazur; @phendranaedge; @plus-low-overthrow; @shadesofhappy; @stephdgray; @themusicmoviesportsguy; @theybecomestories; @umgeschrieben; @underblackwings; @yellanimal.

And also tagging a few first-timers or those who haven’t done this in a while: @astorytellertothestars; @bitch-genius; @dog-of-ulthar; @ineedanumbrella; @jayb3; @kataka-taka; @nudehearth; @shootingstarvenator; @thethirdman8; @thewolfofelectricavenue; @voicetalentbrendan; and @wehadfacesthen.

This is not the latest we've ever started the final round, but here we go!

For those who participated in the preliminary, I thank you for your time, but we're not done quite yet. The madness has only begun. After a chaotic end to the preliminary round in which contenders crashed out and unheralded underdogs rose in the final hours, who knows who takes this final? For the uninitiated, I have an Oscar-like ceremony on my blog celebrating all the movies of that year’s Movie Odyssey (all the movies I saw for the first time in their entirety) at the year’s end. For the last five years, I have asked family and friends to help out with the Best Original Song category - because in all other categories, you'd be forced to watch entire movies to decide it. This is a musical thank-you to those, who have contributed, in their own ways, to support the Movie Odyssey and me over the last calendar year.

I normally would have known if I would have asked folks to help participate in MOABOS around the end of summer. But due to work commitments, I had no idea whether or not we would be doing this as late as mid-October. I consider it very fortunate we were able to get this off the ground this year - some of you, interestingly enough, look forward to this every year for some strange reason.

As a result of this year's limitations, this is the one of the most monolingual fields we've ever had in a final. But that's not to besmirch the quality of music seen here. In one notable piece of MOABOS trivia, a Vietnamese-language song has reached the final for the first time. A record two songs in the final are from a documentary film (albeit they are from the same documentary).

INSTRUCTIONS Please rank (#1-15) your choices in order. The top ten songs will receive nominations. The tabulation method used in the preliminary round is being used for the final only as the second tiebreaker (the tabulation method that will be used principally for the final - aka "single transferable vote" - is described in the "PS"). There is no minimum or maximum amount of songs you can rank, but because of the nature of single transferable vote, it is highly recommended to rank as many songs as possible, rather than only one or two. Those who rank fewer songs run a greater risk of their ballots being discarded as I am counting the ballots. Again, this is all described in the "PS". Why not implement at a minimum number of songs to rank? Well, I believe in giving you folks as much freedom as possible.

Please consider to the best of your ability: how musically interesting the song is (including and not limited to musical phrasing and orchestration); its lyrics; context within the film (contextual blurbs provided for every entry for those who haven't seen the films); choreography/dance direction (if applicable); and the song's cultural impact/life outside the film (if applicable, and by far the least important factor). Imperfections in audio and video quality may not be used against any song. I encourage you to send in comments and reactions with your rankings - it’s always fun to read reactions to individual songs, and it usually makes the process (for everyone) more enjoyable!

The deadline for submission is Tuesday, December 31 at 7 PM Pacific Time / 5 PM Hawai'i / 6 PM Alaska / 9 PM Central / 10 PM Eastern. If you're across the Atlantic, that's New Year's Day at 3 AM GMT / 4 AM CET / 5 AM EET. There will be no deadline extensions.

The fifteen finalists (to access the below via YouTube playlist, click here... please keep in mind many of these finalists are meant to be watched and listened to):

“Are We Dancing?”, music and lyrics by Richard M. Sherman and Robert B. Sherman, The Happiest Millionaire (1967)

Performed by John Davidson and Leslie Ann Warren

After convincing her father to let her attend boarding school, Cordy Biddle (Warren) meets Angier “Angie” Buchanan Duke (Davidson in his film debut) at a social dance. Cordy, stressing herself too much in believing that she must go out of her way to attract a boy, is pleasantly surprised by Angie’s taking to her. Just before the song, she initially dismisses waltzes as a dance, “for old people” - repeating a line her father said once. The song’s melody is quoted occasionally in the film’s score.

“Crazy World”, music by Henry Mancini, lyrics by Leslie Bricusse, Victor/Victoria (1982)

Performed by Julie Andrews

Victoria Grant (Andrews) is a woman playing a man named “Victor” who is impersonating a woman. Victoria, as Victor, has become the hit vaudeville act of Paris. This is Victoria’s first performance as “Victor” not pretending to be a woman. Is your head spinning yet?

“Detroit”, music and lyrics by Richard M. Sherman and Robert B. Sherman, The Happiest Millionaire

Performed by John Davidson and Lesley Ann Warren

(partial use in film)

Lovebirds Cordy Biddle (Warren) and Angier “Angie” Buchanan Duke (Davidson in his film debut) have been discussing their future together. Angie does not want to inherit his father’s tobacco business - instead wishing to head to Detroit to be a part of the automotive industry (the film is set in 1916, as the city was booming because of the auto industry).

“East Bound and Down”, music and lyrics by Jerry Reed and Dick Feller, Smokey and the Bandit (1977)

Performed by Jerry Reed

This is the theme song for this comedy, which also describes the plot somewhat. Smokey and the Bandit is about two truckers - “Bandit” (Burt Reynolds) and “Snowman” (Reed) - who have been offered $80,000 by a rich Texan to pick up 400 cases of Coors beer from Texarkana, Texas and return to Atlanta within twenty-eight hours. In 1977, Coors was only found in the Western U.S. and transporting it across Southern state lines was illegal (giving Coors a mystique in the Eastern U.S.).

“I Dug a Ditch”, music by Burton Lane, lyrics by Lew Brown and Ralph Freed, Thousands Cheer (1943)

Performed by the Kay Kyser Band, Kathryn Grayson, Georgia Carroll, Harry Babbitt, Sully Mason, M.A. Bogue, and chorus

NOTE: An entirely separate song, “Should I”, is integrated from 3:04-3:36.

Apologies for the text overlaying the video. The second half of Thousands Cheer is essentially an elaborate revue musical performance for American World War II troops in which the film’s initial pretense of attempting a story is entirely dropped. “I Dug a Ditch” is one of the songs appearing in the film’s second half.

“I Wish I Didn’t Love You So”, music and lyrics by Frank Loesser, The Perils of Pauline (1947)

Performed by Betty Hutton

Nominated for the Academy Award for Best Original Song

Based on the life of silent film actress Pearl White (played by Hutton), The Perils of Pauline sees Pearl become a star in silent serial films, garnering worldwide popularity. Complications with Pearl’s engagement and impending wedding/honeymoon with her partner force her to break the engagement and leave the film industry. Much later - far from Hollywood, feeling down - she auditions for a Paris nightclub with this song.

“(I’m Gonna) Love Me Again”, music by Elton John, lyrics by Bernie Taupin, Rocketman (2019)

Performed by Elton John and Taron Egerton

This is the first song played over the end credits of this biopic of Elton John. This is John and Taupin’s (John’s songwriting partner through the 1960s-1990s) first collaboration outside the Sherlock Gnomes series for this decade.

“The Joint Is Really Jumpin’ in Carnegie Hall”, music and lyrics by Roger Edens, Ralph Blane, and Hugh Martin, Thousands Cheer (1943)

Performed by Judy Garland and Jose Iturbi

The second half of Thousands Cheer - where this song is found - is essentially an elaborate revue musical performance for American World War II troops in which the film’s initial pretense of attempting a story is entirely dropped.

“Le Jazz Hot!”, music by Henry Mancini, lyrics by Leslie Bricusse, Victor/Victoria (1982)

Performed by Julie Andrews

Victoria Grant (Andrews) is making her Parisian debut playing a man named “Victor” who is impersonating a woman. The scheme was hatched by her friend, Carroll “Toddy” Todd (Robert Preston) - both of them desperate for money, and Toddy is the only one who knows that “Victor” is Victoria. Preston, Lesley Ann Warren, James Garner, and John Rhys-Davies, and Alex Karras are present in this scene.

“The Next Right Thing”, music and lyrics by Robert Lopez and Kristen Anderson-Lopez, Frozen II (2019)

Performed by Kristen Bell

Anna (Bell) has seemingly lost her friends and her sister at what is the lowest point in the film. Uncertain what to do, she recalls a small piece of advice that leads her forward.

“The Place Where Lost Things Go”, music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman, Mary Poppins Returns

(Initial performance) / (reprise)

Performed by Emily Blunt; reprise by Pixie Davies, Nathanael Saleh, and Joel Dawson

Nominated for the Academy Award for Best Original Song

This is a lullaby sung by Mary Poppins (Blunt) to the Banks children, who have lost their mother before the events of the film. The song was inspired by an idea from P.L. Travers’ Mary Poppins novels, in which Poppins takes Jane and Michael Banks (the aunt and father of the Banks children for this film, respectively) to the moon. There, they learn that the dark side of the moon is where things get lost. The song is referenced occasionally in the film’s score.

“The Shady Dame from Seville”, music by Henry Mancini, lyrics by Leslie Bricusse, Victor/Victoria (1982)

(Initial performance) / (reprise to be watched at your own spoiler-y risk)*

Performed by Julie Andrews; reprise by Robert Preston

*watch at your own spoiler-y risk because it gives away the film’s comical musical ending

Victoria Grant (Andrews), after making her Parisian debut playing a man named “Victor” who is impersonating a woman, has become the hit vaudeville act of Paris. This is one of her signature performances. Preston’s reprise - which appears near the film’s conclusion - was done in one take, hence his sweaty and fatigued appearance at the end.

“Suite: Judy Blue Eyes”, music and lyrics by Stephen Stills, Woodstock (1970)

(an excerpt of how this song is framed in the film)

Performed by Crosby, Stills, Nash & Young

Brief Spanish lyrics sung in counterpoint

Directed by Michael Wadleigh, Woodstock was the official documentary film for the eponymous August 1969 music festival. The festival organizers retained film distribution and music recording rights. “Suite: Judy Blue Eyes” refers to Stills’ thoughts towards his imminent breakup with folk singer Judy Collins. This song is composed in the form of a classical music suite (in layman’s terms, it sounds like an ordered collection of separate songs in one).

“Trường Tương Tư”, music and lyrics by Leon Le, Song Lang

Performed by Isaac and Liên Bỉnh Phát

Lyrics in Vietnamese

English translation and context are in the link.

“Woodstock”, music and lyrics by Joni Mitchell, Woodstock

Performed by Crosby, Stills, Nash & Young

This song appears in the end credits to Woodstock - the official documentary film for the eponymous August 1969 musical festival.

The winner is somewhere above. They will join a list that includes the following past winners:

2018: "Love Is a Many-Splendored Thing", Love Is a Many-Splendored Thing (1955)

2017: “Remember Me (Recuérdame)”, Coco (2017)

2016: "Stayin' Alive", Saturday Night Fever (1977)

2015: "Amhrán Na Farraige”, Song of the Sea (2014)

2014: "Rainbow Connection", The Muppet Movie (1979)

2013: “The Gold Diggers’ Song (We’re In the Money)”,Gold Diggers of 1933 (1933)

Go forth and listen! You may submit your responses in any way, as long as they come in before the deadline. I am free to answer any questions about anything you have about the process.

Happy listening, and have a happy holiday season as we conclude this decade (already?)!

TABULATION Like the preliminary... a respondent’s first choice receives 10 points, the second choice receives 9, the third choice receives 8, etc. HOWEVER, this points system is used only for tiebreaker purposes.

The winner is determined by a process called single transferable vote (the Academy Awards uses this method to choose a Best Picture winner, visually represented here - you should really watch this video if the below doesn't make sense... which it probably won't):

All #1 picks from all voters are tabulated. A song needs more than half of all aggregate votes to win (50% of all votes plus one... i.e. if there are thirty respondents, sixteen #1 votes are needed to win on the first count).

If there is no winner after the first count (as is most likely), the song(s) with the fewest #1 votes or points is/are eliminated. Placement will be determined by the tiebreakers described below. Then, we look at the ballots of those who voted for the last-placed song(s). Their votes then go to the highest-remaining and non-eliminated song on their ballot.

This process (in step #2) repeats until one song has secured 50% plus one of all votes. We keep eliminating nominees and transfer votes to the highest-ranked, non-eliminated song on each ballot. NOTE: It is possible after several rounds of counting that respondents who did not entirely fill in their ballots will have wasted their votes at the end of the process. For example, if a person voted the second-to-last place song as their #1, ranked no other songs, and the count has exceeded two rounds, their ballot is discarded (lowering the vote threshold needed to win), and they have no say in which song ultimately is the winner.

A song wins when it reaches more than fifty percent of all #1 and re-distributed votes.

Tiebreakers: 1) first song to receive 50% plus one of all #1 and transferred votes; 2) total points earned; 3) total #1 votes; 4) placement on my ballot; 5) placement on my sister’s ballot; 6) tie declared

#2019 Movie Odyssey Awards

8 notes · View notes

pinknerdpanda · 7 years

Text

At The Crossroads - Ch. 3

Characters (All AU): Dean x reader, Benny Lafitte, Anna, Castiel Hennessey, Meg Masters, mentions of Crowley

Warnings: Angst, Character Death, Canon level gore

Word Count: 1917

Summary: It’s the 1920’s, Prohibition is at it’s peak, and New Orleans acts as a beacon to all those in search of a fresh start, smooth jazz, and a taste of the good ol’ giggle water. The Crossroads is the joint to be in for all three, or so you thought when Benny Lafitte hired you. All your dreams of becoming a famous jazz singer were just starting to come true, and then Dean Winchester strolled back into your life. Just one look into those green eyes of his was enough to send you into a tailspin. Question is, will you recover, or will you crash and burn?

A/N: This is the third chapter of this 1920’s AU series.

Need to catch up? Part 1 | Part 2

A/N 2: This story was edited and beta’d by @wheresthekillswitch. She also wrote the summary and contributed to some of the writing and plot development of this story and series. I don’t really know how to credit you, but suffice it to say, this story would be nothing but a sad little WIP in my folder if it wasn’t for you, Lee. Thank you for your continued wisdom, guidance and support as well as your unwavering patience.

Aesthetic by the wonderful and talented @arryn-nyxx. (Go check her out - she is amazing!)

I really appreciate feedback! Tags are at the bottom and if you would like to be added to my tag list, just send me a message or an ask.

At The Crossroads Chapter 3

Three Months Earlier….

Castiel

“Why should I trust you?”

She stares at me and makes a show of snubbing out her cigarette in the crystal ashtray at the edge of my desk before answering me. “Because, blue eyes, I got nothing to gain from this.”

I silently consider her statement, I know she’s taking a huge risk even coming here. She’s right though; everything falls on her if this thing goes south. Sighing, I stand and round the desk to lean against the front edge.

“Let me make sure I understand you correctly, Miss Crowley…”

“Masters, actually,” she interrupts. “I adopted my mother’s family name. Wanted some distance from my father and some of his more...nefarious activities.”

She emphasizes the word. Nefarious. That's putting it rather delicately. I study her cautiously, crossing my arms over my chest. “My apologies, then, Miss Masters. So, you have information on the Black Hand as well as your father’s business. And you want to work with me because…”

“I’ve always had a soft spot for a man with a badge,” her blood red lips curl flirtatiously, and I have a sneaking suspicion it has something to with the rush of warmth I’m feeling in my cheeks. She looks down at the floor, her thick black eyelashes fanning out across the apples of her cheeks and her smile fades. “Besides, Officer Hennessey, I've had my fill of this life and I want out. My father has made it very clear that he has no intention of allowing it.”

Every instinct I have tells me no; well, nearly every one of them. The look on her face is one that I’m more familiar with than I’d like to be. Sure, there’s sadness, pain, and loss reflected in her large, chocolate eyes, but beyond that, there is rage - like the smoldering remains of a fire, long after the damage has been done. There’s something else, too. I can’t quite put my finger on what, and I sure as hell can’t explain it, but, against my better judgement, I believe her.

“Alright, Miss Masters. I think we can come to some sort of arrangement.” I reach out to shake her hand; a show of trust and solidarity. She smirks and accepts it. One thin, dark eyebrow lifts in either surprise or amusement, I can’t quite decide which, and for a moment I wonder if I have made a huge mistake.

“Call me Meg, Officer.”

-----

Dean

It’s at least 5:00 am before I finally climb the stairs to my small apartment and jam the key in the door. I feel as though I could sleep standing up, and every bone in my body hurts. It’s not a new feeling, though. Everytime Crowley is at The Crossroads, I feel him scrutinizing everything I do, and I wind up cleaning every glass, table, and counter at least twice.

On top of that Anna never showed up for work tonight, so one of the waitresses had to take over as cigarette girl for the evening and that pushed the night back even further.

Y/n hasn’t spoken to me in a week; not since she saw Anna and I on the street. If she was saddling close to Benny before, she’s gotta be sitting in his lap now. The two of them are thick as thieves these days, and who knows what he’s told her about me and Anna. As far as I can tell, she’s drawn her own conclusions about what she saw. And Anna hasn’t exactly done anything to make her think differently.

Last night, she’d snuck into the storeroom when I’d gone back to grab another case of hooch. Frankly, I’d like to know how many times I have to tell her to scram before she takes the hint. One of the nice things about having Anna gone was that I didn’t have to keep looking over my shoulder to see what hooey she was gonna pull. It feels like lately she's determined to ruin my life and drive y/n and I further and further apart.

I step inside and lock the door, my fingers making short work of the buttons on my shirt and I throw it aside. If I time it just right, I may be able to have all my clothes off by the time I get to the bed and I can just fall right in and let sleep overtake me. Shoes next, kicking one off and then the other, not bothering to care where they land. I fumble for the belt on my pants and allow them to slide down my legs and step out of them on my way to the bed. Just a few more steps.

My knees hit the edge and I pause before closing my eyes allowing myself to fall face first into the soft down mattress. However, instead of the pillow, my head makes a soft thud as I hit something firm and cold. Confused, tired, and angry that I’m not already halfway to dreamland by now, I scramble to my feet.

I flip on the lamp, the light flooding the room in a gentle golden glow and making me clamp my eyes down tight. I blink slowly to allow myself time to adjust, bright spots dotting my vision from the sudden assault.

I’m not sure if it’s my sleep deprived brain or if my eyes are playing tricks on me for nearly rendering them useless, but it takes several moments for my brain to process everything I’m seeing. The whole scene is a mix of colors that are just wrong.

Her hair, strands of copper and rust, fans out haphazardly across my pillow. Crimson splatters mar the bright white of the sheets and blanket in a stark contrast. Green eyes, frozen and unmoving as though they are made of glass, stare up at me, silently begging for mercy. Her lips are a sickening shade of blue as though she’d been stranded in a snowstorm for too long. It’s like I’m seeing pieces of a puzzle and each one, on their own, although startling, doesn't make much sense. But as my mind starts fitting them together, a horrific and gruesome scene begins to unfold before me.

Anna’s lifeless body - scantily-clad, pale, and covered in blood - is sprawled somewhat seductively across my bed and any feelings of anger or exhaustion I may have felt earlier are replaced by fear and my stomach roils in response.

-----

The stillness of New Orleans before dawn is something you relish as you slip from your boarding house and into the crisp morning air. There is really no reason that you should be awake already, but after tossing and turning all night, your thoughts on anything but sleep, you decided you’d had enough.

The last week has been hell for you. You’ve seen Dean every night and every night you’ve either been unwilling or unable to face him. Every fiber of your soul has been crying out for you to go to him, talk to him - find out the truth. And, whether it’s your pride or your still-healing-heart you aren’t sure, but you just couldn’t. Until now.

You’d spent every restless moment since your head had hit the pillow, arguing with yourself over and over again. You know that he’s keeping something from you, and if there is one thing that you can't stand, it's being lied to. You're not sure if it’s better or worse than when he’d left you all alone for an entire year. Your life had ground to a screeching halt without him and you’d thought you would never recover.

But then, by some stroke of luck, you’d found yourself back in his arms again. It had been hard at first; to look at him and try to ignore the dull ache in your chest that you'd become accustomed to in his absence. But you thought it was obvious that the universe had brought you back to each other. What you had with Dean was pure and beautiful and you’d finally decided that you weren’t going to let some redheaded bimbo stand in your way.

Mr. Crowley had been at the club last night and you knew that meant Dean would’ve been staying late to make sure everything was spic and span. If the last few times Mr. Crowley had spent his evening at The Crossroads were any indication, you expect Dean to just be getting home.

So you set off in the direction of his apartment. It’s a decent walk from where you are staying, but you have come to know the route by heart. You pass the time rehearsing everything you want to say as you weave your way through the eerily quiet streets. The streetcars have yet to begin their morning routes and as the sun begins to break over the tall buildings of The Quarter, the only faces you see are those of the newsagents setting up their stands for the day.

Having repeated your speech in your head at least twice, you feel fairly confident as you approach the last corner before Dean’s building. Every practiced word and phrase slips completely from your mind, however, as his building comes into view and you freeze, fear rattling your bones instantly.

Three shiny police cars are parked in front of the building as though their operator had been in a hurry to get out. There are several uniformed officers flitting about between the cars and the entrance. A large white wagon that you assume to be an ambulance is backed up near the foot of the stairs, and a few men with white coats dot the scene.

You don’t realize that you’ve moved until you find yourself being stopped by a large officer with kind eyes.

“Miss, I’m afraid I’ll have to ask you to stand back,” he says, his voice low and commanding. “This is a crime scene.”

You gape up at him, your brain finding it increasingly difficult to associate his words with their meaning. Over his shoulder you see two men hefting each end of a long stretcher out of Dean’s apartment and down the stairs, their faces stoic and devoid of color. There’s a sheet covering the stretcher and your stomach lurches as you realize that it’s soaked through in several places with blood.

“My beau, Dean Winchester, lives in that apartment. Is he alright?” you ask in a panic laced voice, just as the world starts to go topsy turvy on you.

The officer’s demeanor shifts from commanding to sympathetic and for a moment you assume the worst - it’s Dean under the bloody sheet.

“I’m sorry ma’am…” his words fade in the dull roar of blood as it rushes to your head.

More movement from the building catches your attention. A tall man with brilliant, blue eyes wearing a light colored trench coat appears at the top of the stairs, leading another man - this one shirtless and bloody, his hands bound - down the stairs.

It’s the eyes that really give him away; you would recognize them anywhere. You realize you’d been wrong. The thought of it being Dean under the sheet had been horrific, but watching him being led down the stairs and shoved roughly into the back of a police wagon instead was the worst thing.

Your whole world shatters as your vision narrows and slowly dims. The last thing you see is Dean’s blood spattered face from behind the glass of the car window and then the darkness engulfs you.

...to be continued...

Like what you see? Want more? My Masterlist is here. Thanks for reading! :)

My Forever Tags (I love ya’ll - stay weird!): @wheresthekillswitch @arryn-nyxx @emilywritesaboutdean @fandommaniacx @cookie-dough-lova @spnfanficpond @impandagrl @maddieburcham1 @trexrambling @27bmm @beachballsizeladyballs @hannahindie @rosie-winchester @winchesterprincessbride @that-writer-one @amionthetumbler @abbessolute @deansdirtyduchess @fandomismyspiritanimal @angelsandwinchesters @cfordwrites @zenia3 @charliebradbury1104 @9769997118 @mogaruke @luulaachops @supernaturaldean67 @barbedwireandbubblegum @karlee-fay-my-wayward-son @muliermalefici @galaxy-jellyfish-queen @canadianjelly @kathaswings @almusanzug @feelmyroarrrr @captainradicalpassion @bethbabybaby @thinkwritexpress-official @akshi8278 @hexparker @emoryhemsworth @boxywrites @justanotherdeangirl @atc74 @anticipate1003 @super100012 @thing-you-do-with-that-thing

At The Crossroads Tags: @torn-and-frayed @curlyblondexoxo

Pond Tags (Dean + Angst) : @aprofoundbondwithdean @manawhaat @thing-you-do-with-that-thing @nichelle-my-belle @leatherwhiskeycoffeeplaid @notnaturalanahi @salvachester @whispersandwhiskerburn @roxy-davenport @impala-dreamer @deathtonormalcy56 @samsgoddess @frenchybell @for-the-love-of-dean @mysupernaturalfics @spn-fan-girl-173 @deandoesthingstome @jelly-beans-and-gstrings @fiveleaf @deansleather @whywhydoyouwantmetosaymyname @waywardjoy @mrswhozeewhatsis @imadeangirl-butimsamcurious @kayteonline @supernatural-jackles @wevegotworktodo @quiddy-writes @babypieandwhiskey @wi-deangirl77 @deantbh @supermoonpanda @sinceriouslyamellpadalecki @deanwinchesterforpromqueen @chaos-and-the-calm67 @memariana91 @plaidstiel-wormstache @chelsea-winchester @fandommaniacx @writingbeautifulmen @revwinchester @lucibae-is-dancing-in-hell @castieltrash1 @supernaturalyobessed @ohwritever @ruined-by-destiel @inmysparetime0 @winchester-writes @deals-with-demons @maraisabellegrey @faith-in-dean @winchestersmolder @bennyyh @clueless-gold @deanwinchesterxreader @melbelle45 @winchester-family-business @4401lnc

#dean x reader #au!dean x reader #Au!dean #1920's AU #dean winchester #benny lafitte #SPN Fanfiction #spn fanfic #spn au fanfic #at the crossroads #dean angst #arryn's aesthetics #Panda Writes #death #angst #blood #murder

51 notes · View notes