Hippolyta's baby egg warrior

Years before Diana's birth in the Era of Myths Before Themyscira existed, Hippolyta had found the egg as she was in this temple; she wasn't sure who or why she took it with her. But she did, and she took care of him pretty well. And out came a tiny boy. She and her sister, along with her father, Ares, took care of him. As he got older, Danny started to collect women and girls who weren't treated well and "kidnapped" them to her island. This wasn't how she wanted to build Themyscira! But it worked pretty well. And it had been a good idea to take him with her as the war against the Giants started. Her child was in front of the Gigantomachy! And Daniil/Daniel did pretty well, until his defeat by the Dark Giants. She didn't trust what Hercules told her, but after that, she closed her island to outsiders; the war was won after all. + After weakening the Giants enough that Arion could later finish them off, Danny was pulled into the future. At least what he learned helped in his fights against the ghost in Amity Park.

But it had been a fun adventure, and he hates that stupid seal! Stupid Vlad and wanting to make him his son, and then losing the seal! That is why he ended up in the egg. + Modern time Wonder Woman was captured by a cult that seemed to plan to use her blood for a ritual. And after she escaped and had a few cultists captured with her friends, She had no idea what the captured cultist was talking about as she left to visit her mother. The legend said he was Hippolyta's son; she would know if her mother had another child after all. + In Amity Park Danny noticed the glowing as he fought Skulker and was like, "Not again!" Before he was teleported and away back in an egg, the cult was happy! They summoned the egg; all they have to do is incubate it! And then they have their own warrior! + And as later Hippolyta learned about her egg having been returned by Diana. She and a group of warriors were on the hunt to find the cult and take the egg before it hatched.

BNHA x Danny Phantom Story idea

Female Danny Phantom AU x bnha crossover wherein Rei Todoroki is actually Danny Phantom.

In this AU, Maddie is Japanese and Danny is now named Rei Fenton. For some reason, I dont know a fight with vlad or some unfortunate shiz,  Rei got her powers temporarily sealed, her hair turned white as a side effect. I’ts kind of like that episode Micromanagement except Rei could only use her ice powers without suffering drawbacks like what happened to Dani so she has to be careful in using her ghost powers or risk destabilization. 

She also got transported 200 years into the future of quirks and met Enji. Rei got into some trouble, used her powers in public w/c was a big no no in the future and got arrested by Enji. It’s how they met and Enji being the power hungry ass that he was, thought ‘Oh shit, this woman has sick ice powers. our babies would be powerful’-- so Enji then devised a plan, basically tricking Rei into marrying him and well, Rei having no powers, no family and no money or identity, thought, ‘hey I’ve been through worse. I’m sure marrying this red headed fire hazard couldn’t be worse than Vlad demanding her eggs so he could make more ghost child hybrids. Besides, he’s cute in a rugged sort of way.”

Course Rei in this AU is a lot more badmouthed than her canon counterpart. Shoto had to get his bad manners and denseness from one of his parents. Anyways, Rei didnt give in to Enji’s futile attempts to seduce her into having children with him that early, partly because she was super dense and a bit of a dumbass still. 

Eventually, Rei fell in love and they had Touya. Endeavor in this AU was a good father and husband for a while. The beating’s though, they didnt start until Shoto was born. Rei fought back of course but over the years her powers weaken, she could no longer produce strong unbreakable ghost ice like she did in the past. Her core was detoriating. Rei could generate ectoblasts sometimes but she would always feel weak after. She could have sworn her feet were melting. Everything fell apart after that. Her marriage was in shambles, her children were afraid of their father. 

Eventually, Enji’s betrayal and Shoto’s pain was causing Rei to spiral and her brain to melt--literally. ·In this AU, Rei didn’t burn Shoto with hot water. She tried accessing her powers once more to see if she could get something from the destabilization. But she accidentally blasted a powerful and uncontrolled ectoblast towards Shoto when he accidentally startled her. The kettle was heating at that time. It fell to the ground. Rei immedietly rushed towards her son, gathering what she can from her remaining ice powers to ease her son’s pain. When Enji arrived, he thought that Rei burned their son with boiling water after seeing the kettle spilled on the floor. Rei was crying. Enji realized that his wife wasn’t well and sent her to a mental facility where Rei mostly hibernated, saving what remains from her core powers. The mental instability mostly came from the lack of obsessions that were satisfied. What use is a guardian ghost? Rei couldn’t even protect her son from Enji. She lost Toya as well. 

And sooo this is just a story idea. I tried writing this but I can’t make out a good storyline.Too many plot holes. Just sharing this to the rest of the phandom though. :D

Review: Brothers Joined by Fate and Furniture in ‘The Price.'

By ALEXIS SOLOSKI - The New York Times MARCH 16, 2017 Arthur Miller’s “The Price,” from 1968, is a tragedy disguised as a rummage sale. It plucks the slipcovers off the autobiographical material that Miller worked over for so much of his career — what sons owe to fathers, what brothers owe to each other, what the world owes to men of reasonable integrity. Women might owe things, too, but that was rarely Miller’s concern. Sympathetically directed and ardently acted, there’s much to enjoy in this Roundabout Theater Company revival, which opened Thursday night at the American Airlines Theater. Yet it shows “The Price” as a smaller, more stolid work than it wants to be — still just a little out of style. As the play opens, Victor Franz (Mark Ruffalo), a policeman 28 years on the beat, arrives at the attic of a Manhattan brownstone mounded with dusty furniture. Chests jostle with tables; sofas and wardrobes tumble together. Victor winds up an old phonograph and puts on a novelty record of people laughing. He also laughs. Why not? It’s either that or sneeze. With the building about to be demolished, Victor has come to sort out his dead parents’ effects. His father, once a ritzy businessman, went bankrupt in the 1929 crash. His mother died soon after. While his older brother finished medical school, Victor dropped out of college to support his father. Now all that remains of his patrimony is enough hefty wood and tatty brocade to churn the stomachs of every Design Within Reach customer in the first three rows. Victor’s disenchanted wife, Esther (Jessica Hecht), doesn’t want a stick of it (“Oh dear God” is her tipsy response). So he has hired a used-furniture dealer to appraise it. That dealer, Gregory Solomon, arrives in the rumpled form of Danny DeVito, who has decided that just because he’s in a Miller drama doesn’t mean he can’t have some fun. (“The Price” may be Miller’s funniest play, a low bar.) Heaving himself and his battered three-piece suit up the stairs, he declines an offer of refreshment with the borscht belty line, “Water I don’t need; a little blood I could use.” Solomon’s accent is supposed to be Russian Yiddish. Mr. DeVito��s isn’t. So what? He makes a meal of the scene and then eats a hard-boiled egg for an encore. The biblical Solomon had to divide up a baby (or threaten to, anyway); this one only has to appraise side tables and a cracked harp. But he’s wise, too. Also brash and digressive. (“Jews been acrobats since the beginning of the world.”) He and Victor are just about to seal their deal when Victor’s brother, Walter (Tony Shalhoub), enters unexpectedly. They haven’t seen or spoken to each other since their father’s death 16 years earlier. Walter, a successful surgeon in his fine camel coat, and Victor, an undistinguished patrolman in his clumsy uniform, are placed in opposition. Under Terry Kinney’s direction, so, too, are Mr. Ruffalo — a late replacement for John Turturro — and Mr. Shalhoub. Both are intensely likable actors, though Mr. Ruffalo has a line in Everymen, whereas Mr. Shalhoub seems to gravitate toward more rarefied roles. Here, it’s as if the costume designer Sarah J. Holden has placed lead weights in Mr. Ruffalo’s epaulets and helium lifts in Mr. Shalhoub’s shoes. Mr. Ruffalo’s body looks slumped and stunted, his speech a mumble. Mr. Shalhoub meanwhile keeps straining upward. His arms and hands reach high, his voice rises until it cracks. These are both thoughtful, textured performances. And if you believe that old quip defining good acting as not bumping into the furniture, then hand them a couple of Tonys. Ms. Hecht affords Esther pragmatic sympathy. But this is not Esther’s play. At one point Solomon tells her, “Darling, why don’t you leave it to the boys?” and “The Price” treats her with a similar condescension, sidelining her in her pert pink suit while the brothers argue, stranding her with domestic concerns while they debate moral philosophy. Recent Miller productions on Broadway have goosed the plays with counterintuitive casting, like the Mike Nichols “Death of a Salesman,” with its young Willy and reedy Biff, or radical staging, like the Ivo van Hove productions of “The Crucible” and “A View from the Bridge.” Mr. Kinney’s quieter, more faithful style emphasizes the fine roles for actors but doesn’t make a strong case for the play itself. Though Derek McLane’s set boasts a view out over the roofs of Manhattan, hinting at something symbolic and substantial, the play never quite escapes the room, narrowing to a quarrel about personal choices made in the past. Miller maintained he wrote “The Price” as a response to the war in Vietnam and that it was not based on his own relationship with his brother, who dropped out of college to shore up the imperiled family business. Neither assertion seems especially credible. Did Walter betray his family by following his ambitions? Did Victor betray himself by staying to care for their father? Who has had the more successful life? Walter with his money and prestige or Victor with his unbroken marriage and flatfoot honor? These are good questions, and Miller keeps the argument more or less evenhanded, tossing in a new twist every time one man’s claim threatens to dominate. Yet if the debate is involving, it’s not especially consequential. The price? It has been paid long ago. Little that the brothers say or do can change the past or affect the future. Instead, “The Price” ends more or less as it began, as Solomon, alone onstage, plays that laughing record again. Maybe we laugh, too: at human foolishness, at human intransigence, at how people, like furniture, fade and scuff, but still endure. https://www.nytimes.com/video/embedded/theater/100000004993176/excerpt-the-price.html?emc=eta1