wayward daughters would be amazing and I want to write it
OK no but shh, listen to my wisdom:
Donna is unfailingly kind and cheerful and supportive of the girls, and it drives Claire nuts, because this isn’t a game, this isn’t fun, her whole family is dead and you can’t just be all happy-smiley-sunshine after that, it’s not possible, right? And one day she just losesit, because what the fuck does Donna know about loss or pain, and what gives her the right to tell Claire or anyone else that it’s going to be okay? And Donna doesn’t falter; just says, very calmly, with a smile that’s only a tiny bit smaller than usual, that she might not know what it’s like to lose the people she loves to monsters, but that doesn’t mean she’s never lost them to anything else; that it takes a different kind of courage to watch your mother die of cancer and still be able to go to work afterwards. And she knows, she knows what people think of her: that because she smiles so much, she must not really understand how bad the world can be, but she’s still a sheriff, she’s still seen terrible things, and she’ll understand if Claire never sees eye to eye with her, but exactly because the world can be so bad at times, Donna thinks it’s all the more important to wring every bit of good from it that you can, even if you still sleep with a gun in reach or an angel sword under your bed. And maybe Claire cries in her lap, and maybe she just nods, but the next time Donna asks the girls if they want to bake with her and Alex rolls her eyes, Claire steps right up and grabs a spoon, and Krissy shrugs and says, “What the hell,” and joins in, and then Alex mutters something about how there’s nothing good on TV anyway, and they make stupid animal-shaped cookies and have a flour fight in the kitchen.
Jody and Donna having separate rooms, because most nights they want a bit of peace and time to themselves, but neither of them is really used to sleeping alone, so at first, they don’t sleep all that well. But one night, they both get woken up late by giggling coming from Claire’s room, and when they go in, all three girls are cuddled up in the one bed watching cartoons on an iPad with ghost!Kevin perched nearby, and when the adults look surprised they just raise their eyebrows and look at them like, “What?”. And when Jody looks at Alex in particular, Alex says, “Hey, you told me to find a healthy coping mechanism,” and it’s pretty hard to argue with that, so Jody just tells them to have lights out in an hour and goes back to bed, and when Donna says in the hall that she thinks the girls have the right idea, she says, “If only it was that easy.” But two nights later, after a really bad day and an hour of tossing and turning, she gets up and goes down the hall to Donna’s room and climbs into bed with her, and Donna just beams in her flannel jammies, and Jody just mutters, “Not a word,” and gets in beside her. (And this would make an awesome framing device for a specific episode that begins with everyone sleepless in their own rooms, camera sweeping through the house to Krissy’s narration about loneliness and secrets before we smash-cut to her in the midst of a crime scene, talking to the young girl who’s been witness to a supernatural death; the monster of the week preys on lonely people; the last scene is an identical sweep through the now-shared rooms, and the VO is Krissy again, but this time she’s writing a journal.)
An underlying theme of sexual autonomy and discovery where Krissy is the one that everyone else goes to for solid romantic advice, because Alex was used as sexualised bait for creepy dudes and Claire was nearly raped on the okay of someone she trusted and Donna still has anxieties about her romantic worth because of Doug and Jody once went on an actual date with the King of Hell, never mind the deaths of her husband and Bobby Singer, but Krissy’s breakup with Aiden was healthy and she’s confident and sensible and goes on dates and knows exactly what she wants, and has exactly zero tolerance for dudes who look like they’ll fuck with her ladies. Donna asking Krissy to vet her dates, and Krissy doing it the first couple of times, but then gently telling Donna that she’s awesome enough to trust her own judgement, and Donna believing her. (Which would also make an awesome lead-in for an episode about an abused incubus, where they have an argument about consent and saving monsters and humanity and sex and the creepy villain tries to win onto Krissy and it 9000% does not work.)
Kate and Josephine as girlfriends who work as supernatural scouts, travelling up and down the country looking for lost souls and problem cases: their cover is Josephine travelling to athletic meets (and don’t you love the idea of a human athlete having a werewolf trainer?) and they periodically either check in with the others at the Academy (as they fondly call Jody’s house) or call them out to see what’s going down elsewhere. Plus and also, it turns out that there’s more supernatural creatures than you’d expect hiding out in the athletic and sporting world, given the whole super-speed-and-strength thing a lot of them have, and it kind of pays to keep a finger on that particular pulse.
Bring me all the demonised female monsters of world mythology - the nagas and harpies, sirens and succubi, gorgons and furies and medusas - and give me a show where their monstrousness is made distinct from their femininity; where a group of female Hunters is in a position to question the frequently sexist lore that’s been used to demonise them, drawing new distinctions between monsters that are always threats, and monsters that just happen to be female, and monsters that are both.
All the girls have dayjobs that help them access different facets of supernatural crime and to help those affected by it, so that, in addition to Josephine the athlete, we have Krissy as a trainee sheriff, Claire working with kids in the foster system and Alex - well. Alex is a bit harder to pin down, because she’s sly and smart and she has no patience for bullshit; she tries her hand at a lot of different jobs, but she always ends up moving on, because she keeps ferreting out secrets and pissing people off, and then one day she ends up figuring out that the bartender at her equally new job is an undercover fed working what they think is a drugs case, but which Alex already knows has a link to something supernatural (literal magic mushrooms, YES), and, well, long story short, it turns out there’s a government agency with an eye on the Hunter world and once Alex pulls their rookie’s ass out of the fire, she gets tapped to train with them, so that she steadily becomes a link between Jody’s girls and the bigger world of supernatural law enforcement.
A story built around a strong ensemble cast, but which isn’t pinned to a single location, even though there’s a single place they all come back to, so that everyone gets to develop in different ways and directions; each episode picks a different focal character, and the story goes where they take us, but there’s always the overarching theme of the Academy and their togetherness, even when they’re apart.
Linda Tran as a total BAMF who periodically shows up with a case or an artefact to hide. Linda Tran challenging Jody to a drinking contest, and the two of them sharing an amused glance when Donna asks to join in. Donna and Linda subsequently drinking Jody under the table, the two of them carrying her up to bed and tucking her in before going to sit outside and bonding over a shared love of gardening.
Hannah restarting the process in Heaven for the creation of prophets that Metatron turned off. The first new prophet is a teenage girl who ends up at the Academy. She’s our introductory character, and once the others realise what she is - or rather, once ghost!Kevin does - they summon Hannah to explain her purpose.
Dorothy comes back from Oz and resurrects Charlie with Gilda’s help. FIGHT ME.