The retcon history of Batman and Catwoman discovering each other’s secret identities is rather complicated. Before I dive in, the great Brian Cronin has an excellent series of articles about this very topic, to which I’m incredibly indebted:
https://www.cbr.com/batman-catwoman-secret-identity-revealed
https://www.cbr.com/batman-catwoman-secret-identity-repeated-retcon
Joshua Lapin-Bertone, to whom I am also indebted, also has a highly informative article about this subject too:
https://thebatmanuniverse.net/catwoman-29
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THE GOLDEN AGE
In the Golden Age, Catwoman uses a variety of false names, not revealing her true identity of Selina Kyle to Batman until Year Twelve—in Batman #62 Part 1 by Bill Finger, Bob Kane, Lew Sayre Schwartz, and Charles Paris (1950).
Five in-story years later (Year Seventeen), thanks to a retcon that sees the Bat marry the Cat (thus further distinguishing the Golden Age Earth-2 from the Silver/Bronze Age Earth-1), Batman reveals his secret identity to Selina. This big moment occurs via flashback from The Brave and The Bold #197 by Alan Brennert and Joe Staton (1983).
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THE SILVER/BRONZE AGE
Turning to the Silver/Bronze Age, we get a super-compressed version of the Golden Age in regard to Batman’s dealings with Catwoman. Her use of false names and Batman learning her secret identity all occurs in Year One! Batman #208 by E Nelson Bridwell (1969) is a clever story that re-contextualizes old material via the framing device of Ma Chilton talking about the history of Batman’s love life. Thus, instead of having the typical non-canon reprint issue, all the reprinted (prior continuity) material, including Batman #62 Part 1, is canonized in full.
Year Sixteen’s Batman #355 by Gerry Conway and Don Newton (1983) is the first issue that definitively reveals that Catwoman knows Batman’s secret identity. It’s possible she knows earlier than that, but in any case, she 100% knows by Year Sixteen. Not long afterward, Detective Comics #526 by Conway and Newton (1983) doubles down on this, emphasizing that Catwoman knows who Batman is under the cowl. However, DC editorial royally complicates the matter after that. In Year Nineteen’s Batman #389 by Doug Moench and Tom Mandrake (1985), Batman blindfolds Catwoman to bring through an alternate Batcave entrance. This scene that makes it seem like she doesn’t know who he is under the cowl. However, as Conway had already definitively shown in Batman #355 and Detective Comics #526, Catwoman already knows Batman’s secret identity—so the need for her to be blindfolded in Batman #389 makes no sense. An easy fanwank is that Batman simply doesn’t want her to know about one of the alternate entrances into the Batcave. However, in a rare attempt to cover their asses, DC editors actually publish a letter of explanation in Batman #393 by Moench and Paul Gulacy (1986) saying that Catwoman shouldn’t have been blindfolded since she already knows Batman’s secret identity. They actually own up to a continuity error! But then, in Batman #397 by Moench and Mandrake (1986), DC editors retract their statement in a second letter! Instead of letting things go and providing an easy out for the blindfold thing, they disavow all prior instances of Catwoman knowing Batman’s secret identity, even going so far as to say that she never knew—even in Batman #355 and Detective Comics #526! What?! That is a huge (and bogus) retcon. She definitely knew, and, if she doesn’t know by 1986, then she was friggin’ mind-wiped. Go with your headcanon on this one because it’s better than anything DC has to offer.
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THE MODERN AGE
Believe or not, Batman’s knowledge of Catwoman’s secret identity (and vice versa) is just as complicated in the Modern Age. Due to vague hints in Frank Miller’s “Year One” (1986-1987), Mindy Newell’s Catwoman #3-4 (1989), and Denny O’Neil’s Batman: Legends of the Dark Knight #1 (1989), it’s possible Batman knows Catwoman’s secret identity as early as Year One. (At the very least, he likely has a hunch who she is under the mask.) However, it’s not until Year Two that we can be more certain that he knows. Of course, the references to Batman learning Catwoman’s secret identity as early as Year Two on the Modern Age timeline—specifically in Batman: The Long Halloween by Jeph Loeb and Tim Sale (1996-1997), Batman: Legends of the Dark Knight #140 by Moench and Gulacy (2001), and The Batman Files by Matthew Manning (2011)—are, like the earlier references, also a bit vague, still merely hinting at Batman finding out. Because of this haziness, various arguments can be supported. Furthermore, over the course of the following seven in-story years, Batman’s interactions with Catwoman—and Bruce’s with Selina—are coy enough to keep things deliberately vague. For example, Batman: Dark Victory by Loeb and Sale (1999-2000) keep things so vague, you could read it either way. It’s actually downright perplexing. While we are at like 90% certainty that Batman knows Selina is Catwoman by Year Two, it’s not all the way until Year Nine—via flashback from Catwoman Vol. 3 #50 by Will Pfeifer (2006)—that we learn definitively that Batman knows Catwoman’s secret ID. But 90% certainty ain’t bad. Therefore, all signs point to Batman learning Catwoman’s secret ID in Year Two (if not earlier). This is your personal headcanon call, of course.
I should mention that, for decades, I had regarded Batman Confidential #17-21 by Fabian Nicieza and Kevin Maguire (2008) as an important arc in regard to Batman learning Catwoman’s secret ID, but upon a recent re-read, this simply isn’t the case. There’s a scene in issue #18 where a nude Batgirl fights a nude Catwoman, and the latter is referred to as Selina Kyle by multiple people at the Gotham Hedonist Society, but it’s unclear if it’s within Batgirl’s earshot or not. Either way, neither Batman nor Batgirl refer to her as Selina in this arc. Like the other stuff above, it’s kept vague. Although, as mentioned, I no longer think this arc has any particular bearing upon our Bat/Cat secret identity topic at hand.
The other way around—Catwoman learning Batman’s secret identity—has an even more complex history in the Modern Age. At the time of Marv Wolfman and George Pérez’s Crisis on Infinite Earths reboot in 1986, the Catwoman status-quo was that she was a superhero that had learned Batman’s secret identity much akin to how she had in the Bronze Age. This is confirmed via reference in Detective Comics #569-570 by Mike W Barr and Alan Davis (1986). Notably, Identity Crisis by Brad Meltzer and Rags Morales (2004) would later retcon that Catwoman, in Year Nine, becomes a superhero due to a Zatanna mind-wipe, at which time the Dark Knight reveals his secret identity to her as a gesture of goodwill. Wanting to revert Catwoman back to her old ways, Barr (in Detective Comics #569-570), has Catwoman mind-wiped yet again (this time by Dr. Moon, and this time it turns her back into a super-villain). This mind-wipe also causes her to permanently forget Batman’s secret identity.
And this is the status quo for a while. In Batman #499 by Moench and Jim Aparo (1993), Bruce, Alfred, and Selina board a plane together. The dialogue between Alfred, Bruce, and Selina makes it sound like Alfred has no idea who Selina is and that Bruce has only met her once. Alfred says, “Good lord, who are you and how did you get—” and Selina cuts him off with, “My name is Selina Kyle, Mr. Wayne—we met at a charity function and I desperately need to reach Santa Prisca.” When Batman #499 originally came out in 1993, Bruce and Selina really had only interacted (out-of-costume) one or two times prior to this moment and definitely not romantically. When Loeb and Sale’s The Long Halloween was published in 1996-1997, it retconned things so that Bruce and Selina did have an intimate relationship outside of their Batman/Catwoman relationship, thus changing this Batman #499 sequence entirely.
It’s not until Year Nineteen’s “Hush”—specifically Batman #615—by Loeb and Jim Lee (2003) that Batman finally reveals his secret identity to Catwoman. Interestingly, DC Comics editors, in a halfhearted attempt to erase any head-scratching Catwoman continuity, tried to cover up their messy mind-wipes by labeling Detective Comics #569-570 as occurring on the alternate Earth-85 (in 2005’s The Crisis on Infinite Earths: The Compendium). Of course, Detective Comics #569-570 is dead smack dab in the middle of John Ostrander and Len Wein’s major “Legends” crossover arc, so its details are definitively canon.
In the end, continuity is as follows: Catwoman gets mind-wiped in Year Nine, becoming a superhero, at which time Batman reveals his secret identity to her. In Year Eleven, Catwoman is mind-wiped again, becoming a villain again and losing knowledge of Batman’s secret identity. In Year Nineteen, Batman reveals himself to Catwoman for the final time.
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THE NEW 52 ERA
In the New 52, Batman first meets a fully-costumed Catwoman in the Year One story, Young Romance: A New 52 Valentine’s Day Special #1 by Ann Nocenti and Emanuela Lupacchino (2013). While there’s no indication as to whether or not Batman knows Catwoman’s secret identity in Young Romance, as referenced in Catwoman Vol. 4 #1 by Judd Winick and Guillem March (2011), a tale that occurs five years later, it’s entirely possible that Batman knows right from the get-go. But, as before, it’s very vague. Catwoman’s inner dialogue in Catwoman Vol. 4 #1 says, “I don’t think he knows who I am. Although he is the master detective. So, mabye.” However, any vagueness here can be thrown out because Young Romance is immediately chronologically followed-up by Batman/Superman #1-4 by Greg Pak and Jae Lee (2013). In Batman/Superman #2, Bruce travels to Earth-2 where he meets Earth-2 Batman and Earth-2 Catwoman, learning the secret identity of the latter—and therefore learning the secret identity of her primary Earth counterpart. If Batman didn’t already know a few days earlier, then he certainly knows by Batman/Superman #2. So, yes, Batman definitively learns Catwoman’s secret identity in Year One.
Catwoman, on the other hand, doesn’t learn Batman’s secret identity until fairly late—not until Year Eight (out of ten total years of the shortened timeline). While the New 52 version of “Hush” includes a Bat/Cat romance, the latter does not learn the former’s secret identity.
Notably, there is the much-maligned “Gothtophia” crossover (written by multiple authors) where Catwoman learns it, but only while under a drug induced haze, and by the story’s conclusion, she has no recollection of it whatsoever. Ultimately, the first reference of Selina learning Batman’s secret identity doesn’t come until a reference inCatwoman Vol. 4 #49 by Frank Tieri (2016). In this issue (again, in Year Eight), there’s no big reveal that is shown (she just all of a sudden knows it), meaning that the discovery occurs off panel.
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THE REBIRTH/INFINITE FRONTIER ERA
This is the most straightforward of them all, as the discovery of each other’s secret identities are connected to the very same issue—Batman Vol. 3 Annual #2 by Tom King and Lee Weeks (2018). In regard to Batman discovering Catwoman’s secret identity, we are told (via reference in Batman Vol. 3 Annual #2 Part 1) that he has “known since the beginning,” meaning since Year One. Catwoman Vol. 5 #3 by Joëlle Jones and Fernando Blanco (2018) and Catwoman 80th Anniversary 100-Page Super Spectacular Part 6 by Newell (2020) both nod toward some form of Catwoman #1-4 happening in the Rebirth/Infinite Frontier Era. These references also tell us that, during Year One, Selina slightly suspects Batman may be the same man she first encountered on the street in the East End (in the Rebirth/Infinite Frontier Era’s version of Miller’s “Year One,” but she still doesn’t know his true secret identity. Catwoman 80th Anniversary 100-Page Super Spectacular Part 6 actually functions as a direct precursor to Batman Vol. 3 Annual #2 Part 1, which leads with Catwoman having discovered Batman’s secret identity, after which she breaks into the Batcave. In this same story, Batman and Catwoman kiss for the first time ever.
And what better way to end than with a kiss. That’s all folks!
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I think King’s BatCat storyline is basically an Elseworlds tale at this point. Tynion’s run kind of makes that clear — for example, in the Designer flashback, Selina doesn’t know Bruce is Batman. But according to King, Selina knew Bruce’s identity early on, as shown in his Annual #2.
I have a theory — let me know if you agree — that while major events from King’s run did happen (like Bane taking over Gotham, Alfred dying, Bruce and Selina almost getting married, their beach vacation, etc.), I don’t think they happened exactly the way King wrote them. Tynion and Chip Zdarsky both reference those events, but the tone and characterizations are very different, especially when it comes to Selina.
King’s Selina often feels like a near-perfect version of Catwoman — so idealized that she barely feels like the real Selina. In contrast, both Tynion and Chip wrote her in a way that feels a lot more grounded and consistent with her past. That made me start thinking: DC really needs to give us a definitive, chronological BatCat love story — something that clearly shows how they met and how their relationship actually developed over time.
Honestly, I never really bought into King’s version of their romance. It felt like he rewrote their history to fit his idea of what their love should be, rather than building on actual continuity. Last we saw before his run, Selina was a mob boss and Bruce was with Julia Madison — they weren’t even that serious. Then suddenly, in King’s run, Bruce is proposing to Selina out of nowhere. You know what I’m saying?
Hi Maab, thanks for the thoughtful comment! There doesn’t seem to be anything in Batman Vol. 3 #89-90 that says Catwoman doesn’t know Batman’s secret ID, at least that I can see. As such, I have the death of the Designer flashback not long after Tom King’s Annual #2.
Imo King’s run was a mess, and King himself has said that he tends to work best alone, not under the pressure of shared continuity. There were a handful of mis-steps and mis-characterizations throughout his long tenure. And certainly something happened there to relegate his ending (Batman/Catwoman series) as officially non-canon by DC higher-ups. So, I’m generally in agreement with you there. However, like it or not, his main-line run prior to that (on the Batman title proper) must be canon. There have been plenty of varying depictions of Batman and his colorful cast of co-stars from highly contrasting creators over the years. Some fit the mold and seem to have a grasp of history and canon (in a Denny O’Neil “story bible” kind of way) while others stray from the pack and insert more personalized versions of the characters. Serialized superhero comics have always been this way. It’s up to the reader to make sense of the never-ending chaos.
To play Devil’s Advocate a little bit, I actually did buy into the Bat-Cat romance (forced as it was) because, like a lot of folks, I ship the Bat-Cat relation ship hard. I want them to be together, and so did King. Even so, you gotta earn it—I get what you are saying.
If you want good continuity, you need top quality creators that are genuine team players and who truly understand the nature of the characters as they’ve been written historically. And, I’d add that a cure for bad continuity would be for creators to start writing for the single issue (instead of the TPB). Paying attention to the passage of time while also giving space to other writers would do wonders. Less is always more, which is why I think adding more Y1 or “early year” stories would only muddle things further. We’ve got plenty of backstory already.
> There doesn’t seem to be anything in Batman Vol. 3 #89-90 that says Catwoman doesn’t know Batman’s secret ID, at least that I can see. As such, I have the death of the Designer flashback not long after Tom King’s Annual #2.
Really? I’m pretty sure the whole point of that story was that, at the time, Selina didn’t know Bruce’s true identity — to her, he was just another wealthy Gotham elite she could rob. And let’s not forget, Bruce revealed his identity to Selina in the original Hush storyline, which I believe is still canon, especially considering the recent Hush 2 storyline that continues from the original and is set in current continuity. She didn’t figure his true identity out on her own, and honestly, Selina’s never been portrayed as someone capable of deducing Batman’s identity, breaking into the Batcave, or stealing the Batmobile. All of that feels like part of King’s idealized, almost Elseworlds-like version of Selina — much like his Batman/Catwoman Black Label miniseries, which he insisted was canon until DC quietly labeled it non-canon.
That’s the real issue with King’s run: it was part of the main continuity, and yet it constantly bent characters to fit his personal vision. Just think about the tonal whiplash — we’re told Bruce is so emotionally shattered by Selina leaving him at the altar, also before that he’s breaking down in a church, crying after failing to save a hostage. Yet simultaneously, in snyder’s Dark Nights: Metal (which ran parallel to King’s arc), this same Batman is facing off against multiversal evil versions of himself, acting like the ultra-competent strategist we’re used to.
They don’t feel like the same character at all. One’s emotionally fragile to the point of collapse, the other’s mentally bulletproof and holding the entire multiverse together with sheer will and planning. It’s unbelievable. And let’s not forget, other books like Detective Comics barely acknowledged the Selina romance or the wedding plot. In fact, most of the Bat-line was presenting us with a more grounded, consistent Batman — one who didn’t seem affected by King’s developments at all.
I completely agree with your final para. I think a lot of the continuity issues began with the trend of ‘big swing’ storylines, starting around Morrison’s run. Writers began crafting these grand, high-concept narratives for Batman — all while the character was simultaneously appearing in several other books, often doing wildly different things, for example it’s hard to believe that king’s batman is the same guy who was in snyder’s dark knights metal. That’s why I’m optimistic about Fraction’s upcoming run. It looks like it’ll bring us back to more episodic, self-contained storytelling — where both he and Jiménez will focus on celebrating Batman as, in Fraction’s words, ‘the coolest and most flexible character ever.’ Each issue will offer a new adventure, It should also provide more cohesion with Batman’s adventures in other books, making the larger continuity feel more grounded and not as chaotic.
I don’t read Catwoman’s “ultimate dream heist” as specifically targeting Bruce, more of a blueprint on how to rob a typical billionaire magnate—which was then later tailored by Joker to attack the obvious person in Gotham. (I think Tynion’s run was a pretty weak follow-up to King’s run with its own set of issues, giving us an unfortunate lengthy stretch of mediocre Batman back in those days, but I digress). But there is a logic to what you are saying. If the heist is specifically targeting Bruce, then the Designer flashback would have to pre-date King’s Annual #2. Either we move it earlier or we make a note about this. I’ll think on this a bit more.
Either way, like I said, you are preaching to the choir. I think tonal whiplash is an understatement when it comes to almost all of King’s work, especially his Batman work. And I agree that King’s Batman doesn’t jibe with other concurrent versions of Batman, which is precisely why other writers struggled to connect to it. King wasn’t really trying to connect with the rest of the line either, hence the feeling of disconnect or mis-characterization. But again, whether we like it or not, the main-line Batman title is rarely going to be retconned away. And there’s been no distinct indicator that this has happened. Does it lead to a schizophrenic Batman, who acts one way one day and another way the next? Sadly, yes. And because of this, I think the harsh indictment you’ve levied against King is warranted. And you should continue to express your totally valid opinion (one with which I agree).
Re: “Hush”… everything get re-contextualized into new canon, meaning that Catwoman’s relationship with Batman is different than it was leading into “Hush” back in the Modern Age (yes, thanks mostly to King). Certain aspects of “Hush” in current canon—including Catwoman’s knowledge of Batman’s secret ID—are therefore different. IMO this is another negative with King’s style. He likes to write/re-imagine Y1 or “early period” stories in his own novel way, straying pretty far from old continuity. This is in stark contrast to someone like Mark Waid, who still writes “early period” stories but in a way where he doesn’t tread all over what’s come before.
So Waid… and, like you’ve said, Fraction too. Hopefully, we are headed somewhere great! Since your commentary on this King Cat/Bat topic is relevant, I’ll synthesize what you’ve said and maybe add a summary as a footnote in the main body of the site (giving you credit, of course). Thanks!
Thankyou so much collin, I really appreciate that. I love your thoughtful analysis and work here, you are a truly fan and doing amazing work here brother.
On the topic of tonal whiplash, I also think reading hush 2 after coming off of zdarsky’s run was an experience on it’s own for me, if you like to read my analysis i will be very happy.
So chip in his run delve deep into batman’s psyche by contrasting Bruce’s humanity with the cold, paranoid persona of Zur-En-Arrh. It’s a compelling concept, but Chip’s assertion that every moment of Batman’s stoicism, obsession, or strategic coldness—like in Tower of Babel, RIP, Death of the Family, or Endgame—was due to Zur’s influence felt like an overreach, He contrasts this with the moment in Gotham War when Bruce hijacked Jason’s mind—another extreme Batman action—but that scene was framed as Bruce being under the influence of Zur-En-Arrh.
Bruce has always been a good man, but not perfect. His flaws—his stoicism, paranoia, and mission-first mindset—were always part of him, not entirely externalized.
Zdarsky’s portrayal of Batman sometimes risks making Bruce feel too soft—almost saintly—which can undermine the hardened, nuanced edge that makes him compelling. That’s why I actually appreciate Hush: Part Two bringing back a more battle-worn, calculating version of Batman. Scenes like him upgrading his suit in a cave, Tony Stark–style, or analyzing Joker’s corpse with high-tech equipment while calmly seated, evoke that old-school “Dark Knight” vibe. He’s still emotionally layered—he longs for Selina and shares a moment with Jason—but he’s not overly sentimental. In Chip’s run, Bruce frequently refers to Jason as his son and the Bat-Family as his kids. Here, he’s more reserved: he hugs Jason but calls him “his Robin” and “his partner,” which felt a bit distant and inconsistent to me. That said, I did find Batman shooting Jason with a gun out of character and unnecessary.
Overall, Hush: Part Two isn’t groundbreaking, but it’s far from terrible. At the very least, it feels like Loeb is channeling the spirit of the classic Dark Knight—before the era of high-concept reinventions that began with Morrison.
But i am so ready for fraction’s run now and a proper new relaunch. I am sorry if i said too much.
Thanks for the kind words!
I think Zdarsky’s Zur En Arrh stuff was a huge overreach for sure (kind of a Parallax for Hal sort of thing to some extent), that and all his Joker origin meddling. However, I’d argue against your analysis a little bit. I feel that your cold-calculating version of Batman is really a young solo Batman, heart-hardened against the world not the one that’s spent decades evolving into a dare-I-say it family man with with more progressive values than when he started. I think the depiction of Batman/Bruce in the final issues of Zdarky’s run were inspired. I want more of that. I think any costumed superhero should aspire to be the best human being that they can be, maybe even saintly—and the story of someone growing into that role over time is one that I quite enjoy. Batman can still be who he is at his core—stoic, paranoid, and mission-first minded. But his progressive values make him who he is, not these personality traits. It’s how he overcomes these base level traits that interests me. And writers like Denny O’Neil understood this as early as the 1970s. I think Zdarsky (who again, is far from my favorite writer) understands this to a certain extent. And Morrison understood this as well. I’d argue against citing their works as “high concept reinventions” especially if it’s meant as a pejorative. High concept indeed, but Morrison’s stories were all about character growth and evolution. And they always acknowledged history (in ways, at the time, had never been really done before). Sadly, the myriad Morrison copycats are another story altogether, though.
To your point about “Hush 2,” I disagree. I think it’s been abysmal across the board precisely because Loeb is channeling a prior version of a character and ignoring all the depth and growth that’s happened over the years. Having Batman shoot Red Hood just proves that Loeb doesn’t get it (and likely proves he simply doesn’t care either). That’s a non-starter for me. Count me out.
But to each his own! I’m also excited for Fraction. Count me in there.
I also agree that Bruce needs to be more compassionate—I even emphasized that point in an earlier analysis I posted on the League of Comic Geeks website. I do think that, in the end of chip’s run, Bruce has become more human, and that’s where I feel Loeb’s handling of him starts to feel a bit uneven. That said, *Hush 2* still shows Bruce as someone capable of care and emotion—like when he’s murmuring Selina’s name while unconscious in issue #158 or when he hugs Jason in issue #159. However, the moment where he shoots Jason felt completely wrong to me—unless there’s some kind of mind control twist coming. I saw a theory on Reddit that suggests that might be the case, and if so, it could explain the decision. Otherwise, it’s a major misstep.
As for my point about the “return to the hardened Dark Knight” in *Hush 2*, I want to clarify: I actually do appreciate Zdarsky’s attempt to highlight Bruce’s humanity—even his almost saint-like qualities. But at times, that approach made Bruce come off as too idealized, almost Superman-esque. Yes, Bruce is a good man, but like all good men, he has flaws. His paranoia and emotional reserve—while nowhere near the extremes of Zur-En-Arrh—are still intrinsic to who he is. That’s why I felt Zdarsky’s assertion that many of Batman’s morally grey decisions were the result of Zur’s influence diminished Bruce’s complexity. It risked portraying him as too passive, too soft—almost like a martyr.
For example, despite Selina betraying him during Gotham War and her plan effectively alienating him from his entire family, Bruce is still shown yearning for her. He ends up isolating himself from the Bat-Family afterward, which, to me, made him seem weaker and more broken than necessary. I don’t see Bruce as someone that fragile.
That’s why I find the old-school tone of *Hush 2* somewhat refreshing. Loeb—despite the criticisms—once wrote a Batman who balanced emotional depth with a hardened, competent edge. Aside from the gun scene, which I agree is a major red flag, I think *Hush 2* has been okay so far. Nothing exceptional, but definitely not as bad as some are claiming. And if that Reddit theory I mentioned turns out to be right, there might be more to Bruce’s behavior than meets the eye.
I hear you for sure. I never enjoy when Bruce is shown to be so fragile. It flies in the face of the very idea I was talking about—where he’s grown over time and can handle situations. I’ll keep an eye out for your posts on League of Comic Geeks—I go on there just about every week just to see what’s coming out from each comic book company.
I’ll give Hush 2 a fairer assessment once it wraps. After all, the story could go anywhere. I will say that one of the reasons I’ve been so hard on it already is because it’s a story that I really didn’t want, nor do I think we need. So it had an uphill battle for me from the get-go. Let’s step back and then see how we feel once the story has concluded. 🙂