#I didn’t think I’d have to say this more than ONCE

[elodieunderglass]

Having dug out the Unfinished Tales to reference a conversation Tolkien wrote between Gandalf and Pippin (but didn’t publish) I thought I’d share it. Gandalf is talking to Pippin about the history of Thorin’s company, hobbits and why he chose Bilbo.

This is evidence for the grand statement I just made about how Bilbo was intended to be a catalyst that changed his society, and that hobbit society was indeed significantly different after his journey, with large social changes occurring between The Hobbit and Fellowship. But it’s also a very funny passage to me so here it is:

‘And then there was the Shire-folk. I began to have a warm place in my heart for them in the Long Winter, which none of you can remember.

They were very hard put to it then: one of the worst pinches they have been in, dying of cold, and starving in the dreadful dearth that followed. But that was the time to see their courage, and their pity one for another. It was by their pity as much as by their tough uncomplaining courage that they survived. I wanted them still to survive.

(😭😭😭😭. Also the theme of having pity for each other is what redeems both Bilbo and Frodo re: Gollum.)

But I saw that the Westlands were in for another very bad time again, sooner or later, though of quite a different sort: pitiless war.

(This is possibly one reason why this passage didn’t make it to publication - Gandalf shouldn’t have had this much foreknowledge of the upcoming war of the ring.)

To come through that I thought they would need something more than they now had. It is not easy to say what. Well, they would want to know a bit more, understand a bit clearer what it was all about, and where they stood.

(It’s also explaining that Bilbo’s role in Thorin’s company was predetermined both by a more omnipotent Gandalf and by Fate; that Gandalf selected Bilbo to be a social catalyst, to return and provoke hobbit society into a more adaptable, resilient state; therefore increasing their chances of surviving.)

They had begun to forget: forget their own beginnings and legends, forget what little they had known about the greatness of the world. It was not yet gone, but it was getting buried: the memory of the high and the perilous. But you cannot teach that sort of thing to a whole people quickly. There was not time.

(Thus Bilbo was supposed to be changed, and return changed by his journey, to teach his people.)

And anyway you must begin at some point, with some one person. I dare say he was “chosen” and I was only chosen to choose him; but I picked out Bilbo.’

‘Now that is just what I want to know,’ said Peregrin. ‘Why did you do that?’

‘How would you select any one Hobbit for such a purpose?’ said Gandalf. ‘I had not time to sort them all out;

(He is SO funny)

but I knew the Shire very well by that time, although when I met Thorin I had been away for more than twenty years on less pleasant business. So naturally thinking over the Hobbits that I knew, I said to myself: “I want a dash of the Took” (but not too much, Master Peregrin)

(This is brilliant we are always BODYING pippin constantly. NOT TOO MUCH TOOK 👀. We were ROBBED not having this in canon )

“and I want a good foundation of the stolider sort, a Baggins perhaps.” That pointed at once to Bilbo.

(Eugenics! Observing them like laboratory mouse lines! Call him a Charles River BILB/o the way you’re genotyping these poor little bastards for your purposes)

And I had known him once very well, almost up to his coming of age, better than he knew me.

(??? Hiding in the bushes spying or…?)

I liked him then. And now I found that he was “unattached” – to jump on again, for of course I did not know all this until I went back to the Shire. I learned that he had never married. I thought that odd, though I guessed why it was; and the reason that I guessed was not the one that most of the Hobbits gave me: that he had early been left very well off and his own master.

(Was it cos he’s gay as fuck, Gandalf)

No, I guessed that he wanted to remain “unattached” for some reason deep down which he did not understand himself – or would not acknowledge, for it alarmed him.

(I 100% now and for always love a narrator in a constant state of Just Fucking Lies To Everyone All The Time, Giving Us Nothing, Acknowledging Nothing Including Himself. NOPE NOT PROCESSING ANYTHING TODAY THANKS. WE’RE CLOSED. COME BACK TOMORROW. just A Massive Liar about everything and for what!!! Bilbo Baggins my beloved you were born wrong.)

He wanted, all the same, to be free to go when the chance came, or he had made up his courage. I remembered how he used to pester me with questions when he was a youngster about the Hobbits that had occasionally “gone off ”, as they said in the Shire. There were at least two of his uncles on the Took side that had done so.’

You can see why I love this! And I can see why Tolkien didn’t include it, too. Still very fun passage and near enough to canon to be used if you ever want to.

[aventurineswife]

i had a fluffy req idea if ur still taking them -

different hsr boys {main ones being aven and sunday love them sm} after your baby says their first words 🥹 (more of an ask if reqs are too full !!)

hehehe to make up for my more angsty reqs

(also, if it’s not taken, i’d love to be {🪷🤍} anon :>)

First Words

Tags: Aventurine, Sunday, Boothill, Gepard Landau, Fatherhood, Emotional Moments, Parenthood, First Words, Love, Vulnerability, Protective Fathers, Tender Moments.

Warnings: Emotional Intensity, Sensitive Themes (parental attachment, soft vulnerability)

A/N: THE WAY I SCREAMED?! OMGGG 😭💖‼️ I WAS MUFFLING MY SCREAM WHILE WRITING THIS!! BOOTHILL DESERVED TO BE IN THIS!! And, of course, you can be 🪷🤍 anon!!

Aventurine sat at the edge of the bed, his usually calculating eyes softening as he watched his baby cooing in their crib. The soft moonlight filtered through the window, casting a gentle glow on the room. He had been a master of strategy, a man who thrived on risks and uncertainty, yet nothing in his life had prepared him for the overwhelming joy of fatherhood.

The baby gurgled, the first words bubbling up from their tiny mouth in a way that made Aventurine's heart stutter in his chest.

"Dada..."

His breath hitched. It was a single word, but it held so much meaning. He had been waiting for this moment for what felt like an eternity, never quite knowing how much it would shake him to hear. His lips curved into the faintest of smiles, one that only those who knew him best would ever witness.

"Did you hear that?" he whispered, though the baby was already asleep. He could have sworn the world had momentarily stopped just to let him bask in the miracle of this sound. There was no strategic calculation, no manipulation of circumstances; just pure, unrefined love. The thought that his baby had chosen him, of all people, to be the first to say such a word filled him with a warmth he didn’t often show.

Aventurine carefully reached over and placed a hand on the crib, gently stroking the baby’s tiny hand. He felt the overwhelming desire to protect them, to ensure that they would never have to face the brutal world he had lived in.

"You're mine now, little one. I’ll make sure the world plays by your rules." he whispered softly, his voice laced with love.

He leaned back, taking a deep breath, feeling the weight of this moment settle into his bones. Aventurine, the master of manipulation, was nothing more than a father in this room—vulnerable, unguarded, and completely enchanted by the simple sound of "Dada."

Sunday had never been one to show much emotion outwardly, his calm and composed demeanor always masking the storm of thoughts beneath. But now, as he sat on the edge of the bed, his golden eyes locked on his baby, his chest tightened in a way that he couldn't explain. He was a man of ideals, of lofty dreams for the world, yet nothing could have prepared him for the heart-stirring moment of hearing his child speak.

"Papa..."

The single word was so simple, yet it rang in Sunday’s ears with the clarity of a thousand bells. He felt as though the weight of all the dreams and hopes he had for a perfect world, a place where his loved ones would never have to suffer, had finally taken shape in that single word.

For a moment, Sunday simply stared, stunned by the beauty of it. His hand, once firm and decisive in leadership, trembled ever so slightly as he reached toward his baby. His heart, so used to thinking in ideals and concepts of the greater good, now beat with a singular, overwhelming sense of purpose.

"You... said 'Papa.'" Sunday whispered, his voice almost breaking. His normally steady hands shook as he cradled the baby, feeling their warmth against him. For a man so convinced of the need for a perfect dream, this moment of imperfection—a baby’s first word—was more than enough to fulfill him. The world of dreams he had always sought to create felt tangible now, as though it had been born in that one precious sound.

As he gazed down at his baby, Sunday felt an unfamiliar surge of protectiveness. The weight of leadership and responsibility melted away, and he realized that no matter what happened, this little one would be his reason to keep fighting, to keep dreaming, to keep striving for a world that would never harm them.

"Papa..." he whispered again, feeling the word vibrate through him. The world he wanted to build suddenly felt like it could be real, because of this one small voice that would grow with love, light, and perhaps even a bit of the dreams he held.

Sunday smiled, a rare and genuine smile, as he looked down at his child. "You have no idea how much you mean to me, little one. I will always protect you."

Boothill had always been a man driven by rage, a cyborg cowboy with a heart hardened by years of loss and revenge. But now, as he stood in the quiet of his cabin, looking down at the baby in his arms, something had shifted. Something he couldn't explain.

His baby, wrapped in a soft blanket, gazed up at him with wide, innocent eyes. Boothill’s usual sharp gaze softened as he cradled the tiny form in his arms, his mechanical hand careful not to hurt them. The sound of the baby babbling was almost too much for him to process.

Then, it happened.

"Pa-pa!"

The world seemed to pause. His metallic fingers tightened slightly, but not out of anger—out of something new. Something tender.

Boothill froze, his heart skipping a beat. The world had once taken everything from him—his family, his home, everything he held dear. But here, now, was something that felt like a new beginning. The word “Pa-pa” rang in his ears, and he didn’t know whether to laugh or cry. He had never imagined such a moment, never thought it would come in the wake of all the destruction and vengeance he had pursued.

"You said it..." Boothill muttered, his voice rough. His eyes, usually so cold and calculating, were now misted over with something softer. For the first time in years, he felt something akin to peace.

His gaze flicked from the baby to the window, where the stars twinkled above, endless and quiet. He had fought for so long, but maybe, just maybe, this little one was what he needed to remind him of the life he had almost forgotten.

"Pa-pa!" the baby cooed again, and Boothill let out a breath he didn’t know he had been holding.

"Yeah," he whispered, his voice cracking. "I’m here, little one. I’ll be here."

It was a vow, but it wasn’t one made from the fury of his past. This vow was different. This one was made for a future, for a family he was determined to protect.

Gepard stood in the nursery, his large frame leaning against the doorframe as he watched his baby sleep in the crib. The weight of his position as Captain of the Silvermane Guards was always with him, but now, in this quiet moment, it seemed almost insignificant compared to the tiny life he had brought into the world.

His eyes softened as the baby stirred slightly, their small hands reaching out as if sensing him in the room. It was then that the baby spoke—barely a whisper, but enough to make his heart stop for a brief moment.

"Buba!"

The word echoed in his mind, and a small, stunned smile spread across Gepard's face. His hand instinctively reached toward the crib, resting on the edge as he leaned down, his heart overflowing with emotion. It was as if the weight of all his responsibilities had suddenly been lifted, replaced by this singular, precious connection.

"Buba!" the baby said again, their voice soft but filled with trust.

Gepard’s breath caught. He had spent so much of his life focused on the welfare of others, on the grand ideals of justice and protection, but now, as he looked at this tiny soul, he realized that this was where his true duty lay. He would protect them at all costs, no matter the challenges that lay ahead.

"Yes, my little one," Gepard murmured, his voice thick with emotion. "Buba’s here. Always."

He carefully scooped the baby into his arms, cradling them close. For the first time in a long while, Gepard felt something other than the weight of duty—he felt love, deep and unyielding. And as he rocked the baby gently in his arms, he knew he would fight for them, not as a captain or a warrior, but as a father.

I'm gonna be sick because of this 🥺😕💖😭

[misswynters]

Ma Meilleure Amour

featuring. ekko x fem!reader

a/n. doing my duty as a writer to fill the ekko tag with fics of him only (it’s translated to my best love)

inspired by. the song Ma Meilleure Ennemie and the scene with ekko and jinx in act iii (listen to it while reading)

Everything felt different. The streets of Zaun had the ever-present haze of smog seem softer, its grim edge dulled by the warm hum of neon lights. The streets bustled with life, as they always did, but the night gave the chaos a certain charm. The glow of green and pink signs reflected off damp cobblestones, while the occasional flicker of a malfunctioning lamp sent ripples of color through shallow puddles.

You walked side by side with Ekko, your steps slow and aimless, as if the two of you had all the time in the world. You didn’t, of course. With how Zaun always had a way of reminding you that the clock never stopped ticking. But right now, under the swirl of lights and the faint hiss of steam vents, it felt like time had paused just for the two of you.

Ekko’s hand brushed against yours every so often, and though he wasn’t one to initiate touch easily, you could tell he didn’t mind the closeness. He always had this way of being effortlessly cool, his swagger and wit making it seem like nothing fazed him. But you knew him better than most. You saw the weight he carried, the pressure of being a leader, a fighter, and a kid all at once. And tonight, you were determined to remind him what it felt like to just…be.

“Ever think Zaun’s kinda pretty at night?” you mused, breaking the comfortable silence.

Ekko glanced at you, one eyebrow raised, before looking around. “Pretty? Dunno if I’d call it that. More like…gritty with a side of a green glow.”

You laughed, nudging him playfully. “You’re so dramatic.”

“Says the one waxing poetic about this place,” he shot back, his grin tugging at the corners of his lips.

You rolled your eyes but couldn’t help smiling. “Fine, maybe I’m seeing it through rose-colored glasses. Or maybe I just like walking around with you.”

That earned a chuckle from him, the sound low and warm. He shoved his hands in his pockets, his shoulders relaxing as he leaned closer to you. “Well, when you put it that way…” The two of you wandered through winding alleys and across rickety bridges, the air thick with the scent of metal and oil. Every so often, Ekko would point out a shortcut he’d used for one of his time-bending escapades or share a story about an adventure with the Firelights.

But then he led you down a narrow path you hadn’t noticed before, his fingers brushing yours briefly to guide you. At the end of the path, you stepped into a beautiful hidden oasis. A rooftop garden tucked away from Zaun’s usual grit and grime. The first thing you noticed was the lights. Strings of mismatched lanterns crisscrossed the space, casting a soft, golden glow over everything. Tiny fairy lights were woven through the vines that climbed up makeshift trellises, their warm flicker like little stars in the night. The plants themselves were a mix of scrappy greenery and surprisingly vibrant flowers, their colors popping against the muted tones of the city below.

“Woah…” you breathed, turning to him with wide eyes.

He shrugged, trying to play it cool, but the faint blush on his cheeks gave him away. “It’s nothing fancy. Just a spot I’ve been working on.”

“Are you kidding? It’s perfect,” you said, your voice filled with awe.

He rubbed the back of his neck, his gaze darting away from yours. “Figured it’d be nice to have a place to get away, y’know? Somewhere quiet.”

You stepped forward, taking it all in. A small wooden bench sat in the center of the garden, its surface worn but sturdy. Around it, the plants swayed gently in the cool breeze, their leaves catching the light just enough to shimmer.

“Come on,” Ekko said, his hand lightly brushing the small of your back as he guided you to the bench. “I didn’t bring you here just to stand around.”

You sat down, the wood creaking softly under your weight. Ekko settled beside you, close enough that his knee pressed against yours. For a moment, neither of you spoke, the quiet hum of the lights and the distant sounds of Zaun filling the space. It was a working pattern. There was always a comfortable silence between the two of you.

“How long have you been working on this?” you asked softly.

“Couple months,” he said, leaning back with his arms stretched across the bench. “Takes a while to get plants to grow in a place like this. But I dunno…it feels good to build something, y’know? Instead of just tearing things down.”

You glanced at him, your chest tightening at the softness in his voice. Ekko didn’t let people see this side of him often though. I mean this was the boy who dreamed of a better Zaun, the one who carried the weight of his community on his shoulders.

“It’s beautiful,” you said, resting your head against his shoulder. “Just like you.”

He laughed softly, the sound warm and a little shy. “You’re laying it on thick tonight, huh?”

“Just telling the truth,” you said, closing your eyes as his warmth seeped into you.

The two of you sat like that for a while, wrapped up in the stillness of the garden. Ekko’s hand found yours, his fingers intertwining with yours in a way that felt natural, like you were always meant to fit together.

“Hey,” he said after a while, his voice quiet.

“Yeah?”

“Thanks. For, y’know…being here.”

You lifted your head to look at him, your heart aching at the sincerity in his eyes. “Of course,” you said softly while winking. “You’re worth it, Ekko.”

His gaze lingered on yours for a moment, the golden light casting shadows across his face. Then he smiled. It was real, genuine smile that made your chest feel light and full all at once.

“C’mere,” he said, pulling you closer until you were practically in his lap. His arms wrapped around you, his chin resting on your shoulder as you leaned into him.

“This is nice,” you murmured, your fingers tracing absent patterns on his arm.

“Yeah,” he said, his voice a little muffled. “It is.”

There it was again, the comfortable silence. The garden was quiet, bathed in the golden light of the mismatched lanterns. You rested your head on Ekko’s shoulder, feeling the steady rhythm of his breath against you. His fingers were still intertwined with yours, his thumb brushing small, absentminded circles against your knuckles.

It was peaceful, almost too perfect for Zaun, where tranquility was a rare luxury. The hum of distant machinery and the faint chatter of the streets below were a backdrop to your own private world. You thought this was it, that the night couldn’t get any better. But Ekko had other plans.

Suddenly, he shifted away from you, his weight leaving the bench as he stood. His warmth leaving your body. You blinked up at him, confused as he turned to face you, his signature grin tugging at the corners of his lips. He extended a hand toward you, palm up, the glow of the garden lights reflecting in his dark eyes.

“Dance with me,” he said, his voice soft but brimming with an irresistible playfulness.

You tilted your head, a laugh escaping you. “Dance? Here?”

“Why not?” He wiggled his fingers, urging you to take his hand.

You hesitated, glancing around. “Ekko, there’s no music.”

He smirked, a glint of mischief in his eyes. “Oh, ye of little faith.”

Reaching into his pocket, Ekko pulled out a small, beaten up speaker, a relic salvaged from some forgotten corner of Zaun. He fiddled with it for a moment before a warm melody crackled to life, filling the air with a gentle rhythm.

You stared at him in disbelief, your lips parting in surprise. “You planned this?”

He shrugged, trying to play it cool but failing miserably as a proud smile broke through. “Maybe.”

Shaking your head with a soft laugh, you placed your hand in his, the warmth of his palm grounding you. “Alright, Clockstopper,” you teased. “Let’s see what you’ve got.”

Ekko pulled you to your feet, guiding you to the center of the garden. The music swelled around you, soft and sweet, a contrast to the chaos of Zaun. His other hand found its place on your waist, and he held you close, his movements easy and unhurried. At first, you tried to match his rhythm, your steps tentative as you followed his lead. But it wasn’t long before your foot accidentally landed on his.

“Oh, sorry!” you gasped, pulling back slightly.

Ekko winced dramatically, clutching his chest as if you’d mortally wounded him. “You’re killing me here,” he said, his voice laced with mock pain.

You rolled your eyes, a grin tugging at your lips. “Don’t be such a baby.”

“Baby?” He laughed, spinning you unexpectedly. You stumbled slightly but caught yourself, the sound of your shared laughter echoing in the garden.

The two of you continued like that, swaying and spinning under the lanterns. Every so often, you’d step on his foot again, and he’d exaggerate his reaction, making you laugh until your cheeks hurt. But then, as the song shifted to a slower melody, Ekko’s movements became gentler, more deliberate. He pulled you closer, your bodies impossibly near. You could feel the warmth of his breath against your skin, the faint scent of zauns atmosphere lingering on him. Your eyes met his, and for a moment, the world seemed to fade away. The golden light reflected in his eyes, making them shimmer like they held their own constellation. There was something unspoken in his gaze, something raw and real that made your heart stutter.

“Ekko…” you whispered, your voice barely audible over the music.

He didn’t say anything, just leaned in slowly, giving you enough time to pull away if you wanted to. But you didn’t. Instead, you closed the distance, your lips meeting his in a kiss that was soft and sweet, filled with everything words couldn’t express. Your hands found their way around his neck, pulling him closer as his arms wrapped around your waist. The world seemed to tilt, the glow of the lanterns and the soft hum of the music swirling around you in a haze of light and sound.

Time felt irrelevant—ironic, considering who you were with. All that mattered was the way he held you, the way his lips moved against yours with a tenderness that made your chest ache.

When he finally pulled back, his forehead rested against yours, his breath warm against your skin. He chuckled softly, the sound vibrating through you. “I love you,” he murmured, his voice steady and sure.

Your heart swelled at his words, a warmth spreading through you that had nothing to do with the lights around you. Smiling, you leaned in and pressed a kiss to his cheek. “I love you too,” you said, the words as natural as breathing.

Ekko grinned, his hands tightening around your waist as he pressed a series of quick, playful kisses to your face—your cheeks, your nose, your forehead. Each kiss was accompanied by a soft giggle from you, his affection spilling over in a way that was so uniquely him.

“Ekko, stop,” you laughed, trying to pull away as he kissed the corner of your mouth.

“Never,” he said, his voice full of mock defiance as he caught your lips in another kiss.

The two of you stayed like that, wrapped up in each other, the rest of the world forgotten. The music played on, the lights flickered, and Zaun’s ever-present hum seemed softer, almost distant. As the night stretched on, you found yourselves back on the bench, your head resting on Ekko’s shoulder as he absentmindedly played with your fingers. The garden felt like a dream, a little slice of peace carved out of the chaos. And in that moment, with Ekko by your side and the glow of the lanterns above you, everything felt right. Almost perfect.

banners. @anitalenia

taglist. @diffusebread @xxblairslairxx @thesevi0lentdelights

[tavolgisvist]

Paul about the breakup of The Beatles in The Lyrics, 2021

The four of us just knew how to fall in with each other and play, and that was our real strength. That made it all the more sorrowful to think that our breaking up was almost inevitable. So there’s a wistful aspect to ‘Get Back’. The idea that you should get back to your roots, that The Beatles should get back to how we were in Liverpool. And the roots are embodied in the style of the song, which is straight-up rock and roll. Because that was definitely what I thought we should do when we broke up – that we should ‘get back to where we once belonged’ and become a little band again. We should just play and do the occasional little gig. The others laughed at that – quite understandably – because by then it was not really a practical solution. John had just met Yoko, and he clearly needed to escape to a new place, whereas I was saying we should escape to an old place. Reviving the old Beatles just wasn’t on the cards. It was too late to be recommending that we not forget who we were and where we once were from. If my dream at the time really was to get back to where we once belonged, John’s dream was to go beyond where we once belonged, to go somewhere we didn’t yet belong. I’ve already mentioned how in September 1969 we were in a meeting and talking about future plans, and John said, ‘Well, I’m not doing it. I’m leaving. Bye.’ In the ensuing moments, he was giggling and saying how this felt really thrilling, like telling someone you’re going to divorce them and then laughing. At the time, obviously, that was wildly hurtful. Talk about a knockout blow. You’re lying on the canvas, and he’s giggling and telling you how good it feels to have just knocked you out. It took a while, but I suppose I eventually got with the programme. This was my best mate from my youth, the collaborator with whom I’d done some of the best work of the twentieth century (he said, modestly). If he fell in love with this woman, what did that have to do with me? Not only did I have to let him do it, but I had to admire him for doing it. That was the position I eventually reached. There was nothing else I could do but be cool with it.

(Paul McCartney about Get Back (1969), The Lyrics, 2021)

That was coupled with the business problems at Apple Records, which really were horrible. The business meetings were just soul-destroying. We’d sit around in an office, and it was a place you just didn’t want to be, with people you didn’t want to be with. There’s a great picture that Linda took of Allen Klein, in which he’s got a hammer like Maxwell’s silver hammer. It’s very symbolic. And that’s why we have the little nod and a wink in the middle section to ‘You Never Give Me Your Money’, in the lines ‘I never give you my pillow / I only send you my invitations’. That whole period weighed on me to such an extent that I even began to think it was all tied in with the idea of original sin. Even though my mum had christened me as a Catholic, we weren’t brought up Catholic, so I didn’t buy into the concept of original sin on a day-to-day basis. It’s really very depressing to think that you were born a loser.

(Paul McCartney about Carry That Weight (1969), The Lyrics, 2021)

The Beatles stuff all got too heavy, and 'heavy' at that time had a very particular meaning for me. It meant more than oppressive. It meant having to go into meetings and sit in the boardroom with all the other Beatles and with the accountants and with this guy Allen Klein. He was a New York spiv who had come over to London and talked to The Rolling Stones and persuaded them he was the man for them. Prior to that, he had persuaded Sam Cooke he was the man for him. I smelled a rat but the other chaps didn’t, so we had a fight over it and I got voted down. I was trying to be Mr Rational and Mr Sensible, and it all went haywire. It was early 1969, and The Beatles were already beginning to break up. John had said he was leaving, and Allen Klein told us not to tell anyone, as he was in the middle of doing deals with Capitol Records. So, for a few months we had to keep mum. We were living a lie, knowing that John had left the group. Allen Klein and Dick James, who sold our publishing in Northern Songs without giving us a chance to buy the company, were both hanging around in the background of this song. All the people who had screwed us or were still trying to screw us. It’s fascinating how directly we acknowledged this in the song. We’d cottoned on to them, and they must have cottoned on to the fact that we’d cottoned on. We couldn’t have been more direct about it. ...

Contracts were written on funny paper. Lying behind the song is the idea of the contract as a relationship between two people. The negotiations are at once business negotiations and romantic negotiations; I’m thinking of the lines ‘And in the middle of negotiations / You break down’. The breakdown in negotiations is also a kind of nervous breakdown. The problem was that, by this stage, everything was up for negotiation, and miscommunication was the order of the day. We weren’t really writing together anymore. Each person was bringing in little bits of this and little bits of that. And we all knew that phase of our lives, of being The Beatles, was coming to an end. We were working towards an album, knowing it was probably going to be our final fling. Though Let It Be was released later, Abbey Road was indeed the last album we recorded in the studio. There was an upside, however. I’d got married to Linda, and our relationship offered some respite from the dreary infighting and the financial stuff. The lines ‘One sweet dream / Pick up the bags and get in the limousine’ were a reference to how Linda and I were still able to disappear for a weekend in the country. That saved me.

(Paul McCartney about You Never Give Me Your Money (1969), The Lyrics, 2021)

This was just after The Beatles broke up, and I was trying to establish myself as a solo artist with a new repertoire. If it was going to work like the Beatles repertoire had worked, I had to have a hit. One in two songs had to be a hit. So, this was a conscious effort to write a hit, and Phil was very helpful. We knew that if we had a hit, it would cement our relationship and we would keep working together, which we did with the RAM album. It would prove that we were both good – he as a producer and I as a singer songwriter. Releasing my first solo song after the breakup felt like a big moment. Thrilling, though tinged with sadness. It also felt like I had something to prove, and that kind of challenge is always exciting. The song went to number two in the UK singles chart and number five in the US Billboard Hot 100, so it did pretty well. Of course, this was still a time when there was a bit of tension between John and me, and this sometimes filtered into our songwriting. John made fun of this song in one of his own, ‘How Do You Sleep?’The only thing you done was yesterday And since you’ve gone you’re just another day One of his little piss takes.

(Paul McCartney about Another Day (1969/1971), The Lyrics, 2021)

This song was written a year or so after The Beatles breakup, at a time when John was firing missiles at me with his songs, and one or two of them were quite cruel. I don’t know what he hoped to gain, other than punching me in the face. The whole thing really annoyed me. I decided to turn my missiles on him too, but I’m not really that kind of a writer, so it was quite veiled. It was the 1970s equivalent of what we might today call a ‘diss track’. Songs like this, where you’re calling someone out on their behaviour, are quite commonplace now, but back then it was a fairly new ‘genre’. The idea of too many people ‘preaching practices’ was definitely aimed at John telling everyone what they ought to do – telling me, for instance, that I ought to go into business with Allen Klein. I just got fed up with being told what to do, so I wrote this song. ‘You took your lucky break and broke it in two’ was me saying basically, ‘You’ve made this break, so good luck with it.’ But it was pretty mild. I didn’t really come out with any savagery, and it’s actually a fairly upbeat song; it doesn’t really sound that vitriolic. If you didn’t know the story, I don’t know that you’d be able to guess at the anger behind its writing. It was all a bit weird and a bit nasty, and I was basically saying, ‘Let’s be sensible. We had a lot going for us in The Beatles, and what actually split us up is the business stuff, and that’s pretty pathetic really, so let’s try and be peaceful. Let’s maybe give peace a chance.’ The first verse and the chorus have pretty much all the anger I could muster, and when I did the vocal on the second line, ‘Too many reaching for a piece of cake’, I remember singing it as ‘Piss off cake’, which you can hear if you really listen to it. Again, I was getting back at John, but my heart wasn’t really in it. This is me saying, ‘Too many people are sharing the party line. Too many people are grabbing for a slice of the cake, a piece of the pie.’ The ‘sleep in late’ thing – whether that was accurate, whether John and Yoko actually slept in late or not, I’m not sure (although John often was a late riser when I would drive out to Weybridge so that we could write together). They were all references to people thinking that their own truth was the only truth, which was certainly what was coming from John. The thing is, so much of what they held to be truth was crap. War is over? Well no, it isn’t. But I get what you’re saying: war is over if you want it to be. So, if enough people want war to be over, it’ll be over. I’m not sure that’s entirely true, but it’s a great sentiment; it’s a nice thing to think and to say.

I’d been able to accept Yoko in the studio, sitting on a blanket in front of my amp. I’d worked hard to come to terms with that. But then when we broke up and everyone was now flailing around, John turned nasty. I don’t really understand why. Maybe because we grew up in Liverpool, where it was always good to get in the first punch of a fight. The whole story in a nutshell is that we were having a meeting in 1969, and John showed up and said he’d met this guy Allen Klein, who had promised Yoko an exhibition in Syracuse, and then matter-of-factly John told us he was leaving the band. That’s basically how it happened. It was three to one because the other two went with John, so it was looking like Allen Klein was going to own our entire Beatles empire. I was not too keen on that idea. John actually had Allen Klein and Yoko in the room, suggesting lyrics during writing sessions. In his song ‘How Do You Sleep?’ the line ‘The only thing you done was yesterday’ was apparently Allen Klein’s suggestion, and John said, ‘Hey, great. Put that in.’ I can see the laughs they had doing it, and I had to work very hard not to take it too seriously, but at the back of my mind I was thinking, ‘Wait a minute, All I ever did was “Yesterday”? I suppose that’s a funny pun, but all I ever did was “Yesterday”, “Let It Be”, “The Long and Winding Road”, “Eleanor Rigby”, “Lady Madonna”, . . . – fuck you, John.’ I had to fight them for my bit of The Beatles and, in fact, for their bit of The Beatles, which many years later they realised and almost thanked me for. Nowadays people get it, but at the time I think the others felt they were the ones who were victims, who were being hurt by my actions. Allen Klein already had a history with The Rolling Stones. I just thought, ‘Oy oy oy, no, this guy’s got such a bad reputation.’ And good old John says, ‘Oh, if he’s that badly talked about, he can’t be all bad.’ John had this kind of distorted thinking, which was amusing sometimes. But not when someone was going to take everything that John and George and Ringo and I owned and had worked really hard to get.

So, I stood up as the sensible one and said, ‘This is not good.’ Klein wanted twenty per cent, and I said, ‘Tell him he can have ten, if you have to go with him.’ ‘Oh no, no, no,’ they came back. ‘No, he wants twenty.’ It seemed to me they were just fucking out of it and making no attempt to do anything sensible. A lot of hurt went down during that period in the early 1970s – them feeling hurt, me feeling hurt – but John being John, he was the one who would write a hurtful song. That was his bag.

(Paul McCartney about Too Many People (1971), The Lyrics, 2021)

Towards the end of 1969, John had quite gleefully told us it was over. There were a few of us in the Apple boardroom at the time. I think George was away visiting family, but Ringo and I were at the meeting, and John was saying no to every suggestion. I thought we should go back to playing smaller gigs again, but the answer came back: ‘No’. Eventually John said, ‘Oh, I’ve been wanting to tell you this, but I’m leaving The Beatles.’ We were all shocked. Relations had been strained, but we sat there saying, ‘What? Why? Why? Why?’ It was like a divorce, and he had just had a divorce from Cynthia the year before. I can remember him saying, ‘Oh, this is quite exciting.’ That was very John, and I had admired this kind of contrarian behaviour about him since we were kids, when I first met him.

He really was a bit loony, in the nicest possible way. But whilst all of us could see what he meant, it was not quite so exciting for those left on the other side.

(Paul McCartney about Dear Friend (1971), The Lyrics, 2021)

This is one of my favourite songs. It's a ballad with a brass section, but it’s always felt Victorian in style to me. It’s very heartfelt. ‘A love so warm and beautiful / Stands when time itself is falling’. I like that idea, instead of just saying, ‘It will go on forever.’ I got a good feeling writing this song, and listening to it now, I still do. ‘Love, faith and hope are beautiful’. The brass solo is lovely for me because it harks back to the brass bands that were so common when I was a kid; there would often be brass bands in the park or in the streets. My dad played trumpet, as I never fail to mention, and he had his own little band – Jim Mac’s Jazz Band. The first instrument he bought me was a trumpet, and he taught me the scale of C which, when you go on the piano, becomes B-flat. It’s all very complicated. That’s why we didn’t even bother learning music. I realised that I wanted to swap the trumpet for a guitar, so I asked his permission, and he said, ‘Yes, okay.’ ‘Warm and Beautiful’ was written well after the demise of The Beatles, and at this time we knew sadness. I knew about delving into your mind to look for help and looking for some sort of solace in a song. I liked the idea of writing a song in a universal way that dispels the sadness. You write about the wonderful things you know in the world, and you try to write so that it will sing well and be well received by people dealing with grief something that inevitably surrounds all of us at one time or another. On a more personal level, the main inspiration for the song was Linda…

(Paul McCartney about Warm and Beautiful (1976), The Lyrics, 2021)

After The Beatles thing became so depressing, Linda and I decided we’d get out of London and start living full-time on our small holding in Scotland. It was quite a difficult period because of the band’s breakup but it allowed me to see another side of myself. First and foremost, we did everything for ourselves, and at this point it was Linda, Heather, Mary – who was still a baby – and me. If we needed something to eat, we’d go into town in the little Land Rover, come back up, and cook it. We didn’t have anyone helping us, except for one guy, the shepherd, because it was a little sheep farm. It was an experience that allowed me to be a man. <…> I’d grown up in Liverpool and gone on the road with The Beatles around the world and then around again, and now here I was on a farm in the middle of nowhere, and it was sensational. <…> This was the kind of thing I’d never done, ever, in my life, and it was amazingly liberating. I got to do all the things I think a lot of young people still dream about today – the famous ‘gap year’. I sense a lot of people want that freedom, escaping the rat race…

(Paul McCartney about When Winter Comes (1992), The Lyrics, 2021)

After the breakup of The Beatles, I wouldoften just sit around a lot. Sometimes I sat in the kitchen while the kids were playing. Maybe they were drawing. Maybe they were doing bits and pieces of homework. In this case, I came across the chords and I just felt optimistic, and I liked the idea of a song saying that help is coming and there’s a bright light on the horizon. I’ve got absolutely no evidence for this, but I like to believe it. It helps to lift my spirits, to move me forward, and hopefully it might help other people move forward too.

(Paul McCartney about Great Day (1972/1997), The Lyrics, 2021)

Wings, which we began in 1971, was in many ways an experiment to see whether there was life after The Beatles, to see whether that success could be followed. It was the result of asking myself, ‘Am I going to stop now?’ The Beatles were so wonderful and all-encompassing, so successful. Now, should I stop and look for something else to do? But I thought, ‘No. I like music too much, so whatever the something else is, it will be music.’ <…> But it wouldn’t be The Wings, like The Beatles. Just Wings. My problem after The Beatles was, who’s going to be as good as them? I thought, ‘We can’t be as good as The Beatles, but we can be something else.’ I knew that if I were to go ahead with this project I’d have to tough it out, but I had reserves of courage from being part of The Beatles when pennies were thrown at us at the village hall in Stroud, when we were still starting out. <…> Starting off a new band is always a lot of fun, but it’s a lot of hard work too; you have to establish yourself. Following The Beatles was one of the most difficult things for me, just trying to live up to those expectations. It was even more difficult for her [Linda]. I started to write songs for Wings from 1971 onwards, when we got started, and I tried to keep them away from The Beatles’ style. There were avenues I could go down that I wouldn’t have gone down with The Beatles, like bringing in the influence of reggae, which Linda and I got into in Jamaica. I fancied doing something crazy, and Wings allowed me a little bit more freedom. So, this is a love song in which Cupid’s arrow is referenced, but it’s a malevolent arrow. It’s possible I’d seen an illustration of Cupid and thought, ‘Cupid fires a bow, but I’ll switch it. It won’t be love; it will be the opposite.’ The character in the song has been wounded. He’s been cheated on. And it could’ve been a great relationship, could’ve been fantastic. As things stand, you couldn’t ‘have found a more down hero’, because there was nobody more down than me at that moment. So, get it together and bring your love. I have always had a soft spot for this song. There’s a nice horn riff in it, and it’s funky. Sometimes you write to get a sort of feeling rather than a perfectly ‘correct’ lyric. Sometimes the lyric can be secondary to the feeling. This one has as much, or more, to do with the feel of the song, the groove.

(Paul McCartney about Arrow Through Me (1979), The Lyrics, 2021)

John described ‘Coming Up’ somewhere as ‘a good piece of work’. He’d been lying around not doing much, and it sort of shocked him out of inertia. So it was nice to hear that it had struck a chord with him. At first, after the breakup of The Beatles, we had no contact, but there were various things we needed to talk about. Our relationship was a bit fraught sometimes because we were discussing business, and we would sometimes insult each other on the phone. But gradually we got past that, and if I was in New York I would ring up and say, ‘Do you fancy a cup of tea?’

(Paul McCartney about Coming Up (1979), The Lyrics, 2021)

It’s very possible that I’d been feeling down in London. I was back in the solace of family and Liverpool, and what with the Beatles troubles down south, I was likely thinking, ‘Wouldn’t it be nice to get home and have that comfortable feeling again?’ So, there may have been some of that in the background. I wouldn’t rule it out. When I wrote the song, I hadn’t been back home to Liverpool for a long time. But now I was at my dad’s house, which wasn’t quite home because it was a house I’d bought him when I got some money – a five-bedroomed mock Tudor place in Heswall near the River Dee. But it was still Liverpool, and it was ‘homeward’. So I added, ‘Once there was a way to get back homeward / Once there was a way to get back home’. The song turned out to be quite soulful, and I think that’s what attracted me to those lyrics in the first place – that notion of consoling a baby or reading kids a bedtime story. ‘Sleep, pretty darling, do not cry / And I will sing a lullaby’. Those are lines – or something with a similar sentiment – that most parents probably say to their children to soothe them when they’re growing up.

(Paul McCartney about Golden Slumbers (1969), The Lyrics, 2021)

It became a refuge of sorts, and it was nice to get away from London and everything – both the good and bad – that comes with the city. I would drive a Massey Ferguson 315 tractor and mow the hay, and I loved that because I’d been a nature fiend as a kid, and this freedom just gave me time to think – ‘Down to Junior's Farm where I want to lay low’. It was such a relief to get out of those business meetings with people in suits, who were so serious all the time, and to go off to Scotland and be able just to sit around in a T-shirt and corduroys. I was very much in that mindset when I wrote this song. The basic message is, let’s get out of here. You might say it’s my post-Beatles getting-out-of-town song.

(Paul McCartney about Junior's Farm (1974), The Lyrics, 2021)

The context in which the song was written was one of stress. It was a difficult time because we were heading towards the breakup of The Beatles. It was a period of change partly because John and Yoko had got together, and that had an effect on the dynamics of the group. Yoko was literally in the middle of the recording session, and that was challenging. But it was also something we had to deal with. Unless there was a really serious problem – unless one of us said, ‘I can’t sing with her there’ – we just had to let it be. We weren’t very confrontational, so we just bottled it up and got on with it. We were northern lads, and that was part of our culture. Grin and bear it. One interesting thing about ‘Let It Be’ that I was reminded of only recently is that, while I was studying English literature at the Liverpool Institute High School for Boys with my favourite teacher, Alan Durband, I read Hamlet. In those days you had to learn speeches by heart because you had to be able to carry them into the exam and quote them. There are a couple of lines from late in the play: O, I could tell you But let it be. – Horatio, I am dead I suspect those lines had subconsciously planted themselves in my memory. When I was writing ‘Let It Be’, I’d been doing too much of everything, was run ragged, and this was all taking its toll. The band, me we were all going through times of trouble, as the song goes, and there didn’t seem to be any way out of the mess. <…> Around the time we recorded ‘Let It Be’, I’d been pushing the band to go back out and play some club dates – to get back to basics and just bond again as a band, end the decade like we’d begun it, just playing for the love of it. We didn’t get to do that as The Beatles, but that idea did inform the direction of the Let It Be album. We didn’t want any studio trickery. It was supposed to be an honest, no-overdubbing album. It didn’t exactly end up that way, but that had been the plan.

(Paul McCartney about Let It Be (1969), The Lyrics, 2021)

This song is also an analogy for when something goes wrong out of the blue, as I was beginning to find happening around this time in our business dealings. Recording sessions were always good because no matter what our personal troubles were, no matter what was happening on the business front, the minute we sat down to make a song we were in good shape. Right until the end there was always a great joy in working together in the studio. So there we were, recording a song like ‘Maxwell’s Silver Hammer’ and knowing we would never have the opportunity to perform it. That possibility was over. It had been knocked on the head like one of Maxwell’s victims. Bang bang.

(Paul McCartney about Maxwell's Silver Hammer (1969), The Lyrics, 2021)

In much the way that Linda wanted to flee from New York society– the constrictions of Park Avenue and Scarsdale – I wanted to flee from what The Beatles had become. I was hoping to escape, she was hoping to escape. So we had this feeling that we had each pulled the other ‘out of time’. Though the song was written immediately after The Beatles’ breakup, it was somehow included under the Lennon-McCartney rubric, where it doesn’t belong. It was one of my first solo songs, but because of the deal, it got caught in the publishing net. That was very annoying. <…> …the central idea being that there’s so often a split between the inner and outer. <…> The elements of fear and loneliness are very much to the fore. ‘Maybe I’m afraid of the way I love you’ is itself a troubling idea. While it’s true that Linda is the person I’m addressing, it’s also true that I’m dealing in fiction. Starting with myself, the characters who appear in my songs are imagined. <…> In any event, this song isn’t the conventional way of presenting a relationship, or of some of the contradictions that can arise from being in love. <…> It shows the fragility of love.

(Paul McCartney about Maybe I’m Amazed (1970), The Lyrics, 2021)

John went to the exhibition, and I think that was when he and Yoko met, towards the end of 1966. He climbed up a ladder to see what she’d written on the ceiling, and got close enough to it to read it, and it said, ‘Yes.’ So he thought, ‘That’s a sign; this is it,’ and they fell madly in love. Once they were an item, there was the whole Beatles recording thing, where she would be there too. I think this started at the beginning of the ‘White Album’ sessions – so, around the end of spring in 1968. And at first we all – all of us except John – found it pretty intrusive, but we went along with it and worked around her. And eventually I came to the realisation that, look, if John loves her, we’ve just got to let it be, and we’ve got to support this relationship. That was basically my feeling. Then, a year or two later, The Beatles broke up, and it was a bad period, a real low point, where everyone was taking potshots at everyone. And I felt that John and Yoko were particularly good in the potshot department, saying things in interviews, or comments that would make their way to you. They would say not always very pleasant things, and looking back on it, I sort of think, ‘Why? You’re annoyed, so say something unpleasant?’ Over time, the situation eased off and my relationship with John got better, and I used to see him in New York or speak to him on the phone.

(Paul McCartney about Golden Earth Girl (1993), The Lyrics, 2021)

I’m not sure I thought of it at the time, even though this was well after The Beatles disbanded, but I can’t help connecting the oppressiveness associated with that phrase to the oppressiveness that coincided with the end of The Beatles. Not that The Beatles are over exactly. It’s not like we were some little band that never had another record; even though half of us have died, the phenomenon continues stronger than ever. Everything I do seems to be painted with ‘Beatle’…

(Paul McCartney about Put It There (1988), The Lyrics, 2021)

Add to this

[vickythefamiliar]

The (chaos) Coven

This is me, a tarantula on the "Witches Road"

At first I wanna say I did not understand why the hell Rio played along with Agatha... It was soooo exhausting omg.

But nvm, I spend way too much time with these witches so here is my opinion on each one of them:

Jennifer

Jennifer? Oh, she’s something else. The ‘all-business, no-nonsense’ vibe is impressive, I’ll give her that.

She’s sharp, like she’s always three steps ahead of everyone, and her wardrobe? Immaculate. I’m convinced she could outdress the apocalypse. She’s got this energy that either makes you want to follow her into battle or stay ten feet away at all times.

I don’t dislike her, but let’s just say she’s not the first person I’d share my cookies with.

Lilia

When I first met Lilia, I thought: Finally, a grandma! She probably bakes nonstop and has a secret stash of cookies somewhere. Wrong. So wrong.

She’s feisty, unpredictable, and somehow always ten steps ahead. Honestly, it’s unsettling.

That said, I’ve gotta admit, her vibe is kind of iconic. The hair? A masterpiece. The whole ‘hippie meets mystical grandma meets chaotic freak’ aesthetic? Approved.

But seriously, Lilia, if you do have cookies, stop holding out on me. Sharing is caring.

Alice

Alice... Where do I start? She’s got this whole ‘the world is against me’ thing going on. Honestly, it’s a little exhausting.

Like, girl, maybe your mom wrote that ballad for a reason other than just to mess with you. Ever think of that? No? Didn’t think so.

But underneath all the eye rolls and melodrama, there’s something real there. She just hasn’t figured herself out yet. She’s a work in progress, I guess.

Cookies for her? Maybe once she chills out. Maybe.

Billy/ Teen/ Wiccan (whatever)

Ah, the prodigy with an attitude. Kid’s got power, no doubt about it, but he’s also got that ‘I know better than everyone else’ vibe. Which, honestly, is kind of funny coming from someone who can barely handle his own magic.

But I’ll give him this—he’s determined. He’s like a little storm in the making, and you can’t help but want to see where it’ll go.

Would I share my cookies with him? Maybe, if he asks nicely.

Agatha... (I call her "the ex-wife I didn’t sign up for")

Agatha? Don’t even get me started. She’s powerful, no doubt, but it’s like she’s always trying to out-drama everyone in the room. She’s got this weird mix of arrogance and insecurity, and honestly, it’s exhausting.

Like, she’ll act like she’s got everything under control, but then, boom, she's throwing a tantrum because Rio didn’t call her back.

But hey, gotta admit, she’s got style—witchy, eccentric, a little unhinged. Honestly though, I'm just here for the chaos.

On the other hand she broke my mistresses heart more than once so I said it before and I say it again: If you're Agatha Harkness - LEAVE.

No cookies for her.

That's it. That's the post!

-🕷💚

[electricalhuzzah]

Hm wait since Stan and Bill had a heart to heart (ish) last chapter and everyone thinks Ford and Bill hate each others guts and are fighting more than ever….now I’m imagining Stan being like “hey bro you’ve dealt with him the whole time, he can stay with me now so you can have your room back!”

what if i told you,,, i was originally going to put something along those lines in the fic,,, but scrapped it in favor of throwing in something angstier,,,

and what if i told you… it wouldve gone something like this…

[Bill leaves room, just having done some shit to “piss off” Ford.]

Stan: Hey, Sixer, listen… I know Bill’s kinda a pain in the ass to ya, and I don’t think there’s really any substance to it, but… if he’s really gettin’ on your nerves, I can take him in my room and—

Ford: (way too quickly) No.

Stan: (surprised) I, uh… okay, geez. I just thought since he was pissin’ ya off and all… Why do you wanna keep the guy in your room so bad?

Ford: That is… an excellent question… to which I would have to reply… that he snores. Yes, he snores. Very loudly. And I wouldn’t want to subject you to that.

Stan: Don’t be a martyr, bro, I slept through a police raid once. I can take him off your hands, and I won’t have to hear you two constantly bicker about—

Ford: NO.

Stan:

Ford: I just… want to keep an eye on him, okay? I don’t trust him, not for a second, and everyone else in this household’s gotten so lax with him.

Stan: (mumbling, ready to let it go) M’kay, Poindexter, whatever floats your—

Ford: (saying too goddamn much) And, plus, where would you even put him? Our air mattress has a hole, your back wouldn’t let you sleep on the floor if you wanted to, everyone had “moral objections” to making Bill sleep on the floor, and sleeping in the same bed is frankly out of the question— I’d recommend setting oneself on fire before risking skin-to-skin contact with that jaundiced asshole.

Stan: … Well what have you been doing?

Ford: pardon

Stan: I didn’t know our air mattress had a hole. Where the hell has Bill been sleeping??

Ford: (thinking he is in fact cooked) … Another excellent question, if iI may commend you on your… questioning abilities on this lovely—

Stan: Stanford have you been making Bill sleep on the goddamn floor after we specifically said not to do that

(silencio)

Ford: Yes. That is a viable explanation. That is certainly what occurs. Regularly.

(cue an argument)

now, alternatively, if stan went to bill with this proposal—

Stan: Hey, Triangle, you n’Sixer been fighting a lot recently… If you wanted, you could move into my room and—

Bill: Not a chance in hell, ugly twin.

Stan:

Stan: Man.

Bill: I’ll take arguments and eye candy over denture cream and toupees, thanks.

[chaoticrockmusic]

A Little Light in the Dark

Synopsis; Bruce Wayne invites you to Wayne Manor for an intimate dinner, a rare glimpse into his world beyond the mask. But when a sudden blackout plunges the mansion into darkness, his chaotic family takes over the evening, and you see the unpolished, human side of the Wayne household. Amid the teasing, laughter, and chaos, Bruce’s quiet moments with you shine brightest, proving that even Gotham’s Dark Knight has a soft side reserved just for you. Warnings; Damian being a little sassy brat

Bruce invites you to Wayne Manor for dinner, promising a quiet, intimate evening. When you arrive, the sprawling estate is even more magnificent than you imagined, but Bruce’s warm smile and the way he takes your coat quickly dispel your nerves.

The dining room is grand, yet the table is set simply, with just two settings and soft candlelight. It’s a surprising contrast to the billionaire’s public persona, and the subtle care he’s put into the evening makes your heart flutter.

"Not as intimidating as you expected?" Bruce asks, a faint smirk tugging at his lips as he pulls out your chair.

"I wouldn’t go that far," you reply, but your smile is teasing. "It’s... cozy, in a billionaire kind of way."

The conversation flows easily as the two of you eat, laughter mixing with the soft clink of silverware. Bruce is more relaxed than you’ve ever seen him—his usually guarded demeanor slipping just enough to reveal glimpses of the man behind the mask.

But just as dessert is being served, the lights flicker—and suddenly, the room is plunged into darkness.

"That’s odd," Bruce mutters, standing immediately. "Stay here. I’ll check the breakers."

Before he can even leave, chaos erupts.

From the hallway, Damian’s sharp voice cuts through the dark. "Grayson, stop bumping into me! You’re going to break something."

Tim appears next, holding his phone up like a flashlight. "Did Gotham’s most powerful man forget to pay his electric bill?" he asks, smirking.

Bruce pinches the bridge of his nose, muttering, "Not now, Tim."

Then comes Dick, cheerfully stumbling in with a handful of candles. "Who needs power when we have ambiance? Romantic, right?" he says with a wink, grinning at you.

"Romantic?" Damian scoffs, stepping into the room and giving you a critical once-over. "Father, your standards are slipping."

"Damian," Bruce growls in warning, his tone sharp.

The teasing only escalates when Jason arrives, flashlight in hand, shining it directly at Bruce’s face. "Relax, Bats. Power outages build character. And hey, it’s not my fault you didn’t warn them about the chaos they were signing up for."

Bruce shoots him a glare that would terrify anyone else, but Jason just smirks and leans back against the doorframe.

In the midst of the family’s antics, Bruce is uncharacteristically quiet, his focus flickering between them and you. When the others drift off to investigate the outage—arguing and teasing each other the whole way—Bruce returns to your side, the shadows from his flashlight dancing across his face.

"Sorry about all of this," he says, voice low and almost hesitant. "I wanted tonight to be… better. Less chaotic."

"Bruce," you say softly, placing a hand on his arm. "This? It’s perfect. It’s you—all of you. I don’t think I’d want it any other way."

His gaze lingers on you, and for a moment, the weight he carries seems to ease. "You’re something else," he murmurs, almost to himself.

As he steps closer, the space between you shrinks, the candlelight casting a golden glow over his features. You feel his hand brush yours—a tentative, unguarded gesture—and when your fingers intertwine, it feels like the most natural thing in the world.

"Next time," he says softly, his voice a low promise, "I’ll make sure it’s just us."

"Next time," you agree, your smile warm.

The power finally comes back on, the lights revealing Damian glaring at Jason, Dick grinning triumphantly, and Tim tinkering with the breaker box. Alfred breezes into the room as if nothing unusual has happened, asking if anyone would like a fresh pot of tea.

Bruce lets out a quiet sigh, giving your hand one last squeeze before releasing it.

As the family chaos continues around you, Bruce’s attention remains on you—his expression soft, his smile rare and private, meant only for you. And as much as you enjoy seeing this side of him, you can’t help but look forward to the quiet moments when it’ll be just the two of you.

(God Damian is a little shi-)

[gor3sigil]

23/11 - The black labret and bleeding gums

Yesterday, I took off my labret piercing. I noticed it was doing some pretty bad damage to my gums and teeth, that I’d really like to keep in relatively good health. It made me think about her. It was sad, in a sense, because this piercing made it finally bearable for her to look at her reflection in the mirror. But it was, at the time, the bare minimum she could do to take back control over her body, her face, her life, whilst being actively suicidal. She never cared about teeth. She barely brushed them, in fact.

And now, I have to take that little stone away from the mural of ourselves we built, little by little, brick by brick. I promised her that for this jewel we had to take out, we’ll get pierced twice, on the same lip, vertically, if we can. If we can’t, we’ll do the nostrils. But she’ll get something back, pinky promise. Only now, it’ll be with the intention to be a work of art, complimenting our features, more than just repairing damages. Just like the tattoos over our scars. Just like our flat chest.

I also promised to put her black labret in epoxy, to wear as a necklace. She hasn’t gone anywhere. When I look at my reflection in the mirror, my hair growing out, even after 2 years of HRT, it’s still her that I see, clear as day, with her little mischeavous smile, her contagious laughter, her intense gaze looking at my own soul, our soul, to remind me that she has never died. Sometimes she talks to me still, she lets me know that I may be in control the vessel, but she is still the primary life inside us, the flame that drives us forward, something transitonning, changing our name, cutting through flesh could never erase. And we hug, and we cry from the same eyes, and we scream from the same mouth, and we drink from the same glass.

We’re at the hospital, she’s scared she never got better. She hates the scent of disinfectant and the nurses. I have to calm her down when we’re put on oxygen. Keep a brave face when they cut ourselves open once more. “But we’re so young still !” she yells. I wish I was her age. I wish I didn’t care about bleeding gums. I wish I wasn’t a month wiser.

She looks at our reflection and she says: “Hey, let’s get our lips pierced as a reward for going through surgery !”. One jewel per tonsils removed. I spat out a trail of blood in the sink and brushed my teeth. I wish we never cared for bleeding gums.

I read her back the letter I wrote to our parents, asking her what she thinks, should we send it ? She scoffs and goes back to play. She thinks her pain doesn’t show, even after all these years, even after she almost died from it. She thinks I can’t see it because I’m not her. And yet.

She tears up as I unscrew the black labret from our lip. We never got taught how to brush our teeth. It’s all their fault, she says. It’s all their fault we have to worry about bleeding gums. I hold her hand. She brushed our teeth like she could repair the damage in one flush.

Last night I dreamt I was losing my teeth, but new ones grew, stronger. I wish for it to come true.

[sulkysnape]

hola, i was wondering if you could do something with snape in his classroom where a student sneaks under his desk during lunch waiting for him, you know what happens when he and his class come in yk yk, then after the class he has 20 minutes before his next class to,, punish.. her

I’m more than happy to write about two consenting adults tho!!!!

[mobbothetrue]

I’ve reached the point in my Fairy Tail rewatch where it’s further along than tfd ever got, which means shit keeps happening that makes me go “fucking WHAT”

[icelogged]

hello one more bitch for the road 😔✌🏾terf is not a synonym for transphobe. terf is an acronym. tme trans people can be terfs. next scheduled bitchfest is between me our heavenly father amen or to annoy you specifically ❤️

[loveofmylouis]

.

[soleilapproves]

Boxer!Sukuna who makes you kiss his gloves before his match for good luck.

Masterlist

-•-

His team had left the locker room and it was just the two of you now. You were sitting on a bench while he organized his bag. “I didn’t know you got so many freebies from your sponsorships.” In your hand, was a brand new boxing shoe that he received from UnderArmor for a sports shoot campaign.

“Eh, they’re not really what I need in the actual matches but I use them during training cause I don’t wanna waste ‘em.” He mumbled. He seemed to be more on edge than usual. During his last match, he lost by a landslide, having a sour taste in his mouth from the experience. He blamed you because you weren’t there to kiss his glove prior to the match.

You turn to look at him staring down at his gloves.

“Sukuna.”

“Yeah?” He turned to look at you. No smiles, just a deadpan expression. You walked towards him and held his face in your hands. You could tell he was nervous about the fight even though he had won so many before.

“Honey, what’s on your mind?” Your voice was sincere and comforting for him. “What if I’m in a slump? My last match was so bad. I’ve never lost like that. What if I’m on a losing streak now?”

You get on your tippy toes and kiss his cheek. “Sukuna, you’ve worked hard have you not?” He nods. “And you feel like you’ve trained well this time.” He nods again. “Then why are you so worried? Is it because you were distracted last time?”

He sighs and wraps his arms around you, burying his head in your neck in the process. “Look, I don’t know if you think it’s weird but when I see you outside the ring, I feel like I have a reason to win. It drives me to fight better. I had a really shitty day last time and when I didn’t see you I just didn’t feel like giving my all.”

Your heart felt like it was being torn to pieces after seeing your husband sulk. “I just felt burnt out. I was hoping that once I saw you then I’d feel better.”

You hugged him tighter and kissed his shoulder. “I’m sorry, Sukuna, I promise I’ll never do that again.” You start rubbing your hand up and down his back in hopes to calm him down right before his match.

“Kiss my gloves for me?” He asks as he pulls away. You nod. He takes his boxing gloves out and places them in your hands. You leave a delicate kiss on each of them, your gloss leaving a small sparkly stain. He takes them from your hand and kisses them on the same spots as you did, maintaining eye contact with you throughout. “You’re my good luck charm, you know that?” He says as he strokes your head.

You show him a teethy grin and nod.

“And you’re mine.” Your reply made him smash his lips to yours. “I’ll be sure to win now that you’re here.” He mumbled against your lips.

-•-

No thoughts. Just boxer!sukuna

[fingertipsmp3]

That last post just reminded me of something honestly mind-boggling that that friend did

[theamazingannie]

What really confuses me about a lot of pro life people is that they just genuinely seem to think pro choice people are monsters. What’s more likely, that a whole bunch of people just love killing babies left and right for no reason at all other than their own enjoyment, or that a whole bunch of people think that everyone should get a choice in whether or not they become parents and shouldn’t be forced to be an incubator for nine months and have their body forever altered and potentially be at risk for longterm health issues and even death and then have to either raise that child to adulthood despite not wanting to or being in any way ready for it or send it through the adoption system where the child will grow up wondering why their birth parents didn’t want them all because someone else valued the “life” of an undeveloped clump of cells over the life of a fully grown person with wants and fears and feelings?

[bakuraryxu]

tired but can’t sleep. laying still in the dark didn’t help. looking to get someone to crack me over the head with a shovel or some such weapon to knock me out