#I just want us to have the ability to decide that for ourselves

[annot8]

Happy to see the tories go but at the end of the day, unlike England, Scotland hasn’t voted for the tories in almost 70 years. Weird, it’s almost as if Scotland’s vote and voice means fuck all to Westminster

Democracy, am I right?

[voices-in-dark-violets-head]

"Be Yourself", says the Furry Fandom.

And yet, as with many things in life, it's far easier said than done.

I've found that 'being myself' can take a lot of bravery, but I want to tell you why it's so, so important.

Storytime!

At Eurofurence this year, I ran the e621 Gameshow for the third year in a row. And for the third year in a row, we were over capacity. As in, security-comes-in-to-tell-people-to-leave levels of over capacity (Which, my dear sympathies once again with those who had to go!)

We had a crowd that was there for an hour and a half of weird furry porn. Who cheered for horsecock. Who delighted in Falco Lombardi macro art. A hundred people - a quarter of the room - gleefully admitted to being into vore.

The atmosphere was electric, and I hadn't even needed my e-stim kit. This was a crowd who rejoiced in the adult side of the fandom!

And then I asked them - how many people had a fetish they'd be nervous admitting to?

A third of the room raised their hands.

In a room that had been laughing moments earlier about the amount of Mufasa/Simba porn, or getting a 100% success rate on guessing popular cock shapes, 1/3 of them weren't confident in revealing those same parts of themselves.

I don't think this is rare.

I've had folks ask me if I get hate for the kind of art I draw (not really much at all, by the way). But worse, I get people telling me - they wish they could draw what they want, write the characters they love… but they fear what others might say.

I've had commissioners remain anonymous, for fear of people knowing what they're into. Known artists start up alt accounts, so that they can draw a kink without their friends knowing. Writers wringing their hands over possible reactions to their stories.

And I would love to tell you it's all just fear - but truth is, it isn't.

Because it ain't just the big patron sites that are swinging the axe on the 'too weird'. Our own sites - our communities - sharpen their restrictions. Whole kinks, loving and accepted, are now 'too far'.

We're fearing the gaze from the outside. We're hearing their derision. And that can scare us, cause us to hide not just ourselves, but those around us. "What if they think that I'm into that? What would they say? I need to prove I'm not!"

We all crave love and acceptance. And in a fandom formed in rejection from society, don't we just hold such ideals even more tightly? So much so that the very idea of this same community throwing us out - for being ourselves? Of course it's terrifying.

But it turns out, even us outcasts, outsiders… we can all hold prejudices. We all have the ability to draw lines, and give too little thought to what that means. We can so easily turn our own opinions, our fear of what others think of us, into rules that hurt and exclude.

And therein lies the issue. "Be yourself", says the fandom, without stopping to consider how treacherous, how thorned that path can be. To be yourself, sometimes, is to suffer the disgust of those who would tell you to do it in the first place.

But… I'm missing something.

Thing is, this fandom isn't based on any one thing. We're not just here because Zootopia was a kinda cool movie, or Twokinds is pretty sexy, or StarFox looks good when he's fifteen stories tall.

We follow no one IP, no webcomic, no TV show. We follow only one thing:

Ourselves.

WE make the fandom we live in. We're dozens of sexualities, a hundred meetups and conventions, a thousand discord servers and Telegram channels, a million pictures and stories and alt-accounts and roleplays…

We decide what we are.

Aren't we the haven of the weird? The questioning of sexualities? The taboo, even incomprehensible kinks? We joke about vore, knots, gratuitous foot fetishists, but isn't that what makes this place home? Isn't every artist drawing obvious kink art following a beautiful legacy?

We are the monsterfuckers. The maw-obsessed, the paw-sluts, the musk-lovers (er, not that one). With every fetish we draw, every kink we commission, every smut-filled story and problematic character and taboo-laden roleplay…

We're the fandom, making ourselves.

Through being myself, through art and stories and chats and servers, I've found new communities. New friends. New ways to think, new art to enjoy. I've found love, deeper than I ever thought possible.

I've found myself.

And I've been told that through my artwork, stories, friend groups, I've helped people do the same. They've found the words to describe what's been inside them this whole time.

They've found they're not alone.

It's one of the sweetest and most delightful things I've heard.

Yes, it takes bravery to be yourself. You risk being misperceived, either accidentally or wilfully. You risk hurt. You risk confusion. But it's nothing you haven't done before. And in its wake, you will find yourself.

Do not let other people dictate who you are.

Do not let other people dictate who you are.

So when I say to keep furry weird, this is what I mean. Find that part of yourself that yearns to be free, and make this fandom the place for it.

Be yourself. Be so amazingly yourself that your very existence is an act of rebellion.

And Keep. Furry. Weird.

[huellitaa]

⋅˚₊‧ ୨ feeling uncomfy in ur own skin

ok so this is something ive been struggling with for years. like i wake up some days and just feel Eugh way more than id like to. SO i decided i'd make a little guide on this! for me and for you 🩷✨

──★ ˙ ̟🎀 reasons why we could be feeling uncomfortable with ourselves and who we are

♡ having a shitty mental diet and consuming media and things that make you feel bad abt urself

♡ being in an environment where we're constantly being judged or put down, even over the most basic things

♡ hanging around negative people or negative places

♡ not giving urself enough credit for ur own achievements and accomplishments

♡ changing urself constantly for others and not having a clear sense of self to hold on to

♡ not having boundaries on how you and others treat you

♡ staying stagnant in the same place in your life and not changing (🎀🗒️also read: get comfy being uncomfy ♡)

♡ not paying enough attention to yourself and avoiding your genuine thoughts, feelings and emotions

🧸𓂃 ࣪˖ 1. be gentle with yourself!

pleasepleaseplease its ok to have bad days its ok to not feel great every day. treat yourself as you would someone you love. if you just aren't feeling good today, then you aren't feeling good! honour that and respect that and deal with that accordingly. even if you are uncomfortable with yourself right now or you don't like yourself right now, please try and treat yourself with care regardless, because no matter what stage you are in in your life right now you are and always will be the most important person in ur life, so TREAT URSELF LIKE IT🫶💖

🧸𓂃 ࣪˖ 2. inspiration, not comparison!

i know its often told not to go looking at people who are ahead of you in these times but hear me out. i think looking at and observing people you admire who are further ahead of you is very motivating to build yourself up and *become more like them* in your own way. you look up to them because of ___? what can you do to become your own version of that? thinking like this gets me more inspired to just get out of bed because i want to be more like them.

two words for this one - NO. COMPARISON. gaining inspiration from others to better yourself and comparing yourself to others are two completely different things. 🫶 (shameless self promo, but i have a post on this here! 🩷✨)

🧸𓂃 ࣪˖ 3. analysis: detective work chapter!

journal and think and think to urself why u might feel like this or what caused this. when did it start? has anything happened lately that may have caused this? how does it feel, in depth? what can you do to combat this? how can you make it through the day & make it so you do even better tomorrow?

🧸𓂃 ࣪˖ 4. channeling the mindset!

back to my point on our idols, thinking like them & thinking what they'd do in this situation helps me a lot. personally one of my idols is ada lovelace so whenever im really tired and unmotivated or insecure on my abilities or appearance or anything else i think to myself "what would she do?" and 9 times out of 10 im up at my desk in my cutest outfit hard at work. this is def one of my favourite points and something i use on the daily for like literally everything and 100% recommend 🩷✨

🧸𓂃 ࣪˖ 5. what would i do?

similarly, ask urself what the best version of yourself or the version of urself youre working towards would do in this situation. be your own inspiration. be ur own muse. would they stay in bed and rot all day? if the answer is no then ur up. out. immediately. ask urself what they would do. if ur feeling drained, would they take a day off to do some self care and recharge? if ur feeling sad, would they be gentle with themselves and let themselves feel sad for a little while & try to work to the root of the problem?

🧸𓂃 ࣪˖ 6. understanding yourself!

make a list of the things that make you the happiest and most comfortable & productive and the things that make you the unhappiest and the opposite of those things. i mentioned this in my recharge day post, but figuring out these will help you find out which negative behaviours or habits are lowering ur vibrations and making u feel like this, and help u to engage more in the things that make you happy with yourself and everything around you 💗✨

🧸𓂃 ࣪˖ 7. pay attention!

pay close attention to ur internal landscape and your self talk throughout the day. note down every little thing you notice, even if you think it won't be helpful; for example, do you find yourself indulging in negative talk abt urself, negative talk abt others, constantly being pessimistic and expecting the worst, indulging in judgement and criticism of urself and everyone around you, getting distracted easily, and so on.

🧸𓂃 ࣪˖ 8. what would i do, part 2

like i mentioned earlier, you should be your own inspiration. you should be your own muse. as much as it's nice to have idols, when ur trying to change something about urself and adjust and improve ur own behaviours, you should be mainly focusing on what you want to achieve by changing said behaviours. do you know who you're working towards being? do you know how you want to feel? do you know what you are changing these things you feel into? think about whether or not the person you are now lines up with the person you want to be in all aspects of ur life. if you feel like you aren't even trying to meet these standards then of course ur gonna feel bad about urself. of course don't be too hard on urself, but keep this in mind. 💓✨

finally, remember that these things are temporary and it wont be like this forever. ur beautiful and perfect no matter what and in these times u gotta show up for yourself even more and never give up! i believe in u 🫶🩷

all my love 💗💬✨🎀

[lycandrophile]

building off of this post, people love to say that “trans men want to keep going into in women’s spaces after they transition because they just want to have the best of both worlds!” but in my experience, there are four main reasons that a trans man might use a “women’s space” after they transition:

it’s an important resource that’s being arbitrarily gendered and we need to use it regardless of which gender is “supposed to” be using it.

it’s a public facility where we’d be significantly less safe in the men’s version and we have to choose our safety over our desire to not be misgendered.

it’s a social space that we’ve been in since before we transitioned and we don’t want to suddenly be cut off from our friends and support system.

the trans man in question is multigender and is also a woman, or maintains some other kind of connection to womanhood alongside their manhood.

do any of those sound like “evil men rubbing our dirty little hands together making plans for how we’re going to get male privilege without losing access to women’s spaces” to you? they sure don’t to me!

i think it’s pretty reasonable that we want to transition without losing the ability to access the resources we need, keep ourselves safe, keep up the relationships we’ve built, and express all facets of who we are. all of those are really, like, pretty basic parts of having good life and we shouldn’t be expected to give them up when we transition.

and honestly, if you claim to care about trans people, you should not be so attached to the gendering of these spaces that you’re willing to deny trans men those things for the sake of upholding gender restrictions. anyone who prioritizes the sanctity of gender segregated spaces over the safety, health, and well-being of trans men is a fucking transphobe. (yes, even if you’re trans yourself.)

and that’s what really gets me about all of this — the vehemence with which people are willing to defend those spaces being entirely and inflexibly gendered, despite how enforcement of gendered spaces has hurt trans people time and time again. gendered spaces have literally always been set up in ways that force trans people to break the rules; some trans men might break those rules in ways that don’t make sense to you, but that doesn’t mean it’s wrong for us to do so! it just means you might feel weird about it and that’s okay, discomfort won’t kill you.

“but using women’s spaces after transitioning to male defeats the purpose of transitioning! the whole point of transitioning is to be able to live as a man!”

and who are you to tell trans men what the point of our transitions should be? what if the purpose of us transitioning is just to live the happiest and most fulfilled life possible, and forcing ourselves into unsafe spaces or denying ourselves access to important resources or cutting ourselves off from important people in our lives or pushing down the more complex parts of our genders would “defeat the purpose of transitioning” for us? what if being able to go where cis men go is just one part of a much bigger journey, not the end goal?

if you really want to talk about “defeating the purpose,” let’s talk about how policing which gendered spaces trans men can access defeats the purpose of trying to stop cis people from policing which gendered spaces trans people can access, because it allows the policing of trans people in gendered spaces to continue in some form instead of eliminating it altogether. let’s talk about how using “evil men invading women’s spaces” rhetoric against trans men defeats the purpose of trying to stop cis people from using it against trans women, because it allows the rhetoric to continue in some form instead of eliminating it altogether.

the point of saying “let people decide which gendered space is right for them” isn’t to make sure everyone uses the one aligned with their “true gender,” it’s to let people do what’s best for them without punishing them for their choice. sometimes the best choice is one that seems wrong from the outside, and you need to learn to live with that.

i just think we as a community need to be more hostile toward people who think upholding the sanctity of a gendered space is more important than giving trans people the freedom to move through the world without being punished for existing in those gendered spaces. that kind of thinking is fucking dangerous and it’s weird as hell that some of y’all are so comfortable with it being directed at us.

moral of the story: stop giving so much of a shit about where a trans man decides to piss or see a doctor or hang out or whatever else. even if you think he doesn’t belong there, he probably has a good reason to be there anyway, and that reason is frankly none of your damn business.

[tavolgisvist]

Once upon a time…

JOHN: [Paul] even recorded that all by himself in the other room, that’s how it was getting in those days. We came in and he’d – he’d made the whole record. Him drumming, him playing the piano, him singing. Just because – it was getting to be where he wanted to do it like that, but he couldn’t – couldn’t – maybe he couldn’t make the break from The Beatles, I don’t know what it was…. But we’re all, I’m sure – I can’t speak for George, but I was always hurt when he’d knock something off without… involving us, you know? But that’s just the way it was then.

(August, 1980: interview for Playboy with David Sheff)

‘More than anything,’ he says, ‘I would love the Beatles to be on top of their form and for them to be as productive as they were. But things have changed. … I would have liked to have sung harmony with John, and I think he would have liked me to. But I was too embarrassed to ask him. And I don’t work to the best of my abilities in that situation.’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

PAUL: On 'Hey Jude', when we first sat down and I sang 'Hey Jude…', George went 'nanu nanu' on his guitar. I continued, 'Don't make it bad…' and he replied 'nanu nanu'. He was answering every line - and I said, 'Whoa! Wait a minute now. I don't think we want that. Maybe you'd come in with answering lines later. For now I think I should start it simply first.' He was going, 'Oh yeah, OK, fine, fine.' But it was getting a bit like that. He wasn't into what I was saying. In a group it's democratic and he didn't have to listen to me, so I think he got pissed off with me coming on with ideas all the time. I think to his mind it was probably me trying to dominate. It wasn't what I was trying to do - but that was how it seemed. This, for me, was eventually what was going to break The Beatles up. I started to feel it wasn't a good idea to have ideas, whereas in the past I'd always done that in total innocence, even though I was maybe riding roughshod.

I did want to insist that there shouldn't be an answering guitar phrase in 'Hey Jude' - and that was important to me - but of course if you tell a guitarist that, and he's not as keen on the idea as you are, it looks as if you're knocking him out of the picture. I think George felt that: it was like, 'Since when are you going to tell me what to play? I' in The Beatles too.' So I can see his point of view. But it burned me, and I then couldn't come up with ideas freely, so I started to have to think twice about anything I'd say - 'Wait a minute, is this going to be seen to be pushy?' - whereas in the past it had just been a case of, 'Well, the hell, this would be a good idea. Let's do this song called "Yesterday". It'll be all right.'

( The Beatles Anthology, 2000)

‘There’s no one who’s to blame. We were fools to get ourselves into this situation in the first place. But it’s not a comfortable situation for me to work in as an artist.’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

‘It simply became very difficult for me to write with Yoko sitting there. If I had to think of a line I started getting very nervous. I might want to say something like “I love you, girl”, but with Yoko watching I always felt that I had to come out with something clever and avant-garde. She would probably have loved the simple stuff, but I was scared.’ ‘I’m not blaming her, I’m blaming me. You can’t blame John for falling in love with Yoko any more than you can blame me for falling in love with Linda. We tried writing together a few more times, but I think we both decided it would be easier to work separately.’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

JOHN: "I was always waiting for a reason to get out of the Beatles from the day I filmed 'How I Won The War' (in 1966). I just didn't have the guts to do it. The seed was planted when the Beatles stopped touring and I couldn't deal with not being onstage. But I was too frightened to step out of the palace."

(John Lennon, Newsweek, September 29, 1980)

PAUL: As far as I was concerned, yeah, I would have liked the Beatles never to have broken up. I wanted to get us back on the road doing small places, then move up to our previous form and then go and play. Just make music, and whatever else there was would be secondary. But it was John who didn’t want to. He had told Allen Klein the new manager he and Yoko had picked late one night that he didn’t want to continue.

(Paul and Linda McCartney, interview for Playboy, December 1984)

PAUL: I must admit we'd known it was coming at some point because of his intense involvement with Yoko. John needed to give space to his and Yoke's thing. Someone like John would want to end The Beatles period and start the Yoko period; and he wouldn't like either to interfere with the other.

(The Beatles Anthology, 2000)

PAUL: I think, largely looking back on it, I think it was mainly John [who] needed a new direction – that he then went into, headlong, helter skelter, you know, he went right in there, doing all sorts of stuff he’d never done before, with Yoko. And you can’t blame him. Because he was that kind of guy, [the kind who] really wanted to live life and do stuff, you know. There was just no holding back with John. And it was what we’d all admired him for. So you couldn’t really say, “Oh, we don’t want you to do that, John. You should just stay with us.” We felt so wimpy, you know. So it had to happen like that.

(Paul McCartney, November, 1983, interview with DJ Roger Scott)

The Beatles split up? It just depends how much we all want to record together. I don’t know if I want to record together again. I go off and on it. I really do. The problem is that in the old days, when we needed an album, Paul and I got together and produced enough songs for it. Nowadays there’s three if us writing prolifically and trying to fit it all onto one album. Or we have to think of a double album every time, which takes six months. That’s the hang-up we have… I don’t want to spend six months making an album I have two tracks on. And neither do Paul or George probably. That’s the problem. If we can overcome that, maybe it’ll sort itself out. None of us want to be background musicians most of the time. It’s a waste. We didn’t spend ten years ‘making it’ to have the freedom in the recording studios, to be able to have two tracks on an album. This is why I’ve started with the Plastic Ono and working with Yoko… to have more outlet. There isn’t enough outlet for me in the Beatles. The Ono Band is my escape valve. And how important that gets, as compared to the Beatles for me, I’ll have to wait and see.

(John Lennon, New Musical Express December 13, 1969)

PLAYBOY: In most of his interviews, John said he never missed the Beatles. Did you believe him? PAUL: I don’t know. My theory is that he didn’t. Someone like John would want to end the Beatle period and start the Yoko period. And he wouldn’t like either to interfere with the other. As he was with Yoko, anything about the Beatles tended inevitably to be an intrusion. So I think he was interested enough in his new life to genuinely not miss us.

(Paul and Linda McCartney, interview for Playboy, December 1984)

Yoko: Paul began complaining that I was sitting too close to them when they were recording, and that I should be in the background. John: Paul was always gently coming up to Yoko and saying: "Why don't you keep in the background a bit more?" I didn't know what was going on. It was going on behind my back. Yoko: And I wasn't uttering a word. It wasn't a matter of my being aggressive. It was just the fact that I was sitting near to John. And we stood up to it. We just said, "No. It's simply that we just have to come together." They were trying to discourage me from attending meetings, et cetera. And I was always there. And Linda actually said that she admired that we were doing that. John: Paul even said that to me.

(John Lennon interviewed by Peter McCabe and Robert Schonfeld at the St. Regis Hotel, September 5, 1971)

Paul: They’re onto that thing. They just want to be near to each other. So I just think it’s just silly of me, or of anyone, to try and say to him, “No, you can’t,” you know. It’s like, ‘cause – okay, they’re – they’re going overboard about it, but John always does! And Yoko probably always does. So that’s their scene. You can’t go saying – you know, “Don’t go overboard about this thing. Be sensible about it. Don’t bring it to meetings.” It’s his decision, that. It’s – it’s none of our business, to start interfering in that. Even when it comes into our business, you still can’t really say much, unless – except, “Look, I don’t like it, John.” And then he can say, well, “Screw you,” or, “I like it,” or, “Well, I won’t do it so much,” or blablabla. Like, that’s the only way, you know. To tell John about that. Michael Lindsay-Hogg: Have you done that already? Paul: Well, I told him I didn’t like writing songs… with him and Yoko. Michael Lindsay-Hogg: Were you writing much more before she came around—? Paul: Oh yeah, sure. Michael Lindsay-Hogg: Or had you – cooled it a bit, then? Before her. Ringo: Before Yoko got there. Paul: Yeah, cooled it, cooled it. Sure. We’d cooled it because… not playing together. Ever since we didn’t play together… Michael Lindsay-Hogg: Onstage, you mean? Paul: Yes. With the band. Because we lived together, and we played together. We were in the same hotel, up at the same time every morning, doing this all day. And this – I mean, this, you know, it doesn’t matter what you do, [but] just as long as you’re this close all day, something grows, you know. In some ways. And when you’re not this close, only, just physically… something goes. Michael Lindsay-Hogg: Right. Paul: So then you can come together to record, and stuff, but you still sort of lose the… Actually, musically, you know, we really – we can play better than we’ve ever been able to play, you know. Like, I really think that. I think, like – we’re – we’re alright on that. It’s just that – being together thing, you know.

(Paul McCartney, Get Back sessions, 13 January, 1969)

What actually happened was, the group was getting very tense, it was looking like we were breaking up. One day, I came in and we had a meeting, and it was all Apple and business and Allen Klein, and it was getting very hairy, and no one was realy enjoying themselves. It was – we’d forgotten the music bit. It was just business. I came in one day and I said, “I think we should get back on the road, a bit like what you and I were talking about before, small band, go and do the clubs, sod it. Let’s get back to square one, let’s remember what we’re all about. Let’s get back.” And John’s actual words were, “I think you’re daft. And I wasn’t gonna tell you, but – we’re breaking the group up. I’m breaking the group up. It feels good. It feels like a divorce.” And he just sort of sat there, and all our jaws dropped.

(Paul McCartney, November, 1983, interview with DJ Roger Scott)

Wenner: You said you quit the Beatles first. John: Yes. Wenner: How? John: I said to Paul “I’m leaving.” John: I knew on the flight over to Toronto or before we went to Toronto: I told Allen I was leaving, I told Eric Clapton and Klaus that I was leaving then, but that I would probably like to use them as a group. I hadn’t decided how to do it – to have a permanent new group or what – then later on, I thought fuck, I’m not going to get stuck with another set of people, whoever they are. I announced it to myself and the people around me on the way to Toronto a few days before. And on the plane – Klein came with me – I told Allen, “It’s over.” When I got back, there were a few meetings, and Allen said well, cool it, cool it, there was a lot to do, businesswise you know, and it would not have been suitable at the time. Then we were discussing something in the office with Paul, and Paul said something or other about the Beatles doing something, and I kept saying “No, no, no” to everything he said. So it came to a point where I had to say something, of course, and Paul said, “What do you mean?” I said, “I mean the group is over, I’m leaving.” … So that’s what happened. So, like anybody when you say divorce, their face goes all sorts of colors. It’s like he knew really that this was the final thing…

(John Lennon, December 1970, interview with Jann Wenner for Rolling Stone)

PAUL: But what wasn't too clever was this idea of: 'I wasn't going to tell you till after we signed the new contract.' Good old John – he had to blurt it out. And that was it. There's not a lot you can say to, 'I'm leaving the group,' from a key member. I didn't really know what to say. We had to react to him doing it; he had control of the situation.

(The Beatles Anthology, 2000)

Allen was there, and he will remember exactly and Yoko will, but this is exactly how I see it. Allen was saying don’t tell. He didn’t want me to tell Paul even. So I said, “It’s out,” I couldn’t stop it, it came out. Paul and Allen both said that they were glad that I wasn’t going to announce it, that I wasn’t going to make an event out of it. I don’t know whether Paul said “Don’t tell anybody,” but he was darned pleased that I wasn’t going to. He said, “Oh, that means nothing really happened if you’re not going to say anything.”

(John Lennon, December 1970, interview with Jann Wenner for Rolling Stone)

And – that was it, really. And nobody quite knew what to say, and we sort of then, after that statement, we then thought, “Well… give it a couple of months. We may decide. I mean, it’s a little bit of a big act, to just break up like that. Let’s give it a couple of months. We might all just come back together.” And we talked for a couple of months, but it just was never going to be on.

(Paul McCartney, November, 1983, interview with DJ Roger Scott)

Postcard from John and Yoko to Paul from Danmark January 1970

John: George was on the session for Instant Karma, Ringo’s away and Paul’s – I dunno what he’s doing at the moment, I haven’t a clue. Interviewer: When did you last see him? John: Uh, before Toronto. I’ll see him this week actually, yeah. If you’re listening, I’m coming round.

(John Lennon interview 6th February, 1970)

Interviewer: What about the Beatles all together as a group? John: …You can’t pin me down because I haven’t got- there’s no- it’s completely open, whether we do it or not. Life is like that, whether I make another Plastic Ono album or Lennon album or anything is open you know, I don’t like to prejudge it. And I have no idea if the Beatles are working together again or not, I never did have, it was always open. If someone didn’t feel like it, that’s it. And maybe if one of us starts it off, the others will all come round and make an album you know.

(John Lennon interview 6th February, 1970)

Interviewer: Why do you think he [Paul] has lost interest in Apple? John: That’s what I want to ask him! We had a heavy scene last year as far as business was concerned and Paul got a bit fed-up with all the effort of business. I think that’s all it is. I hope so.

(John Lennon interviewed by Roy Shipston for Disc and Music Echo, February 28, 1970)

‘Anyway, I hung on for all these months wondering whether the Beatles would ever come back together again…and let’s face it I’ve been as vague as anyone, hoping that John might come around and say, “All right lads, I’m ready to go back to work…”

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

PAUL: For about three or four months, George, Ringo and I rang each other to ask: 'Well, is this it then?' It wasn't that the record company had dumped us. It was still a case of: we might get back together again. Nobody quite knew if it was just one of John's little flings, and that maybe he was going to feel the pinch in a week's time and say, 'I was only kidding.' I think John did kind of leave the door open. He'd said: 'I'm pretty much leaving the group, but…' So we held on to that thread for a few months, and then eventually we realised, 'Oh well, we're not in the band any more. That's it. It's definitely over.'

(The Beatles Anthology, 2000)

PAUL: I started thinking, 'Well, if that's the case, I had better get myself together. I can't just let John control the situation and dump us as if we're the jilted girlfriends.'

(The Beatles Anthology, 2000)

‘John’s in love with Yoko, and he’s no longer in love with the other three of us. And let’s face it, we were in love with the Beatles as much as anyone. We’re still like brothers and we have enormous emotional ties because we were the only four that it all happened to…who went right through those ten years. I think the other three are the most honest, sincere men I have ever met. I love them. I really do.’ ‘I don’t mind being bound to them as a friend. I like that idea. I don’t mind being bound to them musically, because I like the others as musical partners. I like being in their band. But for my own sanity, we must change the business arrangements we have…’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

‘Last year John said he wanted a divorce. All right, so do I. I want to give him that divorce. I hate this trial separation because it’s just not working. Personally, I don’t think John could do the Beatles thing now. I don’t think it would be good for him.’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

‘I told John on the phone the other day that at the beginning of last year I was annoyed with him. I was jealous because of Yoko, and afraid about the break-up of a great musical partnership. It’s taken me a year to realise that they were in love. Just like Linda and me.’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

John: Well, Paul rang me up. He didn't actually tell me he'd split, he said he was putting out an album [McCartney]. He said, "I'm now doing what you and Yoko were doing last year. I understand what you were doing." All that shit. So I said, "Good luck to yer."

(John Lennon interviewed by Peter McCabe and Robert Schonfeld at the St. Regis Hotel, September 5, 1971)

I think he claims that he didn’t mean that to happen but that’s bullshit. He called me in the afternoon of that day and said, “I’m doing what you and Yoko were doing last year.” I said good, you know, because that time last year they were all looking at Yoko and me as if we were strange trying to make our life together instead of being fab, fat myths. So he rang me up that day and said I’m doing what you and Yoko are doing, I’m putting out an album, and I’m leaving the group too, he said. I said good. I was feeling a little strange, because he was saying it this time, although it was a year later, and I said “good,” because he was the one that wanted the Beatles most, and then the midnight papers came out.

(John Lennon, December 1970, interview with Jann Wenner for Rolling Stone)

Q: "Why did you decide to make a solo album?" PAUL: "Because I got a Studer four-track recording machine at home - practiced on it (playing all instruments) - liked the results, and decided to make it into an album." Q: "Were you influenced by John's adventures with the Plastic Ono Band, and Ringo's solo LP?" PAUL: "Sort of, but not really." Q: "Are all songs by Paul McCartney alone?" PAUL: "Yes sir." Q: "Will they be so credited: McCartney?" PAUL: "It's a bit daft for them to be Lennon/McCartney credited, so 'McCartney' it is." Q: "Did you enjoy working as a solo?" PAUL: "Very much. I only had me to ask for a decision, and I agreed with me. Remember Linda's on it too, so it's really a double act." … Q: "What has recording alone taught you?" PAUL: "That to make your own decisions about what you do is easy, and playing with yourself is very difficult, but satisfying." … Q: "Is this album a rest away from the Beatles or the start of a solo career?" PAUL: "Time will tell. Being a solo album means it's 'the start of a solo career…' and not being done with the Beatles means it's just a rest. So it's both." Q: "Is your break with the Beatles temporary or permanent, due to personal differences or musical ones?" PAUL: "Personal differences, business differences, musical differences, but most of all because I have a better time with my family. Temporary or permanent? I don't really know." Q: "Do you foresee a time when Lennon-McCartney becomes an active songwriting partnership again?" PAUL: "No." Q: "What do you feel about John's peace effort? The Plastic Ono Band? Giving back the MBE? Yoko's influence? Yoko?" PAUL: "I love John, and respect what he does - it doesn't really give me any pleasure." … Q: "What are your plans now? A holiday? A musical? A movie? Retirement?" PAUL: "My only plan is to grow up!"

(Paul McCartney, April 9th 1970, press release 'McCartney')

SCOTT: Did you not realize that this was going to happen to you after you’d been the one to actually do it, and say, “Right, that’s it”? PAUL: No – it’s – wrong. Wrong. Sorry. It wasn’t me, it was John. SCOTT: Well, he said it first, but he said it quietly, he didn’t let everybody know. PAUL: No no no no, but the point – what I’m talking about is, see, this is – see, I love this legend stuff, god, you know, you have to actually live with this stuff…

(Paul McCartney, November, 1983, interview with DJ Roger Scott)

Int: I asked Lee Eastman for his view of the split, and what it was that prompted Paul to file suit to dissolve the Beatles' partnership, and he said it was because John asked for a divorce. John Lennon: Because I asked for a divorce? That's a childish reason for going into court, isn't it?

(John Lennon interviewed by Peter McCabe and Robert Schonfeld at the St. Regis Hotel, September 5, 1971)

"And I've changed. The funny thing about it is that I think alot of my change has been helped by John Lennon. I sort of picked up on his lead. John had said, 'Look, I don't want to be that anymore. I'm going to be this.' And I thought, 'That's great.' I liked the fact he'd done it, and so I'll do it with my thing. He's given the okay. In England, if a partnership isn't rolling along and working -- like a marriage that isn't working-- then you have reasonable grounds to break it off. It's great! Good old British justice!

(Paul McCartney, Life Magazine, April 16, 1971)

‘… So, as a natural turn of events from looking for something to do, I found that I was enjoying working alone as much as I’d enjoyed the early days of the Beatles. I haven’t really enjoyed the Beatles in the last two years.’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

'Eventually,' McCartney recalled, 'I went and said, "I want to leave. You can all get on with Klein and everything, just let me out." Having not spoken to Lennon for several weeks, he sent him a letter that summer, pleading that the former partners 'let each other out of the trap'. As McCartney testified, Lennon 'replied with a photograph of himself and Yoko, with a balloon coming out of his mouth in which was written, "How and Why?" I replied by letter saying, "How by signing a paper which says we hereby dissolve our partnership. Why because there is no partnership." John replied on a card which said, "Get well soon. Get the other signatures and I will think about it.” Communication was at an end.’

(Peter Doggett, You Never Give Me Your Money, 2009 - P.88)

John phoned me once to try and get the Beatles back together again, after we’d broken up. And I wasn’t for it, because I thought that we’d come too far and I was too deeply hurt by it all. I thought, “Nah, what’ll happen is that we’ll get together for another three days and all hell will break loose again. Maybe we just should leave it alone.”

(Paul McCartney, November 1995 Club Sandwich interview)

Int.: … What else was Klein doing to try and lure Paul back? John Lennon: [laughs] One of his reasons for trying to get Paul back was that Paul would have forfeited his right to split by joining us again. We tried to con him into recording with us too. Allen came up with this plan. He said, "Just ring Paul and say, 'We're recording next Friday, are you coming?' " So it nearly happened. It got around that the Beatles were getting together again, because EMI heard that the Beatles had booked recording time again. But Paul would never, never do it, for anything, and now I would never do it.

(John Lennon interviewed by Peter McCabe and Robert Schonfeld at the St. Regis Hotel, September 5, 1971)

There’s no hard feelings or anything, but you just don’t hang around with your ex-wife. We’ve completely finished. ’Cos, you know, I’m just not that keen on John after all he’s done. I mean, you can be friendly with someone, and they can shit on you, and you’re just a fool if you keep friends with them. I’m not just going to lie down and let him shit on me again. I think he’s a bit daft, to tell you the truth. I talked to him about the Klein thing, and he’s so misinformed it’s ridiculous.

(Paul McCartney interviewed by student journalist Ian McNulty for the Hull University Torch, May 1972 [From The McCartney Legacy, Volume 1: 1969 – 1973 by Allan Kozinn and Adrian Sinclair, 2022)

JOHN: We’re not – we’re not fighting too much. It’s silly. You know I always remember watching the film with, uh – who was it? Not Rogers and Hammerstein. Those British people that wrote those silly operas years ago, who are they? WIGG: Gilbert and Sullivan? JOHN: Yeah, Gilbert and Sullivan. I always remember watching the film with Robert Morley and thinking, “We’ll never get to that.” [pause] And we did, which really upset me. But I never really thought we’d be so stupid. But we did. WIGG: What, like splitting like they did? JOHN: Like splitting and arguing, you know, and then they come back, and one’s in a wheelchair twenty years later— YOKO: [laughs] Yes, yes. JOHN: —and all that. [laughs; bleak] I never thought we’d come to that, because I didn’t think we were that stupid. But we were naive enough to let people come between us. And I think that’s what happened. [pause] But it was happening anyway. I don’t mean Yoko, I mean businessmen, you know. All of them. WIGG: What, do you think they were – do you think businessmen were responsible for the breakup? JOHN: Well, no, it’s like anything. When people decide to get divorced, you know, you just �� quite often you decide amicably. But then when you get your lawyers and they say, “Don’t talk to the other party unless there’s another lawyer present,” then that’s when the drift really starts happening, and then when you can’t speak to each other without a lawyer, then there’s no communication. And it’s really lawyers that make… divorces nasty. You know, if there was a nice ceremony like getting married, for divorce, then it would be much better. Even divorce of business partners. Because it wouldn’t be so nasty. But it always gets nasty because you’re never allowed to speak your own mind, you have to talk in double-dutch, you have to spend all your time with a lawyer, and you get frustrated, and you end up saying and doing things that you wouldn’t really do under normal circumstances.

(John Lennon, Yoko Ono, October, 1971, St Regis Hotel, New York, interview with David Wigg)

Q: "If you got, I don't know what the right phrase is… 'back together' now, what would be the nature of it?" JOHN: "Well, it's like saying, if you were back in your mother's womb… I don't fucking know. What can I answer? It will never happen, so there's no use contemplating it. Even is I became friends with Paul again, I'd never write with him again. There's no point. I write with Yoko because she's in the same room with me." YOKO: "And we're living together." JOHN: "So it's natural. I was living with Paul then, so I wrote with him. It's whoever you're living with. He writes with Linda. He's living with her. It's just natural."

(John Lennon, Yoko Ono, St. Regis Hotel, New York, September 5th, 1971, interview with Peter McCabe and Robert Schonfeld)

'Dear Mailbag, In order to put out of its misery the limping dog of a news story which has been dragging itself across your pages for the past year, my answer to the question, “Will The Beatles get together again?” … is no.’

(Paul McCartney, Melody Maker, August 29, 1970)

‘Just tell the people I’ve found someone I like enough to want to spend all my time with. That’s me…the home, the kids and the fireplace.’

(Paul McCartney, interview, Evening Standard, April 21-22, 1970)

+ this

+ this

+ this

+ this

[multi-fandoms-posts]

Twin Trouble

Cherik x reader

X Men Masterlist

Charles Xavier and Erik Lehnsherr are sitting together in the living room of their cozy villa. Today, they have taken on the task of looking after their twins, William and Henry, so that Y/N, their wife and the boys’ mother, can enjoy a well-deserved break. The twins, energetic three-year-olds, have the same fire in their hearts as their fathers. William has inherited his father Erik’s ability and can already use it a little. Charles senses a spark of telepathy in his son Henry, but Henry cannot yet fully utilize this ability.

“How hard can it be?” Erik asks, leaning back casually. “We’ve saved the world from destruction. Two little boys won’t bring us to our knees,” he says confidently.

Charles smiles and nods, though he secretly suspects it won’t be that easy. “They’re only three years old, Erik. What could possibly go wrong?” says Charles, but no sooner are the words out of his mouth than William and Henry are already running around the sofas, chasing each other and screaming with excitement. William is holding a toy car, which he’s flying through the air, while Henry giggles loudly and tries to grab the car from his brother.

“Dad, look at this!” William shouts proudly, crashing the car onto the coffee table. It’s just a small, harmless toy, but Erik flinches slightly as if he had felt the impact himself.

“Careful, William,” Erik says, trying to remain calm. “We don’t throw things.”

“But Dad, I’m just like you! I can make everything fly!” William beams and sends the car soaring through the air again before it crashes into a lamp, which wobbles precariously.

“William!” Charles warns this time, extending a calming hand. “Erik, we need to set some boundaries for them.”

Erik sighs deeply. “Yes, yes. I’ll handle it. William, come here.” He takes the car from his son and sits him on his lap. “We can make the car fly later together. But we don’t want to wake Mom, do we?” Erik asks.

Meanwhile, Henry has quietly sneaked out of his fathers’ sight and begun climbing onto a chair to reach the cookies on the kitchen counter. Charles notices just in time and quickly goes over to him.

“Henry, my dear, why don’t you just ask for the cookies?” Charles gently lifts his son off the chair. “You don’t have to do everything by yourself.”

“But Dad, I’m hungry!” Henry replies, looking at his father with big eyes.

“I know, sweetheart. Here, have a cookie, but we need to be patient too, okay?”

But before Charles can hand him the cookie, a loud crash comes from the living room. He hurries back to find William, who has now turned the rug in the middle of the room upside down and is crawling underneath it, while Erik desperately tries to contain the chaos.

“William, stop that! Oh, Charles, what were we thinking?” Erik runs a hand through his hair, visibly overwhelmed. William laughs, undeterred, and calls from his hiding place, “Dad, come play!”

“This won’t do,” Charles murmurs, trying to regain control. “Boys, let’s play a game that doesn’t make such a mess,” Charles calls out.

“But Dad, this is fun!” Henry protests, tugging on his father while William reappears and tips over a toy box, scattering its contents in all directions.

“Erik, we need to distract them somehow,” Charles says in desperation as Henry starts building a fortress with the toy blocks. “They need a quieter activity.”

“How about a book?” Erik suggests, though he doubts it will be the solution.

But before they can even try this idea, everything spirals out of control. William and Henry have now decided that the entire living room is their castle. Charles tries to calm the situation with his telepathic powers, but the twins are simply too wound up.

“I think we’ve overestimated ourselves,” Erik finally admits, as Henry suddenly starts crying because his fortress has collapsed, and William loudly accuses him of doing it on purpose.

“Mama! I want Mama!” Henry cries through his tears, while William joins his brother in demanding their mother.

Charles and Erik exchange helpless looks. “Maybe… maybe we should really take them to Y/N,” Charles finally suggests. “It seems only she can tame their chaos.”

Erik reluctantly nods. “You’re right. Let’s get Y/N.”

As they bring the children into their bedroom, Y/N is lying relaxed on the bed, but the twins’ loud crying has already woken her up. She smiles wearily when she sees her two sons, who immediately throw themselves into her arms.

“What’s wrong, my loves?” she asks gently, stroking their hair soothingly.

“Daddy and Daddy broke everything!” William complains, while Henry just sobs.

Y/N throws an amused glance at Charles and Erik. “Looks like you two had your hands full,” she grins slightly.

“That’s an understatement,” Erik murmurs, leaning against the door. “We thought we could give you a little rest, but…”

“They’re a handful,” adds Charles, sitting down beside Y/N and gently rubbing Henry’s back. “Maybe we’re just not as good at this as you are,” he sighs.

Y/N chuckles softly. “You did your best. But sometimes, they just need their mom.” Y/N says, giving William and Henry a kiss.

“Maybe next time… we should have a Plan B,” Erik suggests, and everyone laughs, even the twins, who have now calmed down and are content in their mother’s arms.

“Yes, that would be wise,” Charles agrees. “But until then… they’re better off with you,” Charles says, and Y/N laughs in response.

[noyasaur]

bro i am soo sick of shifting methods. i wanna be able to just close my eyes, set my intention and shift instantly to my dr. is there a way to manifest that? and if so how??

₊✩‧₊˚౨ৎ˚₊✩‧₊

hellooo anon! and yess this is 100% definitely something that is possible and i'll try and give you some advice for this and maybe some links at the end to help you out further :)

🪐 SHIFTING WITH INTENTION!

now, shifting with intention is something that is 100% possible and is really one of the only things we need to shift. setting intention is quite simple to but it's one of the things that this community overcomplicates sometimes.

intention is an action or plan we mentally decide to do, then we just do it. it's totally possible to train ourselves to close our eyes and just shift, because shifting is an innate ability inside of ourselves that we already know how to do.

even without being aware of it, like we're subconsciously shaping our reality with our assumptions, we're also simultaneously shifting every single second of our lives. however, sometimes the 'tricky' part is our mindset.

🪐 LAW OF ASSUMPTION!

in this case, one of the things you could so is use the law of assumption for this. you could create an assumption such as "i always shift to my desired reality instantly whenever i want," then following the law of assumption, you continue to persist in this belief/assumption as it is true in your imagination (4D). within your imagination, accept it as something true and is something that is something you can already do to which it reflects into your 3D, physical reality!

if you find you start out in doing this and it doesn't work at first or you find yourself having negative feelings towards this new belief, it's okay! there's ways for you to instil this assumption and belief into you until you believe in it- well, not even believing in it. until you truly know that you can do this.

robotic affirming/saturating your mind with affirmations can be an option which is basically just repeating an affirmation over and over again (this is what i sometimes do). or, i would take a moment in my day to imagine myself having this ability. and since i know that whatever i accept to be true in my imagination is my true reality, i don't need to stress and just try my best to continue living my life knowing that this is true for me. or even creating an affirmation or sub-tape of yourself repeating your desired affirmations over and over again can help you instil this new belief into you.

something you could do as well (which is something i personally do) is think of something you do regularly, or even write down a specific number and leave it lying around so whenever you do these things or come across that number, you simply just repeat whatever affirmation you want.

for example, i could write the number 7 on my laptop on a sticky note and whenever i look at that number, i would say to myself with full belief and confidence: "i am a master shifter and can shift on command whenever i want."

🪐 PRACTICING INTENTION-SETTING!

additionally, if you feel like your intention-setting isn't the best, you can always try practicing setting intention. start off with small things you 100% know you can fulfil, such as deciding to brush your teeth or intending to make toast. say whatever phrase you want as an 'intention-setting phrase' and then complete the action. then work your way up to bigger things such as intending to wake up at a certain time without an alarm clock, for instance. and then eventually, use intention to shift instantly/on command whenever you feel ready.

along with your phrase, you could even choose a certain motion like waving your arm and clapping three times to pair with your intention. so whenever you do this specific motion and affirmation, you do whatever you intend to do (and in this case, you shift).

for example, you could say/decide to yourself "i intend to brush my teeth," and then you go brush your teeth, that is an example of you setting an intention and then going to fulfil it.

🪐 EXTRA ADVICE!

and even if you set an intention to shift and you don't shift, be indifferent to it and carry on with your life. act if if you did shift and it's so easy to shift with intention, incorporating the law of assumption into it. the law of assumption NEVER fails.

working on your mindset helps too! honestly BE that person who knows they can shift on command at any time so effortlessly and easily. don't be afraid to be confident and cocky about it too, be confident and cocky about it too because you can!!! your assumptions create your reality so if you start thinking and assuming you can't shift or it's not going to work then it simply won't work. start rooting for yourself that you can do it!

but honestly, there's so many different methods and tools you can use to help with intention-setting but at the end of the day, it's all up to you to decide what's best for you and what action to take to go along this path.

and remember, setting intention is easy. don't just try to set an intention and try to it. it's as simple as setting an intention and doing it.

it's seriously can be as simple as deciding to head to bed, setting an intention and deciding that when you fall asleep you will wake up in your desired reality. or even as simple as thinking of where you want to shift to, setting an intention and just shifting. it might all seem hard to believe but that's why it's important to have faith, confidence and trust in yourself.

🪐 AFFIRMATION EXAMPLES!

I always shift to my desired reality on command.

I always shift to my desired reality whenever I want.

Why do I always shift to my desired reality whenever I want?

Why is shifting so easy for me?

How am I always shifting whenever I want?

I always shift to my desired reality when I fall asleep

I always shift to my desired reality whenever I intend to do so

I can shift realities just by setting intention

I can shift realities whenever I want to

Whenever I close my eyes and want to shift, I always shift to my desired reality

Shifting on command is so easy for me! I just say "___" and then I shift!

Why is shifting on command so easy for me?

anyways, i hope i could help and good luck with shifting! i believe in you and i know you can do this so have some confidence and faith in yourself and you got this!!! (≧◡≦) ♡

- saturn ♡

below are some links of users who have shifted on command and ways they worked out how to do it! i advise you to read these at your own pace and not overconsume it all at once.

how i started shifting on command with loa - https://aminoapps.com/c/desired/page/blog/how-i-started-shifting-on-command-with-loa/XYkm_81UguJGeKQ3ZJvk51dnbEZnZpogX

how i (kinda) taught myself to shift on command - https://aminoapps.com/c/desired/page/blog/deg-how-i-kinda-taught-myself-to-shift-on-command/47Wq_PwtYuNvwVaM5z7d835KQkoGYxQZpR

shifted home twice on command - https://aminoapps.com/c/desired/page/blog/shifted-home-twice-on-command/W5wM_8lIXulXwB8v8ebPoG5g70gp0R6oj

how i shift everytime: step by step - https://aminoapps.com/c/desired/page/blog/how-i-shift-everytime-step-by-step/W5wM_8lIXu7L7YqwmY0LwoYMeG7JXjD6Y

i taught myself how to shift on command - https://aminoapps.com/c/desired/page/blog/i-taught-myself-how-to-shift-on-command/W5wM_8lIXuR3nKRalW40VNLGr3d1zqY4Yw

[taintedbenevolence]

synopsis. you don't know anything about scar or the fractsidus for unexplained reasons. the overseer decides to change that.

pairing. yandere scar / medical gn reader

notations. requested by @sarcastic-cookie.

"I'm sorry, but.. who are you?"

. . .

You don't know about him? Not a smidge? Oh, no no no, that just won't do.

Scar blinks perplexedly, his ever eager smile only slightly faltering at your words. What do you mean 'who are you'?

Have you no conscience of him? Scar? The Fractsidus Overseer? Madman of madmen? My, seems your head really has been up in the clouds.

What next breaks the silence is a scoff, followed by a string of amused laughter.

"Who am I? [Name], darling, I'm sure you know the answer to your own question," he chides with a sardonic smile.

He really hopes you do, but with the way your eyes gaze at him almost curiously tells him otherwise, which only serves to irritate him.

But he also realizes that this is an opportunity. You haven't heard of the atrocities the Fractsidus have done. You don't know of him, or any of his maniacal habits.

In a way, that fact is almost charming in its own manner. You make for the perfect subject to be twisted right under his wing.

He's enchanted by the thought of it. Less than ten minutes ago, you had healed his wounds without sparing any thought of who he was. Funny.

"Does the Fractsidus ring a bell?" He drawls, tilting his head ever slightly as he gazes at you with his persistent smile, now just a little less mocking than it was previously.

Only a little less.

But your gaze signals that you haven't heard shit of his organization. It makes him want to laugh.

Never in his lifetime did he ever expect to find someone like you.

"Well, aren't you such a curious case?" he muses soon after, leaning into your face.

"Let me ask a different question, then."

You say nothing, only slightly put off by his proximity. "You know about Tacet Discords and the Lament, yes?"

You nod.

"At least that you do," he murmurs to himself with a hint of mocking amusement. "Let me open up your mind. Humans have an excellent ability to adapt to their circumstances."

"You can throw them just about anywhere, and even with losses, they'll find solutions," he continues, pausing slightly. "Yet after the Lament occurred, it seems that process has reached a stop."

Quite frankly, you just wanted to be on your way and go home, but you supposed it couldn't hurt to hear his blabbering for a few more minutes.

His talk was like that of a history class, but what he said next drew your attention.

"And so, wouldn't causing another catastrophe, a Lament, allow us to evolve into a greater form of ourselves?"

What?

That is the first word that leaves your mouth without thinking. He smiles. "Ah, so that caught your attention, did it? Let me ask you, aren't you bored of this monotonous cycle of stability? Wouldn't a little change be better?"

He extends his hand, a black, sizzling card with flames dancing around in between his gloved fingers.

"Join the Fractsidus, [Name]. Embrace what's coming."

You shake your head, brows furrowed slightly. "I'm fine," you muster, cut off as the thin paper in his hand flies to your wrist, searing your skin, as he kneels to your level, still smiling while you cry out at the sharp, stinging sensation.

"You misunderstand, sweetheart," he laughs, the grip on your shoulder tightening. "I wasn't asking."

[mrs-stans]

Meet Sebastian Stan, the actor who plays Donald Trump in The Apprentice

From Gossip Girl to Marvel Studios, to more independent productions: Sebastian Stan's career has been a roller coaster ride. During his visit to the Deauville American Film Festival, Vogue met the actor, who at 42 years old won a Hollywood Rising-Star Award.

BY LOLITA MANG

On October 9, Sebastian Stan will be Donald Trump in The Apprentice. Some know him for his role as Carter Baizen in Gossip Girl. Others, for that of the Winter Soldier in Marvel productions. But recently, the American actor, of Romanian origin, has ventured into more independent fiction, which sheds a new light on his career. At the Deauville American Film Festival, he came to present A Different Man by Aaron Schimberg, in which he plays Edward, a young disabled actor who decides to change his appearance to, he believes at the time, improve his life. On the contrary, this transformation marks the beginning of his fall. An antagonist role such as he has long played on our screens, and which he continues in The Apprentice, presented in May 2024 at the Cannes Film Festival, and directed by filmmaker Ali Abbasi. So many elements that made us want to talk with the 42-year-old actor during his visit to Normandy, where he was awarded the Hollywood Rising-Star Award. As proof of the new direction taken in his career, today considered by the proponents of European cinema, perhaps, let's confess, more snobbish than their American compatriots.

Vogue. Gossip Girl, The Covenant, The Apprentice or even Captain America: The Winter Soldier … Your filmography is full of antagonists!

Sebastian Stan: A lot of things came to me, other roles, I pursued them. What I am certain of is that I never wanted just one type of role. I wouldn't go so far as to say that I refuse the more traditional hero roles, which I also find very interesting, even difficult in some ways. But it's true, I've always been curious about the idea of playing complex characters, full of flaws. Sometimes, they are the antagonists. Often even! What interests me in human nature is the duality. We can be extremely good to each other, as we can become horribly evil. Life is more complex than that, there are not good guys on one side, and bad guys on the other. Each of us is capable of the best as well as the worst. The antagonists, in my films, offered a great potential for acting that I enjoyed exploring.

Even Edward, your character in A Different Man, seems consumed by envy.

Probably the most complicated character I've ever played! But he's still so realistic in so many ways. I was just talking about this: I hope a lot of people get a chance to see this movie because it's really about acceptance and truth. Someone asked me what I think are the most important human characteristics. I said: values, the relationship we have with ourselves, and how we treat others. When I look at younger generations growing up today, especially with social media, people are almost forced to be followers. Fewer and fewer people are brave enough to express their voices in a unique way to fight against conformity. When you look at a character like Edward, you understand that better. We've all lied to ourselves at some point in our lives. We've all wanted things we couldn't have. We've all envied the person next to us. I wouldn't go so far as to say that this film is a fable, but it has this ability to make us look inside ourselves, and ask ourselves: "What makes me different?" Rather than trying to be things that we are not.

For the first time, with A Different Man, you are putting on the producer's shoes. Why?

I found myself much more invested in the film. It was a very unique experience, which I had not anticipated, I must admit. When I met Aaron Schimberg, the director, at the very beginning of the process, we formed a great connection, and we tried to sell the film together here and there. He welcomed me with open arms in this collaboration, included me in all the conversations about the feasibility of the project. For example, I was the one who suggested that he watch the film Julie (in 12 chapters) because I think Renate Reinsve is incredible in it. I was even able to help with the prosthetics that are used in the film, as well as on the shooting. Let's be honest: it was a complicated shoot, to do in a very short time. Only about twenty days. As an actor, I worked harder, I didn't count my hours. As a producer, I helped Aaron Schimberg make the film as he had in mind. I learned a lot from A Different Man, that's for sure.

Does this mean you're going to try it again?

Oh yes! There are several projects that I have my eye on at the moment… But it’s very difficult to make films, which you probably know here in France. A film like A Different Man, honestly, if A24 studios hadn’t intervened, I’m not sure we would have managed to make it. The United States is not like France or the rest of Europe: there is not the same support allocated to the film industry from institutions. There are no dedicated funds, it’s up to you to manage on your own. When you fight for a film, in addition to playing in it as an actor, it’s both exhausting, but terribly rewarding.

It’s a role for which you were awarded a prize at the Berlinale , and tonight, you’re going to receive a Hollywood Rising-Star Award here in Deauville. At 42! That’s joyful!

I know! I'm a 42-year-old emerging actor, I should say that in my speech... The thing with this industry is that you're constantly growing. It's true, I'm 42, but for the first time, I feel like I'm learning very important things, that I wish I had known much earlier! It was a strange year for me, between the Berlinale, the Cannes Film Festival, Deauville ... For my two films, The Apprentice and A Different Man, I felt real support from the European festivals, very prestigious ones at that. It was very special for me who had never experienced that before. And then I have immense respect for European cinema, which for me is synonymous with real work and authenticity. Here, if people don't like the films, they're not afraid to say so! So that my films have been so well received here, it means a lot.

You are European yourself, you grew up between Austria and Romania…

That’s right. I lived in Romania for the first eight years of my life, and then in Vienna for four years. Coming to the United States in the mid-1990s was a turning point in my life. There, I had opportunities that I would never have had in Romania. That’s why I’m so interested in the idea of the American dream, which is reflected in many of my films. A Different Man and The Apprentice both explore it, in their own way. I think the central question of both of those works is: “When is enough enough? How far can we go to get what we want? Why do we always want to win?” Coming from Europe, where the philosophy is almost the opposite of that, helped me in many ways. I don’t know if I would have approached my roles in the same way.

In A Different Man , you don't speak much, but the physicality of the role is evident. How did you work on it?

Luckily, I was there from the beginning of the shoot. Our makeup artist, Michael Marino , who was working multiple shoots at the same time, would put the prosthetics on me very early in the morning. So I had this time before the shoot where I would walk around the streets of New York with this face that is not mine, and see the reactions of the people around me. It was scary, and enriching in many ways. It helped me understand what it meant to live in the shoes of a man like Adam Pearson, because I wouldn't have been able to realize it otherwise. Adam was very honest with me and talked to me a lot about his experiences, which helped me a lot. And then as an actor, I myself live this strange phenomenon of being recognized on the street every day. I don't have a private life. I sometimes feel like I'm some kind of public property: people can film me and do pretty much whatever they want.

Let’s talk a little bit about the Donald Trump you play on The Apprentice . How does one prepare for such a role?

Playing a real person has its pros and cons. The advantage, with people as famous as him, is the amount of archives available. Videos, articles, documentaries… you have plenty to study the character! But there is a problem: you have to find a place to insert yourself, as an actor. A real challenge, which I like to welcome without really knowing if I will succeed. That is part of the problem that faces me! But that is precisely the reason that makes me want to take on this kind of challenge. Telling myself that I can't do something only redoubles my desire to succeed. When you play a completely fictional character like Edward, it is up to you to build his story. How did he get there? That is what I am constantly looking for.

The Apprentice by Ali Abbasi with Sebastian Stan and Jeremy Strong, from October 9, 2024 in theaters.

A Different Man by Aaron Schimberg with Sebastian Stan, Adam Pearson and Renate Reinsve, coming soon.

[gay-dorito-dust]

Hii!!! I love your work so much!!! I was wondering if you could do a hurt/comfort with Miguel O’hara where him and the reader get into an argument over something (you can choose what) and maybe where he has to apologize to the reader. I Love angst that ends in fluff!!! ❤️❤️❤️

You and Miguel fought like every other couple but the most recent fight has to be one of the worst in your relationship. You understood that Miguel was a born natural protector, especially when it comes down to the people that he loves, so much to the point that he’s hightailing anyone who threatens to tear apart the relationships he treasured on all fours with a crazed look in his scarlet eyes.

You could never fault him for being that way with everything he’s ever been through but it does however become somewhat difficult to excuse when he’s practically breathing down your neck 24/7, partnering up with you on missions that he knows you can do on your own but felt that you might need the back up, or how his emotions seemed to change as though he was having a hard time deciding whether or not to act as your boyfriend or the leader of the Spider-Society.

You loved Miguel, deeply and truly but you couldn’t help to think that sometimes he felt more so your boss then he did your boyfriend but you just didn’t know how to bring that up with him; fortunately for you, the situation did arise but unfortunately it came from an argument relating to your most recent mission. ‘I had it handled Miguel and then you had to go and take my anomaly, my capture, you had to completely take over my mission that was assigned to me and me alone to pursue!’ You ranted as you got back home, peeved off by the fact that once again your solo mission became and impromptu duo mission, because of Miguel’s incompetence in seeing that you were more then well trained within your field of expertise.

‘I was just trying to-‘ Miguel started

‘Protect me, I know.’ You interrupted bitterly. ‘I’m thankful for that but it happens so frequently that I’m starting to think that you don’t have any semblance of trust in me nor my abilities in getting the job done.’ You added on as you continued to say everything you’ve been meaning to say for a long while, saying the things that have been long overdue, and how much it hurt to keep silent about something for so long that it starts to feel as though it’s not only effecting you mentally but physically and emotionally also. Miguel didn’t know that this was how you truly felt and felt down -more so with himself then with you- with that he wasn’t able to see how his overbearing and protective nature had made dwindled down your self confidence until it became self doubt.

‘Why didn’t you tell me?’ Miguel asked, voice soft and vulnerable, ‘we promised to tell each other when either of us get like this, not drown ourselves in it.’ You inhaled unevenly as tears brims your eyes as you began to tug at your clothing out of anxious habit, ‘I just didn’t want to my fears to be proven right, I didn’t want to be viewed as a burden by the person I love most.’ You croaked as the first completes of tears began to rain down your cheeks. ‘Y/n.’ Miguel began as he slowly made his way to your side, his hands already reaching out to cradle your body against his chest, tucking your head protectively under his chin as his muscular build acted as to shield you from the lives you both lived outside.

‘There’s no one I trust more then you, I’m sorry I’ve made you feel that way and this is now way shape or form an attempt in justifying my actions but whenever I see you go out there and do what you do, I become terrified.’ He confesses and you peak your head out from under his chin so you could see his tired but adoring eyes look back at you; Miguel’s eyes were your favourite feature of his because of how expressive they are that even he could express his innermost feelings without the need to verbalise it. And in that moment you could see a multitude of emotions fighting inside him, guilt for not being able to see your struggles sooner, anger at himself for not being there when you so desperately needed his comfort, and regret for the times where he implanted doubt within your mind.

‘What do you mean by that?’ You asked, cupping his face within your hands and watching as Miguel practically fell apart in your touch as he pressed more of his face into your palms, his eyes never once leaving yours whilst doing so. ‘I love everything once because I wasn’t ready,’ he says, ‘and I’m not prepared for loosing everything again because I’ve became hyperaware that even the smallest of shifts have greater impacts down the line, think of it as a kind of butterfly or domino effect- but that isn’t what I’m trying to say.’ Miguel cuts himself off when he notes that he was on the verge of rambling and composed himself before getting back to the point. ‘What I’m trying to say is that, you’re amazing at what you do and you shouldn’t allow anyone to make you think otherwise, not even me. You amaze me each and every time but deep down I worry that one day I’ll end up repeating my past and loose you in the process and if I loose you…I don’t know how I could cope and instead of being upfront about it with you, I decided to double down on my fear and became overbearing and overprotective of you.’

Miguel didn’t realise that he had been crying until he felt your thumbs come up to wipe them from under his eyes nor did he notice how blurred his vision became with unshed tears until he clocked the fact that he could barely make out what was in front of him. He never allowed himself to become vulnerable but with you it was an entirely different story for he knew you wouldn’t think differently of him for being open about the anguish he held closely to his heart despite how unhealthy it was to his health. ‘Oh Miguel,’ you cooed, wiping away another tear from his beautifully sculptured face; This Greek god of a man was reduced to nothing but a fallen angel weeping over the loss of his wings and all you could do was cry with him in solidarity.

you were both hurting but by doing so you were also healing together by opening up to one another about things you originally thought you’d never discuss. ‘You aren’t to blame for what happened, you did all you could, you’re a hero.’ Miguel whimpered as he held onto you tighter, burrowing his face against your neck, where it became wet with his tears smearing across the skin there. ‘I don’t blame you for wanting to look out for me either for I know now that you weren’t intentionally trying to make me feel less than. I can’t make your fear go away but I can certainly try and make you believe that I’m not going anywhere, not with you.’ You whispered your promises into his ear as you held him against you, it was your turn to protect Miguel and you’d be sure to kiss his every scar that marked his skin and soul if it was the last thing you did.

[riverssongs13]

First, let's just get this out of the way for I'm still seething about the storytelling mess that was Familiar By Thy Side (and parts of Darkest Hour). I want to appreciate the fact that this masterpiece of an episode is more than 10 minutes shorter than the previous one, which had so many unnecessary parts; this half hour of an emotional roller coaster ride has done so much more to progress the ENTIRE show's plot. We finally pieced the puzzle of Lilia's kookiness and her "jumps". We got so much more Teen lore from this than the Teen episode itself. We now have resolution to all the (previous) trials, Alice's… state, Rio's real identity, Jen's importance… We even dealt with the damned Salem Seven as a bonus. So many things happened but it was not overwhelming at all. If this were a suit I'd say it's bespoke indeed.

Now, what I truly loved about this episode is how it was able to paint a non-linear narrative with so much finesse, with each twist and turn taking us to different parts of a single timeline, without making it nauseating, all while pulling the threads to secure the stitches in place and make sure the seams are tight without it puckering. Like embroidery that adds patterns on different areas, we finally sew it all up to see the final tapestry.

The whole fandom has definitely theorised all about how Lilia's weird "inserts" are connected, each episode giving us more pieces to make sense of. But of course it feels infinitely better seeing it ourselves, and how they make up a whole linear timeline in Lilia's mind-POV, while Agatha and the gang are left confused with the breadcrumbs of phrases left for them at different intervals. I absolutely loved how this time discrepancy was used. No more boring-ass unnecessary flashbacks filled with drivel. This time, the past is completely enmeshed with the present, and is used to decide on what's needed to be done to get the desirable future outcome.

This "time is non-linear, it exists simultaneously at all points" phenomenon has certainly been used in countless other media (Fringe and its Observers come to mind), but I love how actively Lilia used it. Her being in that tea-leaf reading lesson held so much significance to her as a Trial Subject, as a Coven Member, and as an Individual Witch. Her time in the gazebo reminds me of The Time Traveller's Wife; existing in all the times, getting sent and pulled back and sent again.

That gazebo was both her prison and her escape. Being stuck in that place made her think her life is a rigid series of unfortunate events, and she can't do anything but be helpless in the face of tragedies that befall everyone she ever cares about. Having had the power to see the future yet be unable to prevent her original coven's death perpetuated her self-depreciation, thus she spent 450-ish years giving in to the usual witchy tropes and misconceptions (the palm reading and tarot tents and the minor scams here and there, but a girl's got bills, ya know), even if it hurts her in the process.

So then, prison AND escape, right? Being tethered to that specific point in time, with her mentor guiding her path to self-rediscovery, was crucial to Lilia's ability to escape her shackles, because she needed to realise she put the shackles on herself. Having a powerful but dangerous gift and being actively afraid of it is quite the self-fulfilling prophecy of doom. You're scared so you stop using it altogether but then you can't control it so all that suppression does more harm than good (looking at you, Charles. What you did to Jean was cowardice. Also, hello? Elsa??). Lilia exclaiming "I was bad at tea leaves" at her literal first day of training might just have been the reason why she spent her life believing she's bad at it. She planted the very idea in her brain (Inception? lol).

This whole forward and back travel from the Road to the Gazebo is instrumental to Lilia coming to terms with the idea that time for her does not move in a straight line. Her confession to Jen, paired with her mentor's wise words, makes her admit that she does, in fact, have a problem. First step to recovery and all that. This then leads to her unravelling the next layer of her issues, which is death to all she holds dear. Granted, she has seen so much death within her lifetime. 450 years of life would do that to you. Something she cannot possibly control.

But that's the thing, isn't it? She was never supposed to control anything. Her job as a Trial Subject, a Coven Member, and an Individual Witch is to SEE. See the trial with the eyes of 450 years simultaneously happening, the heart of someone who wants to protect her coven, and the power of a witch who can walk through the threads of time's tapestry. Once she sees that, and once she accepts that Death is not a Bad Thing, and once she lets go of control, the pieces started to fall into place.

Which then makes her SEE that she's the Traveller. This tarot reading is about her, and she has been sprinkling the answers throughout her timeline, waiting to be plucked by the Awakened Calderu of Now. Give credence to who she is, and her power that Must Not Be Feared. Recognition that she needs her Coven in order to succeed. Acceptance for what she has lost along the way. Welcoming the path ahead no matter where it leads her. Embracing heartbreak, sorrow, and grief. Undertaking miraculous transformation. And finally, the beginning of the end, the end of the beginning.

How fitting is it that we see the start and realise it was actually the end? The fall, initially thought as something dangerous, was in fact just part of the journey. Death, once feared, now embraced like an old friend. Something that perpetuates the cycle. The past, shrouded in darkness, now illuminating the path ahead.

So now we see, she wasn't actually falling. If you ask me, she was flying. Flying to that gazebo in a garden somewhere in Sicily, 450 years ago, about to start her very first lesson in reading tea leaves. Her mentor saying, "Let us begin", and her ultimately saying, "I loved being a witch".

[lightsovermonaco]

Wedding Date, Part 1 (Pato O'Ward)

an: requests and comments always welcome! There will be at least two more parts to this series.

wc: 4900

Summary: Pato is in need of a wedding date, desperately. Despite hating him, and despite him knowing it, he asks you to be his date and you agree.

"I need a date to this wedding next weekend."

"So? Take your sister." You don't bother to look up from the magazine you flip through. Pato is always in need of a date for something and he always takes his sister. If she's busy, he'll take his mother, or a cousin, or another relative until he's exhausted all options. You're not entirely sure why he's pacing in his trailer now like a caged beast, because even if by some rarity they were all busy, there's a slew of women around the paddock that would jump at the chance to go with him... just not you.

Your distaste of Pato began long before you were ‘promoted’ to the glamorous role of being his pseudo-handler. His flirtatious personality, womanizing one liners and general flippant humor surrounding racing rubs you the wrong way. Racing is a serious business and should be treated as such. It's his lifeblood, not a hobby. Some days you question his dedication, honestly- but voicing said opinions isn't your place. 

Oh, and women. He loves women, too. And the occasional man- You don’t judge him on that front, but god would it kill him to be discreet?

Besides- he's so loud, physically as well as mentally. Being around Pato drains your social battery quicker than a meeting with Zac Brown, and that's saying something. All the Mexican driver does is yap- and not in the fun, gossipy way that people do with their friends.  

In short, you cannot stand the man and would rather walk a mile over hot coals than spend an unnecessary minute with him. 

However, unfortunately for you, your exemplary ability to separate your personal feelings from your work made you the prime candidate for being an assistant. If you had to pinpoint the core tenet of your day to day life, it was the importance of separating church and state; wherein this case, the church is a race track and the state is yourself. People like that apparently, because multiple of your colleagues recommended you for your current role when the job opened up. 

Cue your transition to being Pato's personal therapist slash coordinator slash problem solver. 

Pato scoffs and throws his hands up like a child denied their favorite treat, "so she's busy. And last time I took her to a wedding, she made me leave so early I didn't even get cake! It was horrible.”

"Honestly, from what I heard that's not her fault. Who waits until eleven pm to serve the wedding cake?"

Pato pauses, his half undone race suit swaying slightly at the waist as he turns to wag a finger at you "Someone who doesn't want to interrupt the party, that's who. We were all out on the dance floor, having fun and enjoying ourselves!” You roll your eyes, but Pato either doesn't notice or doesnt care as he continues, “And I'm getting kinda sick of having her at every event... she likes to steal the spotlight."

"Here we go," you mumble, flipping the page and preparing for a long winded Pato-themed rant. 

“I love her, but when I'm the one that's invited in the first place I don't want to leave early. I want to enjoy it, you know? This is Felix's wedding, I want to bring someone fun… hey!” Pato snaps his fingers and turns to you with wide eyes and a grin that has you instantly on edge. You know that face; it means he's got a wild idea, particularly one that requires your assistance to complete. 

“Who am I messaging,” you deadpan as you pull out your phone. No doubt there's some obscure influencer that he's set his eyes on. It'll be up to you then to set up the date (using Pato's Instagram of course, to which you have full access), arrange her flights, ensure her dress is suitable so as to not cause a scandal, and secure two hotel rooms for however long Pato decides his holiday should be. 

“No one! No one- I was just thinking…” Pato’s eyes twinkle like stars. He rolls his bottom lip between his thumb and forefinger as he contemplates his request, until finally he says, “why don't you come with me?”

You choke on air at the absurd suggestion. A million reasons flood your mind: because it's unprofessional and because you'd rather endure nails scraping on a chalkboard until the end of time to name a few. 

“I'm not hearing a no,” Pato sing-songs as his stupid grin grows wider and wider. 

“No!” You would like to tell him to fuck off, but your self respect keeps you from doing so. “Where the hell did that insane idea come from-”

“Come on,” Pato holds his hands out in front of him like a beggar in search of pocket change. “Come with me! I'll pay for whatever dress you pick out, the hotel room, flights, everything. I'll take care of it all. Who knows,” Pato shrugs then, the corner of his mouth lifting again in a devilish smile. “Maybe you'll even have fun.”

“Uh, no. Hell no. Even if it wasn't completely unprofessional, I would lose my mind before we even got on a plane. So thanks, but no thanks to being your fake date.”

Pato throws his hands up, the action causing his black fireproofs to come free of his race suit and expose an inch or two of his stomach. Not that you notice. Or care. “Oh come on! Am I really that horrible to be around?”

“Yes,” you respond without looking up from your phone. You make a note on your calendar to have Pato's mental sanity checked before the end of the break, because clearly the music city GP has knocked something loose in his head. 

“I'll give you my race bonus next time I score points.”

That finally gives you pause. You've seen those checks, even deposited them on his behalf once or twice. Tempting, very tempting. Possibly enticing enough for you to throw all thoughts of work-life balance out the window and commit to a few days of torture.

“Can I get that offer in writing?”

**********

“This is insane.” Despite the excessive force you exert on your suitcase, you can't zip the damn thing shut. You've tried sitting on it, rearranging twice, and removing a few things that you decided you don't absolutely need. Maybe the stubborn luggage is the first of many bad omens, the start of the bad luck you've brought upon yourself by accepting Pato's bargain. Perhaps the wisest thing to do is to call him and cancel, even if doing so at the last minute makes you a bit of an ass. 

But doing so would mean you miss an all inclusive, all expenses paid trip to Copenhagen, and who could pass that up? You've never stepped foot outside the Midwest, let alone outside of the country. Passing up an opportunity like this seems wasteful. Anyone else would jump at the opportunity. You shouldn’t let your dislike of the man supplying the credit card stop you from enjoying something.

“Fucking hell,” you mumble under your breath. You can't change your mind now, not after Pato's bought you a dress that's more expensive than the one you wore to your senior prom. The guilt of leaving him to fend for himself and arrive at his best mate's wedding dateless would eat you alive. And besides, you are not returning the dress you picked out. 

“One more go. If I can't get this dumb thing closed in the next three minutes, I won't go.” You tip your head towards the ceiling, “hear that? Three minutes!” 

Your aimless skyward shout is answered by your upstairs neighbor, who stamps their foot. “Ah- sorry Miss. Underwood!” The cranky old woman that lives above you has reported you more than once for bogus reasons; you would rather not have to deal with the front office before your international trip. 

Someone, somewhere must have heard your plea and responded with much more grace than Miss. Underwood, because the suitcase zips closed near effortlessly on your next attempt. “Aha! Finally! God, that was close.”

A message pops up on your phone with near poetic timing, coming not a second after you've dramatically wiped your brow and dusted off your hands. 

I'm leaving now, should be there in about a half hour. You ready?

The idea of riding in a car with Pato alone sounds less ideal than following his strict diet for a single day. Reminding yourself that this is a professional weekend away in Europe and not a personal venture is enough to settle your nerves for now. You can be professional, no problem. Easy peasy.

Yep. I'm still fine with an Uber if you don't want to drive me.

Too late I made up my mind :) see you soon!

“Insufferable.” Dread sets in where excitement lived earlier. You aren't a hundred percent sure you can survive four days with Pato O'Ward in a foreign country. Your limits will be tested, that much you know for sure because you can count on Pato to push every available button you have in order to get a rise out of you. 

Opting for a balance between comfort and style, a simple pair of black leggings and an oversized vintage indy 500 sweater is your preferred travel outfit. Your hair you leave in your usual casual style, not bothering to put in the effort to do anything special with it when it'll likely be ruined by the time you touch down in Copenhagen. 

Pato knocks when he arrives, which seems far too polite to be correct. Part of you expected him to barge in unannounced and make your one bedroom apartment his own. “Hola bella,” he greets with a smile. His hands stay in his pockets. He doesn't invite himself in, despite you leaving the door wide open when you step away to grab your things. 

Interesting. 

“You can come in,” you call over your shoulder. “I have to finish packing up my makeup since you're here early.”

“Oh, yeah sorry. Traffic was lighter than I expected.” It’s odd seeing Pato in anything that isn’t papaya colored or decorated with some sort of racing logo. He wears a forest green hoodie with a little red heart in the center with a pair of matching sweats. It’s one of those outfits that seems cringe on the average person, but works infuriatingly well on Pato.

Pato doesn't venture further into your apartment than the three steps that are required for him to be able to close the door without it hitting him. You purse your lips and motion to the sofa as your hosting instinct takes over, “you can sit if you want. I should only be a few minutes.”

“Take your time, our flight doesn't leave for a few hours. No rush.” You hate it when Pato tips his head and smiles like that because for a split second every time you hate him a little bit less. Thankfully, it all comes back in full force when he looks away from you. 

Despite Pato’s reassurance you do rush, because the idea of him scrutinizing your place is mortifying. Like, ‘oh fuck me I forgot to wear pants to the board meeting' level of embarrassing to know that he’s out there judging your decor or wondering how you’ve shoved so much into such a tiny one bedroom apartment. Sure, it's small, but it's home and you couldn't imagine living anywhere else. While a bigger place might be nice someday, your paychecks remind you to keep your dreams in check on a biweekly basis. 

To be safe and avoid giving Pato time to linger, you sweep the contents of your vanity into a zippered bag and stuff it into your carry on. You do a final cursory lap through the attached bathroom to ensure all hair dryers, candle warmers, and taps are turned off or unplugged. Once satisfied, you drag your overweight suitcase out. 

“Okay, I think I'm ready.” 

Pato stands in your living room checking out the knock off vintage style race posters that decorate the walls. As expensive as authentic race memorabilia is, you can’t exactly afford to spend hundreds on a single slip of paper for the sake only of hanging it on a wall. Only one poster is real and that is the poster you purchased from the first race you were trackside for with Arrow. Pato points to that one with a cheeky grin, “that's the first race you worked with us, isn't it? I remember that being the first time I saw you on track.” 

“Yes, it was. Now can we go?” You shift on your feet, uncomfortable now that Pato is seeing a side of you that you don't normally share with anyone but your close friends and family. Heaven forbid he notices the family photos on the lower shelf, then you'll be mortified when he laughs at how silly you looked in your Halloween costumes when you were little. 

“Oh yeah, of course. I'm sure you're excited to get a move on!” Pato reaches for your suitcase which catches you off guard. You snatch the handle before he can. “I can help, I really don’t mind. You’re doing me a favor after all.”

Your stubborn independence does not allow you to accept unnecessary help, so you shake your head. “Sorry,” you mumble as your cheeks heat. “I can take care of it.” 

“Alright, note to self… don't be too polite or it'll set you off.” Pato winks, then holds the door for you as you both exit. He waits at the stairs while you lock up, then leads the way to the Mercedes parked at the curb. 

“Right, just the one suitcase? You've got your dress packed in here right?” Pato hefts the suitcase into the car and grins. “Actually I know the answer to that. I told you that you could've spent more on a dress. A hundred dollars? That's it?”

“I don't like wasting money,” you snap. “To some of us, that's expensive.” 

Money has been, and always will be, a touchy subject. Growing up with very little means that you now scrutinize every penny, only spending regularly on things that are strictly necessary. Your budget each month is airtight and you are always careful to save a fair amount before you so much as consider treating yourself to something off your wishlist. 

Pato holds up his hands in apology. “Wasn't trying to insult you, just trying to make conversation. You're doing me a favor here so I just wanted to make sure you got what you wanted.” 

“Right, sure.” Spinning the ring on your left index finger has become somewhat of a nervous tick for you. Pato’s eyes flick to your hands, which immediately sets you on edge. Racing drivers are an observant breed, which is something you silently curse the universe for. 

The ride to the airport is filled with awkward silences. The quiet is broken by the sound of the engine and the occasional directive from the gps on the dash. Pato’s playlist is a mix of spanish and english and you willfully ignore when he occasionally sings along under his breath. So you keep quiet with your attention locked on your phone to avoid being dragged into any small talk. 

The plane ride is more of the same: quiet and tense. Which is partially because despite you insisting on a simple, affordable coach ticket, Pato had ignored your wishes and booked both of you in business class. At least the long flight would be comfortable if nothing else. Granted it would be more enjoyable if you weren't sitting next to a five-foot-something racing driver, but beggars can't be choosers. 

“It's a long flight, so I thought I'd give you the window. The sun will be coming up when we're over Europe, and the view is always to die for. I got us seats on the left side of the plane so you can have the best photo opportunities.” 

That's the second time today that Pato has surprised you, though you would rather eat soap than admit that to his face. “I usually like the aisle, but thanks I guess. I'll probably be sleeping anyway.” 

Pato's expression is one of regret, like maybe he's realizing how insane of an idea this is. “Err, right. I guess I should've known that, considering how often we fly together.”

“We don't fly together. When we have to fly to a race, you fly business class and I sit in the back with the rest of the regular people,” you remind him without remorse. You hate when he throws his wealth in your face, like the seat you're occupying doesn't cost a month's worth of your salary. 

“Right…” 

You almost feel bad. But then you remember that Pato has everything he could ever want or need, and you’re right back to where you started. 

Despite how well you think you hide it, Pato is fully aware of your feelings toward him, or rather lack thereof. Where the relationships you nurture with your other colleagues are fun and friendly, the one you maintain with Pato is strictly professional. Seeing you pivot from laughing with Rossi- Rossi of all people- one minute, to relaying instructions to him in a mechanical voice is evidence enough of how little you think of him. 

Pato has no idea why you're so set on hating him. He has no inkling what he might have done to deserve such animosity. It seems like no matter what he does, your frosty attitude only worsens into an arctic chill. He thought that bringing you on this trip might open your eyes to the other side of him, that maybe allowing you to see what he was like outside of the track could prove to you that he wasn’t the devil that you thought he was. 

So far, no dice. You declined his invitation to join him for breakfast at the highest rated cafe in the city this morning, so he'd gone alone instead and relished the fact that not a single person asked him for a photo or shoved a scrap of paper in his face for him to sign. Once in a while it was nice to fly under the radar, to pass by hundreds of people on the street and have them be none the wiser to his achievements. 

The concept of downtime is foreign to Pato. Being alone and unbothered gave him time to ruminate, which is why he generally preferred to surround himself with a certain level of chaos. In the paddock, that generally meant entertaining himself and others by being the class clown. Cameras are everywhere on a race weekend, watching him like a bug under a magnifying glass, so he generally humored them by putting on a bit of a show. In his personal life, the chaos came from the frequent visits to his hometown where he would be surrounded by family and pets that kept him on his toes. 

Now that he has had time to reflect, Pato is beginning to see the foolishness in his impulsive decision. Asking you to be his date was arguably up there with the dumbest things he's ever done, and that's saying something considering he'd once poured honey in Rossi's boots on a race weekend. He understands now, at least partially, why you were hesitant to accept. 

It doesn't bother him, the fact that you can't stand him. Pato enjoys poking you, seeing how far he can press before you snap at him. It's his way of flirting because yes, he thinks you're gorgeous. There's no point denying it so he might as well embrace it. Perhaps his invitation was wholly selfish, his way of trying to cope with the offseason and knowing he likely wouldn’t be seeing you for weeks at a time. You would miss him as little as one might miss the sticky summer humidity, while Pato would miss you like the sun misses the moon. 

Which is fine. It's fine if you don't laugh at his jokes. It's fine if your lip curls like you've smelt rotten milk whenever he speaks and you don't think he's looking. It’s fine that you don’t spare him a second of your attention, even now when he’s brought you on a trip that he thought could be the start of some positive change. That's all fine, because it doesn't matter if you like him or not. 

Okay, on second thought, maybe it does bother him a little. 

If anything, Pato hopes that this weekend will be the start of you at least tolerating him. Salvaging a scrap of understanding from you cannot be impossible, and even if it were, Pato has defied the odds numerous times before. No one believed in him when he was coming up through the karting ranks, but he did. And he believes in himself now, that he can begin to alter your opinion of him one small gesture at a time. 

Pato unlocks his phone to message you. 

Do you have plans today? I was gonna go to a few museums and see the sights if you wanna join. Up to you!

He debates for a minute about the exclamation mark. Is it too in your face? Too cheery or forceful? Eventually he deletes it before hitting send. Better to sound nonchalant than overdo it. 

His phone remains face down on the table until he finishes his tea. Seeming too eager could be his downfall and he is determined to make this seem as casual as possible. Only once an appropriate amount of time has passed does he allow himself to read your response: sure. I guess so but I don't want to blow my entire budget in one day just fyi

That's fair, dw a lot of it is free!

I'll be ready in an hour 

An hour, Pato can keep himself busy for an hour. Popping in an earbud and exploring for a bit seems like a decent option; he spends thirty minutes listening to music and just walking with no real aim in mind. Once back at the hotel, just on time as per usual, he freshens up in his room. 

Bare bones and necessities is what Patp prefers when he travels. He doesn't like the pomp and circumstance that comes along with a suite; the hotel staff treat him differently when he stays in the expensive rooms even if they haven't the faintest clue who he is. He prefers unassuming, single bed rooms that are no fuss, no muss. And that sort of room is exactly what he booked himself in Copenhagen: low nightly rate, plain but clean white bed sheets, and a bathroom barely big enough to turn around in. 

The room Pato picked for you was this room's opposite. The queen suite was available on the website when he made the last minute reservation and he had not seen any reason not to treat you to a taste of luxury for the weekend. Silk sheets, a fully decorated sitting room, and walk in waterfall shower were only the tip of the iceberg. Included in the weekend rate was a night at the in-house spa if you chose to use it. And while Pato is quite certain you won't bother, he thinks the choice might be nice nonetheless.

Pato had selected that room without a second thought and gone as far as requesting your favorite drinks be stocked up in the suite fridge for your arrival. Since arriving last night, you haven't mentioned the room. Which doesn't matter, because Pato doesn't need the praise; in fact, kind words would feel slightly out of place from you. 

The elevator takes Pato to the top floor, where he finds your room at the end of the hall. It's not hard to find, considering there's three doors in the entire hallway. Pato knocks twice, then steps back to wait. 

“Yeah, coming,” comes your muffled call from inside. The brass room number plate on the door reflects a slightly distorted version of Pato. He can't make a decent impression looking wonky with his hair a mess; how unattractive is hair that stands up on end in every which way? Pato runs his fingers through his hair to loosen up the extra putty he'd applied. The door opens suddenly and you catch him red handed, one hand in his hair and the other holding his phone. 

Perfect.

“I guess I'm never escaping the vanity accusations huh?” Pato's laugh is shaky, awkward even to his own ears. He drops his hands and does his best not to let his gaze wander over you, as tempting as it is. He's determined to make a good impression this weekend, and blatantly checking you out probably wouldn't help his case. 

“Nope, never.” You shake your head and let the oak door click shut behind you. “Well then, you're the man with the plan. Have you been to Copenhagen before or are you just going to the typical tourist places?”

“Hold on, hold on. I think that's the most you've ever said to me at once that wasn't work related. I need a second to process this- you have a personality? This is big news!” Pato grins, hoping to ease into things. He knows it's bad when you don't immediately return the smile. 

Pato doesn't really tend to think around you,  hence the near constant shitty jokes. His brain takes a break from its normal high strung, ping ponging thoughts and empties itself of unnecessary noise. When in your presence, Pato is unfiltered and unapologetically himself. 

When you started at McLaren, he quickly learned that you were safe. Judgment was not something you leveled lightly upon someone. Your prickly exterior was a way of ensuring you don't let the wrong people get close enough to hurt you, but Pato knows that's not all of it. Regardless of how you presented yourself to the world, Pato knows you care deeply for those you choose to include in your life. He also knows you'll always be there when he fails, a steady shoulder for him to lean on- which is more than he can say about many of his previous driver assistants. 

Being comfortable is freeing, but it also gets him in trouble with you more often than he would like. Judging by your current deadpan, he's qualified deadlast as far as ‘appropriately timed humor’ is concerned. “That was a joke,” Pato says after a pause that stretches for an eternity.”

“I am aware that was your attempt at being funny.” You cross your arms and Pato notes the tiny papaya indy car embroidered on the cuff of your cream sweater. “Has anyone ever told you that you're insufferable? You know what, on second thought maybe I'll just stay here.” 

All at once, Pato flies through fear, regret and guilt in the half second it takes you to turn towards the door. He fucks everything up, doesnt he? Gets a good thing going for once, finally convinces you to spend some one on one time with him, and he winds up spilling the marbles. This isn't racing; he can't act on instinct and expect the best outcome. He has to be calculated, hold his tongue and not speak until he's sure the words are the one he wants to say. 

“No wait.” Pato’s fingers brush your arm to stop you. “Look, I'm just trying to be sure you enjoy your time here. I've never been here before,” he adds in answer to your earlier question. “I'm as much of a tourist as you are, so having an exploration partner would be good.” 

“I don't really feel like doing anything with you if you're going to be a dick. No, let me speak,” you say when he opens his mouth. “No macho bullshit alright? Just be normal. I don't need all the bravado and the jokes that make me feel like shit. Just… be Pato, alright? Be yourself for once.”

Pato knows he deserves all that and more. You let him off easy, really. He's been focused on creating a persona instead of being real with you. So Pato nods, centering himself like Rossi taught him last season. Once he feels like himself again some handful of breaths later, he offers you a genuine smile. 

“Let me start again. They have an aquarium here,” Pato says, voice light. Without willing it, a half smile appears on his lips when you tip your head ever so slightly, indicating for him to continue. “I love aquariums, sea otters are my favorite animal. And the jellyfish are cute too! With their squishy bodies and the tentacles-”

There he goes again, his mouth racing a lap ahead of his good sense. Pato's apologetic wince isn't a proper apology, but you accept it nonetheless and throw him a bone that he'll happily chew on. 

“I like aquariums. That sounds like it could be fun.”

[utapri-translations-uuuu]

ASSMU Behind the Stage Ver.A [Tokiya, Ren, Camus, Eiichi, Van] - Translation

Please do not repost/retranslate without permission.

Ren: Oh, it's already this late? We got so caught up in our conversation. Since our interpretation of the song has deepened, shall we take a break?

Camus: Yeah. Just thinking about it won't help generate good ideas, so we need to take in some sugar and give our minds a rest.

Van: Alright, in that case, I'll pour drinks for everyone! Oh, you two over there, you’re staring at the sheet music with such serious faces. What’s wrong?

Tokiya: I have felt this since we received the sheet music, but the part entrusted to us is indeed very important.

Eiichi: The song is structured to begin with our voices, without any prelude, so the listener’s first impression will be deeply influenced by our delivery.

Ren: There's a good kind of pressure, right? I'm also curious about the ladies' reaction, and every time I sing it to myself, it makes me even more eager to stand on stage.

Tokiya: That's true. However, we can't just enjoy ourselves. It will be a test of our abilities.

Eiichi: I suppose we’ll have to decide wisely.

Van: Well, it's important to stay focused, but taking breaks is also necessary. Here’s yours, Toki-chan.

Tokiya: Toki-chan? … No, never mind. Thank you very much.

Eiichi: You were saying you needed sugar, right? Camus, help yourself to the refreshments I brought. No need to hold back. Take as much as you want.

Van: I’m good, but I'm sure they’re delicious especially since Ei-chan put a lot of effort into choosing them!

Camus: Alright.

Tokiya: Actually, I also brought some sweets to share. I hope they suit everyone's taste.

Camus: I’ll accept.

Ren: (chuckles) More than anything, we want to be able to work together in harmony like this.

Van: Ren-chan! That was a great line, as usual. Let's keep communicating more and more! (puts an arm around Ren)

Ren: (laughing in surprise) Hey. I didn’t say you had to go as far as to put your arm around my shoulder.

Van: Now, now. By the time of the actual performance, we might even get so close that we surprise the Angels! No, maybe even the members would be surprised. You too, Toki-chan!

Tokiya: U-Uh… Um…

Ren: You're still as high-energy as always.

Eiichi: Even rivals can be comrades at times. Let's aim to build a good relationship, beyond the singing lessons.

Camus: Hmph. What’s the point in going out of your way to liven up the conversation? We can perform just fine without all that unnecessary back and forth.

Ren: Does this mean you acknowledge the abilities of the members here? (chuckles) But, it’s always better to have a good relationship, right?

Van: That’s right, Camus-chan!

Camus: … Camus-chan?

Van: How about we take this time to chat until the sugar you put in your cup of tea dissolves completely? After all, we've got just the right members here for exchanging information.

Tokiya: If you have any unique training methods, I would like to take this opportunity to learn about them.

Eiichi: Your stoicism surpasses what I heard. It seems like it will be a beneficial time.

Camus: Information, huh? I find it hard to believe that there’s something I don’t know, but if you’re willing to lay your cards on the table, I’ll listen.

Van: No, no. We’ll have Camus-chan join the conversation too. Let's start with a light topic first. Relating to the snacks we have here, how about we discuss everyone's favorite types of sweets?

Camus: Oh?

Tokiya: That's wonderful as well. I'd like to use that information as a reference for future gatherings.

Ren: If it's something healthy, will you eat it too, Icchi?

Tokiya: Please don’t worry about it. I’m looking forward to hearing your selection.

Eiichi: I see. That goodwill between both of you is truly good! I'm sure it has an impact on your performance.

Tokiya: I think you might be exaggerating a bit.

Van: Camus-chan, you already ate the snacks from earlier!? That was quick! Were you hungry, by any chance?

Camus: This much is nothing. However, I still haven't finished my tea.

Eiichi: Hmm. You have something you want to talk about, don't you? Certainly, you should have an advantage when it comes to sweets.

Camus: I didn’t say that much. I simply meant I would have some more sweets.

Ren: (chuckles) You’re not being honest. In that case, let's all have a relaxing tea time together for a little while longer.

[maple-the-awesome]

Tiny Little Details ||

Pairing: Four x GN Reader

Words: 1,781

Requested by @pinkalmondcake: May I please get some four fluff of that's alright🥹He's just so cute and I was thinking about reader discovering a small minish four when they landed in his world (he wanted to check on the minish) and the reader didn't know he could be so smol and four becomes embarassed seeing he likes the reader (and the reader is a bit taller than him seeing he's a small bean anyway XD) and when they discover they like each other than as the reader somewhat confesses, then they pick him up in their hand and he's blushing and everything. He also gives them a peck on the nose and hugs their cheek while squealing on the inside! (sorry that this is a longish ask!) And I hope it was fine to ask too! ^.^ I love the parts to your crush and your new part for sacrificing ourselves for the chain! ❤️ Four is officially the most adorable Link and that must not be forgotten🥺I mean, where else are you gonna find a better boyfriend than one you can literally just keep in your pocket? Here you go, hun!

Zelda Masterlist 💙 Fandom Masterlist

Minish are rather generous, taking it upon themselves to hide little goodies in the grass for travelers to find like extra hearts or rupees, but they also host the sweetest little tea parties made up of droplets of tea and crumbs of cookies which are perfectly filling for anyone matching their size.

It's a much needed break, Four decided some time ago. Away from the stress of trying to keep Hyrule (and numerous versions of it) safe while also maintaining his own sanity while faced with eight other heroes, a few of whom can be a bit much to deal with at times, as he's learned. 

For the most part, they all get along well, likely due to their shared destinies and deeper understandings towards each other's struggles, yet that doesn't mean they all share the same personalities. It isn't constant, although also not rare for some to butt heads here and there, leading to raised tensions as well as the need for fresh air like in Four's current case.

When he huffs a bit too loud, he must reassure his Minish friends that everything's fine, even asking for another drop of tea to fill his miniature cup, however it's difficult not to feel new dismay at the sight of a golden sky above. 

Truthfully, Four had cooled down a while ago, already letting his anger towards the other boys roll off his shoulders, but that doesn't mean he wants this peaceful moment to end any quicker. If it were up to him, he'd stay with the Minish longer, trading merry stories about his recent adventures that almost take away from the dark energy looming in the air. Alas, he should probably return soon before anyone begins to worry too much, although as he soon learns, it might be too late for that.

Four was just about to dismiss himself when he heard his name being called. To the smallest beings of the world, it sounds like thunder crashing through the sky as does the crunching of footsteps that almost shake the earth as they get closer, but Minish are used to such disruptions and even Four shows no concern upon recognizing the approaching voice.

"FOUR?! ARE YOU OUT HERE?!" It's you; both a good and bad thing. Good, because out of all his traveling partners, Four must admit that you're his favorite. Your presence arouses a similar sense of calming comfort in him as being around the Minish does, the only difference being the wooziness you curse upon him from your smile alone. Yes, it would be safe to say that Four has become enchanted by your beauty, both inside and out, so he's actually quite happy to hear your voice as you search for him. The problem then? He's still the size of a Minish himself and the only person in the Chain who knows about this ability of his is Twilight, not you.

It's okay. This is fine. He's barely the size of a rupee, hidden amongst a tall forest of flora. To find him on your own, you would have to actively hunt through the flowers and blades of grass which you definitely aren't doing now. Instead, you're scanning the entirety of the field at eye level because you reasonably believe that if your friend is truly out here, you'll be able to easily spot him by doing so, after all, he may be shorter than you, but not as short as to be below your feet (if only you knew).

Four plans to stay silent and wait for you to move along elsewhere which would give him time to turn back without your notice, however he hesitates to commit to that decision once you come into sight, allowing him to officially see just how worried you look. If he didn't know any better, he'd say you appear to be on the verge of tears, growing more frantic by the second. 

You can't be blamed for your concern. Four has been gone for a while and isn't usually a Link to wander, not to mention you were told he left in a huff after being on the receiving end of harsh teasing from some of the other boys. No one has heard from him since, so in your mind, you've concluded that he must be really upset - possibly even hurting someplace. 

Not that he knows it yet, but you've been searching for him nonstop after finding out what had happened back at camp which is why you're in this field now; it's the last place you can think of as you grow desperate to find him before the sunset fully sets. How terrible would Four have to be to ignore these fears of yours, letting you continue worrying yourself sick when it's within his power to smooth your anxieties instead? 

"...Uh, I'm right here," You can be forgiven for doubting you hear anything at all provided how quiet the voice had been and the fact that no matter which direction you turn to, you can’t seem to locate the source until it speaks again in a squeak, "Down here. To your left."

You're understandably shocked to look down and find a miniature version of your friend struggling to climb up a small nearby rock (which must feel like a mountain to him), his presence suddenly very clear as his colorful tunic helps him stand out against the gray, "...F-Four? Wha - How did you get like this? What happened?!" 

You could spend all day coming up with explanations for your friend's new appearance, however you'd likely never land on the correct one and it doesn't help that you can barely make out any of his explanation, his voice matching a mere whisper despite how he shouts his words for your attention.

"H-Hold on. I can't hear you," You immediately kneel down in front of the rock, instinctually reaching out towards him yet freezing mid action. He cocks his head to the side, curiously waiting for you to gain enough confidence to pair with your next question, "I...Would it be okay if I pick you up? Or is that rude? I don't know if that’s rude or not or if you -"

Amid your rambling, Four nods, taking a few steps forward which you take as an invite to lower your cupped hands against the rock and allow him to climb on. Once able, you gently lift him to eye level, "Are you okay? Is this...normal for you?"

He nods again this time paired with a shrug as if this whole experience shouldn't be too much of a surprise, then again, the more you think about it, it probably shouldn't be. First Twilight now Four. You really should interrogate all the boys to find out what other crazy secrets and abilities they may be keeping from you (you're already guessing Time has a few up his sleeves).

You sigh upon realizing Four truly does seem okay, nothing about his tiny expression giving away any negative emotions, in fact you can make out an amused smile as he watches everything set in your mind, "...I was starting to freak out there a little when I couldn't find you. Hyrule said you ran off after Warrior was giving you grief about your height earlier. They made it sound like you were pretty upset - which you shouldn't be because who gives a crap if you're the shortest in the group? You're still plenty smarter and Hylia knows more mature than to tease your comrades into running away - but my point is, since you hadn't returned yet on your own I began to think that maybe you weren't coming back at all and -"

"- Thank you for worrying, but I actually wasn't that upset about what Warrior had said," Four cuts you off while setting a hand on your thumb. His touch only has about the same weight as a feather and even tickles a bit, however you force yourself not to focus on that.

"You weren't?"

"No. I was more annoyed than anything since it does get repetitive to have people constantly pointing out my height -" He rolls his eyes at the thought, "- But I don't mind being the shortest. Like you said, I have other strengths, not to mention there's actually a lot of advances to being short."

"This being one of them?" You smirk, wondering what he could've even been up to while so tiny, although that's a question for another day.

“You could say that,” Four shares your laughter, "...I guess it probably is a good thing you're the one who came looking for me, though. If one of the others were to find me like this, I doubt the jokes would ever end."

"Oh, I'm sure. They'd give you hell. You are pretty adorable like this, though."

Four blinks, not certain if he had heard correctly. He might've fully dismissed the comment if not for your own realization at what you had just said, the embarrassment clear upon your bashful expression and hurried excuses, "W-Well, what I meant to say was that...Objectively, small things are considered cute, and you're like the size of a little mouse which is adorable, even though you're always cute, it's especially when you can just fit in the palm of my hand like this - which isn’t the point! But I, umm -"

Once again, Four is kind enough to save you from digging yourself further into a hole, the only difference is he does so without much prior thought, instead blurting the words eagerly himself, after all this might just be the perfect opportunity to get it off his chest, "- I think you're cute, too! You're, uh, always cute, too."

You stare at him without response which may have been a scary thing if not for your wide, delighted grin; something that only confirms Four's previous statement.

"Could you, um...?" He coughs into his fist, looking away from you with a fierce blush, "Bring me a bit closer please?"

It takes you a moment to understand what he means, but once you do, you quickly nod and move your hands closer to your face, thus bringing Four close enough to lean out of your hands ever so carefully so that he may place a barely felt kiss upon your nose. 

Startling him a bit, you can't suppress the squeal you give as a reaction, "I'm sorry, but that was sooo adorable!"

He chuckles and although he may not make a sound beside it, don't doubt that he feels the same squealing joy in his chest as you sit back in the grass with him held warmly against your cheek.

.

.

.

"...Shouldn't we get back soon? Won’t the others worry?"

"Let them. It can be their punishment for being jerks earlier."

[sproutedlavender]

Clear Skin Manifestation Challenge

Join me in a clear skin manifestation challenge!!! Having clear skin doesn't need to be difficult, the reason by it becomes difficult is because of our beliefs. This isn't to say it's your fault, it's just that our limiting beliefs are stopping us from being the best versions of ourselves. But you know what? You have the ability to change all of that! You get to decide how your skin is.

Decide it. Accept it, FEEL IT!!!!!

So, for 2 weeks, let's do this challenge together and achieve the best glowy skin ever!

You in two weeks ----> (or should I say "you right now" because we already got that glowing skin!!!)

Step ONE:

To start off, get a clear image of your skin. What do you look like now that you have the most gorgeous clear skin??? How does it feel?? Do you feel absolutely gorgeous and confident? Do you smile confidently knowing your skin is literally GLOWING?????? LIVE IN THE FEELING. When you open your eyes, continue to live in the feeling. Don't be distracted by the 3D world, it doesn't matter, you are now living in the skin of your dreams, so act like it!!

Step TWO:

Once you've had a clear vision, strut like you have it. Act like it, talk like it. Look at yourself in the mirror and say, "damn girl, your skin is glowing!!!!" Who cares if the 3D isn't showing it? It's a reflection of the past, it literally does not matter.

Now, before you go saying "But I wanna see it in the 3d!!!!" Girl, you will! Live in the feeling of the wish fulfilled and it has to happen! It's literally inevitable!

Step THREE:

OKAY IMPORTANT NOTE HERE. You can do methods if you want, robotic affirmation, gratitude, 369 method, whatever but get your mindset STRAIGHT.

Whenever you do methods affirmations, don't do it from a place of trying to get something. Don't have the mindset of "if I listen to this subliminal for 20 minutes, or do this method I'll GET clear skin." NO. If you do this, then you'll always be in the state of trying and not HAVING.

YOU HAVE THE ABILITY TO GIVE YOURSELF WHATEVER YOU WANT>

You don't have to wait for the universe or divine timing. You give yourself what you want. How do you do this?

FEELING.

Why do you want clear skin? You want it to feel good. Well guess what? You can feel good now. You can feel confident and gorgeous now. Feel it like you already have it. Give yourself that feeling. Visualize just because it makes you feel good, not to try and manifest something.

When you stop trying to manifest and allow you to give yourself all the feelings that come along with clear skin, you're telling the universe that you already have clear skin.

And when you decide, the universe delivers!

So, the take away is:

IT'S ALREADY DONE. THAT'S IT!!!! It doesn't even have to be 2 weeks, you've got clear skin now!!!! Whoo hoo!

Live in the end.

Do methods that make you FEEL GOOD>

Imagine that all the food you are eating is clearing your skin. Be so grateful for it's healing energy and embrace it.

Embrace yourself and your skin.

It is done.

_--------> (You realizing you have everything you want and can celebrate life without worrying. You are your own sugar daddy/mommy, give yourself everything you want)

[reaper2187]

Asami sato x firebender reader

I still remember the first time I saw her.

It was during one of my training sessions, when I was still a young firebender trying to master my abilities. As I practiced, I couldn't help but notice her, standing at the back of the room, her long dark hair tied up in a ponytail and a confident aura surrounding her. I was instantly captivated by her beauty and strength.

Asami Sato, the heiress of Future Industries, was well known among the benders community. Her business empire was built on groundbreaking technology and innovation, and she was also an accomplished non-bender martial artist. Her reputation preceded her, and many firebenders admired her from afar.

But I was not content with merely admiring her from a distance. I wanted to get to know her, to be a part of her world. And so, I mustered up all my courage and approached her after the training session.

To my surprise, not only did she reciprocate my interest, but she also offered to help me improve my firebending skills. Asami could see the potential in me, and she was more than willing to mentor me.

With her guidance, my skills as a firebender improved tremendously. I was able to control and manipulate flames with ease, creating intricate shapes and patterns with my fire. Asami was patient and understanding, never once losing her cool even when I struggled with a particular technique.

As we spent more time together, we grew closer. We shared stories and experiences, and I learned that Asami was more than just a powerful businesswoman. She had a kind heart and a fierce determination to make the world a better place.

I found myself falling deeper in love with her with each passing day. Her strength and grace were irresistible, and I felt grateful to have her by my side.

But we both knew that our love was forbidden. As a firebender, I was expected to marry within my own kind. And Asami, being the heiress of Future Industries, was constantly watched and scrutinized by her father and the public.

However, our love was stronger than any societal expectations. We decided to keep our relationship a secret, knowing that the consequences could be dire if anyone found out.

Despite the risks, we were happy. We sneaked away to spend time together whenever we could, whether it was on a rooftop under the stars or in a secluded area of the city. Asami even started to join me during my training sessions, bringing along her latest invention to assist me in my training.

Our love blossomed, and I felt like I was living in a dream. But as they say, all good things must come to an end.

One day, while we were enjoying a peaceful moment in a garden, we were ambushed by a group of firebenders who were against any kind of relationship between a firebender and a non-bender. Asami and I fought against them, our bending skills meshing together perfectly as we defended ourselves.

But it was no use. They outnumbered us, and just when I thought the end was near, Asami stepped in front of me, using her martial arts skills to fend off our attackers. However, in the chaos of the battle, she sustained a severe injury, and I was too preoccupied with protecting her to notice.

When the attackers were finally defeated, I rushed to Asami's side, my heart sinking as I saw the blood seeping through her clothes. With tears in my eyes, I tried to heal her injuries with my firebending, but it was no use. Her injuries were too severe, and she needed medical attention immediately.

Without hesitation, I scooped her up in my arms and rushed her to the nearest hospital. As her life hung in the balance, I prayed to the spirits, begging them to spare her life. I couldn't imagine a world without Asami by my side.

After what seemed like an eternity, she finally regained consciousness. She looked at me with a weak smile, and I knew at that moment that she was going to be okay.

Asami's father, Hiroshi Sato, arrived at the hospital soon after. He was shocked and angry to find out about our forbidden love, but as he saw the love and care I had for his daughter, his heart softened. He gave us his blessing and even offered to help us keep our relationship a secret.

From that day on, Asami and I were no longer just two people in love. We were a team, facing any challenges that came our way, together.

Asami and I eventually got married, and we continued to train and support each other in our respective abilities. Together, we used our skills and resources to make a difference in the world, just like we always dreamed of.

Looking back now, I realize that our love was the catalyst for great change. Our love had the power to overcome any boundaries and obstacles, setting an example for others to follow.

And as I stand here, beside my wife Asami, I couldn't be more grateful for our love that started in a training room. It was a love that transformed not only our lives, but the world around us.