#I think about a scene like this happening a lot

[corkinavoid]

DPxDC Places To Sleep

I've seen many fics and prompts with Homeless Danny, and I've just had a thought: what's the safest place to sleep at night when you a) don't have a home, b) can turn intangible and invisible, and c) are not afraid of mortals' justice system since you're dead and it doesn't really apply to you?

Cop cars.

Cops patrol the streets at night, but really, they mostly just pick a place and stay there until something happens, right? (I mean, I think that's right, I'm not very educated on the matter)

So, say Danny is in Gotham, and he needs a place to sleep, but it's the most crime-ridden city in the world, and sleeping out in the streets is cold and uncomfortable. And sure, he can climb into any car, but he chooses the cop car because, first, it's got a radio, so if the cops get any alerts about him (you can't tell me that GIW wouldn't use the help of local police, they are government agents after all), he will hear it first. Second, it's warm and cozy and soft. Third, and the most important: no one is going to look for him there! It's like hiding in plain sight but even better.

Or, well, it is, until one night the cop car he is sleeping in gets dispatched to some crime scene along with about a dozen others, and it turns out to be some trafficking rink that got busted or whatnot, and there are a lot of people who need to be taken to the GCPD station. So Danny, sleepy and grumpy because he was suddenly woken up, searches for the first still running but empty car, while staying invisible and intangible, and when he finds it, he just crashes in the back seat.

He is very surprised a few minutes later when the motherfucking Batman jumps in the front seat, and at least three of his sidekicks are trying to squeeze themselves in the back.

The Bats are even more surprised when they find a random teenager flickering in and out of visibility in the back seat of Batmobile, his eyes wide as saucers and Lazarus green.

[badnewswhatsleft]

rock sound #312 (nov 2024)

transcript below cut:

ROCK SOUND 25 ICON

FALL OUT BOY

A BAND THAT CAPTURED THE HEARTS, MINDS AND HEADPHONES OF A GENERATION OF KIDS WORLDWIDE, FALL OUT BOY UNDOUBTEDLY CHANGED THE LANDSCAPE OF THE ALTERNATIVE SCENE FOREVER, NEVER AFRAID TO EXPERIMENT, TAKE CHANCES AND MAKE BOLD CHOICES AS THEY PUSHED FORWARD. FOLLOWING A SUMMER SPENT EXPLORING THE 'DAYS OF FALL OUT PAST', PATRICK STUMP AND PETE  WENTZ REFLECT ON THEIR PATH FROM POP PUNK, HARDCORE MISFITS TO ALL-CONQUERING, STADIUM-FILLING SONGWRITERS AS THEY ACCEPT THEIR ROCK SOUND 25 ICON AWARD.

WORDS JAMES WILSON-TAYLOR

PHOTOS ELLIOTT INGHAM

Let's begin with your most recent performance which was at When We Were Young festival in Las Vegas. It was such a special weekend, how are you reflecting on that moment?

PATRICK: It's wild, because the band, I think, is going on 23 years now, which really came as a surprise to me. I know it's this thing that old people always say, 'Man, it really goes by so fast', but then it happens to you and you're just taken aback. There were so many times throughout the weekend, every 10 minutes, where I'd turn around and see somebody and be like, 'Holy shit, I haven't seen you in 18 years', or something crazy like that. It was hard not to have a good time. When I was going up to perform with Motion City Soundtrack, which was an exciting thing in itself, I turn around and Bayside is there. And I haven't seen Bayside since we toured with them. God, I don't remember when that was, you know? So there was so much of that. You couldn't help but have a good time.

PETE: I mean, that's an insane festival, right? When they announce it, it looks fake every time. The lineup looks like some kid drew it on their folder at school. For our band, the thing that's a little weird, I think, is that by deciding to change between every album, and then we had the three year break which caused another big time jump, I think that it would be hard for us to focus on one album for that show. We're a band where our fans will debate the best record. So it was amazing that we were able to look backwards and try to build this show that would go through all the eras - nod to Taylor obviously on that one. But it's also an insane idea to take a show that should really be put on for one weekend in a theatre and then try to take it around the world at festivals. The whole time on stage for this particular show production, I'm just like 'Is this thing going to go on time?' Because if the whole thing is working totally flawlessly, it just barely works, you know what I mean? So I give a lot of credit to our crew for doing that, because it's not really a rock show. I know we play rock music and it's a rock festival, but the show itself is not really a rock production, and our crew does a very good job of bending that to fit within the medium.

That show allows you to nod to the past but without falling fully into nostalgia. You are still pushing the band into newer places within it.

PATRICK: That's always been a central thing. We're a weird band, because a lot of bands I know went through a period of rejecting their past, and frankly, I encounter this thing a lot, where people have expected that we stopped interacting with older material. But we always maintained a connection with a lot of the older music. We still close with 'Saturday'. So for us, it was never about letting go of the past. It was about bringing that along with you wherever you go. I'm still the same weird little guy that likes too much music to really pin down. It's just that I've carried that with me through all the different things that I've done and that the band has done. So for us, in terms of going forward and playing new stuff, that's always the thing that's important to me; that there should be new stuff to propel it. I never wanted to be an artist that just gave up on new music and went out and played the hits and collected the check and moved on. It's all got to be creative. That's why I do it. I want to make new music. That's always why I do it. So something like When We Were Young is kind of odd really. It's an odd fit for that, because it's nostalgic, which is not really my vibe all that much. But I found a lot of nostalgia in it. I found a lot of value in looking back and going 'Wow, this was really cool. It was amazing that we did this, that we all did this'. That scene of bands, we're all old now, but it has taken off into such a moment culturally that people can point to.

Let's jump all the way back to the first ever Fall Out Boy show. There is very little evidence of it available online but what are your memories of that performance?

PATRICK: So the very first Fall Out Boy show was at DePaul University in a fancy looking dining hall. I actually applied to DePaul, but I never went there because the band went on tour. I think there were only two or three other bands. One was a band called Stillwell, who were kind of a math rock emo band, and then this heavier, more metallic band. And then we were there, and we had a guitar player, John Flamandan, who I have not seen since that show. He was only in the band for a week or two, and we were still figuring ourselves out. We had three songs and I had never sung before in front of people. I did a talent show at school one time when I was a kid and theatre kind of stuff where you would sing, but it was more in that context. And I was also a kid too. This was the first time ever that I'm the singer for a band and I was fucking terrified. We had a drummer named Ben Rose, really great guy. I haven't seen Ben in a million years, either, but we were still figuring ourselves out. The other thing is that all of us, with me being the exception, were in other bands, and all of our other bands were better than Fall Out Boy was. We were very sloppy and didn't know what we were doing, and so I don't think any of us really took it seriously. But there was a thing that was really funny about it, where even though we kind of thought we sucked, and even though we weren't really focusing on it, we had a lot of fun with each other. We enjoyed trying this other thing, because we were hardcore kids, and we were not the pop punk kids and the pop punk bands in town, that was like 'the thing', and we were not really welcome in that. There was a fun in trying to figure out how to make melodic and pop music when we really didn't have any history with that. It was very obvious that we didn't know what we were doing at the beginning.

So when did it begin to feel like things were finally clicking? When did you find your roles and what you wanted the band to be? 

PETE: In regards to the music, I liked Fall Out boy, way before I probably should have. I remember playing the early demos and it giving me a feeling that I hadn't felt with any of the other bands that I had been in. Now, looking back on it, I might have been a tad early on that. Then as far as the roles, I think that they've been carving themselves out over time. We've always allowed ourselves to gravitate to our strengths. Between me and Patrick, we'd probably make one great, atypical rock artist if we were one person. Because our strengths are things that the other doesn't love as much. But I think that what has happened more is it's less of a fight now and there's more trust. We have a trust with each other. There's things that Patrick will play for me or explain to me, and I don't even really need him to explain it, because I trust him. I may not totally understand it, but I trust him as an artist. On the other side of that, it's also very nice to have someone who can veto your idea, you know what I mean? It's nice to have those kind of checks and balances.

PATRICK: I had been in this band called Patterson, and all three of the other guys sang in kind of a gravelly, Hot Water Music vibe. I was not intending to be a singer, but I would try and sing backups and, it wasn't a criticism, but there was this vibe that, while I could do the gravelly thing, my voice was coming through and it didn't fit. It was too pretty and that became a thing I was kind of embarrassed of. So when Fall Out Boy started, I was actively trying to disguise that and mute it and hide behind affectation. Pete would really push me to stretch my vowels because that was in vogue in pop punk at the time. There were all these different ways that we were trying to suppress me, musically, because we were just trying to figure out how to do the things that the bands we liked did. But that wasn't really us, you know? It's really funny, because 'Take This To Your Grave' was recorded in three sections, about six months apart. Over the course of that time, I can hear us figuring it out. I think a really defining moment for me was 'Saturday', because I am not brave, I am not a bold person, and I do not put myself out there. When I was showing the band 'Saturday', we were jamming on the bit after the second chorus, and I was mumbling around, just mucking my way through it, and I did the falsetto thing. I didn't think anyone could hear me over us bashing around in Joe's parents house in this tiny little room. But Pete stopped, and he goes, 'Do that again'. I was so terrified of doing that in front of these guys, because you gotta remember, I was incredibly shy, but also a drummer. I'd never sung in front of anyone before, and now I'm singing in a band and I'm certainly not going to take chances. So I thought the falsetto thing was really not going to happen, but when I did it, there was this really funny thing. Somehow that song clicked, and it opened up this door for us where we do something different than everybody else. We were aiming to be a pop punk or hardcore band, but we found this thing that felt more natural to me.

As you embarked on Warped Tour, simultaneously you were finding this huge level of pop and mainstream success. How was it navigating and finding your way through those two very different spaces?

PATRICK: I used to work at a used record store and what shows up is all the records after their success. So I got really acquainted and really comfortable with and prepared for the idea of musical failure. I just wanted to do it because I enjoyed doing it. But in terms of planning one's life, I was certain that I would, at most, get to put out a record and then have to go to school when it didn't work out. My parents were very cautious. I said to them after 'Take This To Your Grave' came out that I'm gonna see where this goes, because I didn't expect to be on a label and get to tour. I'm gonna give it a semester, and then it will almost certainly fail, and then after it fails, I'll go to school. And then it didn't fail. Warped Tour was very crazy too, I was talking about this at When We Were Young with My Chem. Both of us were these little shit bands that no one cared about when we booked the tour. Then we got to the tour, and all these people were showing up for us, way more than we expected, way more than Warped Tour expected. So Warped Tour was putting both of us on these little side stages, and the stages would collapse because people were so excited. It was this moment that came out of nowhere all of a sudden. Then we go to Island Records, and I had another conversation with my parents, because every band that I had known up to that point, even the biggest bands in town, they would have their big indie record and then they would go to the major label and drop off the face of the planet forever. So I was certain that was going to happen. I told them again, I'm going to put out this record, and then I'll go to school when this fails. 

PETE: I think that if you really wanted someone to feel like an alien, you would put them on TRL while they were on Warped Tour. You know what I mean? Because it is just bananas. On our bus, the air conditioning didn't work, so we were basically blowing out heat in the summer, but we were just so happy to be on a bus and so happy to be playing shows. You go from that to, two days later, stepping off the bus to brush your teeth and there's a line of people wanting to watch you brush your teeth. In some ways, it was super cool that it was happening with My Chemical Romance too because it didn't feel as random, right? It feels more meant to be. It feels like something is happening. To be on Warped Tour at that time - and if you weren't there, it would be probably hard to imagine, because it's like if Cirque Du Soleil had none of the acrobatics and ran on Monster energy drink. It was a traveling circus, but for it to reach critical mass while we were there, in some ways, was great, because you're not just sitting at home. In between touring, I would come home and I'd be sitting in my bedroom at my parents house. I would think about mortality and the edge of the whole thing and all these existential thoughts you feel when you're by yourself. But on Warped Tour, you go to the signing, you play laser tag, you go to the radio station. So in some ways, it's like you're in this little boot camp, and you don't really even think about anything too much. I guess it was a little bit of a blur.

Pete, when you introduced 'Bang The Doldrums' at When We Were Young, you encouraged the crowd to 'keep making weird shit'. That could almost be a mantra for the band as a whole. Your weirder moments are the ones that made you. Even a song like 'Dance Dance' has a rhythm section you never would have expected to hear on a rock track at that time.

PETE: You know, I just watched 'Joker 2' and I loved it. I do understand why people wouldn't because it subverts the whole thing. It subverts everything about the first one. That's something I've always really loved, when I watch artists who could keep making the same thing, and instead they make something that's challenging to them or challenging to their audience. Sometimes you miss, sometimes you do a big thing and you miss, and we've definitely done that. But I gotta say, all the things that I've really loved about art and music, and that has enriched my life, is when people take chances. You don't get the invention of anything new without that. To not make weird stuff would feel odd, and I personally would much rather lose and miss doing our own thing. To play it safe and cut yourself off around the edges and sand it down and then miss also, those are the worst misses, because you didn't even go big as yourself. This is where we connect with each other, we connect by our flaws and the little weird neuroses that we have. I rarely look at something and go 'Wow, that safe little idea really moved me'. I guess it happens, but I think about this with something like 'Joker 2' where this director was given the keys and you can just do anything. I think a lot of times somebody would just make an expected follow up but some people turn right when they're supposed to turn left. That's always been interesting on an artistic level, but at the same time, I think you're more likely to miss big when you do that.

PATRICK: Going into 'From Under The Cork Tree', I had this sense that this is my only shot. It has already outperformed what I expected. I don't want to be locked into doing the same thing forever, because I know me. I know I'm not Mr. Pop Punk, that's just one of many things I like. So I would be so bummed if for the rest of my life, I had to impersonate myself from when I was 17 and have to live in that forever. So I consciously wanted to put a lot of weird stuff on that record because I thought it was probably my only moment. 'Sugar, We're Goin Down' was a fairly straight ahead pop punk song but even that was weird for us, because it was slow. I remember being really scared about how slow it was, because it's almost mosh tempo for the whole song, which was not anything we had done up to that point. But in every direction, in every song, I was actively trying to push the boundaries as much as I could. 'Dance, Dance' was one of those ones where I was seeing what I can get away with, because I might never get this chance again. We were on tour with a friend's band, and I remember playing the record for them. I remember specifically playing 'Our Lawyer…' that opens the record, which has that 6/8 time feel, and they kind of look at me, like 'What?'. Then I played 'Dance, Dance', and they're like, 'Hey man, you know, whatever works for you. It's been nice knowing you'. But I just knew that, on the off chance that I ended up still being a musician in my 40s, I wanted to still love the music that we made. I didn't want to ever resent it. It's ironic because people say that bands sell out when they don't make the same thing over and over again. But wait a second. Say that again. Think about that.

That attitude seemed to carry directly into 'Infinity On High'. If you may never end up doing this again then let's make sure we bring in the orchestra while we still can... 

PATRICK: That was literally something that I did say to myself this might be the last time, the likelihood is we're going to fail because that's what happens, so this might be the last time that I ever get a chance to have somebody pay for an orchestra and a choir. I always think of The Who when they did 'A Quick One, While He's Away' and there's a part where they go 'cello, cello', because they couldn't afford real cellos, they couldn't afford players. That's what I thought would happen for me in life. So I went in and thought, let's do it all. Let's throw everything at the wall, because there's no chance that it's going to happen again. So many things came together on that record, but I didn't expect it. 'Arms Race' was a very weird song, and I was shocked when management went along with it and had kind of decided that would be the single. I was in disbelief. It did not feel like a single but it worked for us. It was a pretty big song and then 'Thnks Fr Th Mmrs' was easily the big hit off that record. So then we have two hit songs off of an album that I didn't even know would come out at that point. But again, it was very much just about taking the risks and seeing what the hell happened.

As you went on hiatus for a few years, you worked on a number of other creative projects. How did those end up influencing your approach to the band when you returned?

PETE: On the areas of the band where I led, I wanted to be a better leader. When you're younger and you're fighting for your ideas, I don't think that I was the greatest listener. I just wanted to be a better cog in the machine. When you're in a band originally, no one gives you the little band handbook and says 'these are the things you should do', you know? I just wanted to be a better version of who I was in the band. 

PATRICK: There's a combination of things. 'Soul Punk' is a weird record. I love that record but I kind of resent that record for so many things. It's my solo record, but it's also not very me in a lot of ways. I had started with a very odd little art rock record, and then I had some personal tragedies happen. My EP that I put out far out sold expectations so then all of a sudden, Island Records goes, 'Oh, we think this could actually be something we want singles for'. I think we had all expected that I would be putting out a smaller indie record but then all of a sudden they were like 'oh, you could be a pop star'. So then I have to retrofit this art rock record into pop star hit music, and also channel personal tragedy through it. I hadn't ever really been a front man - I'd been a singer, but I hadn't really been a front man, and I hadn't really written lyrics, certainly not introspective, personal lyrics. So that whole record is so strange and muted to me. So I went from that album, which also failed so fucking hard - I should have gone to school after that one. But Pete had reached out to me just as a friend, and said 'I know you're in your own thing right now, and I know that you're not the kind of person that is going to be in my fantasy football league, so I'm not going to see you unless we make music. But you're my buddy, and that kind of bums me out that I don't see you at all, so I guess we have to make music'. I thought that was a fairly convincing pitch. It's true, that was what we do when we hang out - we make music. So we reconvene, and going into it, I had all these lessons that really made me understand Pete better, because Pete is the natural front end person. So many of our arguments and frustrations and the things that we didn't see eye to eye on, I grew to understand having now been in the position of the point man that had to make all the decisions for my solo thing. It really flipped my understanding of why he said the things he would say, or why he did things he would do. I remember early on thinking he was so pushy, but then, in retrospect, you realise he was doing it for a reason. There's so many little things that really changed for me doing 'Soul Punk' that were not musical but were more about how you run a band and how you run a business, that made me understand and respect him a lot more.

What are memories of that initial return and, specifically, that tiny first show back at the Metro venue in Chicago?

PETE: Those first shows were definitely magical because I really wasn't sure that we would be on a stage again together. I don't have as many memories of some of our other first things. We were just talking about Warped Tour, I don't have many memories of those because it is almost wasted on you when it's a blur and there's so many things happening. But with this, I really wanted to not take it for granted and wanted to take in all the moments and have snapshots in our own heads of that show. I did a lot of other art during the time when we were off, everybody did, but there's a magic between the four of us and it was nice to know that it was real. When we got on that stage again at the Metro for the first time, there was something that's just a little different. I can't really put my finger on it, but it makes that art that we were making separately different than all the other stuff.

Musically, as you moved forward, everything sounded much bigger, almost ready for arenas and stadiums. Was that a conscious decision on your part?

PETE: Patrick felt like he was bursting with these ideas. It felt like these had been lying in wait, and they were big, and they were out there, and whether he'd saved them for those records, I don't really know. That's what it felt like to me. With 'Save Rock And Roll', we knew we had basically one shot. There were really three options; you'll have this other period in your career, no one will care or this will be the torch that burns the whole thing down. So we wanted to have it be at least on our terms. Then I think with 'American Beauty...' it was slightly different, because we made that record as fast as we could. We were in a pop sphere. Is there a way for a band to be competitive with DJs and rappers in terms of response time? Are we able to be on the scene and have it happen as quickly? I think it kind of made us insane a little bit. With 'American Beauty…', we really realised that we were not going to walk that same path in pop culture and that we would need to 'Trojan horse' our way into the conversation in some way. So we thought these songs could be played in stadiums, that these songs could be end titles. What are other avenues? Because radio didn't want this right now, so what are other avenues to make it to that conversation? Maybe this is just in my head but I thought 'Uma Thurman' could be a sister song to 'Dance, Dance' or maybe even 'Arms Race' where it is weird but it has pop elements to it.

PATRICK: I had a feeling on 'Save Rock And Roll' that it was kind of disjointed. It was a lot of good songs, but they were all over the place. So when we went into 'American Beauty…', I really wanted to make something cohesive. I do think that record is very coherent and very succinct - you either like it or you don't, and that's pretty much it all the way through. By the time we got to 'MANIA', I had done all this production and I'd started to get into scoring. The band had done so many things and taken so many weird chances that I just felt free to do whatever. At that point, no one's going to disown me if I try something really strange so let's see what happens. 'Young And Menace' was a big part of that experiment. People hate that song, and that's okay. It was meant to be challenging, it's obviously not supposed to be a pop song. It's an abrasive song, it should not have been a single. However, I do think that record should have been more like that. Towards the end of the production, there was this scramble of like, 'Oh, fuck, we have no pop music on this and we need to have singles' and things like that. That took over that record and became the last minute push. I think the last half of that record was recorded in the span of two weeks towards the end of the recording to try and pad it with more pop related songs. I look at that record and think it should have all been 'Young And Menace'. That should have been our 'Kid A' or something. It should have really challenged people.

But we have spoken before about how 'Folie à Deux' found its audience much later. It does feel like something similar is already beginning to happen with 'MANIA'...

PETE: I agree with you, and I think that's a great question, because I always thought like that. There's things that you're not there for, but you wish you were there. I always thought about it when we put out 'MANIA', because I don't know if it's for everyone, but this is your moment where you could change the course of history, you know, this could be your next 'Folie à Deux', which is bizarre because they're completely different records. But it also seems, and I think I have this with films and bands and stuff as well, that while one thing ascends, you see people grab onto the thing that other people wouldn't know, right? It's like me talking about 'Joker 2' - why not talk about the first one? That's the one that everybody likes. Maybe it's contrarian, I don't really know. I just purely like it. I'm sure that's what people say about 'Folie à Deux' and 'MANIA' as well. But there's something in the ascent where people begin to diverge, you are able to separate them and go 'Well, maybe this one's just for me and people like me. I like these other ones that other people talk about, but this one speaks to me'. I think over time, as they separate, the more people are able to say that. And then I can say this, because Patrick does music, I think that sometimes he's early on ideas, and time catches up with it a little bit as well. The ideas, and the guest on the record, they all make a little bit more sense as time goes on.

'MANIA' is almost the first of your albums designed for the streaming era. Everything is so different so people could almost pick and choose their own playlist.

PETE: Of course, you can curate it yourself. That's a great point. I think that the other point that you just made me think of is this was the first time where we realised, well, there's not really gatekeepers. The song will raise its hand, just like exactly what you're saying. So we should have probably just had 'The Last Of The Real Ones' be an early single, because that song was the one that people reacted to. But I think that there was still the old way of thinking in terms of picking the song that we think has the best chance, or whatever. But since then, we've just allowed the songs to dictate what path they take. I think that that's brilliant. If I'd had a chance to do that, curate my own record and pick the Metallica songs or whatever,that would be fantastic. So it was truly a learning experience in the way you release art to me.

PATRICK: After 'MANIA', I realised Fall Out Boy can't be the place for me to try everything. It's just not. We've been around for too long. We've been doing things for too long. It can't be my place to throw everything at the wall. There's too much that I've learned from scoring and from production now to put it all into it. So the scoring thing really became even more necessary. I needed it, emotionally. I needed a place to do everything, to have tubas and learn how to write jazz and how to write for the first trumpet. So then going into 'So Much (For) Stardust', it had the effect of making me more excited about rock music again, because I didn't feel the weight of all of this musical experimentation so I could just enjoy writing a rock song. It's funny, because I think it really grew into that towards the end of writing the record. I'd bet you, if we waited another month, it would probably be all more rock, because I had a rediscovered interest in it.

It's interesting you talk about the enjoyment of rock music again because that joy comes through on 'So Much (For) Stardust' in a major way, particularly on something like the title track. When the four of you all hit those closing harmonies together, especially live, that's a moment where everything feels fully cohesive and together and you can really enjoy yourselves. There's still experimental moments on the album but you guys are in a very confident and comfortable space right now and it definitely shows in the music. 

PATRICK: Yeah, I think that's a great point. When you talk about experimentation too and comfort, that's really the thing isn't it? This is always a thing that bugged me, because I never liked to jam when I was a kid. I really wanted to learn the part, memorise it and play it. Miles Davis was a side man for 20 years before he started doing his thing. You need to learn the shit out of your music theory and your instrument - you need to learn all the rules before you break them. I always had that mindset. But at this point, we as a band have worked with each other so much that now we can fuck around musically in ways that we didn't used to be able to and it's really exciting. There's just so much I notice now. There are ways that we all play that are really hard to describe. I think if you were to pull any one of the four of us out of it, I would really miss it. I would really miss that. It is this kind of alchemy of the way everyone works together. It's confidence, it's also comfort. It's like there's a home to it that I feel works so well. It's how I'm able to sing the way I sing, or it's how Andy's able to play the way he plays. There's something to it. We unlock stuff for each other.

Before we close, we must mention the other big live moment you had this year. You had played at Download Festival before but taking the headline slot, especially given the history of Donington, must have felt extra special. 

PETE: It felt insane. We always have a little bit of nerves about Download, wondering are we heavy enough? To the credit of the fans and the other bands playing, we have always felt so welcomed when we're there. There's very few times where you can look back on a time when... so, if I was a professional baseball player, and I'm throwing a ball against the wall in my parents garage as a kid, I could draw a direct link from the feeling of wanting to do that. I remember watching Metallica videos at Donington and thinking 'I want to be in Metallica at Donington'. That's not exactly how it turned out, but in some ways there is that direct link. On just a personal level, my family came over and got to see the festival. They were wearing the boots and we were in the mud. All this stuff that I would describe to them sounds insane when you tell your family in America - 'It's raining, but people love it'. For them to get to experience that was super special for me as well. We played the biggest production we've ever had and to get to do that there, the whole thing really made my summer.

PATRICK: There's not really words for it. It feels so improbable and so unlikely. Something hit me this last year, this last tour, where I would get out on stage and I'd be like, 'Wait, fucking seriously? People still want to see us and want to hear us?' It feels so strange and surreal. I go home and I'm just some schlubby Dad and I have to take out the compost and I have to remember to run the dishwasher. I live this not very exciting life, and then I get out there at Download and it's all these people. Because I'm naturally kind of shy, for years, I would look down when I played because I was so stressed about what was happening. Confidence and all these have given me a different posture so when I go out there, I can really see it, and it really hits you. Download, like you said, we've done before, but there's something very different about where I am now as a person. So I can really be there. And when you walk out on that stage, it is astounding. It forces you to play better and work harder, because these people waited for us. The show is the audience and your interaction with it. In the same way that the band has this alchemy to it, we can't play a show like that without that audience.

[pedroscurls]

training partners (pt. 12)

summary: without another word from jack, you and hugh continue your relationship without any issue or distraction. filming comes close to an end and there's one scene that hugh needs your assistance with. pairing: hugh jackman x fem!reader warnings: smut (18+, mdni), lots of oil (duh, someone's gotta lube hugh up for that end scene), dirty talk, teasing, sex in hugh's trailer, oral - f & m receiving, unprotected p in v, swallowing, missionary, hugh covers your mouth (to keep you quiet), implied age gap (hugh is 55, reader is in late 20s-early 30s), no use of y/n. word count: 3.6k a/n: ok, this is complete filth lol. i had to write something about this scene because when hugh said that there were people whose sole job was to lube him up??? well, let's just say my mind went places lol. hope y'all enjoy! (needed some good fluff / smut before we get back into the angst hehe) as always, this is purely fictional! i mean no disrespect to hugh jackman. prev part.

Filming continues and you’re grateful that Jack hasn’t tried to reach out to you nor does he try to look for you either. Knowing that he got the hint that you no longer are giving him control of your life, it gives you relief. You feel like you can finally breathe again, can finally move forward with your life, with Hugh. 

Without worrying about Jack coming back, you’re able to get back to enjoying your day-to-day responsibilities of continuing to take photographs on set of the movie. Every day, you wake up feeling immensely grateful for Hugh, Ryan, and Shawn for giving you this opportunity. While you normally take photographs of couples who have recently gotten engaged and have occasionally worked a small wedding, being an on-set photographer and capturing behind the scenes content is so much more enjoyable. It gives you a glimpse of how movies are made, shows you the passion and dedication of each cast and crew member. 

But Hugh… you had always been a fan of his work and being able to see him in his element left you speechless every time. The way he’s able to switch into character so easily and become Logan Howlett - a character that you’ve always loved. 

Throughout filming, you’re just in awe of everyone on set and to be able to see the movie unfold right before your eyes is an experience that you’re sure will only happen once in a lifetime. 

And as the end of filming fast approaches, you embrace every second of every day you’re on set. You find that you fall more in love with Hugh, watching him interact with every single person and making sure that they feel seen and heard - he truly is perfect, and a really good man, and you have to wonder what you did to deserve him. 

Hugh hadn’t brought up Jack in months since the last argument you both had and you’re grateful. You never wanted Jack to ever be the reason to get in between you and Hugh. While you feel partially responsible, you have come to realize that it was bound to happen eventually. It was naive to think that Hugh wouldn’t have reacted the way he did. 

“So,” Hugh says, pulling you from your thoughts as you both remain lying in bed, limbs entangled after yet another intimate session of lovemaking. 

“Hm?” You ask, turning to look over at him as your fingertips run across his bare chest. 

“How are we going to go back to New York and not be with each other every night and morning?”

You arch a brow in his direction. You know what he’s implying and he’s just staring at you with a small smile. A hopeful smile. “I don’t know about you, but I’m glad to have my own space after–,” you tease, trying to keep a straight face. 

Hugh narrows his eyes and moves to hover above you, hands grabbing your wrists and pinning them above your heads. You’re both still naked and he makes sure to press his hips into you. You can feel him getting harder and harder by the second. 

“Wanna say that again, baby?” 

“How are you getting hard again?” You ask, lifting your hips to roll against his. 

“You make it easy,” he winks. “Now, don’t go and change the subject.” 

“Well, that’s really difficult when you’re literally distracting me!” 

Hugh smirks, his grip around your wrist tightening as he leans down to brush his lips against yours. “You ain’t gonna miss me?” He whispers, moving his hips as his tip brush against you. “Not gonna miss sleeping next to me and waking up next to me, baby?” 

“Hugh…” your eyes flutter and your legs wrap around his hips, locking your ankles at his lower back. “I will… I will miss you. I was just teasing and��”

Hugh grins and slides into you in one thrust, growling as your walls surround him. “That’s what I thought.” 

—

Later that week, you’re staring up at Hugh who’s grinning down at you. You’re in his trailer and he’s already in his Wolverine suit - albeit a little dirtier than when he first put it on and his arms now in full display. 

“You’re telling me that I will need to oil you up?” You ask, eyes wide. “For what? Why? Oh my god, I’m gonna– How will I do that?!” 

“Well, you put oil on your hands and–”

“Okay, ha ha.” You roll your eyes playfully, feeling his hands move to your hips. “Hugh…” 

“What? You want someone else to oil me up? That it? First you say you won’t miss me when we go back home, that you want your space, and now you don’t wanna touch me?” He teases with a smirk. “What’s next, baby?” 

“Oh stop, you’re being dramatic.” You laugh quietly, looking into his eyes. 

“So, you’ll oil me up?” He grins. 

“If I must,” you tease. “But you owe me.” 

“Oh, baby, just you wait.” He winks. 

“What does the scene even consist of where I have to put oil on you?” 

“You’ll see.” 

“Not even a hint?” 

Hugh shakes his head and leans down to peck your lips lightly. “Nope. I will say, though,” he whispers, moving his lips along your jawline to your ear. “I’m gonna try my very best not to get excited when your hands are all over me.”  

“Oh my god, you’re going to be shirtless, aren’t you?” 

His lips grow into a wide grin as he gently nips along the side of your neck, hands gripping your hips. “Yeah, baby.” 

You look at him from top to bottom, biting down on your lower lip as your gaze darkens at the thought. You clear your throat and look back into his eyes, slowly shaking your head. “Yeah, you owe me because I don’t know how I’m going to oil you up without wanting to–”

“Oh, I know,” Hugh chuckles, interrupting you. “Good thing it’s the last scene to shoot before we call it a day.”

“So, what I’m hearing is that after that scene, you’re going to take me back to the hotel and…” you wiggle your brows together. “You know.”

Hugh smirks, hands slowly moving from your hips to wrap around your waist, dipping low to rest on your backside. “I don’t know,” he lies. “Why don’t you tell me what I’ll be doing when we get back to the hotel room?” 

“You’re gonna let me have my way with you,” you grin, nodding excitedly. 

“Oh, I’m gonna let you, will I?” 

“Yes.” you answer, matter-of-factly. 

“Love the confidence, baby,” Hugh grins as he leans down to peck your lips lightly. “Gotta get back on set. I’ll see you later.” 

“You’re such a tease.” 

“Am I?” 

“Yes, Hugh,” you answer, pulling back and looking up at him with a small pout on your lips.

“I’ll make it up to you,” he winks. “You know I will.”

“You better.”

“I promise,” Hugh says. “I love you.” 

“I love you too,” you smile. 

—

Throughout the rest of the day, you find yourself distracted with the thought of having to oil Hugh up for the last scene of the day. While you’re still in awe of the acting from both Ryan and Hugh, you can’t help but your eyes deviate to Hugh’s arms as he says his lines. 

And even as that scene approaches, Shawn is the first one to walk up to you, a teasing grin on his lips. “So, you’re okay with oiling Hugh up for this last scene?” 

“I think it’d be weird if I wasn’t,” you tease, biting the inside of your cheek in anticipation. 

“That’s true,” he chuckles. “Ryan’s been teasing him all day about it,” Shawn points out. 

“Oh, I don’t doubt it,” you smile. “How much oil will I have to put on him, by the way?” 

“Um,” Shawn grins. “Quite a lot and depending on how many takes we’ll need to get the right one…”

“Okay, so we might need more than one bottle.”

“Oh, we have plenty.” 

“And this scene…” you begin, playing with your camera strap. 

“It’s a good one,” Shawn finishes for you. 

“I mean, it wouldn’t be Wolverine if there wasn’t at least one shot of him without a shirt, right?” 

Shawn laughs quietly. “That’s right… Speaking of the devil,” he nods his head over your shoulder and you turn slightly to see Hugh without his shirt, simply dressed in only the yellow and blue pants with the matching boots and cowl. 

You clear your throat at the sight of him, his muscles clearly defined as you bite your lower lip. Your eyes linger on his chest and abdomen, moving along his strong arms and shoulders. Ryan’s voice breaks you out of your thoughts and you turn your gaze on the other man, who’s dressed in his entire Deadpool gear.

“You might want to pick up your jaw off the floor,” Ryan chuckles. 

“Oh, shut up,” you reply, gently smacking his chest. “I see this every day, it’s nothing new to me,” you lie.

Hugh places his hands on his hips, staring at you with a slight tilt to his head and a small smirk on his lips. He can see your eyes flitting back to him, can see the way you're gently gnawing at your lower lip and he knows exactly what kind of look you’re giving him. 

“I know,” Ryan sighs dramatically. “Lucky you.” 

“Got the oil for you,” Hugh says, handing it to you and breaking you out of your thoughts. You take it from him slowly, fingers brushing against his. 

“Right. So, we’re doing this now.” you say, gripping the bottle of oil tightly in your grasp. 

Shawn nods and then looks over at you. “Don’t put too much,” he advises. “Just enough to make his skin glisten, like he’s sweating.” 

“Right, right,” you nod, clearing your throat. “Not too much, but just enough.”

Ryan and Shawn quietly chuckle to themselves before giving the both of you some privacy. You look up at Hugh and bite your lower lip, eyes lingering on his lips as it moves down the side of his neck, to his chest and down his abdomen and back up. 

“You nervous, baby?” Hugh whispers. 

“N– No,” you stammer. “I just don’t want to mess up.”

“I don’t even think that’s possible,” he chuckles. “I’m ready for you, love.” 

You nod slowly and then open the bottle of oil, squeezing just enough onto your palm. You set the bottle aside and rub your hands together to evenly distribute the oil before you reach out to place your hands on his shoulders, slowly moving them up and down before you move to his chest. 

Hugh smirks, flexing his chest for you and he lets out a quiet chuckle when he hears you quietly gasp. “Love feeling your hands on me, baby,” he whispers. 

“Stop distracting me,” you tease, pouring just a bit more oil onto your hands before you reach out to spread it along his chest down to his abdomen, feeling each ridge and muscle of his abs. Your hands move dangerously closer to the waistband of his pants, feeling Hugh’s hand immediately dart out to rest on your hip. 

“Careful, baby.”

“Just making sure I got everything.” Slowly, you pull away and look at him, his upper half glistening with the oil you just applied. “I think– I think you’re ready to go.”

Hugh smiles and leans down to peck your lips lightly. “Thank you, baby.”

“I miss seeing your eyes,” you point out, motioning towards the cowl that’s placed atop of his head. “But I can’t lie… this is just as good a view.” 

Hugh opens his mouth to say something, but hears his name being called by Ryan and Shawn. “Duty calls.”

“Try and get this in one take so you can take me back to the hotel.”

Hugh smirks. “Impatient, aren’t you?” 

“Do you see yourself? I’d jump you right here if I could.” 

“Naughty girl,” he whispers lowly. 

“Hugh!” Ryan calls out. “Come on, buddy. I’m sure she will oil you up soon enough.” 

“Go,” you say quietly. 

Hugh nods and then turns on his heel to take his place on set. 

—

It takes more than one take to complete the scene. After about two and a half bottles of oil and intense sexual tension radiating off you and Hugh, Shawn finally calls cut. Hugh walks over to you and takes the towel from your hands to wipe off the immense amount of oil that’s dripping from him, but he can’t help but watch your eyes ogle him. It always made him feel so special and borderline shy when your eyes linger on him, especially with the way you’re staring at him now. 

“Just gotta head back to the trailer and change,” Hugh says. “Then we can go back to the hotel.”

Anticipation courses through your veins as you keep a tight hold on Hugh’s hand, fingers laced together as you walk alongside him. Once at his trailer, Hugh shuts the door and locks it behind him. 

Before you can even ask what he’s doing, Hugh turns to face you and removes the cowl to set it aside. His gaze darkens at the sight of you and in just a few strides in your direction, he’s wrapping his strong arms around your waist and lifting you off your feet. 

Your legs immediately wrap around his waist and your arms move around his shoulders. Letting out a quiet gasp, Hugh gently rests you on your back against the couch, kneeling on the floor between your legs.

“Hugh, what are you–”

“Been wanting you all day,” he says, his large hands moving to your jeans and undoing the button and zipper of it all too quickly. “Can’t wait anymore.”

“Baby–”

“Shh,” Hugh whispers, tugging your jeans down your legs and tossing the fabric over his shoulder. He looks up at you and then moves his hands to the waistband of your black lace panties, slowly tugging them down your legs as well. Once your lower half is completely exposed for him, Hugh holds your legs apart and growls at the sight of your slickened sex. He leans in and brushes the bridge of his nose against you, hands gripping your legs tightly. “Goddamn, baby. You’re already so wet for me.”

“It was because of all that oil,” you whimper, moving your hands to rest in his hair. “Please…”

“And here I thought you were gonna have your way with me,” he grins, pulling back just enough to brush the pad of his thumb against your bundle of nerves. Hugh looks up at you, watches you tilt your head back and your eyes fall shut at the lightest of touches.

“Oh, I will,” you groan. “But first, how about you do what you need to do and–”

“So demanding lately,” he grins, leaning in to lick a stripe along your soaking heat. A loud moan escapes your lips and Hugh smiles, pulling away. “Baby, you gotta stay quiet for me. There are still people on set and we can’t have them hearing you, hearing what I’m doing to you.”

“Fuck,” you whimper, nodding and moving your hands from his hair to cover your mouth instead. “I’ll try my best,” you mumble.

“Atta girl,” he praises and leans back in to lap at your juices, your wetness slowly beginning to trickle down his chest. Hugh grips your hips, holding you firmly against the couch as he moves his lips to your clit, flicking his tongue against it as he brings one hand between your legs. Without hesitation, he slides in two fingers as he sucks at your clit, beginning to pump his two digits in and out of your depths. 

The sounds of your wetness squelches with each thrust of his fingers and he stares up at you to see how hard you’re trying to stay quiet. He smirks against you and slowly adds a third finger, a loud whimper escaping your lips at the intrusion. 

Hugh turns his head and places soft kisses on the inside of your thigh as he leans back, continuing to move his fingers in and out of your depths as he leans over you. With his free hand, he gently removes your own from your mouth and leans in to brush his lips against yours. 

“Feel good, baby?” he whispers, keeping his fingers deep within your depths as he begins to curl them inside of you. “Oh yeah, I can feel you trembling…”

You stare up at him, biting your lower lip as you try to hold back your moans. “Hugh, baby…” 

“Doing so good for me, staying so quiet,” he grins, his fingers curling inwards as your walls begin to tremble and he knows you’re close. Knows that you’re about to reach a heightened pleasure that he leans in and presses his lips against yours in hopes to quiet your moans. 

You reach down and grip his wrist, fingertips digging into his skin as you arch your back. You moan against his lips, feeling his tongue slide past your own and the sensations are just too much, too overwhelming. Hugh pumps his fingers in and out of you to help you ride out your climax, slowly pulling away to hold up his fingers in your direction.

“Look how wet you are for me,” he grins. 

You look up at him, biting your lower lip as you watch him suck on his fingers, cleaning your slick free from his digits. “Hugh…”

“So fucking good,” he winks. 

You’re breathing heavily, but you reach down for his pants and tug on it, seeing the length of his manhood pressing against the yellow fabric. “Take these off.”

Hugh smirks. “Yes, ma’am.” He makes quick work to remove his boots and his pants, kicking them off to the side carelessly. He looks down at himself, his manhood at attention and he settles himself once more between your legs. He holds onto the base of his length and runs his tip across your sex, growling lowly. 

“Gonna fuck you now,” he groans. 

“Please,” you whimper. 

“Being such a good girl, baby,” Hugh smirks, slowly sliding into you in one thrust. He groans at your wetness, your warmth walls surrounding every inch of him. He leans down and rests his forehead against yours, pulling his hips back before he slides back in. 

“Hugh, I don’t think…” you moan, moving your hands to his shoulders. “I can’t– I can’t stay quiet and–”

“Shh,” he whispers, moving his large hand over your mouth as he delivers a sharp thrust. “Yeah, you can, baby.” 

You let out a loud moan, muffled by his hand as you stare up at him. Hugh pulls out to his tip and slides back into you in one thrust, your legs moving to wrap around his waist. 

Hugh rests his forehead against yours, staring into your eyes as he keeps his hand over your mouth. Your moans and whimpers are muffled by his large hand and with each thrust, he can see the way your eyes flutter. Hugh’s thrusts continue at a rhythmic pace, your walls sliding along each inch and vein of his manhood. You’re so wet, so tight and warm and Hugh knows he can’t keep this up any longer. 

“Fuck, baby, I’m gonna–” Hugh’s hips begin to stutter, but you reach down and push him away from you, causing a loud groan to escape his lips. He’s quick to grasp his manhood to slide back into you, but you shake your head and sit up on the couch, urging him to stand up. “What?”

“I want you to come in my mouth,” you tell him, biting your lower lip. “That’s one way you can keep me quiet.”

Hugh growls and nods, standing up like you asked. He brings a hand down to your cheek, brushing his thumb across your soft skin and gently tucking a fallen strand behind your ear. “Well?” 

“Now, who’s impatient, hm?” you grin, reaching up to wrap your hand around his slick coated base as your lips move to his tip. Wrapping your lips around him, you begin to bob your head, hollowing your cheeks as your hand strokes the rest of him. You keep your eyes focused on him, watching as he tilts his head back and a hand moves to tangle his fingers into your hair. 

“Oh, baby,” he groans, the grip in your tightening as you continue to bob your head in time with your strokes. Hugh can feel the tightness build once again in the pit of his stomach. He looks down at you and groans at the sight, your eyes staring up at him with his cock in his mouth. 

God, if he could spend the rest of his days like this, Hugh would die a happy man. 

“I’m close, I’m gonna–” Hugh’s voice cuts off as you take him even deeper into your mouth and he can feel the tip of his length hit the back of your throat. He groans loudly and gently brushes your hand away from him as he takes a hold of his base. He strokes himself once, twice, three times before spurts of his come release into your mouth. 

You feel his warm spend fill your mouth, a mixture of salty and sweet taste. You swallow it eagerly, slowly bobbing your head as you feel him shudder against you, his hand in your release loosening its grip. When he pulls away, you smile up at him and gently place a soft and light kiss on his tip. 

“Did you really just–”

“Swallow?” you finish for him and nod. “Yup… Is that okay?” 

“Is that okay?” Hugh repeats. “Baby, you’re fucking perfect.”

---

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@jules-and-gemss

[angevinyaoiz]

Was compelled by these tags but I wanted to put my personal analysis here! Trying to keep it strictly based on the events of the movie and not on pure speculation or external historical stuff, bc I think they do a LOT of interesting things in this short scene and what it implies about the Richard and Philip and Henry (and Louis) relationship dynamics.

I think because this happened right after his back and forth with Henry where Philip felt like he was getting somewhere until Henry did his whole smug ass "Haha I win I squeezed all the information out of you ;D goodnight!" It made him jump out of his more calculated "facts and logic" mode and into a more deeper sense of his burning resentment and inferiority complex, hence the whole "you made my father nothing...and then you made him love you for it" speech. Love is kind of established as a sign of weakness and submission, even if in this case it's not in a romantic context. Louis is a "loving man" who (in the world of TLIW) gets taken advantage of by Pushy men like Henry and Philip is frustrated with that weakness. And so when Henry smugly reveals he was just probing Philip for info, Philip feels like he is "losing" and being demeaned again and so decides to pull out his secret weapon.....His Super Special Scandalous Information jfjdif to throw more fuel on the fire.

Course the main thing is Henry isn't even that scandalized like you said ("Richard finds his way into so many legends, let's hear yours" and in the play after the telling he's just like "I've heard better" lmfao...3 out of 5 stars. Also let's not forget he's also a boydiddler too from his speech to Alais in the opening scene. The royal corkscrew is NOT easily shocked!!). Philip is playing an interesting paradox where he's basically framing Richard as the Older Predatory type taking advantage of him, but also Richard is simultaneously Pathetic and weak at the same time for caring so much about not just sex presumably but wanting to be loved and desired. Philip also casts himself as the Victim in this scenario, as the younger, innocent and un-desiring party, but also positions himself as being the strong-willed clear-headed one where it's like "yes I succumbed ...but NOT because I was too Weak to Resist or out of Fear but because it was my Genius Long Game Plan All Along."

Why does he do this??? I would say like earlier, it was kind of his last card to play in their battle of wills, and allowed him to feel like he had a one-up on Henry after Henry had been smugly putting him down the whole day. I feel the purpose of this is similar to Eleanor's outburst about fucking Henry's father later in the film. Where it really doesn't do anything helpful for her, since he just leaves to do his thing. but in the moment is an emotional weapon that she knows will hurt him. Also there's something fun and cathartic about both Philip and Eleanor's outbursts where after a long day of conniving they really relish in talking about Being Bad in a more straightforward way. For Philip it does end up being helpful in that it sets the ball rolling to reveal all the sonbetrayals in the room and gets the feelings all heightened and sows distrust amongst the family.

Also, to get a bit more speculative, but still basing strictly off what is in the earlier scenes: in the end we don't know the truth of what happened between him and Richard in the forest during the event that he recounted, or what his true feelings are. I personally feel what is implied from his earlier interactions with Richard is that there was a sincere emotional connection, and that they did both miss each other during their time apart. There's implied also a little frustration on Philip's part over Richard not keeping contact and maintaining their friendship after the marriage. But also I sort of interpret it as he wanted to reframe the story in his mind as well, maybe to himself, in a way where he comes out of it feeling like he had control over the situation, especially if their encounters were really as dubiously consensual as he implies it as being. If he did love Richard at some point, that would mean he was the one being "weak" like his father, and so to be strong and be a man and respected ruler ("No man's boy" as he keeps Insisting Very Hard in public the whole movie), he can't afford to indulge in affection the same way. The sexual element just adds another layer that, viewing both from the medieval and 1960s homophobia POV, is already assumed to be deviant and something to distance one's self from. If having the affair with Richard was only A Genius Plan to Sabotage Henry all along, with only Disgust and No Real Feelings of Affection Ever, then he can manage to wiggle out of being implicated or having any responsibility for Sodomybehaviors while pinning all the shame onto Richard (and by extension, Henry.)

So the motivation I can see as being a mix of being mad at the history of Henry overpowering his father and belittling him, being conflicted with Richard for either 1) taking advantage of him back then or 2) having had maybe for real a pleasant affair but getting ghosted 3) most likely a mix of the two. Whatever the case, his main goal was to destabilize Henry and it fit into that goal, so he just poured some extra oil on the fire I guess XD

*in some ways, it's a very 60s homophobia more than a medieval kind, since I feel in early and medieval era there's nothing that would feel off about intense emotional, borderline romantic love between men if expressed in specific socially approved venues. but in modern times even emotional affection is an expression of weakness and timidity, or if a sign of a separate lesser identity being revealed, as how it is portrayed in this movie. The sexual element as deviant is important to the luridity but the part Philip emphasizes as particularly shameful is the vulnerability of asking for love from a man and wanting it returned.

a king like you has policy prepared on everything. well, what’s the official line on sodomy? how stands the crown on boys who do with boys?

THE LION IN WINTER 1968 | dir. anthony harvey

[kotonni]

Ok this might be a stretch but after act 2 I was so curious to see why Jayce had looked upon Viktor like that

It wasn't fear, not exactly, upon seeing Viktor in a divine sort of position I could only describe Jayce's gaze as awed.

Of course, before the third act came out, the popular theory of "Jayce is stuck in a time loop and has killed Viktor many times before" explained a lot about his behavior but not about this look. Why would he look so shaken if this isn't his first time seeing him?

Now that the show is over I do believe we might have an answer and of course the answer is given to us in this scene.

When Cait mentions Viktor, forcing Jayce to confront that more than Ambessa, the greatest threat to their lives and Piltover is Viktor himself, Jayce thinks back to that first meeting after the time skip.

Of course we know at this point that there was no time loop. This is indeed the first time Jayce sees Viktor as the herald, and Viktor's reaction to seeing Jayce for the first time after months has been distorted in Jayce's own memories.

In his mind Viktor smiles at him. Although he is about to kill him, from Jayce's perspective, Viktor's first look at him after months of being separated is one of pure affection.

During his time in the arcane he was forced to undergo contidions that directly reflect Viktor's own upbringing, but let's not forget he was also haunted by such visions:

Making Mel's image dissappear only to be replaced by Viktor's is extremely symbolic, this is not Jayce obsessing over Viktor and his actions, instead we are directly told that not only is Jayce's relationship with Viktor of the same sort as his relationship with Mel, Viktor is quite literally replacing his former lover.

We could talk about the constant parallels between Mel and Viktor for days, but I believe my last point is backed up even further by propably the most evident mirror shot of the two of them:

appearing again during Viktor's conversation with Jayce:

This is very clearly a POV shot of Viktor from Jayce's own eyes, although it is Viktor talking, the images we see are from Jayce remembering their first meeting which, of course, was fated to happen.

With this established and going back to my main point, I believe upon seeing Viktor for the first time in months, who is gazing down at him with a smile on his face, and after being forced to confront his feelings for Viktor, Jayce looks up at him with love.

This is his own realization that they are in fact meant to find one another in every timeline.

[soft-pine]

1.18 something wicked

say your desk is covered with a pile of paperclips. something wicked is the magnet you drop in the middle and then they all stick to it; they're all connected.

it's all here. the parentification, the neglect, the way john treats dean which sam doesn't witness, the extreme likelihood that john was using his kids as bait, and the intentional, specific, glorious, lovely ways dean has specifically chosen not to be like his dad.

in the flashbacks, we see dean is in charge of feeding and looking after sam for (at least) three days in some random motel room with the shades drawn. he's not even supposed to go outside. he doesn't have a number for john, just the instruction that if john's not back by a certain time, he's supposed to call pastor jim.

we see john giving dean instructions and responsibility (and criticisms) which he's not giving to sam.

dean is at most 11 years old (ep takes place in 2006. dean says the case from when he was a kid was 16-17 years ago (1989/1990). john's journal places it in 1988; dean was 9)

crucially, even as an adult, dean barely talks to sam about what he remembers of the case when he was a kid. he lets go of little bits at a time and absolutely necessary to the case. but he does not want to process what happened. even when he's so torn up that he breaks down and explains what happened, he doesn't want to talk about it. in part, of course, because he's ashamed of failing to kill the shtriga. but also because dean keeps john's secrets (9.07). and even when he doesn't, sam is not who he tends to process with.

but it's deeply impactful to have an episode where we get to see how dean was treated as a child versus how he treats the kids he meets.

dean is so kind to children throughout season 1, from lucas in 1.03 to lily and charlie in 1.05 to michael here. there is something so great about the way he is both clear that the bad things aren't these kid's fault, while also understanding kids have agency and insight.

i know dean is torn up about using michael as bait for the shtriga but feels he doesn't have much of a choice in order to stop the thing. but the conversation he has with michael is so thorough it really gets me.

DEAN: This camera has night vision on it so we'll be able to see clear as day.... Are we good? SAM: A hair to the right... There, there. MICHAEL: What do I do? DEAN: Just stay under the covers. MICHAEL: And if it shows up? DEAN: We'll be right in the next room. We're gonna come in with guns. So, as soon as we do you roll off this bed and you crawl under it. MICHAEL: What if you shoot me? DEAN: We won't shoot you. We're good shots. We're not going to fire until you're clear ok? Have you heard a gunshot before? MICHAEL: Like in the movies? DEAN: It's gonna be a lot louder than in the movies. So I want you to stay under the bed, cover your ears, do not come out until we say so. You understand? DEAN: Michael, you sure you wanna do this? DEAN: You don't have to, it's ok, I won't be mad. MICHAEL: No I'm ok. Just don't shoot me. DEAN: We're not going to let anything happen to you. I promise.

what a specific contrast that is with

DEAN hesitates, terrified. As he does JOHN bursts through the front door, gun raised. JOHN: (Shouting) Get out of the way! DEAN ducks and JOHN shoots the shtriga multiple times with his hand gun.

something wicked is up there with monster at the end of the book for episode titles that'll make you crazy if you think about it too much.

some other thoughts are just, the first time i watched this scene i thought i was going to explode with love:

DEAN: Yeah well, first of all, I'm not going to open fire in a freakin' pediatrics ward.... Second, wouldn't have done any good, because the bastard's bullet proof unless he's chowing down on something. And third, I wasn't packing, which is probably a really good thing cause I probably would have just burned a clip in him on principle alone.

moral compass boy i would die for you a thousand times and get up and gladly do it again.

and nothing - i mean nothing - hits like dean's voice cracking over the "if it means anything sometimes i do too." like i could actually go insane.

also watching supernatural is how you fill up a computer disc with pictures of dean looking ever so beautiful. like. look at him!! ethereal!!

also also ilu microaggression michael. they should have brought you back in the finale, king.

[izziessogay]

y'all I'm so mad with you Jayvik shippers. I get it, it was gay, I thought they were super fruity in season 1 already as well, but please have a critical thought. their arc in act 3 coopted the ENTIRE story including their storyline (referencing the last post I reblogged here): arcane is about classist oppression, Viktor got to suffer it firsthand as a Zaunite on Topside. this never was about an evil god, or the arcane, Zaun has been in shit since forever as far as I'm concerned. Viktor only started ascending to evil godhood in act 2 of this season. to make him or his delusion out as the real evil that needs to be combatted in order to fix everything is batshit. the villain isn't Viktor or Ambessa or Silco or Mel or Singed or whoever IT'S PILTOVER AS A SYSTEM. and I thought we were all agreeing on this already, but so many of you saw the poor gay Zaunite who just wanted to help turn evil and gobbled it up. Piltover got away without any blame, since Viktor wasn't even one of their people. Besides, I cannot be the only one who thinks that this all is incredibly out of character for Viktor and needed more explanation.

and don't get me wrong, the jayvik scene looked amazing and if my two faves astrally conected through divine bleach and tones while being existential about their relationship I'd also jump, trust me, I've watched she ra. and I can't even say I'd like it to be different, but it is taking up too much importance. it could've been a catalyst to unite Zaun and Piltover through a common cause and get them to work some systematic issues out, it could have been anything but this. none of Piltovers crimes were addressed, Zaun is still in poverty and the only systematic change that happened was one (1) Zaunite being allowed in the council, which really means nothing, because the council decides by vote and there is like seven Topside council members.

I'm very much disappointed by a show who I thought was really in synch with today's systematic issues up until now (and I'm mad at all you jayvik people for clogging up the tag, when there is so much to discuss) and that doesn't even take into account that they made the mentally ill character that most unstable and suicidal people relate to A LOT kill herself??

[chuliann]

Thank you for the tag and also after having read the whole list... WHAT!? A lot of interesting things sure happen to people that go outside... 👀💧

Anyway my own lore is far from being as wild I think? I don't want to talk about my health, but at least as I implied before I'm a recluse, but I'm working on that.

Something more interesting... Hmmm, I considere that more than half of my character development is from the stories I have read and I do use a lot of vocabulary linked to stories because of the time I have spent reading (like character development of personality growth or whatever the normal term is supposed to be).

I also often have a voice in my head that do the narration, sometime of my actions sometime of a random scene that has nothing to do with anything, simply because I have gotten so used to reading narration that it's my usual state.

Because of that, when I'm feeling comfortable I sometime accidentally start talking in third person. Or I might says things like "sigh" outloud instead of actually sighing... Are these interesting lore? Either way I'm done X)

it's so weird to me that everyone on this website is a human person outside of their weird internet niche so rb this with a random bit of your lore

[azaharinflames]

Will you share your theory on what you think is happening behind the scenes of 911?

Hi, Nonnie!

Sure! As long as everyone is aware this is purely speculation, and nothing I say should be taken as proof of anything, I have no problem.

I've gone over a few things in my head, to be honest. I thought that JLH having filming conflicts could've been a major factor, and I still don't exactly disagree with that initial idea, but overall I think it was one of the things that threw TM for a loop.

Now, I've seen a lot of people theorize that perhaps Angela is leaving and that is what is causing so much chaos in BTS, but I am on the fence about this. I do think she might've asked to not have such a big role moving forward, especially if they get a season 9 (which I am also on the fence about ngl), like perhaps retiring, or just having a more laidback position training new recruits. The seeds are planted for that, not so much for her fully leaving. And it would give Angela more free time to dedicate to other projects (which, yes please. I need her in new projects ASAP).

So... (and please don't kill me for this, it's just a theory).

I think it all comes back to Ryan. And that he perhaps is leaving, or actively wants to leave. I will try to explain myself as concise as possible:

A couple of months ago there was already speculation about this. In all of his individual interviews (which were a lot, to be honest), Ryan made a point of talking about his work beyond 911 and talking about what he would like to do after 911.

On top of the individual promo, there was an uncharacteristically high amount of BTS dedicated to him and the godforsaken mustache. To the point where they threw a mustache party. And in the pics of that party, the vibes were that it was a party for Ryan, not in general.

Small thing, but Josh randomly dressing up as Eddie for Halloween. Perhaps unrelated, but I wanted to add it.

The 911 account reposting and celebrating Ryan's 100th ep, when 1. it wasn't his 100th (if we count the eps he was actually in) and 2. it was also JLH's, and yet they didn't say a thing about it. Ryan reposted that as well and the message he reposted it with was more nostalgic than anything else. Very much giving 'it was an honor to work with you, what a journey'.

I could be wrong, but I do think his contract ends this season. So, that just adds to it.

The timeline of the move to Texas. By the reactions alone I was fully expecting Eddie to leave for Texas at the end of 808, and then to be back with Chris (in a lazy way of solving their conflict off-screen) by 809-810. But the way he's currently thinking about it makes it very sus for me. As in, it can be a thing for the end of the season, and an actual goodbye for Eddie.

Of course, nothing of this has to actually happen, and it's quite possible it just exists in my brain. But this makes sense in my funny brain because then it explains why BT had to break up so soon... because they wanted Buck to feel completely isolated.

We know 809-10 will deal with Maddie being kidnapped. That alone will make Buck spiral. But if on top of that his best friend is also leaving... well, being alone just adds to the isolation and the angst. Because if Tommy was still around he'd be able to lean on him, and have him help him through this. But it seems like the writers wanted Buck fully alone for this, because sure, seeing a character never learning and being completely isolated is so much fun.

If this ends with BT getting back together, I honestly don't know. It wouldn't surprise me if Tim doesn't know. But, all in all, I wouldn't be surprised if RG deciding he's done is the thing that kinda created the domino effect.

(Also: I do not believe Oliver was telling Tim to fire Lou and end BT. Sorry. I just don't really see it. Nor do I think there were actual conflicts between actors BTS, as much as everything they're doing right now does feel a bit weird)

Anyway, thanks for letting me rant, Nonnie! My inbox is always open for ranting, venting, or discussing

Take care <3

[lokiina]

Lucanis x Rook x Spite

Okay hear me out tho

Throuples? Not usually my jam. Unless things like, genuinely make sense and it feels like it actually works. But I guess it's just cuz that's how I view most ships in general. But basically I've never made a throuple just for the sake of having a throuple. That's just not for me.

BUT.

lemme just.....

(I'm putting this behind a cut cuz it's a lot of rambling most people probs don't care about. There are spoilers not like HEAVY spoilers but def stuff mentioned from like end game time frame.)

I do think Spite actually appreciates Rook from the get go, at least in my play it felt like that cuz I never reacted to Spite related convos in a perceived negative way. And all Spite really wants to do is talk to Rook from the start, Lucanis is the one stubborn about that not happening for a while. The main time he properly can, he literally asks Rook for help. Like genuinely asks for help for both him and Lucanis. "Help us" he says.

So I think his fondness for Rook grows like Lucanis' does. Naturally over time. Now is it because they're tied together? Who knows. I'm not sure it's clear that their feelings influence each others, I don't think that's addressed, the two still feel pretty separate in that regard...? (I'm in the middle of replaying so maybe there's shit I missed the first time I dunno)

Now the wings situation there's a voice line where Lucanis openly admits to Harding he has 0 control over the wings. The wings are 100% Spite. So spite does it to help. So them fighting is just team up, rather than one using the other. So if there's ever a situation Spite might be mad at Lucanis, he's probs gonna get no help. No wings. sdjhfgdjfhg

BUT THIS MEANS in the Romance scene when those wings pop... Spite's consciously involved. He's made the decision to not sit this one out. My guy created a threesome without warning. 😂 Either he is just like super rooting for them and ships them too and is being the worlds best wingman (pun intended) by lending aid or he's getting in on that action cuz he's also developed some sort of feels as well. Tbh it could go either way... The point is, he got involved.

But there's also evidence later in a possible party banter with Solas where Spite accuses Solas of trying to hurt Rook and is like ready to go to war for Rook against Solas. kdfjghdfkjgh

So... We have no idea what Spite and Lucanis chat about when Rook isn't around so who knows. But the vibes are there where this would in fact be a situation where this kind of ship makes sense.

Either way those three really need to talk about this... 😂

[prettyboykatsuki]

later, then | i. rin

✮ tags ; gn!reader, pre-relationship, tooth-rotting fluff, rin in his actor era, assisstant!reader. this is sfw but i am an 18+ blog so minors do not follow me lol.

✮ wc ; 1.4k

✮ a/n ; a comm for @rabbbitseason that i had to rewrite a couple of times. i rlly liked being able to write something like this. i hope u like the direction i ended up going in sdjksdj

✮ synopsis ; on his last day of filming rin tried to keep you out of his thoughts.

"Rin-kun,"

He knows your voice well enough to know it's you before he even opens his eyes. "Hn,"

"We'll be shooting your scenes next," You say, tapping his shoulder lightly. "They told me to wake you up."

It's not like Rin to fall asleep on a set somewhere, no matter how tired he is. He's usually the type to push through it no matter what. It's petty, but it feels like he's lost otherwise.

He was exhausted before hand though. Months of shooting and he still can't get used to his schedule.

He's here from a morning flight from France that he took all the way back home to Japan. After he arrived, he immediately hailed a cab and busted ass to get here on time. He would normally rest on his journey but found he couldn't bring himself to actually fall asleep.

Professor Heartbreak is a Japanese TV drama (airing domestically lived and internationally on Netflix) and Rin's first acting role. The series follows a romance between a graduate student caught in a lot of debt and her relationship to one of her pupils, college student and heir to mega corporation.

Rin has never had any interest in acting, and had even less interest in acting in a romance drama. His manager however urged (read: forced) him to take the offer, emphasizing how good it would be for his public image among other things. Of course, Rin still declined but no matter what he did - he couldn't actually seem to get out of doing it.

He's off-season now though he started filming during. He can say with confidence there's nothing he likes about the job. No matter how much his manager or director insists that all he needs is to have a pretty face - there's still a level of annoying obligation he feels towards doing it.

The reception was more positive then they were expecting. Apparently Rin is a half-decent actor. He's not playing a character he feels is so different from him, if not much more cringe.

Rin plays the love interest Yukio. Not very expressive and rich with a tendency to chase what he wants. Generally aggressive about the female love interest.

It doesn't suit him and he doubts he'll do it again. But a lot went into getting the role. If he's going to do it at all, he might as well do it well.

Rin hates shit that's half-assed after all, lukewarm acting doesn't suit him.

Today is the last day of shooting and happens to be one of the last scenes. Shooting is sometimes chronological, but not always. Regardless, after today it'll be the last time Rin steps foot on this set. No more long nights, or trying to memorize lines, no more out of place press runs. The practice season will start again and he can go back to the busy he's been used to since the debut of his soccer career.

That also means it'll be the last time you and Rin spend time in the same room. It's the first thing he thinks of when you wake him.

Rin sits up and carefully rubs his eye, careful not to disturb the makeup he wears for set.

"When the fuck did I sleep?"

You laugh under your breath, handing him a water bottle like you already knew he would want one. He takes it from you and takes a long drink trying to wake himself up.

"Been a little over an hour. Hour and a half, maybe. Did you sleep okay?"

He scowls, just slightly. "It was fine."

"I'm glad you slept well," You add, voice full of mirth and amusement as you read between the lines said all too easily.

He was moody when he came on set with you, worse then normal and refused to sleep. You suggested he rest his eyes and Rin scoffed at you for thinking he's so stupid. He's not a kid you can trick into going to sleepy.

You conceded easily, made a single sly comment about hoping he's all there when it's his turn. It'd be a shame if he had to keep shooting the same scene and ended up home late after all. Enough of a provocation to submit to your stupid suggestion.

Rin supposes this was why his manager hired you in the first place. You're in a temporary position, your contract to be in place until filming is over and Rin's back on normal scheduling. Rin realized pretty early on that you're more like a glorified babysitter then an assistant which is why he didn't have very pleasant expectations of you at the start.

But you're competent. Push without pushing too far. Clever even when it's annoying. You've known each other for a year and the only thing that binds you is work but you're with him all the time. Maybe it's just the job, but it still feels like you know him better then most.

Not like he cares.

Realizing he was tired enough to sleep and goading him into doing it are two separate things though. But you've managed both pretty easily which he can admit is a feat. You're always like that. You remind him a little of another annoying striker in that way.

A quiet settles between you. Rin gropes around for his phone, checking his messages and the time. Still a few hours until the set wraps and no doubt social obligations afterwards. He groans.

"I'm going home after we're done shooting,"

"You can't," You say, apologetic. "Manager says you have to show your face during the after party."

"That doesn't make any fucking sense."

"You're the main male love interest, you should at least drop in for a little bit. Have a beer, unwind."

"I don't like drinking,"

"A soda then. Don't be so stubborn."

Rin huffs, carefully pushing a hand through his hair careful not to mess up the styling. There's a beat of silence.

"Are you going?"

"To the drinking party?"

Rin looks at you as if to ask isn't it obvious. You just chuckle.

"Why?" You tease. "Will you stay longer if I go?"

Rin pauses. And it's quiet for just a second too long before he realizes. You seem to understand the implication almost instantly.

Even before Rin who catches himself just a second too late.

"...I don't mind staying with you until you've filled your quota. If that's what you're asking." You supply.

Rin frowns, faint warmth creeping his neck. "Then do that."

You fight back a smile. "Sure, sure. What time were you thinking of leaving?"

"As soon as possible," He says bluntly. You laugh that time. Brightly. Sincerely.

"Seems like a waste. You can handle fifteen minutes without me, right? Doesn't feel like I need to go if we're gonna part ways so soon anyhow."

Rin pouts. A petulant, ugly feeling in him. He speaks without thinking. "You're saying it like we're never gonna see each other again,"

You both catch it.

"Are we?" You're grinning at him where you stand next to him, eyes cast down to look at his face. He fights off a blush but fails to keep from turning red. Fuck. "Seeing each other again, I mean."

He doesn't know what it is exactly that makes him answer the way he does.. "No shit."

You grin, beam really - and your fingers brush his hand on the couch. Rin jolts, clearly in deeper than he thought.

"Okay. Then let's go together and get something to eat after," You say, coy. "Since we're seeing each other again,"

Rin rubs a hand on the nape of his neck.

"Shut up. Fine. Whatever,"

You laugh again no longer hiding it. He hands his water bottle to you as he gets called onto set. Standing to his feet, he takes a breather to stretch out all his limbs.

You give him a mischievous smile, staring at him openly when something seems to strike you. Like you've just realized something.

"Rin-kun. Bend down a little. I need to tell you something."

Confused but not concerned, he complies without thinking.

You place your copy of the script strategically to obscure both your faces, and in a single split second - Rin feels something soft and warm press against his cheek followed by another giggle like a bell chime. He flusters, instantly scowling and tomato-faced and nearly cussing as you look so self-satisfied.

(Warm. So warm where you linger on his skin. Hot where you've touched him despite how brief.)

"For good luck. I'll see you later then. Knock 'em dead, okay?"

He curses under his breath before they call him one more time and he watches you disappear to go do the other half of your job. He puts his hand to his cheek and takes a breath.

Stupid. He closes his eyes and buries the explosion of feeling in him as he replies to no one in particular.

"Idiot."

[vidavalor]

Fun observation! 😊 I feel like I get this or have some ideas on it anyway so I had a bit of a go on it below, if you're interested.

I think these are two scenes that are contrasting parallels to one another that are not really about Aziraphale's personal feelings regarding touch or his experiences with it but show him being thrown a bit by having more context than the other person in the scene, who is in emotional distress, and being unsure what the best way to care for them in that moment is.

In the Gabriel hug scene, half of Aziraphale's reaction is just shock. He's as floored as we are. Aziraphale doesn't have a problem being touched; he's just like wtf is happening right now??, which is the expression on his face.

This is Gabriel. While Aziraphale has seen hints of Jim before in Gabriel, they've only ever just been hints. The Gabriel that Aziraphale mostly knows wears his suit like it's a suit of armor and is obsessed with crafting his image as someone who is powerful and in control. He does all of those things to stay alive in Heaven. The man in front of Aziraphale in this moment in 2.01, though? He is the complete opposite of that.

Gabriel is stark bollocks naked. In the middle of the street. He's openly friendly, overjoyed to see Aziraphale, vulnerable, and as emotionally naked as much as he is physically so.

By taking out his memories, Gabriel has forgotten Heaven. All his toxic masculinity bullshit and the like is tied up in trying to survive Heaven so once that's been trauma-blocked for him to a point that he can't remember any of it, all that is left is who Gabriel really is at the core-- and that's the guy who has shown up at Aziraphale's door that they name Jim.

Jimbriel is emotionally available and open to a point that was almost unimaginable the last time we saw The Archangel Fucking Gabriel, right? Don Draper has turned into an amnesiac version of Buddy the Elf.

Where Gabriel's political shrewdness ("there are no back channels, Michael") and his sarcasm showed an awareness of social dynamics, those are just gone with Jim, who is earnest and direct with his emotions. Jim says and does what Gabriel has always felt and wanted to say and do but felt he could not without giving away what little power he was trying to cling to in Heaven to stay alive.

Jim was seen in other moments before Gabriel had lost his memory. There is a lot of Jim in the Ineffable Bureaucracy flashback, when Gabriel is able to let his guard down around Beez. Aziraphale has seen hints of Jim's existence when Gabriel carefully joked with him in the bookshop and protected him from Sandalphon. It's those hints that allow Aziraphale to recognize the guy at the door as being Gabriel in distress and let him in.

Before that, though, we just get to enjoy the lunacy of this scene with Aziraphale, and no part of it is as wild as when Gabriel drops the box and gives Aziraphale a big ol' squeezy hug. Why does Aziraphale freeze, unsure what to do with his hands?

I don't think Aziraphale's response has anything to do with him being unaccustomed to touch. It had to do with him being in shock as to what the actual fuck??? is happening and, even more importantly, his concern over what the best way to care for Gabriel in this moment would be.

First is the shock of what is happening: there are several hundred people watching and filming this. Gabriel is vulnerable here in a way that the person Aziraphale knows would never, ever want to be. His memory appears to be gone and he's full Hamm in the middle of Whickber Street. This is in addition to Aziraphale himself being a private person and introverted and, even if he weren't, this is all just completely bonkers. Gabriel is a person that Aziraphale perceived as having a lot of power in Heaven. He doesn't really know that Gabriel is as trapped as he and Crowley are, though he suspects it a bit. His and Crowley's last encounter with Gabriel was less than pleasant and now Gabriel's here, after something terrible has clearly happened to him, hugging him on the doorstep in front of the entire neighborhood.

Aziraphale isn't just considering what might happen if Gabriel got his memories back, was embarrassed by this, and took that out on Aziraphale. Being Aziraphale, he's more concerned about the fact that Gabriel is hugging him but doesn't seem like he's in a place, emotionally or mentally, to really be able to make a call on whether or not this hug is something he truly wants.

I feel for Aziraphale here because I think that he did have issues in the past with being held, if not exactly with giving other people a hug. (He didn't usually volunteer those hugs but could awkwardly return them.) He struggled with thinking he didn't need it because he should be above it. Crowley helped him with that, though. Aziraphale sometimes has issues with anything that feels like it's about him because he's excessively self-sacrificing but we've seen that he is comfortable about touch with Crowley. He reaches out to him several times in S2 in a way that shows they have an understood, mutually consensual familiarity where that's concerned.

Crowley might be a little unaccustomed to being petted in the pub lol but that's just because it's a public setting. In a bit of a twist to the kiss scene you're talking about where Aziraphale takes that moment before he puts his hand on Crowley's shoulder, there are a whole bunch of other scenes in S2 where Aziraphale keeps touching Crowley's shoulder or his arm with a casual intimacy that shows he does it all the time. (Not to mention the comfort with one another that The Wall Slam in S1 shows.) They also each mime a kiss at different times at one another in S2 (Aziraphale after "very nice" and The Apology Dance; Crowley in the back room after "don't you want to hear my plan?"), showing that kissing is not new to them.

Aziraphale takes Crowley by the shoulder in the magic shop in 1941; he holds him up and helps him walk in 1827 (also reaches for his hips to try to steady him earlier in the minisode); he reaches for him in 2.06 in the above gif; and, in the scene below, Aziraphale reaches with intuitive, practiced ease to touch Crowley-- while standing so close to Crowley that it makes it apparent that Aziraphale is very used to being that much into Crowley's personal space when they're in the bookshop.

Crowley only leans back away from it because, as we can see from his darting eyes, he's not sure how he feels about them being that open in front of Gabriel. The fact that there's even this scene, though, where Aziraphale is shown to be so used to being so close to Crowley that, if Crowley hadn't leaned back, he would have basically been in his arms, is showing that they are allowed by one another to touch and hold each other.

So, Aziraphale's response to Gabriel hugging him isn't about touch in general-- it's about what was happening in that specific moment. This is where it gets into areas relating to boundaries and consent.

Even though it's Gabriel who initiated this hug, there's something so off about Gabriel that he doesn't appear to be in a mental place to really be making this decision. Gabriel is in obvious distress in a way that is so at odds with what Aziraphale knows of his personality that while Gabriel, in this moment, is expressing that he wants to hug Aziraphale, Aziraphale doesn't really know that Gabriel, on the whole, would want to do that.

This is why I think Aziraphale doesn't even really sort of try to pat Gabriel's shoulder or something. He doesn't know what to do with his hands because while his heart sees Gabriel and says, around the shock of what's going on that, whatever has happened to Gabriel, the poor guy probably does really need a hug, the rest of Aziraphale is concerned that he doesn't have enough context about what's happened to Gabriel to be able to judge whether or not Gabriel is in a good enough headspace to be making this call.

One rather enormous contextual clue to that is the fact that he's buck ass naked in the middle of the street 😂 which is clueing Aziraphale into the fact that maybe Gabriel isn't in the best place to be making decisions about stuff like this right now.

It's also been Aziraphale's experience that Heaven takes memories of angels who have fallen through the ranks or fallen to Hell and that, while they don't know exactly what's happened, odds seem good that this might be what's happened to Gabriel. It seems wild to Aziraphale because Gabriel is The Supreme Archangel but it's possible and, whatever's happened to him, it's clear that he ran afoul of The Metatron in some way and has been harmed in the process.

Gabriel has experienced something traumatizing, in other words-- maybe even so traumatizing that it's the reason why he can't remember anything. He's naked and acting unusual and unusually emotional so Aziraphale knows Gabriel's not really in a place to be deciding whether or not he wants touch or not. He might very well really want to be hugged-- I think he did, as his day was pretty shit so far and Aziraphale is cuddly lol-- but he and Aziraphale have exactly zero prior understanding where boundary lines are around touch-- in general or when one of them is distressed-- are concerned.

He doesn't touch Gabriel or lightly hug him back because he feels he doesn't really have Gabriel's permission to do so, and he's correct. He doesn't. Gabriel isn't in a place to decide whether or not this hug is something he's going to want to have happened down the line.

I think that the Gabriel we have as of the end of 2.06 is probably appreciative of the fact that Aziraphale didn't touch him during that hug because it showed that Aziraphale cared about Gabriel's comfort and didn't want to touch him without that being something that Gabriel, when of sound mind, had permitted. I'm sure that Gabriel is also embarrassed about having just glomped onto Aziraphale. Not even just because of the whole naked, vulnerable, Jim-ness of it all but because he put Aziraphale on the spot and was too out of it to consider Aziraphale's comfort level with what was happening.

Gabriel really should have asked Aziraphale if he could hug him but, mixed up from his missing memories, he assumed they already knew one another and that, since he just knew to come to the bookshop, that it must be because he and Aziraphale already knew each other well. What makes this situation different from the one in 2.06 during The Kiss scene with Crowley is that Aziraphale and Crowley have a completely different level of intimacy and familiarity than Aziraphale and Gabriel did.

Crowley and Aziraphale have body swap-levels of intimacy and have preestablished understandings of what is permitted between them and in a state of distress. I did a post about what I think is happening in The Kiss scene, in terms of why Aziraphale reacts the way he does, and there is context to the happenings in that scene that Aziraphale had that Crowley was missing that I think impact Aziraphale's response to the kiss. You can read about in that post, if you're interested. In addition to that, though, Aziraphale isn't sure about responding to the kiss because Crowley has been so emotionally up and down over the prior few minutes that, kind of like with Gabriel in 2.01 but in a different way, Aziraphale isn't sure that Crowley is in a headspace to have decided this kiss is really what he wants.

From Aziraphale's perspective, Crowley was missing all night. He came back trailed by archangels and Aziraphale doesn't know what happened the prior night. Aziraphale has seen behavior that is very off for Crowley since he returned, which I also looked at in that post. Crowley not going with him with "The Metatron" and Crowley not seeming to see "The Metatron" as a threat are things that are way, way off for Crowley and indicate that, while he might otherwise seem fine, he's really not fully in a good mental state.

This is all before they even start talking in That Scene and then Crowley is all over the place, emotionally. He was in tears just prior to this kiss. Aziraphale thinks he understands, intellectually, why Crowley comes back to kiss him (he gets about half of it-- the emotional reasons why but not the plot reasons why and, yeah, there's a plot reason) but he's not sure about returning this kiss for similar reasons to why he wasn't sure about returning Gabriel's hug.

Crowley has permission to touch/hug/kiss Aziraphale so he's not violating any preestablished boundary here by doing so. He is doing so while distressed, though, and Aziraphale is concerned about doing the right thing by Crowley in this moment. He wants to kiss him; he's just not sure that Crowley really wants to kiss him right now and isn't just doing so because he's upset. When Crowley holds on a bit, Aziraphale has to decide what to do and he eventually sort of gently responds. He kisses him a little; he runs a hand over his shoulder. It's because he wants to comfort him and he knows from their long history that he has permission to gently do that-- their car and their bookshop and all that-- but he won't turn this thing into some wild, passionate kiss because, to Aziraphale, that would be taking advantage of Crowley.

The point is that, even though Crowley and Gabriel have wildly different levels of intimacy in their different types of relationships with Aziraphale, both Gabriel and Crowley are reaching out for different types of physical touch while in distress after being harmed and Aziraphale, both times, is just trying to figure out the best way to acknowledge their pain and provide comfort while also not crossing any lines that might make either of them feel later on that they were taken advantage of when they were vulnerable. It's why Aziraphale is a very trustworthy person-- he is sensitive to and cognizant of this stuff with everyone.

Something that I’ve noticed, and I don’t know what it means. But did anyone else notice how Aziraphale’s (present day) opening scene in season 2 involves him being embraced and he has no idea what to do with his hands:

…which is then mirrored by his (almost) last scene where he is being embraced and he doesn’t know what to do with his hands:

WHAT DOES THIS MEAN?!

I mean, in the last scene Aziraphale does grab onto Crowley for a brief moment (and I’ve written more about why that may be here). But just putting these two scenes side by side is making me wonder what deeper meaning there could be.

Would love to hear your thoughts on the matter! What does everyone else think this means?

[guiltycorp]

Damn i really want to know tf happened in the writing room of arcane s2. Some of the downgrades were inevitable due to the show's corporate limitations (not being able to progress the class war story in a meaningful way, having to tie things back to league of legends in terms of making playable characters more appealing to well, play... rip Mel and Viktor in particular), sure. But i still feel like it's even worse than that? There are so many bad decisions that i couldn't even start listing them all... the characters, plot, pacing, themes, it's just such a mess? Even the dialogue writing, it feels much more mm Marvel at its worst i suppose. What i am most bothered by is probably just the straight up harmful messaging so um... Cycles of violence and abuse can be broken by individual decisions to become a better person! Got nothing to do with systemic oppression, living conditions, mental health issues, you can just conveniently ignore aaall the social context, live laugh love and then things get better automatically yep, oppressors famously stop oppressing you when you show them that you're harmless and won't put up a fight anymore. Literally three out of three suicidal characters dying to redeem themselves? Not even in a tragic/cathartic way but in a bittersweet 'they finally atoned for their mistakes' way? Groundbreaking lmao. Romantic relationship between Vi and Caitlyn including no communication about their biggest fight, just conveniently skipping to sex and getting back together - would have loved that if it was framed as the unhealthy fucked up thing that it is, skipping over Vi's hurt and her background to once again become a cop, her girlfriend's direct underling at that (!) due to her not having any other support systems... But nope that was our cute lesbian romance wrapped up, a good thing all around, not concerning at all. Jayce telling Viktor that what he 'always admired about him' was his disability and his deadly disease (??? from a character who spent the whole s1 and first act of s2 desperately trying to help Viktor find a cure? sure) and that those imperfections don't need fixing, just wtf truly. Magic bullshit was also weird, some implications of 'natural magic is ok, but achieving that power through other means corrupts you into a crazy robot bitch or just wilts your trees i guess', but tbh it was written in such a weird and inconsistent way that we can skip this one... Yeah actually a lot of things were just such a mess that I feel silly pointing to specific moments or lines I didn't like, I mean duh, it barely makes sense as a story at all... I am happy we have s1 which comparatively was a masterpiece, and i also really enjoyed s2 act1, i truly believed it would lead somewhere good at the time, my mind still kind of cuts off the story at that point when i think about it, that WAS the open ending of the show to me (is it possible that there were rewrites? targeting act 2 and 3? idk, wishful thinking perhaps). Despite my extremely negative feelings about this season's conclusion i remain glad that so many people appreciate the show regardless, it is clear that there was STILL a lot of love in the process of its creation (although i'd argue that even some of the visual aspects of the show suffered in quality, once again i have to wonder about behind the scenes mood of it all) and i get very upset when i see creatives online despairing over reception of their projects even when i'm absolutely in the disgruntled crowd hahaha... ...however yeah, this wasn't great In a world that increasingly grows more and more right-wing politically... we really needed something different i think.

[1mlei]

Demon Twin Au Thoughts

I've been thinking a lot about Demon Twin AUs lately.

I've read nearly all of the ones on ao3 (Please do send recs my way <3), and I adore the different interpretations of this concept. I will always love the version of this where Danny and Damian are reunited after Danny ends up in Gotham, or Damian in Amity.

I love this classic take on the AU, but I've been thinking about fun ways to spice it up. My favorite idea so far is the idea that the twins reunite after Damian temporarily dies.

Imagine Danny just minding his business in the Zone and he randomly sees his twin, who is supposed to be alive. Damian would be happy to be reunited, he's been under the assumption that Danny was dead since they were kids so he's just glad to see his twin again. Meanwhile Danny is freaking out because he literally faked his death and ran away so Damian could live, what the fuck is this?

You could add a touch of Sam and Tucker being confused on the side. I always imagine that Danny never told them about where he came from or his brother. (What can I say? I love the drama that secrets bring.) You could either have Damian look like his civilian self as a ghost, and have Sam and Tucker be confused af about this random ghost that looks just like Danny. They might think it's a weird duplicate or something, but then why is Danny so freaked out? You could also have Damian be in his Robin costume, I imagine Sam and Tucker would be shocked to randomly see the ghost of Robin in the Zone, but it's far from the weirdest thing they've seen in there. Again, Danny has never been a huge fan of other heroes or vigilantes, so why is he so freaked out about this one being dead? Of course, though Danny has stayed away from Gotham for various reasons he is aware that his twin brother has become Robin after moving in with their father, so he knows that this new ghost can only be one person.

Now moving away from the idea of the twins just randomly running into each other :)

You could try turning it into a twin telepathy type thing, where Danny senses Damian dying, or at least that something happens to him and goes to investigate.

Or, something that I feel is quite in character for Damian, he might hunt down Danny himself the moment he realizes where he is.

You could turn this in different directions again depending on whether Damian is in civilian clothes or his Robin costume. Either way, I imagine him questioning some other random ghost (maybe one of Danny's rouges for fun?) and regardless of how he's dressed they'll point him towards Danny.

"Oh you're looking for your brother? Idk man, go ask Phantom or something."

OR

"Your brother? You look fucking identical to Phantom so you might wanna start there."

Either way Damian tracks down Phantom and concludes that yes, that is his brother. Dramatic reunion ensues.

Last little thought I had on this, Damian doesn't think Danny is a ghost, he assumes he moved on, or maybe he somehow knows he faked his death and thinks he's alive? Regardless, Damian is a man on a mission the moment he arrives in the Zone, he refuses to stay in this pathetic realm and decides that whether he's dead or alive he will make his way back to Earth. Best way to get there? Damian goes to talk to the king of course, to negotiate (or fight if necessary) about going back to Earth. If not that, he just happens to hear about a certain half-human, half-ghost hybrid and tracks him down for help. A hybrid sounds like someone who would know how to go back and forth between the realms after all.

---

All this to say, I want more of the Demon Twins reuniting in the Ghost Zone. If anyone has recommendations or ends up writing a story of this please do send a link my way, it would be most appreciated <3

+ Bonus points will be added if there is a scene where Damian is resurrected and Danny decided to tag along. Cue confused batfam freaking out because oh god there's two of them now how did that happen.

[beescrafting]

It's just a haircut.

I had this thought from making the Bracelet and couldn't stop thinking about it lol.

Fluffy haired Roach era will still be around, as well as buzzcut Roach.

_____________________

Roach's hair was getting a bit to long for the army guidelines... And here he was looking at the razor while sitting on a stool. It was of course in the communal showers, he stared at his face trying to think what type of hair he should do... Maybe he should get some help to get the back done...

He sighed in defeat looking at this, maybe he should buzz it completely down to make things easier.

As he sat there deep in thought not noticing as his Captain appeared beside him.

"Thinking of a hairdo?" His captain asked raising his brow. "A bonnie one?"

"Yeah.. kinda gotta, just don't know what to do." Gary sighed.

"mhm.." The captain walked around him, MacTavish always was an artist was he not?

"lets go somewhere with better lighting" His captain muttered taking the razor from his hand. Roach is left a bit baffled before quickly getting up to follow after him.

Roach quickly follows after his captain confused, the lighting in the bathroom was fine was it not? It wasn't until they were getting down to the bedrooms that Roach noticed where they were going.

Why were they going to Lieutenant's Ghost room?

"Sir?" Gary questioned as they stopped in front of Ghost room. His Captain knocked on the door humming.

"Ghost room has some good lighting... and I think he'll enjoy this." Captain murmured.

Gary was confused before the door opened and his Lieutenant stood there, before moving out of the way.

"what's it this time?" Ghost grumbles as Gary follows the Captain in.

"Gary needs a hair cut, figured your room would be nice to do it in" The captain explained while forcing Gary to sit on the floor suddenly.

Gary felt like a dog in a way like this, looking up at the two wondering if this was a common thing.

"mhm" Ghost hummed looking at Gary's hair before running a hand through it.

Roach blinked confused.

"think i got a good idea" Ghost said sitting down behind Gary. "Keep your head straight Bug." Ghost grumbled.

Gary did do as told, as well as just blinked looking at his captain slightly worried.

The sound of the buzzers clicked to life as they ran through the sides of his head. He sighed for a moment confused.

Captain MacTavish hummed looking at the work. "Hand me the cutters" He muttered.

Ghost huffed handing them over before moving out of the way.

The captain sat behind him before fixing his hair up a bit more, Gary just sat there wondering what the hell was happening now and how his life got to this point.

When everything was over, Gary walked out with a mini-mohawk mimicking his Captain's. The captain looked so proud and smug while Ghost looked salty.

Gary just ran his hand through his hair humming. "Thank you-" He was about to finish his thanks before Captain Price entered the room, and seeing the scene before him grumbled.

"Hand me those razors."

Gary then walked out with short buzzed hair... What a moment...

Roach walked out of the room, feeling the air shift through his short buzzed hair... He was going to be wearing his helmet a lot more now...

As he was closing the door he heard Captain Price talking to Captain MacTavish and Ghost. "You cannot just give him your hair cuts... don't give me that look, yes he looked nice... but that doesn't mean others outside of the team will notice."

Gary's heart warmed...

What a moment indeed... What a moment.

____

Gary getting the hair styles of his team mates because they wanted to show off.

This is so cute... just the idea of Roach getting Ghost hair cut, then his Captains, and then Price buzzing it completely because he was worried they'd be found out by those outside the team.

[jayktoralldaylong]

Alright, there's something I'd like to talk about, and let's come at it with an open mind. When Season one of Arcane ended I was 99% sure that Mel was not going to make it to this season. I was praying for every kind of miracle that could happen just to keep that beautiful goddess on screen but she was the first line of contact for that bomb.

Now that everything has been revealed, I want to talk about that bomb.

Ironically, Season two episode one starts with the exact same shine of gold that ended season one.

See, season one:

Season two:

And when the smoke clears we can see her leaning really close to Jayce, like she got blasted towards him.

Now, looking at the seat arrangements from Season one, I can actually see it a lot better now that I'm taking a second look. We can see that she is standing directly in the line of fire, Jayce is standing to her left and Viktor is sitting in his chair, Jayce's chair. Just about everyone sitting by her right died, Salo is sitting furthest away from the blast, opposite her. He probably saw it just a few seconds before she did.

And when she wakes up, all groggy and out of focus, her hands are on his shoulder. They been there, she did not just put them there, she already had her hands on him. Protecting him.

But what I really want to pay attention to, is the look on Mel's face when she and Jayce take in the damage.

The entire place burned down. Realistically, not a single person should have survived that, especially not unharmed.

Then the damage starts sinking in (Don't look at Jayce, look at Mel):

Look at Mel, as they look around the room of injured Councillors.

Jayce is panicking, full on panicking, he's had his nerves rattled, he's never seen anything like this (unlike Mel who, if the audience remembers, grew up in Noxus). And the sweetest thing is how she follows him around, trying to comfort him, while he's trying to shake Cassandra awake.

And she stays right there by his side, until her mother pulls her away (foreshadowing about their duties pulling them apart perhaps?)

Now, imagine you were in the middle of a disaster, a terrible disaster, and you had the power to save every single person in that room, but you did not know this because no one ever bothered once telling you that you had powers. However, in that moment, you did indeed save one person, without knowing, without even thinking. Who did Mel save?

She saved Jayce. (The craziest thing about that.....is that.... Viktor was literally right beside him. He was right beside Jayce OMG 😭😭).

Watching this scene, I cannot imagine the amount of guilt that threatened to swallow Mel whole ever0y time she saw the aftermath of what happened and a small part of her brain would nag her that she could have prevented it, that she could have protected Jayce's friend.

So why Jayce? Why ONLY Jayce?

"Because she loves him."

Obvious answer, two plus two equals four, but this is Arcane we're talking about, there is more to this simple equation and it is plain to see in their reactions in the aftermath.

Jayce is devastated. He is new to war, he does not know shit about it, it scares him to see all the people that he respects flattened like they are nothing. The Piltover Council means something to Jayce.

To Mel, they are colleagues. They are.... people with names and faces and power. They are people she would help on a normal day, but at the first sign of danger she clung to one person.

Jayce was Viktor's first friend, and he was Mel's too. He was the first person to tell her that she was not crazy. The first person to strangely believe in her dreams, to pour out affection not out of arrogance but genuine care that he was not ashamed or even hesitant to show her. He fought for peace when she began to doubt. When she felt unstable, his naivete and pure heart steadied her.

Mel loved Jayce. Loved him so much that she did not freak out when he was tweaking cause of the Arcane. So much that she fought for him when he was getting outright dominated by his ex. 💀💀 And while it is not the space shattering world changing soul bonded union of javik, I think it is beautiful that Mek loved Jayce.

I think it's ironic that the brotherly love that people keep trying to achieve with Jayce and Viktor was represented so well with Jayce and Mel. I think it's iconic that a male and female character that banged on screen can go their separate ways without a dramatic breakup and without losing the entirety of their care for one another (cause some of it was definitely damaged after their individual trauma).

What I'm trying to say is that Mel loved Jayce. The love was there. Call it romantic or platonic or whatever but she cared about him more than she cared about anyone in that room when that bomb went off.

And it just twists something in my heart....that Jayce was so loved by the two people that meant so much to him. That he gave all of his heart out and they gave everything back because of how selfless his love was. Everyone says Viktor and Mel are out of Jayce's league but they both keep putting him first. (⁠T⁠T⁠) They just cannot resist that all encompassing love of his. It saved Viktor, and it saved Mel who finally found her truth, and lost him to find it.