#I will have people who are keeping track of me so it's not a advertisement for being kidnapped thank you v much

[bunny-jpeg]

a pair of aces

franco colapinto

tags: smut/pwp, williams driver!reader, (somewhat) rivals, clothes sharing, banter & teasing, canadian!reader, secret relationship, body worship, semi- public sex, getting caught, multiple sex scenes, fingering, tim hortons

a/n: the reader is canadian because i said so... also because my brain is tired and it was easier to maker tim hortons jokes.... congrats reader, you are now canadian!

williams was stronger thanks to the hard work of you and franco. you actually made the likes of ferrari and mclaren nervous. even though you and franco were rivals in a sense, it was s unremarkable that the media turned their attention elsewhere. you were both charming, kind in a way that made people drawn to you. even other drivers, only for you to dominate on the track.

but at the end of it all, you pushed franco and franco pushed you. so it wasn't a surprise that you two were something much more than teammates.

franco would lounging on your hotel bed while you were messing with the attire you had on. it was like your driving suit, but you knew it wouldn't pass any standards or testing. it was a costume of a driver's suit, also it was ugly as all hell.

it was a costume for an advertisement, you go roped into doing it for tim hortons during the canadian grand prix weekend. lance laughed when you told his and was thankful that he didn't have to do another one. so much for canadian solidarity!

franco was behind you, amused as his eyes raked your behind. you usual suit was baggy enough to be comfortable and safe. but in this mockery of one, he got a good look at your round behind. you looked good even in bold red and stark white with a flurry of maple leaves printed onto the fabric. he was happily munching on tim bits you had received when some poor assistant gave you the outfit.

"management will have your head is you keep eating those." you looked over to him, "and can you at least save me a chocolate one?"

franco pulled one from the box and looked at you. he smiled, "last one in the box... i wonder who should have it." he pretended to ponder for a moment before he ate it in one bite. you gave him a ,look and he winked then responded, "that's for last weekend."

you turned around to face him fully and he smiled at you. you rolled your eyes and went over to him. you reached for and touched his face.

"you are a pain in my side, colapinto." then leaned in to kiss him on the lips. he melted a little at your touch. he tasted sweet from the snack.

"only for you." he then pulled you onto the bed and he wrapped his arms around you. the near empty box of tim bits fell onto the floor and your teammate all over you.

you moaned into the kiss and threw your arms around his shoulders. chest to chest as the two of you made out deeply.

"don't cum in your pants, franco. they need to photograph me soon."

he undid the zipper and smiled against your cheek, "i'll get mine later, but for now, you'll get to finish first." and then dipped his hand into the suit towards your panties. he got his fingers under the waistband and sunk the digits into your achy cunt. you groaned and arched your back a little.

"fuck, franco." you hissed, you maintained eye contact with him as he fingered you. you squirmed a little and franco pressed more weight onto you. he kept you comfortable against the mattress.

"anything for my teammate." he trailed kissed down your neck and you could feel your pulse pick up. and he could feel it under his lips. if only he could leave a pretty bruise.

he continued to finger you. his fingers felt amazing stuffed inside your cunt. you felt heightened pleasure as he continue to kiss your neck. his breath hot across your skin, it made you run extremely warm.

the pleasure ran hot through you as he played with your sex. it felt dirty to be so intimate in an outfit made for promotional material. you knew you'd never be able to look at it the same again.

he was good with his fingers and it made everything feel intense by a ten-fold. he was skilled in that way, the ways that made you squirm. it came up your body, the kind of want that made your toes curl as you kept working you. he said lowly, "you drive me crazy, even in an awful outfit like this. i want you."

"after." you panted, "qualifiers aren't until saturday, so we have a lot of time after this. just gotta do the stupid ad first." you shifted under him.

you wished you could show franco you city a lot more than you'll be able to do. all the nooks and crannies that you spent time in growing up. but you could barely see your childhood friends before you were out of town and headed to austria.

he left small licked across your neck in place of the bites he wanted to leave. it was all hot and curled in your gut. you laid on last heavy kiss before you tensed up around his fingers. you came with a heavy moaned that was muffled by the kiss. he let out a small moan and slowed his pace to a stop. he took his fingers out and looked at you with his heat spread across his cheeks. he then licked your wetness off his fingers. you swallowed and felt the heat in your ears.

he pressed his forehead against yours soon after and you smiled at him. he draped an arm around your waist and the two of you kissed deeply before you had to leave for the photoshoot.

-

franco lingered around the set because he had 'nothing better to do', he didn't know montreal intimately. the only person you knew from the area was you and a few of the staff for he team. and he didn't mind support his teammate. after all it was your weekend to shine, and franco didn't mind, in fact he wanted you to shine. you were loved in canada, their future world champion. so of course he didn't mind standing to the side while you looked proud in front of a tim hortons location in the city. you were smiling as if you weren't complaining on the car ride over.

it's not even a canadian company anymore!

franco gave you a thumbs up and then a hi-five when you were close enough. the shoot was wrapped up, you did a good job. and while it was fun, you knew you wanted out of the outfit asap.

quickly you went to the trailer with franco trailing close behind. when the door closed to the place. it turned a few heads, and probably sparked for rumors. but, you wanted out of the shit spandex and into franco's lap.

when you were fully inside with the door closed, he wrapped his arms around you for a moment. he pulled you further against him and kissed you deeply. he then got a hold of the zipper to the outfit and pulled it down. he got it off of your shoulders and you melted, your moans got a tad louder.

"you looked good in this. never could race in it, but you can could make red and white work for you." he kissed the side of your neck which made you shudder..

"we have to be quiet." you groaned as you grabbed your breasts as he rubbed his clothed cock up against your backside. which made your heart leap.

"fuck." he groaned against your skin as you managed to kick your sneakers off. and soon you both ended up on the couch with the jumpsuit on the floor.

you grasped him by the front of the williams branded shirt. you got it off of him and he got the tank top off of you that you wore under the costume. eventually you were stripped nude and you did the same for franco. both of you were naked on the couch and the kisses got hotter. you could feel the simmering heat. sometime franco drove you crazy, both on and off the track.

you could race toe-to-toe then end up in bed together. the heated kissed between you two left your core feeling warm. your body heated up and was needy for pleasure. especially after a hard day.

you had enough time to fuck your rival, teammate and lover. franco colapinto was many things to you.

you got onto his lap and spread your hands across his chest. with a little help, you got his cock out his jeans and then sank yourself onto his length. he hissed between grit teeth and then grasped your hips.

"you look even better nothing on and that costume on the floor. i love seeing every inch of you." his voice was smooth. we was so charming that it made you squirm more often than you'd like to admit. you got the most of his charm due to the forced proximity and the nature of your relationship.

you felt the heavy leap in your stomach as he moved against you. he held onto your hips and you really worked against him. he kept in time with you.

he swallowed back the intense emotion through his body. he didn't want to be too loud. he didn't want to draw attention to the trailer. you two continued to move against one another. you grasped softly against him and felt the waves.

"fuck, franco. who made you so fucking hot? it's not fair. you make everyone else look so ugly in comparison." you said in a low tone that made him shudder with want.

"every way i can have you. i'll take you." he dragged blunt nails down your back which made you tense up. you shifted a little and franco also held onto him tighter.

"don't flatter me, franco." you giggled, "i'm a pain in your side. but you love me." you kissed his lips once more as you two moved against one another. the shudder of want between you two as the couch shifted a little under your movements.

he licked his lips and laughed a little. he held onto you tighter as you rocked against him. your thrusts were heavy and he adored it. he did think a lot about you.

most of the time he was thinking about non-sexual situations. if you were doing, did you eat and if you were taking breaks. he continued to move against you, he groaned through his clenched teeth. he tensed up at the sensation of your cunt around his thick cock. and he felt like a dream.

"i'd let you run me off the track anyway. but not without a fight." he trailed his tongue across your sweet, warm skin. you knew that he'd let you. he would allow you to win, he was soft with you that way. but he wouldn't let you gain victory without a fight! you were still rivals.

he'd give you the world without a second thought. except the wdc. you kissed him deeply on the lips, you combed your fingers through his hair and moaned against his lips. he wrapped his arms around your waist as he moved faster against you.

he got the perfect pace to fuck you with. and it made you hold onto him tightly onto him. he was your everything, you two fit so well together. you knew if the press knew about your secret relationship, you two would be a total power couple. both on and off the track.

you held his face and kissed him on those soft lips, it made you excited. you moaned against him, you both struggled to keep your voices down. your pulse quickened and small praises came from your lips as the pace quickened.

franco felt a heat in his body come to surface. the same heat raced through your system as well. you kissed the top of his head before you really worked yourself onto his length.

"i love you." you gasped, "lucky me. to have you all to myself. you make me my best." you said softly, you went in for another heated kiss, your hip bounced against him. as the raging feeling of climax went through your body.

the clench of your cunt around his length only made him match your pace further. he worked hard to fuck with in the shitty trailer, on the couch. your clothes everywhere.

"i need you." you panted as the climax drew through you. you tensed around him. the pleasure hit you perfectly, you arched your back and then were chest to chest with franco.

you made out once more as he moved, roughly fucked you as he tried to achieve his own climax. he groaned through a tense jaw as he quickly came. he continued to fuck you through orgasms and it wasn't until he finished in you that he slowed down to a stop.

there was little time for an after glow, you two had to be out of the trailer soon. you both went to grab your clothes. you had a change of clothes in your bag for after the photo shoot. you grabbed the first shirt you could find. you knew it was branded with the williams logo.

what you didn't realize was that you had franco's shirt on, and franco had you shirt on. you were wearing franco's last name and he was wearing yours.

you learned something important that day as you headed back to the car. secret relationships couldn't stay a secret forever, especially when you were both public figures.

it didn't help your case that you were kissing somewhere so public. there were multiple photos of you two kissing outside the trailer before you headed to the car.

you learned that secrets came out eventually. and now you were on the front page of the news for reasons other than your victory <3

[damondays]

Anyway this is a bit of a shot in the dark, but if anyone is going to Primavera in Porto to see Blur and have room for one more to keep some company pls @ me ✋🤠

I might be seeing them alone and it's the only band I'm really going for (tho could be interested in Bleachers and Halsey? Idk). I'm not going to Porto and probably not the festival alone, but it would be nice to hang with others who are seeing Blur 🙃 like queueing and such

[idontcaboose]

Grand Theft Danny aka Haunted Car Au Part 20

Previous. Masterpost

While Danny had control of the car, Signal was in the driver's seat and correcting turns and braking when needed. It was a fun and terrifying learning experience. It kinda reminded him of when he and Tucker would play those games where two people would share the controls and have to work together to complete the level. Luckily for him, Signal was a LOT better at keeping them from crashing than Tucker was. Hood was just vibing, making music requests, and throwing out a few directions. They were not too far out when Hood swore and called an incoming.

The radio muted itself for the com connection, and someone was making ‘wee-woo’ noises at them. Hood scoffed and responded on his own com shouting ‘ACAB!’ Danny had gotten the idea to link the com to the radio when the guy on the com asked (rather nicely) for them to pull over. Well, unfortunately for him, Danny was not done with his driving lesson, and Signal did say to Gun It. The music choice was a song that he remembered Jason playing and singing along with with the working gals. It was on the Batmobile’s radio drive, so a bat had good taste in music.

They proceed to drive all over Gotham. Hood had an especially great time hanging out the windows when they crossed over the Narrows, Bowery, and Crime Alley. The entire time they were being chased by the blue and black vigilante, that Danny was 75% sure was not called ‘Dickwing’. It wasn't until about an hour after his first attempt at nicely asking to stop did he apparently pull out the big guns.

“Guys, please, I am going to need gas soon. If you don't stop I am going to wake up Oracle to remote the car back home.”

Signal swore and made Danny slow down to a more reasonable speed. Hood on the other hand decided to mock the guy some more.

“Oh? Going to tell on us to O? Have you finally realized that Daddy Bat isn't as effective to tattletale to?”

“Little wing-”

“Dickhead.”

“Look, what if I pay for lunch?”

Duke looked at Hood so hard that Danny could tell he was conveying that they should take up the offer. Unfortunately it looked like Hood was going to continue the argument. Luckily, Hood didn't have a choice when Danny turned on the radio and found a Batburger advertisement playing, and showed his new found ability to stop on his own. Danny decided to further his point by finding gunshot sounds and someone saying ‘How Rude’ in the most scandalized voice he ever heard.

“Wait, did you just call me rude?” Hood asked incredulous.

“Yaaaaa booooiiiiii”

“That's because you are rude Little Wing. Hey Signal, thanks for stopping.” The other guy said.

“Wasn't me, Nightwing, Danny decided to stop us.”

The newly dubbed Nightwing looked into three back, confused. “Uh, who is Danny?”

“Our new best friend Dickwing, keep up.” Hood smugly said.

Nightwing gasped “Little Wing made a friend? I must meet them!”

“Danny, would you like to say hi to Nightwing?” Duke asked, trying to stifle his laughter.

Danny knew how he would respond, he turned up the volume -

“MY NAME IS SUE, HOW DO YOU DO?!”

Nightwing went through a bunch of emotions before settling on hopeful disbelief. “Did Oracle get a helper that is remotely controlling the Batmobile?”

He blanched when the car responded with a laugh track, a ‘NOPE’, and proceeded to play the Ghostbusters theme song.

Next

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[sith-shenanigans]

The thing about the Omelas story is that I don’t hate it, actually.

Don’t get me wrong. Usually, when I think about it, it drives me up a wall. I also—on the subject of responses to it—didn’t really like The Ones Who Stay And Fight. (Most of my reasons are said, better, in this article. Not the part about the tone, but that it shot for ambiguity and ended up in “somehow, the clearly magical power of child suffering made more sense than intolerance being a memetic virus that can only be solved through police murder.”) I’m fond of responding to trolley problems by asking who’s tying people to trolleys, and then insisting that it is morally relevant that someone tied those people to the tracks, because you wouldn’t be deciding who lives and who dies if someone hadn’t made the deliberate choice to put those people in mortal peril for no pressing reason.

(I like to think I’d save the five people. I think a lot of us would most likely panic and do something entirely unhelpful, and in practice, I have no idea if I’m one of them, because no one has ever tied anybody to a trolley track in front of me. It just hasn’t come up. But the ideal would be to save the five people. That’s not my answer in the organ-harvesting version, though, because it’s bad for everyone to live in a place where a surgeon can decide to kill you for your organs, no matter how many people doing it just this once would save.)

But I don’t dislike the story that Omelas came from. I don’t even dislike trolley problems, unless people are trying to insist that the context doesn’t matter. (The context always matters.) The problem is that everyone treats Omelas as a trolley problem. “Here’s a utopia where one innocent person has to suffer horribly. Is it worth it, to keep so many other people from suffering? Would you stay and be complicit, or would you walk out to go anywhere else?” The child is the central feature of Omelas, the only thing that matters. The child is nonnegotiable. You can’t rescue them, you can only walk away.

But the narrator did give us the chance to believe, before adding the child in.

Omelas is described to us as half place and half thought experiment, by a narrator that adds things as they go, a narrator that says this at close to the opening:

As they did without monarchy and slavery, so they also got on without the stock exchange, the advertisement, the secret police, and the bomb. Yet I repeat that these were not simple folk, not dulcet shepherds, noble savages, bland utopians. They were not less complex than us. The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain. If you can't lick 'em, join 'em. If it hurts, repeat it. But to praise despair is to condemn delight, to embrace violence is to lose hold of everything else. We have almost lost hold; we can no longer describe a happy man, nor make any celebration of joy.

And goes on, in the narrative, to consider the reader’s opinion, to ask what they’ll believe.

I wish I could convince you. Omelas sounds in my words like a city in a fairy tale, long ago and far away, once upon a time. Perhaps it would be best if you imagined it as your own fancy bids, assuming it will rise to the occasion, for certainly I cannot suit you all. For instance, how about technology? I think that there would be no cars or helicopters in and above the streets; this follows from the fact that the people of Omelas are happy people. Happiness is based on a just discrimination of what is necessary, what is neither necessary nor destructive, and what is destructive. In the middle category, however – that of the unnecessary but undestructive, that of comfort, luxury, exuberance, etc. – they could perfectly well have central heating, subway trains, washing machines, and all kinds of marvelous devices not yet invented here, floating light-sources, fuelless power, a cure for the common cold. Or they could have none of that: it doesn't matter. As you like it.

[…]

But even granted trains, I fear that Omelas so far strikes some of you as goody-goody. Smiles, bells, parades, horses, bleh. If so, please add an orgy. If an orgy would help, don't hesitate. […] Surely the beautiful nudes can just wander about, offering themselves like divine souffles to the hunger of the needy and the rapture of the flesh. Let them join the processions. Let tambourines be struck above the copulations, and the glory of desire be proclaimed upon the gongs, and (a not unimportant point) let the offspring of these delightful rituals be beloved and looked after by all. One thing I know there is none of in Omelas is guilt. But what else should there be?

Omelas is a story being told to a listener, a utopia being described; the reader is an implied participant in a conversation, the narrator reacting to what they said where the page couldn’t hear. And so, after all of that, the narrator says:

Do you believe? Do you accept the festival, the city, the joy? No? Then let me describe one more thing.

And the narrator goes on to describe the child, the terrible price, the self-justifications that people employ. Because the listener doesn’t accept the festival, the city, the joy—only pain is intellectual, only evil interesting. So the narrator engages in “the treason of the artist” (if you can't lick 'em, join 'em) and regales us with the child’s sorry state.

[…] They know that they, like the child, are not free. They know compassion. It is the existence of the child, and their knowledge of its existence, that makes possible the nobility of their architecture, the poignancy of their music, the profundity of their science. It is because of the child that they are so gentle with children. They know that if the wretched one were not there snivelling in the dark, the other one, the flute-player, could make no joyful music as the young riders line up in their beauty for the race in the sunlight of the first morning of summer.

Now do you believe in them? Are they not more credible?

I don’t think we’re being asked, as readers, to consider whether it’s worth it, though it’s certainly something we can consider if we want. But the narrative seems quite clear that it isn’t: to praise despair is to condemn delight, to embrace violence is to lose hold of everything else. A description of Omelas, of why Omelas should be believed in, but how could that be anything but a condemnation of a city powered by a forsaken child?

And, of course, everyone wants to ask—why don’t we free the child, why don’t we comfort the child, why don’t we change things and take the risk of making everything worse? Why is the best thing we can do to walk away?

Because we needed the utopia to have suffering in it, to believe it. Because it couldn’t be real until there was a cost, a price, something cruel and unfair to balance out the scales. Something had to be wrong with Omelas, as the narrator spun it up before us. Yes, perhaps we could save the child, perhaps we could ruin everything, perhaps we could be heroes—wouldn’t that be nice? Wouldn’t that be the story we want, here, where someone is suffering and only we (who are of course more compassionate than everyone else) can fix it? That would make it a real utopia, if we could kick down the doors and fix everything ourselves.

But it would have been better to believe that Omelas could exist without someone suffering for it, when we were asked.

[damazcuz]

I don't think people responding to the scrambled "uh oh, we got caught" Tumblr AI announcement with "just nightshade and glaze all the art you post guys! it's your own fault if you don't do that small step! It's ok we'll get through this!" are Getting It:

Everything has already been scraped, including the account you haven't been able to access since 2015. Yes even the private, locked sideblogs of all your old art. Did you glaze it? did you nightshade it? in 2015? can you log in and check? no? Opted in.

This also includes any writing, creative or otherwise, posted to Tumblr. Did you nightshade the poetry and fanfiction you posted to Tumblr on your old account in 2018? why not? not a plan-aheader huh? Opted in!

It's opt in by default and by design. People who left Tumblr ages ago will likely not hear about this and won't know to regain account access and opt out. People who have died won't be able to log in and opt out. People who deleted past accounts or sideblogs won't be able to log in and opt out. People whose content is reposted here from Pixiv or other external sources by unrelated third parties won't have any way to say "hey half of that blog is MY stuff. Opt ME out."

Sorry. They just have everything ever put on the site. And you didn't opt out in 2015 when you lost access to your login email, so it's included. This is on purpose because they don't WANT people to be able to opt out, they want people to stay opted in saying "well my art sucks so I'm poisoning the data model 👍" while posting jokes and creative writing, they WANT you to say "well I'm unaffected" and keep posting photos and text and stuff. Midjourney wants that and Tumblr wants to do anything it can to satisfy Midjourney and scrape some cash out of that deal.

I'm sorry because I love this place too, but genuinely the decisions being made here are business decisions being put into place by a company trying to squeeze the last drops of blood out of a stone. Tumblr is not your friend. Staff is not your friend. Automattic is not your friend. The CEO has hopefully PROVEN he is not anyone's friend. This is a business first and a product that they are selling, not to you and me, but to advertisers and partners. Tumblr will ensure that Tumblr users see their ads and supply them data.

Frankly I do not trust this company or this website and I cannot in good faith just believe that they're going to look at my opt out checkbox and say "okay! ^_^ we will remove everything Dama has ever said or done from our AI scrape. we promise to do it!" and then actually do it. They already have the data. They can just claim that whatever is produced through machine learning based in part off of my data is unrelated, came from other sources, etc. I do not have trust in this website. I don't see how anyone could at this point.

I feel like I'm watching a trainwreck from the inside and no one wants to get out of their seats and try hopping off into the safe grassy field. Wait, they say. Let's see if the train just climbs back onto the tracks, they say. The fire and explosions are all part of the process, they say. Eventually people will stop panicking or dying and it'll be a smooth ride, they say. Just look at how bright the horizon is.

[38sr]

I know this is gonna be a strange one, but I do have an industry question;

I've been looking for a job for the last 4 years post-grad, I've tried every bit of advice I've gotten over my 6 years in school and 4 years out. Is it too late for me?? Or more so what advice would you have at this point?? I'm starting to feel really negatively about this venture, and getting a day job has been just as difficult;;

Hello Sky! Hope it's okay to call you that. Ah post-grad job hunting.....I don't miss that period of my life at all. Before I begin, just want to preface that what I say going forward is strictly from my perspective/experience. I am not the absolute of the animation industry so if what I say doesn't align with you, you do not have to follow it haha. Alright, advice for post grad job hunting.... Well, I think I want to start off giving a bit of context for the animation landscape these past 4 years that has been rough for everyone (trust me it'll come back around to your question): 1.) COVID Pandemic

This one might be a confusing for some people because when COVID hit in 2020, the only facet of entertainment that was able to keep going was animation. If you remember, during this time streaming numbers went up because people were stuck at home, every studio was launching their own streaming platform (HBO Max, Disney+, Peacock, etc.) and celebrities were given animated shows because live-action had stopped dead in its tracks. This period allowed artists outside of California state to get hired because what's the point of capping the talent to the local area when we're already working remotely? In short, it was a boom. But an exponential boom rather than a gradual boom. You never wanna grow too fast because you'll crash out quicker (and harder) which leads us to our second factor.... 2.) Netflix's first ever round of layoffs in summer 2022, streaming actually isn't profitable?????

In short, this year is when Netflix's growth finally stopped and was the beginning of The Great Animation Contraction. Other studios who were looking to Netflix as a the new model of distributing/creating entertainment had realized Netflix wasn't invincible. As well as their business model. So naturally, they got scared and and take action (aka layoffs). I was affected by these layoffs while working at Marvel Studios and many artists got laid off at studios to save face from the mistake that was streaming (though at this point studios were still double downing on it). Also, around this time live-action was slowly restarting thanks to vaccines and social distancing protocols. So those celebrity studded animated productions dwindled down (and also they caused so much havoc for us animation workers because most of those celebrities had no animation production experience). Which now leads us to...

3.) Mergers everywhere! Yeah, uh, mergers fucking suck. People kept losing their jobs because companies kept absorbing into each other and multiplying their debts to ungodly dollars amounts! Apparently no one took a math class and understood if you multiply any number by zero you will always get a zero. These merger also caused more shows to get shelved and canned, making the job market even slimmer. And by then we get to 2023 and the....

4.) WGA, SAG and TAG Contract Negotiations By now, studios have realized that streaming is losing them money because it costs a butt load of money to not only create a streaming site, but also maintain it, update it, create new media for it, acquire established franchises for it, and maintain the current library. Streaming shows aren't being advertised like they used to on cable so shows don't last beyond one or two seasons. Worker contracts are becoming shorter and shorter (I had a co-worker who had a 3 month contract! Isn't that insane?). And what happens in the midst of this streaming meltdown?

WGA, SAG and TAG are gearing up for their contract negotiations. And as we know SAG (actors) and WGA (writers) did strike which good for them! But now there are no live-action jobs and once again, animation (TAG) is the only one running because our negotiations don't officially start until 2024. At this point, so many animated productions have been cancelled left and right for the sake of "saving money and cutting costs". And the effects were very much being felt in the animation work force. Some animation workers were starting to leave the state of California to more affordable cities, some getting day jobs as baristas, hell some leaving the industry all together. It didn't help that studios were kind of withholding production greenlights 'cause 1) they're greedy corporations 2) these strikes were putting pressure on them. And when we did enter 2024 for our contract negotiations, that contraction was at the tightest. The job market for animation had become so bone dry that you have director-level talent taking entry level jobs to stay afloat. But because of that new, emerging artists are blocked out from breaking in. Anytime a job listing would go up people would go in a frenzy and try every thing they could to get the job. That's how little shows were in production this year specifically. Of course, by now it is public that TAG has ratified the contract (meaning we will not strike). But up until then, studios were quite literally waiting with baited breath for the duration of negotiations. A ton of stuff was in development but nothing was getting a greenlight in fear of a strike. So many animation workers at this point have been laid off for at least 2 years, got priced out of LA county, or got so burned by the industry that they left for a more sustainable paycheck. At this point of the post you're probably thinking, "Why is she talking about all of this and not answering my question?"

And the reason for that is because I what to highlight you didn't miss your chance. You unfortunately graduated at a time where the circumstances were not good for breaking in for the past 4 years.

I'm not saying this to deter you from animation either. I just want to be transparent and honest about the current state of animation because it really has been bleak for the past 4 years. So it's not your fault but rather the industry was just in a seriously bad drought. Both emerging and veteran artists have been struggling to find work and when they do it didn't even last for 6 months. Hopefully, with the renewed contract studios will start greenlighting productions again so everyone isn't fighting for one job opening. But I can't tell 'cause I am not Raven Baxter haha. But what advice can I give during this tough time? Start developing your own projects. Things may be pretty dry right now but now is the time when you can create and develop your own original stuff that can be used in your portfolio. Short or long form, showing progress videos, just create. Because once you start working it's gonna be hard to find that personal project time (trust me I'm going through that right now haha). Also, you'd be surprised how just doing your own thing can garner the attention of someone who does have the power to hire you. How do you think I got to work on the shows I have in the animation industry? Almost all of my jobs happened because I was just creating my own thing and it just happened to match the sensibilities of a show produced by a Hollywood studio. And if I had any additional advice... it would probably be don't think that Hollywood is the only way you can tell your stories.

This one is more of....a recent revelation I've had after going through a pretty bad work experience but Hollywood isn't the only way you can be a storyteller. Whether it's comics, games, streaming, animation, or film....the Hollywood system isn't the end all be all. And by Hollywood system I'm referring to breaking into a big studio like Disney, Nick or something and trying to get your own movie/tv show to win an award or something. That system often works for a certain group of people and fails other groups. That's why I say develop and create your own thing because you might find something that fits your creative voice more than Disney or any other Hollywood studio. Maybe that's inconsiderate of me to say as someone who's been incredibly lucky to work in the animation industry for almost 8 years now....but I still wanna be honest that there are other avenues that isn't the Hollywood way. All in all, please don't give up or beat yourself up. The current state of animation within America was out your control and resulted in many artists struggling to find a job. You aren't too late. In fact, I would say now is your time to do your thing in preparation for when that hiring boom comes again (or you can just take another route to tell your stories). I hope that answered your question!

[valyrfia]

People don't hate ferrarihive (thearchercore) because she vanishes what haha. they hate her ass because her posts are cringe as fuck and make Charles look like an idiot that everything he achieves is ONLY because of Max or only has to do with Max. Or she treats him like this fictional dude that only manages to do things because and for Max only and it's I fear common sense some lecfosi are gonna find that awkward and not, that cool? maybe. which like you said, they're free to block and move on. But you know, twitter is the place for haterism so if it gets negative opinions, well there's freedom on that too. Im not saying she deserves the hate but she can't possibly act shocked or confused about why the hate is coming. Like do you guys read yourselves? Almost 90% things posted make Charles look like an idiot which is not that deep since you're not exactly in charge of the pr and image of the guy (thank god for that). But you know, that will get fans with some sort of need to defend him, because that's almost the point of being a fan, defend and support, you know?

You asked me if I was reading my own posts, well I have to say, are you listening to yourself? Not only do you think the place to discuss this is in askboxes of two people who consider her a close friend, but what has she does to offend you? Exactly?

As far as I can see, all she does is make silly little edits that she has loads of fun making (for FREE mind you), and posts it on the internet. She's not at all like her two evil triplets @tsarinablogs and I who actively engage in discourse, she's literally just having fun with her fandom space by ONLY posting on two sites and then curating her community beyond belief here because (not to doxx her but) she's an extremely intelligent, extremely hardworking, and extremely employed woman with a job and a full adult life and THIS is her hobby to relax and have fun! Are you REALLY going to bitch and moan about it because....other people happen to like this content that she's making? Which is ultimately a tiny fraction of the F1 related content churned out daily? And is produced for her own enjoyment and anyone else's happiness is an unexpected bonus? It's reductive, it's pointless, and I'm actually going to fully point my finger at you and say it's mean. J'accuse.

"twitter is the place for haterism" no it's the place for awful insane groupthink which gains traction because it's the kind of content which keeps you on that screen selling your precious time and energy to advertisers and El*n M*sk. Also, I'm going to be blunt, love Charles, that's my driver and my blorbo and Forza Ferrari and he is the second coming and all the rest, but that multi-millionaire rich white man with extremely questionable morals does not need you defending his honour and integrity past "his driving on track is hot" and "he said what he said about the opposing team". THAT is defending and supporting as a fan. It is NOT choosing to bitch about people just doing their own thing for their own enjoyment on the internet! Please, I say this with all the care I can muster, touch some grass.

[theresattrpgforthat]

Do you know of any solo RPGs that allow you to simulate a group/faction/place and many different NPCs? I guess I'm looking for something like a Sims or Dwarf Fortress but in the form of a TTRPG. Let me create a town and its inhabitants and roll or draw cards to determine what happens to them, or something like that. Thanks!

THEME: Solo "Sims" Games

Hello friend, these are some games coming from a few different angles but all have the common theme of interacting with a community or a group. I couldn't find a lot that allows you to play a number of characters at once, but there are a number of games that still ask you to manage a lot of people as one person! I hope you find them useful!

The Spiritpath Hotel, by 89 Lightwatch Avenue.

You are the owner of a fine establishment called The Spiritpath Hotel. Guests have come from all over to stay. The hotel mysteriously called them here, sensing that each of them are missing something important in their lives. They don't know what it is yet, so it's up to you to figure it out.

No one believes magic exists. Your guests think they are here to enjoy a vacation, but you know better. They came because your hotel promised them happiness they can't get anywhere else. You have a special power that lets you grant one thing to each person you meet and you use it to help your guests.

Discover who your guests are, figure out something important that they need, and provide it to them in a way only you can.

You’re not necessarily embodying all of the characters in this game, but you are continuously meeting and helping new NPCs as you play. This game uses a tarot deck or a random number generator to provide you with prompts, and you’ll learn more about your guests the longer they stay. I appreciate that the designer has included a reference sheet and worksheets to help you play - and the fact that you need them points to a management system that might feel similar to the Sims.

Dino Park, by Armanda.

So, you want to be part of DINO PARK. You’ve been chosen to work with us for a season! You must be thrilled! We’re the first park that through science brought Dinosaurs back to life. And you have a chance to work with us. 

We’re counting on your qualities as a human being and as a professional to make this park your home for these eight weeks. We will train you to be an outstanding member of our team. These weeks with us are going to be a life-changing experience. 

Dino Park gives you gear to help you take care of the dinosaurs in the form of a coin and a number of polyhedral dice, so I’m assuming that most resolution in this game revolves around using your gear to help you do certain things. You’ll also have personal skills and weaknesses that look like they’ll come into play depending on how you decide to solve problems. Your character will receive calls for help throughout the park, so it looks like you’ll be interact with dinosaurs and humans alike, and the game also advertises a catastrophe track - so if things truly go south, you’ll have to hightail it out of there in the style of Jurassic Park!

This game is probably good for folks who love nature games, dinosaurs, or fighting against a slowly building disaster.

Save The Community Radio!, by Wizard of Ox.

You and your group of friends used to run a radio station, giving up your weekends and nights to make sure your local community got a fresh dose of soundwaves. The problem is that, as time passed, most of your friends stopped doing so, except for you, who are still passionately trying to keep it up and running (and failing, mostly). 

Now the local government is threatening to cut funding and shut down your station unless you can prove that you can handle it, but to do so, you have to get your friends back together. Navigate the fallout of your previous relationships with each character and convince them to help you save the radio, or live to see it be shut down.

Save the Community Radio! is a solo journaling RPG focused on building relationships with multiple characters whom you have grown apart from in order to save something you collectively spent your youth trying to build. It heavily relies on these connections and how you interpret them, with prompts and actions chosen by dices and decks, but enough leeway for you to write your characters however you want.

This game uses a deck of playing cards and some 6-side dice to help you build the world where your community radio is about to fail. You work for the radio, and you’re trying to get your friends to care about it again. However, not all of your friends feel positive about you anymore, so you might have to mend those relationships first.

The deck of cards provides prompts for different problems that show up as you play, such as broken equipment or lack of guests for broadcast. You’ll likely need different kinds of people to call on to fix these problems - and hopefully you can fix your relationships with your friends before you lose all resources entirely! If you want a game about building connections, this is your game.

Note: This game comes as a RAR file, so you’ll need to make sure you have an application on your computer that can turn it into a PDF.

Crow Island: funeral//PROCESSION, by Tenbear.

funeral // PROCESSION is a solo TTRPG introducing you to the universe of Crow Island, a sci-fi fantasy world centering Indigenous people and People of Colour. Following the destruction of your village by a Corrupt Spirit you and Members of the Moon Clan will transport the body of your Chief through the wilderness of the Porcupine Nation to the City of Seven Nations for proper burial.

This is a survival game, where you play as a clan but it doesn’t seem necessary to name each clan’s members. You will have to survive against loss of equipment, predators, and depleting supplies. The game uses a deck of playing cards as sort of a prompt generator, providing you with either obstacles or resources as you make your way to the City of Seven Nations.

The reviews of this game compare it to a Choose Your Own Adventure kind of game, so if that sounds interesting, you might want to check this game out.

Nature/Town/Farm/Villagers, by Cardboard Hyperfix.

You are a farmer who just moved into town. You had family that lived here a while ago, but not anymore. The town has seen better days, and you are here to help.

This is meant to be both a farming simulator and a community simulator. Inspired by Harvest Moon, you are a farmer who just moved to town, and are responsible for both making your farm flourish and helping your neighbours solve their problems.

The game follows a calendar of four months, one month for each season. The majority of your play revolves around picking focuses and figuring out both what the problems of each focus is, and then work to wards solving them. Each day you roll 2d6 and use their results to help you solve problems.

If you want a game that you can choose to play over an extended period of time, or if you really enjoy Harvest Moon, you might want to check out this game.

Apawthecaria: A Poultice Pounder Adventure, by BlackwellWriter.

Apawthecaria is a blend of Apothecaria and Scurry! Go on a potion-making, road-tripping, friend-making adventure.

Apothecaria is a solo potion-making game about taking care of unfortunate villagers. Scurry is a game about tiny creatures adventuring through Scotland’s underbrush. Apawthecaria combines the two that brings your little poultice-maker through the same world as Scurry, helping little creatures with their injuries and ailments.

This game is absolutely adorable, and I like the fact that you can recruit a Familiar and a number of Companion bugs on your journeys. I’m assuming that along with meeting a number of patients on your travels, you’ll be using many of the potion-making and foraging rules of Apothecaria. There’s a lot of management involved - you’ll be tracking your reputation, upgrading equipment, and bartering for ingredients (aka reagents) as you travel.

If you like a game with enchanting art and plenty setting already established for you to explore, this might be a game for you.

Scavengers, by Gasini.

Scavengers is a solo hexcrawling adventure game set in a post-apocalyptic fantasy world. You play as a crew of foolhardy goblins struggling to pilot an ancient vehicle known as The Gas Horse. Your crew's goal is to scour the wastes for salvage to expand the goblin homestead. 

Your goblins have an eclectic set of skills that will change how each run goes. Be wary, for there is a hunter out in the wastes seeking to end your adventure!

I think this game might meet your requirements because you are playing a crew of goblins, rather than a single character, and because you have something to manage - namely, the Gas Horse. You’re also responsible for a Homestead, where there might even be more goblins waiting for you. The game comes with a Hexflower map for you to explore, and it all looks to fit on a single brochure, so I think this is better for a limited play session rather than extended play.

Nomads of the Isles, by Nik Mirza.

The fate of your clan rests on your shoulders. Will you be able to lead them to prosperity or will your journey end in defeat?

Your clan are on a quest to establish settlements in a new and unknown land. You must lead your people through various terrains such as mountains, deserts, and forests while managing facing unforeseen danger. Your goal is to establish a settlement or more by the end of your reign.

This is a brochure game guided by Firelights, a solo RPG that is great for metroidvania types of games. Roll on a d66 table to determine what kinds of regions you’ll travel through, and draw cards from the Story Deck to determine the difficulty of each action.

While the game is meant to track a journey from one land to another, the actual details of the story are up to you. The cards from the deck provide you with a value that you’ll have to beat, but the detail of each problem is pretty vague: you’ll recieve prompts such as “Reunion”, “Ceremony”, or “Betrayal”. You’ll have to decide what those words mean, and how much detail you want to include. If you want a game that makes it fairly easy to track progress towards a definable goal, this is your game.

DELVE, by BlackwellWriter.

DELVE: A Solo Map Drawing Game is a map drawing game that puts you in control of a dwarven hold as you discover the horrors that lurk below. This 44 page zine has everything you need to generate natural formations, forgotten ruins, enemies, wyrd magics, and ancient monstrosities. It has a simple turn-based combat system, rules for building your hold and optional challenges for a harder experience.

If you like Dwarf Fortress, this is the game for you! Recruit military units, devise traps and track combat. Use cards from a deck to track resources and explore the map, and a d4 or a coin to help you resolve certain problems. This is as much a resource management game as it is a dungeon delving game, with plenty of tables for Magic, Adventurers, Inventions and more. If you like filling out a map and tracking a lot of things at once, this might be the game for you.

[scorpiussage]

Written in the Stars (Jonathan Crane/OC)

Pairing: Jonathan Crane/OC

Summary: Despite what many may think, Jonathan Crane does in fact have a soul mark – he’s just not particularly thrilled about it. (Soulmates AU where a persons first words to you are written somewhere on your body) 

Warnings: Awkward shenanigans, smut

Jonathan Crane is seven years old when his soul mark appears. He’s huddled under a pew, locked in the old abandoned church by his grandmother for a sin he doesn’t remember doing. A sharp burning pain erupts on his forearm, different from the bruising lashes that decorate his back. He holds his arm up to the dim moonlight streaming in through the dirty window and tries to make out the words. 

Whatever he thought his soul mark would say, is no where close to what it actually says. 

…

Most people that know Jonathan Crane, also assume that he doesn’t have a soul mark. He’s bitter and mean and not at all what people look for in a soulmate. Despite these perceived flaws, he does have one. 

A soulmate that is. Somewhere out there and he dreads ever having to meet them. 

He’s never been very lucky, though. 

…

Jonathan is exhausted, injured, and coming down off of his own fear toxin. His hideout is on the other side of town, too far away to get there right now, so he seeks the first open establishment he can find. 

“Hi, welcome to Rats-O-Cheese, the pizza-play restaurant for kids. My name is Y/N-Mouse, what can I get for you?” Is the disinterested monologue that greets him when he enters the building. On his forearm the words he’s been steadfastly ignoring all his life burns. 

Fuck. 

Now, Jonathan is not actually sure what one is supposed to do with a soulmate. Probably not kidnap them, but that’s what he’s done. 

He glances over at the tied up, and very irate, waitress and tries to figure out his next steps. He winces when her muffled shrieks interrupt his train of thought. Despite the gag, she’s still hell bent on chewing him out. 

God, he’s exhausted. 

…

Jonathan is in high school when the restaurant chain Rats-O-Cheese opens up, advertising itself as a fantastical arcade restaurant for children. 

He spends the next several weeks trying to erase his soul mark out of embarrassment. 

…

“I’m going to take off the gag. You can scream as loud as you like, no one will hear you,” Jonathan informs his soulmate, and then adds under his breath, “for my ears’ sake, don’t scream.” 

“What the fuck is your problem?!” She snarls at him as soon as her mouth is free. 

He considers that question and notes to himself that he actually has a lot problems. 

Y/N, on the other hand, has a fairly average life. She’s an only child in a two parent, middle class household. She’s not top of her class, not bottom either, in both high school and college. Just average. 

Her near-neurotic obsession with being normal probably has something to do with her soul mark words. 

“If you fight or scream, I’m going to inject you with this drug.” 

Who the fuck says that to someone?

It sort of tracks that she’d end up with a psychopath for a soulmate, and not a very successful one at that if his injured, disheveled state is anything to go by. 

“So, like, what’s your thing?” She ends up asking after watching him putter around his grungy little hideout for a while. 

He pauses and looks over at her with a cocked eyebrow, “My thing?”

She nods, “Yeah, you know, your villain thing. All the weirdos in this city have one. Like that guy with the riddles!” 

Psycho-soulmate actually rolls his eyes at her and snarks, “Please don’t compare me to the likes of Edward Nygma and his ridiculous neurosis.” 

Y/N doesn’t really think this man has any room to be throwing stones, but she keeps that to herself. 

…

Statistics say that a majority of people meet their soulmates during their college years. It’s something the general population is obsessed with – making movies, music, and art about the phenomenon since the dawn of time. Jonathan, in juxtaposition, isn’t interested. In fact, he would prefer to never meet them. 

He’s never needed anyone but himself and he doesn’t see that changing anytime soon. Especially considering the, frankly, ridiculous words that are on his forearm. 

In what universe would he ever step foot into a Rats-O-Cheese?

…

Psycho-soulmate determines after several hours tied up, that she’s no longer a flight risk and unties her. He does give her a stern look though, and tells her, “There’s no where you would run that I couldn’t find you.” 

“Yeah, yeah, don’t run – got it.” 

She uses her newfound freedom to wander about his weird warehouse/hideout. There’s a very disturbing lone medical examination table with metal restraints that she edges around. Apart from the few pieces of actual furniture (a couch and a futon) it looks like a stereotypical horror movie science lab. 

She approaches a mannequin that’s dressed in a frayed suit and that has a burlap sack-mask over its head. Ohhh, so this is his thing, creepy scarecrow. 

She remarks as much out loud and Psycho-soulmate makes a loud clattering noise behind her, dropping whatever he was doing in surprise. 

“It’s for science!” He snarls, his ears turning pink in embarrassment. 

“Yeahhhh, okay.” 

Then she turns back around to look at him, “By the way, what’s your name? I’ve just been calling you ‘Psycho-soulmate’ in my head this whole time.” 

He gives her a dry look for that remark and introduces himself. Man, that name sounds awfully familiar. 

Then it hits her, “Oh! You’re the guy that broke everyone out of Arkham!” 

“Well, yes, but it was a dire set of circumstances.” 

He’s busied himself with his chemistry set again and as Y/N looks more closely at him, she notes that he’s very handsome – the kind of face that would sell well in a boyband line up. He’s also lithe in way that reveals how much time he spends hunched over his experiments. She has to wonder how a guy like that ends up as Gotham’s latest super villain. 

He sighs loudly and sets down the beaker he was currently fussing over, “I can feel you staring at me. Just ask your inane questions.” 

“No questions, just bored is all.” 

Jonathan’s eyes roll heavenward, as if he’s praying for the irritation to end. Well, hey, he’s the one who kidnapped her, he gets to live with those consequences. 

…

Jonathan is, surprisingly, a gentleman and offers her the futon to sleep on while he takes the couch. He only has a few changes of clothes here so she ends up sleeping in one of his button down shirts. She waits until his back is turned before she brings the collar up to her nose and inhales his delicious, masculine scent. 

She has no idea what cologne he uses but goddamn does she love it. 

A sort of pattern settles over them after a few days there. Jonathan will make the trek in the early hours of the morning to get them both breakfast, waking Y/N up with the clanging of the door when he returns. 

Once they’ve eaten, he immediately dives into his experiments and leaving Y/N to her own devices. All he has to do in this place is read his vast array of medical textbooks and journals, so that’s what she does. 

After nearly a week of this, she finally snaps, “When can we fucking leave?”

“Language,” Jonathan remarks, carefully finishing his task of measuring out chemicals before turning his attention to her, “Why would we leave?”

“Uh, because this isn’t an actual livable place and there’s nothing to do?” 

“Of course I have a child for a soulmate,” he grumbles before getting up, “We won’t be leaving. But, I’ll see if I can procure more suitable entertainment for you.” 

Honestly, that’s better than nothing. 

And she does not squeal in delight at the stack of romance novels he returns with the following morning, she’s just excited to be able to read something that isn’t about psychology. 

…

The phenomenon of soulmates is a fascinating one, Jonathan notes. One he’d be more than interested in studying if his research into fear wasn’t so pressing. 

Hell, even Edward Nygma has a soulmate–Julian Day. 

Jonathan’s own soulmate is interesting to say the least. She’s annoying and childish and loud, the opposite of himself in every way possible. 

She might be growing on him. 

He has a bit of an accident while mixing up a new batch of fear toxin. In those moments, he found himself far more concerned for Y/N than himself. Worried that he may have injured her by mistake. 

He hates it. 

He’s never wanted a soulmate and certainly never the feelings that come along with one. 

If anything were to ever happen to her, he would burn the entire world to the ground. He can no longer imagine his life without her in it and it’s driving him insane. 

…

It’s on a particularly quiet night, months into Y/N’s captivity, that Jonathan breaks out his stash of very expensive whiskey. He’s never been one to drink, but he finds that he’s agreeing with Y/N, he’s so bored lately. 

The flush of alcohol looks pretty on her face in the warm, dim light of the warehouse. He can almost pretend that they’re out on a date, enjoying each other’s company like normal people. 

It’s her that kisses him first, though. 

Her lips are soft and she tastes like the whiskey they’re drinking and he can’t seem to get enough. The euphoric feeling that comes over him is even better than his fear toxin, he thinks. He wraps an arm around her waist, tugging her closer and onto his lap where she fits so perfectly that it’s no wonder the universe chose her for him. 

She breaks away from the kiss, peppering his jaw and neck with follow up ones, “God, you’re such a freak, but I really, really like you.” 

The admission makes him more feral, gripping her impossibly closer and yanking at her clothes. He needs her in a way that he’s never needed anyone before. He feels like he might die if he doesn’t get her naked. 

She helps him remove her top, her breasts already bare as she’s forgone wearing a bra. He groans and buries his face between them, licking and kissing up her sternum back to those addicting lips. Her hips are grinding down onto him, lining up her core with his erection with unerring accuracy. Even through the layers of their clothes, he can feel how wet she is, how warm he knows she’ll be. 

He pushes her down onto the cushions of the couch, slotting himself between her legs and yanking at the button of her jeans. Her hips lift helpfully, allowing his hand to slip them down her thighs. 

He was never a very sexual being, always preferring the company of books rather than people, but he can see in this moment what he’s been missing all these years. There’s something so electrifying about touching and being touched by another person, something that sends delightful shivers all up and down his spine. 

He wants to own her entirely, and for her to do the same to him. 

Her deft fingers slip down his torso towards his groin, cupping his cock in her hand sweetly. He groans and the feel and his hips stutter down to grind against her palm. 

“Can I see?” She asks him, and it hits him in that moment that she never does anything without confirming his consent. He’s never had anyone do that for him before, his body always being the subject of either outright abuse or covetous leers. He helps her open his pants, letting those pretty fingers of hers slip past the hem to wrap around him. 

His eyes roll back as she grips him firmly, pumping his cock better than he’s ever done himself. 

Once he gains some coherency back, he makes quick work of removing her pants and underwear entirely. 

She’s bare before him, her most intimate place glistening and beckoning him forward. He’s never once had the desire nor fantasized about going down on a woman before, but he can’t stop himself from getting a taste. He runs his tongue between her lips, gathering the slick from her hole and dragging it up to her clit. 

He groans against her as the flavor registers, he already knows he’s never going to get enough of this, of her. Her essence is all he’s ever going to think about from now to the end of time. 

Her fingers bury themselves into his hair, tugging and grasping as he devours her. His name is being chanted, spurring him on to torture that little bud at the top of her sex. 

He can literally taste her orgasm as it gushes out of her, coating his lips and chin and it about makes him finish himself. 

Sitting up, he fists himself, hurrying to line himself up with her opening. Still coming down from her high, she mewls as he sinks into her, the walls of her cunt sucking him in as if it’s welcoming him home. He doesn’t think he ever wants to part from her, doesn’t ever want to draw his cock away from her. He pushes himself as deep as possible before drawing back and pushing back in. 

Her arms wrap around his shoulders, tugging him down so that their foreheads press. Somehow this is far more intimate that literally being inside of her and it makes him flush with how flustered it makes him. 

He doesn’t last long but he forgets to be embarrassed about it because he’s never felt so good in his life. He never wants this feeling to end.

He settles beside her, keeping himself firmly tucked into her tight heat. 

On her ribs, right beneath her heart, are his words and proof that they were meant for each other. 

[tavolgisvist]

Temporary Secretary (September 1980)

Not a lot of people today know or remember who Alfred Marks was, but there used to be agencies around London called Alfred Marks Bureaus – not to be confused with Alfred Marks the old-time comedian, of course. The bureaus would be advertised in newspapers and various directories. And I thought, ‘Well, I’ll just address it to Mr Marks.’ People often say, ‘Oh, you work so hard,’ and I say, ‘We don’t work; we play.’ I try to keep that in the front of my brain when things are getting tiresome. ‘Jesus, we’ve worked too hard. No, we’ve played too hard.’ The idea of needing a secretary, but only a temporary one, just made me smile. … A good thing with this song, though, is that there’s nothing overtly sexual; it’s just very tongue-in-cheek. Any inference that the protagonist is keeping the secretary late at night to do other things would be in the mind of the listener.

(Paul McCartney, The Lyrics: 1956 to the Present, 2021)

I did have temporary secretaries. After I left Apple I still had business stuff coming up, so in trying to figure out how I could cope with that there were a couple of times I just grabbed someone to just put my letters in order and help. But that track isn’t about a specific person. What it’s about is, there was a guy called Alfred Marks, he had the Alfred Marks Bureau – he had the same name as a comedian on the radio when I was growing up. So it was just the funny paradox of seeing adverts for the Alfred Marks Bureau, the idea of some comedian having a bureau was just funny. It said ‘Temporary Secretary’, and I thought, that’s a kind of funky thought. Then there was the secretary thing: take a letter Miss Smith, sit on my lap… all that kind of stuff.

(Paul McCartney, The Quietus, 2011)

It was Alfred Marks Secretarial Bureau. And he was a comedian. When I was growing up, he was a famous comedian. But he sort of gave it up and got into this business. It was always a fun thing. When I thought of Alfred Marks Bureau, it was a bit like having the Ken Dodd Office Bureau, you know, just like, mildly amusing.

(Paul McCartney, interview with Adam Buxton, 2020)

RM: Do you use a computer? PM: Pencil and paper. I’m not a typist. Funnily enough, John became a red-hot typist towards the end of his life. He had always had this “Arts Correspondent in Kowloon” kind of dream. But for me it’s pencil and paper by the bed . . . those moments between falling asleep and just before waking are good. I’ve got this little book that Stelly [his daughter, Stella] gave me and it’s full of scribbles and drawings.

(Paul McCartney, interview with Roger McGough, March 10th, 2001)

JOHN: He makes a lot up, like a novelist, you know. SHEFF: Uh— JOHN: You hear lots of McCartney-influenced songs going on, now on the radio. These stories about boring people doing – being postmen, and secretaries, and writing old – I – you know. I’m not interested in writing third[-person], but I like to write about me. ‘Cause I know about me. I don’t know anything about secretaries, and postmen, and – [laughs] whatever.

(John Lennon, August, 1980, interview with David Sheff)

And, of course, the b-side of Temporary Secretary was Secret Friend:

Here we are Where are we Cast adrift on some uncharted sea I know we'll find our way I know we'll reach the end If you will say you'll be my secret friend I need ya

For our joy The Beatles and Ken Dodd (the one Paul was thinking about while writing Temporary Secretary)

[gardenschedule]

A collection of Beatles quotes about the breakup

I know I'm preaching to the choir on tumblr.com because people here examine the breakup with empathy, nuance and critical thought. BUT these quotes are convenient if you ever get caught up in frustrating arguments online with male boomer beatle fans who think John and George hated the band and couldn't wait to escape while Paul was desperate to get back together. Sorted by band member and chronological order.

Quotes from/about Ringo:

1969:

People really have tried to typecast us. They think we are still little moptops, and we are not. I don’t want to play in public again. I don’t miss being a Beatle anymore. You can’t get those days back. It’s no good living in the past.

Ringo Starr, 24 March 1969 while filming The Magic Christian in New York

1970:

Ringo?  He was the peacemaker for John, George and himself to Paul and was shaken to find Paul intransigent to the point of saying some pretty blunt things.  But none of the Beatles is vindictive, and pettiness is their natural enemy, and when Paul released his album, Ringo sent a telegram congratulation him on “Maybe I’m Amazed” (one of the tracks) and meant it.  Ringo has a lot of heart and more soul than most and since he knows he will be a Beatles to the grave, he will cooperate should it all come together again.

The Party's Over for the Beatles - written by Derek Taylor

“The Beatles have not split up. We are waiting for John to get back and then we will have a friendly Beatle chat and see what we are going to do. I keep looking around and thinking, ‘Where are they? What are they doing? When will they come and talk to me?’ This is supposed to be a press conference to promote my new film. The other Beatles aren’t here, so I don’t want to be answering questions for them. I hope to see Elvis in Las Vegas before I return to England. But, I will not be in the States for very long.”

The Beatles Off the Record (Keith Badman)

1971:

The Beatles might yet stay together as a group. Paul is the greatest bass player in the world. He is also determined. He goes on and on to see if he can get his own way. While that may be a virtue, it did mean that musical disagreements inevitably rose from time to time. But such disagreements contributed to really great products. […] I was shocked and dismayed, after Mr. McCartney’s promises about a meeting of all four Beatles in London in January, that a writ should have been issued on December 31. I trust Paul and I know he would not lightly disregard his promise. Something serious, about which I have no knowledge, must have happened between Paul’s meeting with George in New York at the end of December. […] My own view is that all four of us together could even yet work out everything satisfactorily.

Ringo Starr’s affidavit – From “The Beatles Diary Volume 2: After The Break-Up 1970-2001” by Keith Badman

No one doubted that Starkey would go along with the majority.

You Never Give Me Your Money – Peter Doggett

Later/unknown year:

RS: But that’s only Imagine. You know what I’m saying? Paul with his Band on the Run. We all started on a bus and small clubs and things like that, but Paul is that type of person. Paul wanted to do it all over again, and he did. And he went through hell. He went through hell. I mean, now he’s not talking to me and that’s too bad, but he started again from the bottom to do the Paul McCartney show. I don’t wanna do it anymore. I did it once.

All You Need Is Love – Peter Brown & Steven Gaines

Quotes from/about George:

1969:

“Yeah, quite definitely, but I’d like to do it with the Beatles but not on the old scale, that’s the only drag. With the Ono Band and me playing with Delaney and Bonnie there’s no expectations because it’s really quite anonymous, you just go and do whatever you can do. Once the Beatles are advertised and all the crowds come along they expect too much. I’d like to do the Beatles thing, but more like Delaney and Bonnie with us augmented with a few more singers, and a few trumpets, saxes, organs, and all that"

Interview conducted by Roy Carr, NME, 20 December 1969

1970:

George was greatly disappointed that Paul should come off like he was injured by Klein (business manager) whom George believes to have greatly eased the effects of the present and insured the safety of the future. George view is “Did you have to be so nasty. You can go so far but you can never get back, and you can say things which get in the way forever. For me, I would be glad to play with all of us again.”

The Party's Over for the Beatles - written by Derek Taylor

Q: “You think the Beatles will get together again, then?”

George: “Well, I don’t… I couldn’t tell, you know, if they do or not. I’ll certainly try my best to do something with them again, you know. I mean, it’s only a matter of accepting that the situation is a compromise. In a way it’s a compromise, and it’s a sacrifice, you know, because we all have to sacrifice a little in order to gain something really big. And there is a big gain by recording together – I think musically, and financially, and also spiritually. And for the rest of the world, you know, I think that Beatle music is such a big sort of scene – that I think it’s the least we could do is to sacrifice three months of the year at least, you know, just to do an album or two. I think it’s very selfish if the Beatles don’t record together.”

WABC-FM, May 1, 1970

The Harrison quote that went around the world that spring was purely optimistic: 'Everyone is trying to do his own album, and I am too. But after that I'm ready to go back with the others.'

You Never Give Me Your Money – Peter Doggett

1971:

The only serious row was between Paul and me. In 1968 I went to the United States and had a very easy co-operation with many leading musicians. This contrasted with the superior attitude which, for years past, Paul has shown towards me musically. In January 1969, we were making a film in a studio at Twickenham, which was dismal and cold, and we were all getting a bit fed up with our surroundings. In front of the cameras, as we were actually being filmed, Paul started to ‘get at’ me about the way I was playing. I decided I had had enough and told the others I was leaving. This was because I was musically dissatisfied. After a few days, the others asked me to return and since I did not wish to leave them in the lurch in the middle of filming and recording, and since Paul agreed that he would not try to interfere or teach me how to play, I went back. Since the row, Paul has treated me more as a musical equal. I think this whole episode shows how a disagreement could be worked out so that we all benefited. I just could not believe it when, just before Christmas, I received a letter from Paul’s lawyers. I still cannot understand why Paul acted as he did.

George Harrison’s affidavit – From “The Beatles Diary Volume 2: After The Break-Up 1970-2001” by Keith Badman

“In a “Come back Paul, all is forgiven” mood, George Harrison said this week: “I wish we could all be friends again. It’s a drag that things are as they are, because Apple is now becoming much more what we originally wanted it to be. “Personally I’d like to see Paul back at Apple and let him do what he wants to do. After all the new studio is his studio, too, and I’d like to see it all happening for us all.”

October 1971 Record Mirror

When John finally hinted that he would be willing to play with George when he appeared at Madison Square Garden. “Well, maybe I can come and help ya,” he said. “That’d be nice.” George glowered at John. Then George’s anger really burst forth. “Where were you when I needed you!” he snapped. It was the first of a series of explosions, each of them followed by moments of tense silence. “I did everything you said. But you weren’t there,” he repeated. “You always knew how to reach me,” John would reply evenly to each of these outbursts. There was no doubt in my mind, watching those two, that George’s anger with John had been accumulating for years. It was exactly the kind of situation that John usually ran from. But I could see in that moment that he loved George enough to remain calm and still as George drilled away at him. George said that repeatedly in the past he had sung what John wanted him to sing, said what John wanted him to say. Because John wanted it, George had gone along with the decision to go with Allen Klein. In the nearly four years since, John had virtually ignored him, a fact that pained George deeply. George’s voice grew even more harsh as he blasted John for his sudden appearance, as if out of nowhere, to offer an evening’s worth of help. Yet again George said furiously, I did everything you said, but you weren’t there.”

May Pang, Loving John

1973:

"George came into the office and said, 'I wanted you to know before anyone else. We're leaving Allen.' I said, 'Why?' And he said, 'We'll never get together again with Allen managing us.' And that was it. They left. George always had that distant hope."

Allan Stecker, Mojo interview 2023 (on Monday April 2 1973)

"[Allen Klein] made [John, George and Ringo] feel financially and artistically secure,” Steckler reckoned. So why did they decide that Klein had to go? Steckler believed he knew the answer. “George called me and said, ‘We’re not re-signing with Klein,’” he recalled. “I asked him why, and he said, 'The only way The Beatles can get together again is if Allen isn’t there. I’m ready to do it, so is Ringo, and I think we can persuade John to go along with it. But if we’re going to work with Paul, we need to get rid of Klein.’"

Peter Doggett, You Never Give Me Your Money

1978:

Personally, I’m not opposed to the idea, if it’s done through mutual agreement. But the pressure seems to be bigger than any of us, and when they talk of sums like $50 or $60 million, it’s almost a farce. I know Paul’s booked for the next few years, and John may have lost interest in the idea. Ringo and I are closest on it; we both feel it’s not impossible, but it’s highly unlikely, if only because of the legal and business maze that would have to be resolved before the four of us set foot on stage together.

M. George Haddad interview with George Harrison for Men Only magazine (Nov. 1978 issue)

Quotes from/about Paul:

1970:

On the eve of the release of the Beatles new movie and album “Let it Be,” Paul McCartney said, “I quit,” or “I think I quit,” which is roughly the same thing. As a publicity stunt, it’s as good or bad as any stunt they ever appeared to pull. But like every stunt they never did pull, this isn’t one either. McCartney’s declaration of independence was entirely impromptu, spontaneous and personal and so far had the group’s lines of communication become crossed that none of the Beatles really knew when the album would be out, or whether, nor did they greatly care.

...

I guess the way it stacks up now and the way it was around the time when Paul dropped the big on is that he wants right out of it all and they don’t.

The Party's Over for the Beatles - written by Derek Taylor

"John's reply was that I was daft!" He then said he wanted to leave the Beatles and wanted an immediate divorce. None of us really knew what to do about the situation, but we decided to wait until our film 'Let it Be' came out in April. I got bored and made 'McCartney' instead!"

Paul McCartney, in his first magazine interview since the split, tells FLIP's Keith Altham... "THE BEATLES ARE FINISHED!"

When we had to go to the studios, Linda would make the booking and we’d take some sandwiches and a bottle of grape juice and put the baby on the floor and it was all like a a holiday. So as a natural turn of events from looking for something to do, I found that I was enjoying working alone as much as I’d enjoyed the early days of the Beatles. I haven’t really enjoyed the Beatles for the last two years.

Paul, Interview for Evening Standard • Tuesday, April 21-22, 1970

Klein tells George he will get him more money and he tells Ringo the same. He tells them all that there are four first-class Beatles, not two and John doesn’t mind being told this. Paul doesn’t like any of it, none of it. He has a father-in-law who is also from New York and his name is Lee Eastman. Lee Eastman is also a toughie, but his manners are more formal than Klein’s and some people like him. Paul would like Eastman to be the Mr Big Apple needs. John wants Mr Klein to be Mr Big. A year passes. It is 1970. Paul still doesn’t like Klein but John digs him more than ever and George digs him more than that and Ringo doesn’t mind him. Paul? He is so uptight about Klein he only leaves the Beatles, that’s all.

As Time Goes By - Derek Taylor

1971:

Klein: “If Paul McCartney doesn’t get his way, he bitches. He may have a choirboy image in the press and with fans, but I’m here to tell you its bullshit. If anybody broke up the Beatles, it was him.”

Allen Klein, Playboy: A candid conversation with the embattled manager of the Beatles. (November, 1971) (note: obviously we should not trust a word Klein says, but at this point why isn't he repeating John's party line that he wanted a divorce?)

I think John thought I was using this press release for publicity-as I suppose, in a way, it was. So it all looked very weird, and it ruffled a few feathers. The good thing about it was that we all had to finally own up to the fact that we'd broken up three or four months before. We'd been ringing each other quite constantly, sort of saying, 'Let's get it back together.' And I think me, George and Ringo did want to save things. But I think John was, at that point, too heavily into his new life-which you can't blame him.

You Never Give Me Your Money – Peter Doggett

1972:

“We planned a big festival for one afternoon in Central Park, and ‘Imagine’ was the theme. Each retarded person from an institution would be paired with one able-bodied volunteer – twenty-five thousand people in the park. The issue arose whether the retarded should come to the matinee concert at Madison Square Garden. Obviously it would be a huge revenue loss. So Allen Klein and John just bought $50,000 worth of tickets and gave them to the retarded kids and volunteers.” Suddenly John got cold feet, after the concert had been sold out for weeks. “John said he didn’t want to do it,” Rivera recalled. “He said he hadn’t played in public for years, he hadn’t rehearsed with a band, he was just too nervous. …When they had that rush of insecurity, Yoko told me that she and John called Paul and Linda. They said, ‘Let’s bury the hatchet and appear together at the concert.’ Why Paul said ‘No’ I’ll never know.” Rivera and others managed to calm John’s fears and get him to start rehearsing with Elephant’s Memory.

Jon Wiener, Come Together: John Lennon in His Time. (1984)

“A few months ago, John asked us to do a concert with him at Madison Square Garden (note: same concert as the above quote) and it’s a pity now that we didn’t do it. I didn’t want to do it at the time but we will do things, I’m sure. I don’t see any reason why all four Beatles shouldn’t be on stage at some time all playing together and having a good time. I don’t think you’ll ever get the Beatles reforming, because that’s all gone. The Beatles were a special thing in a special era and I really couldn’t see it all coming together again. But I think it’s daft to assume that just because we had a couple of business upsets we won’t ever see each other again, or that if John has a concert some time we won’t go up and play on it.”

Paul McCartney, interview with Ray Connolly in The Evening Standard, December 2, 1972 (source: The Ray Connolly Beatles Archive)

“Don’t ever call me ex-Beatle McCartney again. That was one band I was with. Now I’m not with them. I’ve got another band. We won’t do things the same way any more. We’re not so bothered in trying to please other people all the time even though we obviously don’t try to displease them. All we want, in Wings, is to please ourselves with our music, That’s all.

“If people start fan clubs for us, do that kind of thing from the past, well, fine. But we won’t start one. I just get irritated by people constantly harping on the past, about the days when I was with that other band, the Beatles.

“The other Beatles get together and that is fine, but I’m almost always in another part of the world. The Beatles was my old job. We’re not like friends – we just know each other. But we don’t work together. so there’s no point keeping up old relationships.”

“All I know for sure is that I’ll never be conned again. I’m 30 now and, after what I’ve been through. I should know my way around. I get angry with fans, who interrupt my life, even now. I get fed up with the feeling that I was losing my identity, becoming some kind of legend, not a person. And I’m downright angry with the people who keep trying to get me back with the others again.

Paul McCartney and 'that other band'' by Peter Jones, in the Liverpool Echo, 13 December 1972

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

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

1976:

“The truth is very ordinary. The truth is just that since we split up, we’ve not seen much of each other. We visit occasionally, we’re still friends, but we don’t feel like getting up and playing again. You can’t tell that to people. You say that and they say, ‘How about this money, then?’ ‘Or how about this?’ And you end up having to think of reasons why you don’t feel like it. And, of course, any one of them taken on its own isn’t really true, but I was just stuck for an answer, so I said I wouldn’t do it just for the money anyway. And I saw John last time, he says, ‘I agreed with that.’ But there’s a million other points in there. A whole million angles. “I tell you, before this tour, I was tempted to ring everyone up and say, ‘Look, is it true we’re not going to get back together, ‘cause we all pretty much feel like we’re not. And as long as I could get everyone to say, ‘No, we’re definitely not,’ then I could say ‘It’s a definite no-no.’ But I know my feeling, and I think the others’ feeling, in a way, is we don’t want to close the door to anything in the future. We might like it someday.

Paul McCartney, Rolling Stone: Yesterday, Today, and Paul. (June 17th, 1976)

Later/unknown year:

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

Paul, November 1995 Club Sandwich interview

“ELLEN: So was there ever a time when both you and John Lennon wanted to reform the Beatles? PAUL: There was a time… let’s put it this way: there was never a time when all four of us wanted to do it. And each time it was always someone different who didn’t fancy it And I’m actually glad of that now. Because the Beatles’ work is a body of work. There’s nothing to be ashamed of there. In the end we decided we should leave well enough alone. The potential disappointment of coming on and not being as good as the Beatles had been… that was a risk we shouldn’t take

Paul McCartney, interview w/ Mark Ellen for Radio Times. (October 20th-26th, 2007)

Quotes from/about John:

1969:

JOHN: The point is, if George leaves, do we want to carry on The Beatles? I do. [inaudible; drowned out by mic feedback] And I’d just get another member of the group and carry on. But if The Beatles split, well, I’ll get another group. [to Paul and Yoko?] I’m a singer not a dancer, baby! Woo-hoo!

January 10th, 1969 (Twickenham Film Studios, London)

Friday, 21 March, John: “Everything we do, we shall be doing together. I don’t mean I shall break up The Beatles, or anything, but we want to share everything.”

The Beatles Off the Record (Keith Badman)

MICHAEL: But funny enough, the other day, when we were talking, he said that he really did not want not to be a Beatle. He said he really looked forward – not, you know. Meaning he didn’t want that screwed up.

[T]he Beatles are always discussing, “Should we go on or shouldn’t we? Why are we together for now?” And what it gets down to is I like playing rock n’ roll and I like making rock n’ roll records. Now, I’ve got either the choice— if I want the whole LP to myself — is to get a few musicians together. Now, I know that— I’ve played with other musicians — just very rarely, but occasionally I’ve played with them — and it needs some work together to get anything going. I don’t like session men, so I try not to use them. I don’t like violinists or anything these days. I try not to use anybody but the Beatles. And if I wanted to make a record I’d chose the Beatles! I can say, “Give me a ‘Be Bop A Lula’”. So therefore, we’ve got that going. And even from a commercial point, when we discuss it, “What’s the biggest selling name? Beatles or John Lennon and The Fabs? Or George Harrison and The Fabs?” Which— Where’s our biggest market? It’s Beatles! Who are our closest friends? Beatles! Who do we have the most arguments with? Beatles. So Beatles is it!

John Lennon and Yoko Ono give a series of interviews at the Apple Corps building at 3 Savile Row, London (Friday, 12 September 1969).

JOHN: See they’re growing up too, you know. And uh, we all want Beatles still cause it’s, it’s a big power and it’s good power, you know. And we’ve no intention of splitting it, you know. Any of us. I can’t be specific about it, you know. But obviously, I’m deeply involved with Yoko, it has some…you know, maybe less reliant on the others but so it goes for the others too, you know. That as we’re all sort of branching out. Which we were occasionally all the time, you know. Like I did How I Won The War, I wrote In His Own Write and Paul wrote the music for Family Way, etc. and George went off to India with sitars and that. So it’s only, you know. We nip off and come back and do some work then nip off again, you know.

John and Yoko gave several interviews on September 12, 1969

[Will] The Beatles split up? It just depends how much we all want to record together. I don’t know if I want to record together again. I go off and on it. I really do.”

John Lennon, interview w/ Alan Smith for NME. (December 13th, 1969)

JOHN: I was really losing interest in just doing the Beatles’ bit – and I think we all were – but Paul did a good job in holding us together for a few years while we were sort of undecided about what to do, you know. And I found out what to do, and it didn’t really have to be with the Beatles. It could have been, if they wanted… But uh, it got that I couldn’t wait for them to make up their minds about peace or whatever. About committing themselves. It’s the same as the songs. So I’ve gone ahead – and I’d have liked them to have come along.

YORKE: Did you ever try to get them into the peace scene?

JOHN: I did a little at first, but I think it was too much like Yoko and me and what we’re doing and trying to get them to come along; and I think they reacted. I hassled them too much, so I’m really leaving them alone. Maybe they’ll come along, wagging their tails behind them, and if not, good luck to them.

John Lennon, interview w/ Ritchie Yorke. (December 23rd, 1969)

“This is why I’ve started with the Plastic Ono and working with Yoko . . . to have more outlet. There isn’t enough outlet for me in the Beatles. The Ono Band is my escape valve. And how important that gets, as compared to the Beatles for me, I’ll have to wait and see.

NEW MUSICAL EXPRESS DECEMBER 13, 1969

1970:

Why do you think he [Paul] has lost interest in Apple?

That’s what I want to ask him! We had a heavy scene last year as far as business was concerned and Paul got a bit fed-up with all the effort of business. I think that’s all it is. I hope so.

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

John’s view is: “Okay. If this is it, this is it. We’ve all left the Beatles anyway.” If Paul were to approach him and say, “Let’s do it together again,” he probably would; with no more words, he probably would do it.

The Party's Over for the Beatles - written by Derek Taylor

Now even Lennon was prepared to hint at a positive outcome: 'I've no idea if the Beatles will work together again, or not. I never really have. It was always open. If somebody didn't feel like it, that's it! It could be a rebirth or a death. We'll see what it is. It'll probably be a rebirth.'

You Never Give Me Your Money – Peter Doggett

'Eventually,' McCartney recalled, 'I went and said, "I want to leave. You can all get on with Klein and everything, just let me out." Having not spoken to Lennon for several weeks, he sent him a letter that summer, pleading that the former partners 'let each other out of the trap'. As McCartney testified, Lennon 'replied with a photograph of himself and Yoko, with a balloon coming out of his mouth in which was written, "How and Why?" I replied by letter saying, "How by signing a paper which says we hereby dissolve our partnership. Why because there is no partnership." John replied on a card which said, "Get well soon. Get the other signatures and I will think about it.” Communication was at an end. Yet the press continued to believe, fired by hope more than evidence, that it was only a matter of days before the four men healed their wounds. The stories taunted McCartney, who fired off a letter to the prime offender, Melody Maker: 'Dear Mailbag, In order to put out of its misery the limping dog of a news story which has been dragging itself across your pages for the past year, my answer to the question, "Will the Beatles get together again?"...is no.' He had finally pronounced the verdict that was missing from his self-interview in April: the Beatles were no more.

You Never Give Me Your Money – Peter Doggett (note: John is stalling)

For McCartney, and maybe Harrison and Starkey as well, this signified hope. ‘For about three or four months,' he recalled years later, 'George, Ringo and I rang each other to ask, "Well, is this it, then?" It wasn't that the record company had dumped us. It was just a case of: we might get back together again. Nobody quite knew if it was one of John's little flings, and that maybe he was going to feel the pinch in a week's time and say, “I was only kidding.” I think John did kind of leave the door open. He'd said, “I'm pretty much leaving the group, but...” McCartney testified in 1971, ‘I think all of us (except possibly John) expected we would come together again one day.

You Never Give Me Your Money – Peter Doggett

John: George was on the session for Instant Karma, Ringo’s away and Paul’s – I dunno what he’s doing at the moment, I haven’t a clue.

Interviewer: When did you last see him?

John: Uh, before Toronto. I’ll see him this week actually. If you’re listening, I’m coming round. (Note: as AKOM point out, Toronto was before the divorce meeting. Why is he pretending it never happened?)

Feb 6th 1970 (audio snippet approx 1:14:00)

Interviewer: What about the Beatles all together as a group?

John: As soon as they’re ready, you know, we had half the Beatles on again at the Lyceum Ballroom. Uh it was George and me but we also had Delaney and Bonney and 17 piece band we had on, it was a great experience. Uh it should be like that you know, if we were doing that and all the Beatles wanted to come it would be great, and it would be no great thing about ‘oh the Beatles are coming back on stage’ like they expect, sorta of, Buddha and Mohammad to come on and play. I keep saying that, but that’s the fear the Beatles have, including me as a Beatle, about performing. It’s such a great – so much expected of us, you know, but you see George has been on tour with Bonnie and Delaney playing and I’ve been drifting around playing, it’s just playing isn’t the hang up. It’s going on as the Beatles that’s the problem for us.

1970 (audio snippet approx 1:23:00)

Interviewer: Do you care about making another Beatles album?

John: I think Beatles is a good communication media you know, and I wouldn’t destroy it out of hand or dissolve it out of hand. So that’s what I think about Beatles.

1970 (audio snippet approx 1:41:00)

Interviewer: Why do you think rumours like this start?

John: Because there was a lot of tension around the Allen Klein coming in days and the ATV thing going on, and the Beatles were under a lot of pressure and we had to be together all the time, fighting and arguing and listening to all the different business things. And so we’re taking a break from each other like we always did after a tour end. The business thing is like a heavy tour, in it we may get back in abbey road and a couple of singles and under a great strain you know, doing that business. And so now we’re just taking a break from each other.

1970 (audio snippet approx 1:41:00)

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

1970 (audio snippet approx 1:43:00)

In 1964 I produced a book, they were asking me that then, and why should I not write a book? The Beatles wanted me to do it, they wanted me to do these LPs, you know, they have nothing against it – I want George to produce and record any records he wants to. It doesn’t interfere with Beatle time, I use my own time to do other things and so do they. The Beatles will remain, there’s no doubt about that. And we’ve been saying it since She Loves You, we’re together and that’s it.

1970 (audio snippet approx 1:45:00)

I just uh I wanted to do it [announce the breakup] you know, should’ve done it. I think damn, shit, what a fool I was. But there were many pressures at that time, I think Northern Songs and all that was going on, it would’ve upset the whole thing. (Note: again as AKOM point out, the Northern Songs fight ended the day before the divorce meeting. Why would the pressure of Northern Songs impact John's decision not to announce the breakup?)

Lennon Remembers

1971:

INT: I asked Lee Eastman for his view of the split, and what it was that prompted Paul to file suit to dissolve the Beatles' partnership, and he said it was because John asked for a divorce.

JOHN: Because I asked for a divorce? That's a childish reason for going into court, isn't it?

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

Well, there was this Japanese monk, and it happened in the last 20 years. He was in love with this big golden temple, y’know, he really dug it, like—and you know he was so in love with it, he burnt it down so that it would never deteriorate. That’s what I did with the Beatles.

John Lennon, interview w/ Alan Smith for NME: At home with the Lennons. (August 7th, 1971)

MCCABE: Let’s talk a bit about Paul’s aversion to Klein. From what we’ve read it seemed as if this wasn’t there in the beginning, even though Paul wanted the Eastmans to run things. But it came on later as things progressed. And yet despite this, we gather that Klein was still hoping that Paul would return to the group.

JOHN: Oh, he’d love it if Paul would come back. I think he was hoping he would for years and years. He thought that if he did something, to show Paul that he could do it, Paul would come around. But no chance. I mean, I want him to come out of it, too, you know. He will one day. I give him five years, I’ve said that. In five years he’ll wake up.

MCCABE: But Klein is still hoping?

JOHN: He said to me, “Would you do it, if we got your immigration thing fixed? Or if we could get rid of the drug conviction?”

YOKO: And people don’t understand, you know. There’s so many groups that constantly announce they’re going to split, they’re going to split, and they can announce it every year, and it doesn’t mean they’re going to split. But people don’t understand what an extraordinary position the Beatles are in, you know. In every way. They’re in such an extraordinary position that they’re more insecure than other people. And so Klein thinks he’ll give Paul two years Linda-wise, you know. And John said, “No, Paul treasures things like children, things like that. It will be longer.” And of course, John was right.

John Lennon and Yoko Ono, interview w/ Peter McCabe and Robert Schonfeld. (September, 1971)

It was true, that when the group was touring, their work and social relationships were close, but there had been a lot of arguing, mainly about musical and artistic matters. I suppose Paul and George were the main offenders in this respect, but from time to time we all gave displays of temperament and threatened to ‘walk out’. Of necessity, we developed a pattern for sorting out our differences, by doing what any three of us decided. It sometimes took a long time and sometimes there was deadlock and nothing was done, but generally that was the rule we followed and, until recent events, it worked quite well. Even when we stopped touring, we frequently visited each other’s houses in or near London and personally we were on terms as close as we had ever been. If anything, Paul was the most sociable of us. From our earliest days in Liverpool, George and I, on the one hand, and Paul, on the other, had different musical tastes. Paul preferred ‘pop-type’ music and we preferred what is now called ‘underground’. This may have led to arguments, particularly between Paul and George, but the contrast in our tastes, I am sure, did more good than harm, musically speaking, and contributed to our success.

If Paul is trying to break us up because of anything that happened before the Klein–Eastman power struggle, his reasoning does not make sense to me.

John Lennon’s affidavit – From “The Beatles Diary Volume 2: After The Break-Up 1970-2001” by Keith Badman

JOHN: Yeah, Gilbert and Sullivan. I always remember watching the film with Robert Morley and thinking, “We’ll never get to that.” [pause] And we did, which really upset me. But I never really thought we’d be so stupid. But we did.

WIGG: What, like splitting like they did?

JOHN: Like splitting and arguing, you know, and then they come back, and one’s in a wheelchair twenty years later—

YOKO: [laughs] Yes, yes.

JOHN: —and all that. [laughs; bleak] I never thought we’d come to that, because I didn’t think we were that stupid. But we were naive enough to let people come between us. And I think that’s what happened. [pause] But it was happening anyway. I don’t mean Yoko, I mean businessmen, you know. All of them.

October, 1971 (St Regis Hotel, New York)

Q: "Did Klein hope to get Paul back into the group?"

JOHN: (laughs) "He came up with this plan. He said, "Just ring Paul and say, 'We're recording next Friday, are you coming?' So it nearly happened. Then Paul would have forfeited his right to split by joining us again. But Paul would never, never do it, for anything, and now I would never do it."

St Regis Hotel Interview, September 5th, 1971.

John would say things like, ‘It was rubbish. The Beatles were crap.’ Also, ‘I don’t believe in The Beatles, I don’t believe in Jesus, I don’t believe in God.’ Those were quite hurtful barbs to be flinging around, and I was the person they were being flung at, and it hurt. So, I’m having to read all this stuff, and on the one hand I’m thinking, ‘Oh fuck off, you fucking idiot,’ but on the other hand I’m thinking, ‘Why would you say that? Are you annoyed at me or are you jealous or what?’ And thinking back fifty years later, I still wonder how he must have felt. He’d gone through a lot. His dad disappeared, and then he lost his Uncle George, who was a father figure; his mother; Stuart Sutcliffe; Brian Epstein, another father figure; and now his band. But John had all of those emotions wrapped up in a ball of Lennon. That’s who he was. That was the fascination.

I tried. I was sort of answering him here, asking, ‘Does it need to be this hurtful?’ I think this is a good line: ‘Are you afraid, or is it true?’ – meaning, ‘Why is this argument going on? Is it because you’re afraid of something? Are you afraid of the split-up? Are you afraid of my doing something without you? Are you afraid of the consequences of your actions?’ And the little rhyme, ‘Or is it true?’ Are all these hurtful allegations true? This song came out in that kind of mood. It could have been called ‘What the Fuck, Man?’ but I’m not sure we could have gotten away with that then.

Paul McCartney, on “Dear Friend”. In The Lyrics (2021).

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

St. Regis Hotel Interview, September 5, 1971

1973:

My last question was inevitable… Any chance of us seeing the four Beatles on a stage or record together again? “There’s always a chance,” grinned John. “As far as I can gather from talking to them all, nobody would mind doing some work together again. There’s no law that says we’re not going to do something together, and no law that says we are. If we did do something I’m sure it wouldn’t be permanent. We’d do it just for that moment. I think we’re closer now than we have been for a long time. I call the split the divorce period and none of us ever thought there’d be a divorce like that. “That’s the way things turned out. We know each other well enough to talk about it.””

John Lennon, interview w/ Chris Charlesworth for Melody Maker. (November 3rd, 1973)

MINTZ: Would you want to initiate that happening?

JOHN: Uh… Well, I couldn’t say. [long pause]

MINTZ: If you could, I mean is it something you would like to see yourself doing?

JOHN: If I could… I don’t know, Elliot, because you know me, I go on instinct. And if the idea hit me tomorrow, you know, I might call them and say, “Come on, let’s do something.” And so I couldn’t really tell you. If it happens, it’ll happen.

MINTZ: So it’s not something that you would totally rule out as never taking place again?

JOHN: No, no. My memories are now all fond and the wounds are healed. And if we do it, we do it, if we record, we record. I don’t know. As long as we make music.

November 1st/10th, 1973 (Malibu, Los Angeles): For Eyewitness News on KABC TV Los Angeles, Elliot Mintz

1974:

“No, no, no,” he answered and he meant it. “I’m going to be an ex-Beatle for the rest of my life so I might as well enjoy it, and I’m just getting around to being able to stand back and see what happened. A couple of years ago I might have given everybody the impression I hate it all, but that was then. I was talking when I was straight out of therapy and I’d been mentally stripped bare and I just wanted to shoot my mouth off to clear it all away. Now it’s different.

“When I slagged off the Beatle thing in the papers, it was like divorce pangs, and me being me it was blast this and fuck that, and it was just like the old days in the Melody Maker, you know, ‘Lennon Blasts Hollies’ on the back page. You know, I’ve always had a bit of a mouth and I’ve got to live up to it. Daily Mirror: ‘Lennon beats up local DJ at Paul’s 21st birthday party’. Then we had that fight Paul and me had through the Melody Maker, but it was a period I had to go through.

John Lennon, interview w/ Ray Coleman for Melody Maker: Lennon – a night in the life. (September 14th, 1974)

John seemed to be in a very strange state of mind about the dissolution. From the hints he had dropped since we had been together, I had learned that John’s departure from the Beatles had essentially been Yoko’s idea. Without Yoko to drive him forward, he felt strangely ambivalent about officially ending the Beatles at that moment. By nature, also, he felt inclined to take a position opposite from that of Paul McCartney. Paul desperately wanted that agreement signed. Whether or not it was the best thing for him to do, John, on principle, was inclined not to want to sign it.

May Pang, Loving John. (1983)

I’ll tell you exactly why I said that. We had a business meeting to break up The Beatles, one of the famous ones that we’d been having — we’re still having them 17 years later, actually. We all flew in to New York specially. George came off his disastrous tour, Ring of flew in and we were at the Plaza for the big final settlement meeting. John was half a mile away at the Dakota and he sent a balloon over with a note that said ‘Listen to this balloon.’ I mean, you’ve got to be pretty cool to handle that kind of stuff.

George blew his cool and rang him up: ’You fucking maniac!! You take your fucking dark glasses off and come and look at us, man!!’ and gave him a whole load of that shit. Around the same time at another meeting we had it all settled, and John asked for an extra million pounds at the last minute. So of course that meeting blew up in disarray. Later, when we got a bit friendlier — and from time to time there would be these little stepping-stones of friendship in the Apple sea — I asked him why he’d actually wanted that million and he said, I just wanted cards to play with. It’s absolutely standard business practice. He wanted a couple of jacks to up your pair of nines. He was one great guy, but part of his greatness was that he wasn’t a saint.

Paul McCartney: An Innocent Man? (October, 1986) (note: John is STILL stalling)

At that moment, John was at his most unpredictable. Suddenly his fears that his money was going to be taken away from him, that he was going to be cheated, that he had to have as much money as possible, had all come into play. This was also John’s way of resisting the reality that the Beatles were officially about to come to end, and that Paul was about to prevail.

Loving John, MAY PANG (1983)

1975:

“At the time I was thinking that I didn’t want to do all that Beatles—but now I feel differently. I’ve lost all that negativity about the past and I’d be happy as Larry to do ‘Help’. I’ve just changed completely in two years. I’d do ‘Hey Jude’ and the whole damn show, and I think George will eventually see that. If he doesn’t, that’s cool. That’s the way he wants to be.”

John Lennon, interview w/ Chris Charlesworth for Melody Maker: Rock on! (March 8th, 1975)

1976:

“I’ve always felt that splitting up was a mistake in many ways” John Lennon has said, and he believes a Beatles revival “would undoubtedly produce some great music.”

Australian Woman’s Weekly, 1976

1980:

“I and the other three former Beatles have plans to stage a reunion concert…” (Part of a statement in the legal disposition brought by Apple Corps against the ‘Beatlemania’ stage musical for trademark infringement. John was referring to an event that was to be filmed for a documentary being put together by Neil Aspinall. It was abandoned/shelved after John’s death, but ultimately became the Anthology project)

John Lennon, 1980

“Just days before his brutal death, John was making plans to go to England for a triumphant Beatles reunion. His greatest dream was to recreate the musical magic of the early years with Paul, George and Ringo … (he) felt that they had traveled different paths for long enough. He felt they had grown up and were mature enough to try writing and recording new songs.”

Yoko Ono, quoted in The Beatles: The Dream Is Over - Off The Record 2 by Keith Badman

[hufflepuffwritingstuff2]

Whumptober 2024 No. 27- Voiceless | Laboratory

This is another OC snippet- it involves more of Lucien's backstory! You can find more of his story here. Also, this is pretty long so I put it under the cut!

It was the first time in weeks Lucien had left his mansion to go into town. It wasn’t that he needed to hunt for blood or anything, he had willing servants that would provide him with what he needed. No, he just wanted to get out of his coffin for once. He wasn’t sure what sparked the sudden motivation for activity, and truthfully, he was regretting coming outside already.

There were too many people out and about for the middle of the night, shouldn’t they be in their beds? Lucien pulled his hood over his face a little tighter. He didn’t need anyone seeing his pointed ears or his wings.

Lucien passed building after building. The scent of everyone’s blood wafted through, and the fact that his mouth watered made him sick. He was just about to turn around and go home when he walked right into a woman.

“Oh!” the woman cried.

“My apologies,” Lucien said, “I didn’t see you there.”

Lucien went to walk by and let that be the end of it, but the woman followed him, sliding in front of him and blocking his path.

“Wait!” she said, “you seem troubled. Is everything alright?”

Lucien blinked, taken by surprise. Since when did people care about each other in this century?

“I, um…”

“Do you want to talk about it?”

“Thank you, but I feel fine. Have a good evening.”

He passed her again, catching the scent of her blood as he went by. He tried to fight off the urge to bite her right then and there.

“Haven’t fed for a while, hm?”

That stopped Lucien in his tracks. He lunged at breakneck speed, pulling the woman into an alleyway. He pinned her against the old brick wall.

“Wow, you really haven’t fed for a while.”

“That isn’t something I like to advertise,” Lucien growled, “and I’d encourage you to walk away now before I decide not to let you.”

“And miss this opportunity?” the woman’s eyes sparkled, “never.”

Lucien felt the pinch before he even noticed her move. His hand instinctively went to his side, where he felt a small pinprick.

“How did you…?”

“Oh, it isn’t easy,” the woman smiled, “takes lots of practice with deception and timing, especially when it comes to your kind.”

Lucien blinked, trying to clear his vision. The world tilted on its axis. Somehow the woman caught him despite her smaller size.

“There there my little specimen,” she said, “everything is going to be fine.”

That was the last thing Lucien heard before falling asleep.

…

Lucien’s eyes snapped open. A wooden ceiling stared back at him. Harsh lights hit him from every angle. There was a slight burning sensation on his wrists and ankles. Silver restraints. His cloak had been removed and his wings were unfolded under him. He seemed to be in some kind of decrepit old laboratory.

“You sleep as though you were dead. I don’t think you breathed once.”

Lucien’s head whipped to the side, where the woman from before stood now. She had a journal and pen in her hands and was taking notes rapidly.

“Pupils dilated, rapid breathing- the specimen seems to only breathe when it’s awake- pale skin- though that is to be expected- are you afraid, Vampire?”

Lucien glared.

“Who are you?” he demanded.

“I am Eliza Morgan,” she said proudly, “and soon the world of science will know my name. And yours too, I’d imagine. What is your name, dear?”

“Like I’d tell you!”

“Hm. I suppose I don’t exactly need your name to complete my work.”

She continued taking notes.

“Tell me, how long have you been what you are? Did you come into the world this way or were you turned?”

“I am not going to answer any of your questions!”

Eliza sighed. She came up to the exam table. She examined Lucien’s wings, his hands, his eyes.

“Heterochromia,” Eliza said to herself, “fascinating.”

She produced a syringe.

“I don’t trust you to keep still for me, but I need to look at those fangs. This will only hurt for a second!”

“What!? No! Stop!”

Eliza didn’t listen. In went the drug, and Lucien slowly but surely began to go limp on the table.

“It is only a temporary paralytic,” she said, “you will be fine.”

She opened his mouth and examined his fangs.

“Good for puncturing. I wonder how many humans you’ve drained with these.” She said.

She extracted some of his saliva in a test tube, storing it.

“Well, once I get you packed up it’s off to London!” she said eagerly, “they will have to let me into university once they see what I’ve got!”

Eliza prepped another drug, she was just about to administer it when there came a knock at the door.

“Oh, who could that be now?” Eliza grumbled.

She went to the door. Lucien could hear the sounds of an argument, then two sets of footsteps.

Eliza seemed quieter than usual. Lucien noted the dazed look in her eyes, and the lopsided smile. A figure came and put a pale hand on her shoulder.

“You’ve been getting into trouble, Lucien.”

Lucien wanted to plead, grovel, beg, but all he could do was lay there and watch. Erythros turned Eliza around to face him.

“Why didn’t you use your hypnosis to protect yourself?” Erythros asked Lucien, though staring at Eliza, “this creature is very susceptible to it.”

Erythros took her face in his hands and twisted hard. Lucien’s eyes screwed shut as he heard the snap, then a thud. The scent of blood filled the air.

When he dared to open his eyes, Erythros was standing over him, removing the silver restraints, not caring about the burns it caused.

“I am disappointed,” he went on, “how can I trust you to be on your own if you can’t even defend yourself against such a pathetic human?”

Erythros lifted Lucien into a bridal carry. He closed his eyes as they passed Eliza’s body.

“Ah ah. Look, Lucien. Look.”

Lucien opened his eyes and saw how Eliza’s neck craned at an unnatural angle, how blood seeped through her nose. How she lay haphazardly on the floor.

“That is what I expect from you. Do you understand?”

Lucien blinked to show he was listening.

“I’m taking you home. Not your mansion, the castle. I’m not letting you out of my sight until I know you can fend for yourself.”

Erythros flew off into the night, his grip tightening on Lucien. He was in so much trouble.

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[universe-of-peoples]

There’s a lot of different opinions about what went wrong with Wish (2023), and i think a lot of them are missing the point.

So here’s my take on what was ACTUALLY wrong with Wish (2023).

Let’s start with what the movie was. It was a cute little movie, just 1 hour 35 minutes long (for reference, about as long as Encanto and a little shorter than Frozen). It had a cute story and a powerful message about working to make your dreams a reality, with a side message of the will of the people is more powerful than one corrupt ruler. It had good music; not as popular as other movies’ music, but I added the songs to my Disney playlist and I genuinely enjoy them. The whole movie was just a fun time.

Now let’s talk about what the movie was expected to be.

Fans expected this movie to be the next big Disney Princess movie, the big important Disney 100 movie, because that’s what it was marketed as. More important of those two was the latter - this was THE Disney 100 movie, the “when you wish upon a star” movie. Yeah, THAT movie. Disney fans were understandably excited. After hits like Frozen, Tangled, Encanto, Moana, and others, Disney had proven it was capable of producing movies that were big emotional hard-hitters that could also be funny and entertaining.

Then let’s shift over to Disney. The eyes of the world turned to them as they advertised their biggest anniversary yet. They had a lot of ideas for this movie (as everyone keeps talking about), but they also had a lot of pressure on them. They probably had story ideas that would have cemented this movie in the ranks of Frozen, Encanto, Tangled, Moana. But you know what it feels like to me?

It feels like Disney got scared.

This movie was supposed to be THE movie that represented their brand. They would have to find a message, an emotional journey that fit their brand but didn’t deviate from the brand’s central theme. Other movies got to tell their own unique stories with diverse emotional journeys because while they were A Disney movie, they weren’t THE Disney movie. Not like this one was supposed to be.

So they watered down any emotional journey the characters went on, relied more heavily on the overly-relatable main character archetype (with her job interview jitters, big group of friends, quirky personality, etc), and threw in the nostalgia bait (that’s a given. It’s the 100th anniversary movie.) Compared to the other Disney movies that could be big emotional hard-hitters, but could also be funny and entertaining, I’d say this movie landed at definitely funny and entertaining, with a smaller emotional journey that definitely wasn’t hard-hitting. The story was just a bit smaller than some other Disney movies.

The thing is, none of these things are inherently bad. It’s ok to tell a smaller story. Other studios do it all the time! Heck, Disney has done lots of them in the past! It’s ok to want your main character to be relatable, it’s ok to put in some references to past works in your movie, it’s ok to have songs that are good but not good enough to break the charts.

So what’s the problem? The problem, as I see it, was the disparity between what was expected and what was delivered. A good part of that expectation came from Disney’s advertisement of the movie, and a smaller part came from fans’ expectations of any Disney Princess movie given the company’s track record. It was a perfect storm of This Movie Isn’t Going To Be Well Received.

IMHO, the movie isn’t bad. It just isn’t what it was expected and advertised to be. So please stop hating on the movie and direct your anger instead to The Mouse, the one who really deserves it.

[gatheredfates]

Hey! Are you like me and love sending asks? Do you often forget who you have sent an ask to and you're like 'goddamn it, I wish I had a way to see all the asks I've sent?*' Look no further, I have the extension for you.

Chrome | Firefox

Outbox is my best friend when it comes to keeping me on track with where I'm at as far as my ask drives and other projects. It saves all your sent asks locally and privately, letting you access them any time. All you do is click the Outbox icon and you see something like this:

It works for multiple tumblr accounts, anon or not.

I know this sounds like an advertising jingle but it's actually amazing if you're nervous about doubling up in people's inboxes. I highly recommend it if you want to send lots of asks!

*Unfortunately, Outbox does have an ask limit. It's pretty hard to reach unless you're me who sends far too many at any given time, so you won't run into it quickly.

[thgfanfictionlibrary]

E Rated Fics Masterlist (35)

Part 1- Part 25 / Part 26 / Part 27 / Part 28 / Part 29 / Part 30 / Part 31 / Part 32 / Part 33 / Part 34 / 

Created: March 17th, 2024

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[frozenjokes]

hOtgUy drops by to pick up his visor, and Cub viscerally regrets not googling his name before then (1/2)

Next

Tuesday was a big stocking day for the little shop where Cub worked, and easily his busiest of the week as he managed most of the stock, keeping track of what they had, sorting things, generally doing anything that kept him off the sales floor. The type of people shopping in a place like this tended to have fragile egos, and Cub, despite his previous best efforts, did not have a delicate touch. Self proclaimed superheroes would happily get into fights, suffer massive injuries, and generally engage in borderline suicidal behavior in the pursuit of a thrill, but say they have a big head one time, and you find out who the most sensitive members of society really are. (And she did have a big head, literally and metaphorically, it wasn’t Cub’s fault they didn’t have a helmet that fit.)

You could say he and his manager occasionally butted heads after incidents like these, disagreeing especially on how the aftermath was handled (admittedly, never well on Cub’s part, but he struggled to mask under pressure), but there was nothing either of them could do about it besides stick Cub in the back where no one could see him and pretend to like each other. She couldn’t fire him; a higher up was a family friend, and they knew Cub needed the help, and Cub couldn’t quit, because, again, money was always an issue, so the two of them just had to suck it up and deal. In the end though, it wasn’t a bad gig, not when he didn’t have to speak to people most of the time. It would just be a little nicer if his manager wasn’t always convinced he was doing a shit job.

Cub had been excited this morning for that to change, though in the flurry of handling supplies and dealing with deliveries, and having to micromanage everything, he had forgotten HotGuy was coming. The trucks had been late today, as well as a few other issues Cub had been dealing with, so he was still outside around noon, and coming back in to hear HotGuy’s voice was quite the scare. Mostly because he was so loud.

“-Oh yes! Positively delightful, knew exactly what the problem was and assured me you all would have exactly what I’m looking for. You know, I don’t often take a look around the smaller stores for the things I need; a lot of my equipment is custom made, but this place is just adorable, seriously, adorable. I’m so lucky Cub and I ran into each other! Is he here? Could I speak with him?”

His manager was clearly flustered, reasonable given that bigger names like HotGuy never stopped by smaller shops like this. It was cheaper, sure, but the quality wasn’t always there, and if you can afford the better stuff, you might as well spend the money.

“Thank you-” she finally said, “I’m sure I can get you what you need right here though, just a replacement for the visor screen, right?”

“Oh, that’s alright! Cub said he’d have it ready for me.”

Cub heard the strain in his manager’s voice, and it was quite clear the last thing she wanted was for Cub to say something rude or scare this high value customer away in some other creative way, “Cub’s very busy right now in the back, we get new stock on Tuesdays and he usually handles most of the-”

“I can wait!” HotGuy announced proudly, and Cub cringed from his place in the back. He couldn’t see his manager, but he could practically hear the strain in the silence, probably split 50/50 between bafflement that HotGuy was going to wait to be served and fear that he wanted Cub to be the person to serve him.

Probably fair, because when Cub finally poked his head out from the back, he was not ready for HotGuy to have no legs. The wheelchair itself was a sight; heavily customized to HotGuy’s colors but also full of stickers and even advertisements on the sides. Was- were those kitchen knives duct taped to the handles-? HotGuy himself was dressed in his usual costume, still wearing the cracked visor, but he had plain black sweatpants on as well, almost jarring in comparison to the rest of his intricate costume, though, more jarring was the fact there was nothing in the pant legs.

“Cub!” his manager hissed, not subtle at all, but maybe that was warranted given that his staring was just as conspicuous.

Cub jumped, scrambling to explain himself in a flurry of thoughts and stutters, but he and panic did not mix well, the resulting defensive coming out as, “He had legs yesterday-“ which was definitely one of the worst things that could have come out of his mouth, so he excused himself immediately. If he could escape out the back door fast enough, a stray truck might take pity on his plight and run him over. His manager broke the stunned silence, apologizing profusely, but she was completely drowned out by HotGuy’s laugh, an impossibly loud, barking thing. He said something, but Cub didn’t hear it or his manager’s response, though he did hear their shuffling and then- wheels? Was that the wheelchair?

“Cub?” Whatever Cub was expecting next, it was not HotGuy’s face poking in through the doorway. Probably much worse than his imagined worst case scenario, and Cub had to fight the urge to get up and run.

“Hi,” he managed instead, then, after the voices of literally everyone he knew started yelling in his head, he continued with a meek, “Sorry.” ‘That’s not genuine,’ something sneered, a mangled conglomerate of many voices, school teachers, old friends, parents- ‘Again, and mean it this time.’ “I’m really. Sorry.” Cub tried again, but it still wasn’t right, it still wasn’t human-

“It’s fine, I don’t care,” HotGuy said, far better at sounding like he meant it, “Nothing I haven’t heard before, though, usually that particular comment comes from kids,” Scar laughed, but seemed to realize pretty quickly that Cub did not find it very funny. Cub didn’t even want to know what his face was doing right now.

“I’m sorry.” That sounded better.

But HotGuy only cocked his head, something like concern dancing behind his eyes, though, it was hard to tell behind the visor. Cub didn’t even know what color they were. “Can I come in?” He sounded friendly. Cub’s voice didn’t seem to be working anymore, so he just nodded, miserable. HotGuy wasted no time doing just that, though he struggled a bit with the mess, another entirely mortifying thing to have to watch. Cub should get up. Do something about it. He didn’t, though.

“One of my prosthetics got damaged yesterday after we parted ways. CuteGuy wasn’t happy with me still, and he let me know it. The equipment is sturdy, obviously, it has to be, but there’s a lot of moving parts, and because I’m so active, maintenance has to be performed relatively often. Since one needs fixing up, might as well make sure the other is in tip top shape, yeah?” HotGuy was quiet for a moment, but Cub still couldn’t say anything, so the hero continued, looking curious, “Did you not know? That I’m an amputee?”

Cub opened his mouth to answer, but that just wasn’t going to happen, so he shook his head instead, embarrassment building. HotGuy looked entirely fascinated by that information, and there was some kind of odd open mouthed half-smile on his face, but Cub for the life of him could not tell what HotGuy was thinking. Luckily, the other wasn’t exactly trying to keep it a secret.

“I think I’m impressed. I also think I need to model with my wheelchair more. Goodness.” HotGuy stopped, plucking his phone from his pocket and looking something up, “No, that’s like- when you google me, that’s like the first thing that every website says about me! It’s what I’m known for- how-?” Cub cringed, but HotGuy didn’t seem to notice, shooting up in his chair.. Excited..? “You don’t even know how it happened! I bet you have no idea! Oh, I haven’t gotten to tell that story to anyone who didn’t already know in ages and- well, before when I told people the wounds were a little more raw if you catch my drift. Far more unpleasant- Oh!”

HotGuy was off in his own little world, and very clearly didn’t notice Cub flinch at the sudden noise. Honestly, Cub couldn’t even tell if he was looking at him.

“I’ll tell you at lunch! You’ll come to lunch with me, won’t you?”

Cub struggled to do much more than gape and gesture uselessly, and he wasn’t entirely sure if HotGuy understood what was happening, but he definitely recognized there was a problem, brows furrowed in concentrated thought. Finally, he clicked his tongue.

“I’ll give you the address! I’ll write it down,” HotGuy pulled a small notebook out of his pocket, humming to himself, before lighting back up, “And my number! Just in case you can’t make it. Or don’t want to come. You don’t have to come. But I really want you to! If you don’t come though you should text me. You don’t have to text me. But I’d really like if you texted me. Or call me! You don't have to call me. How does 1:00 sound?”

Cub stared, which apparently HotGuy took as a resounding yes, as he continued writing, just about as happy as can be. He tore the page out of his notepad then set it on Cub’s desk, patting it a couple times before turning right around with an enthusiastic wave, “Byeee!”

Cub scrambled to his feet, opening his mouth to say literally anything, but speech still wasn’t working out for him, and HotGuy was practically already out the front door. His manager was similarly speechless, but more in the normal way rather than the Cub way, so baffled, she wasn’t even wearing her signature customer service smile.

“Are you okay?” she surprised him with that, her tone far more gentle than he had expected, especially after a complete disaster. But she did look worried, and now that he thought a little harder about it, he had to guess he wasn’t looking so great. But Cub couldn’t say as much, so instead he ducked into the back room, returning with the note HotGuy had left for him.

Her eyes widened as she read it, complete disbelief evident in every feature on her face. Cub wasn’t sure why she was so surprised, he had no doubt she heard every word HotGuy said to him, but regardless, she returned the note, near silent.

“You should go.” She must have seen the distaste on Cub’s face before he even knew it was there, shaking her head, “You have to go. This- Cub! That’s HotGuy!” This was not in the least bit convincing, but his manager was a bit too distracted to notice. Honestly, he didn’t mind all that much. It was a little nice to be talked to like a friend. “Go, go on, rest up. Take as much time as you need, but if you don’t make it by 1:00 you’d better text him. Then tell me everything. He likes you, Cub!”

He wasn’t entirely sure how to respond to that, so he simply didn’t.

Cub sighed through his nose as he turned around, fully intending on taking that break, but not on going to lunch. Lunch with a random famous guy was the last thing he wanted right now- god, and he’d kill for a nap. He frowned, but stopped short when he saw his desk, or rather, the little package on top of his desk. The visor screen- damn it.

It was HotGuy’s fault he had forgotten about it, but maybe it wasn’t, maybe it was Cub’s fault for making a complete fool of himself- HotGuy must have felt obligated to comfort him, surely. Embarrassing. Mortifying, even. If Cub never had to face the world again, it would be too soon.. But it would probably be responsible of him to actually give HotGuy the visor he came for in the first place. A proper apology.

He sat with a huff, eyeing the note with a creased frown. Yup, there was the name and address of the place HotGuy wanted to meet him, his number, and-

Cub dropped the little sheet of paper, then nearly fell out of his chair trying to catch it.

‘And HotGuy is a little much as far as names go, so please, call me Scar.’