#Lola Wayne

[moviemosaics]

A Song from the Dark

directed by Ogo Okpue, 2024

[movienized-com]

DarkGame

DarkGame (2024) #HowardJFord #EdWestwick #AndrewPStephen #NatalyaTsvetkova #LolaWayne #RoryAlexander Mehr auf:

Jahr: 2024 (Februar) Genre: Horror / Thriller Regie: Howard J. Ford Hauptrollen: Ed Westwick, Andrew P Stephen, Natalya Tsvetkova, Lola Wayne, Rory Alexander, Andrew McGillan, Miztli Rose, Anthony Ofoegbu, Natasha Skutka, Joe Urquhart, Joseph Tweedale, Marc Danbury, Rose Reynolds … Filmbeschreibung: Ein entschlossener Detective kämpft gegen die Zeit, um eine verdrehte Spielshow im Dark Web zu…

[crownedinkcomix]

She always gets her man.

[deadcactuswalking]

REVIEWING THE CHARTS: 23/11/2024 (Sam Fender, Tate McRae, Linkin Park, Sabrina Carpenter, Jin)

Well, there’s a much bigger story to this Friday in music other than some Christmas songs on a singles chart… but that can wait. For now, “That’s So True” by Gracie Abrams lands a third week at #1 – I really am surprised by how well that’s lasted – and welcome back to REVIEWING THE CHARTS!

content warning: language, references to sex and abusive relationships

Rundown

The festive season is starting to be in full swing, but this is still a remarkably busy week on the UK Singles Chart, one that I didn’t initially expect to be as intensive as it ended up being, but we have nine new songs to cover, a whole bunch of re-entries and I’m hoping to get it out soon enough so I can listen to the Kendrick album and still get a good night’s sleep. Regardless, as always, we start our week with the notable dropouts, songs exiting the UK Top 75, which is what I cover, after five weeks in the region or a peak in the top 40. This week, it’s honestly a bloodbath, in which it makes more sense to split what we have into different categories: first being songs that are hurt by the three-song rule as the artists have a new debut we’ll end up having to discuss later on in this episode, those being Tyler, the Creator with “Darling, I” featuring Teezo Touchdown and “Espresso” by Sabrina Carpenter. We follow that with a series of old songs – firstly, those that stick around forever and always resurge like “Yellow” by Coldplay, “Cruel Summer” by Taylor Swift and yes, even “Mr. Brightside”, with the next set of old tracks being One Direction songs that had returned after Liam Payne’s passing, namely “Night Changes”, “Story of My Life” and “What Makes You Beautiful”. Then finally, after all those qualifiers, we have regular chart entries we bid adieu thanks to competition, ACR, the Christmas flood, or most likely a combination: “on one tonight” by Gunna, “NEW DROP” by Don Toliver, “Dancing in the Flames” by The Weeknd, “Guess” by Charli xcx featuring Billie Eilish on the remix, “Cry Baby” by Clean Bandit, Anne-Marie and David Guetta and finally, “Who” by Jimin. It’s likely that we see at least some of these re-enter come January anyway, so take everything from this Christmas period with a grain of salt.

Now for our gains and returns which are really all over the place, starting all the way down at #74 with the return of “Headlock” by Imogen Heap, thanks to TikTok virality. Fun fact: this song has spent two weeks on the chart across 18 years, and both times, it was at #74, a peak it first reached in 2006 whilst My Chemical Romance were #1 with “Welcome to the Black Parade”. I love “Headlock”, I was introduced to it via samples by Clams Casino and A$AP Rocky, who actually are the co-leads on the weird remix mashup below the top 75 also with Imogen Heap (itself her first time charting since “Headlock”). Imogen Heap charting two songs incredibly low on the chart right before Christmas, neither of them new, both of them sampled by A$AP Rocky, is really a 2024 chart moment – anything happens nowadays, man. Then after that, we dip fully into holiday music.

As for our Christmas songs that re-enter this week, we have “Snowman” by Sia at #71, “It’s Beginning to Look a Lot Like Christmas” by Michael Bublé at #65, “It’s the Most Wonderful Time of the Year” by the late Andy Williams at #62, “Merry Christmas Everyone” by Shakin’ Stevens at #60, “Underneath the Tree” by Kelly Clarkson at #52, “Jingle Bell Rock” by the late Bobby Helms at #51, “Fairytale of New York” by the Pogues featuring the late Kirsty MacColl at #48, “Santa Tell Me” by Ariana Grande at #46 and “Rockin’ Around the Christmas Tree” by Brenda Lee at #34. These aren’t necessarily all my personal favourites, but they’re the ones you expect to get in this early every year, alongside Mariah Carey’s “All I Want for Christmas is You” and “Last Christmas” by Wham! from last week, which move up to #17 and #16. Most of the other upwards movement is for songs new to the top 75, but we do see some gains in the top 40, for “Like Him” by Tyler, the Creator featuring Lola Young at #39 (more on both later), “it’s ok i’m ok” by Tate McRae at #28 thanks to her new single (more on that way later), and finally, Linkin Park land two gains thanks to their #1 comeback album, From Zero: “Heavy is the Crown” at #21 and “The Emptiness Machine” at #10. Yes, unfortunately, more on them later as well.

As for our top five, it’s nearly the exact same apart from one smash hit debut: “The Door” by Teddy Swims is still at #5, but right above is a new debut from Sam Fender, “People Watching”, his third top 10 hit, which we’ll discuss in more detail later, once we get through… everything else. Then it’s more typical: “APT.” by ROSÉ and Bruno Mars at #3, “Sailor Song” by Gigi Perez at #2 and of course, “That’s So True”. With all that out of the way, we still have a lot to get to with our new songs so let’s take a deep breath and begin.

New Entries

#75 – “MAYBE.” – SIENNA SPIRO

Produced by Max Wolfgang and Sol Was

This is an artist completely new to me, SIENNA SPIRO, a London singer-songwriter with just a few songs out that were recently released, compiled into a full album that’s just four songs. Given her earliest release is from this year, it seems that TikTok virality has helped her break out so quickly, with this being her first to chart and more interesting than I was expecting, given the stressful pace of the piano that leads the track, though SPIRO’s vocals are very much in typical indie girl territory and not showing much character. The breathy nature of that style of delivery definitely helps rather than hinder in a song so paranoid and minimal, taking hard turns into slower and faster piano melodies yet not adding much in the way of new layers apart from what appears to be some string swell in the back of the chorus. The relationship spiral that she sings about is not that specific, wrapped up in analogy rather than specific details for the most part, which doesn’t let me connect as much as I’d want to with a song this empty, but her vocals and those pianos fill up so much of the space in the mix that the song drowns in her regret for the previous relationship, taking a sinister edge with that chorus and bridge being about wanting to take revenge by ending the relationship, which is a draining pain for her but clearly fixes some kind of insecurity that would spiral out of control without her presence, hence why leaving would hurt so much. What that is I’d love to know, because that would make the song more biting and really sell me on the scorned woman angle, but that bridge would be the perfect place to drop it and it never happens, which is a damn shame because there is a lot of potential for a really resonant song here that never realises itself. I also personally could see some subtle horn sections elevating this tone-wise, really accentuating the righteous villainy of her lyrics that doesn’t fully come through with melancholy pianos and a weaker vocal performance. I like the idea of this song, but I’m hearing the blueprint instead of the fuller idea, and I really want to know where this could go, so I suppose eyes are on SPIRO’s next hit – if this can make it through the winter freeze – to take more steps.

#64 – “Sticky” – Tyler, the Creator featuring GloRilla, Sexyy Red and Lil Wayne

Produced by Tyler, the Creator

Like many albums that stick around and not just for a few big hits, Tyler, the Creator’s CHROMAKOPIA is playing around with the three-song rule and having songs drop out just for another to fill its space and this week, we get a track that I expected to swiftly enter the week the album released, that being “Sticky”, one of the album’s bangers and unfortunately I think those are sort of its weak points. I still like this one, though, even if only the second half seems to serve much of a purpose in the record’s overall thematics, mostly as a victory lap but also to warn the audience about how messy this album’s emotional baggage and honesty can get, and by extension, to just embrace that as much as one embraces the obstacles in life Tyler’s otherwise facing. Outside of that, it’s a brag track, and definitely a well-structured one, starting with a minimal, slightly annoying whistle and characteristic pitch-shifted chanting alongside other sound effects that will make it a perfect fit for high school and college bands, especially given the female group vocals that ride the incessant hook over calamitous, Timbaland-esque drums (turns out he co-wrote the record). Tyler’s falsetto verse makes reference to “the zone” – which could potentially be both the gay club and the hood, in a twist of words only Tyler can really do, making the lazy pronouns line later on even more disappointing. That said, if you don’t like one verse, it’s not like you get much time to decide, or much time to lament a mid performance, as the verses are nearly all just four lines, with GloRilla commanding the song despite not even being on the album’s vinyl editions, Sexyy Red flailing into a bombastic horn loop at least, and Lil Wayne clearly having more recorded that ended up getting scrapped.

What I mostly appreciate about this song however is the madness that ensues once the female group vocals start cheering “CHROMAKOPIA” with a squealing chuckle and quickly leading into that intimidating horn loop borrowed from Young Buck’s 2006 track “Get Buck”, and allowing for T’s longest and most fun to follow verse, no doubt helped by the added piano and Solange’s cooing. Sure, he spends most of the verse either flexing or, well, actually getting sticky, but it’s delivered charismatically and over undeniably hard production that it’s difficult to say it doesn’t work out, especially when that second hook of “Better find a mop, it’s gettin’ sticky in this bitch” might be the bigger earworm of the two, especially with how that deadpan mantra leads into frankly the hilarity of Tyler crooning “sticky” on the outro, a word that should never be sung that sincerely, let alone with that much detailed vocal layering. CHROMAKOPIA is Tyler’s funniest album since he got out of his less mature phase in the mid-2010s, and if any song shows it, it may have to be this one, even if for me, its charm wears off through middling guest appearances and perhaps a little too much commitment to its initial, quite thin bit. I personally would probably pick “Balloon” over this, but I can’t say why I don’t get the hype. It’s still a banger.

#55 – “Messy” – Lola Young

Produced by Solomonophonic, Manuka, Monsune and Carter Lang

We go from sticky, and now it’s getting messy, with British singer Lola Young, who I hadn’t heard of until her feature on Tyler’s “Like Him”. I was curious to how her solo work sounded but just hadn’t gotten the chance yet and I suppose what better time than this episode? This song, from May of this year, has finally bubbled up enough traction to appear in the top 75, and is way more relaxed than I’d expected, with a slick acoustic guitar line and detuned synth noodling that I suppose isn’t far from what you’d expect from Solomonophonic’s production, but what did catch my ear is Young’s delivery, which is a confrontational and semi-spoken approach that starts off with a typical smoky R&B style then consistently derails into angry ranting before catching herself and going back on track. It’s a perfect representation of that back-and-forth that comes with the frustrating relationship she’s describing in the song: the imperfect rhyme in the first lines of the chorus is great too, because of how her partner is clearly giving her diminishing returns for her stressing about not just how she acts but how she presents herself, none of which can be perfect for them. She’s rarely actively frustrated about it though, instead going for a dismayed tone that sounds hopeless with how much she’s tried to change and how little effort and love she gets in return. I love the bursts into harmonies from the end of that second verse onwards, they are beautifully blended and the production here strikes a subtle balance, even if that guitar solo between choruses feels weak and jerky, I would have included a vocal bridge or at least a change in the lyrics for the final chorus to make the crescendo work instead of an honestly awkward intermission that turns an amazing song into a great one that could be close to perfect. It’s still great, though, it just feels like finishing the song was the last touch that just slipped by. I am definitely interested in checking out that album now to see what else will connect but for now, I’d recommend checking this one out.

#44 – “Dirty Cash (Money Talks)” – PAWSA and the Adventures of Stevie V

Produced by PAWSA and The Adventures of Stevie V

We’re really making PAWSA a thing, huh? Even with how uncreative he is as a throwback house producer? Okay, well, this time he’s grabbed another great sample, that being from The Adventures of Stevie V, a dance act formed by, as you’d expect, Steve Vincent, and had a massive hit in 1990 with their 1989 debut single, “Dirty Cash (Money Talks)”. The track is a fantastic amalgamation of early 90s dance trends, with some great breakbeats and sampled yelping, deep-voiced incompetently-rapped interludes, and an anonymous diva at the lead vocals over a hypnotic bassline. This track in particular comes with a jazzy horn line too, kind of reminiscent of what Soul II Soul would put out in the same era. The seven-minute 12-inch edit is the best version, in my opinion, as the extended length and blend of samples really accentuates the sinister edge to the money-hungry vocalist. Back in 1990, this peaked at #2 in the UK, blocked by a similar but even better house classic from the same era, Adamski’s “Killer” featuring Seal, one of the greatest #1 hits ever, so you can’t complain, and it’s definitely not been forgotten since. Not only did it act as a rare stateside crossover for European house on the Hot 100, it was remixed in 1997 for a #69 peak, and was famously given a rework by UK rapper Dizzee Rascal, a fantastic song dissing both the people who spend their money without thinking, and the politicians who spend the state’s money without looking over the state of their own country, using London’s slums as an example and placing an entirely different meaning to “dirty cash”. Dizzee’s recession-era rant “Dirtee Cash” peaked at #10 in 2009, whilst Taio Cruz’s “Break Your Heart” was #1, but would later spend two weeks at #2 the year after as part of a mash-up with Florence + the Machine. “You’ve Got the Dirtee Love” was blocked by Helping Haiti’s cover of “Everybody Hurts” and Jason Derulo’s “In My Head”.

To this day, “Dirty Cash” still gets a lot of play – in fact, it briefly returned to the chart under the top 75 this year and is doing great in the dance charts, which brings us to PAWSA’s remix under the same name but shortening it down, using stemmed vocals and replacing them onto an admittedly catchy if basic 90s throwback beat. Here we perfectly see what the 90s actually sounded like at its best versus what we may want it to sound like for the marketable pastiche, in a side-by-side comparison. Once again, PAWSA lazily reworks the song, using practically the same verses and choruses, in a very similar structure, just one with much less to it thanks to a shortened runtime and hampered instrumental, with much less moving parts here, especially in terms of ones that aren’t ripped straight from the original. With that said, it’s still “Dirty Cash” and there is an intensity to the bass and glitched sound that he finds by time-stretching mid-quality stems and stammering some of the vocal take. There’s more to this than what we’ve seen from PAWSA before, but considering we’ve had a hit song that brilliantly reinterprets and recontextualises an already charming song itself full of samples, this just doesn’t feel necessary. Are we just set to regurgitate forever? Listen to the original instead, but this isn’t worth spending much time on overall, and I doubt it’ll actually last either.

#25 – “Running Wild” – Jin

Produced by Gary Barlow, Ryan Carline and Jacob Attwooll

Clearly to draw attention away from his massive son, former Take That singer Gary Barlow is now producing solo work for BTS’ Jin, who has left less of an impact than his bandmates but did release a solo album last week, with this being his lead single and holy shit, of course this was written and produced by Gary Barlow. Not only can I hear Jin’s exact inflections in his voice, but it has a plastic synthpop sheen that’d fit an X Factor winner from the early 2010s, maybe not the winners’ single but absolutely a follow-up, especially with that cheap guitar lick and dramatic pre-chorus soundtracking pure lovestruck cheese. I wish Jin didn’t go into his falsetto so often so he meshed within the chorus’ mix a bit more and didn’t just stick out, but that level of unabashed commitment to something that sounds like a relatively cringey theme song – it reminds me of what the English dub of Pokémon would occasionally spit out – is charming in itself. There’s also so much compression here that a buzzy new rave angle could be heard in the synths, adding an extra layer of just “going for it” that’s full of charm. Sure, there’s basically nothing to it – not even a great cinematic bridge to really help it click – but it’s a vehicle for Gary Barlow to have a cheap slab of cheese hit the charts once again, and there really is something addictively sugary about it somehow. Give it to BTS to make fun from the insufferable, I suppose. Oh, and there's like eight versions but fuck that noise.

#24 – “Juno” – Sabrina Carpenter

Produced by John Ryan

Much like with Tyler, Sabrina Carpenter’s Short n’ Sweet has been able to consistently have fan favourites pop in and out of the chart, this one being a long time coming and a personal favourite of mine and many others on the album’s release. Production-wise, it’s not particularly special, given its love of reverb and those delicate guitars that form a decent albeit admittedly stiff pop rock groove. Sabrina is truly what makes this song, with writing as awkwardly horny as the blank spaces she leaves in between certain lines to let them linger in the verses then a pre-chorus that goes for a much jerkier guitar lick and accommodating vocal line that leaves no space in the mix and even less to the imagination. The chorus, with a wonderful “ow!” to tail-end it, is when the writing really gets into interesting territory: the title of the song references the 2007 film Juno, about teen pregnancy, and Sabrina herself debunked any deeper double meaning it could have. It simply means that this guy should “mark [his] territory” as said in the hilariously cinematic bridge with those panned drums that make drama out of very unsubtle lines. She continues down this line of argument, saying that he should make her pregnant because this would mean there’s a second, even cuter version of her… okay, well, considering the film’s content and all the bizarre implications of that line, it gets a bit messy. Sadly, Tyler still has my mop, so it’s not time to discuss that – fun song, let’s move on.

#22 – “Two Faced” – Linkin Park

Produced by Mike Shinoda

Out of all of the songs to chart from Linkin Park’s lazy, fine-tuned-to-work-on-rock-radio “comeback” From Zero, it really didn’t have to be the one that best exemplifies why the album is so insufferable. The entire record is mostly just bog-standard Linkin Park delivered soullessly, with the lyrics doubling as bitter reflections upon their fans for not accepting “change” – lyrics about identity and belonging are nothing new from Chester, or even Mike, but coming from the controversial new lead vocalist Emily Armstrong, they ring a little hollow and angry, whilst the writing, production and instrumentation doesn’t reflect that by being raw or aggressive in ways more than your average LP record, if not actively re-treading prior ideas. If your mission statement is “Fuck you, we’re back, accept us as who we are or get out”, maybe a deliver a product that is something worth pissing people off for, and not some stale, half-baked intimidation of better music. Otherwise, it comes off unjustifiably bitter, with this entire song being immature vagueposting, potentially veering towards the divided fanbase and the late Chester Bennington himself, with nothing ever really being up to the fault of Armstrong or Shinoda, in fact there’s a degree of patting themselves on the back for their bravery, whether that be in the pre-chorus or the passive-aggressive chatter outro wherein Mike reassures us we’re “on the same page”. Well, not exactly, given you haven’t updated your formula to fit the cleaner production or to make your rapping any less phoned-in and amateur. Hell, we even get a reference to the “zero” motif, the whole “starting anew” theme in the album that is completely unwarranted when what we’re working with here is the same foundation, just worse. Linkin Park can probably make great work with Armstrong – “The Emptiness Machine” is there – but that would involve making the pathetic half-risen middle finger much more prevalent. If you’re going to tell me to fuck off, do it with guts and gusto, not a half-hearted, flattened version of a decades-old formula that Linkin Park as a band was constantly trying to stray from during their time with Chester. I understand why after the lacklustre reception of their pop-focused then-final album that Shinoda would want to leave that behind and return to “form”, but he may have learned the wrong lessons for the frustrated and confused themes he wishes to pull from. Much like the rest of this album, this is worthless, sanitised and unnecessary, and I’ve spoken much more than I need to about this revival, which has been wildly successful regardless, than I’d have wanted to in the first place.

#8 – “2 hands” – Tate McRae

Produced by Ryan Tedder and LOSTBOY

So, Tate McRae has yet another song and I’m really struggling to find the appeal with her in general, and this is no different. Ryan Tedder goes for another 00s pop and R&B-influenced track but with a glassy monogenre sheen and faceless misunderstanding of what made songs from that era special – there’s a male vocal interplay ad-lib but it’s either this pitch-shifted refrain which, to be crass, just sounds fucking gross, or the same exact “Yeah” sound clip. It’s a charmingly unabashed sex jam with busy drums, but there’s a constant whooshing nothingness to everything else, whether it be the crashes, the airy synth fuzz, the Frank Ocean-esque vocal filters on the male vocal, or those obnoxious horn stabs that never justify their existence. I think McRae is in a difficult place wherein she needs to be interesting to survive in the pop climate as her kind of anonymous, generic pop star is not big on a global scale anymore, but being interesting is the exact opposite of her cursive-singing personality-devoid delivery, and it's the direct antithesis of ongoing hack Ryan Tedder, so we get vaguely interesting but completely tarnished messes like this and “exes” to try and fill a void that I’m not sure people were clambering for exactly, but if they were, Tate was simply the first to fill it, and we’ll be dealing with her for a while as a result. I just wish there was more to this and honestly more to her as an artist overall.

#4 – “People Watching” – Sam Fender

Produced by Sam Fender, Adam Granduciel, Joe Atkinson and Dean Campbell

Because of how long “Seventeen Going Under” ended up sticking around, to me, it didn’t seem like it had been that long since North Shields singer-songwriter Sam Fender had released new material, but this new single comes as the title track for an upcoming record that will be released nearly four years after his last. Fender has been performing this song for months, and detailed its subject on social media, that it was about a maternal figure that had passed away the year prior, and that Fender experienced this loss gradually in real time, being sat next to her as she died. This next album is in part dedicated to her, it seems, and what he owes to her, and that is definitely present in this one as despite its jangling, almost fluttery indie guitar tones and pianos making for a really big and joyful sound, the lyrics start on a much sourer note: “people watching” refers not to people watching him but how he will look at the public surrounding him when going home, feeling envy for them despite not knowing what problems they may be facing. Youth and perceived carefreeness provide some level of hope, but by the chorus, reality treads in: these people are just running on the treadmill of life, and it begins to feel like the entire town is collapsing in on him, under all the lights and weather. That second verse may be the most devastating – he describes the decaying care home, how he “cornered” the nurse to understand why this loved one wasn’t getting the treatment he thinks she deserved but soon coming to the sobering knowledge that it’s an understaffed, neglected institution that can barely be called “home” – the vision of seeing the nurse fleeting across the home overworked is what takes that last glint of youth and optimism out of him, and the yelled chorus with its propulsive drive and horns give a massive, heartland-rock sensation that reflects being faced with overwhelming wrong and being helpless to right any of it. If anything, there’s a guilt to having been able to contribute to it, and an endless fear that leaves him wanting to escape the entire country, stretched painfully into that strained squeal of the sax by the end.

“I fear for this crippled island” feels like it sums up tactfully how many people feel about the UK and what many would say is a state of perpetual decline, lacking the power it once had and falling into delusions about the shells it has left of its formerly great institutions. There’s not much focus on personal tragedy here – I imagine there’ll be more on the deep cuts – but there is a righteously devastated sense of how his loved one was failed by the systems he’s made to believe are working and supposed to be there for the general public’s safety. It’s not yet boiled into an anger, either, just an overpowering emotional weight that is prevalent in much of his music, and this is no different, in fact, it takes very little in the risk department and apart from the lyrics, wouldn’t be too dissimilar to “Seventeen Going Under” and songs from that parent album. It’s still a great song, of course, and there’s no problem in having a signature sound, but part of me wants something a bit new – Hell, maybe something a bit more stripped down and acoustic – from Fender in the long term. We’ll see next year, but for now, you really can’t complain about a song this potent launching into the top five on its debut week. Brilliant track.

Conclusion

What an exhausting week. So many new songs, so much to discuss in a few of them, and a messy rundown. We’re nearing December even closer next week, but as for what we have going on in this episode, it should be obvious who’s taking what: Linkin Park take Worst of the Week easily for “Two Faced” and fittingly, in second place, is “2 hands” by Tate McRae as the Dishonourable Mention. There’s more trying to snab the best but it isn’t particular close for Sam Fender’s “People Watching” taking Best of the Week, so I may as well tie the Honourable Mention between Sabrina Carpenter for “Juno” and Lola Young for “Messy”. I think we all know what’s happening next week between Christmas and Kendrick Lamar, but for now, thanks for reading, rest in peace to Andy Paley, and I’ll see you then.

[whynot-movies]

Space Jam (1996)

[waynejetski99]

wayne gretzky in my head

[incorrectlooneytunesquotes]

Lola: Hey, who wants Chinese takeout?  I know a great place. Penelope: I'll have the cream of sum yung guy.

[laurent-bigot]

THE TENDER TRAP (Le Tendre piège) - Charles Walters (1955)

Unique rencontre à l’écran de Frank Sinatra et de Debbie Reynolds, ce film réalisé en 1955 par Charles Walters bénéficie également des talents de David Wayne et de la trop rare Celeste Holm. Confirmant son grand come-back au cinéma, Frank Sinatra est à l’affiche de quatre films en 1955, dont deux sortent à une journée d’intervalle : Guys and Dolls (Blanches colombes et vilains messieurs),…

[warren-wayne-kyle]

'And yet, despite everything that has happened, you want to stay with us. With me. Why do this to yourself, Eryn?'

'Love, my dear. I do it for love.'

-Richard Small and Stephan Harding, All the Strange Things, Faeveryn book 1 (1994)

[acid-ixx]

Hello, Yael! Absolutely wonderful job as always with the newest chapter RAHHHH Since Tyler the Creator's album came out (around the same time the chapter dropped too!), now it hit me that his song 'Like Him' fits Y/N in the story. How Y/N seeks for Bruce and her family and grew to have resentment that any affiliation with them would leave her with a pit in the stomach.

In a way, Y/N chased after Bruce and her family who essentially treated her like a ghost as a kid, and now the ghosts of her past are chasing *her* when she grew up. Hopefully this ask didn't bother your day, I genuinely enjoy your works and they're all so thoughtfully written, remember to take care, and I will eagerly and patiently wait for your next chapter hihi!

YES!!! this is one of the songs centered around chapter 5 and 6, when i first listened to it, it's like giving off bruce and his neglected child vibes. the direction i originally wanted to go for was that you're unaware of your dad's existence, your mother wanting to protect you from the implication that you were never planned or wanted in the first place—

but with how the current chapters go, it's even more painful to know who your father is, sharing the nearly the same imagery of him and wishing to strip away every feature that shouts, "i bruce wayne's child!"

hell, the only reason you pestered your mother about your father's identity was because you see bruce everywhere, and start to piece the puzzle together that you're eerily similar to him.

yet living in the manor, what once was you chasing after the ghost of your idealization of your father, was now you chasing after the ghost of your past, your life with your mother, and wishing that you never knew who your father was in the first place. without any guidance, your self-image crumbles upon itself and it's there you come to the realization that you're slowly forgetting what your mother looks like; only pieces of her are left on your face to be nit-picked by you.

obsessively trying to keep the memories of her long gone through those daunting 13 years of living inside the manor.

you're more like bruce in so many other ways and you refuse that truth, sinking deeper into your own despair the same way bruce's past stubbornly festers deep inside his head; you truly are like him.

you used to be proud of the fact that you can pridefully call yourself bruce's child, now it's your very same face that ropes you into your demise.

— thank you anon for sending this in! there're so many other media references that i placed in my fanfic and you're one step ahead of me on this one. i wanted to create a playlist of my own song/media references centered around the series but there's just so many that i added that it might take time hehe.

[martyrbat]

batman secret files and origins (1997)

[ID: the first panel is an article titled, “Who is Bruce Wayne?” by Lola Charles. Above the headline is a photo of Bruce from the shoulders up as he's in a suit. The rest of the photos is cropped sections from the column. In order they read:

“It's definitely a case of passion exceeding skill,” confides neighbor J. Devlin Davenport. “Bruce is hopeless in the long game.” Wayne takes all of the ribbing he receives gracefully. There doesn't seem to be a touch of anger in the guy.

To say that his personality is plastic is to insult the synthetics industry. His reclusive behavior and avoidance of any media coverage is because the man has all the charm of a paper clip.

The most interesting moment in the entire meeting came when he accidentally spilled the Dijon sauce on himself (managing, in the process, to spatter the blouse I had bought specifically for the occasion).

I candidly admit that he is excruciatingly handsome and that, upon first meeting him, I blushed like a schoolgirl. But beneath those drop-dead looks beats the heart of a chartered accountant. The women who fawn over him after fifteen minutes in his company can only be thinking of his bank accounts, not his romantic attractions. Only someone as shallow as himself could find him alluring.

Bruce Wayne is styling his way through life.

Well, there's the mystery of Bruce Wayne. And the solution is that there is no mystery. The guy is a sofa painting, a creampuff, a lightweight, the male equivalent of a bimbo. Sorry, girls. END ID]

[crownedinkcomix]

[miniaturesuitgladiator]

Hiiii👋 sorry for taking so long to post I've been really busy with school and sports . So I really haven't had that much time. But since it's fall break I've managed to make this so sorry if it feels rushed. But anyway I just wanted to say thanks for all the likes and new followers I really never thought anyone would like my writing. So thank you guys for all the compliments. Any way this is the next part of the series I've made and I still haven't came up with a name so if you guys do please tell me. Thanks for reading and enjoy!💗

Notes: were gonna act like Jason never died and that it's okay for him to be seen with the batfam. Bruce and Talia are married in this.

Warnings: Yandere themes. ( Their not really yandere yet). Not proofread.

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"Hey honey, you girls sung beautifully today." Lolas mother says giving you a hug. Just like she usually does after each service.

"Thank you miss keene." You reply. You had always liked Lolas mom. She was kind and kind of clumsy. She was never nown to be on time or to be perfect. But somehow she was always happy ,always content. She never gave you a false smile like others did. Her love was genuine. Like her heart.

Just like you and Lola were best friends so are your mother's. You had known Lola all your life. Lola had been their through everything. And you trusted her blindly. Just like she trusted you blindly.

So it was no surprise to anyone what Lola had asked her mother. "Mama, can I stay at y/n house tonight. I know tomorrow's Monday but we promise not to stay up late." Lola says with a slight pout trying to convince her mother.

Just like you are your father's baby. Lola was her mother's baby. Her mother's only baby. Lolas father had left when Lola was three ,and Her mother never looked for another man. Decideding that she was better off just her and Lola.

" Well did your mother say yes ,baby." Lolas mother says looking at you.

"Yep!" You say happily. You knew lolas mother would say yes , she always did. "Well than I suppose it'll be alright." She says. "Thank you ,mama." Lola says giving her a quick kiss on the cheek. "Thank you misses keene." You say coping lolas action. Lolas mother smiles widely at the act of affection.

"Your welcome girls ,but let's not forget we still have to go help set up the food." Lolas mother says.

"Of course mama well meet you in there." Lola says and her mother begins walking off. "Yesssssss! finally we haven't had a sleep over in like three years." Lola says grabbing your arm and slowly walking towards the church kitchen.

You laugh at her childish antics. "It's been 2 weeks Lola." You reply slowly walking towards the kitchen with Lola. "Same thing." Lola says in a 'matter a factly.' tone. Slightly rolling your eyes at Lolas childish ways ,you smile as you see your grandpa slowly approaching you two.

"Hey, papa your service was really good today. One of your best one ever!" You say given your grandpa a hug. Lola quickly follows your actions. "Yep! definitely one of your best ones."

"You girls are too kind. But you know it isn't me who's talking. It's Jesus talking through me!" Your grandpa says passionately. "Yes grandpa but it also take a good man for Jesus to talk through."

Your grandpa offers you a kind smile at your words. "Well thank you girls but by any chance have you seen the Wayne's? I truly hope I didn't scare them off." Your grandpa says looking around worried.

"I'm sure you didn't pastor. They might just be in the bathroom or something." Lola says trying to reassure your grandpa. "I suppose you girls are right but I'll continue to look for them. Please tell me if you see them. I want them to stay to eat with us." Your grandpa says as he walks away looking for the Wayne's.

"Sometimes I think your grandpas just too nice for his own good. I mean did you see the evil looks that they were giving him when he was preaching? For being rich the obvious have no class." Lola says watching your grandpa walk away.

"Yeah I know." You say gentle pulling her arm so she'll begin walking with you towards the kitchen.

"Whatcha need help with mama?" You say with a small smile. You know your mom hates it when you don't speak proper. So that's why you do it so often. You mother obviously heard you because your standing right across from her. She sends you a warning look and then sadly she ignores you and continues settings up the tables.

You sigh knowing that your obviously defeated and that she isn't in a playing mood right now. "OK, ok, mama what do you need help with?" You say hoping you didn't make her upset.

Your mother sighs and looks up at you. "We'll you can help set up the other tables. If you don't mind baby. The forks and plates are in that container." Your mother says pointing at the white container. " I don't mind at all." You say offering your mother a more genuine small. To which she returns. "Thank you baby. " Your mother says. You turn around going to grab the white container. "Y/n." You mother says with cuases you turn back around.

"Have some manners please. We have guest." Your mother says nodding in a direction. You turn your head in the direction that you mother was mentioning and you see them. You see the Wayne's.

You sigh 'why are they staying!!' You say in your head. Looking at them a little longer you see why they stayed. Your grandpa. Unlucky enough your grandpa sat them at the table were your family usually sits. So you'll definitely be sitting by them.

You groan in response to what your mother says and mutter a quite " yes ma'am." As a reply

Turning back around and grabbing the white container. You begin to set up the remaining tables.

Finally finishing setting up the tables you look up and see that the they Wayne's are staring directly at you ,again. You would have thought that you catching them would make them look away ,but it doesn't. You stare back but not with the glare that they give you ,no. Your too kind for that. You simply look at them amused.

Why where they looking at you? They didn't break they eye contact. So you did it was just to embarrassing looking at them for so long! You don't know how they could look at you for so long and not be embarrassed. Maybe it was true what Lola had said. They have no class....

Looking around you saw that the food was set up and they tables. You saw most people were already sat in their usual seats and others still finding their seats. Still looking around you felt a light tap on your arm. Looking down it was riley your little brother.

"Mama said that you need to go say the foods ready." You brother says trying to whisper. Sadly you brother doesn't know how to whisper so your sure most people heard. " ok." You whisper back.

You hated announcing things. And you didn't know why your mother made you do it. We'll you did know why she made you do it. You were her first child so she wanted you to take her place in the church when you got older. But still she knew you hated speaking infront of others ,and yet she always made you do it.

Walking in front of everyone you began feeling nervous. But just like always you were able to compose yourself. You stand infront of everyone with a blinding smile and a cheerful aura. All eyes are on you. Carefully you grab the microphone and turn it on.

Bring the microphone to you mouth you begin to speak. " Hi everyone." You say and everyone slightly giggles at your shyness.

Clearing your throat you start agian. "I just wanted to say thank you to everyone who prepared this food. Some didn't prepare food but they helped set up. And really none of this would be possible if it weren't for them. So let's give them around of applause." You say clapping your hand and soon enough everyone claps with you.

Once the claps come to a stop you say what you had initially came to say. "Also the food is ready so please make you way up in a line so that you can get your food. But hey let's be mindful of our guest and let them go first. That's all thank you." You say setting down the microphone and going to your table.

Making your way to your table Lola stops you. " Hey girl you good? You look like your sweating bullets?" Lola questions but you wave off her concern. "Yeah I'm good. It's just hot in here. I think I need some air." You say walking past her. You leave at out of the church kitchen and begin making your way to the front door. Lolas quick to follow you though. Once outside the big church you feel the cold air hit your skin. 'Maybe it would have been best to bring a jacket' you think to yourself.

Lola being the kind girl she was was right behind you. Watching your every move. "Are you alright." Lola asked with concern. "I'm alright." You say. You sigh in disappointment. This was nothing knew to you or Lola. You both new how much you struggled with talking infront of people. You could act all fine when you began speaking but after you were done. It was like all that anxiety that you kept in you while you spoke hit you loke a tsunami.

"Just breath." Lola says gently rubbing your back. And you know that if anyone else was here you'd probably would begin to cry out of embarrassment. But fortunately for you it was Lola who was here. Lola had seen you at your best and had been there for you at your worst. There was nothing you could keep from Lola and nothing she could keep from you.

You feel better at her comforting words and offer her a small but genuine smile. "Thanks." You say now feeling ten time better. "No problem." She says offering you a kind smile back." I don't know why I get like this. It's really not even that deep. It's just plain dumb I mean it's not like im still a baby. " You say looking down.

Lola sighs at your words she hates when you talk yourself down in any kind of way. "If it makes you feel like this then it's not dumb. It's emotional N/n and you can't control your emotions... like remember the first time we did the talent show together. And how I threw up before we went on."

You scoff at her words "You were seven back then." You say looking at her. "Yeah but I still feel like that sometimes and when I do ,do you ever tell me it's dumb how I feel?" She questions and she does have a point but it was different with her ,atleast in your eyes it was. "No but-" you try to speak but she cuts you off. "No buts emotions are emotions and we can't control that but do you know what we can control?" She asks with her eye brow raised. "What?" you asks

"How much we pig out on misses yeshas ham and turkey." She says lightly nudging you. You laugh at her words knowing how serious she is. You two did love misses yeshas ham and turkey. You take a look around and see all the beautiful white snow on the ground and see the beautiful oak trees around you. And you feel peace agian. Standing there with your best friend who knew you better then anyone was truly a blessing because no one could cheer you up like her , no one...

"Let's go in." You say and at your words she grabs your hand and smiles brightly. "Oh thank goodness any longer and my mom probably would have eaten all the food" Lola jokes but you know her mom does have quite the appetite. But you can't judge because so does your dad.

Walking into the big church the warm air greets you kindly. No longer feeling how you once felt. Another emotion began taking its place,hunger. Walking into the churches dinning room you see that most people already have there plates while others are still waiting to get theirs. No one notices you and Lola walk in and you doubt anyone notices that you two left.

You and Lola walk over to the short line and patiently wait your turn. Looking over at your table you see that your family already has there plates and so do the Wayne's. Your father catches you Looking and nods his head. Silently asking if you were alright. You smile back and nod your head telling him you were alright. You suppose someone did notice you leave.

Once you and Lola had gotten your plates you walk to your table and sit where you usually sit. You sat beside your father and Lola by her mother. Usually you and Lola would be seated right across from eachother but since the Wayne's were here someone else was sat infront of you. And thank goodness it was your favorite wayne. "Wow can you really eat all of that?" Tim questioned pointing at your plate. And quickly Tim catches what he had said. "No not like that it's just that! I um I don't know why I said that I'm not calling you fat or anything. Omg why do I talk like this. " and you aren't sure if Tim's talking to you or himself anymore.

You laugh slightly at how embarrassed he looks "It's alright I know what you mean." You say with a smile and he sighs no longer feeling like he offended you. "Thank God." He says and your face turns into one of concern. He notices the change in your mood. "Did I say something wrong." He questions not knowing what he did. "It's just that we try not to use God's name in vain." You say quietly. "Oh! I'm sorry this is a church I should have known better. I'm sorry." He says looking a little embarrassed.

"It's alright you didn't know." You say and he looks relieved to her you say that. You continue to eat in silence. It's comforting silence unlike before.

You don't want to ask this question but it's making you go crazy not knowing the answer so you decide to ask anyway. "Do you mind me asking you something?" You question hoping he says yes. "Sure." He says looking happy that you broke the silence. " when you introduced yourself you said that your name was Tim drake. So is your last name wayne or drake?" You ask.

He seem to perk up at the question as if he's excited to answer. "I'm adopted. So my lasts name is actually drake because I didn't want to change it." He answered. "Oh!" You say shocked. You suppose that did make the most since. Because he didn't really look like his parents. None of the kids really did except for the youngest one. You wanted to ask if they all were adopted but that would be to straight forward and rude.

Feeling slightly embarrassed you look at your food. Decideding not to look at Tim ,you begin eating again. " Um if you don't mind me asking How old are you?" Tim asks and your glad that he broke the awkward silence. "I'm sixteen." You say with a smile.

He smiles as you speak almost as if he loves hearing you talk. You can't help but feel a little flattered by how he's looking at you but you brush it off as his way of looking at people. "And how old are you?" you ask. Hoping he doesn't mind the question.

" I'm seventeen." He says and you offer a hum as a response. You continue eating in silence looking anywhere but him. 'You just met this man. You can't just fall in love with him.' you say in your head.

Looking at the church's dining room you feel the peaceful atmosphere. The pastel colors of the room and the sound of people talking is kind of peaceful. The smell of food and your father's strong colone is all you can smell. And yet it's peaceful. Maybe the Waynes being here wasn't so bad. Atleast Not with the wayne sitting in front on you. You finish eating and your going to put away your plate when you see your uncle stand up to announce something.

You watch as he stands up and clears his throat. We'll everyone's watching him now. Everyone I just got a message saying that we all need to head home there a blizzard coming and it won't be safe to drive when it hits so we need to go home now. Please throw away your trash and we'll clean up the rest later. You uncle says and gasp are heard all around the room. It truly isn't that surprising though since there usually are blizzards during this tim of the year.

Standing up you grab your playe and through it away. And everyone does the same. Your eyes go to your grandpa because he's usually the one trying to lock everything up right now. But he continues to talk to the Wayne's. You walk up next to him being curious as to what's so important to tall about that he's not help clean up. "It's far to dangerous to go back to gotham right now you can stay with me and my wife." Your grandpa says but bruce is quick to decline but your grandpa is far to persuasive to take no for an answer. "With do respect I wouldn't be able to sleep if I knew you and your family were driving in bad weather. Please stay with me and my wife just until the weather clears up. We have plenty of space."

Bruce doesn't say anything and just considers it. Talia grabs Bruce's arm and nods at him silently telling him to agree. Bruce sighs before he begins speaking. "Just until the weather clears up."

Your grandpas face lights up and he nods his head. "Yes just until the weather clears up. Come on we better get going before the blizzard hits us and we're stuck here." Your grandpa says.

You groan quietly to yourself. 'Why does grandpa have to be like this.' you mutter under your breath so no one can hear you.

If only you didn't live right next to your grandparents then this wouldn't be your problem, but sadly you did live next to your grandparents. So you knew exactly how this would go. This wasn't the first time your grandparents (actually just your grandpa) offered a random family a room to sleep in. So you knew what would happen.

You'd be the one helping them unpack and help them feel completely since you were younger and your grandparents couldn't do much. And since you just lived right beside them it wouldn't bother you to help would it? That's how they saw it atleast and your parents saw it the same way. On the bright side though you'd get some of your grandma's cookies that she made for you to eat eventide you came and helped them.

Looking around almost everything was picked up already and the rest could be left until the storm had passed. Feeling a light tap on the shoulder you turn around to see Lola with a pout clearly on her face. "My mom said I can't spend the night because of the blizzard." Lola says with a pout. "Oh no. Well I guess that does make sense." You say your face mimicking her own. She nods "Yeah I guess." She says shrugging her shoulders.

"Well I gotta go. I'll call ya later ,okay." She says giving you a hug. You hug her back. " okay." You say. You stand there for a moment once she starts walking away "be safe!" You say watching her walk away. "Always am!" She says back still walking away.

Soon enough your in your dad's truck driving to your house. The car ride home is mostly silent other than the small talk your mother and father have... And your little brother ,Riley, seems to have fallen back asleep...

Finally arriving home you see your grandparents pull into their driveway and behind them is the Wayne's..

Groan you get out of your father's truck and you sigh knowing your mother is already looking at you but deciding to test your luck you meet her gaze. " Stop buying time N/n go help your grandparents" with a dramatic sigh you reluctantly walk over to your grandparents house.

Pulling your coat tighter around yourself you walk up to your grandparents and the Wayne's and you don't know if your grandparents are just slow or you walk very fast... but by the time you reach their porch their trying to unlocking the door ...

You smile as you reach the porch and you can tell all eyes are on you. The Wayne's seem curious as to why your here and your grandma just smiles at you.. while your grandpa tries to unlock the old house door.

After a little bit of time and embarrassment your grandpa finally opens the door. Your grandpa smiles as he opens the door and holds it open for everyone to walk through. Stepping into your grandparents old home you feel the warmth the home provides and you sigh in relief.

The Wayne's look around at the big old house .. it was probably different then the houses in gotham you think to yourself. Your grandpa closes the door and with a warm smile he starts speaking.

"We have plenty of rooms for you and your family. So please make yourself at home." Your grandpa says with a smile. You sigh knowing what your grandpa is going to say next.

"Come now why don't we go talk and my granddaughter can show the kids around the house." Your grandpa says to the adults like he always does. So like usual the adults go with your grandparents to drink some tea or coffee. While you show the kids around. 'Just like clock work.' you think to yourself .

The kids (well more like teens and young adults) turn to you and just like your grandpa you show them a warm smile.

Maybe you shouldn't have shown them a warm smile now that you think of it. Because now that's all they long to see. And they'll stop at nothing to have that warm smile directed at them. And only them.

-💗💗💗💗💗💗💗💗💗💗💗💗💗💗💗💗💗💗💗-

Thanks for reading!

Taglist: @dhanyasri

[corpsebasil]

Bonnie and Clyde Part 3 / Triple Threat Combination

In which a group of psychos attempts to corrupt the eldest Carpenter sister. (Go read triple threat for better context!! This is my take on Scream 7 pretty much)

It had been three months since the murders in New York. Three months of plotting, of recovering, and of teaming up with the secret children of Stu Macher, the twisted psychopath that had inspired your own ideas.

Three months since Ethan had stumbled through the front door, bleeding heavily, and you'd done your best to fix him, though you spent more time crying than anything and felt utterly useless. Three months since Matteo, the middle son of Stu's three batshit kids, had stitched up anything he could, insisting he'd had medical training. Ansel, the eldest, had watched the entire process with such a hungry, menacing look that you’d threatened to skin him alive if he looked at Ethan like that again. The youngest daughter, Lola, had watched you with the silent stare of a predator, an amused look on her pretty face.

Just last night you’d gotten into a screaming match with Ansel, one where he’d threatened to cut you up into tiny little pieces and you said you’d feed him to subway rats. Only Matteo had been able to calm the two of you down, the middle brother seemingly the only one with his head not in the clouds.

“You two—” he said, pointing a rather lethal looking sword at you. A sword. You’d felt ridiculously out of your depth when the three children of Stu had shown up with their advanced weaponry, their connection to Ethan something he’d never told you. “need to calm the fuck down. I’m tired of hearing you bitch at each other all the time.”

“Then put your psychotic brother on a fucking leash.” You snapped, glaring at the stupidly handsome guy. You hated to admit it, but all of Stu’s kids were attractive. Even Ansel had a strangely alluring aspect, even if he made you extremely uncomfortable. “I feel like he’s going to stick a knife in me when I’m sleeping.”

“I’d love to stick something in you, Y/N.” Ansel purred, and the sick glint of amusement in his eyes told you exactly what he was thinking of.

“Stay the fuck away from me.” You said, glaring as you finally calmed down enough to set your kitchen knife down on the counter.

“Where’s your pretty boyfriend?” Lola asked, legs crossed as she sat on the couch. You two weren’t particularly chummy with one another, not like you and Quinn had been, but there was a comforting quality in knowing another girl was in on this chaos. “Matteo should check his injuries. See if he’s ready for tomorrow.”

“I think he’s still asleep.” You mumbled, making a wide berth away from Ansel as you headed to your bedroom. He just grinned at you, that feline expression of his giving you goosebumps.

Ethan had been depressed lately, though he was still on board for round two of a Ghostface attack. He was hell bent on avenging Wayne and Quinn, and you’d be lying if you said you didn’t also feel an urge to take out Tara and Sam. But Stu’s kids insisted on recruiting Sam, saying they’d kill you and Ethan both if you tried to make any moves on their ‘honorary sister’, Ansel’s words, not yours.

“Baby?” You whispered, entering the room and shutting the door behind you. You could still hear the siblings muttering amongst themselves as you moved to the bed, but ignored them. “Baby are you awake?”

Ethan blinked up at you slowly, his body curled up into a ball in the bed. He licked his lips, eyes staring into nothing before he spoke.

“Yeah.” He mumbled. He sat up slowly and your eyes moved to his bare chest, cringing at the multitude of scars from where he’d been stabbed. “I cant sleep. You guys are loud as fuck.”

“Sorry.” You said, smiling softly as you sat beside him, taking his hand.

He’d had a hard time after his family’s death. The only solace was that you were alive, and that Stu’s kids were there to help. He wasn’t as wary around Ansel as you were, and he’d quickly began to treat Matteo and Lola like they were his own siblings. Perhaps he was trying to fill a void.

“Is Ansel threatening to cut you up again?” He asked, a teasing glint in his eyes as he pulled your hand to his mouth, kissing your knuckles.

The two of you had always been in love, sure, but after he’d almost died he’d been treating you with a brand new tenderness that almost alarmed you. It was like all the hate and rage had left him and the only bits remaining were the soft ones. It was a bit confusing, and more than worrisome. Would he actually be able to go through with killing again?

“He always is.” You sighed, rolling your eyes at his grin. “Honestly, if he threatens me one more time.”

“Give him a chance.”

“I have. He’s insane.”

“We are too, sweetheart.” He smiled wider, and a flash of that familiar dark glint reached his eyes. “Just maybe not…asylum insane.”

You chuckled at that, then jumped when you heard a crashing sound. You stood up and opened the door, walking down the hall to peer in the living-room. Lola was straddling Ansel, shoving a pillow down over his face as he struggled. For a smaller girl she was very strong, and you gaped at the sight before you.

“Matteo, help!” Ansel gasped, struggling for air.

“Don’t help him. Get the pliers. Which is your least favorite fingernail, big bro?” Lola asked, tone wry as Matteo smiled.

“What the hell did he do now?” You asked, amused despite yourself, and he shrugged.

“Asked if the carpets matched the drapes.”

“I’m tired of your shit.” Lola was saying, still in the process of suffocating her own sibling. “Say it again and see what happens.”

“You’re just as—mean as her!” Ansel was gasping, flinging a hand out towards you. Lola gave you a wicked grin, finally letting up.

“Your call, Y/N. Do we execute him?”

“I vote guillotine.” You mused, tapping your chin with a fingernail as you fought back a laugh. “Maybe blunt force trauma?”

“There’s too much insanity in this house.” Matteo sighed, standing up and moving to the front door. “I’m getting Dunkin. Get ready for an all night planning session.” He turned and pointed a finger at the three of you. “I’m serious. If I come back and anyone is injured, I’m going back to Woodsboro by myself.”

You all groaned and complained as Matteo left, but then Lola’s eyes slid to your own as the front door shut. Her smile turned feline as she looked at you, her voice soft and angelic.

“Y/N, sweetheart,” she began, blinking flirtatiously. “Do you think Matteo would be too mad if we turned Ansel into a scarecrow?”

“Hmmm.” You murmured, trying not to laugh as Ansel’s eyes widened. “Probably not. He wouldn’t even recognize him. We could say he panicked and fled town.”

“Hear that, Ansie?” Lola giggled, peering down at her brother as he thrashed. “Y/N wants you dead, too.”

“I’m sick of you both.” Ansel spat, still trying to escape. “You’re both hellions. Absolute heathens.”

“You love us.” Lola grinned, and finally let him go, moving off to step towards you. “Come on.” She said, grabbing your hand. “I’m desperate for a sister. Let’s go do girl shit.”

You laughed as she tugged you towards your room, trying to ignore the pain in your heart that occurred when you thought of Quinn. You smiled at Lola, allowing her to flop down on your bed and open up Netflix, her dark eyes scanning the options.

“Wanna invite your boyfriend?” She asked, eyes darting to yours, and you nodded.

But just as you left the room to get Ethan you jumped; Ansel flew by you, complaining about ‘girls night’ and ‘why am I never invited’ as he dived face first onto the bed. You could still hear Lola screaming with laughter as you finally made it to Ethan’s room, a smile on your face.

I’ve decided this is going to be a serious series LMAO

make sure to comment please guys!!! I love feedback and want your opinions on what should happen later in the series?

Who should die? Chad? Mindy? Tara??? TELL ME

[incorrectlooneytunesquotes]

Lola: Hey, who wants Chinese takeout? I know a great place.  Penelope: I'll have the cream of sum yung guy.

[iveneverbeenthisdeadlol]

April ‘24

Lola Giddy Wayne

I can’t believe I got back into Batman phase…

Anyway, oc; member of the Batfamily.