#Miles Away Records

[uncanny-tranny]

I know for a fact I've talked about the golden records, but I don't care because here is a sample of some of my favourite greetings on those discs

There is something so vulnerable, precious, and human about sending up pieces of our hearts into space. Even when we know that there may not be anybody out there to hear us, we are still whispering to whomever might listen how much we love them, how much we want to connect. No matter how small the chance is, we're taking it to say that love is real, that we are real.

How is that not something to be in awe over?

[sneaky-eel]

Hey guys, I found this weird rodent. Does anyone know what it is?🐭

[caito-does-stuff]

the outsiders band au is growing!!!

[fauvester]

how do garak and bashir feel about being grandparents?, also since theres a third elim (3lim) ((if i read tht right,,,,)

garak and bashirs parenting styles are reversed for grandparenting. julian's a total sap for his grandkids, taking them on trips and buying them elaborate educational toys. garak is the reserved victorian grandfather smoking a pipe in the study talking about The Old Days and ordering them around (especially in the garden, his knees aren't what they used to be.)

Bashir is still annoyed at the passage of time seeing fit to give his children (who, in his mind, are still kids) children of their own. Rude!

[sndwave]

obviously cancelling ahead of time and telling people to Not Fucking Go Into A Hurricane For Baseball is a correct thing for the mlb to do but i *am* so so curious as to what would happen if you hit a home run into hurricane-force winds

[hadesknockedupintheunderworld]

How would anti Tails react to nine?

You know, in general I'd say it heavily depends upon the situation. However, no matter what, I think they'd both meet each other and immediately not trust each other. They could end up working together, but it would take a lot to get them to trust each other.

Honestly I think if Anti-Tails got to know Nine a little, though...he'd think Nine is wasting his potential in some ways, and he'd be jealous of Nine in others. Maybe Anti-Tails had people around and didn't grow up alone, but just as Nine was bullied and tortured and had to learn to defend himself, Miles's only "support group" were people who took advantage of him or used him or didn't seem to really care about him. But while Nine built inventions and protected himself only to isolate himself, Miles uses words to his advantage. He doesn't act out too much (especially wary of Scourge), but it’s kind of clear that once Scourge left Moebius Miles manipulated his way to the top, the secret mastermind masquerading as the lackey or number two. Even Anti-Sally admits that she's the figurehead, leader only in name. Miles is the one with real power and influence.

Perhaps to Miles, Nine had all the power in his hands (both when he had 2 shards and when he had the nearly complete paradox prism). Wouldn't that have been the perfect time to exert his control over the city he'd been born in (if not the entire shatterverse)? Would it not have been his chance to make sure no one could hurt him again, or to mold that world into his vision? Using absolute power to isolate oneself in an empty world is coward's talk, right? To Miles, why spend all your time trying to get away when you can make sure you're on top this time, ensure you can never be victimized again (not from strangers, your own "friends", anyone)? I can see Miles thinking that Nine limits himself, that he has so much potential he refuses to take, and I can see him jealous that Nine had such ability, meanwhile he was stuck trying to manipulate his way up, play the feelings balancing game, and essentially placate people (and scourge) while trying to rise to the top while trying to limit the amount of hurt he experiences.

But in a way...I can also see him jealous and annoyed regarding Sonic. Just like with Archie Tails, I think Miles would catch onto Nine's attachment to Sonic pretty fast. And I think he would think "Why are they all attached to Sonic?" (given his experiences with Scourge), chastize or tease Nine for being weak or limiting himself because he fixates on Sonic, and I think he would be jealous deep down (even if that idea of a Sonic who is a completely selfless hero is a lie) that Nine could know a version Sonic who cherishes him (or, at least, Nine believes he does).

But yeah basically my answer in the end is that Miles would see Nine as someone wasting his potential, someone who could or could have become him, and be jealous of certain things that Nine has or had

Although, as a final note, if Miles' only reference for other versions of himself is Prime!Tails from the archie comics, I can see his immediate reaction to Nine being "I wonder if he's like me?"

[cuteniarose]

“I’m Intense Hyperfixation People Bully Me For”

“I’m Near Zero Social Skills and Lack of Empathy”

“And I’m Punished For Fair Questioning of Rules”

THE AUTISM SIBLINGS

(imagine that last part with the fire text used in this meme format, I’m too lazy to actually go make it)

[ahndor]

toby and andrew’s spider men not being part of the spider society is so funny to me. like they’re not allowed in the club however their most tragic moments WILL be shown to the club several times without their knowledge

[sherdnerd]

.

[get-back-homeward]

The Case of Thelma Pickles

Thelma's account of John is most often cherrypicked by detractors as evidence he was some lifelong wifebeater. While the violence in the incident she describes is clear, the nuance that makes her account so vivid gets lost in the debate.

I keep coming back to her account for her picture of John at a crucial time, only a few months after Julia is killed.

John’s girlfriend in the autumn of 1958 was Thelma Pickles, a new and interesting student at the art school, just turning 17. Initially, she thought him “a smartarse,” then changed her mind when she witnessed his reaction to a girl who asked if what she’d heard about his mother was true. “She said, ‘Hey John, I hear your mother’s dead.’ He didn’t flinch. He simply said, ‘Yeah.’ She carried on, ‘It was a policeman that knocked her down, wasn’t it?’ Again he didn’t react, he just said, ‘That’s right, yeah.’ I was stunned by his detachment, and impressed that he was brave enough not to break down or show any emotion. Of course, it was all a front.”30

Soon afterward, John and Thelma sat talking at the Queen Victoria Monument and each revealed being deserted by their dads. “He pissed off and left me when I was a baby,” John said of Alf, which was far from correct but no doubt how he felt. Thelma’s father had left home when she was ten; she was sensitive to the stigma of having only one parent and emotional when anyone mentioned it. “I couldn’t sustain the detachment John managed,” she says. “I thought it was quite an achievement to be able to behave like that.”

Suddenly, John and Thel, as he called her, were “going out.” The shared soul-baring cemented it, and also they fancied each other. Thelma was the first female John allowed to get close after Julia’s terrible death. She was given glimpses of his other side.

When we discussed it between ourselves I realized he was clearly more sensitive than he appeared. He spoke of the pure shock of losing his mother, and he said what a loss it was (though I don’t think he used the word “loss”). At such times, he spoke in a much softer, more explanatory way than usual, and though he never demonstrated extremes of emotion, his pain was clear. The other side of the coin was that he’d detect any minor frailty in somebody with a laser-like homing device. I thought he was hilarious, but it wasn’t funny to the recipients.31

Thelma was witness to a rare occasion at Mendips, when John, Paul and George all stood in the kitchen and played their guitars. Mimi was out, and before she was expected back Thelma and the two lads scarpered. John knew Mimi didn’t want them in the house and would raise merry hell about it, and he just didn’t need the headache. For a while, though, John and Thel took regular advantage of Mimi’s going out (it seems she went to play bridge one night a week). The plan, carefully formulated by John, was for Thel (who lived in Knotty Ash) to take the bus to Woolton; she and John would meet and sit across Menlove Avenue in a shelter on the edge of the golf course, and when Mimi left and walked down the street, over they’d go. “I only ever saw Mimi from a distance, in the dark,” Thelma says.

Mostly, Thel found John “enormous fun to be with, always witty, and when we were alone together he was really soft, thoughtful and generous-spirited.” He made them tea and toast, he made her laugh, and he made love to her in his little bedroom above the porch. “We didn’t call it sex—that word wasn’t really used by people then. John called it ‘going for a five-mile run,’ because he’d read or heard this was the amount of energy a man spent.” They used no protection, trusting only to luck, and John told Thel he was glad she was no “edge of the bed virgin”—his euphemism for the kind of girl who would take him half the way there but no further.

John and Thel often took afternoons off from art school to go to the pictures. He liked the old horror films at the equally old Palais de Luxe on Lime Street, and they also went to see Elvis’s final pre-army film, King Creole, which reached Liverpool Odeon in mid-October 1958. Though John very occasionally wore his glasses at college, he definitely didn’t do so in public, and without them, even sitting near the front of the stalls, he could hardly make out how his idol was faring up there on the big screen. He kept nudging Thelma, nagging her to describe all the action: “What’s he doing now, Thel?”

—Tune In, Ch. 9 (June–Dec 1958)

Her account of the beginning of their relationship supports Paul and Cynthia’s characterization of young John as a kid that put on a public front to mask fear and insecurities and grief. She is surprised by his detachment to loss, something she wishes she could attain. (Echoes of this story of John and Paul. Like recognizes like?) Yet with further scrutiny, she sees the detachment as a facade and discovers a shared trauma, and they bond over opening up about their family losses.

After this recognition, they become close. When alone, Thelma sees the softer side to John, thoughtful and generous. When in public, she notices his awareness of the eyes of others, mocking frailties of others while walking around half-blind himself. She finds him hilarious as long as his target is someone else, feeling a sense of specialness by being part of his crew. You can see echoes of John and Paul's mean girls schtick here.

It's notable that by 1959, John has made a habit out of bonding over shared grief/trauma. John meets Paul just after his mother dies, and John lost his father figure a few years before that. John meets Thelma after Julia’s death and they bond over absent fathers. John goes on to meet Cynthia, who has just recently lost her father.

Her account of the end of their relationship supports how John would lash out when power shifted and exposed his insecurities. This lashing out comprises not only one hit in a moment of anger, but several days/weeks(?) of public mocking in response to her ending the relationship over his own actions. Notice how he mocks her with a lie they both know isn’t true all because she wounded his ego? It’s the performance of it all that sticks with me.

And the only way she gets him to shut up is to match him in being equally vicious back. The games of adolescence perhaps, but its echoes in John’s other significant relationships suggest a pattern. Mind games, more than anything, is the weapon of choice.

[Quotes and sources under the cut]

During the course of this, John leaned over to Thel and asked if she fancied “going for a five-mile run.” She agreed, and they slipped upstairs to the Art History room, assuming it would be free. “It was dark but we could tell there were other couples in there, probably having a five-mile run of their own, or trying to,” Thelma recalls. “I told John I was uneasy about doing it in a place like that, especially with other people there, and he wasn’t happy with my attitude. When I insisted on going, and got up to leave, he became rough and whacked me one—his fist connected somewhere between my shoulder and my head, around my neck.”8

During the course of this, John leaned over to Thel and asked if she fancied “going for a five-mile run.” She agreed, and they slipped upstairs to the Art History room, assuming it would be free. “It was dark but we could tell there were other couples in there, probably having a five-mile run of their own, or trying to,” Thelma recalls. “I told John I was uneasy about doing it in a place like that, especially with other people there, and he wasn’t happy with my attitude. When I insisted on going, and got up to leave, he became rough and whacked me one—his fist connected somewhere between my shoulder and my head, around my neck.”8

Thelma stormed off, and decided that was the end of their relationship. She did her best to avoid John through the following week, and when this wasn’t possible she simply ignored him. He started to mock her but she resisted his gibes, and this went on for several days until reaching its culmination in the Cracke. “He was still mocking me, in front of others, and then he called me ‘an edge of the bed virgin.’ That really pissed me off because we both knew it wasn’t true. He was just being sarcastic and wounding because he was pissed off with me, and I got so enraged I shouted back, ‘Don’t blame me just because your mother’s dead!’ It was a cruel remark, but he knew all about those. It just seemed the easiest way to get back at him.”

John and Thelma had reached the end of the line, though they’d remain friends and keep in touch for several years. In an interview in 1980, John reflected on his teenage behavior: “Hitting females is something I’m always ashamed of and still can’t talk about—I’ll have to be a lot older before I can face that in public, about how I treated women as a youngster.”9 Except that he was talking about it, and with the sort of candor customary even when it was to his own detriment. In 1967, John mentioned it within a song lyric and spoke about it to his biographer Hunter Davies. “I was in a blind rage for two years,” he said. “I was either drunk or fighting. There was something the matter with me.”10

This was also, of course, the way it was in many other relationships, and had been for a long time and would be in the future, especially in the north of England. It wasn’t excusable but nor was it unusual, and such attitudes were reinforced constantly in receptive minds by the silver screen. “Not only did we dress like James Dean and walk around like that,” John later remarked, “but we acted out those cinematic charades. The he-man was supposed to smack a girl across the face, make her succumb in tears and then make love. Most of the guys I knew in Liverpool thought that’s how you do it.”11

In terms of dress, John continued to interchange between college scarf and Teddy Boy drape, though being a Ted was always more a state of mind for him.12 The persona remained very much part of his attraction to Paul and George, however—as Paul says, “We looked up to him as a sort of violent Teddy Boy, which was attractive at the time. He got drunk a lot and once he kicked the telephone-box in … [and] what might have been construed as good old-fashioned rudeness I always had to put down to ballsiness.”

—Tune In (Ch. 10, Jan–July 1959)

Based on the accounts of Thelma here and Cynthia elsewhere, both known incidents of John being physically violent with women are single, isolated events. Thelma describes a hair pull and full-on hit (punch) in the neck, which is physically painful to think about, whereas Cynthia describes a slap in the face. In both cases, they feel confident enough to shut it down and walk away, Thelma for good and Cynthia at least making him grovel first (Christmas 1959 card). Domestic violence comes in several forms, some of which do match John’s behavior with Cynthia even if they were common for the time (controlling appearance and activities, possessiveness and paranoia of infidelities, etc.), but neither of these women describe habitual physical violence.

However, this incident does not seem to reflect the guilt with which John talks about it later. Even when put together with Cynthia’s account, which is less than a year later (fall 1959), the level doesn’t seem to match. I notice both incidents would be within the two years after Julia’s death, yet he’s writing about it in 1967 (“I hit my woman”) and still talking about it in 1980. Even 3 months before his death, he was calling himself "a hitter." Either there were more incidents left untold (e.g., Thelma and/or Cynthia are condensing into one where they left, or other women who’ve remained silent) or John’s guilt spun it into more over time. This is notable because there’s not much else he ever seems to publicly regret.

Looking up Lewisohn’s sources, the worst quote from John is actually from Source 11 (the James Dean quote above), a print interview from a dubious author (link in the sources listed below). The author Sandra Shevey has claimed to have spent at least 12 hours interviewing John and Yoko, and while at least one recording of her interview with them is available, I’m skeptical about other quotes in print considering her output. Reading a few pages of her book on John, some parts are so unhinged I wondered why on earth Lewisohn even used anything from her as a source (serious burn book vibes). John has mentioned elsewhere about being influenced by Hollywood’s images of (toxic) masculinity as a teen, but her full quote makes it sound like he was basically raping women all the time. She uses the quote as a springboard to her more outlandish theories (like devoting several pages to the idea that John raped and then murdered Brian over a contract detail?!).

Burn book moments aside, Shevey also gets tons of basic details completely wrong like attributing Get Back’s writing or Bernard Webb’s Woman to John (both are Paul’s) and in general treats Paul as a nonentity in John’s life and work. So I have a hard time trusting anything from her book. However, she is one of the few John bio authors to consider bisexuality (unhinged theories aside) and is questioning the ballad of John&YokoTM in print as early as 1990, perhaps because she spoke with them during a time when the cracks were more visible. So assuming her quotes are accurate and her reading is just wildly off the mark, I think it’s worth mentioning the context of this James Dean quote in her book. It's prefaced with background that may shed light on the case of Thelma Pickles, who had the dubious honor of being John’s first real girlfriend.

Talking in 1972, he's speaking about this in relation to his struggle with accepting Yoko as an equal creative partner on the latest album. There’s a flavor of blaming British society and American culture that sounds very Yoko shaped (he goes on to call British men both effeminate and sadist). However, applying this background to 1958, you can see how a young John would have struggled to apply his relationships with other boys to his first attempt at a relationship with a girl, especially one who was by her own account looking for recognition and belonging with the boys.

Aside from the physical violence, Thelma’s account details the headtrip of John’s verbal violence. When you’re 16, a week of public mockery can feel like a lifetime. Doubly so when it comes from someone you were once close to. Like Pete and Paul, Thelma figures out how to match John’s level and shut him up. Bill Harry also recalls the importance of standing up to John to gain his respect. Thelma has to deal with him like one of the guys, delivering a verbal uppercut that leaves him clocked out and in the sand.

In a way, John’s mockery of Thelma looks like a mirror of the much longer, much more public mockery Paul gets from John 1970-1972. Ram aside, Paul waits to turn the public equivalent on John until 1972—which just so happens to be when John starts to cool his fire toward Paul. Shevey claims to interview John a day in September 1972 and the only recording she’s released is John ruminating about working as a partner with Yoko vs male artists (“It’s a plus, not a minus. The plus is that your best friend, also, can hold you without…I mean, I’m not a homosexual, or we could have had a homosexual relationship, maybe that would have solved it”) and the continued struggle of making this transition. Assuming Paul knew more about John after 13 years than Thelma did in 6 months, I’m left wondering why did Paul wait so long in the 70s? Maybe it’s harder to kick back when you’re feeling down? Or guilty? Maybe smarting from result of the last attempt? Maybe it’s harder to kick back when there’s a mountain more of feelings between you.

After Thelma gives him a taste of his own medicine, they continue to be on speaking terms though the closeness they had was gone. She recalls loaning him art college assignments because he’s in danger of flunking out. John goes on to date Cynthia, and Thelma remembers thinking he’d fancied her given his taunts but sounds a bit dismayed by how he got her to change her entire identity for him (“He got what he wanted”). She recognizes being married to John would be a “gargantuan task” and had no regrets herself.

Lastly, a comment on Lewisohn’s framing here. I think it’s appropriate to mention John’s guilt and the effect of pop culture on the social mores of the time here. But I find it incredibly distasteful that Lewisohn concludes this incident with a quote that suggests Paul liked John violent and hitting women, considering the actual context of the quote.

Here's Paul's words in Many Years From Now that Lewisohn quotes from:

The first sentence of Paul's words on this says it all. This quote is all about the image of the Teddy Boy as a protective measure. Conflating violence against women with fashion is not helpful at all.

This word-twisting feels especially terrible because Paul ends up dating Thelma himself a few years down the line...

All the Beatles were now in settled relationships. Having ended with Dorothy Rhone, Paul played a broad field without hindrance, sparking flames old and new, and he also (from August 1962) found himself a special new “steady.” This was Thelma Pickles—John’s art school lover before he got together with Cynthia. Paul had always liked Thelma, and happened to see her in Liverpool while driving his car—his proud and precious Ford Consul Classic, which he bought new (“on the never-never”) in early August.16 She married, had a baby boy and then separated from her husband. Approaching 21, Thelma lived in a Prince’s Avenue bedsit as a single parent and was trying to resume her art school studies, a talented young woman … and here in her life arrived Paul McCartney.

He was no longer a slightly plump young schoolboy but very much his own person. I only like visual art, I’m not into music, so I had just a vague notion that John and his group were still going. Paul said he’d pick me up later to see them play at the Cavern. It was a jazz club when I’d last been there. It was full of raw energy. Girls were screaming and boys liked them as well. I’d only ever watched Six-Five Special and this was different. I hadn’t believed what Paul said about their increasing fame—being brought up working-class in that era, we were given to believe “our sort” couldn’t become successful.17

—Tune In (Ch. 31, Aug 19–Oct 4 1962)

Her comment on class and success is important to put in context with the rest of her account. Given John's more middle class standing living with Mimi at the time, I’m sure Thelma felt the power differential between them at least the first time she visited Mendips. Notice how sneaky John is to make sure Mimi doesn’t meet her? It mirrors how John only has the band over when Mimi's out of the house; he knows how she will react to him seeing a working-class girl and doesn’t want the trouble. That sticks with a girl, feeling like you’re not worth the trouble. He does end up introducing the much more prim and proper Cynthia to Mimi, and it still goes terribly, but at least he tries, signaling to Cynthia he sees some future with her. That hit in the neck? Sounds a lot more gruesome than a slap in the face. And it's in public, after she turns him down. Despite their shared closeness alone, the power differential in public still reigns supreme. But she knew her limits and stood firm in spite of it all. We only have one picture of her at this time, but it’s a telling one all the same. I look at it and can’t help thinking, oh, I know this girl. Good for her.

Even after Thelma and Paul’s relationship fizzles, they stay friends through other connections. She ends up dating (and later marrying) Mike’s bandmate, Roger McGough. She recalls staying with Roger at Cavendish in the 60s. It’s not clear if she crosses paths with John at this time. Perhaps her presence prompted the guilt we see John express in 67 in Getting Better and interviews with Hunter Davies. I hope she haunted him…even just a bit.

Sources by Chapter

Chapter 9

30 Observer, December 13, 2009.

31 Author interview, September 6, 2010.

Chapter 10

9 Interview by David Sheff, September 24, 1980, for Playboy.

10 Davies, pp56–7. The song lyric: “I used to be cruel to my woman / I beat her and kept her apart from the things that she loved”—“Getting Better,” 1967.

11 Interview with Sandra Shevey, the Hartford Courant, November 26, 1972.

12 “The Teddy Boy … that was my scene, but it was only a club to belong to at the time”—interview by David Skan, Record Mirror, October 11, 1969.

13 Many Years From Now, pp49/33.

Chapter 31

16 Author interview, May 2, 1991.

17 Author interview, September 6, 2010, and e-mails August 29, 2010, and February 28, 2012.

[ourceliumnetwork]

So. My tire exploded this morning on the highway. Scared the bejesus out of me. I'm fine, I had a fullsize in the trunk and my meta came and saved me and followed me home before we went to go pick up our partner from the airport.

this happened at like. 5 in the morning. it's currently winging in on 2am. (don't worry, i had about 6 hours of sleep in the interim)

I have done my level best to not apologize for "breaking my car".

It occurs to me that there are some traumas that are going to be harder to shake the after affects of because of the (thankful) rarity of the trigger point coming up.

I was in a car accident when I was 18-19 (I think i'd just turned 19, it was spring semester finals so it was like May probably). Just me, just my car. And some trees. I've talked about it in more detail a few times. It was scary, the minivan was totaled, the airbags went off and my jaw got jammed about 2 months before my wisdom teeth surgery was scheduled. it was a lot.

I wore the shadows of those bruises for half a year. I wear the terror of the incident as it was happening every time i drive on rough roads (fuck you google maps - yes it's faster but also *what the fuck*).

I wear the devastation of my parents being more upset that I totaled the minivan than relieved that I was alive every fucking day. And moreso when I have messed something up.

I'd gotten in trouble for breaking things before - i'm unlearning the label of "destructive" and the designation of "unobservant" and "careless" very slowly. This was the first time it was made absolutely clear to me that my life was worth less to my parents than a 1998 dodge grand caravan with no working a/c in 2011 (which, by the way, was less than the tow fee to get it off the road and to a junkyard, let alone the cost of fixing what had been damaged in the wreck).

I was then accused of lying about how the accident happened for 10 years. Apparently 1 decade is the length of time i need to keep my story straight in order to be believed about things.

I still sometimes get shit about it from my family, by the way. Not as often anymore, not since they decided to believe that I really did just glance down to make sure the bug that had flown in through the window and landed in my lap wasn't going to sting me. One of the absolute most terrifying days of my life is a joke. Because I am worth less to them than a 12 year old minivan. The only reason a bug came through the window, by the way, is because of the lack of a/c. If my parents had forked over the cash to get that fixed properly, they wouldn't have been down a minivan.

(a minivan my *sister* is upset with me for totaling because she claims it was meant to be *hers*, according to her and backed up by my parents. why i was the only one who ever drove it at that point, i don't know. Make it make sense. You can't.)

it's been....it's been 12 years damn. it's been 12 years and they still get mad at me for the fact that the van is gone. None of them ever, in the times this is brought up, ever mentions that they're glad I wasn't more injured, that I didn't die.

because i'm not worth more than whatever a 1998 dodge grand caravan with no a/c was in 2011 to them.

And now I apologize for the fact that things completely outside of my control happen and items break from overuse because clearly it's my fault and i'm terrified i'll learn i was worth even less than that.

God I hate my family....

[lesbeid0u]

😔😔😔😔😔😔😔 they r closing king da ka😔😔😔

[aplpaca]

Do you have any cool bird facts

female raptors (eagles, hawks, falcons, etc) are larger than male raptors in pretty much all species. this happens even in groups not closely related to each other (ex: hawks and falcons), so its beneficial enough in their niche that its evolved independently a few times, though its unsure exactly what that benefit is atm (bc unlike males being larger in a lot of mammals, female raptors dont make a habit of fighting each other or using size to attract mates as far as we know). ex: heres a male and female Cooper's Hawk

somewhat mentioned above but falcons are more closely related to parrots than they are to hawks

Gray Catbirds and American Robins have been witnessed raising young in the same nest at the same time. In one instance (reported by Mulvihill and Murray), they were recorded caring for the young of both species in the nest, and when the Catbird young fledged, the adult Catbirds continued to provide food for the not-yet-fledged Robins. heres a pic of the nest from the report

the worlds oldest known bird as of 2024 is a wild Laysan Albatross named Wisdom who's 72-73 years old (at minimum, we dont actually know her birth date, just that she was at least 5 years old when she was banded in the 50s) and still raising chicks. here's her with one of her chicks

also Albatrosses have wingspans of up to 3.5m/11.5ft and have been recorded flying 49,700 miles without touching land (they do land in the water to eat tho)

this is from personal experience but if you walk around in a north american grassland for long enough, you Will get jumpscared by a Mourning Dove bc they make their nests on the ground in the grass and like to hang out on the ground in the grass and they also like to wait until youre right overtop of them to freak out and fly away from you

Bald Eagles don't get their fully white heads and tails until theyre about 5 years old

A lot of birds have been observed incorporating cigarette butts into their nests, and a study in Mexico on House Finches found that this actually results in drastic decreases in parasites affecting young compared to nests without them

Cedar Waxwings (and Waxwings in general) just look so smooth. they look like someone airbrushed them. look at this shit

in Jacanas, females lay eggs in multiple males' nests, and then the males raise the young by themself. Also they carry their babies under their wings like this

Horned Guan. Theyre endangered and live in a small area of central america. both the males and females have the little horn fez, the males just have taller ones

[hadesknockedupintheunderworld]

What do you think about niffty?

Well, unfortunately I don't have a whole lot to say. While I do watch Hazbin Hotel it's not a hyperfixation of mine so I'm not fully attached to any of the characters (of course, time will only tell if this changes or how invested I become). With this in mind, I rewatched the pilot in preparation for answering this (since it's been a while).

My verdict? Like most of the cast, I find her to be an interesting character. While the pilot revealed all of these characters at their base, the show itself I feel rounded out some of this characters a bit more aside from the first lines/base traits we'd seen from them. Niffty is no exception.

While it has been a while since I watched the pilot the first time, I feel that I probably considered her a bit of an annoyance back then. Now though... Like I said, I find her interesting and even funny at times. She seems to have unconventional ideas of ethics (by societal standards). She sort of does and says what she feels like in the way she feels like doing it, but she is someone who I feel is loyal to those she considers friends. If she feels like stealing, she will. If she feels like getting rid of vermin by stabbing them, then she does just that. In the pilot too she kind of just says the first things that come to her head without thinking about the impact of what she's saying (or perhaps not caring)? Of course, I'd be remiss not to mention that it's unfair to completely quantify her character based upon actions taken while she's drunk. So while she seems to be a bit filterless, I think in reality she does think before she acts more than one would expect, and I think that the fact she has less of a filter/inhibitions when she's drunk shows this. I don't get the impression that any of the other characters have to follow her around and "babysit" her when she's sober.

This is all to say that while she can come off as a bit simple at first, I feel like after watching 6 episodes I can say that her character has become a bit more fleshed out, and that I don't believe her character is unrealistic. I also think we're shown bits more about her just through small things (for example, how she reacts when filmed). It makes one sort of...thirst for more, in the sense that I think I would be interested in seeing more about her backstory and how she ended up owing Alastor a favor.

Also I like how she's cute but kinda bloodthirsty. Fun combo always.

Thanks for the ask, anon!😊

[luveline]

𝐭𝐡𝐞 𝐰𝐞𝐝𝐝𝐢𝐧𝐠 𝐩𝐡𝐨𝐭𝐨𝐬

Aaron sets the record straight when an overheard conversation convinces you that you’re not good enough for him. 5k

c: fem, hurt/comfort, fluff, suggestive theme (non-graphic implied sex scene). hotch is a good husband. requested here  

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“Honey, this is Clint McMoore. We went to college together.”

You step into Aaron’s side. Clint McMoore is a handsome older man with silvering hair and a beard that looks out of control. His bowtie is loose around his neck, and his cheeks are blotchy with drink, but Clint smiles at you and offers his hand. “How do you do?” he asks. 

“Quite well, thank you.” You’ve been practising fancy dinner talk with Aaron’s friend Emily for weeks. She has all the political background you’d needed to see yourself into the culture. “It’s nice to meet one of Aaron’s school friends.” 

“While you still can,” Clint says with a chuckle. Something about being in your forties is obscene to these men, as though death waits for fifty candles to snuff them out. 

“Clint and I were in the Student Theatre club together, our first year.”

You grin, smile laced with teasing. Each time you’re reminded of Aaron’s young interest in drama, you have to focus very hard on not laughing; the Aaron who has his hand to your shoulder isn’t one you could envision on stage. “Did you perform together?” you ask. 

“Saturday Night Fever,” Clint says. 

They laugh and reminisce. You find these sorts of events hard to keep up with, but you come when Aaron asks because he so rarely asks you for anything. He hasn’t mentioned knowing that you don’t like coming, But perhaps he hasn’t noticed —it’s not like you to frown, not when you’re with Aaron. The way he treats you, he probably thinks you’re the happiest girl in the world. 

There’s a contentedness to be found when he touches you. He spreads a hand against your lower back and you let yourself sink into his side, curled into his embrace and amazed at the giggly laugh he lets out as Clint brings up the ‘King of the River’ tattoo Aaron has hidden beneath his shirt. You’re tempted to kiss his cheek.

Clint asks, “Isn’t that right?” and forces you back into the conversation. 

You’re wearing a dress you panicked over for days. It’s black, cut playfully just above your knees with small petal sleeves. Your necklace is of a delicate chain and a not so delicate pearl —a black Tahitian South Sea pearl that glows pink and green in the light. For you, Aaron wrote, his pretty scrawl inky across a square of scalloped card from atop the box. I’m in love with you. Forgive me for not having the courage to tell you in person. 

Your Aaron is quiet. Some days he comes home from work and doesn’t manage more than a sentence. Some days he can barely speak at all. But there are nights when he holds you to hold you and talks in murmurs against your ear, and he’s good at making calls when he’s away. Talking or not, smiling or otherwise, Aaron finds a way to let you know he loves you, and that’s all you care about. 

“Excuse us,” Aaron says, giving Clint a rare, warm smile, “I’m being flagged by my boss.” 

Sure enough, Erin Strauss is beckoning Aaron with a strange pained look.

“Nice to meet you,” you say quickly to Clint. He repeats your goodbye, and you and Aaron swerve around him. 

“He was nice,” you murmur. 

“Yeah, he’s okay.”

“How come you fell out of touch?” 

“Oh, you know how things go, honey, you forget all the people you meet and make room for new ones.” He kisses your cheek. “And besides, he used to gossip like my mother. Why don’t you go find JJ?” 

“You’ll be alright?” 

“No, maybe not.” He squeezes your elbow quickly. “Go, find some hors d’oeuvres, at least.”

You find neither JJ nor finger foods. The gala you’re attending is being held in a hotel in the richest part of D.C, and the events hall is huge. The ceiling is a fantasy, glass and miles upward, overhead chandeliers dangling lower, dousing the crowds below in a light that’s clean. The rich and powerful gather at the edges of the room, though the performance toward the back of the room is watched by a few tens of couples with flutes of champagne held in gloved hands. 

You hadn’t worn gloves. Hadn’t thought about it until you got here. Honestly, you felt grateful enough that JJ texted you to tell you to buy a shawl; if you weren’t wearing one you’re sure you’d feel bare. 

What you’re lacking in fancy is made up for by your earnestness, or so you’d like to believe. You aren’t rich nor powerful, but Aaron’s a good man and you his good wife. You work hard, which is more than some of the richest in the room can say. You hold your head high without a second thought. 

The hall is confusing. Tables are set but you aren’t sure Aaron said anything about a dinner service. Wait staff carry silver platters and hold bottles of champagne, but each time you approach one they seem to have already headed in another direction. JJ and Derek are both supposed to be here tonight, but you haven’t seen either of them since you arrived. You cast your gaze for Derek’s figure, searching for an easy gait and a strong set of shoulders. You cock your head waiting for a hint of JJ’s practised, polite laughter, but any familiar signs are gone. You can’t even find Aaron anymore, and your shoes are pinching your toes.

Disaster. You should’ve listened to Aaron when he told you to size up, just you doubted his knowledge of ladies shoes considering how rarely he wears them. Stupid man, you think to yourself, lovingly yet ruefully as you sit down at one of the uninhabited tables to the very side of the room. Knows everything. Tonight, you’ll limp back to the car and he won’t bother saying I told you so, he’s too good for it, which is worse. He’ll give you one of his amused smiles. He might offer you a massage. 

Ridiculous man, you further to yourself, biting back a cheesy smile as you peel your shoe from a sore foot. If you shove your hand deep enough into the toe you can stretch them out a little. 

“Darling.” 

You look up. Clint McMoore’s resurfaced just a table away with his back to you. A sweet-faced woman with brown hair sits adjacent to him, her shoulder under Clint’s hand. 

“You’ll never guess who I just bumped into,” he says. 

Me, you think. 

“Aaron Hotchner and his new wife.” 

“You didn’t,” the woman says. 

“I knew you’d be envious of that,” he laughs. “Charlotte, she’s unbelievable.” 

Your stomach does a strange flip. He’ll say something nice, you insist, but you know his tone is a precursor for gossipy nonsense. 

“I’ve never seen such a mismatched pair,” he says. 

Charlotte rolls her eyes at him. “Well, what were you expecting? They were married after six months of knowing one another. I couldn’t so much as tolerate you until our first anniversary.” 

“Hardy-har.” 

“What’s wrong with her, then?” Charlotte asks. 

“Nothing like that, Charlotte. She seemed perfectly pleasant–”

“But?” 

“But, she’s nothing like Aaron’s usual woman.” 

“Hm, I said as much when we saw their wedding photos.“ They both laugh. “It’s not like she had much of a chance. First Haley, and then that Beth, the designer, she’s in Milan now–”

“He seems rather besotted, in any case,” Clint says. “Very lady and the tramp.” 

“Gentleman and the tramp.” 

“Don’t be cruel, Charlotte.” 

You know in a way that Charlotte is kidding, but you boil up with anger the moment you recognise what it is they’re implying. Then they laugh, and your anger quickly finds itself taking a crueller shape. 

You slip your foot back into your shoe slowly. Your throat feels dry and then warm, like a crux of smouldering coal stuck in your windpipe as you stand, jerkily, hand stiff where it holds your weight on a silken tablecloth. 

You blink and stare at the floor. It’s marble. It’s shot through with dark veins like a drop of ichor in water. 

What the fuck? 

You aren’t sure why you’re leaving the hall until you’re walking down the steps of the hotel and turning along the skirts of a hedge. A low brick wall lies in front of it, just short enough to sit on with your heels. Your coccyx stings with the force of how hard you go down. 

Your head races with hurt feelings. 

You’re not unaware of your husband’s past loves. It comes as no surprise to you that people regard Haley and Beth highly —Haley was extremely beautiful and veritably brave, intelligent, kind-hearted. Beth was funny, Aaron said, and not too much else. Being a designer in Milan hasn’t been mentioned before, but it’s impressive. They’re both impressive, and– and his usual woman. 

You rub the starchy stockings stretched over your knees. 

What had they meant by usual woman?

Mismatched? 

It hadn’t felt mismatched when Aaron asked you to marry him. It wasn’t six months after knowing one another as Clint’s wife suggested, but it wasn’t much more than that. He proposed to you after eight months together, and you were married two months later, which is incredibly fast to some people but it just hadn't felt fast when he asked. It was exciting —it still is. 

“Would you marry me, if I asked you to?” he’d said, some seven months after you’d agreed to be his girlfriend. Your head in his lap, his fingers rubbing at the soft skin of your nape. A sleepy Sunday morning like any other, you suppose that was a proposal in itself, but you hadn’t realised that when you murmured, “Yeah, handsome. I would.” 

You thought it was just love. Making innocuous comments about the future is part of falling in love. It’s terrifying to tell someone that you’d like to live life in their lap, but you tell them, and they tell you to go ahead if you’re lucky. 

He asked you to get married a few weeks later. “I had to talk to Jack,” he explained, “or I would’ve asked you then and there.“

You’re a wife suddenly, a step-mother, a partner. Aaron would’ve sold the house and bought you a new one if you wanted him to, but you like his life. You’ve always felt like you fit right in. 

Angry again, you scrub at your knees with itchy palms and practise how you’re going to tell Aaron about his cruel friend. Gossipy was right, what a lark, and you’re not perfectly pleasant, you’re a delight, you hadn’t said one bad word to Clint and you didn’t deserve to be whipped and twisted into a bad joke between sips of Cristal. 

Your eyes burn with the injustice of the thing. 

Rawness overtakes. A thudding in your chest turns painful, neck wrought with tightness as you hang your head. Hiding from the cold air. November brings with it a promise of chapped lips the longer you stay there, biting into your thighs as your hands turn stiff with disuse. 

She was unbelievable. 

“Y/N!” The shout is sharp. You’ve never heard Aaron’s voice at that level or with that level of formidability, carrying from the bottom of the hotel stairs. You twist in shock on the wall and watch in real time as his face fills with relief. “Honey,” he says, calling but not half as scary as he jogs to you, “are you alright?” 

“What?” 

“You scared me,” he insists, bending down to hold your shoulders. “Nobody’s seen you for the last fifteen minutes, sweetheart, we talked about this. You can’t just disappear, you left your purse on the table, I thought something happened to you.” 

You startle at his scolding. “I–”

“You should feel my heart.” 

“I didn’t mean to come out here.” 

“I wish you would’ve let somebody know,” he says. His frown softens slowly, but the concern around his eyes remains. “What?” he asks. 

“Sorry.” 

His eyes finally soften. “No, I’m sorry. It’s alright, I just worry when you’re not with me.” 

“That’s romantic.” 

He holds your cheek, pulling you in, and gives you two gentle kisses. Your lips part instinctively to receive them. “We’ll get our things and go home. It looks as though dinner isn’t happening.” He smiles. “Why were you out here?” 

“Scavenging for food.” 

That gets a laugh out of him, and another nice kiss. “You tried your best.” 

—

Aaron takes you home, and when dinner’s been cleared away, when you’ve showered and he’s undressed, he pulls you toward the bed and kisses you warmly. His eyes track from your face to the tucked corner of your towel, a silent Can I?

You let him take it off. He lays you out, and for a while you’re only his. His wife, his half, his to tease and turn and delight. He says “Beautiful,” against your thigh, says, “Honey, is that okay?” says, “Please, I’ve got it, I have you, just let me have you…” 

After, he tells you he loves you, his voice still ever so slightly high in contrast to usual dulcet tones. 

“I love you, too,” you say. 

His breath comes fast. Your lap is a mess he’d wiped as clean as he could manage, the memory of him bearing down on you yet to fade. He lies on his stomach beside you with his arm over yours, his face turned into you, his nose on your cheek. 

“Are you alright?” he asks softly. “You feel tense.”

“Mm.” 

“No, did I hurt you? You’re rigid.” His hands fret a line down the side of your chest. “You didn’t…” 

You hadn’t said anything, because he really hadn’t hurt you. But the thoughts you’re having now are intrusive —am I okay? you think. Do I measure up? He’s never made any indication that you’ve let him down, not in sex or anything else, but you’re unbelievable. 

You swallow a lump. “Sorry,” you say, the lingering ebbs of pleasure twisting into tears faster than you can stop it. 

“Are you crying?” he asks under his breath. 

You suck in a breath as he pushes onto his hands. 

“These aren’t good tears,” he says. 

He’d know. They’re not. 

Aaron reaches over you to turn on the lamp on the nightstand before settling, his hand cupping your waist. It’s too much suddenly, too bare, he’s too much to look at as you squeeze your eyes closed. “Sorry,” you squeeze out. 

“What did I do?” he asks, holding you carefully. “Please, sweetheart, what’s hurting? I’m so sorry.” 

“It’s not you.” 

“But something does hurt?” 

“No, no, I’m okay.” You cover your face with your hands. When you start to sob, it shakes the entire mattress, Aaron’s hand wobbling where it cups your ribs. 

“Please.” His thumb works a soft spot into your skin. “Honey, please, you can’t cry now without telling me what’s wrong.” He tries a laugh, but it falls flat. “Honey. Honey.” 

It wasn’t the sex. He never does anything wrong, he’s so gentle even when he isn’t, and if he did you’d only have to tell him, but the rush of being touched by him so nicely, fuck, the way he’d been looking at you, the way he took your face into his hand as he moved —you’re not trying to be a crier, but he makes you feel like you’re everything and you’re just not. 

He looks sick. 

“It wasn’t you, it was at the gala,” you manage. 

For a long while after, you can’t get a word out. You shiver and sob as Aaron scoops you into his chest, his nose in your shoulder waiting for you to calm down. He rubs your waist, fingers parted and waving slowly as he shushes you. Not to make you stop, though. He’s reassuring. 

“What happened at the gala?” he asks quietly. 

“It’s so stupid.” 

“No, it’s alright. Can you tell me what happened? Did someone hurt you?” 

You wrap your arms around his head. It really is stupid, you feel smaller than an ant under the shadow of a giant heel. Aaron doesn’t waver when you struggle to answer, feeling around behind you for a pillow and helping you against it. He kisses your forehead. “Let me get you something to wear.” 

You catch his wrist. “It wasn’t you, wasn’t–” You lift your chin. 

He kisses you. “Okay,” he says simply. “Let’s get dressed.” 

He dresses quickly, bringing you underwear and one of your sleep shirts, a loose fit. You shuffle into them and watch him patiently as he cleans the small mess of the evening away. You’re sniffling softly when he returns to you, sitting with his back to your thighs. 

“Sweetheart, I’m so sorry if I read things wrong. I never would’ve initiated anything if I knew you were feeling like this.” 

You laugh weakly, worriedly, looking at him through your lashes. “It made me feel better,” you admit.

“If this is better, you must’ve been feeling awful.” 

You relax as he puts his hand on your thigh. 

“In the time I left you to talk to Strauss, something upset you. JJ and Morgan didn’t see you. So someone in the gala said something or did something that made you leave. If you tell me who it was, I can make sure it doesn’t happen again.” 

“You’re trying to bargain with me,” you mumble. 

“I’m just telling you what can be done. I can take care of things.” 

“It’s nothing… nothing so severe. You’ll wonder why I–” You give an unexpected sob. “Made all this fuss.” 

“I don’t think I’ll wonder,” he says. 

You laugh through tears. These ones are slow, your eyes already itchy from crying. 

“Please tell me.” He tries teasing instead of sternness, lowering his face to yours. “Or I’ll cry too.” 

“Aaron.” 

“I will. You think I can’t, but seeing you crying like this, it’s more than enough ammunition.” 

You let out a breath, admitting defeat. “Your friend, Clint? I overheard him with his wife. He didn’t have very nice things to say about me.” 

“What could he possibly have to say?” Aaron asks with a frown. 

You pull the sheets up your legs. “He said I’m… unbelievable, and I don’t think he meant it kindly. Said that I’m not your type, and that I… I had no chance of measuring up, because of who you’ve been with before. They were laughing about our wedding photos.” Your throat feels pressed into by a hot poker. “They said we were the gentleman and the tramp.” 

His eyes squint. He looks disgusted, and for an uncomfortable moment you feel like it might be directed at you, but then he scoffs. “What a crock of shit.” 

“Aaron!” you laugh. 

“What could Clint McMoore possibly know about marriage? This is his fourth wife. And to imply that you’re any sort of calibre below the women I’ve dated before isn’t just misogynistic nonsense, it’s not true. You are the most beautiful women I’ve ever met, and what’s that supposed to mean, gentlemen and the tramp?” He gives you such an earnest glare of confusion that you can’t for a second doubt what it is he’s saying. “I’m sorry, honey, I think he’s allowed himself a few too many nightcaps over the years. Perhaps he’s suffered a stroke.” 

“Aaron, don’t say that,” you chide, secretly very pleased. 

“Our wedding photos,” he says, his hand drifting further down your leg to rest just shy of somewhere more intimate, “are beautiful. You look beautiful. Clint would’ve writhed in jealousy in the pews if he’d been invited, because he would’ve seen it for himself.” 

“I just sat there while they laughed at me,” you mumble.

“What were you supposed to do?” His hand travels out, to your hip, and then he holds you by the waist with both of his hands. They have a way of making you feel encapsulated, big and strong and careful on the bump of your hips. 

“I don’t know.” 

“Nothing,” he says, meeting your eyes with his usual tender-hearted compassion. “You weren’t supposed to do or say anything.” Aaron appears younger than he is for a second, his eyebrows raised, eyes big and brown as they track over your lips. “Honey, I’m sorry. I didn’t realise he was like that. I’m sorry you had to hear that.” 

“I guess I’m just worried he’s right.” 

“He’s not right. You are everything to me.” Again, he puts weight on the word, roughly said, like it takes a lot from him to say it. “I’m lucky to have been with women who were beautiful, and intelligent, but if there’s a question of you measuring up, there’s no competition. I’ve never been this in love.” 

You take a shaky breath. “Never?” you ask. 

He holds your gaze. “I knew it when we met. That's why I couldn’t wait to ask you to marry me.” 

“You said you weren’t getting any younger.” 

“Well, I’m not, but not everything’s about my age, you know,” he says, giving your waist a playful squeeze. 

”You said it.” 

“I did. That felt easier to say than, if I don’t marry you soon I might implode,” —he shuffles forward, encroaching on your legs and pressing his lips to your cheek— “would’ve just,” —he kisses your cheek, before turning your head— “wasted all that time waiting for someone else’s idea of the right time,” —and he kisses the other cheek, his nose skirting up your face— “wishing I was your husband when I could just,” —he smiles into your eyebrow as his hand slips under your shirt, holding your bare back— “ask.” 

“I’m glad you asked me.” 

You’d cried then, too, but it was less to do with a rush of adrenaline that knocked you out of balance and more to do with how lovingly he’d taken your hand as he asked. You knew from that moment on that someone was going to take care of you for the rest of your life. He’s doing it right now. 

“I love you,” you say, forcing your arms over his shoulders. 

He pulls you in so much that you lift from the mattress. 

“I love you. Are you sure it wasn’t me that upset you? I have to check.” 

“No. What you did to me wasn’t particularly upsetting.” 

He laughs. “Are you sure? You can look a little teary–”

You shush him quickly.

He tips your head to the side to kiss your ear. “Maybe next time, you can tell me about whatever upset you beforehand.” 

“And you can make me feel even better.”

His laugh is nearly inaudible, but his lips are by the side of your head. You hear it, the warmth of his breath kissing the shell of your ear. 

—

Aaron likes to see you in your sweatpants. You look nice in everything, especially your dresses for the evening events he often drags you to, but he likes it when you wear sweatpants because it opens a window. You’ve purchased the wrong size, too big and too long, but you’ve tied them at the waist and you make do. You’re wearing the big shirt he helped you into the night before, sitting on the couch with your ferried breakfast. 

The night before has been washed away, no sign of tears or upset. You have a clean, bright face, one he’d quite like to kiss, or hold, or have pressed to his neck, but none of this is unusual. Your eyes look sore, if he really looks. He’ll make you a compress after breakfast. 

Dropped off by Jess an hour ago, Jack sits beside you picking at the breakfast tray. You’re sharing a plate. You don’t ever mind. 

“Are you eating that one?” you ask. 

Jack immediately nudges half of a chocolate chip pancake your way. “Was the gala fun?” 

“Uh, sure. Saw your dad’s friends. But they had a weird thing with the caterers and we had to get dinner on the way home.”

“You could’ve made dad cook.” 

“I guess, but we were tired. What did you have for dinner?” 

“Jess made spicy chicken. It was amazing.” Jack squints at you. “Your eyes are puffy, Y/N. Are you sick?” 

“I think I might be a little. Not enough to make you sick too, don’t worry.” 

Aaron piles the last of the pancakes onto a plate and carries them to you in the living room. “Here, you two.” 

“Did you eat?” you ask. 

He loves you, bending over to kiss your forehead right in the middle. “Yes.” 

“How come they didn’t have dinner at the gala, dad? I thought that was the whole point,” Jack says. 

He sits down next to Jack on the couch. You cut a big square of pancake and grin at him, seemingly pleased with your breakfast and Jack’s sense of humour. 

“It was a disaster, that’s all. No food, barely any wine, and terrible, awful company.” 

“I thought Miss Jareau went?” 

“She did. But besides her and a handful of others, it was a party for sad old people.” 

“And you didn’t have fun?” Jack asks. 

You laugh so hard tears gather in the corners of your eyes. Aaron cups Jack’s shoulder, surprised when his son doesn’t duck away from the touch. The older he gets the less affection he requires, so it’s nice for Aaron to hug him sideways and be allowed, better that you finish your choking laugh with a hug of your own. “Jack, thank you for that. I think you cured whatever illness I had,” you say.  

“Hey,” Aaron says. 

You run your hand up his neck. Your wedding ring catches against his jaw. 

“It was worth going, though, to see your step-mom in her nice dress,” Aaron says, peeling away from Jack so he has room to breathe. 

Jack turns to you, and his smile is audible, “Do you have any pictures?” 

“I didn’t take any, sorry.” 

“Just think of her now but in a dress, and that’s how beautiful she looked,” Aaron says. 

“Dad, don’t be gross,” Jack says, cutting into the pancakes with his fork.

“It’s not gross, it’s just a fact.” Jack drops pancake down his front. Warm chocolate chips stain his t-shirt. “Missed your mouth, bud. I’ll get a rag.” 

He’s up as quickly as he sat down, running his fingers along your arm and to the palm of your hand, touching you until he can’t. He heads back into the kitchen. His phone is beeping on the table, screen flashing with each new text. 

Penelope: boss, I think the thing you asked for is illegal 

Penelope: also, I assume you were kidding? 

Penelope: so while making it that every link on McMoore’s computer freezes the desktop would’ve been very very funny, I didn’t do that 

Aaron had been kidding, emphatically, because illegal activities aren’t his style. It was a sarcastic suggestion, and yet he’s disappointed nonetheless. 

Penelope: I just signed him up for a bunch of recovering narcissists forums and an email subscription for self help, and maybe also a free online class about manners and etiquette 

Penelope: And I ordered that big canvas for you. It was the one of you guys cutting the cake, right? 

Aaron texts her back quickly: Thank you, Penelope. I couldn’t work out the dimensions online. 

Penelope: You’re welcome! I live to serve :D 

The canvas will look good in the entryway, Aaron believes. Somewhere you can see it, and remember exactly what it is he thinks of you; his eyes glowing with love where he’d been staring at your face, his hand guided yours atop the knife as he traced your features, and you cut that first, fat slice of cake. 

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thanks so much for reading! please think about commenting, liking or reblogging if you enjoyed I love knowing what you think!❤️

also small note: this fic is in no way meant to diminish haley im a haley supporter usually (these days at least!) and I just didn’t mention her for brevity’s sake

[stray-cat-with-internet-access]

Simon jerking off to an old video of yours

He scolded you when you decided to keep the video saved, gave you the cyber security talk and stuff, but he secretly copied it in an SD for his burner phone.

Now that he is miles away from you, surrounded by dirt and sweaty men in the mist of deployment, your video is the only thing that brings him joy.

Laying on the tiny bed, the little screen of his phone is the only light in his room. One of his legs is planted on the floor, making leverage to buck his hips in to his hand, currently wrapping around his leaky cock.

His eyes are focused in the phone, panting softly at the pleasure swirling in his gut, happy trail sticky with his need. The thought that he fucked you so good you decided to even recorded the whole thing for posterity make his pace quicken, finally milking his orgasm at the point of overstimulation, all body covered in sweat and his belly in cum.

Now don't get him wrong, he still is very serious about cyber security, is just that he is better at managing it than you, love.

Sorry if I had mistakes! English is not my first language and Im an insomniac Dividers are from @animatedglittergraphics-n-more Image edited by me Comments and reblogs are always appreciated ♡