#NO I DO NOT I MEAN SOMETHING TOTALLY DIFFERENT OBVIOUSLY

[badnewswhatsleft]

rock sound #312 (nov 2024)

transcript below cut:

ROCK SOUND 25 ICON

FALL OUT BOY

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

WORDS JAMES WILSON-TAYLOR

PHOTOS ELLIOTT INGHAM

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[muchmossymess]

We're like mutuals if one mutual didn't follow the other back or acknowledged them in any way

[thelaurenshippen]

genuinely think it's good and healthy to follow at least one person in each of your fandoms who reblogs good gifsets but has just...absolutely dogshit takes on the show, or who ships that ship you despise. keeps things fresh. keeps things grounded. you gotta stay humble

[icewindandboringhorror]

finally finished all of one character's entire quests/optional dialogue/questions/etc.... 100,000 words... .... aughhh

[oozeandgoo-art]

everyone is sooo in love with vakori on account of le is so cool and smart and deeply pragmatic and is also completely batshit insane

[tenrose]

The tags about the bookshelf red flags is so messed up 😬

Can't believe I'm the one saying this but you should all go outside and talk to people sometimes 🤡

[myheartxmyman]

[luna-azzurra]

How to Write a Confession of Love

Build the Emotional Tension Before the big confession, let the tension simmer between the characters. Maybe they share little glances across the room, or their hands brush accidentally but neither pulls away. Every shared laugh or lingering look should leave the reader wondering “Is this it?” When the confession finally happens, it’ll feel like the natural next step, as if both characters have been teetering on the edge of admitting their feelings for a while.

Inner Turmoil Leading Up to the Moment No one’s ever totally confident before saying, “I like you,” or “I love you.” Show the character’s inner freak-out. Maybe they’re wondering if they’re about to ruin everything, or if the other person feels the same. Let them overthink every detail, what if they mess it up? What if they say the wrong thing? This nervousness is super relatable and makes the confession way more intense and vulnerable.

Choose the Right Setting Where the confession happens can completely change the vibe. If it’s somewhere quiet and personal, like on the roof under the stars or sitting close on a couch, it adds a sense of intimacy. But maybe it’s in the middle of a party or a chaotic situation, where emotions are running high and everything’s on the line. The setting should fit the emotions—are they scared? Excited? Confused? Let the environment match their energy.

Don’t Make It Perfect Real life is messy, and confessions of love are no different. Maybe the character fumbles their words, says something awkward, or has to start over. Maybe they get interrupted, or they laugh nervously halfway through. These imperfections make the moment feel real. It’s not about saying the perfect words, it’s about what’s in their heart. Let the raw, unpolished feelings shine through.

Balance Between Show and Tell Obviously, they’re going to say something like “I love you” or “I can’t stop thinking about you,” but actions and body language speak just as loudly. Maybe their voice cracks, they shift closer without realizing it, or they can’t seem to meet the other person’s eyes. Maybe their hands are shaking, or their heart is pounding so loud they can’t hear anything else. Let those little details paint the full picture of how much this confession means.

The Other Person’s Reaction It’s not just about the person confessing, the other person’s reaction is a huge part of the scene. Are they completely shocked? Do they hesitate, or respond right away? Do they get teary-eyed or try to play it cool? The way they react adds layers to the moment. Even a pause before answering can make the scene ten times more intense. Their response shows how much they’ve been waiting for or dreading this confession too.

In short, make it messy, emotional, and real. Readers want to feel the build-up, the fear, the excitement, and the vulnerability of both characters. Don’t be afraid to make things a little awkward or imperfect, that’s what makes a confession unforgettable.

[musicrunsthroughmysoul]

I haven't even listened to anything after Peace in Our Time by Big Country yet but I need Driving to Damascus, for one thing because in every interview I've listened to/watched with Tony Butler after Stuart's death he mentions that he was excited about the album (and the direction Big Country were headed in with it), and I trust Tony's judgment so I really want to hear it, but for another because I saw the album art and they all look married. 😅

Oh, and bonus is this adorable photo:

(Sorry the photo is so small - I cannot find a larger one at all) If I had to guess what's happening here I'd say Mark was the butt of the joke; why else would Tony be motion blurred? LOL

[mollyrealized]

How Michael Met Neil

original direct link [MP3]

(Neil, if you see this, please feel free to grab the transcript and store on your site; I had no easy way of contacting you.)

DAVID TENNANT: Tell me about @neil-gaiman then, because he's in that category [previously: “such a profound effect on my life”] as well.

MICHAEL SHEEN: So this is what has brought us together.

DAVID: Yes.

MICHAEL: To the new love story for the 21st century.

DAVID: Exactly.

MICHAEL: So when I went to drama school, there was a guy called Gary Turner in my year. And within the first few weeks, we were doing something, having a drink or whatever. And he said to me, “Do you read comic books?”

And I said, “No.”  I mean, this is … what … '88?  '88, '89.  So it was … now I know that it was a period of time that was a big change, transformation going through comic books.  Rather than it being thought of as just superheroes and Batman and Superman, there was this whole new era of a generation of writers like Grant Morrison.

DAVID: The kids who'd grown up reading comic books were now making comic books

MICHAEL: Yeah, yeah, and starting to address different kinds of subjects through the comic book medium. So it wasn't about just superheroes, it was all kinds of stuff going on – really fascinating stuff. And I was totally unaware of this.

And so this guy Gary said to me, "Do you read them?" And I said, "No."  And he went, "Right, okay, here's The Watchman [sic] by Alan Moore. Here's Swamp Thing. Here's Hellblazer. And here's Sandman.”

And Sandman was Neil Gaiman's big series that put his name on the map. And I read all those, and, just – I was blown away by all of them, but particularly the Sandman stories, because he was drawing on mythology, which was something I was really interested in, and fairy tales, folklore, and philosophy, and Shakespeare, and all kinds of stuff were being mixed up in this story.  And I absolutely loved it.

So I became a big fan of Neil's, and started reading everything by him. And then fairly shortly after that, within six months to a year, Good Omens the book came out, which Neil wrote with Terry Pratchett. And so I got the book – because I was obviously a big fan of Neil's by this point – read it, loved it, then started reading Terry Pratchett’s stuff as well, because I didn't know his stuff before then – and then spent years and years and years just being a huge fan of both of them.

And then eventually when – I'd done films like the Underworld films and doing Twilight films. And I think it was one of the Twilight films, there was a lot of very snooty interviews that happened where people who considered themselves well above talking about things like Twilight were having to interview me … and, weirdly, coming at it from the attitude of 'clearly this is below you as well' … weirdly thinking I'm gonna go, 'Yeah, fucking Twilight.”

And I just used to go, "You know what? Some of the greatest writing of the last 50-100 years has happened in science fiction or fantasy."  Philip K Dick is one of my favorite writers of all time. In fact, the production of Hamlet I did was mainly influenced by Philip K Dick.  Ursula K. Le Guin and Asimov, and all these amazing people. And I talked about Neil as well. And so I went off on a bit of a rant in this interview.

Anyway, the interview came out about six months later, maybe.  Knock on the door, open the door, delivery of a big box. That’s interesting. Open the box, there's a card at the top of the box. I open the card.

It says, From one fan to another, Neil Gaiman.  And inside the box are first editions of Neil's stuff, and all kinds of interesting things by Neil. And he just sent this stuff.

DAVID: You'd never met him?

MICHAEL: Never met him. He'd read the interview, or someone had let him know about this interview where I'd sung his praises and stood up for him and the people who work within that sort of genre as being like …

And he just got in touch. We met up for the first time when he came to – I was in Los Angeles at the time, and he came to LA.  And he said, "I'll take you for a meal."

I said, “All right.”

He said, "Do you want to go somewhere posh, or somewhere interesting?”

I said, "Let's go somewhere interesting."

He said, "Right, I'm going to take you to this restaurant called The Hump." And it's at Santa Monica Airport. And it's a sushi restaurant.

I was like, “Right, okay.” So I had a Mini at the time. And we get in my Mini and we drive off to Santa Monica Airport. And this restaurant was right on the tarmac, like, you could sit in the restaurant (there's nobody else there when we got there, we got there quite early) and you're watching the planes landing on Santa Monica Airport. It's extraordinary. 

And the chef comes out and Neil says, "Just bring us whatever you want. Chef's choice."

So, I'd never really eaten sushi before. So we sit there; we had this incredible meal where they keep bringing these dishes out and they say, “This is [blah, blah, blah]. Just use a little bit of soy sauce or whatever.”  You know, “This is eel.  This is [blah].”

And then there was this one dish where they brought out and they didn't say what it was. It was like “mystery dish”, we had it ... delicious. Anyway, a few more people started coming into the restaurant as time went on.

And we're sort of getting near the end, and I said, "Neil, I can't eat anymore. I'm gonna have to stop now. This is great, but I can't eat–"

"Right, okay. We'll ask for the bill in a minute."

And then the door opens and some very official people come in. And it was the Feds. And the Feds came in, and we knew they were because they had jackets on that said they were part of the Federal Bureau of Whatever. And about six of them come in. Two of them go … one goes behind the counter, two go into the kitchen, one goes to the back. They've all got like guns on and stuff.

And me and Neil are like, "What on Earth is going on?"

And then eventually one guy goes, "Ladies and gentlemen, if you haven't ordered already, please leave. If you're still eating your meal, please finish up, pay your bill, leave."*

[* - delivered in a perfect American ‘serious law agent’ accent/impression]

And we were like, "Oh my God, are we poisoned? Is there some terrible thing that's happened?"  

We'd finished, so we pay our bill.  And then all the kitchen staff are brought out. And the head chef is there. The guy who's been bringing us this food. And he's in tears. And he says to Neil, "I'm so sorry." He apologizes to Neil.  And we leave. We have no idea what happened.

DAVID: But you're assuming it's the mystery dish.

MICHAEL: Well, we're assuming that we can't be going to – we can't be –  it can't be poisonous. You know what I mean? It can't be that there's terrible, terrible things.

So the next day was the Oscars, which is why Neil was in town. Because Coraline had been nominated for an Oscar. Best documentary that year was won by The Cove, which was by a team of people who had come across dolphins being killed, I think.

Turns out, what was happening at this restaurant was that they were having illegal endangered species flown in to the airport, and then being brought around the back of the restaurant into the kitchen.

We had eaten whale – endangered species whale. That was the mystery dish that they didn't say what it was.

And the team behind The Cove were behind this sting, and they took them down that night whilst we were there.

DAVID: That’s extraordinary.

MICHAEL: And we didn't find this out for months.  So for months, me and Neil were like, "Have you worked anything out yet? Have you heard anything?"

"No, I haven't heard anything."

And then we heard that it was something to do with The Cove, and then we eventually found out that that restaurant, they were all arrested. The restaurant was shut down. And it was because of that. And we'd eaten whale that night.

DAVID: And that was your first meeting with Neil Gaiman.

MICHAEL: That was my first meeting. And also in the drive home that night from that restaurant, he said, and we were in my Mini, he said, "Have you found the secret compartment?"

I said, "What are you talking about?" It's such a Neil Gaiman thing to say.

DAVID: Isn't it?

MICHAEL: The secret compartment? Yeah. Each Mini has got a secret compartment. I said, "I had no idea." It's secret. And he pressed a little button and a thing opened up. And it was a secret compartment in my own car that Neil Gaiman showed me.

DAVID: Was there anything inside it?

MICHAEL: Yeah, there was a little man. And he jumped out and went, "Hello!" No, there was nothing in there. There was afterwards because I started putting...

DAVID: Sure. That's a very Neil Gaiman story. All of that is such a Neil Gaiman story.

MICHAEL: That's how it began. Yeah.

DAVID: And then he came to offer you the part in Good Omens.

MICHAEL: Yeah. Well, we became friends and we would whenever he was in town, we would meet up and yeah, and then eventually he started, he said, "You know, I'm working on an adaptation of Good Omens." And I can remember at one point Terry Gilliam was going to maybe make a film of it. And I remember being there with Neil and Terry when they were talking about it. And...

DAVID: Were you involved at that point?

MICHAEL: No, no, I wasn't involved. I just happened to have met up with Neil that day.

DAVID: Right.

MICHAEL: And then Terry Gilliam came along and they were chatting, that was the day they were talking about that or whatever.

And then eventually he sent me one of the scripts for an early draft of like the first episode of Good Omens. And he said – and we started talking about me being involved in it, doing it – he said, “Would you be interested?” I was like, "Yeah, of course."  I went, "Oh my God." And he said, "Well, I'll send you the scripts when they come," and I would read them, and we'd talk about them a little bit. And so I was involved.

But it was always at that point with the idea, because he'd always said about playing Crowley in it. And so, as time went on, as I was reading the scripts, I was thinking, "I don't think I can play Crowley. I don't think I'm going to be able to do it." And I started to get a bit nervous because I thought, “I don't want to tell Neil that I don't think I can do this.”  But I just felt like I don't think I can play Crowley.

DAVID: Of course you can [play Crowley?].

MICHAEL: Well, I just on a sort of, on a gut level, sometimes you have it on a gut level.

DAVID: Sure, sure.

MICHAEL: I can do this.

DAVID: Yeah.

MICHAEL: Or I can't do this. And I just thought, “You know what, this is not the part for me. The other part is better for me, I think. I think I can do that, I don't think I could do that.”

But I was scared to tell Neil because I thought, "Well, he wants me to play Crowley" – and then it turned out he had been feeling the same way as well.  And he hadn't wanted to mention it to me, but he was like, "I think Michael should really play Aziraphale."

And neither of us would bring it up.  And then eventually we did. And it was one of those things where you go, "Oh, thank God you said that. I feel exactly the same way." And then I think within a fairly short space of time, he said, “I think we've got … David Tennant … for Crowley.” And we both got very excited about that.

And then all these extraordinary people started to join in. And then, and then off we went.

DAVID: That's the other thing about Neil, he collects people, doesn't he? So he'll just go, “Oh, yeah, I've phoned up Frances McDormand, she's up for it.” Yeah. You're, what?

MICHAEL: “I emailed Jon Hamm.”

DAVID: Yeah.

MICHAEL: And yeah, and you realize how beloved he is and how beloved his work is. And I think we would both recognise that Good Omens is one of the most beloved of all of Neil's stuff.

DAVID: Yes.

MICHAEL: And had never been turned into anything.

DAVID: Yeah.

MICHAEL: And so the kind of responsibility of that, I mean, for me, for someone who has been a fan of him and a fan of the book for so long, I can empathize with all the fans out there who are like, “Oh, they better not fuck this up.”

DAVID: Yes.

MICHAEL: “And this had better be good.” And I have that part of me. But then, of course, the other part of me is like, “But I'm the one who might be fucking it up.”

DAVID: Yeah.

MICHAEL: So I feel that responsibility as well.

DAVID: But we have Neil on site.

MICHAEL: Yes. Well, Neil being the showrunner …

DAVID: Yeah. I think it takes the curse off.

MICHAEL: … I think it made a massive difference, didn't it? Yeah. You feel like you're in safe hands.

DAVID: Well, we think. Not that the world has seen it yet.

MICHAEL (grimly): No, I know.

DAVID: But it was a -- it's been a -- it's been a joy to work with you on it. I can't wait for the world to see it.

MICHAEL: Oh my God.  Oh, well, I mean, it's the only, I've done a few things where there are two people, it's a bit of a double act, like Frost-Nixon and The Queen, I suppose, in some ways. But, and I've done it, Amadeus or whatever.

This is the only thing I've done where I really don't think of it as “my character” or “my performance as that character”.  I think of it totally as us.

DAVID: Yeah.

MICHAEL: The two of us.

DAVID: Yes.

MICHAEL: Like they, what I do is defined by what you do.

DAVID: Yeah.

MICHAEL: And that was such a joy to have that experience. And it made it so much easier in a way as well, I found, because you don't feel like you're on your own in it. Like it's totally us together doing this and the two characters totally complement each other. And the experience of doing it was just a real joy.

DAVID: Yeah.  Well, I hope the world is as excited to see it as we are to talk about it, frankly.

MICHAEL: You know, there's, having talked about T.S. Eliot earlier, there's another bit from The Wasteland where there's a line which goes, These fragments I have shored against my ruin.

And this is how I think about life now. There is so much in life, no matter what your circumstances, no matter what, where you've got, what you've done, how much money you got, all that. Life's hard.  I mean, you can, it can take you down at any point.

You have to find this stuff. You have to like find things that will, these fragments that you hold to yourself, they become like a liferaft, and especially as time goes on, I think, as I've got older, I've realized it is a thin line between surviving this life and going under.

And the things that keep you afloat are these fragments, these things that are meaningful to you and what's meaningful to you will be not-meaningful to someone else, you know. But whatever it is that matters to you, it doesn't matter what it was you were into when you were a teenager, a kid, it doesn't matter what it is. Go and find them, and find some way to hold them close to you. 

Make it, go and get it. Because those are the things that keep you afloat. They really are. Like doing that with him or whatever it is, these are the fragments that have shored against my ruin. Absolutely.

DAVID: That's lovely. Michael, thank you so much.

MICHAEL: Thank you.

DAVID: For talking today and for being here.

MICHAEL: Oh, it's a pleasure. Thank you.

[pomefioredove]

only one bed room

summary: it's the sdc and everyone's staying over at ramshackle but, oh no! you're one room and one bed short. being the generous (or gullible) soul that you are, you agree to share characters: all sdc competitors, separate additional info: fair warning I have no replayed book 5 in a while, reader is yuu, reader is gender neutral, rook is rook, most scenarios end in cuddles. can be interpreted as romantic or platonic (nix vil and rook's part)

Deuce Spade

"I don't mind sleeping on the floor!"

it's a big fat no from Vil. waking up sore and tired is unacceptable, and will affect his performance during practice. he will use the bed, end of story.

you offer to take the floor or one of the many stiff and uncomfortable couches in Ramshackle, but he refuses

what kind of aspiring honor student would he be if he kicked you out of your own room?

so, yes, you end up sharing the bed

he's a perfect gentleman about it

he insists on sleeping on the complete opposite end of the bed

to give you your space, of course

not because he's nervous

obviously it doesn't pan out- he's kind of a messy sleeper, and on the first night you wake up with him sprawled on top of you

you decide not to wake him up

you'd been thinking about saving for a weighted blanket, anyway

Ace Trappola

"you better not hog the blankets,"

takes it like a champ, though he might be screaming internally

he already sleeps in a dorm with three other guys- this can't be any different, right?

it totally is

sharing a bed with someone? someone he likes, who he isn't just forced to live with for convenience?

he's not sure how to tease you about this one without coming off as nervous himself

so he just shuts his trap about it (for once) and accepts his fate

in the end, it's no big deal for a player like him

he ends up hogging the blankets, though. hypocrite.

Kalim al-Asim

"YAYYY SLEEPOVER!"

he means exactly what he says

not a care in the world

all he's thinking about is how fun this is going to be! just him and his favorite Ramshackle prefect (Grim heard the news and will be staying in deuce's room to avoid any cracker mishaps)

Kalim, admittedly, is not a creature of great thought. he tends to be dictated by his feelings, and he can be a little selfish sometimes

so when Jamil pulled him aside and asked him to just buy another bed for ramshackle, he ignored him entirely

why would he do that? the situation is resolved, and everyone's happy!

well... not everyone, but Kalim's happy!

he stocks up on Vil-approved snacks, insists you two braid each other's hair and stay up late into the night talking with no one to remind you to go to sleep

(he tried to invite Jamil and got the door slammed in his face)

this arrangement lasts approximately one night

when Vil sees the dark circles under your eyes, it's over

you are confined to the couch, and Kalim is forced to sleep alone

Jamil Viper

"okay,"

really. he's totally fine with it.

besides the fact that he doesn't want to cause any more trouble, he's shared beds with his siblings before. no big deal

he just wasn't expecting to wake up with you snuggled against him

but this is fine

totally fine

he's barely conscious and it's early morning, still dark, the time he's used to getting up at

Vil has things covered, right? he can stay here for a little while longer. it would be awkward trying to get up without waking you

it feels nice having something all to himself for once

he smirks, imagining how jealous everyone else would be:

the beautiful, kind, intelligent ramshackle prefect in his arms? oh, the looks on their faces would almost make this whole thing worth it!

but in the end, he decides to say nothing

he wants to keep you all to himself, after all

for just a little while longer

Epel Felmier

"ain't no way I'm sharing!"

that's what he says in his head, anyway. but it's late and he's worn out from practice (and being shouted at) so he just sighs and accepts his fate

of course Vil would make him do it. it's probably because he's the smallest, isn't it?

you can tell he's unhappy with the arrangement (not that he's making much of a secret of it- he's grumbling under his breath all evening)

he starts coming around to the idea when he wakes up holding something warm

his heart jumpstarts and he nearly panics before remembering where he is

and then he realizes the thing he's holding is... you. somehow the two of you had ended up spooning during the night

but, more importantly... he's the big spoon!

he's almost tempted to wake you to announce that he, in all his manly glory, had naturally assumed the most masculine cuddling position!

(yes he sounds ridiculous. just let him have this one)

he lets you sleep, though. just a little more won't hurt anyone, right?

he's okay with the arrangement after that

Rook Hunt

"I will do it!"

Vil isn't even able to finish his sentence before the vice housewarden is practically jumping up and down

pretty much everyone breathes a collective sigh of relief; a volunteer! thank the sevens. otherwise, this could get awkward...

of course, he quite intentionally ends up with you in his arms

but not for any nefarious purpose, he insists!

he's a light sleeper, and can be stirred by any sudden noise or movement

you appeared to be having some kind of nightmare

it reminds him of a small animal caught in a trap, struggling for its life. he can't bear to see it- it's cruel to let a poor creature go on suffering before you can make the kill

of course, instead of killing you (thank the sevens), he decides to comfort you

he presses your head against his chest so you can hear his heartbeat, and he runs his fingers through your hair until you calm down.

then he keeps you there, just to be sure you don't have another bad dream

if you gave him permission, he would gladly be all over you in seconds. kissing up and down your shoulders, caressing every perfect inch of your body, whispering words of admiration

but he's perfectly content just cradling you for now

hopefully, you will continue to have these nightmares and give him excuses to do this again

Vil Schoenheit

"don't argue with me,"

initially, you just gave him the bed

maybe you were afraid of him; maybe you like him; maybe you just wanted to avoid a conflict altogether

either way, you spent the first night on the terribly uncomfortable floor, and trudged through Ramshackle like a zombie the next morning

Vil was feeling guilty watching you

what? he's not a monster

and he's a leader, which means he has a responsibility. and you had so graciously invited them all into your home...

fine! he'll share. he insists, even

when you try to argue, he shuts you down, repeating all that stuff about responsibility and hospitality, blah blah

and he doesn't want the team manager dead on their feet

arguing with him is pointless, so you just agree

he wakes up with you against him, sleeping peacefully

now, if it were you clinging to him- he might have had a good chuckle. can't keep your hands to yourself, prefect? I'm just that irresistible?

but the way he's holding you, the way his arms are so tightly wrapped around your waist, the way he's so clearly pressing you against him...

he hates to admit it, but you're an elegant sleeper. it's almost cute

the tension is relieved from your face, your breathing graceful and steady, and your perfect lips open just a sliver...

he is a perfect gentleman, and would never dream of doing anything without your explicit permission, but for one shameful second he thinks about how easy it would be to kiss you

... and then he quickly puts those thoughts aside and tries to get back to sleep

he doesn't want any dark circles, after all

[fakebwitch]

reader being obsessed with rafe’s biceps and he wants to please her

·········⋆༺𓆩❀𓆪༻⋆·········

rafe is obviously aware of how fitnessed and perfect his body is, and he also knows how obsessed you are. when you two fuck your hands are always somehow on his body, from when you ride him, holding yourself on his muscular legs or placing your hands on his chest, or when y’all are doing missionary, your nails dig into the skin of his back as he thrust hard inside you or tighten around his biceps.

speaking of biceps, they were your favorite thing. I mean, you loved every single thing about his body, his back, his shoulders, his abs, his thigh but biceps would do it for you everytime. you would drool every time you see him wearing one of his short-sleeved polo shirts, putting his muscular arm in perfect view, your eyes would carefully observe every single contraction, asking him to open a simple bottle of water or fix something that you had voluntarily broken just to enjoy the sight of his arms at work.

you loved having his strong arms holding you close to him, there was nothing that made you happier when at night, after a long day, his arms wrapped around your figure pulling you towards him, his grip firm as the heat of his body began to expand to yours.

rafe wasn’t stupid, he noticed after a short time your continuous eyes on his biceps, how you somehow tried to always have a hand on them and how you wanted rafe’s arms always around you. he was always ready to tease you about it, you would laugh everytime trying to hide your flushes.

obviously this obsession of yours grows when we talk about sex. having him chocking you while pounding into you, watching at the way his biceps flexed made you clench around his length, or when his fingers were buried inside your tight hole, you would force yourself to keep your eyes open even though all you wanted to do was to throw you head back just to watch the way his arm was contracting at the speed he was using and his veins on full display.

one day he proposed you something that left you in disbelief, not like you have never thought about something like that before but hearing him say it to you was totally different. you had stopped from grinding onto his bulge, looking at him with wide eyes while he just looked at you with his usual cocky smirk, your pussy clenching around nothing just at the idea.

“you’re just so obsessed princess, bet you wouldn’t mind riding it instead of grinding on my dick, would you?” he had proposed to you, his gaze fell down indicating what he was referring to, your hand tight around his biceps. you stared at him for what seemed like hours not knowing what to answer, suddenly you felt like you wanted to disappear. “don’t get shy on me now baby, use your words mhm?” he incited you, his hand moved from your hip to rest on your cheek, slowly rubbing his thumb on the soft skin as you rested your head on it, enjoying his warm touch.

“yeah… i would- i would love that” you answered, you didn’t even know where you had found the courage to accept something so dirty but that you wanted at the same time so much. rafe’s grin widened even more noticing the shyness in your voice, he could feel that you were insecure about it, he was quick to put his lips on yours in a small kiss. “don’t worry baby I got you, just use me like you prefer” he whispered to you a few centimeters from your lips, you bit your lip hearing such words, your most perverse dream was coming true.

“uhh f-fuuck… rafeee” you gasped moving your hips quickly, your head thrown back while you fully enjoyed the pleasure of your clit in contact with his contracted muscle, your moisture scattered all over the area, sliding along the elbow. “I know baby I’m here, keep going” he incited you, he looked at you from below with eyes full of lust groping his cock in the pants, a mess of his own pre cum in his boxer while enjoying the scene of his pretty girl rubbing herself on his biceps.

“i’m gonna- gonna..” your voice broken as you felt yourself getting closer and closer to reaching the peak, your legs began to hurt and your movements slowed down, you felt tears forming at the corners of your eyes worried that you wouldn’t be able to reach your orgasm but rafe was right there, and without you being able to say anything else he put a hand on the back of your thigh, pushing you to continue rubbing yourself on his biceps.

“there you go baby… make a mess all over me”. In no time you reached your orgasm, an almost pornographic moan came out of your lips as your movements stopped abruptly, your cum began to drip on his skin. slimy sounds filled the room while rafe helped you ride your orgasm with some other small push, before you fell in the place next to him, your legs tingled from the effort you had subjected them to.

“that’s it princess, was it good?” he asked you observing your fucked-out expression then moving his gaze to his arm, completely covered with your wetness.

“the best fucking thing ever.”

[nicholasgoodgirl]

that was mean- nicholas

summary: nicholas was having a bad week and gave you the silent treatment.

warning: argument, crying, happy ending

a/n: i couldn't stop thinking abt this no joke. so ofc i had to write it out

from late at night till he left early this morning for work nicholas has been either quiet rude or both.

we haven't spoken to eachother or not even silents acts of love. nothing.

he cut his alarm clock off and i tried to give him a hug before he got out the bed and he pushed me off of him "not right now" he grumbled and got out of bed

when he left for work i said 'bye' to maybe break the silence shared between us, but i got no response. it was starting to get lonely. i missed my bestfriend that was also my boyfriend

i had nobody to mess with or someone to talk to about my day.

to stop these lingering thoughts i go back to bed to maybe get my mind off of things.

--

i wake up around 8 am which was later than the time i usally woke up around, but today was sorta a lazy day.

it was gloomy not much sun was shining, it rained a little here and there. it was more of a slow day for me so the extra rest was very much needed

i text my boyfriend forgetting about the whole silent treatment ordeal.

me: how's your day going so far?? :)

and to no suprise i was left on delivered and soon left on seen. i messaged him periodically throught the day; hoping that maybe he would reply

it was almost time for dinner which normally nicholas cooks cause he's just better at it, but i didn't know when he was coming home or if he would even do it, so i look up some quick easy recipes and nothing struck my fancy but the pizza recipe. cause how hard could it really be?

i put a packet of yeast into my bowl along with some flour, water, oil, and salt. i let that sit for 30 minutes then im back to cooking again.

spreading flour onto the counter and placing the dough onto it; kneading it into a circle shape. this was harder than i thought

i look around for the marinara sauce and i put it into a different bowl and add a few light seasonings.

i paste that onto the dough, then i sprinkle some alot of cheese onto the pizza and my additional toppings bell peppers, spinach, and mushrooms.

i was so proud of myself especially sense i wasnt the cook, out of me and nicholas. i was really excited for him to try what i made but again i highly doubt he would even eat the food.

i put the pizza away into the oven completely forgetting to set a timer and put on a movie while i wait.

--

a smell of burning was the first thing that woke me up. "shit shit shit" i repeat totally freaking out remembering i left the pizza in the oven.

i get a rag and ineffectivley wave smoke out the air. when i open the oven it smelled horrible. i was coughing from all the smoke that had entered my lungs.

i take the burning pizza out and throw it into the sink, and hose it down with the water.

thats when i hear the front door open and mentally face palm. "what's that smell?" he asks "i kinda burnt a pizza that i tried to make"

"of course you did" he mutters sounding unimpressed. "and the fuck you mean 'kinda' you obviously did burn a damn pizza" he gestures to the chunk of charcoal burnt pizza

"it's not like i did it on purposes or something if thats what you think" my tone sounding a bit confronting.

"It's smells fucking horrible so open a damn window first off" he took a step closer raising his voice.

"you don't pay for shit so i don't understand why you almost had this place in flames secondly. then you also wanna blow up my phone while im working for crying out loud what do you want from me!" he yelled directly in my face

and im sure he knows by now i hate being yelled at. it's something my parents did and overall doesn't solve anything

i just take it, i didn't wanna fight so i go over to the nearest window and crack it open so the smoke clears.

my eyes watered from all the harsh words he could dish out but not the equal amount of attention "well.. you are- when i was.. ugh s'not my fault" i couldn't get a full sentence out. i felt so belittled in this moment

"im going to bed i don't have time for your stupid ass shit" those words hurt more than he thinks.

he had the most patience for me, always making time for us and now he doesnt.

"that's so mean.. you're being so mean" i wipe some tears that had fallen. i turned away from him silently crying.

the peices of my hair stuck to my tear-soaked cheeks. "wait- I'm sorry please don't cry" nicholas' voice was filled with regret.

i lazily push him away from me but he doesn't budge. his arms wrap around me bringing me into his familiar embrace. "I'm so sorry for being an asshole. I've been having a long shitty week and i know thats not an excuse so you don't even have to forgive me."

"you're everything to me. i swear i didn't mean it." he adds

the unforgettable cruel words he'd said to me earlier shoved ontop of his sweet loving words made me cry more.

i let him hold my trembling body as sobs tore through my chest, each inhale was ragged and uneven.

my hands clutched the material of his shirt "im so sorry sweetheart i never wanna make you cry" he explains in such a low voice, giving my hair strokes in attempt to calm me.

my face still burried into his neck tears now starting to dry away, and my breathing starting to even out. he carried me over to the couch and placed me in his lap

i was drained from all the crying, the tense feeling in my body beginning to melt away when i really started to feel nicholas' touch. my eyes drooped again this time staying shut for longer.

i was too tired to resist the sleep that had tooken over. and being cradled in his arms didn't help.

"I'll order pizza for the both of us alright?" he took me off of his lap and placed me on our couch. then lays one of our throw blankets ontop of me. "can we talk in the mornin'?" is the last thing i remember asking before dozing off.

a/n: can yall tell idk how to make pizza

[hyperamore]

DIET PEPSI (R+18)

TEASER.

HEESEUNG plays the part well. He's got the looks and demeanor of the classic fuckboy, so nobody suspected a thing. Until you.

TAGS. university au, one-shot w 8.9k, fem reader, completely consensual, featuring sunghoon

🎧 ⏮ ⏸ ⏭ DIET PEPSI by addison rae.

"Who's the cute guy in the leather jacket with a slight accent? I heard his name starts with an H."

"Him? That's Lee Heeseung. He majors in game design."

You raised your eyebrows in mild interest. Looking at him from afar, he didn't seem to be the type to major in something geeky like game design.

"So he's a nerd."

"Who gets bitches," Sunghoon downs a shot from the bar, subtly shaking his head. He looks at his outfit, then at Heeseung's, and this time, he shakes his head more obviously. "God, I hate him. He's in my programming class."

"How could you hate him? I mean, I totally get it. He's hot, but he's also passionate about something that isn't Elon Musk, or crypto." You say, shot glass hovering over your lips. You continue to stare, cautious as to not get caught, but at the same time, you wanted him to notice you staring.

"How would you know if he isn't passionate about Elon Musk or crypto? Every guy on Earth likes either one by default. It's just universal..." Sunghoon started to drone on about something, but you weren't paying much attention to hear all of it. You were too busy swooning over the way Heeseung laughs, teeth all pearly white. Your heart might have started beating a little faster.

Sunghoon looks at you, looks at Heeseung again, and rolls his eyes. "Jesus you're into him. YN, he's obviously a fuckboy. Which is worse in nerd world."

You tilt your head to the side. "Sounds like jealousy to me."

"I'm not jealous of him," Sunghoon clarifies. "I just don't get it. He's got this bad boy thing going on and it works for him, but when it's a goody-two-shoes nerd, the guy isn't..."

"Gonna get any."

"I didn't say--I'm a hopeless romantic, which is completely different. I don't get any... by choice!" Sunghoon gestured to himself, beige dress shirt clad with a dorky bowtie, tucked in his darker brown slacks held up by suspenders. For a Software Engineering major, he sure breaks the stereotype. Somehow in a worse way.

"Sunghoon, you went to a bar. Dressed like that. That's telling all the girls, 'Stay away if you don't know Shakespeare!'"

"Wrong. I'm trying to attract all the pretty English majors that could pass by--"

"At a bar."

"My point still stands."

"You do know your meet-cute with an English major won't happen in a bar, right?"

"Why not? You're an English major."

You squinted your eyes at his statement.

Sunghoon and you have been friends since highschool. You didn't really think there was anything beyond being friends between the two of you.

Is the attraction there? You're not entirely sure. But fondness is what you would have used to describe what you feel for Sunghoon. Not attraction.

"I knew it, you've been in love with me all this time--" You fake gasp.

"What? No!" Sunghoon fake gags. "I just meant that you're in a bar right now. Who's to say no other English majors come here?"

"I'm the exception Romeo-wannabe. I'm only here for a character study." You finally down your own shot, working up the courage to come up to leather jacket cutie yourself.

"You're gonna be writing about red flag dudes? Seriously?"

"My Creative Writing class professor reads a lot of Colleen Hoover. That's why."

"You don't even like Colleen Hoover."

"Yeah I don't. I do it for the grade."

"This is the failure of humanity. I feel sorry for you," Sunghoon tsks, and gestures to Heeseung again. "So what are you gonna do? Talk to him like some kind of weirdo?"

"What-hey! I'm pretty enough to get guys interested!"

"Yeah, but you're gonna be talking, so that's gonna go downhill from there. Boys like Heeseung will find you intimidating. I do not."

"You're such a pick me--"

"You picked me!"

"Only because you have more than five braincells."

The banter went back and forth for sometime, until you see a girl come up to Heeseung, looking a little annoyed.

You pat Sunghoon's arm, eyeing the two. He turns to where you were looking, and just as he did, Heeseung gets slapped right across his face.

"And the study, begins."

Boy, are you excited to get to know this guy.

Little did you know, you'd do a little more than getting to know him. Literally.

prolly some time mid november lol xoxo vera

[ellecdc]

mother!!!! that recent poly!marauders + lily fic had me WEAK. if you please, could you write a part two where shy!reader finds out remus is a werewolf? I could see rem really not wanting her to find out bc he doesn’t want to scare her, but maybe severus(or somebody) spills the beans thinking she already knew, or she overheard a conversation between the boys. she’d be accepting of course, but remus freaks out when she finds out. just a lot of comfort and reassurance.

hope that gives you some inspiration, also, totally don’t have to write it if you don’t want to, of course!!! ilysm 🖤💚

I took this in a bit of a different direction but the ending's just the same! thanks so much sweets <3 <3

pt 1 // pt 2 // pt 3 // pt 4 // pt 5

4.6k words

poly!marauders + lily x shy!reader who learns about Remus' furry little problem

CW: miscommunication trope, insecurities, angst [with a happy ending], reader is feeling incredibly insecure in this fic, James cries, Sirius cries a little bit too but they all pretend not to notice for his sake

You felt terribly foolish; no, you felt worse. You felt absolutely humiliated and you had no one to blame but yourself.

And now that you were here - ‘here’ being rushing to the dungeons to lock yourself in the Hufflepuff dormitories for the next foreseeable future - you aren’t sure how you had convinced yourself that this was going to end any other way. 

It was a pipedream at best, thinking you had any place amongst the infamous Marauders and the princess of Gryffindor, and it was delusional at worst. 

Of course they’d grow weary of you, of course they’d find your nerves and anxiety tiresome, of course they’d wind up bored of accommodating you when they were all so much more than you. 

What had you been thinking? How did you manage to allow yourself to believe that this was anything but a phase for them - they saw you as a challenge, they beat the challenge, and now they were through with you. 

You thought that the sweet looks, the kisses, the affection, the effort all meant more than it obviously did.

At least to them.

To you, it meant the world.

To them, it was a chore.

You were a chore.

Foolish girl. 

You had been on your way to the library to meet up with the boys and Lily to study for the upcoming Herbology test. It was the first real group ‘date’ after the sketchiness that usually followed Remus about once a month that no one else seemed inclined to comment on, so neither did you.

Except…except, this time, some lingering tension seemed to follow the bout of sketchiness. 

And still, no one seemed particularly inclined to comment on it.

And you couldn’t help but feel like you were out of the loop somehow, but you chalked that up to being a newer addition to the dynamic, and not living with them in Gryffindor tower.

That is until you happened to be walking out of their view behind the stacks of books that their table was situated by when you overheard their conversation. 

“You’re going to have to say something to her, Rem. This is getting out of hand.” You heard Lily say solemnly, earning her a pained groan from Remus’ lips, causing you to pause behind the stacks so as to not interrupt their conversation.

“Can’t we just ignore this? Just for a little longer?” Remus bargained. “I mean, it can’t be that bad?”

“It’s worse, Moons.” Sirius corrected. 

“Y/N’s so sensitive though.” James added. “I mean, how would that conversation even go? How do you tell her something like that?”

“It has to come from Remus.” Lily stated matter-of-factly. 

Remus let out a long-suffering sigh. “And how do you suggest I go about this?”

“Listen.” Sirius asserted. “I don’t bloody care how we tell her, but we have to say something. I cannot keep living like this; it’s exhausting.”

Lily made a tsking sound and placed a consoling hand on Sirius’ shoulder as Remus let out another sigh.

“I know, I know; I’m sorry you guys. I thought we could ignore it but…I don’t think we can anymore.”

Lily, Sirius, and James all made a hum of acknowledgement.

“I think we ought to just rip the bandaid off and hope she understands.” Lily said.

You felt your stomach migrate to your throat as you turned on your heels and fled the library.

Is that what all the tension was about? Is that what this library study date was? Just a ruse to sit you down so they could break up with you?

Of course it was, idiot. You scolded yourself.  They were foolish to entertain the likes of you for any amount of time. 

So now you were here - ‘here’ being rushing to the dungeons to lock yourself in the Hufflepuff dormitories for the next foreseeable future - and you aren’t sure how you had convinced yourself that this was going to end any other way. 

“Do you think I should do it tonight?” Remus asked Lily as she finally sat down. 

“I think it would be best if we did, sweetheart. I just can’t help feeling like we’re keeping her at arms length by keeping it a secret, you know?”

“I agree.” Sirius said quickly. “It feels like she’s more of a guest than actually part of the relationship whilst we’re keeping something so big from her.” 

“I just don’t want her to hate me.” Remus admitted in a whisper.

“Remmy.” James cooed from the other side of Sirius. “Our sweet little Puffle seems completely incapable of hatred. But you know we’ve got your back 110% if she’s not accepting of you, right?”

The other two nodded in agreement but Remus only grimaced. “It just feels like I’d be ruining the relationship for all of you if the only person she has a problem with is me.” 

“Impossible.” Sirius replied emphatically. “Anyone who has a problem with you has a problem with us, Moons.”

“Even if we weren’t dating, Rem, if someone didn’t respect my friend - or anyone, for that matter - because of their lycanthropy, I wouldn’t want them around anyways.” Lily agreed.

“I don’t think we’ll have a problem, though.” Sirius continued. “Like Prongs said, she’s our sweet girl; I’m sure she’ll handle this fine.”

“Where is she, anyway?” James said, flipping his wrist to check his watch. “She was supposed to meet us like twenty minutes ago.” 

The other three shared a look of bemusement. 

“Do you have the map?” Sirius asked.

James quickly pulled the map from his book bag to scan the parchment for your name. “It says she’s in the Hufflepuff common room?”

“Maybe she forgot?” Lily mused.

“I spoke to her at dinner; she said she was going to change out of her uniform and then meet us here.” Remus replied, feeling his heart rise to his throat with nerves. 

What if she knew? What if she already found out? What if she hated him? 

“Rem, it’s alright.” Lily placated, clearly seeing his concern etched onto his face. “Maybe she wasn’t feeling well, or got caught up with something else.”

“She’s never bailed on us before…” James admitted, looking just as worried as Remus was. “Maybe we should check on her?”

“Why don’t we give her tonight; I think after all the shite we put her through this week, she’s allotted one missed date.” Sirius decided, opting to keep his tone light as he teased Remus for his ‘pre-moon angstiness’ as his partners call it.   

“We’ll catch up with her tomorrow.” Lily decided; and Remus and James shared a look of concern as they relented to study for the upcoming Herbology test without you. 

You weren’t really mad at the Gryffindor’s for their decision to end things with you; at least not at first.

People were allowed to change their minds, and you supposed that was the purpose of dating, right? To see if the person you’re interested in is someone you want to keep around indefinitely?

So, people were allowed to change their mind, and that was okay.

You also couldn’t particularly blame them; you were shy, quiet, timid, awkward in most social settings and certainly not as adventurous as them, it was only a matter of time before they grew bored of you. 

So you hadn’t been mad at them, not at first. 

But you were growing increasingly annoyed at their attempts to force themselves within your space. 

You had opted to sit at the Hufflepuff table for breakfast the next morning; there was no sense sitting at the Gryffindor table with them anymore.

But then you couldn’t handle the feeling of your heart splintering every time you heard Sirius’ bark of laughter or Lily’s giggle at something Remus said or that James did. So you quickly scarfed down your toast and grabbed a muffin to shove in your bag before fleeing from the Great Hall.

What you didn’t notice was James noticing you only as you were leaving, looking incredibly worried.

You nearly shrieked when you exited your Astronomy class that you had with the Ravenclaws and slammed into Sirius’ frame.

“There you are, dolly! We missed you this morning!” He proclaimed as he pressed a kiss to your cheek. 

You quickly collected yourself; heart racing from the scare and then quickly migrating to your throat out of embarrassment and hurt at this familiarity you had with him only to be about to lose it.

“Sorry, I had been running late.” You said quickly as you headed for the stairs; the long-haired boy quickly keeping up with your steps. 

“Were you feeling alright?” He asked you.

“How do you mean?”

Sirius tilted his head slightly as he considered you. “Well, you didn’t show up to the library last night, and then you were running late this morning; that’s not like you.”

A hot frustrated emotion burned in your chest that you weren’t completely accustomed to feeling. 

Wasn’t he the one to say he couldn’t live like this anymore?

It wasn’t fair of you to be frustrated though, which frustrated you even more; he didn’t know that you had shown up to the library last night, nor that you had gotten to the Great Hall on time.

They hadn’t even noticed you this morning. 

And that’s why they were ending things; you were forgettable, ignorable, unnoticeable. 

“I’m fine, Sirius. Thank you.” You said simply, and quickly headed for the girl’s loo in order to shake him off. 

Remus had approached you in Care of Magical Creatures as well, which somehow hurt more.

Perhaps it was because you knew he was going to be the one to tell you that things were over; though you had thought he’d be better than to break up with you in the middle of class. 

“Hey, dove.” He said as he gently nudged your arm with his elbow; watching as you groomed the puffskein on your table. 

“Hey, Remus.” You said quietly, not removing your eyes from the Beast you were working with.

“I missed you last night.” He admitted quietly. 

Did you? You thought petulantly. 

“Sorry.” You murmured instead. 

“You don’t have to be sorry.” He said as he leaned his elbows on your workbench; if it had been any other student, you’re certain Professor O’Brien would have scolded him for not handling the beasts with adequate caution, but Remus seemed to be allowed certain privileges and the puffskein “Kujo” didn’t seem to mind him much. “I just missed you is all.” 

And he was smiling that sweet, soft smile at you and he seemed like he actually meant it which only further contributed to your ire. 

What happened to ripping the bandaid off? Why keep up this affectionate act if it was only going to end?

Remus looked like he was going to say something when the Professor announced the end of class. 

“I’ll catch up with you later.” You offered quickly before you all but threw Kujo back into his pen and took off towards the castle.

The final straw had to be Herbology, though.

You shared Herbology with the Gryffindors, and because you were a new addition - your the four Gryffindor’s all shared a potting bench whilst you worked alongside another Hufflepuff.

Today, however, it appeared that James had other plans.

Before Sadie-Jane could take her seat beside you, James had plopped himself - rather carefully for the notoriously boisterous quidditch chaser, mind you - on the stool beside you.

“Hey, angel.”

Again, with the pet names. 

It felt torturous at this point; part of you wanted to rip the bandaid off yourself.

But you looked over at the sweet, warm, inviting face of James Potter and any resolve to tell him to shove it completely dissipated. He was all messy curls, round frames, and warm eyes.

And you might have been [must have been] mistaken, but you felt you could see anxiety and worry painted in his features.

You supposed breaking up with someone could do that to a person, though.

“Hi Jamie.” You whispered back as you opted to ready your supplies for today’s lesson.

“I was wondering if you were going to come to the game tonight?” He blurted then, looking slightly embarrassed at his outburst. 

Right…the game. The game against Slytherin. The game that would have you sitting between Remus and Lily as they cheered for James and Sirius. That game. 

“I...uhm, well…”

Rip the bandaid off. 

But it was James. 

And you were in class.

And you could see Lily and Remus trying - and failing - to not look like they were watching you and James whilst Sirius had no such qualms and was actively staring at the two of you. 

“Yeah, I’ll…I’ll see.” You offered James, mustering up what you hoped was a convincing enough smile.

You could tell by the divot that appeared in James’ brows that you were not convincing in the slightest.

Thankfully Professor Sprout appeared then, instructing everyone to take their seats for class to begin, and Sadie-Jane came to claim her seat from the Gryffindor. 

You didn’t go to the game that night.

Gryffindor lost. 

And though you didn’t know at the time, James cried, but it wasn’t about losing to Slytherin. 

“So, why are you hiding in the dorms?” Caroline asked as she rolled away from her open magazine on her bed, clearly preferring potential drama you could offer her than whatever was in this week's Witch Weekly. 

“I’m not hiding.” You muttered back, not looking up from your cross-stitch you were working on instead of, you know, dealing with your problems. 

“Right.” Caroline agreed, not sounding like she agreed with you at all. “That’s why you’ve started and quit several hobbies over the weekend and have been going to the kitchen’s to grab food instead of eating in the Great Hall like a normal person.”

You looked over at your half finished gem ‘paint-by-numbers’, the scarf you’d crocheted that looked more like the skin of a messed up snake that had a terrible time shedding, and the guitar you had borrowed from Fenwick and nearly broke in a fit of rage when you couldn’t get it to sound the way you wanted it too.

“I just…can’t face them right now.” You admitted dejectedly.

“I don’t blame you. Helga, have you seen the lot of them? If I’d known they were accepting more I would have made my shot.” She mused as she laid back on her bed.

Grief and jealousy intertwined within you as you thought about them dating anyone else but you.

But you supposed that was their prerogative; they were allowed to change their minds. 

“Yeah well, you may still have a chance.” You muttered, capturing Caroline’s attention.

“What?” She asked quickly, but you didn’t have a chance to answer before there was a knock on the door. 

“Were you expecting anyone?” She asked with a salacious wink, causing you to glare at her.

“If it’s them, I’m not here; please.” You practically begged your roommate as she rolled her eyes and moved to the door to your dorm room. 

“Oh, hello Evans.” Caroline greeted, causing you to scrunch your eyes closed from your place currently hidden from view of the door. 

“Hi! Erm, is Y/N around?” Lily asked, sounding uncharacteristically awkward.

“Uh…no, she’s not in right now. I can let her know you stopped by, though?” Caroline offered.

You heard Lily thank her before Caroline closed the door again. 

“You sure you don’t want them? ‘Cause those Gryffindor’s are fine.” She sighed as she returned to her bed.

She let out a squawk when your pillow made contact with her head. 

Lily stepped out through the barrel to find Sirius and Remus exactly where she had left them (albeit far more tense) as James came running from down the hall where he had been pacing nervously. 

“Well?” James asked.

Lily pursed her lips. “Her roommate said she wasn’t there.”

Remus looked down at the map to the place where your name was etched beside your roommate’s in the seventh year Hufflepuff girls’ dormitory. 

Either the map was faulty [fat chance], or you were avoiding them.

It was official. 

For whatever reason, they were losing you. 

You had somehow managed to avoid the Gryffindor’s all Monday; taking a moment to thank every deity that you only had Divination with the Gryffindor house, and none of your Gryffindor’s had opted to take it.

You wondered if you could call them your Gryffindor’s anymore…

You had run over to the kitchens - all but a hop skip and a jump from your common room - to grab dinner and were stepping back out through the portrait of the pears when you came face to face with Sirius.

“So nice to see you, Y/N; I’d almost forgotten what your face looked like.” He said; his tone taking on a harsh tone you weren’t accustomed to hearing directed at you causing you to wince.

“Pads…” Remus warned from behind him, though he was looking at you just as warily as Sirius was.

As was James and Lily.

Shit. 

“I’m glad to see you’re still eating…” Remus commented dejectedly as he nodded towards your smorgasbord of a plate that Winky had helped prepare for you that now looked horribly unappetising. 

“I…yes. Erm, what are you guys doing here?” You tried.

It had, apparently, been the wrong thing to say.

Sirius let out a derisive scoff. “Cut the bullshit, Y/N. What the hell has gotten into you?”

“Sirius.” Lily warned.

“Would you guys stop?” He barked back at them before returning his burning gaze back to you. “I’m tired of this; of running around the school looking for you, of being disappointed every time you bail on us, of having to hold James whilst he cries because you’ve let him down, of being lied to. So I’m going to ask again - what the hell has gotten into you?”

“Nothing has gotten into me…” You tried to argue, though it sounded feeble even to your own ears. 

James had cried? You made James cry…

The disappointment in Remus’ eyes, the concern in Lily’s, the anger in Sirius’, the sadness in James’... it was too much, too much, too much. 

“You’re going to stand there and lie to my sodding face?” Sirius asked incredulously.

“Sirius, stop it.” James ordered; his voice far more severe than you have ever heard from him. “Angel, please. Just…just tell us what’s wrong. Tell me what I can do to fix this.”

Any sadness that had settled in your chest bubbled into anger at his word choice.

“Fix this?” You repeated back to him. “Why? Why bother fixing anything if you’re all just going to leave me!?” 

The four Gryffindor’s stood staring at you with different levels of bemusement; Lily and Sirius at your words, Remus and James at you having raised your voice for the first time…well…ever. 

“What do you mean ‘leave you’?” Lily asked cautiously, causing you to scoff. 

“I heard you guys - in the library.”

“In the library? But…you never showed?” James asked.

“Yes, I did - and I heard you guys talking about me, so I decided to stay out of your way thinking that maybe I’d make it easier on you all. But then you’ve spent the past week absolutely torturing me; showing up at my classes, trying to sit beside me, showing up to my dorm room like you weren’t just biding your time.”

“Y/N, what exactly did you hear us say in the library?” Remus queried.

“That you couldn’t do this anymore! That someone ‘had to tell me’ because it was ‘getting out of hand’. That you couldn’t possibly live like this anymore and hopefully I’d just understand. And I do! I do understand; but what I don’t understand is what the point of chasing me around the bloody castle is if you-”

“Whoa, whoa. Okay, alright just breathe, darling, I’m sorry.” Lily attempted to placate, holding her hands up as she approached like you were some kind of feral cat.

You sort of acted like one when you swatted her hands away from you.

“No! No, it’s not fair! I’m sorry if I’m too much, or if I’m not enough; I get it, okay? I do; sometimes it doesn’t work out and that’s fair but if that’s how you feel then just leave me alone!” You shouted back, feeling the tears trailing down your neck at this point. 

“Y/N, please, listen okay? Just relax and we can talk this out.” Lily tried again as James let out a pained breath that sounded awfully close to a sob. 

“Remus, please.” He begged, turning his pooling hazel eyes to his scarred boyfriend who was looking at you in abject horror. “Please.”

“Y/N, you’ve misunderstood, dove. I-I’m sorry, It’s my fault, but what you heard…that wasn’t us talking about breaking up with you. I… It was about me.”

You wiped angrily at your face and set your now cold plate on the ground - you weren’t hungry anymore anyways. “It’s not you, it’s me?” You sneered half-heartedly.

“No, no…Merlin, Y/N I- I’m a werewolf. Okay? I have lycanthropy, I was bitten when I was four; that’s where I go once a month and why I get…weird. We were talking about the fact that I needed to tell you because it was hurting us to keep it from you. Dovey, I’m so sorry you’ve been so upset. Please, please take a breath for me.” 

You held your hands over your eyes as you tried to control your breathing.

Sketchiness…tension…disappearances… 

“You’re going to have to say something to her, Rem; this is getting out of hand”

“Can’t we just ignore this? Just for a little longer? I mean, it can’t be that bad?”

“Y/N’s so sensitive though… How do you tell her something like that?”

“It has to come from Remus.” 

“I don’t bloody care how we tell her, but we have to say something; I cannot keep living like this, it’s exhausting.”

“I’m sorry you guys. I thought we could ignore it but…I don’t think we can anymore.”

“I think we ought to just rip the bandaid off and hope she understands.”

“I’m a werewolf. I have lycanthropy…that’s where I go once a month.” 

“Please…baby, please say something. I-I’m so sorry.” You heard Sirius plead quietly; his shaky voice in stark contrast from the way he’d been barking at you just moments before. 

You pulled your wet hands away from your eyes to see all four of them looking at you with nothing but worry and heartache on their faces; though none looked quite as vulnerable as Remus did. 

“I’m sorry, Y/N.” He whispered.

You sucked in a shuddering breath as more tears fell. “So…you don’t hate me?”

Remus let out a disbelieving laugh when you heard what sounded suspiciously like a sob from James.

“No! No, no dove, that- I’m rather quite in love with you, you know?” He pressed, daring to step closer to you. “Do you hate me?” He asked then, tone turning vulnerable once more.

“No.” You whined emphatically. 

“Oh my poor girl.” Sirius whined sympathetically. 

“Can I hug you? Please?” James all but begged, stepping in front of you with his arms open already; poised for you to say…

“Yes.”

You’re not sure he even waited for the affirmation to leave your lips before he had you encased in his arms.

You shoved your face into his chest and fisted his shirt in your hands; pulling him as close as you possibly could to your person. 

You weren’t sure how long you’d been standing there - directly in front of the kitchens and awfully close to your own common room - sniffling into James’ shirt as he sniffled into your hair, but you heard a sniffle come from beside you.

You turned to see Sirius’ grey eyes shiny and red as he looked at you imploringly. 

“I’m so sorry I yelled at you, sweetness. I’m such an arse I just…I-”

“It’s okay.” You whispered.

“No it’s not.” Sirius argued immediately. “I…I get like that sometimes; just horribly defensive and then I go on the offensive first. I didn’t even give you a chance to talk to us before I was attacking you; I’m so sorry.”

“It’s okay, Siri.” You offered again, holding a hand out to him which he took readily. 

“I can’t believe you’ve spent this whole week believing we wanted nothing to do with you.” Lily whined from your other side. “I’m so sorry we left you feeling like that, darling girl.”

Though you were quite content in your muscled hideaway, you pulled away from James’ chest to wipe at your face again, feeling awfully self-conscious of how blotchy your face must look from your tears.

“I shouldn’t have assumed.” You admitted shamefully; voice scratchy from both the shouting and the crying.

“The way you described it, I can understand how our conversation sounded to you, babygirl.” Sirius contended. 

“So…you’re really not leaving me?” You asked again.

“I feel like I should be asking you that, dove.” Remus replied.

“Why would I be leaving you?”

Lily shared a knowing look with Sirius and James who in turn moved their gazes to Remus with expressions reading “see?”. 

“Not everyone would be accepting of a werewolf.”

You felt your eyebrows furrow as you looked at the others as if saying “are you hearing this right now?” 

“But…I love you? I…I don’t even know what else to say…I just… love you so, that’s fine.”

“I just love you so that’s fine.” Sirius repeated as he looked at Remus arrogantly. “I knew I should have placed a bet on how she’d respond; I’d have made five galleons!”

“We were not going to bet on how our girlfriend would respond to Remus’ furry little problem, Sirius.” Lily chided as she playfully swatted at his shoulder. 

“Besides,” James added, pulling you closer into his side again. “You would have lost because I don’t think any of us would have bet that she’d misinterpret our disastrous conversation as us trying to leave her and then spend the week believing we were waiting for the perfect time to break up with her only for us all to shout and cry when we realised what happened.”

“No, that's true.” Sirius agreed readily, looking back at you with sympathy. “I really am sorry, baby.”

“Me too.” Lily continued.

“Me most of all.” Remus added.

“I knew we should have gone looking for her that night.” James mused aloud mostly to himself. “Could have saved us all a lot of heartache.” 

“Yeah, yeah Prongs. You’re right again; I’m sure we’ll never live it down.” Sirius said with a playful eye roll. 

“How can we make it up to you?” Lily asked as she placed her hand at the juncture of your neck and shoulder and traced shapes along the column of your neck with her thumb.

You shook your head shyly and looked at your feet. “It’s not necessary guys.”

“Nonsense.” Sirius scoffed.

“Let’s start with some dinner, yeah? And maybe a cwtch in the boys’ dorm upstairs?” Remus offered to the group, though he seemed to be waiting for you to answer.

You nodded at him and he opened his arms in invitation which you accepted readily.

“I’m sorry, dovey.” He whispered into your hair.

“I’m sorry too, Rem.”

“Let’s never fight again.” James decided enthusiastically as Lily and Sirius stepped through the pear portrait into the kitchens.

“Sounds good to me, bubs.” Remus agreed as he bent down to press a kiss to James’ lips whilst keeping you secured to his side.

You were sure that after this week, these four wouldn’t be letting you out of their reach.

After this week, you weren’t sure you minded that at all.

[theworldgate]

I have to explain what is going on in the UK, because it is absurd.

So, this is Gary Lineker:

He's known for a fair few things over here. He was a very good (association) footballer, playing for England in the 1986 and 1990 World Cups, winning the Golden Boot in 1986, and managing to never get a single yellow card in his playing career. He played for Leicester City, Everton, Barcelona, and Tottenham, before finishing his career in Japan. But if you aren't in your mid 30s, you probably know actually know him him for a couple of other things. The first is the role of spokesman for another Leicester icon, Walkers Crisps (which are sort of equivalent to Lays, but hit different), as pictured above. Despite being a notably clean player, he used to play a cheeky serial crisp thief. I don't think he's done that for well over a decade, but his ads were on the telly a lot when I was a kid and it's a bit like learning that the hamburglar was an incredibly clean (American) football player or something.

The second thing Gary is widely known for is having presented Match of the Day, the big football program on the BBC, the sort-of state broadcaster, since 1999. He is, incidentally, very well paid for this (though with a consensus that he could get even more if he went to one of the non-free-to-view broadcasters because he is very good at the job). He also has a twitter account. And political opinions. So, the UK government has got itself dead set upon doing heinous stuff that will totally somehow work to prevent people who want to come to the UK making the perilous crossing of the Channel (between England and France). By heinous, I mean "openly advertise that they won't attempt to protect victims of modern slavery" stuff. It's very obviously using a legal hammer to victimise a marginalised group of people in order to win votes. And, uh, I should clarify that by "legal" I mean "using the passage of laws" - the policy is, in addition to all the other ways it's awful, probably incompatible with the Human Rights Act and the UK's international law obligations. Gary, top lad that he is, objected to this. On Tuesday 7th March, he made a quote Tweet of a video of the Home Secretary, Suella Braverman, bigging up the policy, he wrote "Good heavens, this is beyond awful.". This got a bunch of backlash from extremely right-wingers, and then he made the tweet that really got him in trouble (with right-wingers): "There is no huge influx. We take far fewer refugees than other major European countries. This is just an immeasurably cruel policy directed at the most vulnerable people in language that is not dissimilar to that used by Germany in the 30s, and I’m out of order?".

Now, I am not actually subjecting myself to watching a video of Suella Braverman bigging up a cruel policy to say whether the specific comparison of the language to 1930s Germany is accurate. But needless to say, Ms Braverman was amongst the many figures on the right of UK politics objecting to Gary's rhetoric. And here's the part where a fact about the BBC comes in: it is nominally neutral and impartial (and so, of course, is routinely accused of bias from all sides but particularly the right-wing), and has something of a code for its contributors to this effect. Now, that code has previously been applied to Gary Lineker, over a comment about whether governing Conservative Party would hand back donations from figures linked to the Russian regime. But it generally hasn't been applied too strongly to people like Gary, whose roles have nothing to do with politics (such as presenting a "here's what happened on the footie today" show), on the basis that, well, their roles have nothing to do with politics. However, when directly asked about whether the BBC should punish Gary Lineker for his tweets, government figures basically went "well, that's a them problem". But a couple of days passed, and it seemed like Gary's approach of "standing his ground because he did nothing wrong" was working and everything would die down. He was set to get 'a talking to' but not much more than that. The Conservative right, after all their fire and fury earlier, had gotten bored and moved onto something else. And then, on Friday 10th March, the BBC announced that he would be suspended from hosting Match of the Day this weekend. But it could still go ahead, because there are, like, other hosts! Except, well, funnily enough, when you take a beloved figure off air, for making a fairly anodyne tweet, no one wants to be the scab who actually takes up the role of replacing him. Gary's two co-hosts, Alan Shearer and Ian Wright, said that they would not appear without him. People who (co-)host Match of the Day on other days followed suit. The net result is that Match of the Day is currently set to air without hosts, BBC commentary, or global feed commentary. And the solidarity shown to Gary Lineker, over what is very flagrantly actual cancel culture and an attack on freedom of speech (the logic implied is that institutional impartiality requires that no one say anything too critical of the government ever), has continued to grow. The BBC has pretty much been unable to run pretty much any live sports content today, and has resorted to raiding the BBC Sounds archive to fill the sports radio channel. And, as of 17:30 on Saturday 11th March, the situation shows no signs of improvement, though some are calling for the Chairman Richard Sharp, who is separately facing corruption allegations, to resign (yes I linked to the BBC itself there, there is nothing, nothing, the BBC loves more than going into great detail about how much the BBC sucks).