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Editor’s note: This story contains content that readers may find disturbing, including graphic allegations of sexual assault.

Scarlett Pavlovich was a 22-year-old drama student when she met the performer Amanda Palmer by chance on the streets of Auckland. It was a gray, drizzly afternoon in June 2020, and Palmer, then 44, was walking down the street with the actress Lucy Lawless, one of the most famous people in New Zealand owing to her six-season stint portraying Xena the warrior princess. But Pavlovich noticed only Palmer. She’d watched her TED talk, “The Art of Asking,” and was fascinated by the cult-famous feminist writer and musician — by her unabashed self-assurance.

On the surface, Pavlovich appeared to be self-assured as well. A local girl, she had dropped out of high school at 15 to travel to Europe, Morocco, and the Middle East on the cheap, pausing in Scotland — where Tilda Swinton gave her a scholarship to attend her Steiner school, Drumduan — and London to work in the cabaret scene. Eventually, her visa expired and she ran out of money and so, in 2019, she returned to Auckland, where she enrolled in an acting school and took a job at a perfumery. Pale and dark-haired and waifish, she favored bold colors and outrageous outfits. On the day she met Palmer — on most days then — she’d painted a triangle of translucent silver beneath her lower lashes so it looked as though she’d been crying tears of glitter. It was Pavlovich who approached Palmer on the sidewalk outside the perfumery. She was surprised when Palmer texted her a few days later. “It’s amanda d palmer,” she wrote. “Your new friend.”

Palmer, an obsessive chronicler of her own life in songs, poems, blog posts, and a memoir, got her start as half of the punk cabaret band the Dresden Dolls, but she is perhaps more famous for her ability to attract a tight-knit and devoted following wherever she goes. In 2012, she became the first musician to raise more than $1 million on Kickstarter and later became one of Patreon’s most successful artists. As Palmer explained in her book The Art of Asking — part memoir, part manifesto on the virtues of asking for assistance of various kinds — she had built her entire career on “messy exchanges of goodwill and the swapping of favors.” Out of this mess, she argues, a utopian sort of community formed: “There was no distinction between fans and friends.”

Over the following year and a half, Palmer and Pavlovich occasionally met for a drink or a meal. Palmer offered Pavlovich tickets to her shows and invited her to parties for the Patreon community at her house on nearby Waiheke Island, a lush bohemian retreat with vineyards, golden beaches, and more than 60 helipads to accommodate the billionaires who vacationed there. Sometimes Palmer asked Pavlovich for favors — help running errands or organizing files or looking after her child. Pavlovich was happy to assist. She had a crush on Palmer. She didn’t mind that Palmer only occasionally discussed paying her, even though Pavlovich was always strapped for cash. For Pavlovich, who was estranged from her family and without a safety net, Palmer filled a deeper need. In November 2020, Palmer invited her to hang out at her place for a weekend with a group of local artists. At the gathering, Palmer asked Pavlovich to babysit while she got a massage. Early the next morning, Pavlovich wrote a diary entry about the easy intimacy she’d felt in Palmer’s sun-drenched home, where she’d read to Palmer’s son, who was 5 at the time, their limbs entwined. “The years absent of touch build up like a gray inheritance,” she wrote. “I’m hungry. I am so fucking famished.”

On February 1, 2022, Palmer texted Pavlovich and asked if she wanted to spend the weekend babysitting, which would mean bouncing back and forth between her house and her husband’s. Pavlovich had never met Palmer’s husband, from whom she was separated, though of course she knew who he was: Neil Gaiman, the acclaimed British fantasist and author of nearly 50 books, including American Gods and Coraline, and the comic-book series The Sandman, whose work has sold more than 50 million copies worldwide. Gaiman and Palmer had arrived in New Zealand in March 2020, but just weeks later, their nine-year marriage collapsed and Gaiman skipped town, breaking COVID protocols to fly to his home on the Isle of Skye. Now, he’d returned and was living in a house near Palmer’s on Waiheke. Their previous nanny had recently left, and they needed help. Pavlovich agreed and was pleased when Palmer offered to pay her for the weekend’s work.

Around four in the afternoon on February 4, Pavlovich took the ferry from Auckland to Waiheke, then sat on a bus and walked through the woods until she arrived at Gaiman’s house, an asymmetrical A-frame of dark burnished wood with picture windows overlooking the sea. Palmer had arranged a playdate for the child, so not long after Pavlovich arrived, she found herself alone in the house with the author. For a little while, Gaiman worked in his office while she read on the couch. Then he emerged and offered her a tour of the grounds. A striking figure at 61, his wild black curls threaded with strands of silver, the author picked a fig — her favorite fruit — and handed it to her. Around 8 p.m., they sat down for pizza. Gaiman poured Pavlovich a glass of rosé and then another. He drank only water. They made awkward conversation about New Zealand, about COVID. Pavlovich had never read any of his work, but she was anxious to make a good impression. After she’d cleaned up their plates, Gaiman noted that there was still time before they would have to pick up his son from the playdate. “‘I’ve had a thought,’” she recalls him saying. “‘Why don’t you have a bath in the beautiful claw bathtub in the garden? It’s absolutely enchanting.’” Pavlovich told Gaiman that she was fine as she was but ultimately agreed. He needed to make a work call, he said, and didn’t want Pavlovich to be bored.

Gaiman led Pavlovich down a stone path into the garden to an old-fashioned tub with a roll top and walked away. She got undressed and sank into the bath, looking up at the furry magenta blossoms of the pohutukawa tree overhead. A few minutes later, she was surprised to hear Gaiman’s footsteps on the stones in the dark. She tried to cover her breasts with her arms. When he arrived at the bath, she saw that he was naked. Gaiman put out a couple of citronella candles, lit them, and got into the bath. He stretched out, facing her, and, for a few minutes, made small talk. He bitched about Palmer’s schedule. He talked about his kid’s school. Then he told her to stretch her legs out and “get comfortable.”

“I said ‘no.’ I said, ‘I’m not confident with my body,’” Pavlovich recalls. “He said, ‘It’s okay — it’s only me. Just relax. Just have a chat.’” She didn’t move. He looked at her again and said, “Don’t ruin the moment.” She did as instructed, and he began to stroke her feet. At that point, she recalls, she felt “a subtle terror.”

Gaiman asked her to sit on his lap. Pavlovich stammered out a few sentences: She was gay, she’d never had sex, she had been sexually abused by a 45-year-old man when she was 15. Gaiman continued to press. “The next part is really amorphous,” Pavlovich tells me. “But I can tell you that he put his fingers straight into my ass and tried to put his penis in my ass. And I said, ‘No, no.’ Then he tried to rub his penis between my breasts, and I said ‘no’ as well. Then he asked if he could come on my face, and I said ‘no’ but he did anyway. He said, ‘Call me ‘master,’ and I’ll come.’ He said, ‘Be a good girl. You’re a good little girl.’”

In The Sandman, the DC comic-book series that ran from 1989 to 1996 and made Gaiman famous, he tells a story about a writer named Richard Madoc. After Madoc’s first book proves a success, he sits down to write his second and finds that he can’t come up with a single decent idea. This difficulty recedes after he accepts an unusual gift from an older author: a naked woman, of a kind, who has been kept locked in a room in his house for 60 years. She is Calliope, the youngest of the Nine Muses. Madoc rapes her, again and again, and his career blossoms in the most extraordinary way. A stylish young beauty tells him how much she loved his characterization of a strong female character, prompting him to remark, “Actually, I do tend to regard myself as a feminist writer.” His downfall comes only when the titular hero, the Sandman, also known as the Prince of Stories, frees Calliope from bondage. A being of boundless charisma and creativity, the Sandman rules the Dreaming, the realm we visit in our sleep, where “stories are spun.” Older and more powerful than the most powerful gods, he can reward us with exquisite delights or punish us with unending nightmares, depending on what he feels we deserve. To punish the rapist, the Sandman floods Madoc’s mind with such a wild torrent of ideas that he’s powerless to write them down, let alone profit from them.

As allegations of Gaiman’s sexual misconduct emerged this past summer, some observers noticed Gaiman and Madoc have certain things in common. Like Madoc, Gaiman has called himself a feminist. Like Madoc, Gaiman has racked up major awards (for Gaiman, awards in science fiction and fantasy as well as dozens of prizes for contemporary novels, short stories, poetry, television, and film, helping make him, according to several sources, a millionaire many times over). And like Madoc, Gaiman has come to be seen as a figure who transcended, and transformed, the genres in which he wrote: first comics, then fantasy and children’s literature. But for most of his career, readers identified him not with the rapist, who shows up in a single issue, but with the Sandman, the inexhaustible fountain of story.

One of Gaiman’s greatest gifts as a story-teller was his voice, a warm and gentle instrument that he’d tuned through elocution lessons as a boy in East Grinstead, 30 miles south of London. In America, people mistakenly assumed he was an English gentleman. “He spoke very slowly, in a hypnotic way,” says one of his former students at the fantasy-writing workshop Clarion. He wrote that way, too, with rhythm and restraint, lulling you into a trance in the way that a bard might have done with a lyre. Another gift was his memory. He has “libraries full of books memorized,” one of his old friends tells me, noting that he could recall the page numbers of his favorite passages and recite them verbatim. His vast collection was eclectic enough to encompass both a box of comics (Spider-Man, Silver Surfer) from his boyhood and the works of Oscar Wilde he received as a gift for his bar mitzvah. For The Sandman, a forgotten DC property he had been hired to dust off and polish up, Gaiman gave the hero a makeover, replacing his green suit, fedora, and gas mask with the leather armor of an angsty goth, and surrounded him with characters drawn from the books he could pull off the shelves in his head, from timeless icons like Shakespeare and Lucifer to the obscure San Francisco eccentric Joshua Abraham Norton. Norman Mailer called it “a comic strip for intellectuals.”

Gaiman and the Sandman shared a penchant for dressing in black, a shock of unruly black hair, and an erotic power seldom possessed by authors of comic books and fantasy novels. A descendant of Polish Jewish immigrants, Gaiman had gotten his start in the ’80s as a journalist for hire in London covering Duran Duran, Lou Reed, and other brooding lords of rock, and in the world of comic conventions, he was the closest thing there was to that archetype. Women would turn up to his signings dressed in the elaborate Victorian-goth attire of his characters and beg him to sign their breasts or slip him key cards to their hotel rooms. One writer recounts running into Gaiman at a World Fantasy Convention in 2011. His assistant wasn’t around, and he was late to a reading. “I can’t get to it if I walk by myself,” he told her. As they made their way through the convention side by side, “the whole floor full of people tilted and slid toward him,” she says. “They wanted to be entwined with him in ways I was not prepared to defend him against.” A woman fell to her knees and wept.

People who flock to fantasy conventions and signings make up an “inherently vulnerable community,” one of Gaiman’s former friends, a fantasy writer, tells me. They “wrap themselves around a beloved text so it becomes their self-identity,” she says. They want to share their souls with the creators of these works. “And if you have morality around it, you say ‘no.’” It was an open secret in the late ’90s and early aughts among conventiongoers that Gaiman cheated on his first wife, Mary McGrath, a private midwestern Scientologist he’d married in his early 20s. But in my conversations with Gaiman’s old friends, collaborators, and peers, nearly all of them told me that they never imagined that Gaiman’s affairs could have been anything but enthusiastically consensual. As one prominent editor in the field puts it, “The one thing I hear again and again, largely from women, is ‘He was always nice to me. He was always a gentleman.’” The writer Kelly Link, who met Gaiman at a reading in 1997, recalls finding him charmingly goofy. “He was hapless in a way that was kind of exasperating,” she says, “but also made him seem very harmless.” Someone who had a sexual relationship with Gaiman in the aughts recalls him flipping through questions fans wrote on cards at a Q&A session. Once, a fan asked if she could be his “sex slave”: “He read it aloud and said, ‘Well, no.’ He’d be very demure.”

This past July, a British podcast produced by Tortoise Media broke the news that two women had accused Gaiman of sexual assault. Since then, more women have shared allegations of assault, coercion, and abuse. The podcast, Master, reported by Paul Caruana Galizia and Rachel Johnson, tells the stories of five of them. (Gaiman’s perspective on these relationships, including with Pavlovich, is that they were entirely consensual.) I spoke with four of those women along with four others whose stories share elements with theirs. I also reviewed contemporaneous diary entries, texts and emails with friends, messages between Gaiman and the women, and police correspondence. Most of the women were in their 20s when they met Gaiman. The youngest was 18. Two of them worked for him. Five were his fans. With one exception, an allegation of forcible kissing from 1986, when Gaiman was in his mid-20s, the stories take place when Gaiman was in his 40s or older, a period in which he lived among the U.S., the U.K., and New Zealand. By then, he had a reputation as an outspoken champion of women. “Gaiman insists on telling the stories of people who are traditionally marginalized, missing, or silenced in literature,” wrote Tara Prescott-Johnson in the essay collection Feminism in the Worlds of Neil Gaiman. Although his books abounded with stories of men torturing, raping, and murdering women, this was largely perceived as evidence of his empathy.

Katherine Kendall was 22 when she met Gaiman in 2012. She was volunteering at one of his events in Asheville, North Carolina. He invited her to join him a few days later at an after-party for another event, where he kissed her. The two struck up a flirtatious correspondence, emailing and Skyping in the middle of the night. Kendall didn’t want to have sex with Gaiman, and on one of their calls, she told him this. Afterward, she recorded his reply in her diary: “He had no designs on me beyond flirty friendship and I believe him thoroughly.” She’d grown up listening to his audiobooks, she later told Papillon DeBoer, the host of the podcast Am I Broken: “And then that same voice that told me those beautiful stories when I was a kid was telling me the story that I was safe, and that we were just friends, and that he wasn’t a threat.”

With Kendra Stout in April 2007. Photo: Courtesy of Kendra

Gaiman had been having sexual encounters with younger fans for a long time. Kendra Stout was 18 when, in 2003, she drove four and a half hours to Fort Lauderdale, Florida, to see Gaiman read from Endless Nights, a follow-up to The Sandman. She met him in the signing line. Gaiman sent her long emails and bought her a web camera so they could chat on video. Around three years after they met, he flew to Orlando to take her on a date. He invited her back to his hotel room, put on a playlist of love songs, and held her down with one hand. Gaiman didn’t believe in foreplay or lubrication, Stout tells me, which could make sex particularly painful. When she said it hurt too much, he’d tell her the problem was she wasn’t submissive enough. “He talked at length about the dominant and submissive relationship he wanted out of me,” she tells me. Stout had no prior interest in BDSM. She says Gaiman never asked what she liked in bed, and there was no discussion of “safe words” or “aftercare” or “limits.” He’d ask her to call him “master” and beat her with his belt. “These were not sexy little taps,” she says. When she told him she didn’t like it, she says he replied, “It’s the only way I can get off.”

Gaiman told Stout he had been introduced to these practices by a woman he’d met in his early 20s who had asked him to “whip her pussy.” At the time, he claimed to Stout, he was such a naïve Englishman that he thought she meant her cat. Then she handed him a flogger and told him to use it on her vagina. “‘This is what gets me off now,’” Stout recalls him saying. A similar anecdote shows up in an interview Gaiman gave for a 2022 biography of Kathy Acker, the late experimental punk writer Gaiman befriended in his 20s, but he offers a different account of how it affected him. When Acker asked him to “whip her pussy,” he found it “profoundly unsexual,” he told the interviewer. “I did it and ran away.” He identified himself as “very vanilla.”

In 2007, Gaiman and Stout took a trip to the Cornish countryside. On their last night there, Stout developed a UTI that had gotten so bad she couldn’t sit down. She told Gaiman they could fool around but that any penetration would be too painful to bear. “It was a big hard ‘no,’” she says. “I told him, ‘You cannot put anything in my vagina or I will die.’” Gaiman flipped her over on the bed, she says, and attempted to penetrate her with his fingers. She told him “no.” He stopped for a moment and then he penetrated her with his penis. At that point, she tells me, “I just shut down.” She lay on the bed until he was finished. (This past October, she filed a police report alleging he raped her.)

After Gaiman got into the bathtub with Pavlovich, she retreated to Palmer’s house, which was vacant at the time. She sat in the shower for an hour, crying, then got into Palmer’s bed and began to search the internet for clues that might explain what had happened to her. She Googled “Me Too” and “Neil Gaiman.” Nothing. The only negative stories she found were about how he’d broken COVID lockdown rules in 2020 and had been forced to apologize to the people of the Isle of Skye for endangering their lives.

At the end of the weekend, Palmer texted Pavlovich to say how pleased she was to see Pavlovich and her child get along. “The universe is a karmic mystery,” Palmer wrote. “We nourish each other in the most random and unpredictable ways.” Palmer asked if she could babysit again. She needed so much help. Would Pavlovich consider staying with them for the foreseeable future?

Pavlovich was living in a sublet that was about to end. She was broke and hadn’t been able to find a new apartment. She’d been homeless at the start of the pandemic, when the perfumery closed, and had ended up crashing on the beach in a friend’s sleeping bag on and off for the first two weeks of lockdown. The thought of returning to the beach filled her with dread.

She didn’t consider reaching out to her own family. Her parents had divorced when she was 3, and Pavlovich had grown up splitting time between their households. Violence, Pavlovich tells me, “was normalized in the household.” One close family member beat her with a belt. Another would strangle Pavlovich when she got upset and slap her across the face until her cheeks were raw. She began to regularly cut her arms and wrists with a knife when she was 11. She became bulimic, then anorexic. By 13, Pavlovich had grown so thin that she ended up in a psychiatric unit at Auckland Children’s Hospital and spent weeks on a feeding tube. When she was 15, she left home and never went back.

In the years since, she had been looking for a new family, but many of the people she’d encountered in that search turned out to be abusive as well. “After all of this, Amanda Palmer was an actual creature sent from a celestial realm. It was like, Hallelujah,” Pavlovich tells me. Palmer was famous for speaking out about sexual abuse and encouraging others to do the same. In songs and essays, she had written of having been sexually assaulted and raped on multiple occasions as a teenager and young woman. Pavlovich didn’t think someone like that could be married to someone who would assault women.

Sexual abuse is one of the most confusing forms of violence that a person can experience. The majority of people who have endured it do not immediately recognize it as such; some never do. “You’re not thinking in a linear or logical fashion,” Pavlovich says, “but the mind is trying to process it in the ways that it can.” Whatever had happened in the bath, she’d been through worse and survived, she thought. And Gaiman and Palmer were offering her the possibility of a shared future. Palmer’s vision of herself as the central figure of a utopian community could, according to some of her friends, make her careless with the young, impressionable women she invited into her and her husband’s lives. “Her idealism could blind her to reality,” one friend says. (Palmer declined to be interviewed, but I spoke with people close to her.) Palmer told Pavlovich they might travel to London together, and to Scotland, where Gaiman was shooting the second season of Good Omens. Pavlovich had wanted to leave New Zealand — her “epicenter of trauma” — for as long as she could remember. These conversations filled her head with fantasies “of finally being on solid ground in the world.”

After Palmer’s offer, Pavlovich texted Gaiman: “I am consumed by thoughts of you, the things you will do to me. I’m so hungry. What a terrible creature you’ve turned me into.” The following weekend, she packed up her sublet and boarded the ferry to Waiheke.

Throughout his career, Gaiman has written about terror from the point of view of a child. His most recent novel, The Ocean at the End of the Lane, tells the story of a quiet and bookish 7-year-old boy. Through various unfortunate events, he ends up with a hole in his heart that can never be healed, a doorway through which nightmares from distant realms enter our world. Over the course of the tale, the boy suffers terribly, sometimes at the hands of his own family. At dinner one night, the boy refuses to eat the food his nanny has prepared. The nanny, the boy knows, isn’t really a human but a nightmare creature from another world. When his father demands to know why he won’t eat, the boy explains, “She’s a monster.” His father becomes enraged. To punish him, he fills the tub, then picks up the child, plunges him into the bath, and pushes his shoulders and head beneath the chilly water. “I had read many books in that bath,” the boy says. “It was one of my safe places. And now, I had no doubt, I was going to die there.” Later that night, the boy runs away from home; on his way out, he glimpses his father having sex with the monstrous nanny through the drawing-room window.

In various interviews over the years, Gaiman has called The Ocean at the End of the Lane his most personal book. While much of it is fantastical, Gaiman has said “that kid is me.” The book is set in Sussex, where Gaiman grew up. In the story, the narrator survives otherworldly evil with the help of a family of magical women. As a child, Gaiman had no such friends to call on. “I was going back to the 7-year-old me and giving myself a peculiar kind of love that I didn’t have,” he told an interviewer in 2017. “I never feel the past is dead or young Neil isn’t around anymore. He’s still there, hiding in a library somewhere, looking for a doorway that will lead him to somewhere safe where everything works.”

While Gaiman has identified the boy in the book as himself, he has also claimed that none of the things that happen to the boy happened to him. Yet there is reason to believe that some of the most horrifying events of the novel did occur. Gaiman has rarely spoken about a core fact of his childhood. In 1965, when Neil was 5 years old, his parents, David and Sheila, left their jobs as a business executive and a pharmacist and bought a house in East Grinstead, a mile away from what was at that time the worldwide headquarters for the Church of Scientology. Its founder, the former science-fiction writer L. Ron Hubbard, lived down the road from them from 1965 until 1967, when he fled the country and began directing the church from international waters, pursued by the CIA, FBI, and a handful of foreign governments and maritime agencies.

It was a challenging job, to say the least. The U.K., following the example of a handful of other governments, had issued a report declaring Scientology’s methods “a serious danger to the health of those who submit to them.” Hubbard would routinely punish members of the organization who committed minor infractions by binding them, blindfolding them, and throwing them overboard into icy waters. Back in England, David gave interviews to the press to smooth over such troubling accounts. The church was under particular pressure to assure the public it was not harming children. In his bulletins to members, Hubbard had made it clear that children were not to be exempt from the punishments to which adults were subjected. If a child laughed inappropriately or failed to remember a Scientology term, they could be sent to the ship’s hold and made to chip rust for days or confined in a chain locker for weeks at a time without blankets or a bathroom. In his book Going Clear, Lawrence Wright recounts the story of a 4-year-old boy named Derek Greene, an adopted Black child who stole a Rolex and dropped it overboard. He was confined to the locker for two days and nights. When his mother pleaded with Hubbard to let him out, he “reminded her of the Scientology axiom that children are actually adults in small bodies, and equally responsible for their behavior.” (A representative for the Church of Scientology said it does not speak about members past or present but denies that this event occurred.)

David used Neil as an exhibit in his case to the public. In 1968, he arranged for Neil to give an interview to the BBC. When the reporter asked the child if Scientology made him “a better boy,” Neil replied, “Not exactly that, but when you make a release, you feel absolutely great.” (A release, in Scientology lingo, is what happens when you complete one of the lower levels of coursework.) What was happening away from the cameras is difficult to know, in part because Gaiman has avoided talking about it, changing the subject whenever an interviewer, or a friend, brings it up. But it seems unlikely that he would have been spared the disciplinary measures inflicted on adults and children as a standard practice at that time. According to someone who knew the Gaimans, David and Sheila did apply Scientology’s methods at home. When Neil was around the age of the child in The Ocean at the End of the Lane, the person said, David took him up to the bathtub, ran a cold bath, and “drowned him to the point where Neil was screaming for air.”

As a teenager, Neil worked for the Church of Scientology for three years as an auditor, a minister of the church who conducts a process some have likened to hypnosis. One former member of the church who worked with Gaiman’s parents and was audited by Gaiman recalls him as precocious and ambitious. It was unusual for a teenager to have completed such a high level of training, he tells me. But the Gaimans were like “royalty,” he says. In 1981, David was promoted to lead the Guardian’s Office, making him one of the most powerful people in the church. But the same year, he fell from grace. A new generation of Scientologists, led by David Miscavige, who eventually succeeded Hubbard as the church’s leader, had Hubbard’s ear, and David was “caught in that grinder,” as his former colleague puts it. A document declaring David a “Suppressive person” was released a few years later. It accused him of a range of offenses, including sexual misconduct. David, the document claims, put on a “front” of being “mild mannered and quite sociable,” adding that his actions “belie this.” His greatest offense, it seemed, was hubris. “Gaiman required others to look up to him instead of to Source,” it reads, referring to Hubbard.

In the ’80s, David was sent off to a sort of rehabilitation camp. It was around this time that Gaiman set out to make a living as a writer. Charming and strategic, he used the contacts he developed as a journalist to break into the business of genre writing, endearing himself to the giants of that world at the time: Douglas Adams, Arthur C. Clarke, Clive Barker, Terry Pratchett, Alan Moore. “When I was young, I had unbelievable chutzpah,” Gaiman says in the documentary Neil Gaiman: Dream Dangerously. “The kind of monstrous self-certainty that you only get normally in people who then go on to conquer half the civilized world.”

Gaiman and Palmer met in 2008, when she was 32 and he was 47. Both were at a turning point in their lives and careers. Gaiman was in the midst of finalizing a divorce from his first wife, with whom he had three children, and on the verge of breaking into Hollywood (nine of his works have been turned into movies or TV shows); Palmer was in a fight with her record label that would culminate in a split. Palmer had a collection of photos of herself posing as a murdered corpse and wanted Gaiman to write captions to go along with the pictures. Gaiman liked the idea, and the two met to work on the project, a book tied to her first solo album, Who Killed Amanda Palmer. As Palmer described in The Art of Asking, they were not attracted to each other at first. “I thought he looked like a baggy-eyed, grumpy old man, and he thought I looked like a chubby little boy.”

Gaiman was the first to propose a romantic relationship. In an interview, he later said, “I got together with her because I couldn’t ever imagine being bored.” Palmer could. Ever since she’d gotten her start as a street busker, painting her face white and standing on a crate in Harvard Square dressed as a silent eight-foot-tall bride, she prided herself on a low-rent, bohemian lifestyle, couch-surfing when she toured, playing random shows in the living rooms of her fans. She had no savings and didn’t own a car, real estate, or kitchen appliances. Gaiman owned multiple houses. He was too rich, too famous, too British, too awkward, too old. And they didn’t have great sexual chemistry. But he appeared to be kind and stable, a family man, and they shared a dark, fantastical aesthetic. She also felt a little sorry for him. He seemed lonely, in spite of his fame, and Palmer found herself hoping that she could help him. “He’d believed for a long time, deep down, that people didn’t actually fall in love,” she wrote in her book. “‘But that’s impossible,’” she told him. He’d written stories and scenes of people in love. “‘That’s the whole point, darling,’ he said. ‘Writers make things up.’”

They wed in 2011 in the Berkeley home of their friends Michael Chabon and Ayelet Waldman, the novelists. Their union had a multiplying effect on their fame and stature, drawing each out of their respective domains of cult stardom and into the airy realm of tech-funded virality. They became darlings of the TED talk circuit and regulars at Jeff Bezos’s ultrasecret Campfire retreat. Gaiman introduced Palmer to Twitter, which he had used to become fantasy’s most beloved author of 140-character bons mots. Palmer, in turn, leaned into her growing reputation as a crowdfunding genius. Online, they flirted, went after each other’s critics, and praised each other’s progressive politics. In an interview with Out magazine in 2012, Palmer said that the main “other” relationship in both of their lives was with their fans: “Sometimes when I’m with Neil, and go to the other room to Twitter with my followers, it feels like sneaking off for a quick shag.”

This wasn’t strictly a metaphor. During the early years of their marriage, they lived apart for months at a time and encouraged each other to have affairs. According to conversations with five of Palmer’s closest friends, the most important rule governing their open relationship was honesty. They found that sharing the details of their extramarital dalliances — and sometimes sharing the same partners — brought them closer together.

In 2012, Palmer met a 20-year-old fan, who has asked to be referred to as Rachel, at a Dresden Dolls concert. After one of Palmer’s next shows, the women had sex. The morning after, Palmer snapped a few semi-naked pictures of Rachel and asked if she could send one to Gaiman. She and Palmer slept together a few more times, but then Palmer seemed to lose interest in sex with her. Some six months after they met, Palmer introduced Rachel to Gaiman online, telling Rachel, “He’ll love you.” The two struck up a correspondence that quickly turned sexual, and Gaiman invited her to his house in Wisconsin. As she packed for the trip, she asked Palmer over email if she had any advice for pleasing Gaiman in bed. Palmer joked in response, “i think the fun is finding out on your own.” With Gaiman, Rachel says there was never a “blatant rupture of consent” but that he was always pressing her to do things that hurt and scared her. Looking back, she feels Palmer gave her to him “like a toy.”

For Gaiman and Palmer, these were happy years. With his editing help, she wrote The Art of Asking. They toured together. And when Palmer was offered a residency at Bard College, Gaiman tagged along to give some talks, then ended up receiving an offer to join the faculty as a professor of the arts. After they’d been together for a few years, Palmer began asking Gaiman to tell her more about his childhood in Scientology. But he seemed unable to string more than a few sentences together. When she encouraged him to continue, he would curl up on the bed into a fetal position and cry. He refused to see a therapist. Instead, he sat down to write a short story that kept getting longer until it had turned into a novel. Although the child at the center of the story in many ways remains opaque, Palmer felt he had never been so open. He dedicated the book, The Ocean at the End of the Lane, “to Amanda, who wanted to know.”

In 2014, the cracks in Gaiman and Palmer’s marriage began to show to those around them. While they were at Bard, they decided to buy a house upstate. Palmer would have preferred to live in New York City, but Gaiman liked the woods. Eventually, he picked a sprawling estate set on 80 acres in Woodstock. It was Gaiman’s money, a friend who accompanied them on the house hunt says, “and he was going to have the say.”

Later that year, Palmer got pregnant. She and Gaiman were spending more time at home together and talked about slowing down and devoting their attention to their marriage. She wanted to close the relationship, and he agreed. But when she was eight months pregnant, Gaiman came to her with a problem: He had slept with a fan in her early 20s, taking her virginity. Now, Gaiman told her, the girl was “going crazy.” He promised to change, and they met with a couples counselor. Gaiman was prone to panic attacks and had never been in treatment. “Amanda was shocked at how traumatized Neil was, given his public persona and the guy she thought she’d married,” a person close to them says.

One of the people in whom Palmer confided about her marital issues at the time was Caroline, a potter who, along with her builder husband, Phillip, had been living on the Woodstock property and working as a caretaker. Gaiman had made them an offer that seemed too good to be true. They would build an addition on one of the cabins on the land at Gaiman’s expense, and in exchange, Gaiman would sell them a five-acre parcel, allowing them to put up a barn-style home to share with their three daughters. They tended to the garden, ran errands for guests, and rehabilitated the buildings, which needed plumbing and electrical work.

At lunch one day, Palmer told Caroline she hated living in the woods and was disturbed by what she was learning about her husband. “‘You have no idea the twisted, dark things that go on in that man’s head,’” Caroline recalls Palmer saying. Palmer said she wished her marriage were more like Caroline and Phillip’s, but their marriage of 11 years was falling apart, too. In 2017, Phillip moved out of their house. Caroline, 54, spent her days in bed crying and drinking. She stopped eating and, for the most part, stopped working. It was then that Gaiman began paying attention to her. He would bring juices up to her cabin and fret that she was losing too much weight. The first time he touched her, in December 2018, she was sitting on his couch next to him, crying from exhaustion. Gaiman told her, “You need a hug.” She stood and he hugged her, then slid his hands down her pants and into her underwear and squeezed her butt. She does not recall saying or doing anything in response. “I was stunned,” she says.

Over the next two years, they had a series of sexual encounters, always when Palmer was away. When Gaiman wasn’t around, they occasionally engaged in phone sex. At first Caroline, who hadn’t been with anyone since Phillip left, went along willingly. But at the end of their second encounter, she remembers asking Gaiman what Palmer would think about their romance: “He said, ‘Caroline, there is no romance.’” After that, she tried to keep her distance from him, darting away when she saw him on the estate. He was difficult to avoid. He kept an egg incubator in Caroline’s cabin and would come down and check on it, entering without texting first. On one of these visits, he found her crying by the fireplace. He walked over to her, stuck his thumb in her mouth, and twisted her nipples. She told Gaiman the arrangement was making her “feel bad.” She recalls him replying, “I don’t want you to feel bad.” But nothing changed. Caroline had no income at the time and was borrowing money from her sister to get by. She worried that if she didn’t appease Gaiman, he’d kick her out of her house and then she and her three daughters would have nowhere to go. “‘I like our trade,’” she remembers him saying. “‘You take care of me, and I’ll take care of you.’”

Sometimes she would babysit. Once, Caroline and the boy, then 4, fell asleep reading stories in Gaiman and Palmer’s bed. Caroline woke up when Gaiman returned home. He got into bed with his son in the middle, then reached across the child to grab Caroline’s hand and put it on his penis. She says she jumped out of the bed. “He didn’t have boundaries,” Caroline says. “I remember thinking that there was something really wrong with him.”

In April 2021, Gaiman informed Caroline that the land he’d promised her was no longer available. That summer, she stopped responding to his attempts to engage in phone sex and Gaiman increased the pressure on her to leave his property. One night in December 2021, Gaiman’s business manager, Terry Bird, called Caroline and offered her $5,000 to move immediately if she’d sign a 16-page NDA agreeing to never discuss anything about her experience with Gaiman or Palmer or to take legal action against Gaiman. Caroline recalls saying to Bird, “What am I going to do with $5,000? I need therapy. This is maybe $300,000.” Looking back, she says she didn’t know how she came up with that number, but Gaiman agreed to it, and she signed. (Gaiman’s representatives say Caroline initiated the sexual encounters and deny that he engaged in any sexual activity with her in the presence of his son.)

Two months later, Pavlovich arrived on Waiheke. By then, Palmer and Gaiman were divorcing. According to Palmer’s friends, she asked for a divorce after Rachel called to tell her that she and Gaiman were still having sexual contact, long past the point when Palmer thought their relationship had ended. She was hurt but unsurprised. “I find it all very boring,” she later wrote to Rachel, who recalls the exchange. “Just the lack of self-knowledge and the lack of interest in self-knowledge.” In late 2021, Palmer found out about Caroline, too. “I remember her saying, ‘That poor woman,’” recalls Lance Horne, a musician and friend of Palmer’s in whom she confided at the time. “‘I can’t believe he did it again.’”

By the time she asked Pavlovich to babysit, Palmer was fed up with Gaiman’s behavior, but “she still had some faith in his decency,” a friend says. Still, she knew enough to warn Gaiman to stay away from their new babysitter. “I remember specifically her saying, ‘You could really hurt this person and break her; keep your hands off of her,’” the friend says. And Palmer still hoped, according to those close to her, that she and Gaiman would be able to negotiate a peaceful co-parenting arrangement. She found a school for their child and the two houses on Waiheke. “She was going to do her best to keep Neil as a presence for her son,” one friend says.

One evening, Palmer dropped Pavlovich and the child off with Gaiman and retreated back to her own place. Pavlovich was in the kitchen, tidying up, when he approached her from behind and pulled her to the sofa. “It all happened again so quickly,” Pavlovich says. Gaiman pushed down her pants and began to beat her with his belt. He then attempted to initiate anal sex without lubrication. “I screamed ‘no,’” Pavlovich says. Had Gaiman and Pavlovich been engaging in BDSM, this could conceivably have been part of a rape scene, a scenario sometimes described as consensual nonconsent. But that would have required careful negotiation in advance, which she says they had not done. After she said “no,” Gaiman backed off briefly and went into the kitchen. When he returned, he brought butter to use as lubricant. She continued to scream until Gaiman was finished. When it was over, he called her “slave” and ordered her to “clean him up.” She protested that it wasn’t hygienic. “He said, ‘Are you defying your master?’” she recalls. “I had to lick my own shit.”

Afterward, she got into the shower and tried to wash her mouth out with a bar of lavender soap. It had a grainy texture and tasted of metal, acid, and herbs. She noticed blood swirling down the drain. He hadn’t used a condom, and she worried she might have gotten an infection. She had a migraine, and her whole body ached. But she didn’t consider leaving. She’d hated herself her whole life, she tells me, “and when someone comes along and hates you as much as yourself, it is kind of a relief, without it always being consent.” She says she understands how Scientologists might have felt when they were sent to the Hole, a detention center where they were forced to lick the floor as punishment. She’d heard of how some would stay in the room even after they were allowed to leave. “People keep licking the floor in that horrible room,” she says.

The nights with Gaiman blurred together. There was the time she passed out from pain while Gaiman was having anal sex with her. He made her perform oral sex while his penis had urine on it. He ordered her to suck him off while he watched screeners for the first season of The Sandman. In one instance, he thrust his penis into Pavlovich’s mouth with such force that she vomited on him. Then he told her to eat the vomit off his lap and lick it up from the couch.

A week or so into Pavlovich’s time with the family, their son began to address her as “slave” and ordered Pavlovich to call him “master.” Gaiman seemed to find it amusing. Sometimes he’d say to his child, in an affable tone, “Now, now, Scarlett’s not a slave. No, you mustn’t.” One day, Pavlovich came into the living room when Gaiman and the boy were on the couch watching the children’s show Odd Squad. She joined them, sitting down next to the child. Gaiman put his arm around them both, reached into Pavlovich’s shirt, and fondled her breasts. She says he didn’t make any effort to hide what he was doing from the boy. Another time, during the day, he requested oral sex in the middle of the kitchen while the boy was awake and somewhere in the house. “He would never shut a door,” she says.

On February 19, 2022, Gaiman and his son spent the night at a hotel in Auckland, which they sometimes did for fun. Gaiman asked Pavlovich if she could come by and watch the child for an hour so he could get a massage. It was a small room — one double bed, a television, and a bathroom. When he returned, Gaiman and the boy ate dinner, takeout from a nearby delicatessen. Afterward, Gaiman wanted to watch a movie, but the child wanted to play with the iPad. The boy sat against the wall by the picture window overlooking the city, facing the bed. Pavlovich perched on the edge of the mattress; Gaiman got onto the bed and pulled her so she was on her back. He lifted the covers up over them. She tried to signal to him with her eyes that he should stop. She mouthed, “What the fuck are you doing?” She didn’t want the child to overhear what she was saying. Gaiman ignored her. He rolled her onto her side, took off his pants, pulled off her skirt, and began to have sex with her from behind while continuing to speak with his son. “‘You should really get off the iPad,’” she recalls him saying. Pavlovich, in a state of shock, buried her head in the pillow. After about five minutes, Gaiman got up and walked to the bathroom, half-naked. He urinated on his hand and then returned to Pavlovich, frozen on the bed, and told her to “lick it off.” He went back to the bathroom, naked from the waist down. “Before you leave,” he told Pavlovich, “you have to finish your job.” She went to the bathroom, and he pushed her to her knees. The door was open. (Gaiman’s representatives say these allegations are “false, not to mention, deplorable.”)

Ten days after Gaiman left New Zealand, Pavlovich went to Palmer’s house for dinner. She asked Palmer if she could tell her something in confidence and made her promise not to tell Gaiman. She begged for reassurance that she would still keep her job as the child’s nanny. Palmer assured Pavlovich her employment was not in danger. Sitting in the kitchen, Pavlovich told Palmer that Gaiman had made a pass at her. She told Palmer about the bath. “I didn’t have any choice in the matter,” she said. “He just did it.” She said he had been having sex with her ever since. She withheld some of the most brutal details and did not describe her experience as sexual assault; she didn’t yet see it that way.

Palmer did not appear to be surprised. “Fourteen women have come to me about this,” she said. She mentioned that Gaiman had slept with another babysitter during his first marriage, and that she’d heard from other women who were disturbed by their experiences with him. Pavlovich waited until the end to tell Palmer about the child being present in Auckland. Afterward, she recalled, Palmer was silent. She appeared shocked. Palmer insisted that Pavlovich spend the night in her guest room. She told her, “I’ve had to do this before, and I can do this again. I will take care of you.” Pavlovich lay down in the bed and heard Palmer pacing back and forth in her room upstairs until 3 a.m.

Palmer called Gaiman that night. According to Horne, the musician, she asked Gaiman whether their son had been wearing headphones while he and Pavlovich were in the hotel room. He replied “no,” then hung up. The following day, Palmer emailed Gaiman and their couples counselor, a man named Wayne Muller, a minister and “a sort of marital companion,” as he put it to me. According to Muller, who relayed the contents of the email to me, Palmer wrote that Gaiman needed psychiatric treatment and had finally agreed to seek it. “Everyone was trying to make the best of what was clearly a difficult situation,” Muller tells me. Palmer then flew to Edinburgh, where Gaiman was staying with their son, whom she collected. Meanwhile, Pavlovich received a text from Gaiman: “Amanda tells me that you are having a rough time and you are really upset with me about what we did. I feel awful about this. Would you like to talk about it? Is there anything I can do to make anything better?” Pavlovich didn’t respond immediately. “My reflex was to fix the situation,” she tells me. The next day, she wrote, “Hey. We’ll speak soon … hope you are doing good.”

In the days and weeks after Pavlovich’s revelation, Palmer was solicitous, checking in frequently over text and sending warm notes: “From the minute you entwined your fate with mine on ponsonby road i’ve been glad i met you. That is tenfold so now.” She helped Pavlovich find a temporary apartment and invited her over for meals. In late March, Palmer sent a message to a friend of Pavlovich’s, a 41-year-old ceramicist named Misma Anaru, in whom Pavlovich had confided about Gaiman. “I’m glad she had you to take care of her,” she wrote. “It’s been a rough month for everyone.” Anaru’s partner, Kris Taylor, was a doctor of psychology who had lectured at the University of Auckland on coercion, consent, and rape. Although Pavlovich had never used the words rape or sexual assault to describe what had happened to her, both Anaru and Taylor believed Gaiman had raped her repeatedly. Anaru felt Palmer bore a share of the blame. Replying to Palmer, she wrote that “the majority of my rage is directed at Neil.” But she couldn’t understand why, with all Palmer knew about Gaiman, she had sent Scarlett into that situation. “Did you not see this coming a mile away?” She added, “And yes I know you asked him not to do that to her, but honestly, the fact you even felt that was something you should ask is fucked up in ways that defy comprehension.”

Around the same time, Pavlovich followed up with Gaiman. “I had a very intense dream about you last night,” she wrote. “Are you doing okay?” In his reply, he made a reference to something that had happened two weeks earlier. In a session with Muller, Palmer had said that Pavlovich was telling people he had raped her and was planning to “Me Too” him. “I wanted to kill myself,” he wrote. “But I’m getting through it a day at a time, and it’s been two weeks now and I’m still here. Fragile but not great.” He expressed dismay at Anaru’s message, which Palmer had told him about. “I’m a monster in it,” he wrote, “and Amanda seems to have bought it hook line and sinker.” Apologizing for “bringing any upset” into Pavlovich’s life, he wrote, “I thought that we were a good thing and a very consensual thing indeed.”

Pavlovich remembers her palms sweating, hot coils in her stomach. She was terrified of upsetting Gaiman. “I was disconnected from everybody else at that point in my life,” she tells me. She rushed to reassure him. “It was consensual (and wonderful)!” she wrote. Anaru had been “triggered by something I think,” she added.

“I am so glad that you messaged me,” Gaiman wrote. “I thought you were a monster.”

Gaiman asked Pavlovich to speak with Muller. “Knowing that you would be prepared to say, ‘It’s not true, it was consensual, he’s not a monster,’ makes me a lot more grounded,” he wrote. Muller reached out to Pavlovich to offer a “safe harbor.” When they spoke on the phone, Pavlovich told Muller what Gaiman, who was paying for the session, had asked her to say. After listening to Muller’s “esoteric, spiritual claptrap,” she felt worse. “I really felt it was all my fault.” Muller, for his part, tells me that ethical boundaries prevent him from sharing anything about his sessions with Gaiman, but he apparently felt comfortable sharing details of his conversation with Pavlovich. “What she called to speak with me about was feeling pressured — from very diverse, mostly older women in her community — to take action that she wasn’t sure she felt comfortable taking. I accompanied her on a journey to help her figure out the answers for herself to that issue.”

In the weeks that followed, Muller connected Gaiman with the Austen Riggs Center, a psychiatric facility in Massachusetts. According to Muller, Gaiman had several preliminary phone calls with the facility and was considering entering a six-week inpatient evaluation process. But Gaiman never followed through. “I don’t remember why not,” Muller says.

Pavlovich grew suicidal. She hoarded zopiclone and aspirin and walked around the city surveying bridges. She decided she’d take the pills and told Palmer about her plan. At Palmer’s urging, she checked into an emergency room. “You are loved,” Palmer texted. After a few days in a respite center, feeling slightly better, Pavlovich reached out to Palmer to ask if she could resume working as the child’s nanny. The apartment Palmer had set her up with was temporary, and she needed a place to stay. “It would be really good for me I think to have something to do and people to be around,” she wrote. Palmer argued that it was not the time for her to take on the responsibility of caring for a child. “Your job is to care for you,” she replied. She proposed they get together when Pavlovich got out, promising to help her get back on her feet, and suggested in the meantime she go home to her parents. This infuriated Pavlovich. “There is a reason I have divorced my parents,” she wrote. “I’m starting to feel very much on my own and like I hate everyone.”

“I can’t offer you exactly what you want from me,” Palmer wrote, “but i can still be here. remember this.”

“Babe I am more alone than I’ve ever been in my life,” Pavlovich replied. She wished she’d never agreed to be their nanny: “If I hadn’t gotten on that first ferry I wouldn’t be where I am now.”

That night, Pavlovich texted Gaiman. “Amanda keeps saying she will help but it seems more philosophical rather than actually like she will help.” Two minutes later, she added, “I’ve been thinking of you so much.” Gaiman replied that he’d be happy to help in a tangible way. Pavlovich then received an NDA dated to the first night of her employment, when he had suggested she take a bath. She signed it. A month later, she received a bank transfer from Gaiman: $1,700 for her babysitting work. Two months after that, she received the first of nine payments totaling about $9,200.

Over the course of the year, Pavlovich’s perspective changed. “As he faded away, I began to let other voices in,” she says. Friends connected her with women who were experienced in dealing with sexual assault and abuse, including Zelda Perkins, a former assistant of Harvey Weinstein’s and an advocate for ending the “misuse of NDAs to buy women’s silence.” (Caroline and Pavlovich broke their NDAs when they spoke out about Gaiman.) These women encouraged her to go to the police.

In January 2023, Pavlovich filed a police report accusing Gaiman of sexual assault. At the station, she gave a formal interview about the case. After she told the officers her story, one of them told her that Palmer’s cooperation would be essential for the case to move forward. Pavlovich assured them Palmer would participate. “I said to them, ‘She’s a public feminist, and she knows what happened. She’ll want to protect me. I’m sure she’ll speak.’”

This past fall, Pavlovich began studying for a degree in English literature at the University of St. Andrews in Scotland. As it happens, the university had awarded Gaiman an honorary degree in 2016. In December, Pavlovich approached the head of the university, Dame Sally Mapstone, to share her experience and ask the university to review the decision to honor Gaiman. Mapstone was sympathetic but indecisive; some on the board, she told Pavlovich, would likely want evidence of prosecution to rescind his degree. As far as the police report goes, the “matter has been closed,” a spokesperson says. Gaiman’s career, meanwhile, has been marginally affected. A few pending adaptations of his novels and comics have been put on hold or canceled. But the second season of The Sandman is set to premiere on Netflix this year, as is Anansi Boys on Amazon Prime. (Amazon did not return a request for comment.) He and Palmer are entering the fifth year of an ugly divorce and custody battle. Gaiman has “bled her dry” in the divorce proceedings, according to someone close to her. She’s moved back in with her parents in Massachusetts. (Gaiman’s representatives alleged that Palmer was a “major force” driving this story in light of their contentious divorce.)

In December, Pavlovich flew to Atlanta to meet some of the other women who had made accusations against Gaiman. They had been unaware of one another’s existence until they’d heard the podcast. Since then, they had formed a WhatsApp group and grown close. “It’s been like meeting survivors of the same cult,” Stout tells me. “It’s impossible to understand unless you were there.” On New Year’s Eve, Pavlovich, Stout, and Caroline gathered around a bonfire at the Athens home of the musician Michael Stipe, an old friend of Caroline’s. Kendall joined them on FaceTime. With their dark hair and delicate features, they looked like they could be sisters. Around 11 p.m., they wrote down their intentions for the year and cast the scraps of paper into the fire. Pavlovich had written that she wanted to “release the yoke of victimhood” and “invite in self-acceptance.” The next morning, she woke before the others, made coffee, cleaned the kitchen, and sat on the porch in the winter sun. “Am I happy?” she wrote in her journal. “No.” But she also noted that she wasn’t alone. “There is no need to feel abandoned anymore.”

#neil gaiman #neil gaimen allegations #tw sex assault #tw r4p3 #SA #good omens #vulture #radfems #radical feminism

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fuckyeahgoodomens · 1 year ago

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Ooh! A wonderful interview with Rich Keeble who played Mr. Arnold (the one with the Doctor Who Annual :)) in S2! :)❤

Q: In Good Omens 2 you play Mr. Arnold, who runs the music shop on Whickber Street. Were you a fan of Good Omens before joining the cast, and is it challenging to take on such an iconic story which is already loved by a huge fanbase?

A: “There’s always pressure if you’re working on something with an existing fanbase and people might have an idea already as to how you should be approaching something. To be honest I was aware of the show but I hadn’t actually seen it before I was asked to get involved. I knew it was something special though! I remember talking to Tim Downie [Mr. Brown] about how when you tape for certain things you know if something’s a “good one”. Of course by the time I was on set I’d watched Season 1 and read the book.

I had an interesting route into the show actually: I was asked at the last minute to read the stage directions at the tableread on Zoom, and Douglas [Mackinnon] the director called me up to discuss pronunciations of the character names etc. To prepare further I quickly watched the first episode on Prime Video, and I was very quickly drawn into it. A couple of hours later I was on a Zoom call with David [Tennant], Michael [Sheen] (with his bleached hair), Neil [Gaiman], Douglas and the whole team, including Suzanne [Smith] and Glenda [Mariani] in casting. After that readthrough I asked my agent to try and see if she could shoehorn me in and she came back with a tape for Mr. Arnold saying “you play the piano don’t you…?” They wanted me to demonstrate my musical playing ability, so I rented a rehearsal studio room in Brixton for an hour and filmed myself playing piano (and drums just in case), then I did my scenes a couple of different ways and I guess it wasn’t too terrible!”

Q: During episode five you mimed to music written by series composer David Arnold alongside a real string quartet – this must have been very immersive! How did it feel to work with David, and bring the ball to life?

A: “I actually didn’t meet David Arnold sadly, but I did work with Catherine Grimes, the music supervisor who is lovely. David was at the London screening but I missed an opportunity to go and say hello to him which I kicked myself about.

I remember before I was in Scotland there was a bit of uncertainty as to whether I would need to play anything for real or not, so I practised every day playing loads of Bach and other music I thought was era-appropriate just in case they asked me to do anything on the fly. So yes, it was very immersive as you say! They sent me three pieces of music to learn which I practised in my Edinburgh apartment on a portable folding keyboard thing I bought. They introduced me to the string quartet (John, Sarah, Alison and Stephanie) and I tried to hang out with them when I could. On the day we all had earpieces to mime to. I had to mime while listening out for a cue from Nina [Sosanya] from across the room, then deliver my dialogue and carry on playing, which was tricky! The quartet and I helped each other out actually: Douglas would say something like “let’s go from a minute into the second piece of music”, I’d look at the sheet music and whisper “where the hell is that?” and one of the quartet would say “we think that’s bar 90” or something. Here’s a little bit of trivia: the shooting overran and the string quartet couldn’t make the last day, so they found some incredible lookalikes to replace them for the scene when we get lead out of the bookshop through all the demons, although I think they also kept them deliberately off camera.”

Q: What did you think of your music shop when you first saw the set? Did you have a favourite poster or prop?

A: “I thought it was incredible! It could’ve been an actual music shop with all the instruments hanging up with the “Arnold’s” price tags on. The attention to detail was incredible, well IS incredible as I understand it’s all still there. It’s hard to pick a favourite to be honest. I did a little video walkaround on my phone at the time so maybe I’ll post that if I won’t get in trouble. Interestingly the shop interior itself was elsewhere on the set to the shop entrance you see from the street. You walk out of Aziraphale’s shop, over the road, through the door of the music shop and… there’s nothing.”

Q: Mr. Arnold is tempted into the ball by a Doctor Who Annual and is playing the theme in the music shop scene – are you a fan of Doctor Who in real life? And what was it like making those jokes and references in front of the Tenth Doctor David Tennant?

A: “I’ve always dipped in and out of Doctor Who over the years since Sylvestor McCoy, who was doing it when I first became aware of it when I was growing up. Even if you’re not a fan it’s one of those shows you can’t really get away from, so doing that particular scene in front of David was really fun, and of course Douglas had directed Doctor Who as well. Apart from the amusing situation of two supposed Doctor Who fans talking about Doctor Who without realising they’re in the company of a Doctor Who, I also seem to remember Michael being the one to suggest that he would deliver his “due to problems at the BBC” line directly to David.

Oh, and I think it was actually my idea to grab the annual off the harpsichord before joining the queue behind Crowley at the end of the ballroom scene (which we’d shot weeks earlier at this point). When we were blocking it out and rehearsing I knew I had to leave my position and get to the front for my “surrender the angle” line, and then later it just felt like I wouldn’t leave without the annual so I ran back through everyone to grab it. Nobody seemed to have a problem with me doing that so I just carried on doing it when we shot it! I do remember it being a fun set with Douglas and the team being very open to suggestions.”

Q: How did you balance filming both Good Omens and BBC Ghosts at the same time?

A: “Luckily both shows were a joy to work on, and everyone seems to know about both of them. We were shooting them in early 2022 and I also had a little part in an ITV drama called ‘Stonehouse’, starring Matthew Macfadyen. I usually never know when I’m working next so to have three great TV jobs at once was very unusual. There was all this date juggling and I actually almost had to turn down Ghosts due to clashes. Luckily both shows had to move some dates so it worked out. But yes, I spent two weeks up in Scotland shooting all that Good Omens ballroom stuff, then I came back down to London to do Ghosts, knowing I’d be back up to shoot my scenes in the music shop in a couple of weeks. Now, when I found out who was playing my wife in Ghosts I couldn’t believe it: Caroline Sheen – Michael Sheen’s cousin! She was amazing and that was another great set in general. I say “set”, but it’s all filmed in that house which surprised me. I’d worked with Kiell [Smith-Bynoe] and Jim [Howick] before, and Charlotte [Ritchie] was in the Good Omens radio play a few years ago and a big fan of the book. Charlotte’s very musical of course and we got talking about my folding keyboard I had for practising my Good Omens stuff, and she ended up setting it up in the house for us to have a play on!

Now, when we’d shot all our internal scenes there was this big storm forecast, and our external scenes were scheduled for the day of the storm, so that had to be moved into the next week. It meant I ended up shooting those scenes outside the house, then going straight back up to Scotland to shoot the Good Omens music shop scene the next day! When I mentioned to Michael I’d just worked with Caroline he said “ooh she’s in Ghosts is she!” and revealed that she’d texted him about me which was rather surreal. Then later after the Ghosts wrap party Kiell gave me a part in his Channel 4 Blap, so at the time I felt like I was killing it career wise, but the industry quietened a bit after that and my workload eased off over the year so I was in my overdraft by November.”

Q: What are your plans for the future – can we expect to see you in something else soon?

A: “This year, after a bit of a quiet start, I was very fortunate to work on a Disney+ show called Rivals which stars… David Tennant! I think I’m allowed to say my character is called Brian, and I shot five episodes so that was another really amazing job, and great to work with David again (I told him he must be my good luck charm, although I hope he’s not sick of me). That should be out at some point in late 2024. Other than that I’ve filmed a few other bits I presume will be out next year, one of which is called Truelove on Channel 4 which actually looks really good. That starts early January. Of course now Season 3 of Good Omens has been greenlit, I would love Neil and the gang to have me back on that… but I can only keep my fingers crossed!”

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allforthegaymes · 7 months ago

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Aaron deciding to go to med school because he wants to help people when hes older, he hasnt decided where exactly, countless google pour overs on the beanbag next to andrew, reading out loud different sectors he could go into, listening to andrews hums or grunts for an input.

He ends up with pediatrics, the only one andrew had paused over before standing up to leave the dorm without another word.

He takes a minor in sports health though. Nothing to get officially licensed over, but enough knowledge to gain that when neils ankle acts up his first year on a pro team, with Abby across the country and not able to drop everything to fly out, and neils refusal to see any other nurse, aarons happy to take the hour commute over to his apartment to let him know he just rolled it and needs to keep it elevated and to not apply any pressure.

Then a few years later when neil and andrew end up with a set of twin girls running around their farmhouse, and andrew is calling aaron at a crisp 2am because one of the girls threw up and aarons gotta calmly talk him through that its cold season and she probably just got it from one of the kids at preschool, give her some medicine and itll clear in a few days.

Aaron not putting his dreams on hold or bending them to fit what others want him to do, but using his career to help his family how he can, in the little ways that matter most to him.

#aftg #all for the game #minyard #andrew joseph minyard #minyard twins #twinyard #aaron minyard #twinyards #mine

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harmslength · 10 months ago

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Milk and Honey —

Paring | Neil Lewis x Reader

Word Count | 4.9K

Summary | Being a mother is no easy task. After a long day of muscle pains, sleep deprivation and overall exhaustion—your adoring husband comes home to help.

TLDR - Post pregnancy hormones, pent up sexual frustration and— oh dear god milk?!

Info | SMUT (18+ only), unprotected sex (p in v), established relationship, breeding kink, lactation kink, mommy and daddy kink, impregnation, pregnancy body mentioned, milk sipping and titty sucking (hell yeah)

Notes | posting this now or I genuinely never will. Not my proudest work but here we are. I’m also incredibly aware that I am subjecting y’all to my own weird kinks…Don’t worry! It will only get worse from here :)

You laid in a ball on top of your bed. Freshly washed linens and clothes circling you like vultures.

You were exhausted, sleep deprived and you ached all over. Every movement made your muscles tense and your migraine grow.

It’s been three months since you had given birth to your little bundle of joy. Right about now though, your child was a lot more like a bundle of terror.

The baby rarely ever slept, too hungry to sleep and too stubborn to latch. It’s not the babys fault though, you knew that. It’s just—well, it’s fucking hard work.

——

You tried your best to wait up for your husband, you truly did. But your eyes grew heavy and your body aches slowly melted into a soft tingle as you fell into a much needed slumber.

You were awoken by the sound of your bedroom door closing. Groaning at the sudden intrusion of your dreams, you rolled over to look at your intruder.

“You’re home.” You mumbled to him groggily. Neil quickly slipped off his shoes and climbed into bed next to you, pushing off the clothes and freshly folded linen off the bed in the process.

You groaned and reached out for it, a heavy complaint ready to be expelled. But Neil just grabbed your hand and brought it to his lips and kissed it, shushing you with the promise of the laundry being cleaned up later.

“The baby asleep?” He asked while he buried his face in between your shoulder and neck. You felt him take a deep inhale as his fingers trailed down your sore body.

“Mhmm,” you hummed, relaxing at the touch of your loving husband.

“Good.” He smiled and placed a gentle kiss to your neck. You craned your head slightly and welcomed it.

Neil’s soft hands traced the peek of skin that was exposed below your shirt. Lines of stretch marks covered your stomach, but he didn’t mind. He never did, he loved every part of you.

“Thank you for taking care of the baby,” Neil placed kisses along your collarbones.

“I’m so lucky to have you.” Fingers trailed up your shirt to the soft and supple mounds that were your breasts.

You didn’t even realize it, but milk had soaked through the thin layer of your shirt; dripping down and making it sticky against your skin.

“So lucky to have you,” he echoed, his hands slightly trembling, his fresh hard on pressing into your thigh.

You loved the attention Neil gave you, but with how sore your body was from recovering, the constant care of your baby and the ever-growing pressure from the milk trapped in your breasts; you were almost at your breaking point.

“Neil— baby, not tonight.” You protested and gently pushed him away. Neil clung on though, his desire for you borderline insatiable.

“What’s wrong, is Mommy not feeling well?” He cooed into your ear, making you tingle all over.

He had started calling you that—mommy—right after you both found out that you were pregnant. It was sweet for the most part. Mostly coming off as innocent, but when he said it like that—

His fingers tweaked at your sore nipples, always hard and leaking these days. You winced slightly, clenching your teeth and letting out a soft hiss.

“Come on, use your words Mommy.” He teased, making your lower half grow slightly hot as you attempted to fight off his advances.

“I’m so exhausted, my body—“ He interrupted you with the slide of one his hands ghosting past your navel and onto the radiating heat between your legs.

“Mhmm, keep going.” He urged you to continue.

You were slowly getting overwhelmed, your shirt dampening more and more, your arousal slowly building, slowing making its way up a steady hill as it always did.

“My body is overworked, Neil. I-I love staying home and caring for the baby, but with the feeding and the—“ His hand slipped between your thighs, cupping your mound.

“—changing and never sleeping, it’s been so tough.. I’m just so overwhelmed.” You breathed out, little tears of frustration stinging your eyes. You took a deep, long breath in and exhaled.

Neil understood, or at least made sure that you knew he listened to your every word. He was always attentive and kind with you but something about carrying his child for nine months really pushed him into overdrive.

During the pregnancy you had made a habit— or well the baby had made a habit of craving weird foods at the oddest hours. Neil spent plenty of nights standing in 7/11’s at 3 in the morning, or mixing all kinds of weird concoctions that you asked for.

Pickles and ice cream, a Banquets Salisbury Steak dinner, a whole raw onion— you could go on and on.

Massages and bubble baths became a nightly routine for you as well—as Neil insisted. Even closing up the store earlier so he’d have time to cook you dinner.

You thought about these moments as Neil coddled you close to him. Even with all these wonderful things he’s done, there was never an expectation for repayment or a favor due. You simply being his wife, the mother of his child was more than enough.

Neil pushed back the strands of hair that clung to your forehead, you just knew you looked like a mess.

“Hey, hey, it’s okay.” He consoled you as the tears started to build up, you were exhausted and your pregnancy hormones haven’t exactly worn off yet apparently.

“I know it’s been really hard on you since I’ve been back at the store, but you have been doing such an amazing job.” Neil said softly, running his thumbs over your damp cheeks and kissing the top of your head. He wrapped you close to his chest; the damp patch on your shirt now soaking into his.

He cupped your chin in his hand and tilted your head up to look at him.

“You’re the best wife anyone could ask for.” He said earnestly, his gaze passionate and affirming. He always told you this and it never got old. Butterflies would swoon in your chest at the sound of him calling you his wife. It felt like most days you were lucky just to have him.

“But you’re right, this isn’t a job for one person..” He shifted and pulled himself closer to you so you were both eye level.

“Let me take off just a few more weeks, so you can get a break.” He tried reasoning with you but you were having none of it.

“Neil you can’t, you’ve already taken off more time than you should. John and Lucien need you, the store needs you.” You objected. This wasn’t the first time you’ve both have had this conversation.

“They’ll be fine,” he insisted. “Plus I miss you and the baby so much, every minute I’m counting down till I can see you guys next.”

Neil’s words made your heart grow fonder but the answer was still no.

“Neil—“ you protested and finally he caved.

“Okay, okay well at least let my mom come and help, she loves you guys so much and I know she wouldn’t mind.” He offered.

“Are you sure…? I really don’t want to bother her-“

“I’m positive. I can call her tomorrow.” He assured and you pondered over it for a minute. It was a no brainer really, so you agreed.

“Okay..” you relented, nodding your head while he held it in his hands.

“Yeah? Okay.” he nodded with a big goofy smile on his face. He placed a passionate kiss to your lips before peppering your face with little pecks. You laughed, already your dampened mood brightening. He always knew how to cheer you up.

Carefully, he placed himself between your legs, pushing himself up so he was leaning over you. One of his hands traced your hip as he stared down into your eyes.

Your hair had been pulled back into a bun except for the few stray pieces, you had slight bags under your eyes and now even more the milk stain was obvious.

“You poor thing..” He purred, as he took you in.

“Overworking your body to take care of my child..” He brought his hand up to trace your cheek lightly.

“I think it’s time you let daddy take care of you.” He whispered against your ear, making the room grow steadily hotter and hotter.

You looked into his eyes, basically swimming in them as his pupils grew wider with each passing second. He was ready to dive in, to pamper and devour all in one.

Before you could say anything, his hands crawled up your wasted shirt and cupped your enlarged breasts. Every chance he could he’d have his hands on them. Rubbing, groping, licking, pinching—all of the above. It was only lately where you couldn’t stand them being played with and it was driving Neil insane.

You winced and grabbed his wrist, urging him to stop.

“They’re sore.. please.” You begged and Neil leaned down to place another kiss to your hand.

“I’ll be gentle.” Neil assured and went back to what he was doing. He slid the shirt over your head, lifting your arms and slipping it past your head and shoulders.

His hands gently wound their way around your tits, pushing them together and watching as the milk dribbled out, just a little, just enough for a taste.

“Neil—“ you whispered in distress and he shushed you lightly. He craned his head and scooted down so his hard on was pressing up against your heat.

“They’re so full.” He admired, his eyes taking mental shots at the sight of them. He had been touched starved for the past three months, his body basically itching to be close to you.

Since giving birth you’ve both been either too exhausted to be intimate or too busy. Any other chance he could though, he was rubbing himself against you or fondling you. Each time being met with a giggle and swatting him away, or him finishing in his pants while you laid there and encouraged him.

He couldn’t help it though, when it came to you he was a depraved man. Never getting enough of you—truly insatiable.

You watched him as he slowly licked the circumference of your nipple, lapping up the droplets of milk like he was dehydrated. You gasped seeing him relish in the taste and latch his mouth to the bud.

It started slow, his mouth kitten licking and prodding, never using his teeth no matter how badly he wanted to nip at you.

Soon though his focus was completely centered around your tits. His eyes fluttered shut and soft moans escaped his lips, vibrating around it.

It still hurt of course, and not necessarily in a good way. It was painful for him to even touch them but you enjoyed seeing him like this so much that you fought through it. You carded your fingers through his hair and tugged lightly, knowing he loved when you did that.

That elicited a whimper from him as his eyes snapped open and softened when he met your gaze. Your pupils equally the size of saucers as you stared down at this wonderful sight in front of you.

Neil’s lips latched tighter and gently he started to suck, keeping his eyes on you the entire time as you gasped at the feeling—the pull.

He brought both hands to your breasts as his hips ground into your clothed heat. He had one focus now, and it was drinking every last drop of you till you were spent.

“Fuck, Neil,” you whined, finding all of this oddly pleasurable. This was most definitely new, sure he had sucked on your nipples before but he’s never drank from them.

You watched his eyes roll to the back of his head, his breathing labored, body hungry for more. You watched a droplet of milk spill from the corner of his mouth, his throat swallowing, basically gulping down as much as he possibly could.

He pulled off just enough to take a breath, and move to the next one. The one hand that wasn’t being occupied holding your tits in place, slithered down and slipped past your pants and panties, finding a goldmine of wetness waiting for him.

Neil moaned and looked up at you to watch your reaction as he brought two digits to your clit. Moving in slow, diligent circles and making you squirm as you pressed your body up into his fingers. It’s been a long three months for the both of you.

“Does that feel good, mommy? Do you like when I touch you like this?” He teased, making you bite down hard on your bottom lip to stop yourself from whimpering.

“Y-Yes.” You choked out, slowly losing your mind to his aggressive touches.

Neil licked at his milky lips, savoring the taste before he pressed them to yours, forcing you to taste your own creation.

His tongue tasted sweet, like cantaloupe juice, and you wondered if that’s what it really tasted like. Neil pulled back and smirked at you, his fingers still working you into a frenzy.

“Tastes good right? Tastes so fucking good.” He moaned and finally couldn’t take it anymore. Without even consoling you, he yanked at the hem of your pants and underwear, shoving them down your thighs and passed your ankles.

You clung to yourself now, not entirely used to your post pregnancy body being put on display. Neither of you has made love quite like this in a while.

“Fuck baby,” the words slipped right off his tongue like melted butter. He pried your arms back and hungrily kissed at your chest, slowly making his way down.

His movements were quick and passionate, diving into your body like a sweet dessert. He kissed down your stomach, leaving a trail of spit behind, stopping close to your abdomen and just loving the feeling of your bush rubbing against his chin.

“You just taste so good— I can’t help myself.” He mouthed at your supple skin. His hands still trailing behind him, groping and fondling at every inch of your skin.

“I needed this. I needed this so bad baby, you have no idea.” He whined and his lips trailed over your inner thighs. He wanted to take his time with you, to make you feel good, and he would even as his own erection was pressing harshly against his jeans.

He latched his mouth to your dripping cunt, the warm, wet heat calling out to him, begging to be licked clean.

He did just that, filling the room with lewd slurping sounds as a mix of your moans blended together perfectly. You almost forgot about the sleeping baby in the other room.

“Neil, the baby is sleeping, w-we have to be quiet.” You warned in between a gasp, his mouth mercilessly working you into a mind-bending orgasm.

He sucked especially hard and pulled off, making you clutch the sheets for dear life.

“Yeah?” He whispered to you, his voice low and raspy. Even in the dimming light of the room, as the sun started to settle; you could see him. His lips and chin were slick with your juices. It was like a scene straight out of a porno—a good porno, of course.

You nodded at him and swallowed hard, he wasn’t asking for clarification, he was challenging you.

“Well then we better be quiet, right?” He teased and you nodded again.

His hand gripped your breast and tweaked the nipple, little teardrops of milk spilling out onto his fingers. You winced slightly at the manhandling but let him continue.

“Here, try some.” He said, collecting some of it and shoving his fingers into your mouth. Just when you started to suck them clean, he slipped two fingers inside of you making you arch your back and moan loudly around his digits.

“That’s right, Mommy can take it. Mommy can take it real good.” He praised you and moved both sets of fingers in sync. You clenched around him hard when his thumb swiped up at your already aroused clit. Slow and steady at first but picking up speed quickly.

You mouthed obscenities around him as he continued finger fucking you and he just took it all in. Biting his bottom lip, he was at the precipice of his own desire. The fact that he could do this to you, the fact that he could drive you crazy like this.. it was his only purpose.

Neil became uncomfortably aware of how much clothes he had on shortly after and pulled away just long enough to slip himself free of his confines. You laid there, trying to catch your breath and trying to stop your legs from shaking.

You watched him flip back the buckle of his belt and yank down his trousers and underwear in one swift move.

You stared at his erection, making mental note that the tip was slick with precum, it made your cunt ache more than it’s ever before.

You reached for him in desperation and he met you halfway. Neil pulled himself on top of you and feverishly ground himself against you.

Slipping his cock between your folds, right against your clit and using your own arousal as his lubrication. He bucked into you, a deep growl escaping his lips with each thrust upward.

“I haven’t stopped thinking about this all week..” He confessed with his eyes closed.

“Every time I watch you put the dishes away or bend over to pick something up—“ he slid his cock roughly against your clit once again.

“—all I could think about was fucking you right then and there.” you mewled at his confession though you already knew he wanted to.

“I just want to fuck you over every countertop, rip your fucking clothes off of you and fill that pretty pussy of yours.” This desperate act of him humping against you was pushing you close to the edge, as pathetic as it was to admit. Again, it’s been a long three months.

“Can you imagine that? Us having another baby, your belly all big again—and god those milky tits getting bigger than ever.” He fondled at your breasts, making more warm milk leak from them.

His depraved words only brought both of you closer to the edge. You knew he wouldn’t finish this way, he liked it inside.

You moaned and arched your back with each drag of his cock down your sensitive bud, each movement only producing more and more lubrication.

Your fingers made lines of red down his back as you clawed. Each heave of your chests making the room grow stuffier and stuffier.

“Can you imagine that baby? Tell me how badly you want it.” Neil urged, his hips slowing down, adding more pressure every time he moved towards you.

“Y-Yes..” you said weakly. You were completely loss for words, you had no idea he was so into that. “I can—I can imagine that.” You croaked, which only made a wicked smirk form on his face.

“Just look you, poor thing hasn’t been properly fucked in months. Hasn’t had Daddy’s cock to come all over.” His words basically made your eyes roll to the back of your head. His never-ending teasing making your pussy twitch and physically yearn for him.

Neil felt it, oh he felt it alright and it only drove him more mad. “Ooh you like that don’t you? Why don’t you come like this. Come on, come for me.”

You went to object, opening your mouth to beg him not to make you come like this; like you were some horny teenager rubbing herself off on her pillow, it felt dirty and depraved—which you were by all means— but you wanted more, you wanted to feel him.

Neil stopped you, “No whining, just do it.” He insisted and you could barely contain the high pitched whimper that left your lips as your cavern squeezed around itself, desperate for something to latch onto as wave after wave hit your body over and over again.

You threw your head back and about halfway through your orgasm you remembered the importance of staying quiet.

Neil kept on rubbing his perpetually leaking cock up and down your clit till your thighs twitched and you became desperate to get away.

Now that your opening was slick and so beyond ready, he slowly slid in. Inch by inch, he filled your sensitive cunt. He relished in the feeling, the grip tight and still fluttering from your orgasm.

“Neil!” You gasped, not expecting the burn from the stretch that met you. It hurt, which was to be expected but this felt different compared to what you were used to. It felt like he was tunneling a hole into you. Splitting you but also igniting you in the best way possible.

“Fuuuck…” he drawled out, his eyes fluttering shut as he rocked himself slowly in and out, over and over again.

Neil knelt over you, his elbows slotted on each side of your head. He leaned in so his lips were just grazing yours, his tongue slipping out to swipe at your parted lips.

“Fuck, I’ve missed this—you have no idea how much I’ve missed this.” He said, emphasizing his words with deeper thrusts. “How much I missed you.”

You felt your ears grow hot as your arousal bubbled up again. It was a heat that was so indescribable and so delicious it made your mouth water. You nodded, your chest rising and falling, labored breaths leaving you.

Neil fell into a slow and brutal pace. You could feel every inch of him, every curve and vein as he fucked you into oblivion. The speed only made your head spin and you found yourself digging lines down his back once more.

“Oh my god, baby. You know how I love it when you do that.” He moaned for you, slotting his head in between your shoulder.

Each word made you wetter and wetter. Soon enough the whole room was filled with soft squelching noises. It only seemed to spur Neil on because in seconds he pulled back, sitting back on his knees and gripped your hips for support as he looked down at you.

“I could come right now.” He said, his glazed eyes roaming over your body. He watched the way his thrusts made your breasts move, watching them jiggle as little droplets dribbled down the curve of them and onto the sheets.

“I could fill you up so good, have you walking around the rest of the day with my come leaking out of you… but I can’t.” He resigned with a sigh and angled his hips slightly upwards before slamming into you full force.

The wind was knocked out of you instantly. Gasping and trying desperately to ground yourself you clawed at the sheets, inevitably pulling them loose from the tucked corners of the bed.

He was fucking you so hard you could hear the loose screw in the frame rattling with each thrust inward.

“Neil please!” You begged but you weren’t even sure for what. For him to slow down? For him to stop? Oh no, no, no—that just wouldn’t do.

“I can’t baby, not when I need to feel you come all over me. Need to see that pretty little face as I—“ He gripped at your cheeks for emphasis, making your jaw hang open and your lips pouty. He leaned over just enough to spit into your gaping mouth and moved your jaw closed so you would swallow it.

“—fuck you into this mattress.” He finished. You felt your chest tighten, all the muscles in your thighs and stomach seizing for a moment as another wave of ecstasy hit you.

His filthy words filled your ears like angels singing and you nodded along, your body already climbing to your next orgasm.

You would do anything he said in this moment as long as he kept doing what he was doing. If he wanted another baby—fine. If he wanted you to scale the Empire State Building—that’s fine too.

You felt pressure building up, like weights were being placed against the bundle of nerves inside of you. You knew you could come like this if he kept up his brutal pace but you needed more and well—Neil had no problem delivering.

He moved your legs so they now rested against his shoulders and leaned forward. He went impossibly deep and both of you let out an animalistic moan.

He sped up quick, sounds of his thighs slapping against yours echoing off the walls. He reached for your hand that was bunched in the messy sheets and placed it between your thighs.

“Touch yourself for me.” He ordered and you didn’t hesitate.

You brought two fingers down and started rubbing in rhythmic circles making the deepest parts inside your pussy start to twitch. Neil’s eyes rolled to the back of his head, his mouth hanging open as you watched him tremble at the feeling of you—at the sight of you.

You were so clearly everything to him, and having you like this—your knees to your chest, split open and fucking writhing underneath him.. He’d call it heaven—scratch that—better than heaven.

“I-I’m close.” You choked out, your voice growing higher in pitch as he continued pounding his cock deeper and deeper into you.

Neil’s eyes returned to you, meeting your lust filled gaze before latching his lips down onto your nipple and starting to suck again.

It felt like he was dragging every ounce of energy out of you. Purely sucking the soul out of you.

You brought your free hand up to his hair, latching on and gripping so hard onto his locks you thought you’d rip them out.

“Neil, Neil, neil…” You chanted his name. The bed shook with you both, squeaks and rattling, the sound of flesh meeting flesh. It was too good. Too raw. And there was little to no care in keeping quiet anymore.

“Yeah baby, keep saying my name. Let everyone know who fucks you this good.” Neil purred, removing himself long enough from your tits to speak and then immediately returning back to suck them dry.

“Fuck!” You gasped one last time as you clamped down on him. Everything tensed for a long minute and you swore you blacked out. A soft ringing filled your ears, toes curling beside his ear, thighs trembling.

Neil moaned loudly, his mouth full and vibrating around your sore and hardened nipples. There was pain and pleasure mixing like a lethal cocktail, making you spill all around him.

The base of his cock grew sticky and the wet sounds only amplified. His thrusts grew erratic but never lost their strength.

You watched Neil detach from your nipple long enough to see the milky liquid stain his lips. He gaped at you, mouth hanging open and breathing heavy. Hunger. Deep and vicious in his eyes.

“Tell me you want another baby.” He said in a strained low voice.

“Tell me how bad you want it.” He ordered. You were surprised he still had the strength to tease you, to make you beg.

“I want it.” You said without hesitating. He was still fucking you through your sensitivity which was starting to make you squirm but he liked it that way.

“Say it again.” He demanded with desperation.

“I want a-another baby Neil.” You could barely get out as he slammed particularly hard into you.

“More.” He all but growled. You could tell he was there, right on the tipping age. He was always more.. demanding when he was close.

“I-I want another baby. Fuck—I love you so much, I’d do anything for you.” The words spilled from your lips without even thinking.

It was a drop of tenderness in an act that would surely get you both sent to hell if you weren’t already married. But it buried Neil, hammering in the last nail towards completion.

Neil stilled for a moment, his full body weight pressing down on you as his thighs shook against yours.

He gaped for a second, the room falling eerily quiet as his orgasm sucked the air out of him. He gasped loudly, “Fuuuck..” drawled from his throat.

You felt him flex inside you over and over again, the head of his member hitting your sweet spot every time a hot gushing dose of come spilled from it.

His hands gripped the back of your knees for support as he pumped the last bit of it deep inside of you.

You tried to catch your breath but under the weight of him, it was proving to be difficult. Before you could say anything though, Neil pushed his lips to yours.

Lazy, sweet and all tongue. He lapped at your lips and then pressed his tongue to the back of your teeth. You hummed into the kiss, pulling him in deeper by the back of his head.

You both laid there for a moment, lip locked and absolutely wrecked. You pulled away just to tell him that he was starting to crush you, but of course, just a second later you heard the crackles of the baby monitor next to you, and soon enough the baby’s cries could be heard.

Neil smiled down at you, that same goofy smile that had you hooked from day one. “I’ll get him, you stay here and rest up.” He said already pulling away and out of you.

“You deserve it.” He added, placing one last kiss upon your nose and turning towards the closet to pull out some fresh clothes.

You deserve it.

—

Build Your Own Adventure | you already know ;) tested it out, it’s fiiilllthyyyy

This piece is dedicated to my coworker Bay who told me she accidentally took 90 “period cramp relief” pills that ended up making her lactate. Love u girl 🫶🏽

#holy moly this was a process #becs fics #cillian murphy #cillian murphy x reader #cillian murphy characters #cillian x fem!reader #neil lewis x reader #neil lewis #watching the detectives #READ THE TAGS PLS

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afurtivecake · 9 months ago

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To me, reading about Neil in TSC is like seeing a grandchild for the first time in a while, like, "Look at you!! You've grown so much!!!"

This skittish, feral kid from the first book who looks and acts like some poorly socialized creature fished out of a dumpster who doesn't know how to have or be friends, is now out there doing his best to take care of another poorly-socialized, skittish and feral kid.

One thing about Neil is that he learns from other peoples' examples. He picks up their wording and phrasing. Like in TSC with "I have him":

(Renee says it to Neil about Jean and then later Neil says it to Wymack about Jean)

Or with the phrase, "You were amazing":

(Matt says it to Dan and Nicky says it to Neil. When Neil says it for the first time to Andrew, it almost feels out of character for him--like he's trying out a new thing he's never done before. And because it's unusual for Neil, both in the sincerity and in the wording, he hopes it's enough to let Andrew know that he wouldn't have left if he had a choice. And then later Neil says it to Dan and the team, it sounds more natural and Dan is not-so-secretly really chuffed about it.)

Like, look at him! He's LEARNING! He's learning how to people!

The clearest example of Neil's growth is him putting to use stuff he's learned from Wymack on how to care for people in distress (asking Jean what he needs, telling Jean not to blame himself for other people's choices)

Like remember when he was feeling guilty about Seth's death and Wymack was telling him in TFC that he can't blame himself for Seth's death even if it was Riko's doing because Riko was the one who "chose to cross a line", not Neil? Later Neil uses the same words to comfort Nicky who's feeling guilty about the Drake incident. Even though he doesn't fully believe it himself (he and Andrew have that whole verbal knife fight flinging blame at each other and he still feels guilty as fuck about Drake), he has learned that those are words that could help and so he gives them to Nicky. You get to see that lesson fully sink in when Neil tells Jean with absolute conviction that Grayson "strung the noose himself". Neil's saying that he's not going to feel guilty about Grayson and neither should Jean.

yea, my weird take on Neil Josten is that he makes me feel like a proud granny.

#there's that hamilton song dear theodosia where he goes #“...my son. look at my son! pride is not the word i'm looking for...”#yeah that's me about neil josten #aftg #all for the game #the sunshine court #tsc

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perksofbeingpoet · 9 months ago

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a small thing that is promised to calm todd down when everything gets too overwhelming is playing with or brushing his hair.

which, unfortunately, is way too intimate a thing to ask his friends for- they help as good as they can already, trying to be quieter when todd gets that very intense look, passing him food that isn't too spicy or salty, talking loudly when a teacher is looking for people to get up front to the board, so that they'll gleefully pick the loudmouth.

but this is different; involves a kind of gentleness, of vulnerability that todd can't ask for. it means baring the parts of him that are most sensitive, revealing he's a baby bird in thunderstorms, asking for whispers and warmth in a place that doesn't offer these things.

neil still finds out.

which shouldn't come as a surprise to todd - neil has a way of catching him where he's most vulnerable, closing his palms around him as if he was a ladybug in a child's hand. careful now, don't hurt it. i'll keep it safe. i'll carry it off the pavement, put it where the grass sprouts in may-coloured strands.

so neil finds out, when they're laying on todd's bed (better sun in the evening), neil reading the script of his newest play, todd just breathing, trying to match the tides of neil's heartbeat below him, trying to slow down his own. and neil isn't sure what happens, because to his mind, nothing's changed, but suddenly todd's eyes have that frozen panic in them.

neil thinks he can feel the way todd's drowning in his own thoughts, and todd's thoughts tend to be quicksand in these moments. it's desparation, in the end, that gets neil to bury his left hand in todd's hair, carefully weaving his fingers through the sandy strands. he knows it's silly, but the urge to physically wipe the thoughts off todd's head is what makes him lightly trace his nails across the other's scalp, gentle, always so gentle.

and todd melts.

his breathing slows, and suddenly he's back, and neil's heart flutters like a dragonfly drying off its wings. he can help. not much, not always, but he can try.

he soon discovers that it helps after showers, too - todd is embarrassed enough to snap at him the first time, the first time neil's heard him rashly angry, but it only takes todd a week to come back and apologise, to say neil was right, but could he not make a big deal out of it. (and neil perry, king of theatrics, doesn't)

because showers can be overwhelming in these times, when todd's mind is a bridge wobbling on brittle foundations- standing there all wet, knowing he'll need to get out the stall, and dry off, and get his clothes and put them on and they'll still stick to him a bit and his toes will stay wet because the floor is cold, and- it's too much.

but neil can brush his hair, still wet and darker than usual, and the scratch of it along his scalp grounds him, puts his thoughts on a leash. neil will hum a song, and todd will ache with the sweet cruelty of love, the stinging tenderness of vulnerability.

and when todd gets into bed in exam season, and the sheets are fluffy and full of fresh air, smelling of spring and melancholy, he breathes in deeply through his nose. and neil walks over to him for a second before going to his own bed, three extra steps that make todd close his eyes and bury his face in the pillow.

and he runs a hand through todd's hair, and it feels like warm notes on a cello. like autumn sun falling through tall tree trunks, like a mug of cocoa, like a childhood kitchen table. his fingers trace lines across todd's scalp, reminiscent of the contrails of the plane that divides the sky three years later, like neil is already dreaming of it.

todd breathes and smiles.

good night, little poet <3

(i put this on ao3 even though it's ridiculously short, so you guys know what that means- the time of poet writing dps fanfiction has started, and the next ones are gonna be way longer)

#dead poets society #dps fandom #dead poets headcanons #dps fanfiction #dead poets fanfic #dead poets society fandom #neil perry #todd anderson #anderperry #neil and todd

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palmettoshitposts · 2 years ago

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I firmly believe andrew does nice things for people and then just lies about it.

it starts off low-key and the lies are believable or just by omission. like nicky suddenly finds the water bottle he’d been missing for months and it’s right in front of him (andrew spent a while searching all of the spots nicky usually puts things and found it pretty quickly). everyone, including nicky, presumes he was being a dumbass and it’s been there all the time.

like the time kevin finds a sports drink he really likes in the back of the maz after night practice and asks how it got there. andrew ignores him and neil just says that maybe aaron left it there?

like the time the girls want to make some cocktails with neil and educate him on “the delights of fruity alcohol” and they just happen to find most of the drinks they need already tucked in the back of the cupboard. some of them are half empty so they presume they had been there for a while (andrew had found some at the columbia house and just put them in the girls cupboard)

neil is very used to this but he doesn’t say anything or call andrew out. food that he likes appearing, new items of clothing that seemingly spawn at the back of the wardrobe, his bag making its way into the car before neil’s even realised he isn’t carrying it. it’s andrew’s low-key version of caring and neil thinks it’s sweet (not that he’d every day that aloud).

it moves on to bigger things.

andrew using a barely legal move against an opposing player after he’s been antagonising and irritating most of the team, but especially dan. the player ends up mildly injured and is taken off court. dan confronts andrew after, asking about it and andrew just claims he has no recollection of any of the events.

he’s moved beyond the silence to just straight up starts gaslight, gatekeep, girlbossing the foxes.

he literally buys nicky a pair of shoes he won’t shut up about and acts like nicky is the crazy one for thanking him, even though he literally just handed him the box.

he helps aaron book a tickets to a band katelyn likes because he’s in class when they go on sale and claims to never have heard of them later on.

he fully insists he was never in the lounge when matt needed some help moving some furniture around, despite it clearly being a two person job, andrew being the only one around at that moment and matt literally fucking carrying the other end of the furniture with him.

one of his biggest and frankly stupidest lies is when he hands david a bottle of really expensive whiskey the day he graduates and two seconds after handing it over, he asks david where he got it from.

david just rolls his eyes and tells him some asshole who he WILL be keeping in touch with gave it to him.

andrew just says “who?” like david is being super vague and confusing.

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bauliya · 27 days ago

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it’s funny how a trans woman acting even slightly horny on this site is chased off for being a groomer posthaste but the actual groomer and rapist targeting primarily young vulnerable female fans has a dedicated fandom. very cool of you.

(full article below the cut. photos removed)

SCARLETT PAVLOVICH WAS A 22-year-old drama student when she met the performer Amanda Palmer by chance on the streets of Auckland. It was a gray, drizzly afternoon in June 2020, and Palmer, then 44, was walking down the street with the actress Lucy Lawless, one of the most famous people in New Zealand owing to her six-season stint portraying Xena the warrior princess. But Pavlovich noticed only Palmer. She’d watched her TED Talk, “The Art of Asking,” and was fascinated by the cult-famous feminist writer and musician—by her unabashed self-assurance.

On the surface, Pavlovich appeared to be self-assured as well. A local girl, she had dropped out of high school at 15 to travel to Europe, Morocco, and the Middle East on the cheap, pausing in Scotland—where Tilda Swinton gave her a scholarship to attend her Steiner school, Drumduan—and London to work in the cabaret scene. Eventually, her visa expired and she ran out of money and so, in 2019, she returned to Auckland, where she enrolled in an acting school and took a job at a perfumery. Pale and dark-haired and waifish, she favored bold colors and outrageous outfits. On the day she met Palmer—on most days then—she’d painted a triangle of translucent silver beneath her lower lashes so it looked as though she’d been crying tears of glitter. It was Pavlovich who approached Palmer on the sidewalk outside the perfumery. She was surprised when Palmer texted her a few days later. “It’s amanda d palmer,” she wrote. “Your new friend.”

Palmer, an obsessive chronicler of her own life in songs, poems, blog posts, and a memoir, got her start as half of the punk cabaret band the Dresden Dolls, but she is perhaps more famous for her ability to attract a tight-knit and devoted following wherever she goes. In 2012, she became the first musician to raise more than $1 million on Kickstarter and later became one of Patreon’s most successful artists. As Palmer explained in her book The Art of Asking— part memoir, part manifesto on the virtues of asking for assistance of various kinds—she had built her entire career on “messy exchanges of goodwill and the swapping of favors.” Out of this mess, she argues, a utopian sort of community formed: “There was no distinction between fans and friends.”

Over the following year and a half, Palmer and Pavlovich occasionally met for a drink or a meal. Palmer offered Pavlovich tickets to her shows and invited her to parties for the Patreon community at her house on nearby Waiheke Island, a lush bohemian retreat with vineyards, golden beaches, and more than 60 helipads to accommodate the billionaires who vacationed there. Sometimes Palmer asked Pavlovich for favors—help running errands or organizing files or looking after her child. Pavlovich was happy to assist. She had a crush on Palmer. She didn’t mind that Palmer only occasionally discussed paying her, even though Pavlovich was always strapped for cash. For Pavlovich, who was estranged from her family and without a safety net, Palmer filled a deeper need. In November 2020, Palmer invited her to hang out at her place for a weekend with a group of local artists. At the gathering, Palmer asked Pavlovich to babysit while she got a massage. Early the next morning, Pavlovich wrote a diary entry about the easy intimacy she’d felt in Palmer’s sun-drenched home, where she’d read to Palmer’s son, who was 5 at the time, their limbs entwined. “The years absent of touch build up like a gray inheritance,” she wrote. “I’m hungry. I am so fucking famished.”

Around four in the afternoon on February 4, Pavlovich took the ferry from Auckland to Waiheke, then sat on a bus and walked through the woods until she arrived at Gaiman’s house, an asymmetrical A-frame of dark burnished wood with picture windows overlooking the sea. Palmer had arranged a playdate for the child, so not long after Pavlovich arrived, she found herself alone in the house with the author. For a little while, Gaiman worked in his office while she read on the couch. Then he emerged and offered her a tour of the grounds. A striking figure at 61, his wild black curls threaded with strands of silver, the author picked a fig—her favorite fruit—and handed it to her. Around 8 p.m., they sat down for pizza. Gaiman poured Pavlovich a glass of rosé and then another. He drank only water. They made awkward conversation about New Zealand, about COVID. Pavlovich had never read any of his work, but she was anxious to make a good impression. After she’d cleaned up their plates, Gaiman noted that there was still time before they would have to pick up his son from the playdate. “‘I’ve had a thought,’” she recalls him saying. “ ‘Why don’t you have a bath in the beautiful claw bathtub in the garden? It’s absolutely enchanting.’” Pavlovich told Gaiman that she was fine as she was but ultimately agreed. He needed to make a work call, he said, and didn’t want Pavlovich to be bored.

“I said ‘no.’ I said, ‘I’m not confident with my body,’” Pavlovich recalls. “He said, ‘It’s okay—it’s only me. Just relax. Just have a chat.’” She didn’t move. He looked at her again and said, “Don’t ruin the moment.” She did as instructed, and he began to stroke her feet. At that point, she recalls, she felt “a subtle terror.”

Afterward, Pavlovich crouched down in the water and tried to clean herself off. Gaiman looked at her and smiled. “‘Amanda told me I couldn’t have you,’ ” Pavlovich recalls him saying. As soon as he’d heard this, he “knew he had to have” her. “‘God,’ ” he continued, “ ‘I wish it were the good old days where we could both fuck you.’ ”

IN THE SANDMAN, the DC comic-book series that ran from 1989 to 1996 and made Gaiman famous, he tells a story about a writer named Richard Madoc. After Madoc’s first book proves a success, he sits down to write his second and finds that he can’t come up with a single decent idea. This difficulty recedes after he accepts an unusual gift from an older author: a naked woman, of a kind, who has been kept locked in a room in his house for 60 years. She is Calliope, the youngest of the Nine Muses. Madoc rapes her, again and again, and his career blossoms in the most extraordinary way. A stylish young beauty tells him how much she loved his characterization of a strong female character, prompting him to remark, “Actually, I do tend to regard myself as a feminist writer.” His downfall comes only when the titular hero, the Sandman, also known as the Prince of Stories, frees Calliope from bondage. A being of boundless charisma and creativity, the Sandman rules the Dreaming, the realm we visit in our sleep, where “stories are spun.” Older and more powerful than the most powerful gods, he can reward us with exquisite delights or punish us with unending nightmares, depending on what he feels we deserve. To punish the rapist, the Sandman floods Madoc’s mind with such a wild torrent of ideas that he’s powerless to write them down, let alone profit from them.

“THAT SAME VOICE THAT TOLD ME THOSE BEAUTIFUL STORIES when I was a kid was telling me the story that I was safe, and that we were friends, and that he wasn’t a threat.”

As allegations of Gaiman’s sexual misconduct emerged this past summer, some observers noticed Gaiman and Madoc have certain things in common. Like Madoc, Gaiman has called himself a feminist. Like Madoc, Gaiman has racked up major awards (for Gaiman, awards in science fiction and fantasy as well as dozens of prizes for contemporary novels, short stories, poetry, television, and film, helping make him, according to several sources, a multimillionaire). And like Madoc, Gaiman has come to be seen as a figure who transcended, and transformed, the genres in which he wrote: first comics, then fantasy and children’s literature. But for most of his career, readers identified him not with the rapist, who shows up in a single issue, but with the Sandman, the inexhaustible fountain of story.

One of Gaiman’s greatest gifts as a storyteller was his voice, a warm and gentle instrument that he’d tuned through elocution lessons as a boy in East Grinstead, 30 miles south of London. In America, people mistakenly assumed he was an English gentleman. “He spoke very slowly, in a hypnotic way,” says one of his former students at the fantasy-writing workshop Clarion. He wrote that way, too, with rhythm and restraint, lulling you into a trance in the way that a bard might have done with a lyre. Another gift was his memory. He has “libraries full of books memorized,” one of his old friends tells me, noting that he could recall the page numbers of his favorite passages and recite them verbatim. His vast collection was eclectic enough to encompass both a box of comics (Spider-Man, Silver Surfer) from his boyhood and the works of Oscar Wilde he received as a gift for his bar mitzvah. For The Sandman, a forgotten DC property he had been hired to dust off and polish up, Gaiman gave the hero a makeover, replacing his green suit, fedora, and gas mask with the leather armor of an angsty goth, and surrounded him with characters drawn from the books he could pull off the shelves in his head, from timeless icons like Shakespeare and Lucifer to the obscure San Francisco eccentric Joshua Abraham Norton. Norman Mailer called it “a comic strip for intellectuals.”

People who flock to fantasy conventions and signings make up an “inherently vulnerable community,” one of Gaiman’s former friends, a fantasy writer, tells me. They “wrap themselves around a beloved text so it becomes their self-identity,” she says. They want to share their souls with the creators of these works. “And if you have morality around it, you say ‘no.’ ” It was an open secret in the late ’90s and early aughts among conventiongoers that Gaiman cheated on his first wife, Mary McGrath, a private midwestern Scientologist he’d married in his early 20s. But in my conversations with Gaiman’s old friends, collaborators, and peers, nearly all of them told me that they never imagined that Gaiman’s affairs could have been anything but enthusiastically consensual. As one prominent editor in the field puts it, “The one thing I hear again and again, largely from women, is ‘He was always nice to me. He was always a gentleman.’ ” The writer Kelly Link, who met Gaiman at a reading in 1997, recalls finding him charmingly goofy. “He was hapless in a way that was kind of exasperating,” she says, “but also made him seem very harmless.” Someone who had a sexual relationship with Gaiman in the aughts recalls him flipping through questions fans wrote on cards at a Q&A session. Once, a fan asked if she could be his “sex slave”: “He read it aloud and said, ‘Well, no.’ He’d be very demure.”

But there were some who saw another side of the author. One woman, Brenda (a pseudonym), met Gaiman in the ’90s at a signing for The Sandman where she was working. On signing lines, Gaiman had a knack for connecting with each individual. He would ask questions, laugh, and assure them that their inability to form sentences was fine. After the Sandman signing, at a dinner attended by those who had worked the event, Gaiman sat next to Brenda. “Everyone wanted to be near him, but he was laser focused on me,” she says. A few years later, Brenda traveled to Chicago to attend the World Horror Convention, where Gaiman received the top prize for American Gods, the book that cemented him as a best-selling novelist. The night after the awards ceremony, she and Gaiman ended up in bed together. As soon as they began to hook up, the feeling that had drawn her to him—the magical spell of his interest in her individuality—vanished. “He seemed to have a script,” she tells me. “He wanted me to call him ‘master’ immediately.” He demanded that she promise him her soul. “It was like he’d gone into this ritual that had nothing to do with me.”

THIS PAST JULY, a British podcast produced by Tortoise Media broke the news that two women had accused Gaiman of sexual assault. Since then, more women have shared allegations of assault, coercion, and abuse. The podcast, Master, reported by Paul Caruana Galizia and Rachel Johnson, tells the stories of five of them. (Gaiman’s perspective on these relationships, including with Pavlovich, is that they were entirely consensual.) I spoke with four of those women along with four others whose stories share elements with theirs. I also reviewed contemporaneous diary entries, texts and emails with friends, messages between Gaiman and the women, and police correspondence. Most of the women were in their 20s when they met Gaiman. The youngest was 18. Two of them worked for him. Five were his fans. With one exception, an allegation of forcible kissing from 1986, when Gaiman was in his mid-20s, the stories take place when Gaiman was in his 40s or older, a period in which he lived among the U.S., the U.K., and New Zealand. By then, he had a reputation as an outspoken champion of women. “Gaiman insists on telling the stories of people who are traditionally marginalized, missing, or silenced in literature,” wrote Tara Prescott-Johnson in the essay collection Feminism in the Worlds of Neil Gaiman. Although his books abounded with stories of men torturing, raping, and murdering women, this was largely perceived as evidence of his empathy.

At a reading ten months later, Gaiman suggested that Kendall and two other girls wait for him on his tour bus so they could all hang out after he was done signing. When Gaiman showed up, he pulled Kendall into the back of the bus and lay on top of her. He kept saying, “Kiss me like you mean it,” Kendall remembers. She tried to get into it, but she was panicked. Eventually, Gaiman rolled off her. “‘I’m a very wealthy man,’” she remembers him saying, “ ‘and I’m used to getting what I want.’ ” (Years later, Gaiman gave Kendall $60,000 to pay for therapy in an attempt, as he put it in a recorded phone call, “to make up some of the damage.”)

Gaiman told Stout he had been introduced to these practices by a woman he’d met in his early 20s who had asked him to “whip her pussy.” At the time, he claimed to Stout, he was such a naïve Englishman that he thought she meant her cat. Then she handed him a flogger and told him to use it on her vagina. “‘This is what gets me off now,’ ” Stout recalls him saying. A similar anecdote shows up in an interview Gaiman gave for a 2022 biography of Kathy Acker, the late experimental punk writer Gaiman befriended in his 20s, but he offers a different account of how it affected him. When Acker asked him to “whip her pussy,” he found it “profoundly unsexual,” he told the interviewer. “I did it and ran away.” He identified himself as “very vanilla.”

In 2007, Gaiman and Stout took a trip to the Cornish countryside. On their last night there, Stout developed a UTI that had gotten so bad she couldn’t sit down. She told Gaiman they could fool around but that any penetration would be too painful to bear. “It was a big hard ‘no,’” she says. “I told him, ‘You cannot put anything in my vagina or I will die.’ ” Gaiman flipped her over on the bed, she says, and attempted to penetrate her with his fingers. She told him “no.” He stopped for a moment and then he penetrated her with his penis. At that point, she tells me, “I just shut down.” She lay on the bed until he was finished. (This past October, she filed a police report alleging he raped her.)

According to the podcast, which quoted Gaiman through his representatives, his position was that “sexual degradation, bondage, domination, sadism, and masochism may not be to everyone’s taste, but between consenting adults, BDSM is lawful.” (Gaiman declined to speak with me despite multiple requests, but through a legal representative, he responded to some claims.) If you know nothing about BDSM, Gaiman’s claim that he was engaging in it with these women may sound plausible, at least in some cases. The kind of domineering violence he inflicted on them is common among people who practice BDSM, and all of the women, at some point, played along, calling him their master, texting him afterward that they needed him, even writing that they loved and missed him. But there is a crucial difference between BDSM and what Gaiman was doing. An acronym for “bondage and discipline, dominance and submission, and sadism and masochism,” BDSM is a culture with a set of longstanding norms, the most important of which is that all parties must eagerly and clearly consent to the overall dynamic as well as to each act before they engage in it. This, as many practitioners, including sex educators like Dossie Easton and Janet W. Hardy who wrote some of the defining texts of the subculture, have stressed over decades, is the defining line that separates BDSM from abuse. And it was a line that Gaiman, according to the women, did not respect. Two of the women, who have never spoken to each other, compared him to an anglerfish, the deep-sea predator that uses a bulb of bioluminescence to lure prey into its jaws. “Instead of a light,” one says, “he would dangle a floppy-haired, soft-spoken British guy.”

AFTER GAIMAN GOT INTO the bathtub with Pavlovich, she retreated to Palmer’s house, which was vacant at the time. She sat in the shower for an hour, crying, then got into Palmer’s bed and began to search the internet for clues that might explain what had happened to her. She Googled “Me Too” and “Neil Gaiman.” Nothing. The only negative stories she found were about how he’d broken COVID lockdown rules in 2020 and had been forced to apologize to the people of the Isle of Skye for endangering their lives.

Sexual abuse is one of the most confusing forms of violence that a person can experience. The majority of people who have endured it do not immediately recognize it as such; some never do. “You’re not thinking in a linear or logical fashion,” Pavlovich says, “but the mind is trying to process it in the ways that it can.” Whatever had happened in the bath, she’d been through worse and survived, she thought. And Gaiman and Palmer were offering her the possibility of a shared future. Palmer’s vision of herself as the central figure of a utopian community could, according to some of her friends, make her careless with the young, impressionable women she invited into her and her husband’s lives. “Her idealism could blind her to reality,” one friend says. (Palmer declined to be interviewed, but I spoke with people close to her.) Palmer told Pavlovich they might travel to London together, and to Scotland, where Gaiman was shooting the second season of Good Omens. Pavlovich had wanted to leave New Zealand—her “epicenter of trauma”—for as long as she could remember. These conversations filled her head with fantasies “of finally being on solid ground in the world.”

THROUGHOUT HIS CAREER, Gaiman has written about terror from the point of view of a child. His most recent novel, The Ocean at the End of the Lane, tells the story of a quiet and bookish 7-year-old boy. Through various unfortunate events, he ends up with a hole in his heart that can never be healed, a doorway through which nightmares from distant realms enter our world. Over the course of the tale, the boy suffers terribly, sometimes at the hands of his own family. At dinner one night, the boy refuses to eat the food his nanny has prepared. The nanny, the boy knows, isn’t really a human but a nightmare creature from another world. When his father demands to know why he won’t eat, the boy explains, “She’s a monster.” His father becomes enraged. To punish him, he fills the tub, then picks up the child, plunges him into the bath, and pushes his shoulders and head beneath the chilly water. “I had read many books in that bath,” the boy says. “It was one of my safe places. And now, I had no doubt, I was going to die there.” Later that night, the boy runs away from home; on his way out, he glimpses his father having sex with the monstrous nanny through the drawing-room window.

While Gaiman has identified the boy in the book as himself, he has also claimed that none of the things that happen to the boy happened to him. Yet there is reason to believe that some of the most horrifying events of the novel did occur. Gaiman has rarely spoken about a core fact of his childhood. In 1965, when Neil was 5 years old, his parents, David and Sheila, left their jobs as a business executive and a pharmacist and bought a house in East Grinstead, a mile away from what was at that time the worldwide headquarters for the Church of Scientology. Its founder, the former science-fiction writer L. Ron Hubbard, lived down the road from them from 1965 the church. By the late ’60s, David was the church’s public face and chief spokesperson in the U.K.

It was a challenging job, to say the least. The U.K., following the example of a handful of other governments, had issued a report declaring Scientology’s methods “a serious danger to the health of those who submit to them.” Hubbard would routinely punish members of the organization who committed minor infractions by binding them, blindfolding them, and throwing them overboard into icy waters. Back in England, David gave interviews to the press to smooth over such troubling accounts. The church was under particular pressure to assure the public it was not harming children. In his bulletins to members, Hubbard had made it clear that children were not to be exempt from the punishments to which adults were subjected. If a child laughed inappropriately or failed to remember a Scientology term, they could be sent to the ship’s hold and made to chip Scientology lingo, is what happens when you complete one of the lower levels of coursework.) What was happening away from the cameras is difficult to know, in part because Gaiman has avoided talking about it, changing the subject whenever an interviewer, or a friend, brings it up. But it seems unlikely that he would have been spared the disciplinary measures inflicted on adults and children as a standard practice at that time. According to someone who knew the Gaimans, David and Sheila did apply Scientology’s methods at home. When Neil was around the age of the child in The Ocean at the End of the Lane, the person said, David took him up to the bathtub, ran a cold bath, and “drowned him to the point where Neil was screaming for air.”

As a teenager, Neil worked for the Church of Scientology for three years as an auditor, a minister of the church who conducts a process some have likened to hypnosis. One former member of the church who worked with Gaiman’s parents and was audited until 1967, when he fled the country and began directing the church from international waters, pursued by the CIA, FBI, and a handful of foreign governments and maritime agencies.

David and Sheila were among England’s earliest adherents to Scientology. They began studying Dianetics in 1956 and eventually took positions in the Guardian’s Office, a special department of the organization dedicated to handling the church’s growing number of legal cases, public communications, and intelligence operations. The mission of this office, as Hubbard wrote, was its “covert use in destroying the repute of individuals and groups.” On the side, the Gaimans ran the church’s canteen, lodged foreign Scientologists in their home, and opened a vitamin company in town, where they supplied courses of supplements for Scientology’s “detoxification” programs, a business that grew exponentially alongside the expansion of rust for days or confined in a chain locker for weeks at a time without blankets or a bathroom. In his book Going Clear, Lawrence Wright recounts the story of a 4-year-old boy named Derek Greene, an adopted Black child who stole a Rolex and dropped it overboard. He was confined to the locker for two days and nights. When his mother pleaded with Hubbard to let him out, he “reminded her of the Scientology axiom that children are actually adults in small bodies, and equally responsible for their behavior.” (A representative for the Church of Scientology said it does not speak about members past or present but denies that this event occurred.)

David used Neil as an exhibit in his case to the public. In 1968, he arranged for Neil to give an interview to the BBC. When the reporter asked the child if Scientology made him “a better boy,” Neil replied, “Not exactly that, but when you make a release, you feel absolutely great.” (A release, in by Gaiman recalls him as precocious and ambitious. It was unusual for a teenager to have completed such a high level of training, he tells me. But the Gaimans were like “royalty,” he says. In 1981, David was promoted to lead the Guardian’s Office, making him one of the most powerful people in the church. But the same year, he fell from grace. A new generation of Scientologists, led by David Miscavige, who eventually succeeded Hubbard as the church’s leader, had Hubbard’s ear, and David was “caught in that grinder,” as his former colleague puts it. A document declaring David a “Suppressive person” was released a few years later. It accused him of a range of offenses, including sexual misconduct. David, the document claims, put on a “front” of being “mild mannered and quite sociable,” adding that his actions “belie this.” His greatest offense, it seemed, was hubris. “Gaiman required others to look up to him instead of to Source,” it reads, referring to Hubbard.

GAIMAN AND PALMER MET in 2008, when she was 32 and he was 47. Both were at a turning point in their lives and careers. Gaiman was in the midst of finalizing a divorce from his first wife, with whom he had three children, and on the verge of breaking into Hollywood (nine of his works have been turned into movies or TV shows); Palmer was in a fight with her record label that would culminate in a split. Palmer had a collection of photos of herself posing as a murdered corpse and wanted Gaiman to write captions to go along with the pictures. Gaiman liked the idea, and the two met to work on the project, a book tied to her first solo album, Who Killed Amanda Palmer. As Palmer described in The Art of Asking, they were not attracted to each other at first. “I thought he looked like a baggy-eyed, grumpy old man, and he thought I looked like a chubby little boy.”

Gaiman was the first to propose a romantic relationship. In an interview, he later said, “I got together with her because I couldn’t ever imagine being bored.” Palmer could. Ever since she’d gotten her start as a street busker, painting her face white and standing on a crate in Harvard Square dressed as a silent eight-foot-tall bride, she prided herself on a low-rent, bohemian lifestyle, couch-surfing when she toured, playing random shows in the living rooms of her fans. She had no savings and didn’t own a car, real estate, or kitchen appliances. Gaiman owned multiple houses. He was too rich, too famous, too British, too awkward, too old. And they didn’t have great sexual chemistry. But he appeared to be kind and stable, a family man, and they shared a dark, fantastical aesthetic. She also felt a little sorry for him. He seemed lonely, in spite of his fame, and Palmer found herself hoping that she could help him. “He’d believed for a long time, deep down, that people didn’t actually fall in love,” she wrote in her book. “ ‘But that’s impossible,’ ” she told him. He’d written stories and scenes of people in love. “‘That’s the whole point, darling,’ he said. ‘Writers make things up.’ ”

They wed in 2011 in the Berkeley home of their friends Michael Chabon and Ayelet Waldman, the novelists. Their union had a multiplying effect on their fame and stature, drawing each out of their respective domains of cult stardom and into the airy realm of tech-funded virality. They became darlings of the TED Talk circuit and regulars at Jeff Bezos’s ultrasecret Campfire retreat. Gaiman introduced Palmer to Twitter, which he had used to become fantasy’s most beloved author of 140-character bons mots. Palmer, in turn, leaned into her growing reputation as a crowdfunding genius. Online, they flirted, went after each other’s critics, and praised each other’s progressive politics. In an interview with Out magazine in 2012, Palmer said that the main “other” relationship in both of their lives was with their fans: “Sometimes when I’m with Neil, and go to the other room to Twitter with my followers, it feels like sneaking off for a quick shag.”

This wasn’t strictly a metaphor. During the early years of their marriage, they lived apart for months at a time and encouraged each other to have affairs. According to conversations with five of Palmer’s closest friends, the most important rule governing their open relationship was honesty. They found that sharing the details of their extramarital dalliances—and sometimes sharing the same partners—brought them closer together.

IN 2014, THE CRACKS in Gaiman and Palmer’s marriage began to show to those around them. While they were at Bard, they decided to buy a house upstate. Palmer would have preferred to live in New York City, but Gaiman liked the woods. Eventually, he picked a sprawling estate set on 80 acres in Woodstock. It was Gaiman’s money, a friend who accompanied them on the house hunt says, “and he was going to have the say.”

At lunch one day, Palmer told Caroline she hated living in the woods and was disturbed by what she was learning about her husband. “‘You have no idea the twisted, dark things that go on in that man’s head,’ ” Caroline recalls Palmer saying. Palmer said she wished her marriage were more like Caroline and Phillip’s, but their marriage of 11 years was falling apart, too. In 2017, Phillip moved out of their house. Caroline, 54, spent her days in bed crying and drinking. She stopped eating and, for the most part, stopped working. It was then that Gaiman began paying attention to her. He would bring juices up to her cabin and fret that she was losing too much weight. The first time he touched her, in December 2018, she was sitting on his couch next to him, crying from exhaustion. Gaiman told her, “You need a hug.” She stood and he hugged her, then slid his hands down her pants and into her underwear and squeezed her butt. She does not recall saying or doing anything in response. “I was stunned,” she says.

Over the next two years, they had a series of sexual encounters, always when Palmer was away. When Gaiman wasn’t around, they occasionally engaged in phone sex. At first Caroline, who hadn’t been with anyone since Phillip left, went along willingly. But at the end of their second encounter, she remembers asking Gaiman what Palmer would think about their romance: “He said, ‘Caroline, there is no romance.’” After that, she tried to keep her distance from him, darting away when she saw him on the estate. He was difficult to avoid. He kept an egg incubator in Caroline’s cabin and would come down and check on it, entering without texting first. On one of these visits, he found her crying by the fireplace. He walked over to her, stuck his thumb in her mouth, and twisted her nipples. She told Gaiman the arrangement was making her “feel bad.” She recalls him replying, “I don’t want you to feel bad.” But nothing changed. Caroline had no income at the time and was borrowing money from her sister to get by. She worried that if she didn’t appease Gaiman, he’d kick her out of her house and then she and her three daughters would have nowhere to go. “ ‘I like our trade,’ ” she remembers him saying. “ ‘You take care of me, and I’ll take care of you.’ ”

TWO MONTHS LATER, Pavlovich arrived on Waiheke. By then, Palmer and Gaiman were divorcing. According to Palmer’s friends, she asked for a divorce after Rachel called to tell her that she and Gaiman were still having sexual contact, long past the point when Palmer thought their relationship had ended. She was hurt but unsurprised. “I find it all very boring,” she later wrote to Rachel, who recalls the exchange. “Just the lack of self-knowledge and the lack of interest in self-knowledge.” In late 2021, Palmer found out about Caroline, too. “I remember her saying, ‘That poor woman,’” recalls Lance Horne, a musician and friend of Palmer’s in whom she confided at the time. “‘I can’t believe he did it again.’”

By the time she asked Pavlovich to babysit, Palmer was fed up with Gaiman’s behavior, but “she still had some faith in his decency,” a friend says. Still, she knew enough to warn Gaiman to stay away from their new babysitter. “I remember specifically her saying, ‘You could really hurt this person and break her; keep your hands off of her,’ ” the friend says. And Palmer still hoped, according to those close to her, that she and Gaiman would be able to negotiate a peaceful co-parenting arrangement. She found a school for their child and the two houses on Waiheke. “She was going to do her best to keep Neil as a presence for her son,” one friend says.

On February 19, 2022, Gaiman and his son spent the night at a hotel in Auckland, which they sometimes did for fun. Gaiman asked Pavlovich if she could come by and watch the child for an hour so he could get a massage. It was a small room—one double bed, a television, and a bathroom. When he returned, Gaiman and the boy ate dinner, takeout from a nearby delicatessen. Afterward, Gaiman wanted to watch a movie, but the child wanted to play with the iPad. The boy sat against the wall by the picture window overlooking the city, facing the bed. Pavlovich perched on the edge of the mattress; Gaiman got onto the bed and pulled her so she was on her back. He lifted the covers up over them. She tried to signal to him with her eyes that he should stop. She mouthed, “What the fuck are you doing?” She didn’t want the child to overhear what she was saying. Gaiman ignored her. He rolled her onto her side, took off his pants, pulled off her skirt, and began to have sex with her from behind while continuing to speak with his son. “ ‘You should really get off the iPad,’ ” she recalls him saying. Pavlovich, in a state of shock, buried her head in the pillow. After about five minutes, Gaiman got up and walked to the bathroom, half-naked. He urinated on his hand and then returned to Pavlovich, frozen on the bed, and told her to “lick it off.” He went back to the bathroom, naked from the waist down. “Before you leave,” he told Pavlovich, “you have to finish your job.” She went to the bathroom, and he pushed her to her knees. The door was open. (Gaiman’s representatives say these allegations are “false, not to mention, deplorable.”)

Three weeks after Pavlovich arrived on Waiheke, Palmer told her that the child would be traveling with Gaiman to Edinburgh in a few days to visit the Amazon production of his series Anansi Boys. They wouldn’t need her for a couple of weeks. That morning, Pavlovich came down with COVID. Palmer and Gaiman agreed that she could isolate in Gaiman’s empty home. They still hadn’t paid her for a single hour she’d worked for them.

TEN DAYS AFTER Gaiman left New Zealand, Pavlovich went to Palmer’s house for dinner. She asked Palmer if she could tell her something in confidence and made her promise not to tell Gaiman. She begged for reassurance that she would still keep her job as the child’s nanny. Palmer assured Pavlovich her employment was not in danger. Sitting in the kitchen, Pavlovich told Palmer that Gaiman had made a pass at her. She told Palmer about the bath. “I didn’t have any choice in the matter,” she said. “He just did it.” She said he had been having sex with her ever since. She withheld some of the most brutal details and did not describe her experience as sexual assault; she didn’t yet see it that way.

“I am so glad that you messaged me,” Gaiman wrote. “I thought you were a monster.”

Gaiman asked Pavlovich to speak with Muller. “Knowing that you would be prepared to say, ‘It’s not true, it was consensual, he’s not a monster,’ makes me a lot more grounded,” he wrote. Muller reached out to Pavlovich to offer a “safe harbor.” When they spoke on the phone, Pavlovich told Muller what Gaiman, who was paying for the session, had asked her to say. After listening to Muller’s “esoteric, spiritual claptrap,” she felt worse. “I really felt it was all my fault.” Muller, for his part, tells me that ethical boundaries prevent him from sharing anything about his sessions with Gaiman, but he apparently felt comfortable sharing details of his conversation with Pavlovich. “What she called to speak with me about was feeling pressured—from very diverse, mostly older women in her community—to take action that she wasn’t sure she felt comfortable taking. I accompanied her on a journey to help her figure out the answers for herself to that issue.”

“I can’t offer you exactly what you want from me,” Palmer wrote, “but i can still be here. remember this.”

When the police contacted Palmer later that year, she declined to talk with them. Gaiman never spoke with the police either, though he did provide a written statement. Whatever feelings Palmer might have had about the situation went into a song she performed on tour in 2024, one she wrote shortly after Pavlovich’s confession. It was called “Whakanewha,” named after a park near their homes on Waiheke. “Another suicidal mass landing on my doorstep—thanks a ton/A few more corpses in the sack/You’ll get away with it; it’s just the same old script/This world is shaped to have your back/You said, ‘I’m sorry,’ then you ran/And went and did it all again.”

THIS PAST FALL, Pavlovich began studying for a degree in English literature at the University of St. Andrews in Scotland. As it happens, the university had awarded Gaiman an honorary degree in 2016. In December, Pavlovich approached the head of the university, Dame Sally Mapstone, to share her experience and ask the university to review the decision to honor Gaiman. Mapstone was sympathetic but indecisive; some on the board, she told Pavlovich, would likely want evidence of prosecution to rescind his degree. As far as the police report goes, the “matter has been closed,” a spokesperson says. Gaiman’s career, meanwhile, has been marginally affected. A few pending adaptations of his novels and comics have been put on hold or canceled. But the second season of The Sandman is set to premiere on Netflix this year, as is Anansi Boys on Amazon Prime. (Amazon did not return a request for comment.) He and Palmer are entering the fifth year of an ugly divorce and custody battle. Gaiman has “bled her dry” in the divorce proceedings, according to someone close to her. She’s moved back in with her parents in Massachusetts. (Gaiman’s representatives alleged that Palmer was a “major force” driving this story in light of their contentious divorce.)

In December, Pavlovich flew to Atlanta to meet some of the other women who had made accusations against Gaiman. They had been unaware of one another’s existence until they’d heard the podcast. Since then, they had formed a WhatsApp group and grown close. “It’s been like meeting survivors of the same cult,” Stout tells me. “It’s impossible to understand unless you were there.” On New Year’s Eve, Pavlovich, Stout, and Caroline gathered around a bonfire at the Athens home of the musician Michael Stipe, an old friend of Caroline’s. Kendall joined them on Face-Time. With their dark hair and delicate features, they looked like they could be sisters. Around 11 p.m., they wrote down their intentions for the year and cast the scraps of paper into the fire. Pavlovich had written that she wanted to “release the yoke of victimhood” and “invite in self-acceptance.” The next morning, she woke before the others, made coffee, cleaned the kitchen, and sat on the porch in the winter sun. “Am I happy?” she wrote in her journal. “No.” But she also noted that she wasn’t alone. “There is no need to feel abandoned anymore

#Neil Gaiman #good omens

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