#audition kind of fits this category to

[orpheuslookingback]

It’s sometimes a little tough to find good ways to recommend “go into this completely blind” movies/games/etc because you want to make sure someone doesn’t accidentally stumble upon a really great twist before watching/playing, but for some things even saying “make sure you go in blind” is itself kind of a spoiler, you know? Like there’s media where even putting the thought into someone’s head that something unexpected is coming kind of spoils it because while maybe now they won’t accidentally learn the specific twist, the media is such that it looks like one thing and is really something else and even knowing there is a twist automatically changes the experience. So you kind of have to look at something and ask “is it a spoiler if you know what the twist is? Or is it a spoiler if you know that a twist exists” before going “oh, make sure you don’t look anything up!”

[r-is-typing]

the music teacher | s.r

summary: in which spencer finds love in an unlikely place

requested?: yes! by anonymous!

pairing: professor!spencer reid x professor fem!reader

category:

content warnings: none!

If you knew Spencer Reid, you knew he loved to ramble. So, of course, the thing that made sense for him to do during his required thirty days off from the BAU was just that; rambling, well, teaching.

Emily Prentiss, the BAU’s Unit Chief, had came up with the idea for him to teach seminars on any topic under their profession that Reid sees fit, thanks to the Spencer’s reinstatement conditions that for every one-hundred days he worked in the field and for the BAU, he’d take thirty days off.

So, there he stood, in front of a class of about fourty-five people on a Tuesday morning, beginning his first lesson. “A trigger,” he begins. “is a sensory event experienced by an offender that precipitates subsequent behaviors.” He animatedly talked with his hands, looking at the class.

“Where as, a stressor is a longer-term pattern of behavior or circumstances which push,” Spencer thrusts his hand up in the air. “a person into behaving differently than they normally would.”

Spencer notices now that no one in the class was writing anything, so he adds one last quip. “You’re probably gonna want to write this down.” He suggests awkwardly.

“I shouldn’t be telling you guys this, but I’m definitely putting this on the final.” He says, shoving his hands in his pockets.

Y/N, another professor at the University, stands in the back of the class by the door, leaning against the wall with her arms crossed in a polite, sophisticated manner.

She had snuck in sometime between the conversation of modus operandi (more commonly known as M.O.) and Spencer discussing the differences in pattern between female serial killers and male serial killers.

"I'm only auditing this class." Y/N watches a girl tucks her hair behind her ear nervously, looking up at the tall professor. She watches as Spencer's brow furrows, looking around the room.

"Is anyone else auditing this class?"

Y/N sees a sea of women's hands, and even a few men's hands raise at his question. She softly chuckles under her breath. Spencer nervously checks his watch. "U-uh, unfortunately that's all the time we have for today. Thank you., guys."

People pass her, nodding as they leave the classroom, recognizing her as another professor on campus. She moves slowly, making her way to the front of the room, watching the man gather white papers and manila folders into his satchel.

"That was a really interesting lesson today."

Spencer's eyes dart up. "Oh, uh, thank you. A-are you a student?" He frowns. "I don't think I saw you." Y/N softly laughs, shaking her head. "No, no. I'm a professor here. I teach music, actually." She smiles at him.

"Music, but an interest in Criminology?"

"Well, I actually have an undergrad in Criminology."

This peaks Spencer's interest. Y/N nervously laughs. "I know, it's probably weird, but I find it fascinating. I've actually sat in on one of the BAU's lectures a few years back. Well, probably about six years ago now?" She shrugs.

"Your team had come to my college, my undergrad class actually, and spoke about profiling. Kind of the same stuff today, but more.. in depth?" Y/N smiles shyly.

"Oh, the Tommy Yates case!"

Y/N nods. "That would be the one. I'm surprised you remember." Now, Spencer smiles shyly. "I actually have an eidetic memory, so it's hard to forget."

"Wait, so.. if that was your undergrad only six years ago, and you're a professor now, you must be really young, unless, of course you started college later!" Y/N shakes her head.

"I just turned thirty."

Spencer nods. "That's very impressive for your age." He says, but she rolls her eyes, knowing he's done more impressive things at a much younger age.

The two converse until the bell rings, signaling another class coming in to learn from the FBI's resident genius. Y/N makes sure to get his number, excited to have made a new friend as most of the professors at the university were old or just plain rude.

A few months go by, and they're closer than ever. Spencer was reinstated within the FBI, but had asked Emily, for his own mental state if he could still teach as often as he did before the reinstatement.

What he didn't tell her though was that he did it so he could see her every day. He didn't think Emily would understand what it felt like; the things he felt for her. The mornings where the two would meet for coffee in her classroom, followed by lunch in his perspective class, and then on some nights, they'd even spend time together and hang out after classes would end and everyone would go either home or to their dormitories.

On one particular Friday night, the BAU had just gotten back from a case, and wanted a wind down. So, in true Penelope Garcia fashion, she suggested going to a bar. Of course, the idea was met with high praise, even surprisingly from the 'good doctor' himself, as Garcia deemed him.

So, there they were, sitting in a corner of the bar, having drinks, eating bar food, and laughing. Across the bar, Luke eyes a group of women. "You stare anymore, your eyes are going to fall off." Tara quips with a smirk. Luke flips her off, sending a glare her way.

"C'mon, you don't think they're good looking?"

Tara shrugs, Emily stays silent but watches, Rossi puts his hands up in innocence, JJ and Garcia laugh, and Spencer, his face turns white as a ghost.

His eyes lock onto a familiar person. Y/N stood with the group of women, throwing her head back in laughter as she clasped a drink in her hand. Spencer watched as she took small sips, slightly wincing. He assumed from the alcohol.

Y/N wore a tight dress that had accentuated her features, making Spencer's mouth go dry. "You okay there, Spence?" JJ chuckled, seeing her best friend go what Emily had liked to call 'just like that; an IQ of 187 slashed to 60'.

"Y-Yeah, I'm fine."

His coworkers shared looks, knowing him well enough to know that what he said was far from the truth. They eye the group of women and watch for a moment.

As if Y/N could sense eyes on her, she looks up and to the right. Her movements stop, seeing the familiar face of her friend (and the guy she had become enamored with) in a booth on the other side of the crowded bar.

Y/N loudly excuses herself so her friends could hear, beginning her walk to the other side of the bar. "Hey, you." She says as she approaches. "I thought you don't drink, much less at a bar." Y/N raises her brow as Spencer looks up at her with a shy smile.

"I don't normally."

Y/N chuckles, sipping her drink. "Who's this?" The antsy, excited voice of Penelope Garcia spoke up. "Oh, right." Spencer laughs, placing a hand on the back of his neck. "Y/N L/N, meet my team. Guys, this is Y/N, her and I work together at the university I lecture at. She's a music professor."

"It's nice to meet you all, I've heard so much about you."

"I wish we could say the same."

Spencer looks between his newer friend and his team with a little guilt. "Well, now you've met." He chuckles nervously. He feels a hand on his shoulder and feels his face heating up. "Don't feel bad, Spencer, I know your team is very busy."

Y/N smiles at him as the two lock eyes. "Listen, this may very well be the wrong time to do this, but drinking makes me very... honest." She laughs nervously. Spencer eyes her, raising an eyebrow in curiosity.

"Do you want to go out with me next Saturday?"

Spencer chokes on his saliva, staring up at the woman. She frowns slightly, afraid she had said something wrong, or worse, thought there was something there when there wasn't. So, to save face, she started to speak. "I-If you don't want to, I totally get it, I just-"

"I've been trying to ask you that since I met you!"

r is typing...

hi! i hope you all enjoyed :) sorry this took so long, i've been really busy and just came back from visiting family. in a few days, i'll actually be leaving again so fics may be sporaddic but please please please, keep requesting! i love writing for you all <3

anyways, thank you to anon for the request!

r is signing off...

[obstinaterixatrix]

I read all of The Honest Life of a Game Studio and now I am obsessed do you have recs for anything like it.

I wish. I FUCKING WISH. but it’s really one of a kind. higefusa really just wrote mundane slice of life office drama with the level of detail that could only be provided by a gamer who has worked in the industry AND he threw in some life or death stakes as a treat. how often do we get an incredibly normal office worker stuck in time prison??? and it’s ONE ARC??? not often enough.

none of these are gonna be just like game-ya but in terms of romances with attention to detail for industry/niche fields… ok all of these are gonna be kind of weird so bear with me.

double section is a BL about an auditor for an insurance company and an insurance salesman, I wouldn’t necessarily give it a blanket rec but I liked how Passionate the main characters were about audits and workplace regulations. a lot of heated drama for the most normal office setting possible. in the author’s note the artist talks about interviewing health insurance salesmen.

ginmokusei is more of a conventional BL but it’s about a guy who inherited his grandpa’s tailor shop and an ex maître d who shows up and demands to help him before he goes bankrupt. there’s a little bit about branding and marketing and bank loans. what has Always Stayed With Me is when the love interest basically goes like ‘you’re using all these flashy ads and being really pushy with discounts. are you selling beef bowls.’ every time I pass a clothes shop that goes really flashy with the discount banners I think ‘are they selling beef bowls…’

panel x magic. okay I said it was going to be weird. so this yuri is about a recent graduate who applies for office jobs and ends up doing image editing for… I guess a brothel? it doesn’t go into critiques of the sex industry, but I thought it was interesting how it takes a really logistical perspective in terms of marketing, advertising, and image manipulation… one of the chapters has the main character going like ‘oh god I’m trying to edit this risqué photo by making the thighs thinner and giving the face a glow-up but I keep making the model look like a weird alien this looks like something from a photo booth’ and gets advice from her coworkers like ‘hey why don’t you look up makeup tutorials to get a sense of what to touch up.’ hasn’t been translated in a while but it kind of hits that… really in-depth look at the logistics of a job.

I think there’s more I’m not remembering at the moment, at one point I think sundry made a joke about rating office romances by how much office work is shown. there’s a couple ones that *kinda* fit but not really… wait. wait wait wait. WAIT. oh my god it has such a h•rny title. okay. so I’m being 100% sincere when I say that the main story for hammered and pounded is a BL with interesting office politics. it’s also incredibly h•rny, but game-ya gets pretty h•rny so whatever. but yeah there’s a whole subplot where the love interest, who works in sales, has actually always wanted to work in R&D, and it becomes A Whole Thing where the head of R&D is in conflict with the head of sales over whether or not a transfer is gonna happen and there’s no romance involved with the conflict it’s all office politics

and in a similar vein, to your right, you will see my boyfriend is about a guy who’s working as a tour guide in kyoto and at the artist talks about how she used to work as a tour guide. I think it’s fun, though I have my qualms. the main character does do studying about how to be an effective tour guide and goes from being like ‘ugh I’m saying all the facts but no one’s listening’ to ‘haha check out this extremely long name of the temple we’re about to see! make sure to remember it, it’ll be the password for getting off the bus ;D’

I have another category of vaguely similar vibes of genre bending mundane office work + fantastical situations

tokusatsu gagaga is a gen series that’s a BIG fave of mine, the main character is an OL who loves tokusatsu so she imagines a lot of scenarios with that sort of vibe. it’s not diagetic, but it’s really fun when it’s stuff like ‘I’M AT KARAOKE WITH MY COWORKERS BUT I CAN’T OUT MYSELF AS A TOKUSATSU OTAKU THIS IS JUST LIKE BEING ATTACKED BY A KARAOKE-THEMED MONSTER EMERJASON HELP ME!!!!’ the eng tl hasn’t been updated in a while but there’s a live action adaption that’s really good

magilumiere co. ltd. is a gen series that’s basically ‘what if magical girls were like… sanitation workers for monsters’ so it’s a lot of company logistics in a fantastical setting. I don’t think I got that far into it before getting distracted, but it was interesting (though perhaps overly generous/idealistic about start-ups as a concept).

[literaticat]

Hi, Jenn! I don’t know how to phrase this without seeming arrogant or whiny, but I write a LOT. I feel like I would be a good candidate for IP work. I think I’m listed on my agency’s site as being open to IP, but how does that actually happen? Should I push the IP idea with my agent? Do I need to reach out myself?

It doesn't sound arrogant or whiny, it just sounds like a fact. You write a lot and think you would be a good candidate for IP work. Fair enough!

In my experience that usually happens in one of two ways:

-- An editor approaches me about a specific published author I rep. Like, they are looking for somebody who is already published or "known" in some way -- like, "Because Maggie Tokuda-Hall is known for her YA sapphic mermaid fantasy, would Maggie be interested in writing a gay YA romance between Aquaman and Namor set in the baroque underwater world of Atlantis?" -- they might then want Maggie to write a little sample, or they might consider her already-published work to be sample enough, either way, the point is, they are coming to me in this example BECAUSE SHE'S MAGGIE, they aren't looking for some random other person. IF she doesn't want to do it, they'd choose somebody else, but it would likely also be somebody who has something of a name.

-- An editor approaches me (or the agency as a whole) and says something like, "Hey, we are looking to do an IP series about a diverse team of junior league Pickleball players -- think "MG League of Their Own but for Pickleball" -- let me know if you have any authors who do voicey and heartfelt MG that have an interest in pickleball!" And then we give them some names of some potential candidates who do contemporary MG and play pickleball (or whatever), who might "audition" by writing a sample. In this case, they aren't going for a specific author, they'd likely be open to newer authors, though it would have to be somebody who fits whatever demographic (in this case, sports-loving, does voicey contemporary MG), and is good at writing quickly and to a specific kind of brief.

The problem of course is, if you aren't already somewhat well-known/well-published, the first one probably isn't going to happen. The second one might! Though of course, we can't control how often these opportunities come up, OR if you'd necessarily be the appropriate choice for every opportunity. Like, if it was about a group of teenage Mexican-American pickleball players, they might want a Mexican-American sporty YA author. If it was a ghostwriting gig for a Picture Book by a specific Chinese-American pickleball child prodigy, they'd want a PB author who is into sports and is Chinese-American. You get the picture.

So while we probably have a handful of these kinds of IP / ghostwriting type opportunities come in every month, they are usually targeted in such a way that a fairly narrow swath of our possible authors would be appropriate.

ALSO: Some editors have databases of possible IP writers and agents who rep them, and are happy to add to those databases. Even if they don't have any projects cooking RIGHT NOW, your agent can reach out to editors who do a lot of IP and say, hey, I have this great person, please think of them if something appropriate comes up. This just makes it more likely that an editor will reach out to your agent when they DO have something.

So I don't think it would hurt to remind your agent: "Hey, just putting it out in the universe that I'm very keen to be considered for IP opportunities, if you hear about something that would be good for me, please throw my hat in the ring! I'd be especially interested in: [XYZ]. And feel free to be kind of specific here if you like, giving both appropriate categories (MG series? YA? PB? Chapter Books? GN texts? etc) and fave genre/style/topics (fantasy? romance? contemporary? sports stories? animal stories?) and, if applicable, any possibly relevant cultural / pop-cultural / demographic components that might come into play (I am LGBTQIA, I'm into theatre, I'm a Blasian comic book nerd and obsessed with all things Wakanda, I'm a horse person, I'm into martial arts and baking, whatever)

In other words, don't say EVERYTHING, nobody is good at and interested in EVERYTHING, and if you are being a little specific with some key words, that will help you stand out from the crowd when an editor is looking for something specific. (Like, if they are looking for a writer for a MG superhero project, they are unlikely to notice EVERY author who just puts "MG" -- but WILL notice somebody who has MG + superhero, or MG + Marvel, or MG + comic book nerd, yanno?) Yes, that WILL leave you out of some potential opportunities -- but if you're a MG/YA person, you probably wouldn't be the best fit for a PB or whatever anyway -- and IMO, it's much better all around to get an IP project that really is a fit for you, rather than just taking a flyer on something that isn't in your wheelhouse. Once you have some under your belt, and you've proven that you're reliable and good, people will think of you for further ones, too.

[world-cinema-research]

Close Encounters of the Third Kind 

By, Christian Lavarello 

I watched Close Encounters of the Third Kind for the first time, and I enjoyed this film very much and my respect for director Steven Spielberg has increased given the technical special effects utilized during this time and his imagination to bring it to life. The film was written and directed by Steven Spielberg and released in 1977. This film tells the story of main character Roy played by Richard Dreyfuss, an increasingly obsessed man with UFOs and subliminal messaging following his experience with extraterrestrial beings. Roy builds a model of the mountain in his home and his obsession causes a separation from his wife and children but drawing him closer towards parallel investigations being conducted by scientists and the military.

"I guess you've noticed something a little strange with Dad. It's okay, though, I'm still Dad" - Roy

Many critics have called this film revolutionary given its’ creativity and special effects utilized during its’ time and reviews from its' release date to current time have been mostly positive with some criticizing the story as an uneasy tension, specifically Roy’s decision to leave his family behind. Other reviews such as the one from Reels Review states the following, “Close Encounters of the Third Kind is a great movie, but it also benefited from peerless timing. Released on the heels of Star Wars, it was able to absorb the pro-Science Fiction atmosphere that had arisen as a result of George Lucas' unexpected blockbuster. Suddenly, everyone was into stories about space and aliens. And, while Close Encounters is a much different film than Star Wars, it played to the same audience”. Rotten Tomatoes has rated this film at a 90% while the audience has rated it at 85% and The New York Times called it “...the best—the most elaborate‐1950's science fiction movie ever made, a work that borrows its narrative shape and its concerns from those earlier films, but enhances them with what looks like the latest developments in movie and space technology”. 

Close Encounters of the Third Kind does not fit into one conventional or unconventional category; however most would argue that it does align with conventional films and I would agree, yet there are aspects of the film that tell the contrary. For example the film does not have any superstar actors or actresses and interesting enough I found out through some research that Meryl Streep auditioned and was not given a role in this film. Close Encounters of the Third Kind made a profit of $288 million worldwide, including $116.39 million in the United States and Canada, and $171.7 million in foreign countries. This film was the most successful Columbia Pictures film during the 70s. I found the style of the film to be form a connection with the viewers of this time that were highly involved with extraterrestrial beings that the aliens are friendly. For example, during the scene where scientists were attempting to communicate with the aliens there was a believable and compelling message about the way aliens used soothing and melodic music to communicate and this informed the audience that they were friendly. 

Something additional that I found interesting was that in 1980, the the film was replaced by a 132-minute version, with the central section tightened and extra material showing the inside of the mother ship at end. On posters, but not on prints, this was subtitled The Special Edition. In 1998 a 137-minute collector’s edition was issued on home video; this eliminates the inside of the mother ship but restores footage around the hero’s nervous breakdown. The film was also released in 2022 as the Close Encounter of The Third Kind: Amended. Overall, I found this film to be interesting and I was mostly surprised with the special effects utilized during its’ time of release. I would recommend this film if you were a Steven Spielberg fan and keep in mind that films of the past are what brought films of the future or current time.  

[hotforharrison]

Shit, it happened! The cast has officially been chosen and Joseph Quinn will play Johnny. I'm in a bit of a weird state. I kind of expected this. Harrison's chances were very unlikely. And I think he already knew that when he stopped even mentioning the role in interviews. Joseph had been rumored for a long time and he fit the category - young, relatively popular, but not a big star yet and he's a really good actor. But Harrison will forever be the perfect Johnny for me! I hope Harrison still gets his chance at a big movie 🙌

I'm honestly not surprised, but I am definitely disappointed. It would have been so cool to see Harrison as Johnny. Maybe that was the role he auditioned for for over 6 months that didn't go to him? I'm not sure how long casting generally takes, but for auditioning to take 6 months seems like it would be a major movie.

I have my fingers crossed that Harrison will get the role of his dreams, although he's mentioned in the past that he'd really love to play a dark character. I would have so many conflicting feelings if he were to play, like, a serial killer. The thought of being so ridiculously attracted to a serial killer is just 💀💀💀

[hoperays-song]

Okay, so based on my last ask: remember in Sing 1 when Ash's spikes starts flying off while she's rocking Set It Free? And Johnny doesn't even react to it because he's sad? (I feel so bad for Johnny, but I can't help but find that scene slightly funny for some reason)

I can't help but imagine that scene now with Ryan trying to comfort Johnny and has to duck down to avoid them - with Johnny still not reacting.

(Though considering Ryan's personality he'd probably try to cover Johnny slightly or something? In that case I don't know whether Johnny reacts or stays deeply in thought by himself still)

Sorry this is random 😂😅

OK, I LOVE THIS IDEA!!! The whole idea of Ryan being in Sing 1 is absolutely amazing and I love it but the pure opportunities for this scene alone is just ✨perfection✨. I'm gonna have to further write this out (I'll tag you in the full written out one if you want)! I hope you enjoy tho! - <3 Gooseless

------------------------------------

Ok so, this would start with the singing competition becoming a talent competition (probably to get more participants). And since in this Ryan joins the main cast, we of course get a pan over in the beginning showing his day to day life. I imagine he's on a phone call standing outside an agency of some kind (implied that it's a dance company by his outfit). We only get to hear his side of the conversation (though we can hear muffled noises of voices) but he seems exasperated and a bit worried.

R: Mom, I'm fine I swear. I'm at an audition now.

R: No, it's not for one of its associated companies. I double checked.

R: Manman, not you too. I'm fine! I can handle myself!

R: Yes I'll be home in time for my classes, I just need to fit in a few more jobs first.

*a worker appear with a clip board, looks around, calls the number on Ryan's shirt*

R: Here! Look, moms, I gotta go, love you.

*ryan hangs up the phone and heads into a room behind the worker*

The next time we see Ryan is when the flyers are spreading around, he's walking on a sidewalk, texting on his phone until a flyer on the ground catches his eye. He picks it up and immediately starts grinning, giving a little bounce of excitement.

At auditions, Ryan is in the dance category, competing as a soloist. I think his audition song would be Take Me To Church by Hozier (mainly because I do want him to dance to something slower in comparison to the final song). Mrs. Crawly and Buster both seem really impressed by this and and smiling and nodding along at the end, Mrs. Crawly even seeming to be crying a bit.

Ryan is picked first draft unlike Johnny when it comes to the selection, however he is the last one named. We can see him watching the singers being picked from the side, clapping when the final selection is announced.

The next time we see him is when they're being assigned their rehearsal areas and given performance recommendation lists. He's next to Johnny, mentioning that he's dances modern, contemporary, and lyrical, not ballet as Buster apparently recommended. He shares a frustrated look with Johnny when the man brushes off their concerns before heading off to his rehearsal space.

When the power cuts, Ryan appears with the rest of the group at the bottom of the stairs, looking around like everyone else. He voices his agreement with the confusion on how they're supposed to practice if they can't see, and he and Johnny shrug at each other before returning to practice, Ryan accepting the glow stick Gunter offers him with a "Thank you".

When Meena walks through, we see Ryan doing a spin in his rehearsal space.

During the showing of what the groups lives are like, we see Ryan returning to what appears to be an empty and cramped hotel room, immediately opening his phone, allowing the audience to see a picture of him with an older tigeress and lioness, along with two liger cubs, before he clicks out of the photo app and to a contact labeled mom. Again, we get to hear his conversation from his end (though we can hear muffled noises of voices) and his motivations are revealed. He's trying to make it on his own as a dancer as well as help his family financially.

R: Hey mom!

R: Yeah, I'm okay, just missed you guys. How are the girls?

R: *laughs* That's my Ames alright! And Bella? How's she feeling?

R: That's a bit better at least! I'm sure she'll be back to normal in no time. But mom, you're not gonna believe this.

R: Yeah, I got a gig! My first solo gig! It's a talent competition and the prize is $100,000 mom!

R: No, I'm not kidding! We could pay off rent and Bella's stuff and manman's loans and everything!

*the scene goes in to the life of the next person*

At the rehearsal, we see Ryan walking off stage before Mike walks on. Ryan is sitting on the opposite side of Ash compared to Rosita, looking worried as she's crying.

The next scene we see is the prepping for run-through for the Noodlemans one and Ryan is reading the newspaper over Johnny's shoulder. He looks at Johnny, apparently concerned at Johnny's behavior, when Johnny answers Buster asking if they're ready. He's seen putting a hand on Johnny's shoulder as Buster leaves and appears to be asking if he's ok.

During the theatre flood, we see that Ryan is the one doing the best besides Johnny (tigers are good swimmers after all). He's able to stop himself from being completely swept up by the current at first but is eventually pushed into the lobby with the others. Ryan is seen looking around frantically as the water raises and is the second person to take their last gulp of air before the room fills entirely. When they all spill out onto the street, he's one of the first back on his feet, helping Johnny up as he was the closest.

When the group is shown reeling after the flood, Ryan is seen sitting with a duffel bag on a bench, trying to call someone without getting an answer. It's implied he doesn't have anywhere to stay due to the bag next to him.

At Eddie's pool house, when they're trying to convince Buster to try again, we see him react in a shocked manner to Johnny's statement of "I lost the chance of ever speaking to my dad again" and keeps glancing at him for the rest of the interaction, visibly concerned.

At the start of the rebuild, Ryan also receives a call, leaving an audition to go join the rest of the troupe. He also is seen helping with the renovations, helping Johnny with the beams and slabs of concrete in particular. I would also add scenes of the troupe hanging out in there too, during the rebuild, so we see scenes of all of them practicing together and watching each other perform, cheering them on.

During the show, Ryan performs second, after Rosita and Gunter, to the song Stand Out Fit In by One Ok Rock. He high fives Johnny when he leaves the stage and then helps him drag the piano on stage for his song.

During Set It All Free, Ryan is standing next to Johnny, clearly checking on him to see if he's ok. When the quills fly, he shield Johnny himself, resulting in getting stuck in the cheek. At that, Johnny seems to snap out of it a bit, and reaches up to help him pull it out, now also looking worried. The rest of the performances, he can be seen nodding along and clearly happy, standing next to Johnny, as if he's making him experience the shows instead of moping.

When Marcus reappears, Ryan actually is hinted at seeing him first (tigers have a really good sense of hearing compared to the other species after all) and slightly turns his head towards where Marcus is before turning back to the show with a smile.

When Johnny walks back to join the others, Ryan smiles at him and pats him on the shoulder and Johnny smiles back at him. He also stands next to Johnny during bows, with Gunter on his other side.

At the unveiling of the New Moon Theatre, he's standing next to Johnny as well and throws and arm around his shoulders in the photo.

------------------------------------

Ok! One, I'm so so so sorry with how long this took (I promise I'll post the other one soon). Two, thank you for the amazing ask!

In this, Ryan would have left Klaus's troupe a few months beforehand and is trying to make it on his own as a dancer as well as helping his family care for one of his sisters, Bella, who's hinted at being sick.

There are a few Rynny coded moments, but not many, mainly because in this au I would want that plotline to spread across both movies to make the relationship seem to movie at a more natural pace. Also, their interactions in this set up a pretty natural felling close friendship that could appear in the next movie that wouldn't be shocking.

Ryan's personality is also given a spotlight a bit in this au as well, as he's shown to be ambitious as well as to be a caring individual. It also dives a bit into his backstory, but not a lot.

I hope you enjoyed!! Thank you again for the awesome ask!!!

- <3 Gooseless

[sgk-india]

Transform Your Operations with a Comprehensive Maintenance Audit

Preparing the regime of proper Industrial Maintenance and creating the main base is the initial stage of managing any industrial business. However, it has been pointed out that sometimes the laid-down plans may cause some issues with the efficiency of the implemented systems. That is why a proper maintenance audit is relevant in this case, while each of the illustrated approaches can apply to any kind of product and service that a company is offering to the consumer.

Maintenance audit, on the other hand, can be defined as a systematic evaluation of the organization’s maintenance practices as a way of identifying the success, effectiveness, and areas of potential development that need to be achieved. In identifying different flaws within internal processes, and possible application of changes based on data, then it is possible to improve the operational effectiveness of a business organization, and have reductions in costs, and incidences of loss in productivity.

Key Benefits of a Maintenance Audit

Identify Inefficiencies: Identify unknown issues that may be causing some hold-ups in your business processes.

Optimize Resource Allocation: Check from the maintenance resources that you are using, whether they are being used effectively.

Improve Equipment Reliability: Maximize the use of assets and take care of them by repairing or replacing the worn-out parts as a way of elongating their life.

Enhance Safety: The risks and outliers that may endanger individuals' safety should be established and appropriate actions taken.

Reduce Costs: Maximize resource usage and minimize outlay on maintenance while incurring great economies on the same.

Compliance Adherence: To translate these regulations and standards into requirements that must be followed by the company, the following guidelines are put into consideration.

What to Expect from a Maintenance Audit

A comprehensive Maintenance Audit Service typically involves:

Data Collection: Acquiring data on tools and other assets, their history of service and repair, time they are out-of-order, and expenses incurred.

Performance Analysis: Assessing the effectiveness of the equipment in delivering service, efficiency in maintenance as well as the use of resources.

Best Practice Benchmarking: Comprehending your state of maintenance compared to other industries.

Gap Analysis: Assessing cases of maladaptation within organizations when comparing the current performance processes with the reference benchmarks.

Recommendation Development: The last purpose, and one that fits best into the category of organizational development, is giving practical suggestions for change.

Implementing Audit Findings

It is crucial to identify the action plan that will be taken to effect changes as may be suggested by the audit. This may involve:

Training: The raising of the level of personnel mainly engaged in maintenance.

Technology Adoption: Performance of maintenance management software also known as proactive or predictive maintenance tools.

Process Improvement: Coordinating/simplifying the procedure of maintenance activities and processes.

Resource Allocation: Proposing changes to their existing spending and manpower plans to enhance their company’s maintenance regime.

Performance Monitoring: Monitoring significant indicators that define the efficiency of changes.

By bringing in a full Maintenance Audit and strictly adhering to the recommendations given, it is possible to raise the efficiency of the processes multiple times and cut numerous costs to become sustainable in the long run.

[interiorcraft1]

How to Make well furnished Wardrobe.

In a world of fast fashion and ever-changing trends, creating a wardrobe that truly reflects your style and personality can be a rewarding endeavor. Building your own wardrobe not only allows for creativity and self-expression but also promotes sustainability and conscious consumerism. In this comprehensive guide, we will walk you through the process of crafting your perfect wardrobe, from decluttering and organizing to designing and accessorizing. Let's dive in!

Understanding Your Style Identity: Before embarking on your wardrobe-building journey, take some time to reflect on your personal style preferences. Consider the colors, patterns, and silhouettes that resonate with you, as well as the occasions and environments you dress for regularly. Whether you lean towards classic elegance, bohemian chic, or minimalist simplicity, defining your style identity will serve as a guiding principle throughout the process.

Decluttering and Assessing Your Current Wardrobe: Begin by decluttering your existing wardrobe to make space for your new creations. Sort through your clothes, shoes, and accessories, and be ruthless in purging items that no longer serve you. Ask yourself whether each piece brings you joy, fits well, and aligns with your style vision. Consider donating, selling, or repurposing items that no longer have a place in your wardrobe.

Building a Foundation with Essential Pieces: Every wardrobe needs a solid foundation of versatile, timeless pieces that can be mixed and matched effortlessly. Invest in high-quality basics such as tailored blazers, crisp white shirts, classic denim jeans, and little black dresses. These timeless essentials will form the backbone of your wardrobe and provide a solid canvas for expressing your personal style.

DIY Clothing Projects: Get creative and unleash your inner fashion designer by embarking on DIY clothing projects. From upcycling old garments to sewing your own designs from scratch, there are endless possibilities for customizing your wardrobe. Experiment with fabric choices, embellishments, and sewing techniques to create one-of-a-kind pieces that reflect your unique style sensibility.

Organizing Your Wardrobe Space: Effective wardrobe organization is key to maintaining a clutter-free and functional space. Invest in storage solutions such as shelves, drawers, hanging racks, and storage bins to maximize space and keep your belongings neatly organized. Arrange your clothes by category, color, or season to make getting dressed a breeze. Consider implementing a rotating system to ensure that seasonal items are easily accessible.

Accessorizing to Elevate Your Look: Accessorizing is the final touch that can elevate your outfits from ordinary to extraordinary. Experiment with statement jewelry, scarves, belts, hats, and bags to add personality and flair to your ensembles. Don't be afraid to mix and match different textures, colors, and styles to create visually interesting combinations. Accessories are a fun and affordable way to refresh your look without breaking the bank.

Maintaining Your Wardrobe: Once you've built your dream wardrobe, it's important to maintain it regularly to ensure longevity and functionality. Practice good garment care habits such as laundering items according to care instructions, storing them properly, and repairing any damages promptly. Conduct periodic wardrobe audits to assess what items are still serving you and what can be retired or replaced.

Conclusion: Creating your own wardrobe is a fulfilling journey that allows you to express your individuality, cultivate your personal style, and contribute to a more sustainable fashion ecosystem. By following the steps outlined in this guide, you can build a wardrobe that not only looks great but also reflects who you are. So roll up your sleeves, unleash your creativity, and get ready to embark on the ultimate DIY fashion adventure!

[denimbex1986]

'Actor Cillian Murphy has said last summer's Barbenheimer phenomenon was "a wonderful moment for cinema".

The viral trend saw thousands of fans book tickets to see both Barbie and Oppenheimer on the same day.

It came about after a string of memes which made light of the fact that two films which were so tonally different shared the same release date.

Murphy praised the organic nature of the trend, adding it "wasn't any amazingly designed marketing strategy".

Asked by the BBC's culture and media editor Katie Razzall if the two films helped each other at the box office, Murphy said: "Yeah, they did. And it was a great moment for cinema.

"I think they're both great films which couldn't be more different. And I think it was wonderful it wasn't any amazingly designed marketing strategy by the studio.

"It was people, you know, it was the internet and people who made up this Barbenheimer thing and it, yeah, it was a wonderful moment for cinema."

Barbie has taken $1.44bn (£1.14bn) at the box office worldwide, while Oppenheimer has made $956m (£759m).

Both films are nominated for best picture at the Oscars on 10 March, but Murphy explained he tries not to let awards buzz affect his performances.

"I know everyone says this, but you never go into making a film thinking about awards," he said. "That's not what we do. It's impossible to make a film that way.

"But, when a film connects with audiences like this particular one has in a way that none of us could have anticipated... it's hugely flattering and hugely humbling and it's lovely to see that."

Murphy is seen as the co-frontrunner in the lead actor category alongside Paul Giamatti of The Holdovers, but he says he doesn't spend much time worrying about the outcome.

"I genuinely don't think about that," he said. "It's kind of wasted energy. I just feel so thrilled and humbled to be [mentioned] in the same breath as all those wonderful actors."

Born in the suburbs of Cork, Ireland in 1976, Murphy's interest in acting developed in secondary school after he took part in a drama module.

But he actually pursued music as a career first - Murphy played guitar alongside his brother Páidi in a string of rock bands in his late teens and early 20s.

He also studied law at University College Cork, but failed his first year exams because his heart had increasingly become set on acting. His professional debut came with a theatre performance in 1996.

Film roles followed over the next decade, as Murphy was cast as a supporting character in movies such as Cold Mountain and Girl with a Pearl Earring, as well as the lead role in Danny Boyle's horror film 28 Days Later.

"There isn't a genre or a medium the actor has shied away from over the years," wrote Variety's Jenelle Riley.

"And while some films might not always work as a whole, Murphy always shines. He's also a true actor's actor, one who understands every role is integral and is comfortable taking on supporting parts."

One particular role proved key to his career - with Murphy's appearance in 2005's Batman Begins marking his first collaboration with Memento, Interstellar and Tenet director Christopher Nolan.

Murphy had been asked to audition for the lead role in the first film of the Batman trilogy, and although he did not see himself as being the right fit, the actor jumped at the chance to work with Nolan. His instincts were right, and he was instead cast as Dr Crane, whose alter-ego is the villainous Scarecrow.

Over the following years, Murphy's profile grew steadily with a stream of roles on stage and screen, including Nolan's Inception and Dunkirk. The pair have now worked together on six films.

"It's a 20-year relationship," Murphy said, "and we met when we were much younger and we were kind of starting out in the business. He was a lot further ahead than I was.

"I have a huge respect for him, I've always loved the types of films that he makes. There's all sorts of films that I go to the cinema to see. But we've developed over the years. And above all, the most important thing, I think, is trust. I really like being pushed as an actor, and he really, really pushes me, in the best way possible."

But although Murphy's film career was going from strength to strength, it was a BBC drama series about a Birmingham street gang in the early 20th Century which provided his real breakthrough.

The actor's role as Tommy Shelby in Peaky Blinders, created and written by Steven Knight, elevated him to a new level of fame.

The show had a healthy audience when it was first broadcast in the UK, but its popularity grew significantly over the following years as it was sold overseas and audiences caught up on streaming platforms.

Murphy's performance was described as "spectacular", winning him two Irish Film & Television Awards for best actor while the show itself won both a Bafta and National Television Award for best drama.

Over the decade that Peaky Blinders aired, Murphy continued to star in films such as A Quiet Place Part II.

And as the drama series was drawing to a close, Murphy was cast in the role that would define his career - theoretical physicist J Robert Oppenheimer.

The resulting film, Oppenheimer, was released last July, accidentally sparking the Barbenheimer trend which greatly benefitted both films at the box office.

But although Barbie made more money, it's Oppenheimer which is seen as the current frontrunner to win best picture - hitting the Academy Awards' sweet spot where artistic merit overlaps with commercial success.

Although the early part of the film focuses on the creation and development of the atomic bomb, the last hour sees Oppenheimer grappling with what he's done, as he comes to terms with the many lives lost as a result of his work. It is a wide-ranging performance in a wide-ranging film.

"This is actually a very human story," Murphy told Razzall. "And if you think about the sort of dilemmas they were wrestling with at the time, they are the biggest, most profound, most paradoxical, most important kind of moral dilemmas that we're still wrestling with as a race and as the world.

"I feel that when you present those in a hugely entertaining way, his [Nolan's] movies become like events. And there's no one else that does it like that.

"And then for some reason, it just clicked and people started going, this momentum, and we were all on strike at the time. So we were just sort of texting each other, just watching this thing happen."

The London premiere of Oppenheimer took place on the same day the Hollywood actors' strike began last July.

It meant it was the final promotional event the actors were able to partake in before downing tools on the red carpet and ceasing to work. The strike was finally resolved after 118 days.

This awards season has once again been a strong one for Irish actors. The release of the Banshees of Inisherin last year led to Oscar nominations for Colin Farrell, Kerry Condon, Brendan Gleeson and Barry Keoghan, while Paul Mescal was nominated for Aftersun.

This year, Keoghan was Golden Globe and Bafta-nominated again for his performance in Saltburn, while All of Us Strangers, starring Mescal and Andrew Scott, received nominations at the Globes, Baftas and British Independent Film Awards.

It suggests something has gone very right in the Irish talent pipeline.

"I think part of it is coincidence, and I think part of it is that Irish people tell stories very well, just in the pub to each other," Murphy reflects. "We're good at it. We have a long history of it.

"We're comfortable with stories, with songs, with poetry. These things are just kind of second nature to us.

"But it is kind of phenomenal the level of talent that the country is producing. For like five million people, it's kind of extraordinary."'

[theimpactsystems]

What to Consider When Planning an Office Fitout

An office fitout is an opportunity to transform a building, whether it's a new or old one, into an environment that suits your business. Getting it right can help your business grow and attract the best people to join your team, as well as boost staff morale and productivity.

The first step in an office fit out project is to decide what kind of space you want. This will help guide the functional and aesthetic choices that are needed, as well as help you determine your budget. It's also a good idea to think about how your company will change and evolve over time, as this will dictate the type of fit out you need.

A Category A Officefitout will ensure the basic functionality of the office is provided, ensuring that electrical, plumbing and lighting are in place and that the space meets fire safety standards. It may also include heating and air conditioning, a ceiling grid, wall to close off additional areas and some of the more 'finishing' touches.

Using a specialist construction or design company for an office fit out can be helpful, as they will be able to incorporate branding elements into the building which helps evoke the corporate image of the business. This is an important aspect to consider, as it's an opportunity to show clients and suppliers your company's culture. Employing Office Fitout Melbourne offers huge benefits.

This can be achieved by incorporating a variety of different elements into the building such as flooring, furniture and ceilings. These will ensure that the space reflects your business's brand and values, which in turn will help you build trust with both existing and prospective customers.

Another key element to look at is the overall layout of the building, as this will influence how employees will work in it. For example, an open plan layout can encourage collaboration and increase productivity. Alternatively, a more enclosed layout can be used to create privacy and allow employees to have their own space in the building.

Once you've decided what kind of space you want, it's a good idea to get some quotes from builders and other companies in the area. Make sure to do your research and find a company who is highly recommended by property agents. They will not only be able to assist you with comparing leases and starting negotiations, but they will also take care of all the legal requirements and make the migration process seamless for you.

It's also a good idea to have an office storage audit conducted, as this will give you an idea of how much equipment and belongings you have in the building which can be reused. This will save you money on the project as the new office will need fewer items and will be less of a strain on your bank balance.

Finally, it's a good idea to have the planning for your fit out completed as early as possible. This is important as it will ensure the project runs smoothly and avoid structural issues down the line.

[getfitwithgabriel]

Quick! Before the next diet craziness begins...

Before the next diet craziness gets promoted - by Gabriel Maestas

As the never ending Covid calamity continues (but seriously, it is an endemic and shall never come to a 'close') I, as well as several of my other colleagues have noticed something. Newer, trendy and potentially harmful 'diet' concepts haven't presented themselves in a while.

'Shhh!' Someone might say, 'even talking about them welcomes the bullsh$@' and while I haven't exactly been canvasing the entire internet, it does seem as tho we've heard about intermetent fasting, keto, and vegan diet concepts for years...but that's about it.

Not that diet crazes and gimmicks are new. They, just like the previous methods, have been around for a long while and haven't really helped improve the state of health and fitness overall. Some might even say they've been harmful (I say as much pretty often).

"Some thing I see all the time," says Jackie Burdine of Beastettes 4 Life, "is the terrible backslide of failed diets. It really hurts people!" And she is not witnessing isolated incidents. The only thing more synonymous with failed diets is the crushing of fitness hopes and dreams.

"Does it really have to be that way?" Jackie continues, "the answer is no, no it doesn't have to be like that. Fitness isn't a mystery! And diets aren't an 'amazing discovery' or something ridiculous like that."

Question is, how important is making fitness and health a priority right now? Well the past 365 plus days hasn't been kind to many people's health efforts. There have been marked increases in:

- Processed food consumption.

- Fast food consumption.

- Booze consumption (check out the episode)

- Increase in average BMI norms (yes this is a viable health measurement).

- Increase in risks associated with Covid complications. Article from The Guardian

So if we are looking for a 'sound' fitness / health program what are the criteria to do so? For general health and BMI management its a good idea to audit a program and make sure it fits this criteria:

1) Program includes nutrition and exercise guidelines rather than something that emphasizes singular components.

2) Nutrition guidelines should allow for at LEAST 1200 calories!

3) Nutrition guidelines allow for food from ALL food categories.

4) Nutrition guidelines DO NOT omit one or more of the primary macro nutrients fat, carbohydrates or protein.

5) Exercise guidelines should include cardiovascular and resistance training guidelines.

6) Exercise guidelines should have a multi-level protocol that doesn't throw beginners into the deep end and increase risk of injury.

7) Guidelines should emphasize that credible fitness improvements and optimal health are products of a LIFESTYLE shift and not a short term sprint.

So with all that begin said its a good time to avoid the diet pitfalls and mumbo jumbo that plagued the past hundred years, bled into the 21st century and threatens to reduce the potential for healthy, happy, and awesome fitness that so many seek!

[letsketobhbgummy]

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[quickdeaths]

@dilffactory

Izumi resolved to text Michiko and ask her for some advice when she was free - no doubt, she'd suggest that Izumi find proper representation with experience in the specific field, but in a pinch, she could probably help out. In the meantime, Izumi could look over the papers herself and make sure there wasn't anything too problematic there. Her understanding was that touring or live contracts were easy, since there wasn't any real expectation of royalties, credits, or anything other than being paid for the onstage work.

"Okay! Sounds good!" Still anxious at her core, shed been advised that the best way to be confident was fake it until you make it, and that kind of enthusiastic declaration fit neatly in the category of faking it. Then again, the combination of the anxiety at losing such an exciting opportunity, and the energy and confidence she was forcing, did lend a slightly manic quality to her movements as she popped up out of the booth. "Let me just grab my things. I know somewhere."

After scampering up to her room, Izumi reappeared a few minutes later with her guitar case on her back and an oversized duffel bag in her hands. "Okay, ready to go," she nodded, her pointed buns nearly falling out as they bounced. "A contact of mine has a garage studio nearby for small things and tweaks, without paying for studio time, and I have a key? So, it's not inconvenient to anyone, the noise?" The alternative was trying to set something up in her hotel room and probably waking up everyone in the building.

Mr. Andreas' garage studio was close, and he was out of town, so no chance of bothering him, either. Izumi gave a two-handed wave towards the security camera, then pantomimed playing a guitar and then mouthed 'audition.' If nothing was being recorded, it was just a matter of setting up her amp, pedals, and getting comfortable. With another person there to watch her, in the form of Copia, that meant putting on the ONI mask so he couldn't see her face. Using the studio without asking only made her more nervous, but Mr. Andreas had said it was okay for her to come by if she needed anything, and had given her a key, so...

The garage was pretty bare, with all of the band's gear moved out, leaving only the soundproofed walls, a couple of chairs, and the computer and microphone setups, along with the electrical ports and myriad cables. It was a pretty DIY kind of place, Izumi thought, not that she minded. BAKEMONO got to use big studios when they were recording things for an album, but Izumi's solo work was usually done in her own home studio, which was even more stripped-down. As long as the music got recorded without issue and met her standards, she wouldn't complain about the size or intricacy of a studio.

Both literally and metaphorically, Izumi warmed up her fingers up with some quick scales and bits of her warmup repertoire - a riff here, a lick there, a particularly cool bit of a solo after that - and once she was all prepared, she looked up to Copia, blue eyes barely visible in the slits in the ONI mask. "So, um, you can ask me to play anything? Whether it's a Ghost song, or something else, and I can listen to it once or twice, and try to play it?" It was a bit of a party trick, but having a good memory for sounds, and the perfect pitch to pick things out quickly, made learning new things pretty easy.

@quickdeaths

He was unused to having to do this himself-- indeed, he was unused to having to have this done all, whether by himself or through the Ministry. The benefit of Ghouls, of course, is that they are summoned to do a task, whether that was playing an instrument or some other support role, and therefore the recruitment stage was quite different than what Copia was experience at this moment.

After all, summoning was not the same as meeting in a bar, and Ghouls hardly had to go over terms of agreement, or pay.

The Ghouls were paid, certainly, but likely not enough for a human musician, as their needs were mostly taken care of by the Ministry, leaving little else for a salary to provide besides desires. -- And the Ghouls had many. Booze and snacks and coffee, better instruments.

Was their pay enough for Izumi? Copia resolved to look into the matter -- and still pay her more, now that the Ghost project was doing well. Her popularity was niche, but for those that knew her, she would be quite the draw.

Japanese fans, whether actually Japanese or foreign, could be rabid, staunch supporters. Copia has no doubt that her presence on their stage, especially under the ONI name and mask, would bring people to the Rituals that would otherwise not attend.

"Okay, then I will be talking to my peoples to get you a, uh, contract."

Sister Imperator would surely know how to make that happen. They'd had substitutions with mortal musicians before, there must have been something ready. (He will have to read over it, though. The Clergy could be... evasive, or manipulative. Copia did not want Izumi taken advantage of if he could help it.)

Still, this left the one last question, hanging between them like a swinging blade.

"That is... it is not, ah, normal, no." Eyebrows draw down on his expressive face, otherwise hidden behind the aviator sunglasses he wore.

"It is not that I am not believing you, ehm. Just that, yes, I will be needing to see."

A pause. "If you are not minding."

[nonasuch]

as you may know, reading tumblr posts about Dean Winchester is an experience surprisingly akin to auditing classes on gender performance and masculinity at a graduate level media studies program. at least if you read enough of them.

which unfortunately I have! and now I have some thoughts.

see, there are character archetypes that crop up over and over again, and particularly often in 90s and 00s genre TV shows. I am vastly oversimplifying, but let’s boil them down to the Three Main Kinds Of Dudes you are most likely to see in these shows.

Let’s start with the Guy Who’s Not Cool, And Knows It. he’s all over the place: he’s Xander on Buffy, and later Wesley. he’s Julian Bashir, Rodney McKay, Seth Cohen and (at least early on) Alec Hardison. he’s usually not the main character, but he’s up there in the main credits.

and he’s textually, overtly anxious about his masculinity. this is something that other characters comment on, and sometimes he admits to it himself. his long-term character arc is — at least in part — about resolving that anxiety, confronting it and growing past it over time.

(he’s also, often, a self-insert for the guys in the writer’s room. but we don’t have time to unpack all of that.)

our second category is a bit more of a grab bag, because in some ways it covers all the guys who don’t fit into categories 1 or 3. but, broadly, we can call him the Guy Who Doesn’t Need To Make A Big Deal Out Of It. he’s the guy who comes across as quietly secure in his masculinity, who has nothing to prove on that front and whose story doesn’t need to be about proving it. Sometimes he functions as a foil for the Anxious Guy, sometimes he’s just quietly ticking along in the parts of the story that aren’t about Proving anybody’s Manliness. He’s Giles and Oz and Gunn, Eliot Spencer, Ronon Dex, Benjamin Sisko.

and then there’s the Cool Guy.

the Cool Guy is a main character, or he has top billing in an ensemble cast. the Cool Guy is a walking, talking grab-bag of heroic mannerisms. He’s tough and strong and he doesn’t talk about his feelings. he’s a ladykiller. he’s a flirt. he has the popular imagination version of Captain Kirk’s personality, and the popular imagination version of Han Solo’s sex appeal. he kills bad guys and drops a witty one-liner afterwards. he can fly a plane, or a spaceship, or drive a cool car or ride a motorcycle. he walks away from explosions without flinching. he’s not doing this ironically. he’s not performing. he’s just Cool.

as written, he has the depth of a cardboard standee.

but he’s played by an actor who’s, you know, a real human person, and wants his character to have some kind of interiority. so this weird alchemy happens, over and over again.

here’s the thing about that grab-bag of Cool Guy traits and mannerisms: there are real men, in real life, who do most of those things. and most of them probably aren’t overcompensating for anything! but also? none of them have the whole grab-bag. They have, like, two at most.

no one does all of them unless they’re doing them on purpose — unless they’re putting on a performance. but the Cool Guy as written isn’t performing. and the actor playing him has to embody that impossible character while giving him some kind of depth.

So what happens? Dean Winchester. John Sheppard. All the Cool Guys who are meant, textually, to be Effortlessly Performing Masculinity... and subtextually read as desperately overcompensating for their queerness.

whoops!

and somehow tv writer’s rooms keep doing this! they think that if they just pile on more Cool Guy traits, they’ll make the performance convincing, when they’re actually just undermining him more and more.

(sometimes the Cool Guy isn’t even meant to be heroic! the writers of Smallville tried, as far as I can tell, to make Lex Luthor come across as a suave, worldly, sophisticated ladykiller. what they got was a man who makes way-too-intense eye contact with a buff farm boy while suggestively drinking fancy bottled water.)

(also I didn’t watch Teen Wolf but I am given to understand that Derek falls in this category? and Stiles is for sure an archetypical Anxious Guy.)

the thing about the Anxious Guy is that because his anxious masculinity is textual, it can be addressed and resolved in the text. Because the Cool Guy is not textually performing, not textually anxious, he just has to keep on being that guy without the text ever acknowledging that there’s anything weird about it. and all the while the subtext is screaming that this! man! is! trying! too! hard!

and we as viewers with eyes in our heads can see that tension, between what’s said and what’s shown, and tbh most of the time the simplest and most obvious way to resolve it is to say “ah. okay. that man is Not Straight.”

so that’s why Dean Winchesters keep happening. thank u for coming to my ted talk.

[astranva]

Heather.

Word Count: 2k

Category: Angst

Warning: Language? idk

Request: pls write an angst based on Heather by Conan gray i love ur writings sm

Summary: In which Harry is the Heather of his own story.

this won’t have a second part, let’s keep it sad 💀

thanks for requesting, anon! hope you like it and thank you sm🤍

// masterlist //

..

You were there for as long as Harry could remember, and that was so many years.

He was convinced that many scriptwriters and directors heard of your friendship’s story and that was how most rom-coms were made.

But the rom-coms had something that Harry was yet to have – the happy ending he kept wishing for.

It wasn’t your fault, really. Sure, you were a little oblivious but it was also a little unfair saying that was the only reason why Harry hadn’t gotten his happy ending because he knew that at the end of the day, it was him not making a move and admitting his feelings for you throughout all these years.

Harry remembered how for his 16th birthday, you had saved up to get him and yourself tickets to see Coldplay live.

He remembered how you cried as you hugged him after his X Factor audition as you all stood backstage.

He remembered how excited he was when he first introduced you to the rest of the boys when they were put in a band. Hell, you slept over with them at Robin’s for a couple of days.

He remembered how you flew out for the weekend when Zayn had left the band, knowing that Harry needed your presence.

He remembered how you were the first person he went to when he decided to make a debut solo record.

He remembered waking up to your singing in Jamaica, munching on honey toast as your face would light up the moment he came to view – “Good morning, H! I squeezed some fresh oranges for you.”

He also remembered how his face would heat up when he was just a kid whenever his family would mention that you and him were bound to end up together.

He remembered how his first heartbreak wasn’t from a relationship of his own, but it was when you got into one at 16. He hated it.

He remembered helping you with your dates, reacting to how you thought a new crush was, holding you as you cried.

Harry remembered how despite being in love with you since he was a teenager, he didn’t take a step towards having you more than a best friend.

And God, his journals were proof of that love; the love songs, all those ones about unrequited love, the short poems he wrote in the dead of the night.

He had cringed when he told you that he was seeing someone, only to have you become excited and genuinely happy for him.

If you could do it, why couldn’t he?

He was staying over at yours, a normal occurrence for when he was home. He could’ve as well just sold his house at that point.

“Have anything I can wear? This isn’t too comfortable.” He had asked you as the both of you lounged, watching a stand-up comedy.

“Yeah, just choose whatever you want.” You nonchalantly said, not caring if he went through your clothes – not like this was anything but normal for the both of you.

“Too lazy to move.” He mumbled, looking up at you from where he was; his head resting on your lap as you played with his hair.

The smile that came to your face was one Harry mirrored without knowing, staring at you as you continued to watch the show. “I’m not moving.” You stated.

He groaned, standing up, “Will you still play with my hair when I come back?”

At that, your eyes moved to him, “Yes, you baby.”

That was all the assurance he needed before he walked to your room and opened your wardrobe, going through your clothes without messing anything up; you liked your clothes neatly folded at all times.

Reaching one lilac sweater, Harry took it out before holding it over his upper body, finding that it would probably perfectly fit.

Taking off his own top and putting on yours, Harry’s breath instantly hitched in his throat, stomach tied up in knots.

It smelled like you.

It smelled like fresh vanilla detergent and the coconut scent he adored so much.

Running his hand slowly across his body, Harry turned to look at the mirror, eyes falling on the item that screamed your name louder than the beaded necklace you had made him months ago that decorated his neck – “Golden, because that’s what I think you are” you had said.

He gulped, fingertips grazing the material.

“Harry! You’re missing all the good bits!”

“Coming!” He shouted back, hoping you didn’t catch the crack in his voice.

After one final look, Harry had walked back to you, placing his head on your lap.

“Good choice.” You had commented softly.

“Yeah?” Harry almost whispered, “Feels comfortable. What material is that?”

“Just polyester,” you shrugged, “Hate how it looks better on you though.” You had joked, giving him a gentle tug to his hair.

Harry had giggled, closing his eyes as you scratched his scalp softly, “Thanks.”

After that day, it was like Harry claimed the sweater. He’d beeline to it the moment he stepped a foot in your house, frowning at you on some days when you told him that it was getting washed.

Days turned to weeks, and before Harry could do as much as blink, you were back from your work with a smile brighter than usual.

He was sitting on your couch that day, in the lilac sweater, a smile drawn to his face as soon as his saw yours, pausing the music that was playing from his laptop. “You look happy.”

And you were, because you had given his cheek a soundly smooch of greeting, unaware of Harry’s cheeks reddening.

You hummed with a nod, “I have a date tonight with, quite possibly, the cutest person I have ever met.”

He wasn’t expecting that.

Harry was not expecting that.

His smile faltered, only staring at you.

“They’re just,” you sighed, staring at the ceiling with a hand to your heart, “A dream, you know? Hey, wait! You know them!”

“I do?”

“Yeah,” you nodded eagerly, “Chelsea introduced them when we went to that pub 2 weeks ago, remember? Charlie?”

“Oh.”

And he did. He remembered how pretty Charlie was, how they seemed to keep conversations going and made sure everyone was listened to, how Charlie’s style stood out in the pub, how their jokes made everyone laugh – including him. He remembered how Charlie’s eyes lingered on you when you talked, how the both of you seemed dived into a conversation of common interests. He hated it.

Charlie really was a dream. Yeah, he hated that, too.

Harry had helped you decide on an outfit, his chest feeling as if it clenched around his heart to a point where his cage would combust.

He helped you with your hair, spraying the back of it for you because you had always complained about not reaching that part well.

Fuck, he even painted your nails that night – they were in lilac.

And he was there when Charlie picked you up, a genuine smile on their face that looked nothing like the petty one he wore.

“Do you need us to bring you anything, mate? We’re having Italian.” Charlie had offered.

Why did Charlie have to be kind and polite? What happened to the assholes they portrayed in rom-coms?

“No, thanks, Y/N made me lasagna earlier.” Harry had chuckled, watching you smile at the interaction.

“Go to sleep by 9, Mr.” You had joked as you left, Charlie’s hand on your back.

“You know it.” Harry had mumbled with a weak smile, giving you a nod.

By 7, Harry was almost sure he yanked all his hair out, despite the mirrors assuring him that he didn’t.

By 8, he tried to eat, but the nauseous feeling that ran through his body at the thought of you with someone else made him put the casserole back in the fridge.

By 9, Harry had called Mitch to break the news of your newest date, only to hang up so soon when Mitch was beginning to tell him how he still might have a chance.

By 10, he wrote a song. One full song.

By 11, he had the tune for it.

By 12, Harry watched you kiss someone who wasn’t him and he had no one to blame.

“How was it?” He managed to utter, watching you stand against the door with the widest smile.

“Perfect.”

That was the beginning of everything but what Harry wished upon a constellation for, because by the second month of you seeing Charlie, you had made it official.

Charlie was perfect in all aspects; hell, even Gemma liked them when she met them as the 4 of you had brunch one day.

But then Charlie was around your house more that Harry just wasn’t that comfortable to sleep over anymore.

He remembered how the three of you were watching a movie one night, Charlie having been wanting to get to know Harry more since he was “someone Y/N talks about and loves so much” – Charlie said that with no drop of pettiness, Harry wondered how they did it – when Harry just couldn’t take any more of you cuddling someone who wasn’t him and before you and Charlie could process it, Harry was out with an empty excuse – “I forgot my guitar at Mitch’s.”

His guitar was resting against the very couch he was sitting on.

But nothing prepared him for that one moment.

Charlie had invited him for the barbecue party they were hosting and if it weren’t for your puppy eyes, Harry would’ve been sulking in the comfort of his house and not in his car while he was on the way to oh-so-perfect Charlie’s.

He heard Lizzo playing the moment he got out of his car, and it was how he knew that it was your playlist playing.

He had brought cake with him, walking cautiously with the boxed dessert in his hands.

The door was opened, a few smiling people passing by him before he was met with yours, only as always, your face lit up once you saw him.

“You’re here!” You didn’t care that he was holding anything in his hands that restrained him from hugging you back because you threw your arms around him, leaving a kiss to his cheek, “Everyone’s been asking for you. Something about how it was weird seeing me without you.” You giggled.

“Partners in crime, eh?” He smiled at you, referring to the phrase you have been using with one another since school.

“You bet,” you wiggled your eyebrows, “Oh, shoot, sorry, didn’t notice you had this. Um, come, let’s put it in the kitchen.”

You were comfortable in Charlie’s house, Harry noticed. It was no surprise; he would’ve been more worried if you weren’t seen as you had been together for 6 months.

Placing the cake in the fridge, you and Harry then walked to where everyone was.

And that was when he saw it.

Charlie lied on a lounge chair, laughing and looking all attractive, in the very lilac, polyester sweater Harry had found comfort in.

He watched as you walked over, Charlie instantly putting a hand to your waist as they smiled up at you before you leaned down, pressing your lips against one another.

“Act natural, would you?” He heard Chelsea’s, a mutual friend, voice beside him.

“What?”

“If you can’t be happy for Y/N, try to act natural around them,” Chelsea sighed, her heart breaking for her friend as she looked at Harry who was yet to move his eyes from the couple, “Charlie’s great, you know?”

“Yeah,” he gave her a dry chuckle, “Yeah, I know.”

“Then why aren’t you happy that at least they’re not an asshole?”

“Just,” Harry looked at his friend, a defeated look on his face before the sound of you squealing gleefully grabbed his attention, watching as Charlie had their arms wrapped around you from behind, the both of you laughing as your friends all smiled in awe, “Just wish I were Charlie.”