#dancing on a back road

[marvelwitchergilmore]

Happy New Year, Cowboy

Summary: Tyler Owens x Fe!Reader -> Tyler provides you with a New Year's Surprise.

Disclaimer: Mostly fluff and cuteness, happy ending, Tyler being a cowboy gentleman, dancing on a back road. Reader has hair long enough to be held back by a hair-tie. Happy New Year!!! Here's to a kind 2025 ❤

Tyler had been watching you for the last ten minutes and he could guarantee that if he’d stood and watched you for the last two hours, you’d still look the same. 

Sat at the desk, pouring over a thousand different books, ink stains across your fingers and tired eyes. 

“Here you are.”

For a moment you were unaware of where you were. Looking around your eyes finally focused on the owner of the voice. 

Tyler Owens.

“'Been wondering where you got to. Why am I not surprised to find you here?”

There was a smile on his face as he spoke softly and walked inside. You hid your own and looked around at the books in front of you. 

“It’s new year, shouldn’t you be taking a break?”

You looked at him. “It’s not new year yet.”

He looked at his watch and shrugged. “Couple hours to go.”

“See. So I still have time.”

Tyler watched as you continued to write, your hand cramping in the meantime. 

“Do you have any plans for tonight?”

“What?”

“Other than this.” Tyler motioned to everything in front of you. “Do you have any plans tonight?”

You shook your head. “No.”

“I want to show you something.” Tyler stood up and your eyes trailed up him as he did. 

“Show me what? Don’t you want to watch the ball drop with the others?”

Tyler shook his head with a soft smirk. “I’ve seen it before, I won’t be missing anything. Besides, the others are heading to the bar.”

“Don’t you want to go with them?”

“I’d rather show you something.”

You looked at your desk, weighing up completing work that could wait vs going with Tyler. 

With your own smile, you looked up at him. “Okay.”

“Okay,” Tyler nodded, still smiling. “You got a jacket?”

Tidying up your things, you nodded. “Yeah, on the hook. Just give me a minut-“ 

As you finished, you turned and found Tyler already holding your jacket out for you. You felt yourself blush a little. 

“Thank you.”

“No problem.” Tyler smiled as he helped you pull your jacket over your shoulders. You turned around and he fixed it, his hands lingering on the lapels as he fixed his gaze to yours. 

But the moment passed, and he stepped back. “Shall we go?”

“Lead the way.”

Tyler opened his passenger door for you to get inside before he closed it and got into the driver's seat. You slung your seatbelt over you and looked around you. 

“You sure the others won’t miss us?”

Tyler shook his head. “Not until breakfast, when they’re all reeling with hangovers.”

You smiled, hearing his engine start and the tyres of his truck began to move. After thirty minutes, the conversation lulled into a comfortable silence that eventually was filled with radio music. 

“Where are we even going?”

“You’ll see.”

“You’re going to miss New Years if we keep driving.”

He just chuckled before merging off the Highway and towards a small town. It looked familiar. You’d passed through it a few times during Chasing Season. 

Soon the smooth road turned into a rocky path and once all the lights from the streets were drowned away from the darkness of the night, being sprinkled with starlight, Tyler pulled over. 

“Is this your plot to kill me?”

Tyler chuckled a little. “No. But I figured you could use a break that lets you see the real world. Wind down your window.”

You did as he told you before he switched the engine off leaving the headlights on. 

Looking at the time on his dash, he looked back at you. “We’ve got about twenty minutes til midnight. Wanna dance?”

Looking around you and back at him, you couldn’t help but smile. Headlights, stars, (almost) midnight sky, an empty backroad and Tyler. 

“This is what you wanted to show me?” You didn’t even try to hide your smile. And neither did he. Tyler nodded. 

Opening up the door, you hopped out and walked down the road a little in the light of his headlights. The air was crisp and cold. Blowing out your breath, you could see the heat evaporate into the air and you laughed. It was silly, but you’d cooped yourself up at your desk for the last three days. 

Tyler watched you from his truck for a moment, a smile spreading across his face. The tension from your shoulders was gone immediately, your fingers were more relaxed and you just seemed lighter. Less weighed down by pressure from the information that had been pouring from your desk and through your ink stained fingertips. 

Reaching over, he found the softer country music radio station before turning it up so you’d both be able to hear it outside. 

Then he joined you. 

“Dance with me?”

Looking over at Tyler as he held his hand out, you smiled and took it, letting him pull you in. 

Twirling you in, once you were at his chest he reached his hand to the back of your head and released the hair tie that had long since done its job keeping your hair from your face. 

Letting your hair free, you watched as Tyler rolled your hair tie around his wrist before you both started dancing. 

His eyes never left yours. Not once. A thousand fireworks could go off right beside you and his eyes would never leave yours. 

Twirling, spinning, changing hands, laughing, smiling, beaming, falling, catching and dancing some more, you found yourself more relaxed than ever. 

And for the first time something became clear to you. 

Tyler. 

Of course you’d had a crush on him for years. Who wouldn’t? He was all cowboy, all charm and had the sense to know what to do with it. He was kind, charming and intelligent in more ways than one. 

And looking at him, seeing his smile spread across his face in the light of the headlamps, a new fact settled over you. 

Tyler Owens was one of the most incredible men you’d ever had the chance to meet. 

And you were head over heels in love with him. 

From the radio, a countdown had started. 

Ten

Nine

“Almost New Year.” Tyler pointed out, his eyes not leaving you.

Eight 

Seven

You took a breath as you and Tyler stood still. “I know you didn’t mind missing the TV special tonight.”

Six 

Five

“But do you plan on avoiding other new years traditions?” 

It took him a moment but it clicked with Tyler. 

Four

Three

A smirk turned smile graced his face as his fingertips, that now shared faint prints of your own ink stains, brushed through the ends of your hair. 

“Not all.”

Two.

You smiled, standing a little taller as Tyler’s hand cupped your neck and jaw. 

One.

Somewhere in the distance fireworks were starting to go off, lighting up with the rest of the stars in the sky. The radio had long faded from whatever country song had been playing to people calling out Happy New Year as Auld Lang Syne played behind their words. 

All the while, Tyler kissed you. His lips against yours, one of his hands pulled you closer to him by your waist and his other hand angling your face. Your own hands pulled at his jacket in the hopes to get him closer to you. 

Finally, as you both pulled away and you found yourself back on your feet, Tyler’s hand remained by your neck and hair, his forehead against yours. 

Once again, you heard his smile. 

“Happy New Year, Sweetheart.”

And he heard yours. 

“Happy New Year, Cowboy.”

[zarstarss]

been meaning to do something like for this for a while, still kind of in disbelief that anyone interacts with this blog in the first place but. whoever you are, seriously thank you for making tumblr such an amazing community to be a part of. i've never really been good at social things, but being on here with so many cool people is just. aaaaa!!! i love y'all. i am not worthy

[nexttimeisnotthesame]

You hold me tight, that is worth it

[lost-technology]

SEEDS Security Codes and Why They Matter

So, I've been thinking about one of the details in Trigun: Stampede that was not present in either '98 or the manga. In '98, Knives just hacking into the SEEDS codes was left as-is. He walked up to Captain Joey and shot him and apparently took his pilot's seat. Did the Captain have the navigation open at the time? Was it closed and Knives had to do some hacking? Anyway, there, he did it on his own. Now, in Trigun Maximum, which treats Vash and Knives' childhood differently (just Rem there raising them), there is a foreshadowing of what is to come. In Volume 6, Rem is depicted waking up to an emergency signal in the middle of her sleeping-hours. (Aw, she sleeps in her regular clothes, mom-jeans and all...). Panicked, she yells at Knives for him and Vash to lock themselves in their rooms and not to come out or speak up for ANY reason, even if they hear voices outside. She tries to handle the situation, but it goes from bad to worse and the automatic crew-wakening protocol goes into effect, which she is very concerned about (for reasons that we who have read the manga know about)!

In the beginning of Volume 7 the crew wakes up, there's a situation-update. The ships are going off-course and will collide if things are not corrected. They're working through the issues and suddenly, there's an unknown factor that kicks in to correct the course. Rem then gets the crew all settled back in again for nappy-time... And proceeds immediately to Vash and Knives, where she scolds Knives with (Rem's angry mom-face, my beloved)! Knives was playing around with the ship codes and systems. He'd apparently hacked his way into the system and was curious about SEEDS' functions. (One would assume that Rem changed some of the codes after this, but I bet they were in some kind of hacking-war, with her trying to stay one step above curious Plant-twins). Knives did not mean to nearly cause a catastrophe, but this shows that he can and is a foreshadowing to when he DOES mean to cause one later. Now, in Trigun Stampede, it is stated by Nai / Knives that Vash gave him the ship-codes, also that he spent a lot of time and trouble changing the codes for every human ship. (The manga lists the ship they are born on as the Mothership, presumably guiding the entire fleet, in Stampede, it is just Ship 5, which implies multiple guides with multiple navigators). I am wondering where Studio Orange is going with this. Will it be a situation like the manga where the kids are just playing around? Little prank-war with Rem? Maybe Vash is sharing a ship code innocently, as part of their games? Or is it going to be darker, more sinister? I wonder if Vash was originally of the thought of "maybe we need to crash the ships and kill all humans (except Rem) because they're scary and dangerous because of what happened to Tesla" and then had a change of heart and backed out of it? - I can see that happening... him having his cathartic alone-time with Rem as in the manga and then talking things out with Nai and thinking that they weren't going to go through with it. And then Nai betrays him. I've been wondering about the guilt Vash carries over the Big Fall in Stampede. Is it an unnecessary, undue guilt like he seems to have about a lot of things? Or is there a guilt born from "I had originally planned disaster / we had originally planned disaster" and it came true even after he'd backed out? It's just that... in both '98 and Maximum, he does carry his cross (that is not Wolfwood's), but he seems to feel less specifically guilty over this (the Big Fall). He's really more like "Knives, how could you do this to everyone / Rem?!" He just seems more guilt-ridden in Stampede than in the other media and I am wondering if there is a dark secret behind it. I can see it going either way.

[synth-ab]

I saw Fury Road again tonight. I also saw Furiosa a few days ago. She's my everything now.

[hewantshisbrideback]

Different Roads: The House of Black and White

At the top she found a set of carved wooden doors twelve feet high. The left-hand door was made of weirwood pale as bone, the right of gleaming ebony. In their center was a carved moon face; ebony on the weirwood side, weirwood on the ebony. The look of it reminded her somehow of the heart tree in the godswood at Winterfell. The doors are watching me, she thought. She pushed upon both doors at once with the flat of her gloved hands, but neither one would budge. Locked and barred. "Let me in, you stupid," she said. "I crossed the narrow sea." She made a fist and pounded. "Jaqen told me to come. I have the iron coin." She pulled it from her pouch and held it up. "See? Valar morghulis." The doors made no reply, except to open. ❦ Arya I, A Feast for Crows

[oceans-beloved]

Meme dump yayyy🥳✨️

(off to make more now muhahaha >:3)

[cleverstudentcheesecake]

If canonically Hualian lived into the modern era, I am morbidly curious to know what that disaster goof ball is upto in places such as metropolis of Shanghai and Hong Kong that practically look like cities straight out of some dystopian fantasy.

[lillymakesart]

my new OC: cempaka!

she is based on the story/universe that my friend @haydardotjpg's OCs indra and yuwei exist in! pls go checkout haydar's art he is amazing!! his ocs can be found more easily on his ig but if you're lazy this is his oc indra (cempaka's one-sided love interest) and yuwei (indra's fated lover)

also, cempaka means "magnolia" in malay!! (she gets a flower name bc my name is lilly which is also flower c:)

bonus first iteration under the cut!

i accidentally had "poinsettia" flower in mind when i did this iteration instead of an actual magnolia, hence the color scheme. but yeah, this is as self-insert as it gets LOL like she's literally MEEEEEE but still very different and i love her as she is <3

[tavolgisvist]

Wait/Save the last dance for me

It began as a post about 'wait' for @i-am-the-oyster then it became to post about all the things between waiting and disillusion because we've talking about it with @thewalrusespublicist. And then it became to this mess with dances, waits, leaves and come backs - but it's organized chaos, trust me, and it's like a really dance.

Dance/love Wait Walk away/you never know Come back/home/take me back

So I wait and in a while I will see my true love smile

(A World Without Love, 1958/63)

I’ll wait until tomorrow Till you come my way That’s why I sit here Alone and I pray… But I’ll wait till tomorrow Through a thousand setting suns I’ll wait till tomorrow If tomorrow ever comes…

(I’ll Wait Till Tomorrow)

Wake up in the morning I don’t feel blue ’Cause I know I got you

(Because I Know You Love Me So, circa Jan 1958)

Well, she was just seventeen, you know what I mean And the way she looked was way beyond compare So how could I dance with another When I saw her standin' there Well, she looked at me and I could see That before too long I'd fall in love with her 'Cause she wouldn't dance with another When I saw her standin' there

(I Saw Her Standing There, 1962/1963, Please Please Me)

If somebody tries to take my place Let's pretend we just can't see his face In this world there's nothing I would rather do I've discovered I'm in love with you 'Cause I'm happy just to dance with you

(I’m Happy Just to Dance with You, 1964, A Hard Day’s Night)

There's no fun in what I do when she's not there I wonder what went wrong, I've waited far too long I think I'll take a walk and look for her

(I Don’t Want To Spoil The Party, 1964/65, Beatles For Sale)

It's been a long time, now I'm coming back home I've been away now, oh, how I've been alone Wait till I come back to your side We'll forget the tears we've cried … I feel as though you ought to know That I've been good, as good as I can be And if you do, I'll trust in you And know that you will wait for me

(Wait, 1965, Rubber Soul)

When your prized possessions Start to weigh you down Look in my direction I'll be 'round, I'll be 'round When your bird is broken Will it bring you down? You may be awoken I'll be 'round, I'll be 'round

(And Your Bird Can Sing, 1966, Revolver)

Now, Honey Pie, you are making me crazy I'm in love but I'm lazy So, won't you please come home? Come, come back to me, Honey Pie <…> To be where you belong Honey pie, come back to me

(Honey Pie, 1968, The Beatles/White Album)

Who knows how long I've loved you You know I love you still Will I wait a lonely lifetime If you want me to - I will

(I Will, 1968, The Beatles/White Album)

Are you happy here honey, happy? Are you happy here? I ain’t happy here my honey Can you take me back? Can you take me back where I came from? Can you take me back?

(Can you take me back, 1968)

Do you, don't you want me to love you? I'm coming down fast but I'm miles above you Tell me, tell me, tell me, come on tell me the answer You may be a lover but you ain't no dancer

(Helter-Skelter, 1968, The Beatles/White Album)

Many times I've been alone and many times I've cried Anyway you'll never know the many ways I've tried But still they lead me back to the long winding road You left me standing here a long long time ago Don't leave me waiting here lead me to your door

(The Long And Winding Road, 1969, Let It Be)

Anyway you’ve always known, the many ways I’ve tried

(The Long And Winding Road, 2003, Let It Be…Naked)* *remember, Paul in 1969 didn't choice the song's take, it did Spector, Klein - whoever it was, but not Paul, maybe they took wrong take, who knows)

All these years I've been wandering around Wondering how come nobody told meAll that I was looking for was somebody who looked like you!*

(I've Got A Feeling, 1969)

*I don't know why nobody told you How to unfold your love I don't know how someone controlled you

(While My Guitar Gently Weeps, 1968, White Album)

When you told me, you didn't need me anymore Well, you know I nearly broke down and cried When you told me, that you didn't need me anymore Well, you know I nearly fell down and died Oh! Darling, if you leave me I'll never make it alone Believe me when I tell you I'll never do you no harm (Believe me, darling!)

(Oh! Darling, 1969, Abbey Road)

Get back to where you once belonged Get back, Jo Jo

(Get Back, 1969)

Did I hear you say That there must be a catch? Will you walk away From a fool and his money? Sonny, if you want it, here it is, come and get it But you'd better hurry 'cause it's going fast

(Come And Get It, 1969)

Hey Diddle I want you back Diddle I want you back Hey Diddle I want you back Diddle I want you back I don't belong My heart isn't strong Don't belong

(Hey Diddle, Oct 1970/summer of 1974/Wingspan Hits And History, 2001)

Ram on, give your heart to somebody soon, Right away, right away

(Ram On, 1971, Ram)

I guess you never knew, dear boy What you had found… I guess you never saw, dear boy That love was there

(Dear Boy, 1971, Ram)

I wish you knew, that's just how true My love was

(No Words, 1973, Band on the Run)

I may never tell you But baby you should know There may be a miracle And baby I love you so

(Power Cut, 1973, Red Rose Speedway)

Hello Joe I hope you're feeling better This is a little tape To give you an idea of how y'know my love goes It's very rough But you don't have to feel so down Thank you

(Message To Joe, January 1976/Wings At The Speed Of Sound - Archive Collection, 2014)

Oh baby you couldn't Have done a worse thing to me If you'd have taken an arrow And run it right through me Oh baby a bird in the hand Is worth two flying But when it came to love I knew you'd be lying <…> It could have been A finer fling Flying in a righter direction With no other thing Featuring but love and affection Come on get up Get under way And bring your love

(Arrow Through Me, 1979, Back To The Egg)

All my little plans and schemes Lost like some forgotten dreams Seems that all I really was doing Was waiting for you <…> From this moment on I know Exactly where my life will go Seems that all I really was doing Was waiting for love <…> Don't need to be afraid (Don't need to be alone) It's real love, it's real Yes, it's real love, it's real

(Real Love, circa 1979)

Because I love you, my little friend I really love you Give me just one more chance And I'll show you Take up the dance where we left off The rest of our life is the, my little I'm home

((Forgive Me) My Little Flower Princess, Aug 1980)

'Well, Paul told me he said 'John [after his death] will come back…' (Carl Perkins)

Can I get you to show me a little of your mime? You were always a very good dancer … I wait, I wait, I can wait. I can wait back in the bar. I can wait, I can wait, I can wait back in the car. I'll be waiting for you.

(Stranglehold, 1986, Press To Play)

Oh white blanket, hiding the traces' of tears she didn't see. Snow white blanket simply covers the memory Of all that used to be. But his heart keeps aching in the same old way. He can't help feeling that she might come back someday.

(Footprints, 1986, Press To Play)

You told me you will find me, pretty baby, But you know you never came, yeah

(I Wanna Cry, 1989, B-Side of the single This One)

I thought I saw your shadow in an old doorway But when I looked again I thought I made a big mistake, It was someone else, who looked a little like you, But now I know, ah ha ha, ain't no one like you. I'll tell you why I know, babe, Hey, 'cause I'm looking for you, looking for you, Yeah, I'm looking for you, That's all I do, that's all <…> Hey nah nah nah, let me tell you, baby, The earth ain't flat, I finally made the decision, and that is that. And now I know, there's only one place to be, You know where that place is, Yeah, for you to be with me.

(Looking For You, 1997, Flaming Pie)

[infinitelilith]

It's always a little weird to me when people are confused by Tumblr KH fans loving Dark Road so much because like... it's essentially an extremely angsty Xehaqus high school AU. Tumblr users had been dreaming about that since like 2015. Nomura made DR for the they/thems

[pensivespacepirate]

it feels like the whole purpose of venom 3 is to kill off venom what the fuck

[melit0n]

I think maybe I was made for the ground. Flesh like the peeling bark of a birch tree and thrumming veins like mycelium, intertwined with it all; looped and threaded like a tapestry of a place moved by both totality and void

[libraryspectre]

Copperhead Road is such a wild gem of a song and packs SO MUCH storytelling over three generations into four and a half minutes. Like it starts by establishing the perspective character's grandfather's moonshining business, and makes sure you know grandaddy killed a revenue man in the first section. Then in the second section it launches into how the main character's father died in the same line of work, while simultaneously fleshing out some details of this family operation. And in the third section, it takes a wild pivot to the main character's time in Vietnam and his marijuana-growing operation.

I think the real testament to the storytelling is how it pulls the strings together in the last verse. Without being told, you understand exactly what's going on in with this guy and how it relates to his family history. Just. Look at this.

The last and hardest-hitting lyrics, everything builds to this. The DEA chopper bringing up PTSD flashbacks is such a good detail that hammers home how the US government has ground this guy up in the war machine, and are now persecuting him for what he turned to when he had no other options. And then it invites you to think of this as a parallel to his grandaddy and the revenue man and it's like. Yeah that's where it started. This has been going on for generations. Grandaddy probably didn't have a lot of options either.

And then it implies he's rigged Copperhead Road with Vietcong-style booby traps ("Charlie" being a slang term for the Vietcong) which is an absolutely buckwild thing to include, and has the delicious twist that the government has made him a more dangerous enemy than his grandfather and father by sending him to war.

And that's not even getting into the music. This thing starts with a synth that sounds like bagpipes - which may sound like a weird choice, but there's a lot of Scottish ancestry where this takes place in Appalachia. And it's really attention grabbing. This song played at every dance I went to in high school and the sound of that synth was the signal for everyone to rush to the dancefloor. Then the synth stops and everything else kicks in - the beat is really driving and you get the sense that something is building and building as the story is told, until it takes off at the end of the second section. Everything stops for this DUN DUN DUN DUN DUN and then the energy kicks up, but the synth doesn't return until he starts singing the third section. It's just barely present until the last line up above, and then it kicks back in with the same repeating part it started the song with, now layered on top of all the other instruments and the collective effect is an adrenaline rush. Then the other instruments fade out and you're left with that repeating synth again, closing the song out.

Idk what to say, I'm not good at talking about music and I don't really have the vocabulary to do it justice. It's just a really good song.

[neilphen]

whatre yalls ‘no skips’ albums of all time

[bhaalsdeepbat]

the camaraderie between queer folks and women from different generations bound by a niche hobby is quite literally stronger than any us marine