#did i just read he cried during an interview this interviewer did? if so i am crying right now omg i love this man

[mmochammoss]

Big baby

Kirishima had always been a romantic.

Always wanting to do the brave and manly thing of never trying to suppress his feelings about something and follow his heart. So when he fell for you, it was all in. Every bit of him, heart and soul.

You were his best friend first. Then his girlfriend. Then, after a heartfelt proposal during a late-night walk on the beach where he almost tripped over the ring box, his fiancée. And now, his wife.

Being married to you was everything he hoped it would be. Absolute perfection. Full of laughter and romance and soft mornings tangled up in each other. Your natural closeness, even when you two were just friends, always made your relationship feel so perfect to him.

How could he not fall in love with you? You knew everything about one another, you practically finished each other’s sentences. Even when you were both busy, him with hero work, you with your own schedule, coming home to each other made every long patrol and media interview worth it.

And then came the next step.

You’d taken the test on a whim after feeling weirdly nauseous three mornings in a row. You didn’t even wait to check it alone, he sat on the bathroom floor with you, both of you staring at the little pink plus sign like it was a bomb about to go off.

You cried first. Then he did. And then you were both laughing and hugging and somehow crying again. It was perfect.

The first few days after the news were surreal. Kirishima floated through work like he was made of helium, grinning like an idiot whenever anyone asked why he was glowing.

Then your symptoms started.

At first, it was just a little fatigue. You’d come home after a short shift and fall asleep on the couch mid-conversation. Then came the queasiness, the smell aversions, the craving for pickles dipped in Nutella (which, yes, he tried out of solidarity and immediately regretted). You swore your back was already hurting, even though it was barely week six.

And through it all, he doted on you. Rubbing your feet. Holding your hair back when the nausea got bad. Buying heating pads in bulk. Reading every baby app and prenatal forum he could find.

But what he didn’t expect… was to start feeling a little different too.

At first, it just felt like stress. He chalked it up to nerves, to excitement over becoming a dad. But then his appetite went weird. His moods started shifting. He would cry at random videos and got more and more forgetful over things of varying importance. He even felt a little bloated from time to time.

But he didn’t want to scare you too, so he kept it to himself.

But every time he watched you groan from the couch or gag when someone cooked fish on TV, he felt it too.

He swore he was just being dramatic. He was known to get in his head a little, overthink things, and spiral a bit when it came to people he cared about, especially you. Maybe he was just really, really in tune with you. I mean, he loved you more than anything so that made sense, right?

But then came the dreams. Not bad ones, necessarily, just intense. Vivid. He’d wake up in the middle of the night, clutching his stomach or holding his chest, sweating and confused. One morning, he woke up crying and couldn’t even remember why. You had kissed his forehead and chalked it up to nerves. He let you. He didn’t want to worry you.

You already had enough on your plate, growing a whole human and all.

So he doubled down. Tried to muscle through it. When he got emotional at weird times, he blamed it on dehydration. When he craved chocolate milk at 10:30 a.m., he told himself he was just low on protein. When you curled up on the couch, groaning about your back, he told himself the reason his back hurt, too, was because he’d pulled something at the gym, not because his body was mirroring your pregnancy like some kind of hormonal sponge.

Still, no matter how hard he tried to ignore it… It was just so freaky.

He’d been feeling like this for weeks now. And the symptoms just kept persisting. He began to worry, trying to make sense of whatever was happening to him without alerting or alarming you. Maybe he was overworking. Maybe it was stress. You were only a few months into the pregnancy, after all, so maybe the idea of being someone’s dad was still sinking in.

But it didn’t explain why he cried with you during a romcom meltdown or why he’d devoured an entire jar of pickles in one sitting when you said you were craving them. He didn’t even like pickles!

He reached his breaking point over something stupid. Like, really stupid.

Kaminari had just walked into the agency kitchen, yawning and rubbing his eyes, when he spotted Kirishima standing by the fridge looking vaguely miserable and clutching a bottle of orange juice like it had personally offended him.

“Yo, morning!” Kaminari greeted, voice light. “Why do you look like you just lost a push-up contest, dude? Y’feeling okay?”

Kirishima barely looked at him.

“Don’t start.”

Kaminari blinked. “What? I’m just saying, you look kinda rough, man-”

“I said, don’t start!” Kirishima snapped, voice sharp enough to cut the air between them. “Can you please just stop talking for once?!”

The kitchen went dead silent.

Kaminari recoiled a little, blinking. “Whoa. Okay.”

Kirishima froze like he didn’t even realize he’d raised his voice. He sighed immediately, pinching the bridge of his nose. “Shit. Sorry. That wasn’t…I didn’t mean that.”

But Kaminari was already backing off, holding up his hands. “No, no, it’s fine. Totally fine. I’ll just… leave you to your juice-based crisis.”

He left the kitchen quietly, and ten minutes later, the rest of the squad knew.

They gathered in Mina’s office, discussing their favorite dad-to-be’s not-so-graceful fall from grace.

“I’m telling you, it was weird,” Kaminari said, arms crossed. “Like, yeah, I joke with him all the time, but I’ve never seen him snap like that. Not at me.”

“It’s not just you,” Mina agreed. “He’s been off for weeks. He forgot my birthday dinner. Mine. He never forgets that kind of thing.”

“He started to cry a bit during our last patrol together when some kid went past us crying in a stroller,” Sero added, sipping his drink. “Like, actual tears. The kid wasn't even crying that hard.”

They all turned to Bakugo.

“…He tried to hug me after training a few days back,” Bakugo muttered like it physically pained him. “I know that he can be an emotional dumbass sometimes but that was…different.”

Mina’s eyes widened. “Okay. Yeah. That’s not just stress.”

“Exactly,” Kaminari said. “So what do we do?”

“We sit his ass down,” Bakugo said plainly. “Before he combusts.”

“Or gives birth,” Sero joked under his breath.

They all groaned.

But the decision was unanimous.

Bakugo’s office was the last place Kirishima expected to get ambushed. But the second he stepped inside, summoned under the vague pretense of “team coordination”, he knew something was up.

Sero was lounging in one of the chairs with his arms crossed. Mina sat on the edge of Bakugo’s desk, legs swinging. Kaminari was trying to appear casual and failing. And Bakugo was behind his desk, arms folded, staring Kirishima down like he was about to jump down the redhead's throat.

“…Hey?” Kirishima offered.

“Sit,” Bakugo barked.

Kirishima blinked. “What is this?”

“A wellness check,” Mina said sweetly. “For you.”

Kirishima hesitated, then sat slowly in the empty chair across from Bakugo’s desk. “Okay, what the hell is going on?”

“You tell us, man,” Sero said, leaning forward. “You’ve been off. Are you guys fighting or something? Or is the baby stressing you out?”

“No, no,” Kirishima said quickly, hands raised, “we’re good! She’s amazing, really. I’m just… I don’t know, man. I’ve been off.”

Bakugo scowled. “You keep getting worked up over the dumbest shit. You don’t wanna eat at lunch or you’re only snacking on stuff. You gettin’ sick or somethin’?”

“No!” Kirishima says, looking at the floor, feeling a bit embarrassed that he’s been so obvious this whole time.

“You skipped out on my birthday dinner last week,” Mina added, “and then you bit Denki’s head off in the kitchen this morning. Which, like… I get. It's Denki. But still.”

Kaminari held up a hand. “I deserved it. But that’s not the point.”

“The point is,” Bakugo said, voice low but firm, “you’ve been acting weird for weeks, and you’re obviously not fine. So either you start talking, or we start guessing.”

Kirishima groaned, dropping his face into his hands. “I’m sorry. I didn’t mean to snap. I’ve just… I don’t know what’s going on with me lately, okay?”

He looked up at them, brows furrowed in frustration.

“I’m tired all the time. I’m either starving or just straight up nauseous. I’ve been forgetting shit. I keep feeling all self conscious about how I look and stuff. I’ll get these like, random body aches and pains. I keep having the weirdest, craziest dreams. And one minute I feel like I’m on top of the world and the next it’s like I’m having a depressive episode or something?”

He ran his hands down his face as he continued, “I cried during a cereal commercial yesterday, guys. A commercial. For cereal. And I thought maybe it was stress or not sleeping right or whatever, but it’s been weeks. I didn’t want to dump it all on her while she’s already dealing with so much, but…”

He trailed off, rubbing the back of his neck.

“One minute I feel fine,” Kirishima said. “But then the next minute I feel like absolute shit and I just dont know how to get myself under control!”

The room went quiet.

Then Kaminari whispered, “...Bro. Are you pregnant?”

Sero snorted. “Dude, you caught it. Your wife’s pregnant actually got on you.”

The two of them laughed while Kirishima slouched back in his chair, pouting a bit.

Mina blinked. “Wait. I think I’ve heard about this? Sympathy pregnancy is a real thing, right?”

Within seconds, she had a WebMD article open.

“Boom,” she said, holding up her phone. “Couvade syndrome. Also known as a sympathy pregnancy. Happens to expectant fathers—nausea, mood swings, food cravings, weight gain... oh my god, Eijiro, you are pregnant.”

He stared at the screen in horror.

“No way,” he muttered. “This is... real?! I thought I was just going soft or something.”

“You are going soft, idiot,” Bakugo growled, “but luckily there's no baby growing in you.”

Kirishima groaned, “Great. I can’t even support her properly without turning into some… hormonal time bomb.”

Kaminari patted him on the back. “Nah, man. That’s peak husband behavior. You’re literally feeling her pain. That’s the most Kirishima thing I’ve ever heard.”

“Still,” Sero added, “you might wanna tell her. Like soon. Before you start lactating or something.”

“What?!”

That night, Kirishima took the long way home.

His friends had told him to talk to you. Not in a teasing, “dude you’re gonna sprout boobs” kind of way, though yes, that had happened, but in a genuinely concerned, “you need to let her in” kind of way. And they were right.

You deserved to know what was going on. What he’d been feeling. What he’d been trying to hide.

He just didn’t want to worry you. You were the one actually going through it, actually growing a whole new human with your body. He didn’t want to turn the spotlight on himself or make it seem like he was somehow stealing your thunder.

But when he stepped inside the apartment and saw you curled up on the couch, a heating pad tucked behind your lower back and an open bag of dried mango slices resting on your bump, all those reasons melted away.

He couldn’t keep this from you. He never liked keeping anything from you, he loved you. So he had to be honest with you, no matter how crazy he sounded.

You looked up at him and smiled like you always did when he came home. “Hey, baby.”

His chest tightened.

He dropped his bag by the door and crossed the room in just a few strides. You didn’t even get the chance to sit up before he was kneeling in front of you, arms wrapping around your waist, face buried in your belly like he was trying to hide himself from you.

“Whoa,” you said, laughing softly as you pet his hair. “Hey, what’s all this all about? Rough day at work?”

He exhaled shakily, then looked up at you, eyes glassy and red around the edges.

“I’m sorry,” he said quietly.

Your smile faded a little at all this sudden emotion. “What for?”

“For being weird lately. For snapping at people. For not telling you what’s going on.”

You blinked, concerned now. “What’s going on, Eiji?”

“I think I’m having… a sympathy pregnancy,” he admitted, cringing a little. “Apparently, it’s a real thing. And I didn’t even know it was a thing until the guys sat me down and showed me an article about it but… I think I might have it….”

You stared at him for a second, processing.

Then your face split into a wide grin. “Wait…you’ve been having pregnancy symptoms?!”

He groaned. “Please don’t laugh.”

“I’m not! I swear!” But your shoulders were already shaking. “Is that why you cried during that diaper commercial last week?”

“Yes,” he mumbled into your belly. “And why I bought six tubs of mint chocolate chip ice cream I didn’t even want.”

You tried not to giggle. “And why you yelled at a pigeon for looking at you funny during our last walk?”

“Well no, that one was personal,” he said flatly, and you lost it.

He let you laugh it out, and even cracked a smile himself when you kissed his forehead between hiccups.

“But seriously,” he said softly, pulling back enough to meet your eyes. “I didn’t want to make a big deal about it. You’re already doing so much, and I didn’t want to make it seem like I was trying to steal focus or—”

You stopped him with a gentle kiss.

“You’re not stealing anything,” you said, brushing his hair back. “You’re just sharing it with me. That’s the sweetest thing in the world, Eiji.”

“But I’m not the pregnant one,” he said.

“Yeah, but apparently your body didn’t get the memo.” You cupped his face, thumbs stroking his cheeks. “You’re allowed to be overwhelmed. To feel things. To take up space. Especially with me.”

He leaned into your touch with a soft noise of relief.

“Besides,” you added with a smirk, “if I have to push this thing out in a few months, it’s only fair that you feel a little uncomfortable too.”

He laughed, chest shaking as he wrapped his arms around you again, this time careful not to squish your belly.

“I love you,” he murmured.

“I love you too,” you giggled. Running your hands through his hair.

“My perfect pregnant husband.”

[copias-juicebox]

"I CAN EXPRESS MYSELF MORE IN DANCE MACABRE OR MUMMY DUST"

mans telling us he is a little dancey princess and a fucking sex god at the same time... 💀

Interview from Sweden Rock Magazine 10/2023

Hi, hi. There is an interview with Tobias in SRM’s newest issue, but it’s in the subscribers only section, so I thought I’d translate/share since I guess not many people will be able to get their hands on it. It is about Prequelle and it’s part of SRM’s „200 best Swedish hard rock albums of all time” series. Prequelle placed #68. The other albums may have scored higher, but for now we don’t know the whole list. Either way, enjoy. Very insightful. 

„Do you think that "Prequelle" is Ghost's worst album?” Now that’s an unusual opening question. Especially when the interview is about an album that Sweden Rock Magazine's writers and qualified Swedish hard rock musicians (including Tobias Forge) have voted as one of the 200 best Swedish hard rock albums of all time. The question wasn’t planned, but comes spontaneously, as a reaction to the first thing Tobias Forge says when we sit down on opposite sofas in the record company office. I'm here for a two-part interview, partly about the EP "Phantomime" (published in #6 2023), partly about "Prequelle". Neither record companies, artists, voters, nor even our writers who conduct interviews for this series of articles have any idea what placement an album has received. Interviews are often done well in advance and we simply don't want placements to leak and become public long before publication.

No Ghost album has ever been on the list before. The idea is actually to end the day with the "Prequelle" talk, but when Tobias Forge suddenly starts with a funny little comment that this album is probably the one that those who have voted think is Ghost's worst or least popular album, I just have to take the opportunity to ask the question: Do you think that "Prequelle" is Ghost's worst album?

No, absolutely not, he says and laughs. If I'm going to be completely pragmatic, I'd say: "How many songs do we actually play from that record?" There are songs that work damn well live and sit where they should. So it's a pretty strong album.

But is this what you are basing it on? "Prequelle" was released after Ghost had become really big so it can't be compared to "Opus Eponymous" and "Infestissumam" which you don't play many songs from. I mean, no matter what kind of record you had released when "Prequelle" came out, you would still have played many songs from it and they would have worked precisely because Ghost's songs nowadays are moulded more to the arena format.

I don't know how to answer that, it's difficult. If the album had been different, it would have been. If I'm going to talk somehow both artistically and practically, I know that for every record we have become exponentially bigger. "Prequelle" was definitely no exception, but it also took us a big step forward and upwards and we became bigger and broader. To the extent that when we introduce old songs in the live set, you notice that there are elements on albums one and two that make some songs more difficult to play. Not technically, we can play the songs, but they don't work in quite the same way as the later songs, which means that there is a slight favouritism.

I asked the original question about whether you think it's Ghost's worst album only because you directly said that this means it's the least popular one.

I'm just so full of myself I assumed all the other albums are also in the top 200, which may actually be incorrect. This might be the best album and the others aren't even there, haha.

It wasn't long after "Prequelle" was released that you were self-critical of the album in interviews, saying that it was too ballad-heavy and a bit too soft. I haven't noticed that before, you being so self-critical shortly after the release.

Yes, but I still feel that way. If, as an artist, I am only going to look at the work with the criticism that one can feel towards one's own work, I think that if things had been different or if I had more time, I might have wished that I had managed to get maybe two more hard songs. Maybe one more hard song would have fit on the album and another harder song might have phased out one of the ballads. Now five years after the album came out, I know that the two ballads ("Pro Memoria" and "Life Eternal"), which I may not think are bad, are one too many. But I know that many of the people who like the band like both of them, so it's kind of a useless argument.

Who sets the length of an album? Have you set a limit, that it can't be longer than this and have no more songs than that?

No, but it must fit on an LP disc and there is a physical limit. I think the absolute pain threshold is 46 minutes and that's 23 minutes on each side. Now maybe Mikkey Dee (co-owner of Spinroad Vinyl Factory) will raise his hand here: "But I can make it longer!" And it's maybe 48 minutes, I don't know, but I do know that when a disc starts getting so full that you start getting close to the sticker, it starts to sound bad. Especially nowadays, because recordings today are so very maximalist in scope. It's one thing if you record 60s music with drums, a guitar and bass where the sound is cleaner and finer or if you play acoustic stuff with just vocals. Bob Dylan records could have eight songs on each side and it worked all the way through. But this kind of fairly compact music doesn't work well. Not only am I a militant vinyl advocate, I think we should respect the fact that most artists don't manage to create more than 45 minutes of good music on a regular basis. A lot of famous double records are not that good. I don't think the Rolling Stones "Exile On Main St" is very good. It might as well have been on one disc. And if I'm actually going to turn it into something completely mundane, I'd say that I think it's irresponsible to sit and make records with twelve songs if it results in the record being 63 minutes long and you automatically have to make a double record. It's pretty wasteful.

When you said that it's irresponsible, I thought you were going to say that it's irresponsible to print a double vinyl because of the environmental destruction that it entails.

Of course, if we're going to be completely straightforward and not do anything that harms nature, we shouldn't even release any records, so I say this with reservation. But with that in mind and for the sake of art, I think more people should embrace the actual given format that has been the most prevalent in rock history. There is a reason why a film is usually one hour and 30 minutes. You can’t take any more. There's a certain dramaturgical structure and there’s a certain comfort in it. Then the CDs came along they screwed that up, and suddenly there weren't two sides anymore but it started one way and ended another. Now that the CD is no longer important and we've gone back to vinyl, creators should follow suit and start embracing the physical rules.

Are there songs that have been rounded off just because you thought „I have to round off here, because if I continue, it won't fit on the vinyl disc"?

We actually had that problem on the last album. „Watcher In The Sky” ended the A-side and the outro is much longer on the CD and digitally. Two minutes longer I think. Much, much, much longer. It's long, noisy and has all these dives. It's a very chaotic soundscape. You get the feeling that it goes on and on, and on the vinyl it's just the beginning of an outro and then it drops almost immediately. I think that was a huge mistake.

So the overall sound quality was more important than vinyl buyers getting everything? Because you could have pressed the vinyl and it would have fit, but you would have had to compromise the sound quality.

Yes, exactly. You can get the song to just keep going until the vinyl simply runs out. Then it just starts spinning in the middle, depending on what kind of record player you have. But the problem then, if you want to anticipate events at a creative stage, is that people today buy and listen to vinyl records and are sensitive. It's quite common for people to complain that the record is broken. I don't just mean our records, but people complain a lot about the presses. If you make ten songs, it's therefore stupid to have a too thick soundscape towards the end of song number five and song number ten. If you want to be really good and old school, that's where you put a piano ballad because it's an easier sound to handle so far into the record. This is what I think about when I make records. But clearly sometimes I miscalculate.

This must cut right through the record collector Tobias Forge's whole body and soul, that "Watcher In The Sky” is shortened by two minutes on the vinyl of all versions.

Well... I don't toss and turn and wake up in the middle of the night thinking about it anymore. But when it happened, I was livid. Luckily it was just an outro. It would have been worse if it had continued with some kind of narrative into the next song. Now I can't remember in my head how long "Prequelle" is, but if I'd had to go back in time and just re-construct it, the re-construction wouldn't have had much to do with the existing material, I would have just wanted to add a scene. And it's not a scene that's missing, it's just for the sake of balance. It became asymmetrical in a way that bothers me a bit.

You've talked about this before, but it was before "Prequelle" that you really started to talk a lot about how you were thinking about what kind of new songs might suit the live show. Can you get stuck in that mindset, thinking more about what songs are needed live right now rather than creating an album that will last 30 years?

Hmm... (long pause)... The reason I'm sitting here thinking is because I'm trying to come up with examples of other bands that I think might have gone through something similar. I’m looking for examples to the answer I'm about to formulate and that is that: yes, I think there comes a point in the career when most bands make a record because they simply feel they need to… Because what we're talking about is that when you go from playing in small smoky clubs in front of an already inveterate audience that already understands the perhaps a little more chewy expression, that experience can change if you start playing in front of a larger and especially a different type of audience. When a different type of audience comes and you play in a different format, you discover that this song doesn't work very well, it doesn't sound very good and it's difficult to get the sound right. Then there's usually a record or two or three during your career when this transition happens where you start filling in with songs that work better live. Look at Piece of mind", "Powerslave" and "Somewhere in time". There's a reason why Iron Maiden didn't play a lot of the first two albums there and then, because it was easier to play the new songs. You get to that point somewhere in your career and it's very difficult to say when it is - there's no given rule and there are artists who continue to release relevant records and have an amazing ability to release new records and just play the whole new record. Well, now Iron Maiden does that and tests their audience a little bit in that way, but then they will always compensate by doing like a "best of" set the following year so everything is forgiven. Now we're in the middle of the "Impera" period here and have a very strong set, but I'm starting to feel that now that I'm about to start writing a new album, it feels like it's not really on my agenda to write three more albums that will change the live setlist ten years ahead. I think we already have the blueprint for what is Ghost's setlist, especially if you include the entire catalogue. After a while, each new record you make becomes a little less important. It's really hard to know when that point comes, but the truth is that new records don't matter in the same way. Slayer didn't have to release "Divine Intervention”. They definitely didn't have to release "Diabolus In Musica". I didn't care about it and I just wanted to hear the old stuff. If they had just come up and played "Reign In Blood" I would have been soooo happy. And that's the way it is with most bands. Nobody would be sad if the Rolling Stones came up and didn't play anything from "Emotional Rescue". And that's just the way it is. In the future, I can see a scenario where there is probably a basis to possibly build up an alternative setlist. There are so many songs that we do not play and that I have nothing against - I love them too! But it would almost be easier to build up a completely alternative setlist and run a show with only the odd songs. There are so many songs now. There's no reason not to build on that. But when I want to make a new record, it's irresponsible for me not to consider that there might have to be some songs that are a bit more direct. But it doesn't hurt me if we have more songs that we don't play live. I don't know if this answers your question...

I would actually like to ask exactly the same question again, because I wonder if you yourself feel that you get stuck during the making of the record. You said that you would have liked to include another hard song because "Prequelle" doesn't have the balance that you would have liked to have in retrospect.

Exactly, but the explanation for that has more to do with my mental capacity there and then. I simply couldn't cope. I felt that I had probably maxed out… It was probably about as much as I could do that year. That's the simple explanation. To get another song that would have fit and that would have fulfilled this requirement that I now in retrospect would have wished I had, it would have required something that I did not have there and then. The only thing that could have made it easier is if I had more time. It is difficult to reason about it, you see.

I was in the studio for a few days during the recording and it's one of the few times in all these years that I've done interviews where someone has started crying during an interview. It was quite obvious that everything that had happened with the split of the band affected you.

Yes. Of course. It did.

Is "Prequelle" a difficult album to listen to for you? Can you sit and listen to it all the way through? 

Well, at the moment I have to do that from time to time, and listen to all the records, because we're just about to start rehearsing again and then I sometimes have to go back and just listen to the record to go: "Fuck, is that really how I sing?" Especially when we start rehearsing, I can be a bit like: "Damn, who changed this bit?” Then I usually sit down and it hits me: "Oh, it's me who has changed my song!" You simply do that over the years, you start singing it in a slightly different way. So sometimes I have to go back and listen, but it’s more practical. I don't think it's fun to listen them. I do it until they are finished. I listen over and over and over again and really try to listen with all the imaginary ears and all the imaginary perspectives you can have. "How would I have listened to this if I had heard it from this perspective?" Just to get as "objective" a perspective as I can until I'm satisfied, but then it's like „No, I don't want to hear this anymore". But I have to say that I think "Prequelle" is a very tolerable disc despite everything that interfered with the process. Therapeutically, it works quite well considering that we are still playing at least half of the album. For every artist there are songs that you want to play, and there are songs that you don’t want to play because they feel too personal. I don't feel that way about this one, it's more like: "Ah hell, they're part of the setlist and people like it and it sounds good. So that's what we're doing."

On a personal level, was Tom Dalgety the perfect producer for you, the way you were feeling at the time? Tom feels like the kindest, sweetest producer you can meet. He wasn't the kind of producer who pushed you very much, it was more of a nice atmosphere between you.

Yes, really, and it would have been different if Klas Åhlund, who is more confrontational, had been in the room. Now Klas and I are great mates, so it would certainly have been very therapeutic also, but it would have been a different process. If an artist comes in who is in such bad shape that they can't make a record, or a band where the main songwriter has just left them, then a Bob Ezrin goes in and says: "If you don't make the record, I'll make the record myself.” And he goes and makes Kiss "Destroyer" or Alice Cooper records. I'm not saying they didn't make them, just that you hear that Bob Ezrin made "Beth". It's a type of producer that's very different from a lot of other producers who maybe act a little bit more like buddies and cheerleaders and make the atmosphere good. Bob Ezrin doesn't care so much about the atmosphere in the room. Klas is somewhere in between, I would say. Given the condition I was in during "Prequelle", the result could probably have been different if Klas had come in. Ironically, there was actually talk of him doing it, but he didn't have the time and we'll never know how it would have turned out. I only know that it would have been different, but right there and then Tom was fantastic. I know that a lot of bands like to work with him because he is technically brilliant. He's really good at those typical sounds that people like: cool drums, guitar, bass, tone and clarity. He is also very "happy go lucky", a nice guy who sits and jokes all the time. Even if he has a bad day, it doesn't affect anyone else, which is convenient.

Let me compare it to when a writer contacts me after an interview and says "that was such a nice interview". For me, "nice" is not something positive in such a work situation and the result is often better when there is a little friction.

Mmm, and that is more Klas. There is more friction and more confrontation. And I was much better equipped for that at "Meliora" and later at "Impera". I felt better and was simply stronger. There wasn't the same survival instinct as on "Prequelle". If I think back, not about how the album turned out and how I have to live with it, but if I think back to the situation I was in, I was very anxious all the time. Even though I'm happy with the result, I wouldn't want to go through the recording again, even though Tom was great. Because it's hard to work when you're under attack. I realised that now when I made "Impera", when it was no longer like that. You are much more comfortable, it doesn't feel the same, you are more mature, you make better decisions, you are more controlled or dare to be uncontrolled. When things are this serious, you can end up in a freeze mode. Maybe that's also why there wasn't another song. The song that I miss doesn't exist because I simply squeezed out everything I had. If I had been in a different emotional state, I might have been more comfortable working out something at the last second from bits and pieces. But I felt that I really just wanted to get it done, deliver it, get back out on tour and start over again.

When you described being more mature during "Impera" you sounded like a 70-year-old, kind of like all the Aerosmith-like bands that have been fighting all their lives and now that they're in their 70s they say "we're soooo mature,” haha.

I think with all artists, especially when they're required to work in a group, there are many recordings that have been a collision with a wall because you're expected to function in a context all the time, whatever and whenever. But you do change and from one year to a few years down the line there can be a huge difference in a person's drive, hunger and priorities in life. Whether you have the same band structure as I do or whether you play in Metallica, people come in one state and they may end up in another, because you have different priorities at different times. It's unfortunately against the whole rock myth. I think that's the biggest problem for bands and businesses, that you always have this idea that if you just get to a certain stage - not just monetarily or career-wise, but you get to a certain stage of fun - then we've reached the status quo. But that is never the case! Never! There’s always something. Even in the best moments when everything is working, the band is awesome, everyone is working well, the crew is awesome, everyone is laughing, it's just a party all the time mentally, you have the world's best tour manager, everything is flowing and the tickets are selling, there will always be someone who doesn't like it and then has to break away and want to do their thing because it's no longer fun. It's usually somewhere in the lead-up to a stage where it's interesting and then once you've achieved it, it all becomes a bit boring. Just like in a relationship some people may eventually think, "well, that's a bit boring, I have to go out and do something else".

Since I was in the studio when you were laying down guitars on "Witch Image", my heart beats a little extra for that song and I thought it would be a great live song, but you've barely played it (at the time of writing it's Ghost's forty-fourth most played song live).

We did it during the "Prequelle" tour, or "A Pale Tour Named Death" as it was called. Then we did quite a few "an evening with" concerts, for better or worse. The advantage was that if you were a big fan of the band we actually played a lot of songs and actually a lot of the first albums, like "Idolatrine" - or "Witch Image". We did a set, a break and then a whole other set. That was a bit of a taste of what I was talking about earlier: doing a slightly larger set and then a slightly smaller one. You just shouldn't do it on the same night because it gets a bit stale. We played for two hours and 30 minutes or something and that wasn’t a good idea, haha. At least we did "Witch Image", but it has fallen behind a bit and it doesn't mean that we will never play it again, just that we don't do it right now. What I've been happy about is that there has been a feeling for the records that we've made recently, "Prequelle" and "Impera", that people still want to hear the new stuff. We haven't gotten to that stage that I talked about earlier when it doesn't matter anymore. Then it's very fun to try to find a new way to perform the songs, not technically, but suddenly a song like "Witch Image" might fulfill a very nice purpose between a completely new song and another song.

Let me speculate: in 30 years, I think "Rats" will be considered the great hard rock song, "Dance Macabre" the great hit and "Life Eternal" the great ballad. What do you think? Will this in the future be seen as the three big songs of the album?

Yes, that makes sense, I think. I understand that an instrumental song automatically ends up in the wake of a "best of" collection, in the sense that you do one in 30 years. I realise it's not a hit but the instrumental "Miasma" is a big part of our live show. It's strong and feels like such a keeper. Now we don't play "Life Eternal" very often actually, but it was very well received. For some reason people like to get married to it, I don’t know why, hehe. It's nice but it's also a bit like U2’s „I still haven't found what I'm looking for" and you don't use that one at a wedding. But people like it and I guess interpret it differently to me. It’s also a song that I don't think is fun to play live.

And why not?

Because I find it hard to play ballads. Physically, they don't feel the same as rock songs. I miss the "dunka dunka". Now everyone who plays music today knows what I mean - sorry, readers who don't play music - and it's that there's a small problem with having in-ear monitors. This means that you have to reach a certain frequency of beats in order to feel the music, unlike when you played at clubs with only a guitar amp behind you. You felt every single note you made and it just went through your body. Nowadays, I think it's sometimes hard when you play slow songs, because you have to trust that it sounds good, whereas when you play a rock song, you feel that it sounds good.

Does it also apply to "He Is” which is such a huge ballad, not least live?

Well, just the intro and then it gets going quite quickly and suddenly becomes a hard and rather fast-paced song. The classic ballad concept has always been that you play so-called edge beats to make it sound soft, while "He Is” is actually a rather hard-played song considering that it is a ballad. Once the drums come in – boom, boom – it's got AC/DC bite to it. It has a rock feel to it that "Life Eternal" doesn't really have. As I said, I don't think that "Life Eternal" is a lot of fun to perform, but that doesn't mean that it isn't quite good to listen to. It’s just that when I play "Dance Macabre" or "Mummy Dust" I feel that I can express myself physically more in line with what the text says and what it means.

[aleskie]

hiii! i was wondering if you could write max verstappen going through a difficult year between racing and his newly growing family? some angst about how reader can’t handle if he ever had an accident he can’t come back from / “do you even think about us?” kinda thing so he internally struggles between racing and family, but ultimately decides that being their for his family is more important than (sounds corny) any trophy or championship.

HI ANON! Thanks for the request!!! This was super fun to write and i know it's not exactly the ask but i hope u like it hehehhe :>>>>>

THE PROMISE | Max Verstappen x Reader

Warnings: None, happy ending??? There's no pronouns used but like it's implied reader is afab :>>

Your mother always said that making the baby was the easy part. The fun part. 

Carrying them, though? Having them? That was hell. The pain, the exhaustion, the way your body felt like it didn’t belong to you anymore. The sleepless nights, the hormonal swings that made you feel like a stranger in your own skin. Sure, there were moments of joy—feeling that first flutter of movement, hearing their heartbeat for the first time—but nothing about it was easy.

And raising them? Raising them was a whole other battle. The endless nights of rocking, of pacing, of shushing. The way your body ached with fatigue, your arms heavy from holding them for hours, your heart just as heavy when their cries didn’t stop. The moments of frustration, of helplessness, of wondering if you were doing any of it right. 

But then—then there were the milestones. The first roll, the first steps, the first words, tiny victories that made it all worth it. Watching them become a person, watching them laugh at things that only they found funny, watching them form opinions and preferences and little quirks that were uniquely theirs.

Yes, parenthood was hard. But it was also the best thing that ever happened to you.

And through it all, Max had been your anchor. He was there, gripping your hand so tight during labor that his knuckles turned white. He was there, whispering encouragement, his voice steady even when his eyes were wet with tears. He was there, cradling your daughter like she was made of glass, promising her the world in a voice thick with love. He was there, sitting through hours of interviews to find the perfect nanny so that you two could have time together—because he knew that mattered too. He was everything you needed in a husband, everything your daughter needed in a father.

And then the crash happens.

You were at home, keeping an eye on your daughter as she stacked her blocks, her tiny fingers carefully placing one on top of the other, her tongue peeking out in concentration. The television was on in the background, the familiar hum of the commentators filling the room. You weren’t watching too closely—you never did anymore. You’d glance up now and then, check the leaderboard, watch a particularly intense overtake, but you didn’t let yourself get caught up in it.

Then it happened.

At first, your heart only gave the slightest stutter. It wasn’t anything new. Max had crashed before. He would crash again. It was part of the sport, part of the risk, part of the life he had chosen—the life he had bled for since he was a child. You had known this going in. When you first fell for him, when you first tangled your lives together, he had made it clear: this was not something he would ever walk away from.

So, you learned. You learned the language of the sport, the rules, the strategies. You learned how to read the data, how to pick apart his post-race frustrations, how to hold him after a bad finish and remind him that there would always be another race. And you learned to live with the ever-present ache in your chest, the one that flared up every time something went wrong.

But this time, something felt different.

He didn’t get out. Not fast enough. Not like before.

Your breath hitched as the seconds stretched unnaturally long, your fingers tightening around the edge of the couch. He was moving—that was good. He wasn’t trapped. But his movements were sluggish, uncoordinated. When the medics arrived, he didn’t wave them off like he usually did. He let them help him. When he finally climbed out, his legs wobbled, his posture slumped, his hand pressing against his head as if trying to steady the world.

But he was alive.

You exhaled, long and slow, grounding yourself in that fact. You’d talk later. You’d let him come home, let him shake it off, let him tell you in his own time what had happened, how he felt. You’d sit with him, listen, remind him that he wasn’t alone in this. But for now, he was alive.

And that was enough. That had to be enough.

You’re washing the dishes when you hear the front door creak open, the heavy thud of a suitcase settling against the floor. Footsteps follow—soft, familiar, hesitant. Then his arms wrap around you, warm and grounding, the familiar scent of the paddock and faint traces of cologne still clinging to his clothes.

You exhale, leaning into him, letting his presence melt away the tension in your shoulders. Carefully, you peel off the dishwashing gloves, placing them on the counter before turning in his arms. The moment you do, you bury your face in his chest, listening—just listening—to the steady rhythm of his heartbeat. He holds you closer, his grip tightening as if he needs this just as much as you do.

“You watched the race,” he murmurs, his voice quiet but certain.

“I did.”

“Did she see?” There’s something cautious in his tone, a hint of guilt. You know he never wants your daughter to witness him like that—vulnerable, shaken, hurt.

You let out a soft chuckle, the kind that doesn’t quite reach your eyes. “She was too busy playing.”

A silence settles between you, thick yet comfortable. You tilt your head up, reaching a hand to his face, fingertips ghosting over the faint stubble on his jaw before cupping his cheek. You trace him with your eyes, mapping out every detail—the precise shade of blue in his eyes, the faint crease in his brow, the way exhaustion lingers at the corners of his lips. Memorizing him, just in case.

His hand comes up to cover yours, his thumb brushing over your knuckles. “I’m right here,” he says softly. “You don’t have to worry.”

Your brows pull together as a quiet sigh leaves your lips. “I’m always going to worry,” you admit, voice barely above a whisper. “I worry all the time.”

And he doesn’t argue, doesn’t tell you not to—because you both know that would be a lie. Instead, he just holds you tighter, as if that alone could keep the worry at bay.

“It was different this time, and you know that,” you say, stepping back, putting just enough space between you to breathe.

“Was it?” His voice is calm, but there’s an edge to it, a quiet challenge.

“You didn’t get out of the car, Max.” The words come out sharper than you intend. You inhale, trying to steady yourself, fingers threading through your hair in a feeble attempt to keep your hands from shaking. “If you heard the sounds—”

“I think I know what sounds I made,” he interrupts, his voice tight. “I was there.”

“Then you should understand why I’m like this.”

He exhales, shaking his head. “Baby, we’ve talked about this.”

“But not like this!” The frustration spills over before you can stop it. “Not with her in the conversation.”

His eyes flick toward your daughter’s room, just for a second. It’s brief, subtle, but you see the flicker of concern, the way his jaw tightens.

“Max, you know I understand. You know I’ve accepted it. You know I stayed despite every risk of losing you.” You close your eyes, inhaling deeply before speaking again, softer this time. “But she doesn’t know yet. She doesn’t understand yet. And I—”

The words catch in your throat. Saying them out loud makes them real, makes them a possibility you don’t want to face.

“I don’t want to raise our child without a father.”

The moment the words leave your lips, his expression shifts. The fight drains from his eyes, replaced with something softer, something that aches. He moves before you can step away again, hands cupping your face, thumbs brushing over the tears welling in your eyes.

“You won’t have to,” he says, voice firm but gentle. “I’m good at what I do. Today was a fluke. It won’t happen any time soon.”

“But it might,” you whisper, your voice trembling. “And I don’t know what I’d do if—”

“Shhh…” He silences you, pulling you against him, as if holding you close is enough to keep the worst from happening. “Nothing is going to happen.”

“You don’t know that.”

“I don’t,” he admits, and then tilts your chin up so you meet his gaze. His face is open, earnest, full of the kind of love that wraps around your soul like armor. “But I can promise to do everything I can to be here—to watch her grow, to walk her down the aisle, to grow old with you. I can promise that.”

“I can’t lose you,” you whisper.

“You won’t. Ever.”

You search his face, letting his words settle into the spaces where fear still lingers. His hands are steady, his eyes unwavering, his love for you and your daughter woven into every syllable of his promise.

It doesn’t erase the worry, doesn’t silence the what-ifs that creep in when the nights are long and the house is quiet. But it does remind you of something just as powerful—he’s here. He’s trying. He’s choosing you, choosing her, choosing to fight for a future where he stays.

So you let yourself believe him. Just for tonight.

[sevrd-floor]

If anyone wants a compilation of everyone on Severance talking about Britt Lower and Adam Scott’s chemistry, and how it impacted the entire writing of the show, I made one.

(Warning: very long read, because they talked about it a lot.)

Here’s all the evidence:

He confirmed that Britt and Adam had a “pull” between them in the audition room, and that it didn’t just manifest while they were reading, it manifested in the “silence between the lines.”

Meaning, “the pull” manifested itself in their body language and their eye contact even when they weren’t reading anything.

Dan Erickson was sitting next to Ben Stiller in the audition room as this was happening.

He saw it, too. So did all the casting directors.

“When we saw them read together, it felt undeniable.” He said it made sense to let that chemistry develop on-screen.

He said it felt “natural” to let it evolve, rather than pretending it wasn’t there.

Dan Erickson also went on to say:

“Everything they read together had a little bit of flirtation in it, whether it was intended or not. It was just the way Britt and Adam interacted.”

Adam confirms that he and Britt really trusted eachother, and that this comes through in the characters.

He claims that “Mark and Helly are kind of discovering themselves through eachother,” and this is a mirror to he and Britt also discovering themselves through their characters.

This is most apparent during the Zufu restaurant scene, where the scene once again wasn’t written as flirtatious or romantic, it simply “took that shape” according to Ben and Adam.

This isn’t the first time that Britt talked about “travelling through time” during her scenes with Adam. It’s an abstract ideology she used to describe their connection on multiple occasions.

She said “those moments between them, where time almost stops — felt like we [Adam and I] were living multiple lives in one moment.”

She also talked about it on the Severance podcast. She said her last day on set with Adam felt like “travelling backwards in time and forwards in time, at the same time.” This is when they both broke down crying because they didn’t want to leave eachother or the set.

Ben Stiller even cried while watching them.

Adam confirmed he felt connected to Britt during this particular scene, as well, saying; “I felt very connected to you.”

Britt also added in The Wrap interview: “There was a deep connection in playing those scenes, like travelling through an emotional time.”

Not exactly a direct proof of chemistry, but he got caught up in filming them and fell on top of them.

He said he was distracted by what he was seeing as a director, that he was moved by it, and trying to get all the angles. But even this incident didn’t affect the chemistry or the flow of the scene.

It added a “sweet” energy to the episode.

—

So, here’s an overview:

• The chemistry between Britt and Adam didn’t happen in a vacuum. It changed the entire direction of the show.

• People sometimes refer to this as a “once in a career” type of magic, and casting directors usually emphasize on this.

• Everyone noticed it during their chemistry read.

• Their chemistry influenced Dan Erickson to rewrite major parts of the story to include their romance.

• Their scenes together have routinely become emotional “high points” of the series, and add much-needed humanity to the show.

And all of this contributes to the dynamic between Mark and Helly, as well as Mark and Helena. Plus it actually changed Dan Erickson’s story all the way back in 2017-2020.

Dan Erickson calls Mark and Helly the “beating heart” of the show. Critics also noticed the chemistry, a lot of them, but I decided to only include the people involved in the show.

If I included the critics, this post would have been even longer.

[eternallyordinary]

“He Belongs to You” - Part 6

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Series Masterlist<3

Summary: During an Access Hollywood interview meant to introduce you to the public, an unexpected guest turns it into something else entirely. Tension lingers even after the cameras stop rolling, leaving you uncertain about what comes next.

Warnings: detailed description of sexual assault, trauma, anxiety, death, violence, controlling behavior, age/gap relationship, smut, foul language

*:・ﾟ✧*:・ﾟ✧✧・ﾟ: *✧・ﾟ:* ˚₊· *:・ﾟ✧*:・ﾟ✧✧・ﾟ: *

You and Homelander finish showering. You try to brush off his earlier comments about your attackers—maybe he’ll forget.

Maybe he was just trying to impress you, show off a little.

But actually believing that?

Not likely.

You push it aside, burying the thoughts deep.

Unwilling to let him see the worry creeping in.

The pain you’ve worked so hard to suppress.

Disassociating, you go through the motions of your skincare routine.

Your hands steady, even as your mind teeters on the edge.

His words won’t stop playing in your head:

“They’re dead. They just don’t know it yet.”

And his words? They should horrify you.

Instead, they linger, gnawing at something dark inside you.

The truth is, you don’t care if they live or die.

After what they did, after what they took, death is a kindness compared to what they truly deserve.

They should feel pain.

They should suffer.

It’s been years, but when you stare into the mirror, they’re still there.

Their hands.

Their laughter.

The smell of them.

The pain your body felt.

You remember it all.

The way you slumped against the wall, your head lolling to one side, struggling to keep your eyes open.

The way they took turns sticking their dicks inside of you, laughing, high-fiving, cameras flashing as they marked you with their semen, treating you like some object without a pulse.

The itchy rug burning against your bare skin.

The throbbing pain between your legs.

The stares.

The whispers.

The way your mother called you a whore while your father was the only one who believed you.

The way the cops dismissed you, shrugged off your horror, called you the girl who cried wolf.

That’s when your father realized law enforcement wouldn’t protect you.

That’s why you were injected with Compound V.

The threats had been too much.

The fear too suffocating.

He wanted you safe.

You? You wanted something else.

The doctors warned you.

The risks were high. Compound V was meant for infants, not teenagers. But you didn’t care.

The best-case scenario? You’d have strength. Confidence. The power to protect yourself.

The worst? You’d die.

And really, would that have been so bad?

Now that Homelander knows someone hurt you, all the broken pieces you’ve spent years trying to discard will come back to haunt you.

What if he looks at you differently?

Or what if he stops looking at you at all?

He treats you like something fragile, something delicate. But little does he know—

You’re already shattered.

“How do you feel about the interview?” His voice pulls you away from your thoughts.

The way he shifts—possessive and protective one second, encouraging and supportive the next—is jarring.

For most people, that kind of inconsistency would signal a disorder.

For Homelander? It’s just how he was built.

A machine trying to mimic emotions.

“Sweetheart? Sweetheart?”

You flinch.

The reaction is immediate, instinctive, like you’ve been caught doing something wrong.

“Yes? Sorry,” you say quickly.

His expression flickers, his sharp eyes reading you too easily. He knows something is wrong.

But he’s trying.

Trying to be normal—as normal as a man with lasers for eyes can be.

“Easy there, tiger,” he teases, coming up behind you, pressing a kiss to the top of your head. “Go put on your suit. We have to head down soon.”

“I rather put it on after hair and makeup,” you reply, glancing at him through the mirror.

His grip is firm as he cups your jaw, that tight-lipped smile that isn’t really a smile. “I didn’t ask.”

You roll your eyes as you head to the closet, tugging your suit off the hanger.

Homelander doesn’t miss the gesture.

He makes a mental note to punish you for that later.

“Wait—you said we. You’re coming?”

“Duh,” he says, as if it’s obvious.

You want to argue. To push back. You’ve only been here for one day. Can’t you handle one thing on your own?

“Why do you want me to put my suit on now?” you call out from the closet.

“Because if it’s showing too much, they’re going to fix it.”

You step out, narrowing your eyes at him.

“Fix it?”

He gestures for you to spin.

You sigh and humor him, slowly turning.

“Stop.”

You freeze, back facing him. He steps up behind you, smoothing his hand over the fabric.

“See, this—” he taps the small of your back, pushing slightly, making you arch against him, “this isn’t going to work. Your ass is hanging out.”

His fingers tug at the shorts, pulling the fabric tighter, making them ride up even more.

You straighten. “Homelander,” you huff. “You’re pulling them up. They’re fine.”

His gaze darkens. “I didn’t ask for your opinion.”

You smirk, wrapping a leg around his hip, your doe eyes flickering up at him.

“Don’t you trust me?”

He clenches his jaw, resisting the urge to grab you by the throat and teach you something about trust.

But before he can respond, there’s a knock at the door.

“Come in.”

A timid PA peeks in.

���Um, hi—hair and makeup is ready for you downstairs. If that’s, like, okay. If you want to.”

You cast one last glance at Homelander before heading for the door. When he knows you’re out of earshot, he turns to the PA.

“Get her some new fucking shorts.”

“What?”

He doesn’t repeat himself.

—

Downstairs, you sit in the makeup chair as stylists work around you. You’ve never been one for attention, never liked being the center of it. But maybe, you can get used to it.

Homelander watches the way you interact with them, the way you ask about their day and actually listen. How you smile at them like they’re people, not background extras.

You have powers, but you’re more human than anyone he’s ever met…

You’re just, real.

The hairstylist chats as she works, her tone warm, maternal. “How’s NYC treating you so far?”

“I like it. But it’s only been a day. Ask me in a week,” you joke.

“Oh, you’ll love it. Just you wait. You’re young, beautiful, single—”

“She’s actually not single.”

Homelander’s hands land on your shoulders, his tone casual.

“And can we tone this down a bit? I’m not letting my girlfriend look like a fucking porn star bimbo on Access Whatever-the-Fuck. Thanks.”

He presses a kiss to the top of your head and walks off, presumably to go yell at A-Train.

The room falls silent.

“Sorry…” you murmur.

The hairstylist sighs, lowering her voice.

“You’ve been here, what? A day?”

You chuckle softly. “Barely.”

She hesitates, then leans in slightly.

“You’ve heard the stories, right?”

Of course you have. More bad than good.

“Just… be careful,” she says gently.

“He might be America’s hero, but in most people’s storybooks? He’s the villain.”

He’s the villain.

Her words hit differently than they should. Maybe because you want to live in the fantasy—where the biggest superhero in the world is head over heels for you. Love at first sight, fairytale type shit.

But deep down, you know there’s darkness in him. And you just pray you never have to see it.

Pasting on a smile, you force a lighthearted tone. “Can you make my hair a little less… what did he say…. porn star bimbo?”

The hairstylist lets out a quiet sigh, reaching for the teasing comb without another word.

She doesn’t realize you’re ending the conversation to protect her.

—

Once they finish your hair and makeup, you look in the mirror—you don’t recognize yourself, but you like what to see.

You turn around and make your way back to the green room. After Homelander’s claim on you last night, you’re hoping for a chance to redeem yourself. But your focus is interrupted when you catch Homelander talking up the female reporter.

You feel it—jealousy. Fuck. Not this. Not now. Not with him.

What the hell is going on with you?

You never let anyone in. Ever.

And yet—here you are.

It’s been one day, and you’re already feeling these twisted, tangled emotions for a man twice your age.

Not just any man.

A superhero.

Or—a monster. A god. A villain.

Depends on who you ask.

—

The studio lights shine bright, the cameras rolling as the Access Hollywood host, Karen Scott, sits across from you, her signature grin plastered across her face.

You keep your posture poised, legs crossed, hands resting neatly in your lap.

The branding behind you screams:

“Vought Presents: Meet the Seven’s Newest Star!”

You’re ready. This is your moment.

Karen leans forward, beaming. “We are here today with the newest—and might I add, one of the most highly anticipated—members of The Seven!”

She gestures toward you as the audience off-camera cheers. “She’s powerful, she’s stunning, and she’s already taking the world by storm! Please welcome—”

The sudden sound of footsteps cuts her off.

You don’t need to turn your head to know who it is.

A heavy, commanding hand lands on your shoulder just as Homelander steps into frame, his cape billowing behind him like it was designed for dramatic entrances.

“Now, now, Karen,” Homelander drawls, flashing his perfect, too-white teeth. “Let’s not get ahead of ourselves.” He squeezes your shoulder, feigning warmth.

“Wouldn’t want people thinking she got here all on her own.”

The tension in the room shifts immediately.

Karen, ever the professional, chuckles nervously.

“Homelander! Wasn’t expecting you to hop in—”

“Surprise,” he interrupts smoothly, settling into the chair beside you, legs spread wide, completely owning the space.

“Thought I’d sit in. You know, give the fans a little insight into why we—” he glances at you, the smirk never leaving his lips, “—chose her.”

You clench your jaw, keeping the polite smile on your face.

Of course, he’s doing this.

Of course, he couldn’t just let you have this moment.

You want to fight back. You need to. But you know how dangerous that game is. So instead, you take a slow breath, steel your nerves, and decide—if he wants to play, then fine.

You’ll play.

Karen shifts in her seat, glancing between you and Homelander. “Well! Since we have both of you here, let’s start with the obvious question.”

She turns to you. “What’s it been like, joining the most powerful team in the world?”

You open your mouth to speak—but Homelander beats you to it.

“Well, Karen,” he says, his voice smooth, rehearsed. “It’s been quite the adjustment for her, I’m sure. New city, new responsibilities, and, of course—” he turns his head, his piercing gaze locking onto you, “—new relationships.”

You bite your tongue.

Karen nods, completely eating up Homelander’s performance.

“Absolutely! And what about you? What made you see her as a fit for The Seven?”

Homelander hums, tilting his head.

“Oh, where do I start? She’s strong. Fierce. Dedicated. But more than that, she understands…” He lets the pause linger, looking at you like he’s daring you to interrupt.

You don’t.

“…who she belongs with.”

A dangerous silence lingers for just a second too long before Karen, slightly caught off guard, laughs.

“Well! That’s, uh… very high praise.”

You don’t let yourself react. Instead, you turn to Karen with a practiced, charming smile.

“It’s been an honor to join The Seven. I’ve worked my whole life for this opportunity.”

You place a delicate hand on Homelander’s arm, feeling him tense under your touch.

“And I couldn’t have done it without him believing in me.”

He eases slightly. You knew that would stroke his ego.

But you aren’t done.

Karen nods enthusiastically. “And the fans are already loving you! You’re being called ‘the fresh, young energy The Seven needed.’ I’m sure you’ve seen the online buzz?”

You flash a bashful smile. “I have, yeah. It’s… nice, knowing people are excited about me.”

You put emphasis on the last word, your gaze flickering toward Homelander just briefly enough for him to catch it.

His jaw twitches.

Karen beams. “Well, you are the moment! And a lot of that excitement is also, of course, about you two.” She gestures between you and Homelander.

“Social media is already flooded with clips of your… let’s say, undeniable chemistry.”

You barely have time to react before Homelander lets out a deep, pleased chuckle.

“What can I say?” he murmurs, reaching over to tuck a strand of hair behind your ear. His fingers linger against your skin. “People love a good power couple.”

The words send a shock through your spine. You school your expression into something neutral, refusing to let him win.

Karen raises a brow. “So, can we confirm that? Are you two…?”

This is your chance.

You could go along with it, let him have this claim over you—again.

Or… you could do what you really want.

You shift in your seat, batting your lashes as you turn to Karen. “Oh, Karen.”

You lean in, resting your chin on your hand.

“Now, that would be spoiling the mystery, wouldn’t it?”

Homelander’s entire body stiffens.

Karen laughs. “I love that answer.”

You can feel the heat radiating off Homelander.

Good.

He hates not being in control. You can tell he wants to say something—maybe correct you, maybe make some grand declaration of ownership.

But he doesn’t. Not here. Not where the cameras are rolling.

Instead, he settles for gripping your thigh under the table.

Tight.

Painful.

But you can take it.

—

The interview wraps up, the cameras still rolling but the closing music signaling the end of the segment. Karen thanks you both, shaking hands, oblivious to the silent war happening in front of her.

Homelander’s grip on your thigh is bruising.

He hasn’t spoken since you dodged the question. Since you humiliated him. In front of millions.

You can feel the rage radiating off him, an unstable storm brewing under that carefully controlled exterior. But he doesn’t snap—not here. Not where people can see.

Instead, he flashes a dazzling smile to Karen. “Pleasure as always.”

His voice is smooth, but you don’t like his tone. You imagine it’s the same voice he uses before lasering someone into dust.

You don’t move. You wait.

Homelander stands first, his cape whipping behind him as he gestures for you to follow.

“Come on, sweetheart. Let’s go.”

It’s not a request.

You hesitate, just for a second.

He extends a hand to you, his grip forceful but calculated as he helps you up.

“Smile,” he murmurs, too low for anyone else to hear.

“Wouldn’t want people thinking you’re afraid of me.”

He guides you through the studio, the Vought execs watching like hawks. You keep your expression composed, refusing to let him see the way your heart is hammering. You knew he’d be mad. You wanted him to be mad. But now, walking beside him, you realize just how close you’re dancing to the edge.

The second you’re backstage, away from prying eyes, his grip tightens around your throat.

“Did you really think that was funny?” he murmurs, his voice so low it sends chills down your spine.

He doesn’t yell. He doesn’t have to.

His voice alone carries enough restrained violence to make the air thick with tension.

You look up at him, batting your lashes in mock innocence, struggling to breathe.

“I don’t know what you mean.”

His nostrils flare.

“Don’t play with me.” His hand moves to your jaw, tilting your chin up so you have to look at him. His thumb brushes against your lower lip—gentle, almost loving. But his grip? It’s unforgiving.

“You enjoyed that, didn’t you?”

You wet your lips, your breath shallow.

“What?”

“Teasing me.” His voice, venom-laced honey.

“Denying me in front of all those people. Making me look like some pathetic, lovesick idiot.”

You don’t answer. You can’t. Because he’s right.

He chuckles darkly. “Oh, sweetheart.” He shakes his head, his grip loosening—but only slightly.

“You really don’t know what you’ve done.”

He leans in, so close his breath fans against your cheek.

“But that’s okay,” he murmurs, kissing the corner of your mouth. “I’ll remind you.”

His hand trails down your arm, his fingers barely ghosting over your skin. It sends a shiver through you. Not from fear—no, you know better.

This isn’t fear.

This is something worse.

“Are you going to punish me?” you ask, keeping your voice steady.

His eyes darken, his pupils blown wide with something dangerous.

He presses his lips to your ear, his voice dropping to a whisper.

“Oh, silly girl…” He laughs, quiet and sinister.

“I already am.”

And with that, he pulls away, his grip gone, his expression suddenly light and pleasant as if nothing happened at all.

He gestures for you to follow, his voice as cheerful as ever. “Let’s go.”

—

Homelander doesn’t touch you as you leave the studio. That’s the punishment.

He doesn’t press a hand to your lower back, doesn’t pull you possessively against his side, doesn’t hover over you like a protective force of nature. He keeps walking ahead, never looking behind him.

It shouldn’t bother you.

Surprise—it does.

The city is loud, the streets buzzing with reporters still trying to get a shot of the two of you, their cameras flashing in bursts of white-hot light.

They call your name.

His name.

Homelander doesn’t acknowledge them.

Neither do you.

The moment you’re both out of sight from the cameras, he sweeps you into his arms and takes off into the sky. You both are soaring over the skyline, the wind whipping against your faces.

Normally, this would excite you—the thrill of being in the air, the rush of speed—but now?

Now all you can feel is the tension.

You land on your balcony. Before you can even turn around, he’s already inside, pacing through your apartment like a lion in a cage. His hands flexing at his sides.

He’s waiting for you to speak first.

You don’t.

Instead, you close the balcony door and lean against it, watching him.

“So…” you finally say, feigning nonchalance. “You’re mad.”

Homelander stops. Turns his head, looking at you over his shoulder.

“Mad?” he echoes, voice deceptively calm.

You know better.

“You humiliated me,” he says, his tone soft but laced with something sharp. “In front of millions.”

You push off the door, crossing your arms.

“I didn’t humiliate you.”

“You just don’t get it, do you?” He smiles, but it doesn’t reach his eyes. “You challenged me.”

You inhale slowly.

He’s still keeping his distance, still standing across the room.

He hasn’t touched you since the interview.

Since he whispered, “I already am”.

You tilt your head. “So, what’s my punishment, then?”

Ignoring your question, he walks toward you—slow, deliberate, like he wants you to feel every second of it.

And then… he passes you.

Goes straight to your bedroom.

You follow, your pulse quickening.

When you enter, he’s already making himself at home, sprawled out on your bed like he fucking owns it.

You stand in the doorway, arms still crossed.

“What are you doing?”

Homelander props himself up on an elbow, tilting his head at you. “What does it look like?”

You narrow your eyes. “I meant what you said earlier. About my punishment.”

He smirks. “This is it.”

You hesitate. “…Laying on my bed?”

He grins wider. “Ignoring you.”

Your stomach twists, your fingers clenching at your sides.

That’s what this is?

Homelander has spent the last 24 hours consuming you—smothering you, obsessing over you, refusing to let you out of his sight.

He’s claimed you over and over, left bruises where only he can see, reminded you that you belong to him.

And now?

Now he’s withholding himself.

It’s petty. It’s cruel.

And it’s working.

You roll your eyes, feigning indifference.

“Okay, fine. Be dramatic. I have stuff to do.”

You turn on your heel and walk toward the bathroom.

You don’t make it two steps.

Whoosh.

He’s in front of you.

His smirk. His arrogance. Gone.

“Try that again,” he says, voice low.

Your breath catches.

And then—he steps back.

Your frustration spikes. And it confuses you.

Because you want him to touch you.

You want him to pin you down and remind you who the fuck you belong to.

But he knows that.

So, withholding is the punishment.

He leans against the doorframe, arms crossed over his broad chest.

“Go ahead,” he says, nodding toward the bathroom. “Take your time.”

You walk past him, closing the door behind you with more force than necessary.

And in the silence, as you stare at your reflection, you realize…

This might be the worst punishment he’ll ever give you.

Depriving you of his touch.

But the moment he breaks?

You’re fucked.

⁺˚⋆｡°✩₊✩°｡⋆˚⁺ ˚ ༘ ⁺˚⋆｡°✩₊✩°｡⋆˚⁺ ˚ ༘ ⁺˚⋆｡°✩₊✩°｡⋆˚⁺ ˚ ༘ ⁺˚⋆｡

[dirtyvulture]

Ceremony

Natasha Romanoff x Beefy!Sergeant!Reader

18+ only read at your own risk

Summary: You get some (very nice) awards for your actions during Operation: Avalanche.

Word count: 1834

AN: Reader has a penis, no pronouns used.

This is Part 4 of my Sergeant Beef AU, following the events of this fic.

“Why is all of this necessary?” you whine, pulling at your stiff collar. Natasha slaps your hand down as she fixes the medals and ribbons on your chest. 

“This is what you get for almost getting yourself killed,” she replies, although there is no malice in her tone. “Don’t worry. We can go back to my place afterwards and–”

“Finally,” you interrupt with a grin. 

“Don’t get ahead of yourself,” she chastises again, although you know she’s just as excited as you are to be back on your home turf for the first time in months. 

“How do I look? Would I pass your inspection this time?” you ask as she backs away from you, surveying you up and down. You’re leaning on one crutch still, but you’re glad that you don’t have to use a wheelchair anymore. 

“You look fantastic,” Natasha says, leaning in for a soft kiss. “Ready?”

“Let’s do it.”

She walks at your pace as you hobble out of the parking lot, joining the large group of people gathered on the lawn of the park. Most of them you hadn’t seen since before your deployment, which at this point feels years ago. Your entire team is here too, all of them crowding around you for hugs and handshakes. There’s too many things to be said but no privacy to say them in, so you promise that you’ll give them your time once you return to the base. Men and women with more medals and ribbons than you can count come over to thank you and wish you well. It feels odd being the center of attention and you’re not really sure you like it.

Peter Parker brought along his Aunt May and she gives you a hug that almost lifts you off the ground. She cries into your shoulder while thanking you for not leaving her nephew behind and you unexpectedly get a little choked up yourself. 

There’s also a camera crew from the local news station that asks you to sit down for a brief interview. You see Natasha watching you from behind the camera, a mixture of pride and worry on her face for you. She knows this event is emotionally and mentally draining for you, but she can’t be happier to be here celebrating your achievements with you. 

After the interview, you sit with her in the front row, you on the aisle side because you need space for your crutch. General Fury goes up to the stage and gives the opening speech. 

You zone out, hearing your name said a few times, but you don’t really care. Natasha nudges your knee with hers and you look up at her. She smiles bracingly which you return half-heartedly.  

“I would now like to welcome Sergeant Y/N to the stage,” Fury says, as everyone erupts into applause. You grab your crutch and Natasha stands with you. Slowly, you limp to the steps of the stage, Natasha hovering behind you carefully. You hop up each step, your face hot as you feel all eyes on you and you pray that you don’t accidentally trip in front of them. “Sergeant Y/N,” Fury says as you approach him. He is mindful to offer you his left hand so you can leave your right one holding onto your crutch. 

“It is with great honor that I present to you today the Purple Heart Award and the Distinguished Service Cross, for your bravery and actions during Operation: Avalanche. You did not hesitate to put yourself in certain danger to ensure your team’s safety, and because of your sacrifice, all six members of your team are here today. Thank you for your service and dedication to protecting this country, Sergeant Y/N.”

The applause sounds louder up here than your seat, and you stand tall as Fury pins your two new awards to your chest. Natasha is standing, probably clapping louder than anyone else, and her reaction makes you feel happier than the two awards you’ve just been given. 

“Thank you, General,” you say, saluting him with a tight voice. 

“Don’t thank me, Sergeant Y/N. I didn’t even write the speech,” he teases, standing next to you and posing for some pictures. 

***********************************************************************

After the ceremony, you skip your own after party to go home with Natasha. You give everyone the excuse that you’re tired, which isn’t technically a lie, but now you just want to spend time with Natasha. She brings you to her apartment, which is bigger and nicer than yours, but you don’t even have a second to revel in its familiarity when she pushes you into the bedroom. 

She helps unbutton your shirt, being very mindful of your new awards, taking it over to her closet to properly hang up. You can’t help but smile at how respectful she is when it's normally a desperate frenzy to get you undressed. You toss your crutch onto the floor, leaning most of your weight on your left leg while trying to simultaneously unbuckle your belt and take off your pants without falling over. 

By the time she comes over to you, she’s already naked herself and you can’t help but moan when she presses against you, skin-to-skin. She wraps her strong arms around your waist, helping keep you upright, leaning up to kiss you. You can tell she’s trying to be gentle with you, but you can feel her passion with the way her hands possessively run up your sides, skating carefully over the new, large scar along your ribs. Her nails dig into your back muscles to press you against her harder.

“Nat,” you whisper when you start to feel your right leg shaking. You know you lost some muscle mass and definition being cooped up in a hospital bed for months, but Natasha doesn't seem to mind. You're also embarrassed that you can’t stay standing for long, but Natasha pulls away to take your hand and lead you to the bed. You limp after her, immediately dropping to your knees on the mattress as she lays down in front of you.

“I really want you, Y/N,” she says, practically devouring you with her eyes alone. “But if you’re not up to it, I can wait.”

“I want you too, Nat. So much,” you reply, starting to jerk yourself off to hardness. It’s been months since you’ve had an opportunity to have her like this; as often as her visits to your room in the hospital were, you weren’t well enough to engage in her favorite activity the way you used to. It had been hard on both of you to have to wait, and part of you was nervous that you wouldn’t last that long or didn’t remember how to please her.   

“Okay. How do you want me?” Natasha asks, and it’s unusual for her to let you decide. But she seems to understand the importance of going at your pace and doesn’t want you to be uncomfortable.

“Uh…on your knees?” you suggest, not even sure what you’ll be able to handle. As long as the movement was minimal, you figure you’d be okay. 

“Okay.” Natasha kisses you again before turning to face away from you, presenting her perfect backside. Instinctively you grab onto it, shuffling forward until your cock bumps against her butt. You’re already throbbing at her touch but you want to make sure she’s near the same level as you.

You bend forward, your side protesting a little at the movement, but you push through, slipping your arm around her waist to drag your fingers through her folds. Natasha puts her hand on your wrist to guide you better, and you start panting in anticipation when you feel how wet she is.    

You dip your fingers into her while circling her clit and her body stiffens underneath you. You’re just glad you’re doing something right as she ruts back against you with a whine, guiding you to move faster and deeper. 

“Fuck, I think I’m already going to cum,” Natasha admits, tightening around your fingers. She forces you to stop moving so you wait for her next instruction. It makes you feel a little bit better that you’re not the only one with decreased stamina. “Are you ready, babe?” she asks. “I want to cum with you.”

“Yeah, I’m good,” you say, looking down at your hard cock that’s standing almost at a 90-degree angle. 

“Okay. Fuck me good, Y/N.”

Her words turn you feral almost instantly and you steady yourself by holding onto her waist with both hands, maybe a little harder than you intend because you don’t know how much longer you’ll be able to keep yourself upright, even in this kneeling position. The tip of your cock brushes against her hot center and this time, you don’t wait for further permission to enter her. You push in, her tight heat surrounding you, and you have to bite your lip to remind yourself not to cum immediately. 

“Fuck, Nat,” you grunt, afraid to move while you adjust to how perfectly she stretches around you. Your cock twitches when she pulls you in deeper and you finally move your hips in time with hers, although a little more slowly than you would have liked.

You moan like you haven’t been fucked in months, which is technically true, and Natasha pulses harder around you when she hears your reaction to her. She pushes back against your abs with some force, a little afraid that she’ll knock you over, but she’s so desperate to be filled by you. Her toys, her hands, and even yours would never compare to your cock. 

The bedroom quickly fills with the slick noises of your cock sliding in and out of her pussy. The pain in your side and thigh starts to become noticeable even with the numbing pleasure between your legs, and you realize you have to finish soon or you won’t get to at all. 

“Nat, I…I need to cum,” you beg, hoping she’s at her peak too. 

“Let go, babe,” Natasha says, curling her hands into the blankets and lifting her hips higher so you can piston against the sensitive spot inside of her. It takes a few more strokes that almost have you seeing stars before you unload, arching forward to bury yourself to the hilt as you pump out your seed in a few hard bursts. The pressure of being filled is enough to send Natasha over the edge, her cum dripping onto your cock as you pull out and collapse next to her on the bed, your chest heaving and sweat collecting around your neck. 

Natasha reaches out to you, wrapping herself around your body like a koala bear. Although she would love to go another round with you, she can tell you’re too exhausted and doesn’t want to push you. So as you slowly drift off to sleep, Natasha whispers in your ear how much she loves you and how she’ll never take you for granted again. 

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

AN: And things are basically back to normal for these two! :)

I wrote a Part 5, which you can read here.

Please like, reblog, and comment! Follow for more content. 🥰

[procrastiel]

My highlights from The Assembly:

Was John Taylor from Duran Duran your first ever crush? “Yes, he absolutely was.” Michael thought he was the most beautiful person he’d ever seen, man or woman. And he tried to imitate his hairdo (didn’t work out though, because Michael’s hair is really curly and John’s is straight).

He’s not brave enough to go on Strictly because he thinks he’s not a good dancer.

How does it feel to be dating someone that is only 5 years older than your daughter? “Both of us were quite surprised when we got together, it wasn’t something we were looking for. I haven’t dated anyone who is much younger than me but you meet who you meet. We were both very aware how people might respond, and that it would be difficult and challenging, but ultimately we felt that it was worth it, because of how we felt about each other. And now we have two beautiful children together. We’re really, really happy. I am aware that I am a much older father, and it does worry me, and makes me concerned, and makes me sad thinking about the time that I won’t have with them. But if you find someone who brings you happiness and you make them happy you gotta go for that. So that’s what we decided to do, and I’m so happy we did because we have this wonderful family now.”

The next question (asked by the same girl) was: Who is the rudest celebrity? “Have you heard of a man called David Tennant? He was Doctor Who. Doctor rude! No he’s very nice. Someone will occur to me and I’ll let you know. (pause) Jennifer Laurence was very cheeky! She is very cheeky.”

How tall are you? “I’d like to be 5”11 but I’m closer to 5”10.”

He likes Dylan Thomas, even though he doesn’t understand all of his poetry.

He cries probably every day. And it’s totally fine to feel things deeply and get emotional about things.

His favourite Disney film is Moana. And that’s Mabli’s favourite movie at the moment, too. She watches it about twice a day.

He’s worried that AI will take his job away, and that it will change everything, not just actors and writers. And that by the time we will want to put a stop to certain things it’ll be too late.

His favourite food is Egg and chips. Only enhanced by ham.

He loves going by train.

If he could replace 2 people of the royal family he’d take away Andrew & Camilla and replace them with Joe Lycett & David Attenborough. Or Tom Jones as the Prince of Wales!

If he could play the Doctor or the Master, he’d like to play the Master and play opposite David Tennant as the Doctor.

His biggest fear is being alone. And it’s also what he worries about the most for other people.

Hot or cold? He does like winter and snow. ❄��

Walk us through the before, during and after of the kiss with David Tennant: reading the script he thought “that’s gonna be a big deal”. They didn’t really talk about it and just went for it. Everyone was quite moved by the scene, all the people around them, so they knew it had gone quite well. And now they never talk about it. (He said that last bit with a smile.)

5 OF THE INTERVIEWERS SANG HERE COMES THE SUN FOR HIM AND EVERYONE JOINED IN AT THE END 😍 Michael had tears in his eyes

[mirai-e-jump]

Ohsama Sentai King-Ohger Photo Book: ~King of Kings~ Main Cast Member Interviews Support Cast Special Comments (translations below, LONG POST)

(other pages)

Sakai Taisei (Gira Husty)

-The Director's valuable advice on how to play Gira in a natural way-

I think that we were able to complete filming without any issues due to the support of many people over the past year.

As an actor, I was inspired alot by the many career actors in the King-Ohger cast. In particular, Morioka Yutaka-san, who played Douga, and Masato Yano-san, who played Racules, both of whom I had many opportunities to work with, were very important. However, both of them didn't give me any specific advice on the set. They always had the attitude of, "You're free to do whatever you want to do," and I was grateful for that more than anything.

Filming was done in front of a green screen in the studio, which was a special environment, but since I personally didn't have much experience in filming dramas, I had no objections to it at all. Sometimes we filmed on location, so experiencing the "live scenery" and "atmosphere of the site" was nice, but in our situation, we felt uncomfortable unless we were in front of the green screen (laughs). It had become such a normal thing for us.

As for the performance, at first I couldn't understand the Director's intentions and was just figuring it out in my head, but then Director Kamihoriuchi Kazuya told me, "Feel it with your heart," and that's when it became easier to act. After that, I feel like I was able to take on the role of Gira more naturally throughout those days of filming.

Also, I think we showed "Gira two years later" in the new chapter partly through the visuals and direction, such as his costume and hairstyle, but I also wanted to play the role showing a more relaxed side in my own way.

-The wonderful thing about Gira is that he's always there for others-

What I was most mindful of throughout the year was definitely the relationship with Racules. I wasn't told of any future developments, so I was surprised when I read the scripts for episodes 41 and 42. Even though he's his older brother I played the role with a strong sense of, "Overthrow Racules!" I had heard during filming for episode 20 that he was going to reappear later, but I had no idea he was destined to carry such a cruel burden……That's why I was deeply moved by our joint fight scene in episode 42.

After that, in episode 43, I'll never forget the scene where we hold each other's hands. Compared to Yano-san, I think I'm still inexperienced in some aspects of acting, but I did my best in my own way, so I'd be happy if you could grasp the feelings the two of us have.

From episode 48 to the final episode, many of the cast members who've helped us in the past reappeared, and the motivation on set was even higher than usual. The main Director of the last three episodes was Kamihoriuchi-san, and the six of us who play the roles of the kings have absolute trust in the Director, but he's also someone who's uncompromising in his approach to the play, so I worked hard to "hang in there until the very end."

The final day of filming was the scene in the final episode where the six of us are untransformed. I personally didn't intend to be overly emotional just because it was the final take. However, when the Director said "OK!," the cast and crew involved in the production, including Yano-san, who wasn't supposed to be filming that day, gathered around. I thought, "So many people were watching over us" and became overwhelmed with emotion……I think I probably cried more than anyone else (laughs).

Looking back on all the episodes, I think that Gira was always portrayed as a character who stood by someone's side. He always tries to understand people's feelings, regardless of whether they're a king, retainer, or a citizen, and I thought it was wonderful to see that kind of attitude as I played Gira

As time goes on, please don't forget about Gira!

Watanabe Aoto (Yanma Gast)

-Yanma's coolness is the charm that Director Kamioriuchi possesses-

Currently, when I look back at Yanma from a year ago, I feel alittle embarrassed because he seems so childish (laughs). I've jokingly said to the staff on set things like, "I want to reshoot that scene," but on the other hand, I felt that it was a performance that only I, who had just encountered Yanma, could give. That's just how I feel right now.

As for my role, it was largely created together with Director Kamihoriuchi Kazuya. In the beginning, I read stories about real kings and books by various leaders, and I tried to express them through "moving performances." In response, the Director told me to, "Take a more confident stance," and from that point on, I had the image of, "Even if he doesn't say much, his coolness will be shown through his actions." To be more specific, Yanma has something in common with Director Kamihoriuchi himself. I think that the Director's charm as a person is reflected through Yanma.

What I remember well from early filming was the N'kosopa scene in episode 2. We spent the whole day filming in the cold during the middle of winter with the participation of members of the TTFC (Toei Tokusatsu Fan Club), and it truly felt like a king and his people overcoming their difficulties as one. Episode 2 in particular was the one where I read the script repeatedly after my audition, so I'll never forget the excitement I felt when I saw the finished footage.

Every episode is filled with memories, but the developments that take place two years later starting from episode 27 stirred me up. At first, I thought he was going to be alittle more mature and relaxed, but now that his hair was a blonde pompadour, I decided to play a more active role. In episode 35, when they all go to take back the invaded N'kosopa, I felt Yanma's growth compared to episode 2. The actual successful recapture took place in episode 39. During that time, for the main episodes of Hymeno, Kaguragi, and Rita, Yanma had many funny moments, and as I played him I thought that even though things were tough, he doesn't stay down, which is another cool thing about him.

-The fans are part of the production!-

When he was being manipulated by Hilbil in episode 44, the interaction with Gira had many homages to the past. Usually, there are many opportunities for Yanma to say something preachy, but in this episode it's the opposite, and Yanma catching Gira's fist is also a reverse pattern from episode 17.

Also, defeating Hilbil using the 10 combination King-Ohger for the first time in a long time was a hot development, and in the end, we both said the exact same lines as in episode 2, being, "Lowlifes like you…(-Gira), Should know your place…(-Yanma), On your knees! (-both)."

From episode 48 to the final episode, new assets have been created, and I think that the viewers will enjoy the spectacular visuals until the very end.

In the scene where the "King's Proof" is returned, only my mouth is shown, and the Director told me, "The love you've received is too great, so it's okay if you cry." I intended to act dignified, but those words were like magic, and I was immediately overcome with emotion.

Other hot developments include the reappearance of major characters, and the relationship between the kings and the people they're meant to protect is also noteworthy.

Even after all the battles were over, Yanma still had work to do, and I was able to play the role of Yanma, who's always looking forward until the end.

After working on it for a year, first of all, I'm relieved that filming was completed successfully, and I'd like to take this opportunity to express my feelings of "thank you" to the many people who supported us.

Personally, I believe that King-Ohger was created by everyone, and the fans are also a part of the production. I'd be happy if you could think of us six kings from time to time.

Murakami Erica (Hymeno Ran)

-The key to playing Hymeno is "how to deal with life"-

Hymeno has a selfish side, but if she shows it too forcefully, her position as a king will be in danger. Of course, it's not just being selfish, and the reason was depicted in episode 3, but reading the script and actually doing the performance gave off a different impression, so I explored this through the opinions of the people on set and through interactions with the cast. Also, after learning about the setting in which her parents were murdered in episode 7, I thought that Hymeno's key point was "how to deal with life."

I was acting without knowing what was going to happen next, but it was interesting to see things in a different point of view once all the facts were known, such as the foreshadowing of the anesthetic in episode 8 being revealed in episode 42. It was like reading a serialized manga, and there was a competition among the cast to see who would get the new script first (laughs), and the person who got it first would upload a photo of the script to our group chat.

Personally, my favorite episode was episode 28. I had alot of conversations with Kaku So-san about playing Kaguragi, and I was able to see a side of Kaguragi that I had never seen before, and I think we were able to deepen our understanding not only of our characters, but also of the cast. Other than that, I also enjoyed episode 36. The matchmaking competition was hard to endure because everyone was trying their best to make me laugh, like Yanma's weird face when he was being controlled by Jeramie (laughs). Also, Hymeno, who was being impersonated by Kamejim, casually crossed her legs even though she doesn't usually do that. The uglier the fake becomes, the brighter the real one shines, so I was conscious of the gap between the two while concealing her true identity.

When I got involved with Rita in episode 5, Director Kamihoriuchi Kazuya told me, "I want you to perform the role of Hymeno as if she's aware Rita will be hard to deal with." At first I thought, "Hymeno and Rita are incompatible, huh," but as they got closer and closer through Moffun and the "Wrath of God," I feel that they've become a very special person to Hymeno. That's why when Rita came to Ishabana in episode 30, Rita may have just been fulfilling their duties, but I thought it was cute that they misunderstood that Hymeno had gone out of her way to meet them. To be honest, I was pretty excited to film the tea scene (laughs).

-I was lifted up by Hymeno's inner strength-

The existence of Grodie, the enemy of her parents, was revealed in episode 30 and defeated in episode 47, but before that, I personally thought episode 46 was important. Jeramie decides to use his"King's Proof" to give life to the immortal Grodie, and Hymeno accepts his decision. There's a conversation between the two of them where they said, "It's okay to cry" and, "I'll ruin my makeup." The script was based on the answer I gave to screenwriter Takano Minato-san when he asked me, "What do you want to do?" I suggested that if a little girl was crying and Hymeno came to her, she might say something like, "What a waste of a pretty face" or "Your mascara will be ruined" to keep her positive. When I opened the script, I was surprised to find that she wouldn't be crying, but I was happy because I wanted to show Hymeno's strong will!

In the end, it was an "all star" effort, and I was thrilled that she was reunited with her parents in episode 49. Although the scene took place while both of them were concentrating on providing treatment, they were able to communicate without having to talk, and I felt a sense of closure within Hymeno. In the final episode, it was cool to see everyone stand up against Dagded, there were some unexpected surprises, and we were able to reach a truly wonderful ending.

All 50 episodes are filled with the passion of the cast and staff, and I think that no matter which episode you watch, you won't be disappointed. During all this, I myself was lifted up by Hymeno's inner strength, and I'm so glad that I was able to work with all the cast members until the end. I hope to see you again in the future, such as the FLT, so please continue to support us!

Hirakawa Yuzuki (Rita Kaniska)

-Playing the role of Rita by moving their "mind" with their whole body-

The role of Rita is an "immovable" character, so the performance doesn't focus on movement, and their face is visible only through their left eye and you can't see their facial expressions, so it was difficult in the early days of filming. The solo performances were particularly difficult. In episode 12, there's the trial scene where Jeramie is listening to them, but since only my eye was visible, I was concerned that my blinking or the direction of my gaze might convey nuance that I didn't intend. At that time, Director Kamihoriuchi Kazuya gave me advice of, "If you perform by moving your mind with your whole body, it becomes an expression, so you don't have to be caught up in performing with only your left eye." This gave me confidence and made me think, "Maybe there's more I can do."

When talking about Rita, their relationship with Hymeno is also important. In addition to being king, Rita has the role of Chief International Justice, so there was a part of them that drew a line between themself and others, but after the interaction with Hymeno was depicted towards the end of episode 16, Rita was able to separate their work and private life, and the areas where they could express themself gradually became clearer. I thought that when they had tea together in episode 30, it was another scene that brought them closer together.

Also, Karras and Shiron are like parents to Rita. In episode 16, we learned some of Rita's past, which I thought could be reflected in future performances. After that, everything came together in episode 30. When I read the script and learned of Shiron's death, I was personally shaken, and during filming, I was able to fully feel Rita's feelings while acting. Also, while they were determined to seal Grodie in this episode, Hymeno stopped them from doing so, and it reminded them once again of how valued they are. Episode 30 is an unforgettable episode, not only because of their relationship with Hymeno, but also in the sense that Rita became stronger after preparing to die.

-It was a year of pursuing the role of Rita that I envisioned-

I was very happy to receive lots of feedback on SNS for the Idol episode.

The stage scene was only about two lines long in the script, but the set they created was so beautiful, so I went into filming thinking, "I hope the viewers will enjoy it."

It was the most difficult time for me, learning dances and recording at the same time as filming, but I have the impression that I did my best as "Hirakawa Yuzuki" in this episode, even though I was playing Rita.

Towards the end of episode 45, it was very exciting to see Kaguragi and Rita, who had never had a chance to really interact before, working together. Since we often filmed separately, when we met, Kaku So-san and I would report to each other with, "How did that scene go?"

I was also impressed by the scene in episode 48 where they launch the evacuation plan "Zero." It was really hard even for me to admit that they couldn't defeat Dagded, but I think that's just how much I got into the role.

At the end of the story that spanned a year, six people with very strong personalities come together, and if just one of them were missing, the story could not be completed, so I think it concluded in a way that was truly typical of "Ohsama Sentai."

Looking back, I had wanted to play the role of Rita since the audition stage, and being able to pursue my own vision of Rita for a year was an invaluable and truly precious experience.

Now that filming's over, I feel sad, but I hope that people will look back on the show after it's finished airing, and I hope that it grows into a show that'll continue to be loved forever.

Kaku So (Kaguragi Dybowski)

-Until I did the difficult role of deceiving and tricking people-

In the beginning I was told that the role of Kaguragi was a character that deceives and tricks people, but at the same time, the Producer said, "Please don't make him someone that people dislike," and I thought, "No, that's going to be difficult" (laughs). In a way, Kaguragi has conflicting aspects, but in episode 4, the resolution within me improved, and I began to enjoy playing the role more.

Also, the "Hweh?" response when he's acting silly in episode 8 wasn't specifically written in the script, and when I first tried to just do the facial expression, Director Yamaguchi Kyohei said, "I want it to have alittle more impact," so I also added the voice. It's thanks to the Director that I was able to emphasize his personality.

Then there's the relationship with his younger sister Suzume. Kamura Mami-san, who plays Suzume, had such a convincing performance from the first day that it made me think, "That's Kaguragi's sister," and through her I was able to bring out the comedic side of my performance alot more.

All the episodes are memorable, but if I had to pick one main episode for Kaguragi, it would be episode 37. While I've always played the role that rides the line between good and evil, that episode gave more weight to the fact that he carries a tragic past, and I myself became more fond of Kaguragi. The honest and pure Kaguragi I played in the flashback scenes are literally just me (laughs), so it was easy to do. His voice is usually deep and threatening, but at that time I tried to show his "difference" by using a tone that was closer to my actual self.

It was also interesting to perform the scene where he and Racules, played by Masato Yano-chan, were trying to expose each other's secrets. However, I wasn't sure about their relationship, and one time when I asked Yano-chan, "Do you know when they'll become friends?," he left me hanging with, "No, I don't know" (laughs). I first found out about their backgrounds when I read the script for episode 42. In retrospect, he was mostly absent in episode 36, was he perhaps discussing things with Racules behind the scenes? The line at the end of episode 37, "Let's take the dirtiest road ahead from now on," was also foreshadowing.

As for Kaguragi, he probably believed in Suzume and followed Racules, and I believe that he carried out his own will even though he was prepared to be deceived.

-Even now, Kaguragi's in my heart!-

Towards the end of episode 45, it became a main episode between him and Rita, someone he had little chance to interact with up until then. It was a new experience for me to work with Yuzuyan, and we enjoyed each other's presence. The scenes where they both communicate their feelings were performed separately because I spoke to their partner Morphonia, but even though they weren't in the same space, it was really cool to depict that they shared the same mindset. Kaguragi may be deceiving on the surface, but deep down, he just wants to make people smile, and I was able to portray that side of him.

The final episode completes the story, but there's also some room that allows you to use your imagination, which is what I like about it. If it ended properly, that'd be sad, wouldn't it? During filming, I worked hard until the end, but I'm personally the type of person who likes to joke around and have fun while doing it. I'm glad that we were able to spend time in a cheerful atmosphere until the very final moment.

Even after all filming finishes, I still have many more opportunities to play Kaguragi, including performances at Theater G Rosso and the FLT, and I still feel as if Kaguragi is in my heart.

Having a stance like Kaguragi's may not be easily rewarded, but I think it's filled with what's important for people to live their lives.

Whenever you feel like giving up or are having a hard time, I'd be happy if you could remember Kaguragi and think, "Let's do our best!"

Ikeda Masashi (Jeramie Brasieri)

-Jeramie, who's been alive for 2,000 years, shows his "composure"-

In my situation as Jeramie, I started out as the narrator, so my job began with voice recording. The other five had already started filming, and looking back, it feels nostalgic, as when I first greeted them, I was overwhelmed by their flashy costumes and everyone's aura. I made my first appearance as Jeramie at the end of episode 11, where I was suddenly performing with a mask on.

My real appearance began in the next one, episode 12, and since his character is set to have lived for 2,000 years, I thought I should have a certain amount of freedom in my performance. At the time, I still wasn't used to being on set, but it's not good to get nervous, so I just gave it my best shot. I was really happy that everyone was willing to talk to me during this time. Thanks to them, I was able to open up right away.

In the beginning, I think Jeramie was a character who he himself was hard to read between the lines (laughs), but as the story progressed, his growth was also depicted, which I personally found very rewarding to perform. In particular, I think that episode 26 was a turning point for Jeramie. Just before Desnarak VIII dies, the scene where they exchange the lines, "You'll become king, and make them see, that the Bugnarak are here" and, "You'll be there too……" is one of my favorites in the entire show. Desnarak VIII is family, as they share the same name "Narak," and the, "You'll be there too" was an expression of his feelings that he didn't want him to die, as Desnarak VIII's existence was a major factor in Jeramie's resolution to become king.

-The final episode had a perfect conclusion and everyone was satisfied-

After entering the new chapter, in episode 29, there was a scene in which I play a major role as the mastermind behind everything. It was difficult to find the right balance, but I acted with so much enthusiasm that I was willing to yell at everyone. As Jeramie, I wish for peace more than anyone else, as I want to protect everyone at the expense of myself, so I faced the situation as best as I could, which was both noble and heartbreaking.

Then, in episode 31, everyone fought to clear my (Jeramie's) name. I feel that Jeramie, who has been lonely for such a long time, had finally made true and kind friends. Also, the line "I love you" that he says to his mother (Nephila) in this episode really moved me. In episode 12, for those words he said, "There's no phrase in this world that's more cliche," but I didn't realize he would capture that foreshadowing so effectively.

There's a scene where he fights together with his mother towards the end of episode 49, and I'd like the parents who watch the show to pay attention to the relationship between us as parent and child.

Also, in episode 47, it was really intense when Grodie was given the "King's Proof." For Jeramie, the "King's Proof" is "eternal life," so he'll no longer be immortal if he uses it……The determination to reach that point was no ordinary feat, and it must've been very worrying. That's why the scene where Jeramie talks with Hymeno in front of the setting sun after making up his mind left such an impression on me. Marie was able to convey her thoughts clearly, so I was able to naturally get into the role, and I think the two of us were able to create a performance that worked well together.

The final episode perfectly portrayed Jeramie's role as the storyteller, which had continued from the first episode, and the story comes to a perfect conclusion based on what had happened so far. I was talking to everyone on set, and deep down, we feel we were able to end the show properly.

More than anything, I'm really satisfied that I was able to spend a year with this group. Throughout the year, I'm sure each of us had our own hard and painful times, but seeing everyone's faces on set made me feel at ease. I'm very grateful to the five of you who played the roles of king.

Ohsama Sentai King-Ohger: The Kings Group Discussion Over the past year of filming, the bonds of the cast have gradually deepened. Looking back on filming, we asked them about their "true opinions" that they can only talk about now.

-Fun memories from the past year-

Kaku: The first topic is "fun memories." Does that mean the casual conversations we all had while filming? (laughs). We all talked in the moment and everyone would laugh and go "wahaha" alot.

Hirakawa: On the other hand, filming alone made me feel really lonely. It was natural for me to be with everyone else.

Murakami: It was part of our daily routine to go out and eat with everyone after we finished filming. It was fun~.

Watanabe: Also, the day before the broadcast was part of the fun!

Sakai: It's really exciting to see your own performance on screen. And then there were the reactions after the broadcast.

Hirakawa: We were popular every week on SNS.

Kaku: Each time, the character with the most active role would be trending.

Ikeda: For me, the recording sessions were also fun.

Murakami: I'd see footage for scenes I wasn't in for the first time during the recording, so that was alot of fun too.

-The many true selves that everyone's seen-

Murakami: After spending time with everyone, the first thing that surprised me was that Taisei actually likes to play pranks.

Sakai: Eh? I've never played one once.

Kaku: That's a lie!

Murakami: You did stuff like add wasabi to our kaisendon (laughs).

Hirakawa: It was really spicy! (laughs).

Murakami: Or before our cue, you'd shout, "Whaa!" from behind us.

Sakai: I never did that~

Ikeda: Yes you did~

Hirakawa: He did that to me too (laughs).

Murakami: It was also abit surprising that Aoto, who I thought was cool at first, would also mess around.

Watanabe: Eh? Really?

Hirakawa: It's also surprising that he pretends not to know. Actually, he's "in charge of being cute" (laughs).

Murakami: Yeah, "the person in charge of being cute."

Watanabe: When I first learned about the cast of the kings, I thought I was going to be the "cute one" (laughs).

Hirakawa: That's what we're saying!

Sakai: For Marie, even when we were filming late at night and everyone was tired, she had a fun aura surrounding her.

Kaku: Her jokes were amazing. We listened to these awkward jokes as we continued to perform at other sites.

Murakami: My nickname became "Mood Breaker."

Watanabe: Eh? This is my first time hearing that!

Murakami: Are you a liar?

Watanabe: That's a really straightforward insult! (laughs).

Murakami: Ahahahaha.

Sakai: The usual pattern is that Marie suddenly says something strange and everyone laughs.

Murakami: At first, I thought, "I have to do this properly," but halfway through I gave up (laughs).

Hirakawa: No, you gave up early on.

Murakami: Ehehe (laughs).

Kaku: For Masashi, he tried his best in the beginning to join in, but soon the two of us started speaking nonsense in our dressing room.

Ikeda: Conversations where you turn off your brain.

Kaku: That's it (laughs).

Watanabe: Definitely, when I passed by Masashi's dressing room, I often heard his voice from inside.

Ikeda: I have a loud voice!

Watanabe: Not a single sound came from the dressing room me and Taisei shared (laughs).

Sakai: You two seemed to be having fun.

Murakami: Yuzuyan is the youngest of the members, but she's like an "older sister" in some ways.

Ikeda: Yeah, she has the image of a caring person.

Kaku: Still, you're the youngest in your family, right?

Hirakawa: Yes!

Watanabe: It's fine now, but when we first met, she wouldn't even look me in the eyes (laughs).

Hirakawa: I'm a shy person, but I usually talk alot to hide my shyness. However, I was really nervous at the beginning of King-Oher (bitter smile).

Watanabe: And now, you're a lively person!

Sakai: I'm also from Kyushu, so I felt a sense of familiarity from the beginning. That's why I don't think you had any major changes from beginning to end, right?

Hirakawa: But, at some point, I started speaking with a dialect.

Sakai: Ah, that's right.

Murakami: Yuzuyan gave her all from the beginning.

Hirakawa: That's because Kaku-san, the oldest of our group, affectionately embraced all of us.

Kaku: Yeah! Say more of that!

Ikeda: Because of that, there was an atmosphere on the set where we could talk about anything.

Sakai: He really brought the five of us together.

Kaku: That makes me happy! Thank you (laughs).

Murakami: How cute~

Kaku: No, this is seriously embarrassing.

Hirakawa: (to Watanabe) Aren't you in charge of being cute?

Watanabe: (laughs).

Kaku: Conversely, I was saved by everyone's good character. That's why I wanted to support everyone. I've always felt that way.

-Feelings I want to share with everyone now-

Kaku: If we were to take this opportunity to say a few words to everyone, I'd first start with Masashi. Thanks for always messing around with me!

Watanabe: I hope Masashi will continue to do well with his friendliness.

Sakai: I want to work together again with you even after this job ends!

Hirakawa: I really appreciate the way you always looked out for everyone during filming.

Murakami: When we all go out together, he takes the initiative to invite us. Thank you for creating so many memories.

Ikeda: Eh! I'm so happy! Marie has always been cheerful, and I hope she continues to do her best with her cheerful and beloved character!

Murakami: Yeah! I'll do my best!

Watanabe: I hope you keep that smile on your face.

Sakai: She has the kind of character that I wish I had as a childhood friend or something. You always had a smile on your face and brightened up the set.

Kaku: For her performance, in the Hymeno episode (episode 36), Hymeno, who was being impersonated by Kamejim, was really interesting. I'd like to see a performance like that in a different production.

Hirakawa: Marie has always supported me with her "harmonizing" spirit. On the other hand, from now on, I hope to be able to help her as much as possible.

Murakami: Yuzuyan is the one who has always been there for me. I think that's her strength, and I hope she continues to be there for many people.

Hirakawa: Of course! Thank you.

Kaku: Despite being the youngest, she was the hardest worker in our group. During the idol episode (episode 38), even though she was having a hard time during filming, she simply said, "I have to practice tomorrow and the day after tomorrow, and then the day after the day after tomorrow I have a costume fitting." That's what gave me courage and energy.

Watanabe: She was more aware of her surroundings than anyone else. You helped me there too.

Sakai: That's right. When I was alittle out of the loop, she'd casually come over to me.

Watanabe: I'd say it's okay to think for yourself from now on.

Ikeda: Right, take care of yourself more.

Watanabe: Be selfish.

Hirakawa: Well then, I guess my goal is to be Hymeno (laughs)

Murakami: For Kaku-san, when the time came, he'd show off his "dependable big brother" nature.

Ikeda: He's got a heart as generous as the universe itself.

Hirakawa: I asked Kaku-san for alot of advice during filming, and he always listened to everything. I'm sure I'll be asking him for advice again in the future.

Kaku: Please do, please do!

Watanabe: When I got heated, he'd calmly give me advice from an adult's point of view. I also got alot of advice from him.

Sakai: I'm not the type of person who can talk to others about things, but there were times when Kaku-san sensed that I was at a loss and approached me. That made me really happy.

Kaku: I was alittle worried that you'd all think, "How annoying" (laughs).

Murakami: Aoto seemed like he was laid back, but even when times were tough or difficult, he always made it a point to help liven up the mood.

Ikeda: Usually, Nabe-chan and I notice the same things. We'd both go, "Hmm?"

Watanabe: That's true! (laughs).

Ikeda: That made me happy.

Kaku: Also, he had a super funny and cute character. He made me laugh so much.

Hirakawa: In the beginning, I wasn't the type to talk much, but I was happy to open up to Aoto!

Sakai, Murakami, Kaku & Ikeda: Right?!

Watanabe: No, I think I opened up first.

Hirakawa: We opened up to each other. At first, I thought we'd never get along (laughs).

Watanabe: Eeeh~?

Hirakawa: I kept watching you from different angles, and then you spoke up unexpectedly. I spoke up too.

Ikeda: Such words! (laughs). (*she used alot of onomatopoeia)

Sakai: Aoto and I are the only ones who are the same age.

Ikeda: That's true

Sakai: Especially in the pilot (episodes 1-5), I still wasn't used to things, but I was really inspired by Aoto's good acting.

Watanabe: No, on the contrary, I was focused on Taisei.

Murakami: Taisei had a huge burden on his shoulders as the main character, and it must've been extremely difficult for him, but I thought it was really amazing that he didn't come off that way at all.

Ikeda: Yeah, I definitely respect that.

Hirakawa: You must've had a much harder year than us. Still, you never said "It's tough" or, "I'm tired" at all.

Sakai: No, there were times when it was tough.

Hirakawa: It's amazing that you never showed it.

Kaku: Taisei had alot of trial and error in the beginning, but halfway through, I learned alot from him, including how to switch between emotions and how to act. What'll happen when you play a different role in the future? Right now, I'm very excited about Taisei, and wonder what kind of actor he'll become in the future.

Murakami: After all, he's the "leader."

Ikeda: Thank you for being the leader of King-Ohger!

Sakai: Same here, thank you everyone!

Murakami: Even after this job ends, I want to see you all again.

Watanabe, Hirakawa, Kaku & Ikeda: We'll definitely get together again!

Retainer Cast Special Comments From the cast members who fulfilled their roles as competent followers, supporting the kings of each country, their comments have arrived.

Morioka Yutaka (Douga) Profile: A strong retainer who served as part of the entourage for Racules. After that, he went job hunting in the other countries but wasn't hired, so he became the retainer for the next king, Gira, and protected the country.

"Please tell us what you respect about Douga."

Morioka: He's someone who values etiquette, does his absolute best in everything he does, and lives his life honestly through his own convictions. He has a strong will that allows him to sincerely offer advice to his king, but I also like the fact that there's a part of him that's somewhat out of the ordinary and we get a glimpse into his cute side.

"What are your impressions of Gira and Racules (including Sakai Taisei and Masato Yano), and were there any memorable moments during filming?"

Morioka: I think that both of them have a perfect link between their own personalities and those of the roles they played. Sakai Husty-sama is kind to everyone, and his natural side that's visible in his hard work is endearing, which makes me smile when I see him on set. Yano Husty-sama built his performance with great delicacy and precision. He truly is Racules. Their appearance have a certain "aura" that allows me to be their retainer without forcing myself to be aware of it.

"Give a message to the character you played!"

Morioka: Douga, you must be exhausted from the many things you had to do to support your country and family…..Sometimes, it's good to spend time relaxing and not think about anything.

"What was your most memorable moment in King-Ohger?"

Morioka: It'd be episode 21, the episode where Douga's job hunting. I have fond memories of the staff working together to support me to the best of their ability, even in the silliest scenes, including the wonderfully strange costumes and props as I traveled around each country. Then, after the short but intense performances with the other retainers of each country, there was the serious last scene with Gira-san. It was great and I'm truly grateful.

"A message to all the retainer members of the other countries!"

Morioka: Shiokara, don't address the kings with "you." Sebastian, despite your appearance, I'm in awe of your physical ability. Kuroda, I'd like to learn from you your excellent fighting skills. Morphonia, you should try to be alittle more motivated everyday. (*form of "you" meaning you're inferior to the speaker)

"Please give a message to the fans of King-Ohger."

Morioka: This was my first time participating in the Super Sentai series, and I was surprised and moved by the amount of energy and love shown by all the tokusatsu fans, and I was able to make it through this because of everyone's support. I can only express my gratitude. Your words on SNS and other sites have been well received. Please continue to love King-Ohger!

Chiwata Yuhei (Shiokara) Profile: When they first met, he saw Yanma as a yankii with a bossy attitude, but admired him after learning of his manly spirit. After that, as Yanma became king of N'kosopa, he became his retainer.

"Please tell us what you respect about Shiokara."

Chiwata: There's alot, but the most important would be his charm. You could call it junior colleague energy, but I think he's good at building relationships and closing the distance with people. I was never good at such things, but as I got older, I began to realize the importance of it and started to practice, and little by little, my weakness turned into my strength. However, I'm still not as good as Shiokara-kun, so I'd like to use him as a reference (laughs).

"What are your impressions of Yanma (including Watanabe Aoto), and were there any memorable moments during filming?"

Chiwata: I feel that Yanma is a character whose emotional growth was depicted throughout all the episodes. I think it's cool that he's able to calmly, sometimes violently, confront everything that happens to him, and then use what he learns from it to take the next steps in his life. I think this is also due to Aoto's acting ability, so Yanma and Aoto are one and the same! The most memorable moment was in episode 10. I still vividly remember thinking that the way he created the atmosphere of the scene was wonderful, just like Aoto.

"Give a message to the character you played!"

Chiwata: Thank you so much for your hard work! Keep up with the most coolest Yanma-kun and follow him wherever he goes!

"What was your most memorable moment in King-Ohger?"

Chiwata: It's episode 35. I was very happy that Shiokara's character, which had been built up, was given depth, and that his past of being very different was depicted. It was a really hot development, and as an actor, there were many scenes that required alot of passion, so even preparing for it was fun. Until the actual performance, I would read the script everyday and think, "How would Aoto react if I did this?" Normally, I don't discuss the scripts with Aoto, so imagining it was part of the fun. What's more, we wouldn't know the title of an episode until the week before it aired, so when I saw the title, "Don't Cry Slack Jawed Tanuki," I was moved. The last bit of the episode was a perfect fit. Furthermore, I was overwhelmed with emotion when I heard that it was (screenwriter) Takano Minato-san who came up with the idea. I was also very happy that this episode won a special award at the "Toei Tokusatsu Fan Awards 2023."

"A message to all the retainer members of the other countries!"

Chiwata: Originally, I don't think the Super Sentai series featured so many sub characters. This is because there are already six members making up the main cast. However, I think the reason why the retainers have become so beloved is due to the fact that we all played appealing characters, and continued to support the main cast, who played the kings, in different ways in each country. This resulted in the popularity of "retainers". And for that, I'm grateful. Thank you so much!

"Please give a message to the fans of King-Ohger."

Chiwata: First off, thank you so much for sticking with us for the past year. I still think about how fortunate I am to have been involved in this production in the long history of the Super Sentai series. It was a great experience for me to see everyone's excitement online every week, and to then go to the set feeling like I was carrying everyone's voice with me as I performed. In this show, each character stands out, and I've seen the characters moving freely in everyone's minds through fanart, and I feel that this was a production that has been truly loved by everyone. There were alot of things that made me feel like, "Ah! I see, I definitely think Shiokara would say that! I think I'll do it! I want to play Shiokara like this!," and they were alot of fun to see. I also felt a real love for the people who participated as extras and prepared costumes for the different countries. Thank you so much. The Super Sentai series is revised every year, but I hope that King-Ohger will remain in your hearts forever. And, for those of you who are children now, I'd like you to go back and watch it again when you grow up. I'm sure you'll see it differently. Until then, let's meet again soon!

Yoshimitsu Hiroto (Sebastian) Profile: His real name is Romane Dearborn (aged 25). Under orders from Hymeno, he was given a "butler looking" elderly appearance through special makeup, and changed his name to "Sebastian" when he became Hymeno's retainer.

"Please tell us what you respect about Sebastian."

Yoshimitsu: I think that Sebastian's willingness to fulfill any of Hymeno-sama's selfish requests is worthy of respect. Sebastian's life was saved by Hymeno-sama, so he must be absolutely obedient to her orders. Well~ I think Sebastian understands the kindness and compassion that goes beyond Hymeno-sama's selfishness.

"What are your impressions of Hymeno (including Murakami Erica), and were there any memorable moments during filming?"

Yoshimitsu: I think that Murakami Erica-san is an impeccable young lady. There are no complaints when it comes to her appearance. She's bright and has a great personality! In addition, she's positive. Even when she's depressed because the performance isn't going as well as she'd like, she doesn't let it get her down, saying, "I've gained this experience, so I can use it in the next performance." In the first place, I don't have time to hold back (laughs). She had a hard time sitting down on set. When I asked her to "sit down," she replied, "Because all the extras are standing, I can't sit," which shows just how considerate she is. She's a really good kid!!

"Give a message to the character you played!"

Yoshimitsu: When playing Sebastian, my hair is slicked back, I wear glasses, and I have a mustache. His appearance is balanced by the fact that he wears a tailcoat, but while in casual clothes, with his "slicked back hair, glasses, and mustache," wouldn't he stand out? On the train ride home from the set, there wouldn't be that many people who'd sit next to me, right? (laughs). Well, that's because I did ride the train looking like that.

"What was your most memorable moment in King-Ohger?"

Yoshimitsu: Was it episode 25 with the 20 person combination? If I'm remembering right, I rode in God Scopion. It was a fresh new experience for me, both the cockpit and the controls. Also, episode 36, where Romane Dearborn appears, personally left a deep impression on me. It was Sebastian with his special makeup removed. We find out how the super handsome Romane Dearborn ended up in the special makeup, and why he serves Hymeno-sama as a butler who changed his name to "Sebastian"……It's my favorite episodes because it depicts the bond between Hymeno-sama and Sebastian.

"A message to all the retainer members of the other countries!"

Yoshimitsu: To all the retainers, thank you so much for getting along with me. Douga-san and Boshimar-san are relatively closer in age with me, so when filming ended in the evening, we used to go out and drink alot. Morphonia-chan was my partner who liked to talk with me alot about old man stuff. I also talked to Shiokara-kun and Kuroda-kun about various things. From now on, please continue to support Sebastian!

"Please give a message to the fans of King-Ohger."

Yoshimitsu: Thank you very much for your support of King-Ohger over the past year. No matter how interesting a show is, it's not complete unless everyone watches it. This time, King-Ohger has been seen by so many people, and I think everyone involved in this production feels happy. If it remains in your heart and you remember it someday, King-Ohger will live on forever!! Thank you so much.

Hasegawa Kasumi (Morphonia) Profile: She's Rita's retainer and candidate to ascend to the throne as Gokkan's king. While she has a lazy personality, she's always concerned about Rita and never gives up on her work despite complaining.

"Please tell us what you respect about Morphonia."

Hasegawa: Even though she complained about it, no matter how difficult the environment or situation was, she was able to do her job. And, she never gave up on communicating with Rita. If it were me, I would've given up halfway (laughs). I also respect her quick thinking and ability to look ahead. She's a surprisingly capable kid (laughs).

"What are your impressions of Rita (including Hirakawa Yuzuki), and were there any memorable moments during filming?"

Hasegawa: I think Rita was and still is an interesting person. It's great that we're able to see them in many different situations, with the self they show on the outside and the real them. They're pure in a good way. When I first met Yuzuchin, I thought, "Waaah! It's Rita!! Rita's appeared!!" (laughs). When you talk to her, she's even friendlier, kinder, and more dependable than Rita. My partner. Also, I guess our most memorable moment was……the kabedon. I couldn't stop laughing (laughs).

"Give a message to the character you played!"

Hasegawa: When Chikyu is at peace, please relax and enjoy eating oranges under a kotatsu. Make sure to apply for paid vacations and eat lots of delicious food. Also, please continue to support Rita.

"What was your most memorable moment in King-Ohger?"

Hasegawa: It's episodes 10, 25, 38, and 45. I was impressed by the gradual deepening of her relationship with Rita. While reading the scripts, I felt that the way Rita and Morphonia relationship grew closer was very endearing. I remember that even when I was actually performing, there was a warm feeling within me. And the more we filmed these scenes, the more I came to love Rita.

"A message to all the retainer members of the other countries!"

Hasegawa: Douga-san, We look forward to welcoming your career change at Gokkan any time. Boshimar-san, I've had almost no interactions with the real Boshimar-san, so let's meet in Hakabaka if you get a chance. When the opportunity arises of course. Shiokara, I've been curious about this for awhile now, but what's up with your curly bang? Sebastian, you've been a great help to my Rita. Thanks for your continued support. Kuroda-san, next time, please treat me to some delicious food. Gerojim, you're alittle bigger than the others, so please consider your range when moving. That tail will hit you.

"Please give a message to the fans of King-Ohger."

Hasegawa: Thank you for supporting King-Ohger up to this point! Even though there were many strong "personalities" among the kings, they were able to reach the same goal in the end. Through this production, I also learned the strength of valuing one's own individuality and respecting the individuality of others. I hope that King-Ohger, which was created by many people including myself, will remain in everyone's memories. And with that, see you later!!

Kanzaki Hajime (Kuroda's Actor) Profile: A male kuroko who serves as the retainer to Toufu's king, Kaguragi. Although his face isn't shown, his movements are gorgeous and he's got a very nice voice.

"Please tell us what you respect about Kuroda."

Kanzaki: It's possible that he's known Kaguragi for a long time, but since becoming his retainer, he's kept the "king and retainer" relationship, and has been thinking and acting in accordance to his position as a kuroko. He's sometimes missing, but he has a cute side. And, he has a nice voice (thanks to Toriumi Kosuke-san!).

"What are your impressions of Kaguragi (including Kaku So), and were there any memorable moments during filming?"

Kanzaki: He's big! Of course, he's also tall, but his muscle mass and costume makes him look even bigger. In his spare time, he does muscle training with Masato Yano-san and others, and he'll work on his shoulders using a folding chair, so he's definitely stoic! Other than that, when the Director gave me the "OK" for a take in the film where I use a trampoline as Kuroda, he was happy and said, "You did it!" He's a magnificent man, not only with his body but also with his kind heart, it's as if he's Toufu's mother nature!

"Give a message to the character you played!"

Kanzaki: I read somewhere that originally there was no role for "Kuroda," but I started speaking lines along the way, and I'm grateful for this blessed year. Once the matter with the Uchu King has been settled, please take a good rest.

"What was your most memorable moment in King-Ohger?"

Kanzaki: It's episode 9, where I spoke as Kuroda for the first time. It was also fun to mess around with the other retainers! As for Toufu, it would be episode 37. It was like a Taiga Drama that condensed Kaguragi's past, which had been told little by little in the main story and the film into this one episode, and I was relieved that abit of Kuroda's past was also revealed.

"A message to all the retainer members of the other countries!"

Kanzaki: Boshimar-sama (Fukuzawa Jubun), I have fond memories of being mistaken for (Masato) Tsutamune-san when I first met him (laughs). He has a strong passion for acting, and I learned alot from him. I got goosebumps when I played the role of a soldier against him! Douga-sama (Morioka Yutaka), It was great that you got to play the role of a handsome old man with a family. On the other hand, when you were being interviewed in various countries, you were really funny and your actions were cool! Your style is good! Shiokara-sama (Chiwata Yuhei), He was always thinking stoically and calmly about how to make the viewers happy, which was a great inspiration! His style is good! Sebastian (Yoshimitsu Hiroto): Thank you so much for talking to me in your spare time and for thinking about a bunch of ideas for the flow of the performance on set! It's a pity that you couldn't do a backflip……If the opportunity arises, let's film it! Morphonia-sama (Hasegawa Kasumi), She had a "floaty" vibe, but she knew what was expected of her and was very stoic on the inside. It was wonderful to see her naturally embody what a senior colleague once told me, "Create fans among the staff." It's a pity that she couldn't do a back handspring……please do it if the opportunity arises! Gerojim-sama (Saitou Kenya, Suit Actor), With Gerojim's arrival, the retainer team became even more lively. The delicate acting that linked Seki Tomokazu-san's voice with his large body was wonderful! It's a pity that you couldn't perform a reverse somersault……If the opportunity arises… (laughs).

"Please give a message to the fans of King-Ohger."

Kanzaki: Everyone, thank you so much for supporting King-Ohger. It was a very meaningful year for me, as I was able to see the scenes in a different way than usual in the Action Club, I was able to appear on TikTok while rubbing shoulders with talented performers, and I was able to become part of the merchandise. Thank you so much for your letters and presents as well! I'll study so that I won't have any trouble when Kuroda appears again, thank you for your continued support!

Seki Tomokazu (Gerojim's VA) Profile: He's a Kaijim equipped with mayfly BNA and can mimic the appearance of humans by applying light refraction. He's currently working with Jeramie, who has become the king of the Bugnarak.

"Please tell us what you respect about Gerojim."

Seki: Ultimately, I think it's his unwavering faith. Even when he's lost, troubled, or frustrated, in the end, he tries to follow through with his beliefs. I respect his heart and attitude, which is like a blue flame, quiet but never extinguished.

"What are your impressions of Jeramie, and during recording, were there any episodes with memorable moments?"

Seki: First of all, I'm disappointed that I didn't get to work with Ikeda Masashi-san, who played Jeramie, even once during recording. When I saw Jeramie's performance during the broadcasts, I felt that his soft demeanor, intelligence, and his somewhat lonely appearance were all wonderful. I'd like to directly talk with him in person someday!

"Give a message to the character you played!"

Seki: I'm so glad you found a nice place to belong. I hope you'll feel safe and secure at Jeramie's side for all eternity.

"What was your most memorable moment in King-Ohger?"

Seki: That we were all able to ride the Shugods with the kings! I've ridden in Robo's as an enemy in previous productions, but I think the opportunity to ride a Robo in the Super Sentai series is very valuable! Even though it was just my voice, it was great to feel like I was in the fight with them!

"Please give a message to the fans of King-Ohger."

Seki: This year has flown by! I'm sure that everyone else feels the same way. However, I believe that the story will continue! Please continue to support King-Ohger, and let's see where we end up, together!

[hawkinsmafia]

day 01: firsts

featuring Eugene, Jeff & Gareth

summary: Eugene gets fan mail! from a girl!

rating: general

wc: 824

cw: one use of the f-slur, unsanitary postal practices

an: written for the first day of @corrodedcoffinfest! I’ve been so excited for this event, it’s my first time ever participating in one of these!

“Mail call!”

Jeff turned around to gawk as Gareth walked through the door of their dressing room. “Mail call?”

“What, am I speaking Swahili? Mail call, motherfucker.” He sifted through the sheaf of envelopes and loose papers in his hand, pulling out a few addressed to Jeff and passing them over.

Eugene watched as Gareth plucked out a couple more pieces, taking them when he handed them over. “How’d we get mail here?”

“Security guard said girls were coming by all day and begging anyone they met to deliver a letter to us for them.” Gareth deposited a thick stack on Eddie’s makeup case before taking the rest to his dressing table and beginning the task of opening them. Eddie always got more fan mail than the other three combined. Jeff said it was because of his slutty waist and snake hips, and Gareth grumbled that if the audience could see his bubble butt from behind the drum kit, his mail stack would rival Eddie’s.

Eugene’s stack was always the smallest, if he got anything at all. They all tried to make light of it, joking that bassists never have fans. But Eugene was used to being overlooked anyway. It had served him well in high school, keeping him out of the line of fire when the assholes were looking for someone to torment.

Of course it also meant that no one had ever taken an interest in him either and, of the four of them, he was the only one to walk the graduation stage still a virgin. But whatever.

(And he still was. But whatever.)

He tore open the first envelope and started reading. It was from a guy—it was always from a guy—who also played bass—they always also played bass—and really liked the freestyle bass line Eugene had improvised at their show in Marietta during the song Bloody Body Bag, and he knew band life was crazy hectic but if Eugene had any free time after the show tonight, and was interested, maybe they could meet up for a beer and to talk shop. It made him smile, and he made a mental note to check the stage door after the show for this ‘Darren’ guy wearing a Zeppelin shirt if he had time.

“Augh, fucking Christ!” Gareth suddenly cried, and Eugene looked up to find him holding a pair of panties on the end of one of his drumsticks, looking at it with disgust.

“Another pair for the panty pile?” Jeff asked, laughing. “Are they used?”

“They’re sure as fuck not clean! Ugh!” Gareth flung them toward Eddie’s things. “Tell Ed they fell out of one of his letters instead.”

“Man, why don’t you just come out and say you’ve got a boyfriend?”

Gareth gave Jeff a withering look. “Yeah, sure, I’ll tell Rolling Stone I take dick when Sebastian Bach makes a public apology for wearing that ‘AIDS kills fags dead’ shirt onstage.”

“I’m just saying, it didn’t even slow Judas Priest down.”

“Yeah, well, we’re not Judas Priest…”

They both went back to reading their fan mail, so Eugene did too. Tucking Darren’s letter into his pocket, he lifted the unglued flap on the second letter and slipped the paper out. It was a sheet of lined notebook paper, complete with the ragged remains of spiral-bound edging down the left side. And it was covered in neat, round cursive written in purple gel pen.

Dear Eugene,

I’ve been C.C.’s biggest fan for two years, and even got to follow you guys for part of the Midwest Metal tour last spring. I’ve always had a thing for bassists and you’re my most favorite ever! I read your interview with B-Side, and I had to tear it out and keep it in my purse. I was really fat growing up too, and your words in that interview bring me a lot of peace. I pull it out and read them again any time I have to relive those high school memories of being The Fat Girl, and it always makes me feel better.

I really like that black leather jacket with the red stripes on the sleeves that you wear sometimes. If you have it with you now, could you wear it tonight, for me? Pretty please?

Break a leg tonight! (But not my heart!)

~ P.

There was a heart drawn at the bottom of the page, and a little doodle of a hand holding up devil horns. For some reason, Eugene couldn’t stop smiling at them.

“Hey, Earth to Genie!” Jeff called too loudly. Eugene’s head shot up, inexplicably feeling guilty, like he’d been caught doing something he shouldn’t. “Jesus, finally. What the hell’s got you grinning like a lunatic over there?”

“Oh, uh… I got a letter. From a girl.”

Gareth snorted. “What, is it your first one or something?”

“Yeah. Hey, can you grab my leather jacket off the rack? The one with the red stripes.”

(Btw, Sebastian Bach did apologize for that fucking shirt in 2003, and has raised money for and made donations to organizations dedicated to fighting HIV/AIDS. We stan character growth and learning to be better in this house.)

[marimayscarlett]

It’s cold outside. Our heating is still off, I am desperately trying to get warm.

Do you happen to have some Richard pictures/stories that might warm my insides?

Thank you for your service, m’am🖤

Hi 👋

First of all, I truly hope that your heating will soon be working! Sending warmth and hugs your way 🤲🏼

Now, regarding some stories - not sure if these will do the trick, but I always feel warm/smile/sigh and look into the distance dreamily when I think about the following (sadly, I can't find sources for every story here - so some might just be cute "urban legends", but I just choose the believe them ☝😌):

A story of a fan about meeting Richard after a concert: "The hug I got was bone crushing. I was right in front of him. Cried my way through Frühling [...]. He checked on me and asked me if I was ok. Said i was fine and even the amount of times I'd seen them play, i got so caught up in the emotion. Richard told me they were the most moving moments for him at least and pulled me into a huge hug that if i think about it, i can still feel. Sounds weird but when you get a hug like that you dont forget it." (X)

It's incredibly nice to see how much he seems to care about his kids. Of course, that's the job of a dad, and yet it's not always the case. This situation warms my heart and makes it aching for him at the same time: “When my daughter, Khira, was 3 years old, she became very ill. There was nothing to worry about, a typical advanced tonsillitis. She was admitted to hospital. As always there were no seats in the wards I faced a choice: either pay for the ward or stay in the corridor. Only very wealthy people could afford the paid hospital ward. I was at that point that still could not afford it. We needed expensive medication, and I did not earn much. And she was put in the hallway. I slept with her in the hallway at night and her mother at daytime. And so the weeks passed until a free place appeared in the ward." (X)

Richard once mentioned (I think it was one of the festival interviews in 2017, yet I can't find the source anymore, so I might be wrong), that he was present during the birth of both of his daughters, and that the birth of a child is one of, if not the most, impressive things he has experienced in life. He seemed truly positively enthusiastic and sincere in that moment, which I found very beautiful, since not every man/father thinks like this.

Just this moment from this interview:

I find it rather endearing that he seems to love fantasy and would have liked to play a role in "Game of Thrones" or "Westworld", to let certain characters in him come to life. Richard seems to find enjoyment in movie worlds like these and I love that he speaks so openly about it 🥰 (X)

A long time ago, I read about an anecdote of the time when he lived with Till in the early 90's - they had little to no money, let alone food, so they apparently stole all the necessary ingredients, so Richard could make donuts for Till, who has a major sweet tooth. No idea if this is true, but it's really sweet.

In this interview, Richard expressed that he would drop everything to play a benefit for abused children.

He once gifted his guitar to the Hard Rock café in Berlin and signed it with "Rammstein!! RZK YeaH" which is kind of cringy, yet very cute?? (X)

Some pictures which just warm my heart - his comfy travel outfit, product free hair, him being soft and smiling, meeting a fan this year and being seemingly quite open, or just downright adorable on stage...

Weird assortment, I know and I'm sorry, but maybe it helps a bit 🤍

[atreeinthemoonlight]

I think GRRM did an excellent job maintaining ambiguity around Lyanna’s character and other pre-Rebellion figures like Rhaegar and Elia. Even in his interviews, he’s very tight-lipped about that period. Yet, we constantly see Rhaelya shippers create illusions as facts just to feel better about their ship.

Although I have neutral feelings about Lyanna herself but can't stand her delusional fans, I don’t believe Martin intended for her to be an ambitious or intelligent character, especially considering her reckless behavior at Harrenhal during the largest gathering in Westerosi history. It seems to me Lyanna grew up in a very protected environment with her brothers and father, without a strong female presence due to her mother’s early death.

Of course, as a noblewoman, Lyanna would’ve known how to read and write—she had those privileges. But I doubt she was the type who spent her free time studying or reading like other noble ladies. And since she was from the North and followed the old gods, she didn’t have a Septa supervising her like Catelyn and Lysa, who also lost their mother.

It also seems like Lyanna’s father wasn’t interested in raising her to be a proper noble lady fit for southern marriage alliances. He didn’t even send her to be fostered in another noble household, where she could’ve been supervised by a noblewoman. That might explain the lack of female influence in her life.

I don’t think Lyanna was ambitious—she comes across more like a typical rebellious teenager, the kind who disobeys their parents without thinking about the consequences. If she had been ambitious, we’d likely have seen some textual hints—like conflict between Aerys and Rhaegar, or tensions with the Faith over an annulment. But there’s nothing. Rhaegar already had two kids, including a male heir, so there was no excuse for an annulment.

Even if polygamy were the angle, why would the Faith support pathetic Rhaegar, during the weakest period of the Targaryen reign, when they resisted Maegor while Balerion was flying over their heads? And even if Lyanna and Rhaegar married in front of the old gods, where was the approval of her father, her brother, or literally anyone who knew her?

To me, Lyanna doesn’t show the kind of intelligence her fans insist she has. Take Harrenhal and the mysterious knight, for example—whatever the purpose of that move was, it doesn’t seem like something a thoughtful or responsible person would do.

As for Martin staying so tight-lipped,I actually think it fits right in with how he loves to reflect real-world dynamics in his work. In real life, when a woman has a child, and there’s no man visibly by her side, people immediately want to know : “Who’s the father?” They obsess over it, dig like detectives, as if the answer is something they’re owed.

In the books, I think Lyanna was deeply lonely. The mother was gone, and the father held tight to Northern pride. A Stark woman didn’t have to be a Southern lady—she could ride, she could shoot—but when it came to wearing a sword, that was the one thing he never gave his blessing on.Maybe wielding a sword would strip her of femininity—and Rickard still believed that a woman was a woman, even a Stark woman. In the end, to him,that line wasn’t meant to be crossed,a daughter was still meant to be a daughter.And Brandon,he was busy leaving a trail of broken hearts, Ned was too withdrawn, and Benjen was like one of those middle school boys who’d giggle behind his hand when a girl cried at a movie or a show. What a family.I just wondered,if—just if—Lyanna have wished for a different kind of brother? Or maybe… a sister she could actually confide in?

And I laughed when I saw your line about her probably not reading much—because honestly, I’ve thought the same thing.She most likely focused only on the action—not the consequences,clearly had no idea about Aegon IV, Maegor’s reign, Duncan’s broken betrothal that caused Baratheon rebellion. But her conversation with Ned doesn’t show a girl fighting desperately against her fate—instead, there’s this calm, almost eerily mature foresight and quiet sorrow, like she sees where everything is headed and knows she can’t stop it by her sword.

As for that whole “legitimized annulment” plot the writers threw in—yeah, it immediately made me think of Maegor too.Maegor rode Balerion the Black Dread and still couldn’t get the Faith to approve his divorces from Ceryse Hightower. But somehow Rhaegar, crown prince or not, is out here divorcing a Dornish princess with no war, no riot, no scandal, and the High Septon just… signs off on it.Wasn’t Rickard Stark trying to strengthen the North’s political influence by aligning with the South? And then his daughter went and found herself a dragon prince for a husband. Political alliance achieved—just not the way he planned.Sure.That totally tracks.

[itzsyds]

hey would you maybe do one where reader and riccardo calafiori have a son who idolises his dad and wants to be exactly like him and play for Arsenal just like his dad so after the game riccardo takes his son and reader on the pitch to teach his son how to shoot in goal and his son is taking shots against him While read a stand there and watches and has never felt so much love seeing the love of her life play football with their little boy

also maybe a cute little fluff bit at the end between reader and riccardo

thank you xx

Riccardo Calafiori x Reader

The Next Calafiori⚽️

—

Yay a Richy request! I was super happy to write this one for you anon. He is also gonna be back for the first leg against PSG🤩 Always happy to write for any of the other Arsenal lads too. Also I am happy to consider writing for anyone else (footballer) if I have the motivation & can see the vision with my writing style🤩

—

—

Fluff- After a big win at the Emirates, Richy shares a quiet, magical moment on the pitch with his wife and their young son, who dreams of following in his dad’s footsteps and playing for the Arsenal❤️🤍⚡️

—

The stadium was buzzing with chants and cheers, red and white flags waving in every direction, but your eyes were fixed only on one man and one man only.

Riccardo Calafiori. Your husband, Arsenal’s number 33, who was currently out on the pitch in his element. Confident. Composed. Fierce. And still managing to glance your way during every corner kick like you were his lucky charm.

Beside you in the box seats, your five-year-old son was practically bouncing out of his seat.

“There’s Papa! He’s right there, Mama! Look!” he shouted for the hundredth time, tugging at your sleeve with wide, sparkling eyes. “He’s gonna score, I know it!”

You smiled, brushing a hand through his soft curls. “Of course he will, baby. He’s Papa. He always does.”

And just like that, as if he heard the cue himself, Riccardo found the ball on the edge of the box, dribbled it past a defender with his signature grace, and curled it straight into the top corner.

The crowd erupted. You barely had a second to react before your son was screaming with joy, jumping up and down. “HE DID IT! HE REALLY DID IT!”

Riccardo turned, arms wide, beaming toward the stands. But instead of the usual fist-pumping celebration, he pointed straight at your little boy and blew him a kiss.

You could’ve cried right then.

—

After the final whistle and the post-match interviews, the stadium had begun to empty out, but Riccardo was already jogging toward the tunnel, pulling off his shirt and grinning like he hadn’t just played ninety minutes of top-flight football.

“Alright,” he said, scooping up your son with ease. “Who’s ready for some after-hours training?”

“Me! Me!” your son squealed, already trying to wriggle out of his dad’s arms so he could run out onto the pitch.

You followed them down through the tunnel and onto the sacred ground, the stadium quiet now, save for a few crew members packing up equipment.

The stadium lights stayed on, casting a soft glow over the grass, and it suddenly felt like the world had narrowed down to just the three of you.

Riccardo set the ball down in front of the goal and knelt beside your son. “Okay, so remember—plant your left foot, keep your eye on the ball, and shoot with your laces.”

“Like this?” your son asked, mimicking the move with exaggerated seriousness.

“Exactly like that,” Riccardo said, ruffling his hair. “Alright, give it a go. Try to score on Papa.”

You stood back a little, arms crossed, a soft smile tugging at your lips as you watched the two people who meant the most to you in the whole world.

Your son charged the ball and kicked it as hard as his little legs would allow. It bobbled and rolled, nowhere near fast or straight, but Riccardo dived like it was the final of the Champions League and let it sneak past him.

“GOOOOOAL!” he cried, falling dramatically onto the grass.

Your son laughed so hard he nearly fell over too, running in a little circle with his arms stretched out like he’d just won the World Cup. “I did it! I scored!”

“You’re a natural!” Riccardo said, catching him and swinging him up in the air before settling him back on the ground. “Alright, again!”

They did this over and over— your son shooting, with Riccardo dramatically trying and “failing” to save each one. And you just stood there, heart so full it hurt a little.

At one point, your little boy turned and yelled, “Mama! Did you see that one? That was my best one!”

“I saw, baby! That was amazing!” you called back, clapping for him.

—

After about twenty minutes and a lot of giggles, your son finally plopped down on the grass, exhausted but glowing.

Riccardo jogged over to you, a little out of breath but smiling that smile that still made your stomach flip.

“He’s gonna be better than me someday,” he said, slipping an arm around your waist and pulling you close.

“Better-looking too,” you teased, leaning your head against his shoulder.

Riccardo groaned playfully. “Wow. Betrayed by my own wife.”

You grinned, wrapping your arms around him. “You know,” you murmured, “seeing you with him like that… I think I fell in love with you all over again.”

He turned to you, eyes soft and honest. “I think I do that every day. Especially when I see you with him. This life… it’s better than anything I ever imagined.”

You stood there like that for a while, just holding each other while your son chased a stray ball around the grass in the distance. It wasn’t a fancy vacation or a glamorous date night. But it was everything.

Love in its simplest, most perfect form.

Eventually, Riccardo turned and kissed your forehead, then your cheek, then your lips, slowly and sweetly. “Let’s go home,” he whispered.

You nodded, fingers intertwined with his. “Yeah. Let’s take our future Arsenal star home.”

—

Thanks so much for the request anon! Saw it this morning & just had to write it. I hope what I have written did the request justice🫵❤️‍🩹

If anyone else wants anything written. Please do not hesitate to ask as it’s the Easter weekend🐣 & lately I’ve been on a roll with my writing😭🩷

This reminded me of Declan & baby Jude end of last szn where he was teaching him to score. I was at that game & it was super cute to see🥹 x

[pankowcrumbs]

Home Birth X Will Poulter (Requested)

MasterList

Will Poulter Masterlist

I don’t think I’ll ever forget the look on Will’s face when I first said the words.

“I want a home birth.”

We were sitting on the sofa one quiet Sunday afternoon, my swollen ankles resting in his lap while he rubbed circles into my feet. His eyes widened slightly, and I could feel the tension ripple through his hands before he even spoke.

“A home birth?” he echoed slowly, cautiously.

I nodded, trying to keep my voice steady, knowing full well how it would sound to someone as practical and protective as my husband. “Yeah. I’ve been reading about it, and… I don’t know, Will. Hospitals stress me out. This feels right. I want to be in our space. I want it to feel safe. Familiar.”

He didn’t respond straight away. Just kept working his thumbs into my arches, like he was trying to press the anxiety out of his own body.

Eventually, he spoke.

“If that’s what you want,” he said gently, “we’ll make sure it’s safe. Midwives, prep, everything. I just… I need to wrap my head around it, yeah?”

That was Will, through and through never dismissive, never controlling. Just endlessly supportive, even when it scared him.

Over the next few weeks, we did it all together. Interviews with midwives, breathing courses, ordering towels and waterproof sheets, practising where the birthing pool would go in the living room. And I could see him warming to the idea not because it suddenly seemed less risky, but because he saw how much it meant to me.

And when the day came, he was ready.

It started at dawn.

A slow, dull ache in my back that pulled me out of sleep and had me shifting in bed, uncomfortable and slightly annoyed that, once again, this baby was toying with me.

Will stirred beside me.

“You alright?” he murmured, still half-asleep, his hand reaching instinctively for my bump.

“I think… I think something’s starting.”

He was instantly awake, sitting up, brushing the hair from my face. “You sure?”

I nodded slowly, breathing through a sharper pang. “I think it’s happening.”

Within the hour, the midwife had arrived, quiet and calm, setting up like this was just another day which, to her, I suppose it was. But to us… it was everything.

Will was beside me the entire time.

Every contraction, every breath, every shift in position he was there.

When the pain grew stronger, his voice was in my ear, soft and grounding. “You’ve got this, love. You’re doing incredible.”

When I gripped his hand so tight my knuckles went white, he didn’t flinch. Just squeezed back and kissed my forehead.

When I cried from the fear, the exhaustion, the overwhelming weight of what was happening he wiped my tears and whispered, “I’m so proud of you.”

Time stopped meaning anything. It became a blur of movement, sweat, and soft words.

The house was quiet, lit only by soft lamps and candles. Our playlist played gently in the background the one Will had put together during our third trimester, filled with songs that made me feel calm, powerful, or just happy. And as I swayed in the birthing pool, gripping the sides, trying to stay above the intensity of the waves crashing through my body, he knelt beside me, rubbing my back, whispering encouragement after encouragement.

“You’re so strong, darling. Look at you. I’ve never loved you more.”

I could hear the awe in his voice not pity, not worry awe.

He wasn’t scared anymore.

He was in it with me.

“I can’t do this,” I whispered at one point, eyes closed, chest heaving.

Will was instantly there, forehead pressed to mine. “You can, baby. You are. You’re doing it right now. Look how amazing you are. Just a bit more. I’m right here.”

His voice anchored me like nothing else.

He didn’t let go of my hand once.

When it came time to push, and my whole body felt like it was coming undone, Will was right beside me, eyes wide but full of nothing but love and fierce belief.

“You’re doing it, love. That’s it. Breathe with me.”

We were both crying when the midwife told me to reach down.

I did.

And suddenly there he was.

Our baby.

A perfect, wrinkly, screaming little boy placed gently against my chest as I sobbed and laughed and clung to him like I’d never let go.

Will collapsed beside me, arms wrapping around the both of us, his face buried in my neck as he cried too.

“You did it,” he whispered, voice breaking. “Oh my God, you did it. He’s here. He’s really here.”

I looked up at him, breathless, exhausted, and more full of love than I ever thought possible. “We did it.”

Will cupped my cheek, kissed my forehead, my nose, then the top of our baby’s head. “You’re amazing. Absolutely fucking incredible.”

I don’t know how long we sat there, all three of us curled up together, skin to skin, the rest of the world fading away.

Eventually, the midwife left us alone, after checking us over and making sure we were settled.

Will had changed into a clean T-shirt and joggers, hair messy, cheeks flushed, and I had never seen him look more himself.

He brought me a cup of tea, kissed my temple, and climbed into bed beside me and our son, wrapping an arm around us both.

“I was so scared,” he said quietly, gazing down at the tiny face nestled against my chest. “When you said you wanted to do this at home… I didn’t want to be the one who said no. But I was terrified something might go wrong.”

I leaned into him, smiling softly. “But it didn’t.”

He nodded, swallowing thickly. “No. It didn’t. And now that we’re here… it’s the best decision we ever made. I’ve never seen anything more powerful in my life than you today. I’ll never forget it.”

My eyes filled again not from pain, not even from hormones. Just love.

Pure, overwhelming love.

“You’re going to be the best dad,” I whispered.

He chuckled quietly, pressing a kiss to my hair. “Well, I learnt from the best.”

Our little boy stirred, making the tiniest whimper, and Will instantly reached out, running a finger gently down his cheek.

“Hi,” he whispered. “Hi, little man. I’m your dad. And I already love you more than anything.”

Watching him talk to our son like that with so much gentleness, so much reverence I knew I would never see him the same way again. Not just as my husband. But as the man who held me through every contraction. Who watched me become a mother with tears in his eyes. Who stepped up, stayed calm, and made me feel like the strongest woman in the world.

We were parents now.

Tired. Tearful. In love.

Our baby boy was sleeping on my chest now, his impossibly small hand curled around the edge of my robe. I hadn't moved in what felt like hours didn’t want to. His warmth, his smell, the soft weight of him nestled against me… it was all too perfect to disturb.

Will was lying on his side, head propped in his hand, just watching us. He hadn’t stopped looking at the baby since he arrived. I don’t think he even blinked.

“I still can’t believe he’s real,” he murmured, like speaking any louder might break the spell. “He’s actually ours.”

I glanced down at the bundle on my chest and smiled. “I keep expecting to wake up and find it was all a dream.”

Will reached across the space between us, fingers brushing the baby’s cheek with infinite gentleness. “Definitely not a dream. You’re both too beautiful for that.”

I laughed softly, shifting a little. “Alright, Shakespeare.”

“What? I’m allowed to be sentimental. I’ve just watched the love of my life give birth in our living room. That sort of thing changes a man.”

I looked up at him then, feeling that familiar wave of love that always crept in when I least expected it intense and warm and just a little overwhelming.

“Thank you,” I whispered.

“For what?”

“For everything. For being with me. For holding my hand. For… not panicking.”

He grinned, brushing a curl from my forehead. “I absolutely did panic. I just did it internally. Quietly. Like a gentleman.”

I giggled, which woke the baby slightly a soft whimper and a tiny stretch of his arms.

Will and I both froze, instinctively going into full-parent mode, watching as our son settled again with a sigh.

“Think he forgives us,” Will whispered.

I nodded, but then tilted my head. “You know, we still haven’t actually called him anything yet.”

Will blinked. “Oh God. We haven’t.”

We both looked down at the baby, as if suddenly aware we’d spent nearly twelve hours loving him without once referring to him by name.

“We were so sure it’d come to us once we saw him,” I murmured, stroking his soft, dark hair. “But I still don’t know.”

Will was quiet for a moment, watching me trace circles across the baby’s back.

“What about Jesse?” he asked eventually, softly.

I glanced up. “Jesse?”

“Yeah.” He reached out and gently took the baby’s hand in his, their fingers impossibly different in size. “It’s strong. Simple. A little classic, a little modern. He looks like a Jesse to me.”

I looked down again. The name floated around in my head for a moment, and then… clicked.

“Jesse,” I said aloud, trying it out. “Jesse Poulter.”

Will’s smile deepened. “Has a nice ring to it, doesn’t it?”

“It really does.”

Jesse made a soft cooing sound, as if in agreement. Will and I both laughed quietly.

“Well then,” I said, pressing a kiss to his forehead, “welcome to the world, Jesse.”

Will leaned over, kissed me gently, then pressed his lips to Jesse’s head too. “You’re already the best thing we’ve ever done.”

We lay there for a while longer, letting the quiet wrap around us like a blanket. Will eventually got up, brought us both some water, and made sure I was comfortable and warm before slipping back into bed beside me. The duvet was soft and heavy, our limbs tangled lazily beneath it, our son asleep between us.

“I don’t want to sleep,” Will murmured, even as he yawned.

“Me neither,” I admitted, though my body ached with exhaustion.

We both kept watching Jesse in the bassinet, like if we looked away for too long he might vanish, like the last golden hour light outside the window.

“Is it weird that I’m already thinking about what he’ll be like when he’s older?” I whispered.

“No,” Will said quietly. “I’ve been doing the same. Wondering what he’ll sound like. What kind of laugh he’ll have. If he’ll like football or hate it. If he’ll have your sarcasm or my eyebrows.”

I laughed gently. “Poor lad if he gets both.”

Will laughed too, softly, then sobered slightly. “I just want to do right by him. By you.”

“You already are,” I said, reaching for his hand under the covers. “You’ve been perfect.”

His fingers squeezed mine. “I love you.”

“I love you too.”

Jesse sighed again, twitching in his sleep, and I pressed my lips to his temple, overcome for the millionth time today by the magnitude of it all.

This was our family now.

Noisy, messy, brand new and already perfect.

And as the house settled into its deepest quiet of the night, I closed my eyes, my body finally giving into rest, heart full, arms full.

Our little boy had arrived.

And life would never be the same again.

[witchyleehibernates]

omg I'm in love with your hunger games au. how do an of the gang's Victors behave while in the capitol for their respective games? like how do their interviews and trainings go?

!!! I’m vibrating /pos so happy people love this au!

I’ll go through the Victor’s one by one with the thought of it just being the interviews and trainings because I have the intent of writing out how they each fared in the games (have I posted Dally’s yet? Or is that one still saved away yet? I think it’s still queued).

But here we go!

Two-Bit

Two-Bit is naturally a jokester, and this did not start after the games! He was 13/14 years old when he entered the games. He had the crowd laughing, at himself and at themselves, during his interview. People thought he was hilarious, even if they saw this, at the time, scrawny little kid and thought he was going to die the minute that the games started. He had fans in the capitol, especially since he had a more ‘youthful’ness to him. It caught interest and that interest spread.

Two-Bit made himself out to be this ‘happy go lucky kid that wasn’t scared’, a little trap for the other Tributes who all laughed at him during his trainings. Two-Bit was absolutely not the best with any sort of weapons, however he was smart, he was intelligent, he knew how to look out for danger and he knew how to get people to let down their guards. Nevermind he was also incredibly good at stealing. He was fast too, which was his only true advantage in his arena (more on all the arenas coming soon).

Dally

Dally’s interviews had a lot of questions about why he’d left District 7 and ‘moved’ (read: ran away) to District 12. Dally’s only answer was ‘family’. He left because of family and he ‘moved’ to District 12 because of family. He wouldn’t elaborate, and it ended up making him into something of a mystery that the capitol citizens wanted to know more about. Him being 14 at the time only made that more so. But Dally, having only been in District 12 for like, 4 or 5 months, really didn’t know what made him want to stay in 12, so he made himself act aloof the entire time. Other Tributes didn’t… like that. He very narrowly avoided getting beat up before the games.

His trainings were pretty uneventful, and people avoided him for the most part. He was decent at throwing knives, but he much preferred the ax. He had to make it seem like he was hesitant to try different weapons, and yes, his little psychological war on the other tributes helped him win the games. He found he was pretty decent with a bow and arrow too.

Steve

Steve made himself out to be a cocky asshole during his interviews. He did that on purpose so that it looked like he was ‘untouchable’, advice given to him by both Dally and Two-Bit. He had a natural strength to him from working for the last four years. At 15 he’d had plenty of practice lifting incredibly heavy things from being in the working side of the District, and he and Sodapop used to see who could lift/throw the heaviest things. Both of them had pulled or strained something nearly monthly, more so Steve than Sodapop because Steve was 100 percent showing off a little… He did mention having a best friend and having a girlfriend (Sodapop and Evie) and he had no intentions of leaving them behind. He would make it home.

His trainings had people watching him like a hawk, trying to pick him apart as they watched and analyzed him. They spent so much time watching him, trying to find his weaknesses, that the other tributes barely trained, or at least didn’t train as well as they should have. He was incredibly good at throwing knives, however he was also pretty good with an axe since the gang had started ‘training’ once Dally got back from his games. Two-Bit was a tiny bit paranoid and that was a good thing.

Johnny

Johnny was a nervous wreck during his interviews, he was 15 years old and honestly thinking that he was going to die. He cried during two of his interviews and a lot of the tributes genuinely thought he wasn’t a threat because he was ‘weak’. Johnny talked of their friend group a little, and it was obvious that he was particularly close with Dally and the ‘unnamed youngest’ of their group. The capitol citizens ate up the ‘middle brother’ role that Johnny portrayed. Or, no, they ate up the ‘little brother’ role that Johnny portrayed when talking about his relations with the rest of the gang, but they loved his ‘big brother’ role with the unnamed youngest (Ponyboy).

Trainings had Johnny throwing knives (yes, the gang has a theme of using throwing knives) though he wasn’t the best at throwing knives. Johnny was actually much better at hand to hand combat, not that anyone finds that out until way way later in the games. Johnny also tries his hand at the bow and arrow and ends up accidentally making a fool of himself. Which was probably for the best. He was also found to be incredibly fast (a huge advantage) during his trainings.

Sodapop (a little more on Sodapop)

Sodapop! Poor little guy. His charisma has him winning over the capitol citizens with how much genuine emotion comes from him. He teared up when talking about his brothers, and he laughed when talking about Steve and Dally, and there was excitement and energy when talking about Two-Bit and all the of the gang’s (legal) shenanigans from when they were children when asked about it. He gets all mushy when it’s mentioned that Steve had given Sodapop his ‘RANDLE’ ring and it comes out that Sodapop and him also had matching friendship rings, of which he was wearing still (he had both rings on a necklace so that they counted as ‘one item’, it barely passed as acceptable). Sodapop genuinely cried when asked about his parents, and how Ponyboy (the now named ‘unnamed youngest’ from Johnny’s games) had nightmares about it, and he was so young. Sodapop is 100% a Peeta and he plays the Capitol.

His trainings have people sizing him up, people having finally begun to realize that something wasn’t right about an entire friend group getting reaped, even if Sodapop wasn’t initially drawn he and Ponyboy were still part of the same exact friend group. He lets himself show off his ability with a Bow and Arrow (what he’s best at), and that he knows how to fight hand to hand (but he doesn't show his strength). It’s very clear he’s not a pushover, but he is also so kind and helps some people figure out their best skills for the games.

And we don’t talk about what happens in Ponyboy’s games (yet).

[ghostprincessworld]

@soup-charades suggested a In Memoriam Hunger Games AU (also i have not read sotr, please don't spoil)

The Reaping:

District 1: Henry Gaunt, Male, 18 y/o, Volunteer.

Gaunt never had any desire to be in the games 

the night before the reaping his mother tells him to volunteer 

"Heinrich, there has been a lot of talk of rebellion, they think your uncle is a rebel. the peacekeepers took him for questioning, if we have a child eager to join and win the games they could not possibly think us part of any rebellions"

some of Henry's ancestors were part of the original rebellion that led to the games (hence the suspicion on his family)

"Well, is he?" "Of course not!" Truthfully Gaunt was always sympathetic to the rebellion; he and Maud would talk about it, but only in hushed corners where they could not be overheard.

“Well why not Maud?” he didn't want Maud in the games, he just didn't like the expectation on him.

“ The academy called, they want you. You are 18 years old and they believe you are the perfect one to represent our district, they expect you to and so do I. Imagine what shame you would bring upon us if you refused now. People will remember a coward Heinrich”

On reaping day: a 14 y/o boy was drawn, but it didn't matter because they would bring him on stage and ask for a volunteer, it wasn't uncommon for someone eager to steal the tribute spot from the district nomination. Maybe someone would do this for him?

One breath, Two breath and his hand flew up because nobody would take the glory and he would not be a coward.

“And aren't quite a treat to look at” the announcer said making Gaunt skin crawl “and what is your name?”

“Heinrich Gaunt” and he bit his tongue as the man introduced him to the crowd as “Hay-rick Gaunt”, he looked at his parents and found them smiling and clapping, 

Then he scanned the girl's side and found Maud. She looked completely determined not to let any emotion through, but looking closer Winfried kempton was supporting Maud at waist. And the uncomfortable guilt was too much and he looked away.

District 2: Sidney Ellwood, Male, 17 y/o, Volunteer.

Sidney always admired the victors and wanted to become one

His mother begged him not to, or at the very least wait until he was 18 to submit to the district as their selected volunteer 

This year's selected volunteer was Martin Roseaveare. Other Brother of his friend Cyril, and younger brother of Clarence Roseaveare, who made it to the top 3 in his games a few years back before his leg and hip were pulverized, and he lay biting his arm and hiding quietly hoping he would outlast the other 2 tributes, he did not. It took hours and Ellwood held Cyril as they showed the camera to him. Caesar Flickerman interviewed the Roseveare, Cyril was so put together on screen, but he was a mess for a long time after.

On reaping day: 16 y/o boy and 12y/o girl were reaped and brought on stage. They were introduced to the crowd and the announcer turned and asked for volunteers from the girls, and an 18 y/o girl with bouncy dark curls calmy raised her hand.

Just because he would submit his name next year for consideration doesn't mean his district would want him.

She was only a year older than Ellwood, what difference did one year truly make anyway?

“ And for our boys, would any brave gentleman that would like to volunteer-”

And Sidney Ellwood hand shot in the air and shouted “I volunteer as tribute” before Martin Roseaveare even had a chance.

“All right come up on stage, and what is your name?”

“Sidney Ellwood” and then he made eye contact with his mother in the crowd, and what began as silent tears soon became hysterical sobs, and he looked away.

Other Tributes:

District 7: Maurice Lantham, Male, 15y/o, Reaped.

He scores 4 during training testing, he is very good at identifying plants, however as the games get closer he becomes increasingly unstable, and cries a lot. When the games start he is shaking so bad his platform is activated and blows him up even though he did not step off.

District 4: (x) Gosset, Male, Age 13 y/o, Volunteer

He basically does what Ellwood does except younger and less lucky

Other Games:

The game before John Maitland was the male district 2  tributes and he made it to the top 5, Gamemakers released poisoned gas into the arena trying to force tributes back to cornucopia for a fight, it became nearly impossible for him to out run it because every step he took sunk him knee deep into the wetlands of his arena.

David Hayes District 8 Victor, his games took place 10ish years ago, at 16 years old, his games end with him in hand to hand combat with a District 2 boy, who ends up pulling the both into some danger of their arena that kills the boy and leaves Hayes Victor but requiring a double leg amputation.

(i put David in district 8 because district 8 is a known for being full of factories, and their trade is textiles, in canon David worked on a factory before the war. district 8 makes peacekeeper uniforms and most peacekeepers come from district 2, so not only does he dislike Ellwood due to his experience w/ the district 2 boy in his games. he also sees at as "i made the uniform you use to hold up this oppressive system")

The Arena:

Perhaps a ww1 & ww2 inspired arena. the capital presents this a way to convince the citizens of Panem that if the rebels had succeeded this is how they would be living. and also like a "hey look how uncivilized war used to be before Panem before you had the capital to take care of you". also this arena does draw some inspiration from roman/ greek wars and myths.

[jbaileyfansite]

Interview with the Los Angeles Times (2024)

“This is where all the cruising happened.”

Jonathan Bailey and I are standing in Pershing Square on a bright, blustery spring afternoon, nearing the end of a homemade queer history tour of downtown L.A.: One Magazine, Cooper Do-Nuts/Nancy Valverde Square, the Dover bathhouse, the Biltmore Hotel and this, the city’s former Central Park, a haven, since before World War I, for “fairies” and “sissy boys,” servicemen on leave and beatniks on the road.

“Is it still happening now?” he asks.

“Probably not as much,” I venture.

“Well, you let me know if it’s happening,” he teases, a mischievous smile lighting up his face.

Bailey understands the uses of the charm offensive. As Sam, the handsome Lothario of Phoebe Waller-Bridge’s delightful pre-”Fleabag” curio, “Crashing”; Anthony, the romantic hero of “Bridgerton’s” second season; and John, the jerk of a protagonist in Mike Bartlett’s love triangle play “Cock,” the English actor, 36, has swaggered up to the precipice of superstardom. With roles in such studio tentpoles as “Wicked” and “Jurassic World” on the horizon, he may just break through. Yet he delivers career-best work in Showtime’s queer melodrama “Fellow Travelers,” as anti-Communist crusader-turned-gay rights activist Tim Laughlin, by leaving behind the self-assured rakes and tapping a new wellspring: soft power.

Tim may be, as Bailey puts it, “an open nerve,” but as it turns out, the devout Catholic and political naïf — who falls for suave State Department operative Hawkins “Hawk” Fuller (Matt Bomer) just as Sen. Joseph McCarthy tries to purge the federal government of LGBTQ people — is formidable indeed.

Stretching from the Lavender Scare to the depths of the AIDS crisis, in scenes of tenderness, cruelty and toe-curling sex, Bailey’s performance communicates that little-spoken truth of relationships: It takes more strength to submit than it does to control. The former demands discipline, courage, trust; the latter requires only force.

“In ‘Bridgerton,’ [Bailey] is like a Hawkins Fuller character — he is very sexy and has lots of power, has that kind of confident charisma that absolutely is not Tim at all,” says “Fellow Travelers” creator Ron Nyswaner.

But any doubt about Bailey’s ability to mesh with Bomer, who boarded the project early in development, was put to bed with the actors’ virtual rehearsal of a meeting on a park bench in the pilot. “‘Well, that’s a first,’” Nyswaner recalls an executive texting him. “I cried in a chemistry read.”

‘Am I inviting people in?’

Bailey grew up in a musical family in the Oxfordshire countryside outside London, and this, coupled with an appreciation for the morning prayers, choir practice and Mass he attended as a scholarship student at the local Catholic school, fed his precocious talents. (“I loved the performance of it,” he laughs. “Not to diminish the celebration of religious process, but I did love the idea of wearing a gown.”) By age 10, he’d appeared in the West End, playing Gavroche in a production of “Les Misérables,” an experience he now recognizes as an encounter with a queer found family — albeit one shadowed by the toll of the AIDS crisis, which peaked in the U.K. in the mid-1990s.

“When I’m asked about my childhood, there’s so much I don’t remember, and I think that’s true of anyone who’s been in fight or flight for 20 years,” he says. “I would have been in a cast of people whose friends would have died in the last seven years. I think of where I was seven years ago. I had all my gay friends then. It’s only retrospectively that I can retrofit a real gay community around me [in the theater], that I just wasn’t aware of [then].”

During the late 1990s and early 2000s, American and British culture presented queer adolescents with a bewildering array of mixed signals. As beloved celebrities came out in growing numbers, and the battle for marriage equality became a central locus of LGBTQ political organizing, the media continued to propagate harmful stereotypes of gay men as miserable, lonely, perverted or worse — and, Bailey remembers, callously turned George Michael, arrested on suspicion of cruising in a Beverly Hills restroom in 1998, and Irish pop star Stephen Gately, who revealed his sexuality in 1999, fearful he was about to be outed, into tabloid spectacles.

No wonder Bailey, like many LGBTQ people of his generation, should feel the “chemical” thrill of “validation and acceptance” during London Pride at age 18, then embark on a two-year relationship with a woman in his 20s.

“Dangerously, if you’re not exposed to people who can show you other examples of happiness, you think that’s the easiest way to live,” Bailey says. “It’s funny. You look back and you can tell the story in one way, which is that I always knew who I was and my sexuality and my identity within that. But obviously at times, it was really tough. I compromised my own happiness, for sure. And compromised other people’s happiness.”

Disclosures about his personal life have become particularly thorny for the actor since the premiere of “Bridgerton,” the blockbuster bodice-ripper from executive producer Shonda Rhimes.

“The Netflix effect does knock you off center completely,” he says, recalling the experience of finding a paparazzo waiting outside his new flat before he’d even moved in. “Suddenly, you do start having nightmares about people climbing in your windows... Even now, talking about it makes me feel like, ‘Am I inviting people in?’”

He is also critical of the media for churning out headlines about the smallest details of celebrities’ private lives, often detached from their original context. In an interview with the London Evening Standard published in December, Bailey described a harrowing encounter in a Washington, D.C., coffee shop in which a man threatened his life for being queer — and, in recounting the experience, offhandedly mentioned the “lovely man” he’d called, shaken, after it happened. Although Bailey acknowledges that the original story handled the subject with aplomb, he felt dismayed that more attention wasn’t paid to the intended warning about rising anti-LGBTQ sentiment: “The only thing that got syndicated from that story was that I had a boyfriend, and it wasn’t true,” he sighs. “It was kind of depressing, if I’m honest.”

Still, Bailey, who once turned down a role in a queer-themed TV series because it would have required him to speed along revelations about his personal life he wasn’t ready to make, is prepared to embrace the power of vulnerability when it feeds the work. Although a member of his inner circle expressed doubts about “Fellow Travelers’” steamy sex scenes, for instance, the actor intuited that they were what made the project worth doing: “I was like, ‘I’m telling you, they are the reason why this is going to be brilliant.’”

‘He’s changed my trajectory in my own life’

To those who would complain about the state of sex in film and TV, “Fellow Travelers” is the perfect riposte. All of it matters, from Tim’s first flirtation with Hawk to the finale’s closing minutes, because the series, at its core, is about the importance of soft power: the strength required to bend, but not break; to adapt, but not abandon oneself; to survive without shrinking to nothing in the process.And depicting that through sex, specifically gay sex, makes “Fellow Travelers” radical indeed.

Bailey understands that baring so much comes with certain risks. When I tell him that research for the story has filled my algorithmic “For You” feed on X (formerly Twitter) with speculation that his onscreen relationship with Bomer has a real-life element, he notes that “shipping” fictional couples and costars alike has long been part of Hollywood fantasy. But he bristles at the implication that he and Bomer are anything but skilled actors at work.

“I would love for people to know that the success of our chemistry isn’t based on us f—. It’s actually about us leaning into the craft,” he says. “It’s a vulnerable situation to be in, talking about it on record. I don’t want to rob people of their thoughts. But I do have a set of values, and as an artist, you don’t need to be f— to tell that love story.”

Underlying that craft, Bailey adds, is the confidence to speak up, as with one scene in “Fellow Travelers” that was adjusted because he said, “I don’t want to be naked today.” He learned to use his voice the hard way: In his early 20s, he recalls, he was once “bullied” on set when “someone was threatened” by him and vowed to himself, “I’m never going to do that to someone. I’m never going to allow that to happen.”

This impulse to direct his influence in support of others has blossomed further with “Fellow Travelers.” On the day of our interview, Bailey enthuses about an upcoming meeting with legendary gay rights activist Cleve Jones and shares his idea for a docuseries recording the stories of elders in the LGBTQ+ community while they are still here to tell them. He describes lying in a hospital bed on set on World AIDS Day, in character as Tim, surrounded by gay men who had lost friends and lovers during the crisis, and finding himself thinking, “What do I want to leave behind?”

“I think he’s changed my trajectory in my own life,” Bailey says.

This is, perhaps, the most common reaction I know to diving deep into queer history — the understanding that we, like our forerunners, are responsible for shaping the queer future, whether in politics, society or art. No one is going to do it on our behalf.

As we stand on the nondescript corner now named for her, I relate the story of the late queer activist Nancy Valverde, who was arrested repeatedly while a barber school student in the 1950s on suspicion of “masquerading” because of her preference for short hair and men’s clothing, and later successfully challenged her harassment by the police in court.

“What a hero!” Bailey exclaims, wondering at Valverde’s bravery. “The thing that’s so interesting with power battles is, ultimately, identity is the thing that gives you the most strength and power in your life, isn’t it?

“Because that’s one thing people can’t take away from you: who you are and how you express yourself.”

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