#featuring | atticus lincoln

[cquity]

amy & link 

“here.” the blonde handed the item to the other. “you dropped this about a block back, i was calling out but you didn’t notice.” amy chuckled softly. “is it important?” 

@mastcrmiind​

[anewkindofme]

Here are a current list of fandoms I make content for and how I’ve classified characters thus far! If I haven’t included one, just ask and I’ll classify them for you. :) I’ll also include my OTPs that I may put together to be caregivers as well as NOTPs that I will not write for.

Twilight:

Caregivers: Carlisle Cullen, Esme Cullen, Charlie Swan & Rosalie Hale.

Flips: Edward Cullen, Alice Cullen & Jacob Black

Littles: Bella Swan, Emmett Cullen & Jasper Hale

Nuetrals: N/A

OTPs: Carlisle/Esme, Jasper/Alice & Rosalie/Emmett (as caregivers only)

NOTPs: Edward/Bella & Jacob/Bella

The Vampire Diaries Universe:

Caregivers: Damon Salvatore, Klaus Mikaelson, Rebekah Mikaelson, Caroline Forbes, Elijah Mikaelson, Matt Donovan, Enzo St. John, Keelin Mikaelson, Bonnie Bennett, Freya Mikaelson, Cami O’Donnell, Hayley Marshall & Hope Mikaelson

Flips: None

Neutrals: Alaric Saltzman, Mikael Mikaelson, Esther Mikaelson, John Gilbert & Miranda Gilbert

Littles: Stefan Salvatore, Elena Gilbert, Jeremy Gilbert, Tyler Lockwood, Kol Mikaelson, Katherine Pierce, Marcel Gerard, Josie Saltzman, Lizzie Saltzman, Jenna Sommers & Davina Claire

OTPs: Damon/Enzo, Damon/Bonnie, Hayley/Elijah, Klaus/Caroline, Rebekah/Matt, Keelin/Freya, Damon/Bonnie/Enzo & Klaus/Cami

NOTPs: Damon/Elena, Damon/Katherine & Stefan/Katherine

I do ship Stefan/Elena, Kol/Davina, Hope/Josie & Jeremy/Bonnie, but as I don’t write about romantic dynamics between Littles and Caregivers, they won’t be featured romantically.

One Tree Hill:

Caregivers: Karen Roe, Keith Scott, Haley James Scott, Mouth McFadden, Quinn James, Chase Adams, Chris Keller & Clay Evans

Flips: Lucas Scott & Peyton Saywer

Neutrals: Dan Scott

Littles: Nathan Scott, Millie Huxtible, Brooke Davis & Alex Dupre

OTPs: Karen/Keith, Quinn/Clay, Peyton/Lucas (as caregivers) & Chris/Chase

NOTPs: Brooke/Lucas & Dan/Karen

I do ship Haley/Nathan, Brooke/Peyton & Mouth/Millie, but as I don’t write about romantic dynamics between Littles and Caregivers, they won’t be featured romantically.

Supernatural:

Caregivers: Dean Winchester & Castiel

Flips: N/A

Neutrals: John Winchester & Mary Winchester

Littles: Sam Winchester & Jack Kline

OTPs: Dean/Castiel

NOTPs: N/A

Teen Wolf:

Caregivers: Derek Hale, Noah Stilinski, Melissa McCall, Chris Argent & Peter Hale

Flips: Scott McCall & Lydia Martin

Neutrals: N/A

Littles: Malia Tate, Stiles Stilinksi, Alison Argent & Liam Dunbar

OTPs: Noah/Melissa

NOTPs: N/A

I do ship Stiles/Derek, Stiles/Malia, Stiles/Lydia & Scott/Alison, but as I don’t write about romantic dynamics between Littles and Caregivers, they won’t be featured romantically.

Grey’s Anatomy/Private Practice:

Caregivers: Owen Hunt, Meredith Grey, Mark Sloan, Derek Shepherd, Addison Montgomery, Charlotte King, Arizona Robbins, Callie Torres, Atticus Lincoln & Sheldon Wallace

Flips: Amelia Shepherd

Neutrals: Cristina Yang & Izzie Stevens

Littles: Alex Karev, Jackson Avery, April Kepner, Jo Wilson, Andrew DeLuca, Lexi Grey & Dell Parker

OTPs: Meredith/Derek, Addison/Mark, Callie/Arizona & Charlotte/Amelia (as caregivers)

NOTPs: Owen Hunt/Anyone, Addison/Derek & Charlotte/Cooper

I do ship Mark/Lexi, April/Jackson, Alex/Jo & Andrew/Meredith, but as I don’t write about romantic dynamics between Littles and Caregivers, they won’t be featured romantically.

Once Upon A Time:

Caregivers: Snow White, Rumpelstiltskin, Belle French, Maleficent, Princess Anna, Prince Kristoff, Killian Jones (all versions), Henry Mills (S7 only), Ella Mills, Robin Hood, Queen Tiana, Ursula & Robin Hood-Mills/Margot

Flips: David Charming & Ruby Lucas

Nuetrals: Mother Gothel, Zelena Mills & Cora Mills

Littles: Emma Swan, Regina Mills, Alice Jones, Will Scarlet, Drizella Tremaine, Queen Elsa, Lily Page & Neal Cassidy/Baelfire

OTPs: Tiana/Killian, Snow/David (as caregivers), Belle/Rumpelstiltskin, Belle/Killian, Maleficent/Ursula, Henry/Ella, Snow/Ruby/David (as caregivers), Ruby/Belle (as caregivers) & Kristoff/Anna

NOTPs: Killian/Emma, Henry/Drizella, Killian/Gothel & Zelena/Anyone

I do ship Emma/Neal, Emma/Elsa, Emma/Lily, Belle/Will, Snow/Regina & Alice/Margot, but as I don’t write about romantic dynamics between Littles and Caregivers, they won’t be featured romantically.

Pretty Little Liars:

Caregivers: Emily Fields, Toby Cavanaugh, Caleb Rivers, Wayne Fields, Pam Fields, Mary Drake, Jason Dilaurentis & Maya St. Germain

Flips: Mona Vanderwaal, Alison Dilaurentis & Cece Drake

Neutrals: Veronica Hastings, Byron Montgomery, Peter Hastings, Ezra Fitz & Ella Montgomery.

Littles: Aria Montgomery, Spencer Hastings, Mike Montgomery, Alex Drake & Hanna Marin

OTPs: Wayne/Pam, Maya/Emily, Alison/Emily (as caregivers) & Caleb/Toby

NOTPs: Ezra/Aria

I do ship Spencer/Toby, Hanna/Caleb, Mona/Mike, Aria/Spencer & Aria/Jason, but as I don’t write about romantic dynamics between Littles and Caregivers, they won’t be featured romantically.

9-1-1 & 9-1-1 Lone Star:

Caregivers: Owen Strand, Bobby Nash, Athena Grant, Henrietta “Hen” Wilson, Howie Han, Tommy Vega, Judson “Judd” Ryder, Eddie Dias & Paul Strickland

Flips: Carlos Reyes

Neutrals: N/A

Littles: TK Strand, Marjan Marwani, Evan “Buck” Buckley & Maddie Buckley

OTPs: Bobby/Athena & Hen/Tracie

NOTPs: N/A

I do also ship TK/Carlos, Howie/Maddie & Buck/Eddie, but as I don’t write about romantic dynamics between Littles and Caregivers, they won’t be featured romantically.

Criminal Minds:

Caregivers: Aaron Hotchner, David Rossi, Jason Gideon, Will LaMontagne & Emily Prentiss

Flips: Derek Morgan & Jennifer “JJ” Jereau

Neutrals: N/A

Littles: Spencer Reid & Penelope Garcia

OTPs: JJ/Hotch (as caregivers), Emily/Hotch and Will/JJ (as caregivers)

NOTPs: Penelope/Luke

I do ship Penelope/Derek but as I don’t write about romantic dynamics between Littles and Caregivers, they won’t be featured romantically.

[historiavn]

Celeste Franklin (Revolutionary War Historical Fiction) INTERACTION CALL | Casted With Megan Follows

America's patriarchal society would have proved otherwise, but nevertheless, CELESTE FRANKLIN still managed to leave her mark on the world. In her youth, she earned recognition as the apprentice of her father, Dr. Benjamin Franklin, and acquired international fame upon beginning an opera career in Paris. During the American Revolution, Celeste served as a double agent within Benjamin Tallmadge's Culper Spy Ring, maintaining a façade of loyalty to Great Britain whilst feeding the information garnered from this endeavor to Major Tallmadge and General Washington.

Ethan Clay (Civil War Historical Fiction) INTERACTION CALL | Casted With Henry Cavill

Born with the name ETHAN RICHARD HENRY LEE, Ethan was the younger brother of Robert Edward Lee, future commanding general of the Confederacy. A vast array of circumstances - including the foundations of intense Abolitionist moral convictions - prompted Ethan to run away from Stratford Hall at a young age, and so, the youngest Lee child was percieved dead. Shedding the surname Lee, Ethan was taken under the wing of Henry Clay, who gave the boy a family and patronage to West Point Military Academy. He then experienced numerous military successes which placed him in prime position to become one of the Union Army's leading generals during the Civil War.

Dr. Constance Morgan (Titanic Historical Fiction) INTERACTION CALL | Casted With Vera Farminga

DR. CONSTANCE PIERPONT MORGAN was an iconic force of nature who broke the glass ceiling by aiding her father, J.P. Morgan, in constructing his financial empire. Possessing mental faculties which deemed her a "human calculator", Constance became a beloved mathematics professor at Columbia University, where she taught whilst balancing a career as the co-owner of her father's monopolized business, J.P. Morgan & Co. Despite Constance's status as a "Robber Baroness", she strove to provide checks and balances regarding corruption amongst society's elite, and published several whistleblower works categorized today as "yellow journalism". She perished in the sinking of the RMS Titanic.

Anastasia Andrews-Ismay (Titanic Historical Fiction) INTERACTION CALL | Casted With Adelaide Kane

Conceptualized by the gods as a WARNING to Thomas Andrews Jr. that his ship was meant to be remembered within the annuls of human history, the being known to man as ANASTASIA ANDREWS-ISMAY is the living, breathing humanization of history's most infamous maritime vessel, the RMS TITANIC. As the Titanic's human embodiment, it is Anastasia's duty to protect both the ship itself and her passengers; however, the aforementioned ship's tragic sinking during her maiden voyage renders this endeavor a failure. Consequently, Anastasia loses her immortality, and thus must learn to live life as a mortal woman.

Emmeline Eisenhower (Second World War Fiction) INTERACTION CALL | Casted With Hayley Atwell

EMMELINE EISENHOWER, the eldest child of the famed Second World War general by the same surname, broke the glass ceiling as a prominent activist and journalist during the Great Depression and Second World War. Although not allowed to handle copy, Emmeline still submitted information to the New York Times regarding domestic political developments, providing the American people a unique glimpse at the nation's inner workings. She spent the duration of the Second World War in England, where her genuine merit and familial background collided to grant her the opportunity to work for Prime Minister Winston Churchill

Justine Javert (Victor Hugo’s Les Misérables) INTERACTION CALL | Casted With Keira Knightley

If Inspector Javert is the personification of the law within the narrative of Les Misérables, then his daughter JUSTINE is the personification of ethics and morality. Relatively sheltered for the majority of her youth, the curious woman spends her teenage years winning over the hearts of Paris's common folk, for whom she frequently performs charitable acts despite her father's protests. During the June Rebellion of 1832, Justine works to spread revolutionary rhetoric through publishing poems, fictional stories, and other written works in local newspapers under the penname "Joan of Arc". After her father's demise, Justine acquires refuge, residence, and some semblance of familial support at the Opera Populaire, where she joins the Ballet Corps.

Cassandra Fatesworth (Bridgerton) INTERACTION CALL | Casted With Faceclaim

The sole heiress of a prominent family in the ‘Ton, Cassandra is the pride and joy of her family — and yet, holds within her a debilitating secret. Born blessed with the psychic gifts of CLAIRVOYANCE and MEDIUMSHIP, Cassandra must learn to grapple with these gifts during a time where they are widely stigmatized, and conceal them from the public lest she bring scandal upon her widower father. Cassandra is regarded favorably by her peers, despite her reputation as a “most peculiar wallflower” and her uncanny intuitive perception capable of seeing behind even the most well crafted façades.

Ophelia Chronsturn (Fandomless) INTERACTION CALL | Casted With Jenna Coleman

It is no secret that Fate is a cruel mistress, and no living soul knows this fact better than OPHELIA CHRONSTURN. By day, Ophelia is an archivist at the LIBRARY OF CONGRESS in Washington D.C.; however, by night, she is forced to bear the weight of an ANCIENT CURSE placed upon her family line long before her birth. Instead of DREAMING, Ophelia spends her slumber TRAVELING THROUGH SPACE AND TIME.

Theodosia Davy, the HMS Terror (AMC’S The Terror) INTERACTION CALL | Casted With Keira Knightley

DESCRIPTION IN PROGRESS.

Sarah Phillips (Liberty's Kids) INTERACTION CALL | Casted With Amybeth McNulty

Raised in Britain but born in the Thirteen Colonies, SARAH PHILLIPS has returned to her homeland on the eve of the American Revolution in search of her missing father. Upon her arrival, she takes up residence in Pennsylvania with the famed Dr. Benjamin Franklin, and subsequently begins working for his Pennsylvania Gazette. She is an unapologetic loyalist who believes that the rebelling colonies owe loyalty to the crown and King George III.

[inparenth]

"Flower War" and Other Works by J. C. Ukah

"Flower War" and Other Works by J. C. Ukah

Jonathan Chibuike Ukah is a graduate of English and Law. He is fond of speaking to himself and writes poetry whenever a fly buzzes in his ears. His poems have been featured and will soon be featured in Atticus Review, Ariel Chart, Boomer Literary Magazine, Compass Rose Literary Magazine, Discretionary Love Magazine, Ephemeral Literary Review and elsewhere. He is a winner of the Voices of Lincoln…

[hurricanery]

If the Sun Comes Up - pt. 1

Apologies for the long A/N: This is the start of an AU fic inspired by this prompt & this prompt. It follows Amelia & Link, along with many others, in their first year as interns at seattle grace hospital. Thank you for sending character requests about this one! I settled on a few, but other characters are likely to show up later on as residents/attendings. Also, sidenote: this is completely an AU, meaning I just kind of grouped people together based on my interpretation of age (not that age really makes sense in the greys world anyways). This chapter is somewhat boring, basically just a set up for the characters and dynamic of the story. Thank you as always for feedback and prompts <3

In summary, the main interns in focus are: Amelia Shepherd, Atticus Lincoln, Maggie Pierce, Winston Ndugu, Jo Wilson, & Lexie Grey. The ship this focuses on is Amelink <3

_______

That's how it starts

We go back to your house

We check the charts

And start to figure it out

_______

(Hour 1)

“No, no, no,” she mutters impatiently, hastily climbing out of her car, her jacket catching in the door as she slams it shut. “God dammit, son of a-”

She tugs her jacket free and sighs in exasperation as she begins walking at a pace that could quite possibly challenge olympic level speed-walkers.

Amelia Shepherd was a lot of things.

Sharp. Cunning. Confident. Prepared. Most of the time.

But, throughout her lifetime, she’d also been described in less elevating ways. Unpredictable. Impulsive. Irresponsible. She laughs bitterly when her mind settles on the last adjective, as she scurries through the doors of Seattle Grace Hospital.

Because she was a lot of things. And late for the first day of her surgical internship was now getting added to the list.

_______

“Pierce, Lincoln, Wilson, Ndugu, Grey, Shepherd!” Chief Webber’s voice booms through the chaos of the crowded locker room. Interns begin stepping forward as their names are called. “Pierce, Lincoln, Wilson, Ndugu, Grey, and Shepherd,” he beckons again, “Your assigned resident is Dr. Karev.”

Alex scowls intimidatingly as five out of his six interns approach him by the door.

“Let’s move,” he mutters, starting to walk swiftly through the corridor of the hospital while the interns trail behind him.

“I have five rules,” he stops walking suddenly, and the sound of halting sneakers squeaks behind him. “First rule…” He trails off, turning around to look pointedly at each of their faces. “There are five of you here, who’s missing?”

The group looks between each other in confusion, shrugging amongst themselves. Alex peers down at each of their ID badges.

“Where’s Shepherd?”

More shrugs.

“Where’s Shepherd?” He repeats, louder this time.

“I’m here, I’m here!” Amelia’s breathless voice chimes distantly behind the group as she jogs to meet them. She comes to a stop, huffing out a breath as she pushes strands of her long, dark hair out of her face.

Alex glares at her, arms folding across his chest.

“Okay forget the rules, we’re out of time,” He growls. “You five,” He looks between those of his interns that were on time today. “You’ll be joining me in the gallery for a groundbreaking surgery.”

There’s excited murmurs throughout the group.

“I’m serious. The surgery you’re about to witness….you will likely never see anything like it again. You will be silent. You will take notes. And you will not embarrass me.”

The excited murmurs turn to anxious nods.

“Shepherd,” Alex continues, an evil smirk taking over his expression. Amelia gulps. “Your last name is not going to save your ass right now.” He laughs. “I have this dude who’s taking up a bed down in the pit. He won’t stop throwing up. He’s a junkie. You’re gonna go clean him up, give him an IV, and send him home. And then maybe you can come find us.”

Amelia sighs, stepping forward slightly to defend herself. “Are you sure? Don’t you think I should see-”

“I didn’t ask for a response,” he interrupts her. “I asked you to head to the pit.”

Amelia blinks, her hands dropping to her sides in defeat. She watches as the rest of her intern class hurries off to witness a groundbreaking surgery without her.

_______

(Hour 8)

Amelia slowly shuffles through the dimly lit basement of Seattle Grace, following the sounds of her fellow interns’ voices.

“Ugh, Atticus,” Jo laughs loudly. “Call him Link. I have never heard anyone call him Atticus.”

Jo’s laugh echoes through the hallway and Amelia uses it to guide her.

“Sorry,” Lexie giggles in defense. “It’s not like I knew that. Not my fault you all know each other already.”

Amelia finally approaches. And sees everyone sprawled out across the abandoned hospital bed in the hallway. The bed rests against a large window by the vending machines.

“Who all knows each other already?” Amelia huffs as she slides down against the opposite wall, settling herself on the floor and leaning her head back in exhaustion.

“Everyone, apparently,” Lexie responds as she takes a bite of a granola bar. “Maggie and Winston went to Tufts together. Jo and Link did the same undergrad program, and even worked at the same restaurant. I’m the loner here.”

“Well,” Amelia mumbles, eyes closing as her head rests against the wall. “I’m a loner with you, then.”

“Yeah, except for the fact that you’re a Shepherd,” Lexie laughs.

“And you’re a Grey!” Amelia bites back playfully. “We’re in the same boat here.”

“Wait, you’re a Grey?” Maggie gasps, practically choking on the handful of chips she’d just consumed. Winston leans forward, concern crossing his features as he rubs Maggie’s back. She slowly gets a grasp over her coughs. “You’re a Grey, too? Like….Meredith Grey?”

“Yeah….I’m her sister….” Lexie frowns. And Maggie’s eyes go wide. “What’s wrong with being a Grey-”

“Is everyone here somehow related to an attending or resident?” Jo interrupts, rolling her eyes in disbelief. “What in the nepotism….”

Maggie settles back in her seat, her eyes still wide as Winston watches her. Quiet falls between them all and Amelia resumes her previous position, eyes coming to rest as she leans back against the wall. She listens to the voices among the group as the conversation picks back up.

“I heard that every year, they pick the most promising intern on the first day to scrub in on something.” Jo announces. Amelia’s adrenaline kicks in a little bit at this information, but she keeps her eyes shut.

“During our first shift?” Lexie gasps.

“Mhm.”

“No thanks,” Lexie mutters. “I’d definitely screw something up.”

“I might ask Karev about it,” Amelia can hear the smirk in Jo’s voice. “Try and get a leg up on it.”

“Nah,” Link cuts in. “Don’t do that. Whatever happens, happens. You wanna be a shark about it?”

“Okay, Mr. ‘go with the flow.’” Jo laughs. “That kind of attitude is not going to get you anywhere.”

The comfortable silence that fills the hallway again makes sense. It reflects everyone’s current exhaustion.

But then a question gets voiced, and it takes Amelia a moment to realize that the question is directed toward her.

“How’d your patient in the pit go?”

Amelia’s eyes snap open as she searches for the face that voiced the question. Her eyes land on Link’s bright-eyed and sympathetic gaze.

“I….didn’t end up discharging him.” Amelia mutters. And she watches as Link raises his eyebrows at this information.

“Karev is not going to be happy about that.”

“He….uh,” Amelia sits up, bringing her knees to her chest as she explains. “The patient….he’s not a junkie.” She outwardly cringes at the word. “It’s not withdrawal. It’s something else.”

“What makes you think that?” Jo inquires doubtfully.

“His symptoms,” Amelia mumbles, somewhat self-consciously. “They’re not withdrawal symptoms.”

“Maybe Shepherd’s right,” Link offers, a kindness to his voice that surprises Amelia. She expects him to be more arrogant. Or maybe a little full of himself. Just based on his looks. But, everything she’s heard from him so far, has been nothing but positive.

“You going to tell Karev you didn’t discharge the guy?” Jo questions.

“I am,” Amelia responds matter-of-factly. And the hallway grows silent again.

“I could just take a nap right here, right now….” Winston eventually mumbles out.

And there’s a general hum of agreement. Before the quiet moment is interrupted by a chorus of pagers going off.

_______

(Hour 12)

They finally get a lunch break. And by the time it comes around, Amelia isn’t even hungry. After being vomited on in the pit all morning, her appetite is completely diminished.

She walks through the hallway towards the cafeteria and sees Maggie walking a few feet ahead of her.

“Hey!” She catches up to her.

“Hey,” Maggie smiles. “You grabbing lunch?”

Amelia just groans, shaking her head. “Not after the morning I’ve had, no.”

Maggie gives her a sympathetic look before she stops in front of the bulletin board outside of the cafeteria. Amelia watches curiously as Maggie pins a flyer to the board, then she reads the posting.

“You’re looking for roommates?” Amelia inquires, slowly becoming more animated as the idea settles in.

“Yeah, I have three rooms to fill in my apartment. My other roommates moved out but I want to re-sign the lease.”

“Um, wow,” Amelia is stunned by the obviousness of it. “Okay, me? I will be a roommate.”

They continue walking towards the cafeteria and Maggie turns to her, giving her an incredulous stare.

“We’re in the same intern class….” Maggie frowns. “We’re going to be around each other literally 24/7….you wouldn’t actually want to….live together, too?”

“I would,” Amelia persists. “I’m….crashing on my brother’s couch right now,” she mutters, embarrassed by the confession. “I would quite honestly rather live anywhere else.”

“I barely know you.” Maggie exclaims in disbelief.

“So! I’m great. I’m...I’m the best. Best roommate ever. I promise you won’t regret it.” Amelia grins hugely, wiggling her brows, trying to sell herself. And Maggie laughs, shaking her head.

They sit at a table, and Maggie unpacks the lunch she’s brought with her.

“Really,” Amelia tries again. “I’m a clean person. I do the dishes...most of the time. I pay rent on time. Always. And I’m fun, and-”

“Okay!” Maggie laughs. “Okay. You….you’re overselling it now. You can have one of the rooms.”

“Yes!” Amelia loudly squeals, and the outburst makes heads turn throughout the cafeteria. She quickly pipes down. “Sorry….you won’t regret it.”

Maggie just shakes her head, taking a bite of salad.

“So….” Amelia speaks up again after letting Maggie get a few bites in. “What do you have against Meredith Grey?”

And similar to earlier, Maggie almost chokes on her food again. She slowly works on swallowing her bite of salad before she speaks.

“I don’t have anything against Meredith Grey,” she mutters.

“Ha,” Amelia laughs sarcastically. “Your eyes just about burst through your head earlier when you found out Lexie was related to her. What’s up?”

“It’s a long story.”

“Hey, we’re roommates now. Spill.” Amelia folds her arms across her chest, leaning back in her seat.

Maggie glances around the room before she leans in, beginning to speak softly. So softly Amelia almost doesn’t hear her. “I came here….to Seattle Grace….I applied for this internship because my birth mother worked here. She was kind of….like a legend here.”

“Okay….”

“And I didn’t think I’d actually land the internship….”

“Okay….”

“And then I got the internship and….and I didn’t think I’d actually see her, or be working with her-”

“Who? Your mom?” Amelia interrupts.

“No,” Maggie breathes. “No….Meredith.”

Amelia just frowns, still not understanding how this ties together.

“Ellis Grey is my birth mother.”

And now it’s Amelia’s turn to choke on her food. Except she’s not currently eating anything. So, it’s more like she’s choking on air as she grips the edges of the table in shock.

But before she can voice her surprise, Winston approaches the table, sitting down to join them. And Amelia breathes out a huge breath. Glancing at Maggie and miming the motions as if she’s zipping her mouth shut.

Winston definitely notices the strange energy, and he looks between the two in confusion.

“I’m….” Amelia pipes up. “I’m going to go check on my patient in the pit. You two enjoy lunch.”

Amelia stands up, winking at Maggie mischievously, before heading for the door.

_______

(Hour 16)

16 Hours in and Amelia finally decides it’s time to eat something. She’s been on her feet all day, running labs and doing scut work for Karev. The patient she was supposed to have discharged earlier, is currently waiting on the neuro consult she’d ordered. So it feels like the perfect time to take a small break.

She’s been so busy, she’s barely even thought about food. Her stomach rumbles loudly as she makes her way back through the dimly lit basement, seeking out the vending machines she knows are down here. She could have picked any of the vending machines in the hospital, honestly, but she’s chosen this route because she likes the quiet, and hopes to have a moment to herself to unwind.

She rounds the corner, letting the subtle hum of the vending machines bring her comfort. But the moment doesn’t last.

“Hey, Shepherd!”

Amelia jumps, clutching a hand to her chest as her eyes settle on Link, where he’s once again sitting on the abandoned bed in the hallway.

“Shit, you scared me.” She exhales shakily.

“Sorry,” he smiles, then turns back to the textbook in his lap.

Amelia walks past him, continuing towards the vending machines. She considers the options in front of her, before deciding on a granola bar and an energy drink.

“You kind of stole my idea,” she mumbles as she turns around to face him.

“Hm?” he looks up from his book.

“I was going to come down here, and be all quiet and alone for a minute,” she smirks.

“Well, great minds think alike, I guess?” He laughs. “You can sit.”

Amelia gazes up at him through a pointed stare, biting the inside of her cheek as she weighs her options. She truly had been seeking a peaceful moment to herself before she realized Link was down here.

“And I can be quiet,” he adds, watching her think it through.

But she decides. She gives in and climbs onto the mattress, resting her back against the wall. She yawns hugely as she settles in a comfortable seated position, legs outstretched in front of her, mirroring Link’s current position.

“Those aren’t very good for you, you know,” he smirks, nodding towards the energy drink in her lap.

“What are you, a doctor or something?” she bites back sarcastically.

“Trying to be.”

Amelia smiles, popping open the drink and taking an exaggerated first sip. Link just shakes his head at her, turning back to his book.

Amelia sighs a few seconds later. “Is it just me....or do you feel like you have no idea what you’re doing?”

Link turns his head to the side, lifting his eyes from his book to her tired expression.

“I get that.”

“I mean,” Amelia lets her head roll to the side too, in his direction. “I was top of my class at Harvard. I really thought I’d have an impressive first day.”

“You….were late this morning….” Link stifles a laugh, squinting at her.

Amelia rolls her eyes. “Yeah….not off to a great start. You’re right.”

A moment later Link slams his textbook closed, muttering something about trying to squeeze in a nap while he can. He leans his head back against the wall, letting his eyes shut.

“Oh, come on,” Amelia mutters playfully. “Sleep is for the weak.”

“Sleep is extremely important,” Link responds, eyes still closed. “And I’m not sleeping, I’m just resting my eyes.”

Amelia laughs under her breath. “Sure.”

“Really,” he continues. “Resting your eyes? Feels fantastic. You should give it a try.”

Amelia doesn’t respond to this, instead taking another sip of her drink.

“Afraid you’ll fall asleep?” Link inquires a moment later, opening his eyes to glance sideways at her.

“No. I can rest my eyes without falling asleep.”

“Sure.”

Amelia watches as he resumes his previous position, his eyes slipping closed as he rests against the wall.

“Is this some sort of competition?” She mutters.

“I’m not competitive.”

He’s smug, Amelia thinks, as she stares at his restful expression. She sets her drink on the windowsill behind her, and lets her own eyes come to rest. It feels good to close her eyes. Way too good.

A moment later she hears Link whisper “I told you.” At least she thinks that’s what she hears. Her consciousness is beginning to slip away from her. And it’s hard to pull herself out of it, or to even think about separating exhausted imagination from reality.

When Link’s pager goes off several minutes later, his eyes shoot open. The sound of it doesn’t even cause Amelia to stir. He turns to look at her. Her long hair covers half of her face, but he can tell by the pattern of her breathing that she’s fallen asleep. Link smiles to himself, deciding not to wake her. She had initially come down here seeking a moment to herself, and Link was going to let her have it. His pager beeps again and he stands up, quickly on his feet and moving through the hallway.

_______

When Amelia eventually wakes up, she has no idea how much time has passed. The first thing she notices is that she’s alone now. Link’s abandoned textbook sits open next to her. It’s much darker in the basement now, with less light coming in through the window. She frowns, checking her pager.

And that’s when she notices the red blinking light.

Signifying her pager is dying. Or needs new batteries. Or something. She doesn’t know. It’s her goddamn first day and she has no idea how this works.

She curses to herself, springing up from her seat and practically running towards the stairwell.

_______

By the time she reaches the pit, she’s completely out of breath. Her eyes scan the ER, trying to locate her patient from earlier. The patient she was supposed to have discharged. But instead of following Karev’s orders, she had called a neuro consult, because she knew that the case was something more. And now, as she stands in the ER, she completely regrets her decision to venture off to the basement and wait for a confirmation page from neuro. That decision was currently biting her in the ass.

Because now her eyes settle on the current situation.

She watches as Karev begins transport of her patient. Her mouth drops open, stunned as Karev kicks the hospital bed into movement, beginning to transport her patient to the OR. She grows even more stunned as she watches Link grab the rails on the other side of the bed, moving with Karev towards the elevator.

“Wait,” she steps forward. “Wait! That’s my patient, what-”

“Not anymore,” Alex growls. “It’s a tumor, Shepherd. No longer your case.”

“Right,” Amelia keeps pace with them. “I’m the one that called the neuro consult. I knew it! I knew that-”

“Shepherd-”

“That’s my patient!”

She stumbles backwards a bit as they navigate the bed to enter the elevator. She makes eye contact with Link as she watches them step into the elevator.

“Like I said,” Alex mutters, pressing the elevator button to the OR floor once they’re settled inside. “Not anymore. Maybe answer your page, next time.”

Her shock turns to anger as she holds eye contact with Link, and Karev’s words settle in.

“Beds 1-4 need stitches, can you manage that?”

The elevator doors come to a close and irritation flashes through her hot and fast. Because Atticus Lincoln, mr. ‘I'm not competitive,’ had just stolen her patient. Tricked her into falling asleep and then stolen her surgery.

_______

She tries to suppress her anger as she does scut work for the next few hours. As the time passes, she focuses on her bedside manner, and tries to improve her suture technique. Her anger subsides, and it gets replaced with disappointment. Mostly disappointment in herself. Because this was nobody’s fault but her own.

This was a surgical internship at one of the top hospitals in the country. It was allowed to be competitive. They were allowed to be sharks.

By the time she discharges her last patient in the pit, she’s feeling a lot of things. The feeling that stands out the most though, is the exhaustion.

_______

(Hour 24)

Amelia basically moves on autopilot as she exits the locker room, shrugging her jacket on and moving through the hospital’s corridor.

Her eyes feel heavy and all she can think about is going home and immediately going to sleep.

Her anticipation is interrupted, though, when she sees Link walking a few feet ahead of her. She stares at the back of his head, trying to remember any of the angry words she’d had for him earlier. But she’s just so tired, and she’s drawing a blank.

He comes to a stop in front of her, pausing in front of the bulletin board just outside of the cafeteria. Amelia slows her pace as she watches him read something on the board, and then he’s ripping off part of a flyer.

She catches up with him, not managing to walk slowly enough to avoid him completely. He notices her approach and almost instantly, a remorseful expression takes over his face.

They fall into step with each other. And Amelia clears her throat.

“Will you at least tell me how it went? With the tumor?”

Link nods sheepishly. “He’s in recovery now. The other Dr. Shepherd, who I’m guessing is your brother?” Amelia nods. “He removed it all, no problems.”

“That’s good,” Amelia mutters.

They approach the exit, and Link holds the door open as they make their way into the parking lot.

“I didn’t mean to steal your surgery, you know,” Link speaks up again, his tone apologetic. “I just….answered the page.”

Amelia smirks.

“Don’t feel bad. If you want to be a shark, be a shark.”

Link genuinely looks conscious-stricken at her words.

“I’m kidding,” Amelia adds. “It was pretty much my fault.”

Link looks down, crumpling the paper he’d taken from the bulletin board, and twisting it in his palm.

“What’s that?” Amelia inquires.

“Roommates wanted,” Link exclaims, smoothing out the paper and reading the brief description.

Amelia’s face falls.

“No,” she’s laughing now. “No way.”

“What?”

“You can’t be one of our roommates.”

“Who is ‘our’?” Link frowns.

“That’s Maggie’s ad,” she laughs. “And I already claimed a room, so I get a say here.”

“Well I think I’m going to inquire with Maggie,” Link smirks. “I just so happen to be looking for a new place right now. So, I kind of feel like I was meant to see this,” he holds up the paper.

Amelia sighs.

“I’ll get to her first,” she mumbles, beginning to turn towards her parked car. “And give her my input.”

The sun is starting to come up. 24 hours since the last sunrise. 24 hours since the start of their first shift. Amelia gazes up at the sky, grateful that it’s over. But grateful that it happened. Grateful to have the first day under her belt.

“Shepherd,” Link interrupts her thoughts. “I think I’ll be getting to Maggie first.”

“Huh?” She turns to him, and notices how he’s started walking in the opposite direction.

She catches up to him.

“We’re going to Joe’s,” he states, as Amelia steps into pace with him. “The bar across the street. Apparently it’s open 24 hours….but that’s on the down-low.”

Amelia halts, coming to a standstill.

And Link frowns, slowing to a stop when he notices her hesitation. “Jo, Maggie, Winston, Lexie….everyone, I mean. To celebrate a successful first shift?”

Amelia’s heart sinks. She hates this part. Hates having this conversation with anyone her age.

“I don’t drink,” she admits, clawing her palms with her fingernails as her arms drop to her sides.

“Okay,” Link says simply. “They have food there, right?”

She has to question whether she’s heard him right. Because she was waiting for the ‘why not?’ For the confused stare. Or for the uncomfortable chuckle. Which he offers none of. She was so prepared for the interrogation, that his reaction actually stuns her a little.

“Or music?” Link adds, when he realizes that Amelia is stuck inside her head a little. “Food. Or music. Or games? Shepherd, I know I said I’m not competitive, but that’s a whole different story when it comes to darts-”

“Okay,” she finally breathes, trying to hide her smile.

“Okay, you’ll come?”

Amelia nods, starting to walk again. Link catches up with her and she guides them towards Joe’s. They cross the street just as the sun comes up.

//

[theliterateape]

The Subjectivity of Historical Revisionism

by Don Hall

The game was simple but difficult.

My first wife was an orchestra clarinetist. I had played in countless orchestras with my trumpet. I never really fit in with the academically inclined orchestra crowd but she did so she would have small gatherings to eat and drink at our home.

I could only handle sitting and chatting with them for a short time before I either started throwing verbal bombs in the mix to keep things interesting (which inevitably set the stage for a fight with my wife after all had gone home) or checked out completely (a different but similar sounding fight later). I finally came up with a game that they could play so I could go into my office and write or drink or drink and write.

I was a middle school music teacher and my curriculum for eighth grade included some college music history.

“OK. I teach a class on the Romantic Period of music for my kids. I get forty minutes to cover composers from 1770 to 1850. This includes Brahms, Liszt, Mendelssohn, Verdi, Wagner, Sibelius, Schubert, and scores more as well as over 5,000 known pieces of music of all genres. Forty minutes. I have to boil the whole period down to roughly six pieces of music at three minutes apiece to encapsulate all of that.

Here’s the game. You have forty minutes to teach a class on the music of the Twentieth Century. You get ten pieces and composers. Go!”

After around thirty minutes, I'd come back in, get another drink, and they'd inevitably have their ten. I'd look at it and comment, "So. You guys don't think jazz should be included?" They'd all growl and go back in to it.

Keep in mind, this game was about determining what specific art would be included for a limited attention span and, in the most subjective way, indicate what art you value first and foremost.

Were I to play that game today with someone my nephew's age, an additional criteria would be added. It would not be enough that the music was important or influential or even good. The addition to the type of person the artist was (or is) has become a part of the game.

It's all revision by exclusion.

Assessing the merit of art or historical significance is more than a popularity test. There have been plenty of popular artists, scientists, statesmen, and entrepreneurs in our history who have become unpopular and even unknown over time and who have been weeded out of curation. 

Why are we exposed to the art we are exposed to? We certainly aren’t the kind of creatures who, when seeking out information, go to a library index file and pour through thousands of entries to find the hidden treasures any more. No, we now have a screen which we type in “What were the best novels of the 20th Century?” and are fed a result.

According to Goodreads.com, there are 164 books listed under the heading The ACTUAL 100 Best Novels of the 20th Century.

As soon as you start to apply the Woke Metrics (you know, the yardstick that dismisses the accomplishments of Winston Churchill because he was a bigot) these lists start to narrow significantly. Using that criteria (which in the newspeak of that progressive cultmind must come before merit, quality, or theme) the only list that exists is The 100 Best Novels No One Has Ever Heard Of by People No one Has Ever Read.

As I wrote, this sort of assessment can't simply be a popularity test. If it were, Fifty Shades of Grey and The Harry Potter books would top the list.

When I play the game, I’m looking for a few things to merit inclusion in the tiny lists:

How influential was the work on those that followed?

How indicative of the time and place is the work?

Is the work limited in scope or more universal in theme?

There is a scene at the beginning of the Amy Poehler film Moxie where the new student challenges the teacher on the assignment of reading The Great Gatsby.

The scene is fun and pointed. Ike is a hoot as the teacher. Had I been her teacher I would have responded by asking what she thought was a better choice. She might have a novel written by a black woman that encapsulates the American response to the 1918 pandemic in excess and mystery. She might have an example of a novel written that explores the notions of class and the very essence of the American Dream following the horrors of WWI. If she has a suggestion of a novel written by someone not white and not male that deals so eloquently about justice, power, wealth, betrayal, and several classes of Americans who have assumed skewed worldviews, mistakenly believing their survival lies in stratification and reinforcing social boundaries, let's read that!

The issue at hand with much of the faddish push to classify certain artists and historical figures as unassailably evil and worthy of complete erasure is that the most strident either have nothing with which to substitute for the thing they deem canceled or they have replacement art that is not up to the challenge. It isn't that they don't have every right to express their grievance. History (and not merely American history) is littered with people passed over for reasons beyond merit or time as well as people lauded and magnified for rationale limited to race, sex, and religion.

Anger and grievance is not a replacement for a solution.

✶

For much of the past year I've been incredibly frustrated with this push for revision in our history. San Francisco schools voting to replace Lincoln with someone more influential historically on the rights of African Americans? That's fucking nuts, man. 

An English teacher in Massachusetts successfully convinced her school's administrators to remove Homer's The Odyssey from its curriculum because of its alleged sexism. Another English teacher in Seattle said he would "rather die" than teach The Scarlet Letter in class. Mark Twain is suspect because of his portrayal of black people in The Adventures of Huckleberry Finn.

To Kill a Mockingbird, once the City of Chicago book of the month, is now considered a no-go because it glorifies "white saviorhood" through the character of Atticus Finch. The novels featuring Sherlock Holmes should be tossed because author Arthur Conan Doyle included racist language. The author of the Little House on the Prairie books, Laura Ingalls Wilder, was stripped of a literary honor because of the "anti-Native and anti-Black sentiments in her work."

Throwing the shade of accountability on someone like J.K. Rowling seems excessive but more legit because she is still alive and reaping benefits from the sales of her writing. I may disagree with the rationale behind the call-out but it is only slightly different from Major League Baseball boycotting Georgia for re-enacting Jim Crow voting law.

Homer? Lincoln? Twain? All dead. No accountability to exact and all we have is the work left to speak for them.

For much of the past year, this stridency has driven me a little crazy but I realized recently that, especially in the digital age where so much art has been transposed into bytes, no one can prevent me from reading To Kill a Mockingbird or watching the Gregory Peck film. No one can prevent me from enjoying a Woody Allen film or a Harry Potter novel or celebrating the heroism of Churchill and Lincoln.

I love the music of David Bowie because it's great music. Does the fact that he had routine amounts of sex with underage girls dampen my enjoyment? Nope. Will it trigger someone else? Maybe. And it is their choice to avoid his music if they choose. It is not within their power to limit my choice as it should not be within my power to force it upon them.

History, as is art, trends toward subjectivity. History, after all, is just a series of stories we tell each other and stories are always told from a lens of the teller. History is less fact than it is an interpretation of existing facts and illusions. Do I believe, as the authors of the 1619 Project suppose, that America was founded in slavery? No. Do I believe that this means I can learn nothing from the stories they tell? Again, no.

Placing things into a larger perspective is as easy as acknowledging the horrors of the Civil War and still being able to comfortably have an Honest Abe Burger at the now closed Lincoln Restaurant in Chicago.

Now I'm going to go curl up and watch The Purple Rose of Cairo, then read The Great Gatsby while listening to Michael Jackson.

[ameliinks]

friends don’t. ✧  chapter 001.

a/n: honestly so sorry this took me so long, all of my other ideas kinda failed, but here we are with this. Friends Don’t by Maddie and Tae remind me so much of Amelink and as I was listening to that last night, I got ideas! Hope you guys enjoy the first chapter! Let me know. xx.

TW: throw up.

------------------------------ They don't cancel other plans Have conversations with nothing but their eyes They don't hear each other's names and forget to concentrate Hits a nerve and lights you up like dynamite.

A fever, she’d felt it coming on long before it actually happened. Her body had been aching for days, Zola and Bailey had both started school only to come home on their third day and throw up early into the night and late into the next day, and with no surgeries? She’d played doctor, holding back hair, giving Tylenol and cuddles where she could and now? Two days later, she was suffering. It had to be midnight, maybe later, her skin burning up even with just a tank top and underwear on, even the blanket had been shoved to the edge of the bed but here she was still suffering. Maybe she just needed water, but just as she was reaching for the bottle on the nightstand, iPhone lit with a text.

[ A. LINCOLN. ]: I know what you said, that you needed time but I haven’t seen you in days and your name isn’t on the board. Just thought I’d check in… if you’re avoiding Hunt, he’s got paternity leave, they both do. Friends check on each other, so I just wanted to know. Amelia found herself sighing as she read the message, not because the message annoyed her but because it did the opposite, it made her heart flutter in her chest. What could she do, tell him that? Tell him that his concern made her the happiest she’d been in days? No way. Instead, even though she’d already left him on read, she twisted the cap from her water bottle and took a grateful sip, thanking god that the water had at least left her a little less parched than she’d felt only a moment earlier. Picking up her phone and reading the message over she considered exiting the app and trying to sleep but it was useless and that she knew. She’d just think about it again and again, plus with the fever there was no way she was getting sleep and so finally her fingers began to move against the screen.

[ A. SHEPHERD. ]: Hey, it’s nice of you to check. I’m not avoiding Owen though, Zola and Bailey snagged the flu as a back to school gift and I was the only one who didn’t have a thousand surgeries, Aunt Amy to the rescue. But now I think I’m down for the count, you probably won’t see me for the rest of the week. It’s late though, you should sleep, bet you’ve got bones to set in the AM. Jealous!! It was like he was waiting for the response, the delivered receipt turning to read almost instantly and the bubbles popping up. Yet as she watched them, her stomach twisting and turning with every second, she realized that she in fact was going to be sick. Even good deeds were met with karma in return apparently, and soon the neurosurgeon was leaning over the trash, contents of whatever she’d ate for dinner escaping her. Somewhere in between heaving, the brunettes phone pinged with a response but it wasn’t even until she flopped back a few moments later did she realize. [ A. LINCOLN. ]:  How sweet, true superheroes are the aunts of the world. Didn’t you get your flu shot? They give em out for free at the work place.  Ah, got plans with Richie and Deluca, not going home just yet - that’d be a waste of a successful surgery. Eyes rolled as she read the message, it was like she could taste the smugness through her cellphone. Jackass, but still his words caused a slight smile to fall onto her sick features even though her head was pounding as she began to type. [ A. SHEPHERD. ]: Threw up, that’s what I get I guess. Have a good time with the guys. Congrats on the surgery. It only took a moment for the read receipt to pop up again but this time, no bubbles. Not that he owed her a response or anything of the sort. A quiet sigh of regret and she tossed the phone under he pillow before rolling on her side to try and sleep again. The disappointment mixed with illness swirled in her stomach as she tossed and turned for a while before the brunette heard her phone ping again about thirty minutes later. What the hell? He better not have been drunk texting her, he sadly was no longer a frat boy and that shit was cringe as hell. Tugging out the pesky phone from where she’d buried it, the surgeon was surprised to see the message left for her. [ A. LINCOLN. ]: Can you unlock the door? Don’t wanna wake up the kids, Meredith scares me. Though confused, Amelia stretched her achy limbs and padded across the floor, grabbing that thin robe she kept and then made her way downstairs. Everything hurt, vision was a little fuzzy and she was for sure going to be sick again, but it seemed her eyes lit up as she peaked through the peephole to see the man she seemed to let down time and time again. Slowly she unlocked and pulled it open, confusion on her features though she let him in anyhow. “Thought you had plans? I’m really not up for company plus I smell like -“ “Puke, I know… but it doesn’t matter. I bought you some stuff. Wanna go back up stairs or what?” There was this hint of smile on his features, and she seemed to blush before leading the way back to her room, the only thing heard were the footsteps that quietly followed her up the stairs. After the bedroom door was locked it wasn’t long before her face fell, giving into the ache as she settled back on the mattress only for her visitor to give her a look of concern. “You’re really sick, hey?” A nod and thick swallow, she wouldn’t throw up again, she refused but the nod hadn’t helped, just made her a lot more dizzy. It wasn’t often Amelia got sick, the flu hadn’t hit her since she was younger ; a reminder of her mother smoothing dirty hair from her forehead as a child. Curling into the pillows, Amelia couldn’t help but silently reach out for him, a softness on her features that he’d never seen before. Vulnerability settling in as she did. “I want my mom but she’s in Westchester. Hold me?”

Her skin was warm with fever, she knew that he wouldn’t hold her with his jeans and thick t-shirt on, but she didn’t care. Though her eyes did close, maybe for privacy, as he undressed down to boxers. It was the first time that she’d been around him sans clothes where she wasn’t naked as well. An odd instance but after he hadn’t entered the bed, her eyes opened again, frown following as she watched him rummage in the grocery bag he held before. “What are you doing? Sleep time.”

Finally, he produced a gingerale and a straw, tiny pack of Tylenol coming with him. Opening the bottle, straw made it’s way in then he held it out to her. Her eyes still curious, the neurosurgeon took it, a grateful sip following as she watched him open the Tylenol. Finally, the Ortho surgeon climbed in beside her, propping her pillows the right way and holding out two tiny pills. They weren’t addictive but it still wasn’t often that Amelia took meds of any kind, the fever, the ache and headache were all frustrating her though so without a thought she swallowed them down, slow sips of the soda following. After that Amelia snuggled down, allowing the blanket to filter over top of the two even though she was hot. Head resting on his chest, she suddenly remembered. “What about your plans?” A soft kiss to her head even though he knew he was probably getting sick after this but he didn't care, only tightening his grip around her waist. “Friends take care of friends when they’re sick. I can hang out with Deluca and Webber anytime. Go to sleep, Amelia.” As her breathing evened out, his chin resting on her head, there was something Atticus realized; Friends don’t go out of their way like this.

[hurriicanes-arc]

❛❛ You look like you need a hug. Come here. ❜❜ // link.

      𝐚𝐟𝐟𝐞𝐜𝐭𝐢𝐨𝐧 , 𝐧𝐨𝐭 𝐬𝐨𝐦𝐞𝐭𝐡𝐢𝐧𝐠 𝐬𝐡𝐞'𝐥𝐥 𝐭𝐚𝐤𝐞 𝐩𝐚𝐫𝐭 𝐢𝐧.    not usually at least , not unless she’s on the verge of breaking down. but atticus lincoln ?      he’s changed something in her , so the second she saw him standing there in the entry way of the attendings lounge she NEEDED IT , the hug.      at the offer sneakered feet step forward before she raises herself on tip toes , her arms wrapping around his neck in a hug.      “   i missed YOU.  ”    only maybe  fouteen hours at best since she’d last seen him , but she was tired , and touch starved.    not to mention since he became her boyfriend?   it seemed like they didn’t spend much time apart.  inhaling his scent , the brunette sighed , loosening her grip even though she didn’t move back from him.   “ and i’m sleepy.   please tell me you’re leaving too.. my legs feel like jelly , i  don’t know if i can drive myself home.. not to mention , i wanna snuggle.   ”   with that she pulled back , a pout on her features , a side no one except for him got to see all that often.  “   please don’t tell me no. i might actually cry.   ”

@devourshope !! 

[thelastdndblog]

The Crew rushes out the Glass Canyon to follow the thralled miner. They discover not one, but two under the fog’s thrall and jump into action to stop them before they can reach the mines.

Orpheon, not prepared for battle, rushes to find a vehicle to Hotwire so the crew can rush to the mines. During the melee, one of the miner’s, using his pickaxe, hits Whisper and Fizz, knocking them both unconscious. The rest of the team hurry to restrain the miners, eventually successful, and bring them to the bar for safe keeping. Orpheon manages to start Ambrose’s car when it dawns on the Crew that the half-elf auditor has been missing since the encounter in the apartment.

Candy manages to revive Fizz and Whisper with their Lay on Hands but with two members of the party so gravely injured, The Crew elects to take a night’s rest. The next morning, they check on Ambrose’s room, Vaerin picks the door open for The Crew to discover the room has been vacant for at least 24 hours. The clerk at the Motel reception desk also confirms that they haven’t seem him since yesterday morning. The Crew’s next stop is the Warriors Union Local where Ambrose said he was heading, they talk to a a staff member thee who says he hadn’t seen Ambrose either.

They head to the Glass Cannon to regroup where Whisk and Lincoln congratulate The Crew on their adept handling of the thralled miners, who are currently at their homes recovering. When Whisk and Lincoln are asked about the disappearance of Ambrose, the waitress Krislynn gets a bit sheepish and ducks into the kitchen. Orpheon summons their familiar, a weasel named Neil, to follow behind. Orpheon sees through Niel that Krislyyn was having a hushed conversation with the bar’s cook, a halfling named Maddie. Neil then scurries to the basement where they find a large table, with a dozen chairs, as well as a break room with a freshly bed cot. Orpheon scares their discovery with The Crew. Vaerin tries to get Krislynn’s attention to no avail, so Tarsamiriia tries their hand at questioning the young elf. Krislynn explains she’s nervous around Adventurers, out-of-towners here for the sole purpose of shaking things up and asking questions. Tarsamiriia tries to push further but Maddie calls on Whisk to throw The Crew out.

The Crew decide to learn more about the rumoured cult and head to the local Elysiastic Church and talk to Pastor Atticus. An elderly human man, Atticus is verbose, grandiose, and suspicious of everyone in town. He claims Whisk, the police commissioner, and countless others all control the demonic cabal beneath the Glass Cannon. The Crew finds the pastor to be full of hot air but also think the Asmodianic Cult is worth investigating and play to disguise themselves as Asmodeus Worshippers and infiltrate the cult.

They head for supplies and disguises at the Bonus Action Variety & Video where they stock up on healing potions, t-shirts featuring heavy metal and devilish imagery, and some other light equipment, as well as a handful of video rentals for The Crew to enjoy during some rest.

The Crew then heads to the Police Department to ask about their missing auditor. The Police are little help, especially due to the fact of bad blood between local law enforcement and Union Crews. The Police agree to contact the team if they find anything about Ambrose, but also offer if The Crew can stop the gang of thieving Kobolds that are attacking the civilians, they can help them on the Mine quest. During this discussion, Whisper follows a faint scent of Ambrose, left the day previous when he was reporting the dead body The Crew battled in the apartment building.

Whisper follows the scent outside and when he realizes that the mysterious fog rolled into town much earlier than it had in the past, he sees it again crisping down the hill. The scent of Ambrose abruptly pivots away from the Union and towards the Mine, The Crew believing that Ambrose was too, controlled by the fog. Also evidenced by Fizz discovering Ambrose’s car keys tossed into the snow.

The Crew decide to head to the Mine, but before they can head off they’re stopped by a pair of dagger-wielding Kobolds demanding the keys and any valuables the Crew might have!

[blackkudos]

Brock Peters

Brock Peters or Brock G. Peters (born George Fisher; July 2, 1927 – August 23, 2005) was an American actor, best known for playing the role of Tom Robinson in the 1962 film To Kill a Mockingbird and for his role as "Crown" in the 1959 film version of Porgy and Bess. In later years, he gained recognition among Star Trek fans for his portrayals of Fleet Admiral Cartwright in two of the Star Trek feature films and Joseph Sisko, father of Benjamin Sisko, in Star Trek: Deep Space Nine. He was also notable for his role as Hatcher in Soylent Green.

Early life

Peters was born George Fisher in New York City, the son of Alma A. (née Norford) and Sonnie Fisher, a Senegalese sailor with the French Navy. Peters set his sights on a show business career early on, at the age of 10. Avidly encouraged by his mother Alma to pursue a musical career, he studied the violin from 10 to 14 years of age, but found his singing talents were more prodigious and upon enrolling at New York's famed High School of Music & Art, immediately signed up for several productions in the musical theatre program. Upon graduation, Peters initially fielded more odd jobs than acting jobs, often working as a hospital orderly at night while he worked his way through physical education studies at City College of New York (CCNY), but still stayed connected to the burgeoning theatre and creative community in New York, occasionally doing background parts in musical plays like "Black Aida".

After auditioning and landing a spot touring with the Leonard DePaur Infantry Chorus (of which he was a civilian member from 1945 to 1947), however, he officially quit CCNY. Peters often joked that he "grew up" in the chorus, as his vocal range changed from baritone to bass baritone during his years with them. DePaur subsequently gave him the lead in the Chorus' popular rendition of "John Henry" (which became a repertoire mainstay of Peters in later years, singing the work on one of his two solo albums produced by United Artists Records in the 1960s). Peters at that time with the Chorus was still performing under the name of George Fisher, but was encouraged by his agent to change it to something a bit more memorable. Future African American entrepreneur Peter Brock was a childhood friend and as he had always liked the name, Peters merely switched the order and presented the idea to his agent. After auditioning and landing a stage role in the touring company of Porgy and Bess in 1949 on the great contralto Etta Moten's suggestion, he went on tour with the opera, where the opera's statesman as Porgy, William Warfield, commended his performances and requested Peters as his understudy. It was during this time touring in Europe with the opera that celebrated African American actor-singer-activist Paul Robeson saw him in his career-defining role as "Crown" and purportedly declared him "a young Paul Robeson".

Career

Peters made his film debut in Carmen Jones in 1954, but began to make a name for himself in such films as To Kill a Mockingbird and The L-Shaped Room. He received a Tony nomination for his starring stint in Broadway's Lost in the Stars.

He sang background vocals on the 1956 hit "Day-O" by Harry Belafonte, as well as on Belafonte's 1957 hit, "Mama Look a Boo-Boo". He also sang on the song "Where" from Randy Weston's 1959 album Live at the Five Spot and shared vocal duties with Martha Flowers on Weston's album of the following year, Uhuru Afrika. During this time, Peters and Belafonte became fast friends, sharing similar political views and approaches to their careers. In 1963, he played Matthew Robinson in Heavens Above, a British satirical-comedy film starring Peter Sellers, directed by John and Roy Boulting. He played a supporting role as the gangster Rodriguez in the 1965 film, The Pawnbroker. He was a special guest star in the third season of The Streets of San Francisco, playing the character "Jacob" in the episode called "Jacob's Boy" (1974).

In the film Abe Lincoln, Freedom Fighter (1978), Peters plays Henry, a freed black slave who is falsely accused of robbery but, defended by Abraham Lincoln, is found not guilty due to the fact he has a damaged hand and could not have committed the crime. In To Kill a Mockingbird, Peters plays Tom Robinson, a black man falsely accused of raping a white girl, whom Atticus Finch shows could not have committed because his hand (and arm) were damaged. In 1970 Peters portrayed the voice of African-American boxer Jack Johnson in Bill Cayton's film of the same name, and it is in this role that he can be heard at the end of Miles Davis' soundtrack album, Jack Johnson, saying: "I'm Jack Johnson. Heavyweight champion of the world. I'm black. They never let me forget it. I'm black all right! I'll never let them forget it!"

Between 1981 and 1996, Peters provided the voice of Darth Vader for the radio adaptation of the original Star Wars trilogy for National Public Radio. He also played the role of a Colonial prosecutor trying to make a murder case against Starbuck in an episode of the original Battlestar Galactica.

He appeared in the films Star Trek IV: The Voyage Home and Star Trek VI: The Undiscovered Country as Fleet Admiral Cartwright of Starfleet Command. Peters portrayed Joseph Sisko, father of Deep Space Nine's commanding officer, Benjamin Sisko, on Star Trek: Deep Space Nine. In 1993, he was a member of the jury at the 43rd Berlin International Film Festival. In early 2005, six months before his death, Peters guest-starred in an episode of JAG during its final season, "Bridging the Gulf", season 10 episode 15. Peters worked with Charlton Heston on several theater productions in the 1940s and 1950s. The two became friends and subsequently worked together on several films, including Major Dundee, Soylent Green, and Two-Minute Warning. He voiced Lucius Fox in several episodes of Batman: The Animated Series and Morris Grant/Soul Power in the animated series Static Shock (2000–2004).

Personal life and death

Peters was once romantically involved with actress Ja'net Dubois.Peters was married to Delores Daniels from 1961 until her death in 1989; They had a daughter Lise Jo Peters born November 3, 1962. Peters delivered the eulogy at Gregory Peck's funeral in 2003. His character, Tom Robinson, was defended by Peck's Atticus Finch in 1962's To Kill a Mockingbird. He died in Los Angeles, of pancreatic cancer on August 23, 2005, at the age of 78.

Selected filmography

Carmen Jones – as Sergeant Brown (1954)

Porgy and Bess – as Crown (1959)

To Kill a Mockingbird – as Tom Robinson (1962)

The L-Shaped Room – as Johnny (1962)

Heavens Above! – as Matthew Robinson (1963)

Major Dundee – as Aesop (1965)

The Pawnbroker – as Rodriguez (1965)

The Incident – as Arnold Robinson (1967)

PJ – as Waterpark (1968)

Ace High – as Thomas (1968)

Daring Game – as Jonah (1968)

The McMasters – as Benjie (1970)

Black Girl – as Earl (1972)

Soylent Green – as Lieutenant Hatcher (1973)

Slaughter's Big Rip-Off – as Reynolds (1973)

Lost in the Stars – as Reverend Stephen Kumalo (1974)

Framed – as Sam Perry (1975)

Two-Minute Warning – as Los Angeles Memorial Coliseum security chief Paul (1976)

SST: Death Flight – as Dr. Therman (1977)

The Incredible Journey of Doctor Meg Laurel – as Joe (1979)

Star Trek IV: The Voyage Home – as Fleet Admiral Cartwright (1986)

Alligator II: The Mutation – as Chief Speed (1991)

Star Trek VI: The Undiscovered Country – as Fleet Admiral Cartwright (1991)

The Secret – as Thurgood 'Uncle T.' Carver III (1992)

Other notable performances

Runaway slave Pompey in "Daniel Boone" episode "Pompey" (12-10-64)

Stephen Kumalo in Kurt Weill & Maxwell Anderson's Lost in the Stars (stage revival and 1974 film version) – nominated for a Tony Award

Sergeant Rollins in the TV miniseries Seventh Avenue

The Reverend Canon Frederick Chasuble, DD in an all-black film version of Oscar Wilde's The Importance of Being Earnest (1992)

Darth Vader in the Star Wars radio series

The Ogre in the Faerie Tale Theatre episode "Puss in Boots"

Detective Frank Lewis in The Young and the Restless

Lucius Fox in Batman: The Animated Series

Joseph Sisko, Benjamin Sisko's father, in Star Trek: Deep Space Nine

Dark Kat in SWAT Kats: The Radical Squadron, Bloth in The Pirates of Dark Water, Tormack in Galtar and the Golden Lance and Boneyard in Gravedale High

Voice-acting performance as the boxer Jack Johnson on the Miles Davis album A Tribute to Jack Johnson

Ex-Union soldier Lemuel Stove in The Loner episode "The Homecoming of Lemuel Stove"

Wikipedia

[newyorktheater]

Lesbians on Broadway! Cynthia Nixon is set to direct a Broadway production of Jane Chambers’s 1980 play “Last Summer at Bluefish Cove,” about Lesbians on summer vacation. Ellen DeGeneres, Lily Tomlin and their respective spouses will produce. Cast, details to be announced. Meanwhile, a play about an iconic blues signer who was a lesbian, is currently running Off-Off Broadway. (See below)

When did “theater” become an insult? With the impeachment trial scheduled to begin in earnest this week, the one thing that the right and the left, Democrats and Republicans, seem to agree on is that using the word “theater” is a good way to dismiss the other side, just as the term “theater criticism” is commonly used to knock journalists’ coverage of the 2020 election campaign.

Can we please stop using “theater criticism” — a craft practiced by professionals, requiring discipline, observational rigor, analysis, common sense and duty — as a byword for irresponsible writing? https://t.co/HEcwTexP1J

— Lily Janiak (@LilyJaniak) January 20, 2020

I GOT A BAD REVIEW FOR MAKING A PERFECT PLAY! (It happens) https://t.co/Bb6hIkqEQc

— Sean Daniels (@seandaniels) January 17, 2020

Broadway Week two-for-one tickets begins today

The Week in New York Theater Previews and Reviews

Ann Harada as Pile of Poo in Emojiland

My Name is Lucy Barton

Laura Linney as Lucy Barton offers a sometimes poignant, often tedious 90-minute monologue.

Rosalind Brown as Alberta Hunter

Leaving the Blues

“Leaving the Blues” dramatizes the life of the amazing jazz, blues and Broadway singer/songwriter Alberta Hunter. It is not a musical; it’s a play by Jewelle Gomez – a play that’s too long, with too many choices that need to be rethought. But it also offers a new perspective, what it was like to be a star – and a lesbian.

Ich Kann Nicht Anders

“You will hear an unbelievable true story,” one of the three actors from the Republic of Slovenia on a stage designed to look like a makeshift bunker, tells us at the beginning of the play entitled “Ich kann nicht anders,” “Some of you might find it boring, which will mean that you have chosen the wrong event for this evening. But the rest of you — and there will hopefully be quite a few — will find this intriguing, maybe even inspiring.” I was too uncertain about what was going on in the hour that followed to feel inspired, but I certainly wasn’t bored.

Modern Maori Quartet Two Worlds

Those theatergoers drawn to “Modern Maori Quartet: Two Worlds” for the authentic music and culture of the indigenous Maori people of New Zealand might feel blindsided by what seems like a Las Vegas-like lounge act.

Under the Radar:

To The Moon This 15 minutes of Virtual Reality offering the sensation of looking at, walking on and flying over the moon — created by performance artist Laurie Anderson and new media artist Hsin-Chien Huang — is more of a playful hallucinogenic experience than a linear lunar journey; more Timothy Leary than Neil Armstrong.

Feos

They meet on a line for a movie. The man and the woman — each disfigured by childhood accidents — are both used to being stared at, and they are used to being alone. At the Under the Radar festival, inspired by the late Uruguayan writer Mario Benedetti’s tender short story, “La noche de los feos” (The night of the ugly people), the Chilean theater troupe Teatro y Su Doble is presenting “Feos,” which combines puppetry and animation to tell the story of the encounter between these two shunned people, and their awkward, hesitant attempts at connecting — on the line, then in a cafe, eventually in bed.

The Week in New York Theater News

The fifth annual BroadwayCon (like ComicCon, but about Broadway), this coming weekend January 24-26.

Alex Newell will be the host of First Look at BroadwayCon on Friday, which will feature performances by the casts of new shows: Caroline, or Change, Company, Sing Street. SIX, Jagged Little Pill, Mrs. Doubtfire, Girl from the North Country, Emojiland, Between The Lines, as well as Hadestown.

Completed casts announced:

Flying Over Sunset

Erika Henningsen, Jeremy Kushnier, Emily Pynenburg, Michele Ragusa, Robert Sella, Laura Shoop, and Atticus Ware will join Carmen Cusack, Harry Hadden-Paton, and Tony Yazbeck in the LSD musical Flying Over Sunset, which opens April 16 at Lincoln Center’s Vivian Beaumont.

Plaza Suite

Joining Matthew Broderick and Sarah Jessica Parker in the cast of Plaza Suite: ,Danny Bolero, Molly Ranson and Eric Weigand. Michael McGrath and Erin Dilly will be Broderick and Parker’s standbys.

The Bedwetter

Linda Lavin and Stephanie J. Block will be in the cast of Sarah Silverman’s Off Broadway musical The Bedwetter, running April 25 to June 14 at the Atlantic theater. Sami Bray, who appeared on Broadway in the 2017 production of 1984, and Zoe Glick (of Broadway’s Frozen) will share the role of Sarah, the 10-year-old title character inspired by Silverman.

Ciara Renée will take over the role of Elsa in “Frozen,” starring opposite McKenzie Kurtz, who will make her Broadway debut in the role of Anna. Renée comes to the role after starring as the Witch in “Big Fish” on Broadway and taking over as Leading Player in the revival of “Pippin.” She and Kurtz replace original cast members Caissie Levy and Patti Murin, who will depart the production on Feb. 16.

Park Avenue Armory and National Black Theatre have announced the 100 Years | 100 Women Initiative, with a symposium on February 15 and then 100 (short) works by 100 women on May 16 responding to the centennial of women’s suffrage

The Public cancels “Truth Has Changed”

The Public Theater abruptly shortened the run of a climate change activist’s provocative one-man show at Under The Radar, saying the creator, Josh Fox, had violated the theater’s code of conduct. Fox accused the Public’s staff of “verbal threats, coercion, angry tirades and physical intimidation” as well as “acts of aggression.”

Sick of seeing sidelined heroines, playwrights Kate Hamill and Lauren Gunderson are rewriting classics like ‘Peter Pan’ and ‘Dracula’ to reinvent the female characters

Guggenheim Works & Process will present Lincoln Center Theater: Intimate Apparel by Ricky Ian Gordon and Lynn Nottage with Bartlett Sher on Sunday, February 9, 2020 at 7:30pm.

Full schedule of Works & Process this season

Shows that closed Sunday that I’ll miss

Greater Clements

Like all of Samuel Hunter’s plays that I’ve adored, this one chronicles Idaho, a state I’ve never visited, and American loss, a state we all seem to be in.

Oklahoma

Who can forget the talented & inclusive cast, including Ali Stroker as the fun-loving, oversexed Ado Annie, teasing and kissing and flirting — and swinging gleefully from a wheelchair.

Joaquina Kalukango and Paul Alexander Nolan (

Slave Play

If I felt differently about this play than many critics, the best thing to come out of it is the spotlight on @jeremyoharris , an artist of talent and smarts who is already helping to transform Broadway.

The photo is of artist Keith Haring in his studio at P.S. 122 during a residency in 1980. (He died of AIDS in 1990 at 31) @PerformSpaceNY is now naming its main space The Keith Haring Theater, & partnering w/ @KeithHaringFdn for an annual lecture series & fellowship in his name. pic.twitter.com/rSeMIquDB0

�� New York Theater (@NewYorkTheater) January 15, 2020

“Typically grossed between $300k and $500k, a tally at the lower end of Broadway’s ranks. But it wasn’t for a lack of attendees—just the opposite. “Slave Play” often played to weekly audiences of at least 90% capacity.”

PLAYS SHOULDN’T BE A LUXURY ITEM.https://t.co/08hAwtGXWP

— Former Broadway Playwright Jeremy O. Harris (@jeremyoharris) January 20, 2020

  Marking the publication of “The Letters of Cole Porter,” @AdamGopnik in @newyorker writes an appreciation of the “almost inhumanly prolific songwriter” who measured a Broadway show’s success “simply by the number of hit songs it produced.”https://t.co/ogI5ReWRHM pic.twitter.com/Gl841pgCXM

— New York Theater (@NewYorkTheater) January 17, 2020

“Cole Porter was to straight sex in his ‘affair’ songs as his best friend, Irving Berlin, was to Christianity in writing White Christmas—the outsider’s triumph was to own the insider’s material.” Adam Gopnik on the open secret of Porter’s sexuality.

The ten most check-out books of all time from the New York Public Library Most have been adapted for the stage.

When Disability Isn’t a Special Need but a Special Skill

Jesse Green looks at two Under the Radar productions performed by people with disabilities

Hollywood Bets On a Future of Quick Clips and Tiny Screens

Entertainment startup Quibi has already won over industry A-listers with its vision for short-form mobile streaming. But will it catch on with viewers?

Rest in Peace

Peter Larkin, 93, designed sets for 45 Broadway productions (for which he won four Tonys) and worked as production designer on more than two dozen movies

“Theater” as political insult. Lesbians on Stage. Broadway Week. #Stageworthy News of the Week When did "theater" become an insult? With the impeachment trial scheduled to begin in earnest this week, the one thing that the right and the left, Democrats and Republicans, seem to agree on is that using the word "theater" is a good way to dismiss the other side, just as the term "theater criticism" is commonly used to knock journalists' coverage of the 2020 election campaign.

[magicandmayhcm]

Introducing: Courtney Koracick

THE BASICS

Full Name: Courtney Jane Altman-Koracick

Nickname(s): Court, CJ, Coco (to her parents only)

Age: 15 (main verse)

Birthday: April 12

Faceclaim: Dove Cameron

THE FAMILY

Mother: Teddy Altman

Father: Tom Koracick

Sibling(s): Allison Hunt (half-sister, same mom), Abigail Hunt (half-sister, same mom), Cordelia Burton (half-sister, same mom)

Godparents: Amelia Shepherd & Atticus Lincoln

THE LOOKS

Hair Color: Blonde

Eye Color: Green

Hair Style: Medium length, down to shoulders, usually not in a ponytail unless she’s at practice / sports game

Clothing Style: Jeans & Tees, usually. Sweats & Tanktops at home.

Scars / Freckles / Other Distinguishing Features: Scar on leg from needing stitches after a biking accident

Piercings: Ears, Bellybutton

Tattoos: Butterfly on her ankle

THE PERSONALITY

Positive Characteristics: Ambitious, Hardworking, Driven

Negative Characteristics: Procrastinator, Sarcastic, Forgetful

Likes: Reading, Softball, Dancing, Singing

Dislikes: Math, Science, Stuck-up people

Extracurricular Activities: Softball, Drama, Glee

THE FAVORITES

Food: Chili

Snack: Potato Chips

Candy: Kit-Kat

Sport to Play: Softball

Sport to Watch: Basketball

Color: Royal Blue

Animal: Koala Bear

School Subject: English

[krakowergroup]

PR: Electronic Arts and Lakeshore Records announce partnership/Ruthie Collins single

First Soundtrack Will Be MADDEN NFL 19’s LONGSHOT: HOMECOMING With Original Score By Oscar®-Nominee John Debney Featuring The Single “Finally Here" Performed by Ruthie Collins (July 27, 2018– Los Angeles, CA) – Lakeshore Records today announced a new partnership with Electronic Arts to release the best of EA Games’ original scores and soundtracks. The premiere release in this agreement will be Oscar®-nominee John Debney’s soundtrack to LONGSHOT: HOMECOMING, the groundbreaking story mode within MADDEN NFL 19, available August 10, 2018. The soundtrack also features the original song "Finally Here" performed by country artist Ruthie Collins, which will be released as a single on July 27th.

Oscar®-nominee Debney is known for acclaimed film scores that include Sin City, The Jungle Book, The Greatest Showman and his Academy Award® nominated The Last Temptation Of Christ. Singer/songwriter Ruthie Collins was hailed as ‘Country’s Best Traditionalist’ by Rolling Stone and named one of CMT’s ‘Next Women Of Country’, who called her “a singing, songwriting, guitar and banjo-playing, Airstream-owning, Dolly Parton-loving breath of fresh air.” “Lakeshore Records is incredibly excited to be working with EA Games to release some of the absolute very best soundtracks by some of the very best composers working in visual media today,” said President of Lakeshore Records, Brian McNelis.  “We are staring this wonderful partnership by working with Electronic Arts to release LONGSHOT: HOMECOMING composed by legendary composer John Debney and the original single performed by Ruthie Collins.  It is an honor to be invited to work with such talented people on such great projects and we hope working with EA will continue to elevate the awareness and status of game music while providing the best possible services to the community.” In addition to releasing new soundtracks for upcoming EA titles, Lakeshore Records will also be releasing soundtracks from the vast EA Games catalog, including first ever soundtrack releases and reissues of out-of-print recordings.  In the next few weeks, Lakeshore will be announcing releases of catalog titles including the soundtracks for top-selling EA Games franchises that include Dragon Age, Battlefield, Mass Effect, Need For Speed, Command & Conquer, Titanfall, Medal Of Honor, and The Sims. “Lakeshore has proven themselves to be at the next level of marketing and streaming for the very best film and television music being created today,” says Electronic Arts Worldwide Executive of Music Steve Schnur.  “And because they appreciate and understand the medium and its fans like no other label, we’re proud to be their first-ever videogame partners. EA's composers, among the top talents in movies, television and games, are equally excited about the skill and fervor Lakeshore brings to the table. We’re confident that John Debney’s outstanding score for LONGSHOT HOMECOMING is the perfect kick-off to an exciting future for the art – and commerce – of videogame music.” # # # ABOUT LAKESHORE RECORDS Lakeshore Records is the four time Grammy Nominated independent music division of Lakeshore Entertainment, producers of such films as The Age Of Adaline, The Lincoln Lawyer, The Ugly Truth, The Exoricsm Of Emily Rose, The Underworld franchise, and Million Dollar Baby winner of Four Academy Awards including Best Picture. Lakeshore Records has released popular and classic soundtracks to such films as Drive, Stranger Things, Moonlight, Lady Bird, The Walking Dead, Star Trek Discovery, Little Miss Sunshine, The Hurt Locker, Napoleon Dynamite and many, many more. Lakeshore Records has released score albums from composers such as Jonny Greenwood, Trent Reznor and Atticus Ross, Nick Cave and Warrren Ellis, Danny Elfman, Clint Mansell, Cliff Martinez, James Horner, Thomas Newman, John Powell, Mark Isham, Graeme Revell, Rolfe Kent, Gustavo Santoalalla, Philip Glass, Dario Marianelli, Mark Mothersbaugh, Christophe Beck, Christopher Young, Rachel Portman, and Marco Beltrami. ABOUT ELECTRONIC ARTS Electronic Arts Inc. is a global leader in digital interactive entertainment. EA develops and delivers games, content and online services for Internet-connected consoles, mobile devices and personal computers. EA has more than 300 million registered players around the world. http://www.lakeshorerecords.com For more information contact KrakowerGroup[at]gmail.com, or @KrakowerGroup on Twitter

[teachanarchy]

Many Americans might not know the more polemical side of race writing in our history. The canon of African-American literature is well established. Zora Neale Hurston, Richard Wright, James Baldwin are familiar figures. Far less so is Samuel Morton (champion of the obsolete theory of polygenesis) or Thomas Dixon (author of novels romanticizing Klan violence). It is tempting to think that the influence of those dusty polemics ebbed as the dust accumulated. But their legacy persists, freshly shaping much of our racial discourse.

On the occasion of Black History Month, I’ve selected the most influential books on race and the black experience published in the United States for each decade of the nation’s existence — a history of race through ideas, arranged chronologically on the shelf. (In many cases, I’ve added a complementary work, noted with an asterisk.) Each of these books was either published first in the United States or widely read by Americans. They inspired — and sometimes ended — the fiercest debates of their times: debates over slavery, segregation, mass incarceration. They offered racist explanations for inequities, and antiracist correctives. Some — the poems of Phillis Wheatley, the memoir of Frederick Douglass — stand literature’s test of time. Others have been roundly debunked by science, by data, by human experience. No list can ever be comprehensive, and “most influential” by no means signifies “best.” But I would argue that together, these works tell the history of anti-black racism in the United States as painfully, as eloquently, as disturbingly as words can. In many ways, they also tell its present.

1771-1780

“Poems on Various Subjects, Religious and Moral,” by Phillis Wheatley (1773)

No book during the Revolutionary era stirred more debates over slavery than this first-ever book by an African-American woman. Assimilationists and abolitionists exhibited Wheatley and her poetry as proof that an “uncultivated barbarian from Africa” could be civilized, that enslaved Africans “may be refin’d, and join th’ angelic train” of European civilization and human freedom. Enslavers disagreed, and lashed out at Wheatley’s “Poems.”

* “An Address to the Inhabitants of British Settlements, on the Slavery of the Negroes in America,” by Benjamin Rush (1773)

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1781-1790

“Notes on the State of Virginia,” by Thomas Jefferson (1785)

The author of American freedom in 1776 wrote of American slavery as a necessary evil in this book, widely regarded as the most important political portrait of the nascent United States. Jefferson indicted the “tyranny” of slavery while also supplying fellow slaveholders with a batch of prejudices to justify slavery’s rapid expansion. Blacks “are inferior to the whites in the endowments both of body and mind,” he wrote. And Wheatley is not “a poet.”

* “The Interesting Narrative of the Life of Olaudah Equiano; Or, Gustavus Vassa, the African” (1789)

1791-1800

“Pennsylvania, Delaware, Maryland, and Virginia Almanac and Ephemers,” by Benjamin Banneker (1792-97)

After helping to survey the District of Columbia, Banneker compiled his first almanac, replacing Wheatley’s “Poems” as abolitionists’ finest showpiece of black capability. He enclosed the almanac in a letter to Jefferson, writing, “I apprehend you will embrace every opportunity, to eradicate that train of absurd and false ideas and opinions.” Jefferson did not jump off the train, but other Americans did while reading this remarkable book.

1801-1810

“An Essay on the Causes of Variety of Complexion and Figure in the Human Species,” by Samuel Stanhope Smith (second edition, 1810)

The Princeton president tried to stop the polygenesis theory that the races are created unequal, stoutly defending biblical monogenesis and the notion that first humans were white. He called for physical assimilation: In a colder climate blackened skins would revert to their original white beauty; “the woolly substance” on black heads would become “fine, straight hair” again. His racist idea of the lighter and straighter the better still demeans after all these years.

1811-1820

“Thoughts on the Colonization of Free Blacks,” by Robert Finley (1816)

Blacks should be freed, trained “for self-government” and returned to Africa, according to the antislavery clergyman and former student of Samuel Stanhope Smith. Finley wrote the manifesto for colonization, a cause supported by several American leaders until Lincoln’s failed schemes doomed the movement during the Civil War.

* “An Appeal From the Judgments of Great Britain Respecting the United States of America,” by Robert Walsh (1819)

1821-1830

“An Appeal to the Colored Citizens of the World,” by David Walker (1829)

This Boston abolitionist viciously assailed colonization and “Mr. Jefferson’s arguments” in the first book-length attack on the “inhuman system of slavery” by an African-American. Black seamen smuggled the appeal into chained Southern hands; community readers sounded the appeal to violently throw off the violent yoke. Walker’s ultimatum for slaveholders: Give us freedom and rights, or you will “curse the day that you ever were born!”

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1831-1840

“Crania Americana,” by Samuel Morton (1839)

This book revived the theory of polygenesis that dominated intellectual racial discourse until the Civil War. What reviewers hailed as an “immense body of facts” were Morton’s measurements of the “mean internal capacity” of the human skulls in his renowned collection in Philadelphia, from which he concluded that whites had the “highest intellectual endowments.”

* “Review of the Debate in the Virginia Legislature of 1831 and 1832,” by Thomas Roderick Dew (1832), and “Thoughts on African Colonization,” by William Lloyd Garrison (1832)

1841-1850

“The Narrative of the Life,” of Frederick Douglass (1845)

The gripping best seller earned Douglass international prestige and forced readers around the world to come to terms with slavery’s brutality and blacks’ freedom dreams. No other piece of antislavery literature so devastated Morton’s defense of polygenesis, or John C. Calhoun’s recently popularized theory that slavery was a “positive good.”

* “The Narrative of Sojourner Truth” (1850)

1851-1860

“Uncle Tom’s Cabin,” by Harriet Beecher Stowe (1852)

Inflamed by the Fugitive Slave Act of 1850, Stowe offered a fugitive slave story that made millions sympathize with slaves. Her novel — and its dramatic adaptations — turned the “hard and dominant Anglo-Saxon race” toward Christian salvation with a simple lesson: to stop enslaving quintessential Christians in all their “lowly docility of heart.” From accommodating Uncle Toms to superior mulattoes to soulful Africans, the book also popularized any number of lasting racist tropes.

* “On the Origin of Species,” by Charles Darwin (1859)

1861-1870

“The Principles of Biology,” by Herbert Spencer (1864)

In “Principles,” Spencer coined the term “survival of the fittest,” becoming the ultimate amplifier of Social Darwinism in the United States. Americans fell in love with his comprehensive theory of evolution, claiming that Reconstruction policies would allow inferior blacks to evolve (or assimilate) into white civilization or lose the struggle for existence. The net effect of Spencer’s Social Darwinism: the eugenics movement of the early 20th century.

* “Hereditary Genius,” by Sir Francis Galton (1869)

1871-1880

“The Prostrate State: South Carolina Under Negro Government,” by James Pike (1874)

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This prominent New York journalist blanketed the nation with fairy tales of corrupt, incompetent, lazy Black Republican politicians. Reconstruction’s enfranchising policies were a “tragedy,” Pike wrote, nothing but “the slave rioting in the halls of his master.” His “objective” reporting caused many once sympathetic Northerners to demand a national reunion based on white rule.

* “The Descent of Man,” by Charles Darwin (1871)

1881-1890

“Our Brother in Black: His Freedom and His Future,” by Atticus Haygood (1881)

In the 1880s, Southern segregationists marketed their region as the New South, among them this Methodist bishop and Emory College president. In his popular book, Haygood eased consciences that the end of Reconstruction meant the end of black rights. The New South will be as good for black folk as the old, Haygood declared, as new white Southerners would continue to civilize inferior black folk in their nicely segregated free-labor society.

* “The Plantation Negro as a Freeman,” by Philip Alexander Bruce (1889)

1891-1900

“Race Traits and Tendencies of the American Negro,” by Frederick Hoffman (1896)

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PRIVACY POLICY

Better covered than the Plessy v. Ferguson decision that year, “Race Traits” catapulted this statistician into scientific celebrity. At the time of emancipation, blacks were “healthy in body and cheerful in mind,” Hoffman wrote. Thirty years later, the 1890 census forecasts their “gradual extinction,” due to natural immoralities and a propensity for diseases. He blazed the trail of racist ideas in American criminology when he concluded that higher black arrest rates indicated blacks committed more crimes.

* “Southern Horrors: Lynch Law in All Its Phases,” by Ida B. Wells (1892)

1901-1910

“The Clansman: An Historical Romance of the Ku Klux Klan,” by Thomas Dixon (1905)

Convinced that “Uncle Tom’s Cabin” had misrepresented the South, Dixon emerged as Jim Crow’s novelist laureate. “The Clansman” was the most influential of his works, particularly after it was adapted into a popular play and D.W. Griffith’s 1915 film “The Birth of a Nation.” In Dixon’s telling, the virtuous Ku Klux Klan saved Southern whites from their “awful suffering” during Reconstruction.

* “The Souls of Black Folk,” by W.E.B. Du Bois (1903)

1911-1920

“Tarzan of the Apes,” by Edgar Rice Burroughs (1912)

With his racist colonial plot, Burroughs glued animals, savages and Africa together in the American mind, and redeemed white masculinity after the first black heavyweight champion knocked it out in 1908. Forget boxing and Jack Johnson — white men embraced Tarzan, the inspiration for comic strips, 25 sequels and dozens of motion pictures.

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* “The Passing of the Great Race,” by Madison Grant (1916)

1921-1930

“Nigger Heaven,” by Carl Van Vechten (1926)

Van Vechten was the Harlem Renaissance’s ubiquitous white patron, a man as curiously passionate about showing off black people as zookeepers are about showing off their rare species. Through this best-selling novel, he gave white Americans a racist tour of the safari of Harlem, casting assimilated blacks in the guise of tropical exotic lands being spoiled by white developers.

* “The Weary Blues,” by Langston Hughes (1926)

1931-1940

“Gone with the Wind,” by Margaret Mitchell (1936)

The Pulitzer Prize-winning jewel of the plantation fiction genre, this was Americans’ second all-time favorite book behind the Bible, according to a 2014 Harris Poll. Mitchell portrays white enslavers as noble, slaves as shiftless, docile and loyal. Mitchell did for slavery what Dixon did for Reconstruction and Burroughs for Africa.

* “Their Eyes Were Watching God,” by Zora Neale Hurston (1937) and “Native Son,” by Richard Wright (1940)

1941-1950

“An American Dilemma: The Negro Problem and Modern Democracy,” by Gunnar Myrdal (1944)

As Americans fought against Nazism overseas, this Swedish economist served up an encyclopedic revelation of racial discrimination in their backyards. If there was a scholarly trigger for the civil rights movement, this was it. Myrdal concluded that “a great majority” of whites would “give the Negro a substantially better deal if they knew the facts.” Segregationists seethed, and racial reformers were galvanized to show the truth of Jim Crow.

* “Race: Science and Politics,” by Ruth Benedict (revised edition, 1943)

1951-1960

“To Kill a Mockingbird,” by Harper Lee (1960)

This instant classic about a white lawyer defending a black man wrongly accused of rape was the “Uncle Tom’s Cabin” of the civil rights movement. “Mockingbirds don’t do one thing but make music for us to enjoy,” a neighbor tells the lawyer’s daughter, Scout. She’s talking about their reclusive white neighbor, Boo Radley, but the African-Americans of 1930s Alabama come across as singing spectators, thankful for the moral heroism of Atticus Finch. The white savior remains the most popular racist character in American letters.

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* “Invisible Man,” by Ralph Ellison (1952)

1961-1970

“The Autobiography of Malcolm X,” as told to Alex Haley (1965)

It was the manifesto for the Black Power movement, where young black saviors arose, alienated by white saviors and the slow pace of civil rights change. Malcolm wrote black pride before James Brown sang it. His ideological transformation from assimilationist to anti-white separatist to antiracist inspired millions of all races.

* “I Know Why the Caged Bird Sings,” by Maya Angelou (1969)

1971-1980

“Roots: The Saga of an American Family,” by Alex Haley (1976)

For African-Americans in the radiance of Black Power’s turn to Pan-Africanism, the thrilling and terrifying story of Kunta Kinte and his descendants arrived right on time. The best seller inspired one of the most watched shows in American television history. “Roots” dispatched legions of racist ideas of backward Africa, of civilizing slavery, of the contented slave, of loose enslaved women. The plantation genre of happy mammies and Sambos was gone with the wind.

* “The Declining Significance of Race,” by William Julius Wilson (1978)

1981-1990

“The Color Purple,” by Alice Walker (1982)

Of the black feminist classics of the period, Walker’s garnered the most prestige — a National Book Award and Pulitzer Prize — and controversy. Set in 1930s rural Georgia, the story shows a black woman finding happiness beyond abusive black patriarchs, Southern poverty and racist whites. Steven Spielberg’s 1985 blockbuster adaptation cemented its legacy.

* “Beloved,” by Toni Morrison (1987)

1991-2000

“The Bell Curve: Intelligence and Class Structure in American Life,” by Richard Herrnstein and Charles Murray (1994)

Herrnstein and Murray offered validation for Americans raging about pathological blacks and crime, welfare and affirmative action. “Inequality of endowments, including intelligence, is a reality,” they wrote, sparking one of the most intense academic wars in history over whether genes or environment had caused the racial “achievement gap” in standardized test scores.

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* “America in Black and White,” by Stephan Thernstrom and Abigail Thernstrom (1997)

2001-2010

“The New Jim Crow: Mass Incarceration in the Age of Colorblindness,” by Michelle Alexander (2010)

Two years after Obama’s election, Alexander put the entire criminal justice system on trial, exposing racial discrimination from lawmaking to policing to the denial of voting rights to ex-prisoners. This best seller struck the spark that would eventually light the fire of Black Lives Matter.

* “Dreams From My Father,” by Barack Obama (2004 reprint)

[hurricanery]

all to myself

A/N: This is a quick thing I wrote completely as a result of re-watching season 15 Amelink moments. Kinda a throwback. The next story I post will either be some domestic amelink/scout stuff orrrr a multi-chapter AU featuring amelink as interns together w/ some other original characters. Let me know what you wanna read next! Feedback is always appreciated!

_______

Floating on a high, and I feel ya

Got an ache inside, and I need ya

Ooh, I desperately wanna be lost with you

'Til all of our energy crosses

_______

They slept together. Once. Two weeks ago. Rather impulsively at a work conference.

And Amelia knows it was more than just an impulsive move, or a soon-to-be repressed mistake. God, she doesn’t see it as a mistake.

She’s been thinking about it basically 24/7 since she returned back to Seattle. She doesn’t remember finally being able to fall asleep that night, but she does remember waking up the next morning with a start.

Because something was different. Good different.

She had sat up in the hotel bed, instantly reaching for her own lips, running her fingertips over them, as if she’d actually feel proof of what happened.

And then she had registered that distinct taste on her lips and vaguely in the back of her throat. Kind of like the burning sensation of a kiss you’ll never not think of. It was a bold presence in her morning. And it was so refreshing.

Her heart had clenched as she let the hazy memories resurface.  

If asked whether she anticipated sleeping with Atticus Lincoln on that night, she would’ve burst out into stunned laughter. Because, no. Of course not. Right?

She’d just ended a long-term relationship. She’d been in a bit of a weird place lately. Not totally herself. And probably not ready. So, this definitely wasn’t going to become anything serious.

But somehow, something had changed that night. And in that moment, after a brief argument that had surprisingly ended in a dinner invite, looking into a pair of pleading blue eyes that she wished didn’t mirror her own, she knew what her next move was.

And it was the way he had gazed back at her, that finally pushed her over the edge. Deciding dinner wasn’t truly what she wanted in that moment, she murmured a quick ‘no’ before stepping forward and capturing his soft lips in her own.

She remembers the way he had instantly kissed her back, and the way his breath felt against her own. Her hands went to the buttons on his shirt, and the noise that she had made in the back of her throat, a mix between a whine and a full-fledged moan. As if to say, finally.

She likes to think it was Link who took control then, slipping his tongue into her mouth and pulling his own shirt the rest of the way off. Pushing her toward the bed and lifting her onto it. Pushing down a wall she’d had up for some time now. Making her feel.

Alternative pain relief.

Finally. Feeling.

_______

Two weeks later and Amelia’s still feeling. A lot.

But her mind is clouded mostly with confusion. Because she hasn’t heard anything from Link since that night. And she hopes to god that he doesn’t regret it. But she’d totally understand if he did. She’s the one in a weird place. The one who needs alternative pain relief.

Part of her feels guilty. The inexplicable doubt weighs on her, the fact that she’s basically using him. Just because she needs it, doesn’t mean he does, too. And so Amelia suppresses any urge she has to bring it up; suppresses any urge she has to just jump his bones right then and there, when the two of them are hopping on a private plane to New York for a surgery. Basically forced into each other’s company.

She’ll act cool, calm, collected….all of it.

She’ll disregard the fact that she’s been ‘in a weird place these days,’ because she’s just grateful that she’s feeling, again.

_______

Amelia steps onto the small plane and all of her anxieties about seeing Link again wash away as soon as she locks eyes with him.

He turns to her, from where he has already taken his seat, and awkwardly kind of shrugs, with a sheepish smile on his face.

“Hey, stranger,” she mumbles, in a mock-serious tone, before she realizes she can’t keep up the facade. And she starts laughing. “Long time, no see.”

Link laughs in agreement, and it looks like his shoulders relax a little. Amelia takes her seat across from him, smirking the whole time.

_______

It happens again.

Amelia doesn’t mean for it to happen again, but it does.

And now she’s slipping out of Link’s bed and pulling on his shirt in one swift movement. Her ‘no sleepovers’ policy at the forefront of her mind as she makes her way to the door between their adjoining hotel rooms.

“Wait, how about we order pizza?”

Amelia glances at Link incredulously. “We have a very important surgery early tomorrow. Sleep time.”

“Or room service?” He continues, persistent. “Room service in bed and then we sleep?”

“No,” Amelia laughs. “No sleepovers, remember?”

Link pouts at her, collapsing back against the bed dramatically. “Let’s forget the rules for a night. I’m hungry.”

“Nope!” Amelia states matter-of-factly. “No complications. We both agreed. My life is already complicated enough.” She laughs.

Link sighs again dramatically, accepting defeat.

“Goodnight, Link.” She smirks at him as he lays back against the bed. “See you tomorrow.”

There’s brief silence as she turns around in her doorway, beginning to push the door shut.

“Goodnight, Amelia.”

_______

The following evening, after a successful surgery, Amelia and Link return to their hotel. As they enter the lobby, the receptionist at the front desk waves in their direction. Amelia simply waves back before she realizes that the receptionist is trying to wave her over.

“I’ll go see what’s up. Hold the elevator for me.” Amelia mumbles.

Link presses the button to call the elevator down and watches from across the lobby as Amelia chats briefly with the staff. A minute later, Amelia returns with a weird look on her face.

“What was that about?” Link asks.

“There’s a problem with the rooms,” she explains. She looks riddled with uncertainty. “Well, with my room.”

“Huh?”

“Apparently my hotel room is reserved for another guest starting early tomorrow. They offered to upgrade me starting tonight.”

Link frowns.

“I didn’t want to have to move all my luggage to another floor so….” She pauses briefly as they step onto the elevator. The next sentence comes out in a nervous mumble. “I said we only needed one room.”

Link slowly breaks out into a smile. “We can work with that,” He says calmly. “Good idea to not have to move your stuff.”

The elevator door opens to their floor and Amelia just stands there for a second, watching Link exit.

She swears she can hear him laughing at her sudden awkwardness as he makes his way down the hallway.

Once Amelia gets all of her luggage settled into Link’s room, she returns to the lobby briefly to return the key card to her previous room.

She re-enters their now shared hotel room and watches as Link sighs tiredly, leaning toward the bed before dramatically sprawling out on it.

Amelia laughs loudly at his action. “You were great today.” She sits on the chair in the corner to remove her ankle boots and jacket. “In surgery I mean.”

“As were you.” Link responds, picking his head up to glance at her. “Very few people in this world can do what you did today.”

Amelia smiles sheepishly at the wholeheartedness of his words, then suddenly stands up.

“I’m gonna shower.” She states, “I’ll just be a few.”

Link tries not to pass out on top of the covers before she returns. He can hear her humming slightly to herself from inside the bathroom, and Link stifles the urge to mock her in any way.

Link changes into some sweatpants and a t-shirt before he hears the water turn off.

“Ah, shit,” he hears Amelia hiss through the thin walls.

“Amelia?” he calls, almost too quickly, cursing himself for being too attentive.

There’s a moment of silence.

“Uh, yeah? Yeah, Hi. Everything’s cool in here. Yep. Don’t worry.” And then she laughs.

“Uhhhh,” he draws out his response. “You sure you’re alright?”

“Yeah, I’m just…..clumsy. Dammit.” She laughs again breathlessly. “I, uh. I cut my shin…. shaving….I thought it stopped bleeding, but…”

Silence falls between them again and Amelia can’t help but laugh at the situation she’s gotten herself in.

“Do you need my help?”

“Uh, no. I don’t think so.” She knows she doesn’t sound convincing.

“…Amelia?”

“Actually, do you have a bandaid? …..Or like six?”

There’s another pause before Amelia can hear some shuffling around in the other room.

“There’s got to be a first aid kit in here somewhere.” Link responds, making his way to the closet “Got it!”

He walks over to the bathroom but pauses with his hand on the door knob. “Should I come in?”

“Yeah, yeah. Please.” Comes a muffled reply.

Link opens the door and is met with an unexpected sight. Not entirely sure what to expect, but Amelia, wrapped up in a white towel, sitting on the lid of the closed toilet seat, leg propped up on the edge of the bathtub, was not it.

He bursts out laughing.

“This is not funny!” But she’s laughing, too. And rolling her eyes at him. “I need those bandages!”

“Wait, no. Amelia. You can’t just put a bandaid on there. You’re bleeding, like, a lot.” He kneels down next to her, and Amelia instinctively pulls her towel tighter underneath her arms. Link gives her a look, as if to say, 'It’s not like I haven’t seen it all before. Now please let me assess your injury.’

And Amelia just relaxes her shoulders, nodding to herself and to him.

“And you’re soaking wet, no bandaid is gonna stay on your skin like this,” he mutters, pushing the ropes of her wet hair back past her shoulders, in hopes that it would help her dry faster.

He grabs a roll of toilet paper from under the sink and goes to work at stopping the bleeding, holding it there for a while until he thinks it’s okay to wrap up.

“Now six bandaids seems a little excessive there, Amelia. How about two?”

“I think I deserve at least four,” she bargains, endearing smirk on her face.

“Fine,” Link gives in, gently placing each bandaid on her shin one at a time. “There. Good as new,” he smiles, patting her leg.

Amelia rolls her eyes, blushing. “Thanks.”

And then Link stands, not sure what to do with himself now.

“I’m going to change now,” Amelia laughs.

And now Link’s blushing. “Yeah, yep. I’ll get out of your way,” he mumbles, exiting the tiny bathroom.

_______

When Amelia enters the room a few minutes later in an oversized t-shirt, which is what she normally wears to bed, she swears she sees Link do a double take. He’s now dressed in sweats standing near his open luggage in the opposite corner of the room. His stare lingers for a second too long and Amelia looks down at herself. She doesn’t understand the sudden awkwardness between them. But the air feels different.

“I know. Sorry, this is all I have,” she mumbles. “And I thought I’d have my own room tonight so-”

“What? No, you’re fine,” Link responds quickly.

She grins at him, clearly amused by him.

Link shakes his head at himself and turns to grab a couple pillows off of the bed, tossing them on to the floor.

“What are you doing?” Amelia interrupts him.

“Making a bed for myself on the floor?” It comes out as a question. “No sleepovers, remember?” He laughs, knowingly.

Amelia looks stunned, but only for a moment.

“No you’re not,” Amelia laughs. “Just get in here,” she adds, as she crawls under the covers on one side of the bed.

Link gratefully tosses the pillows back, getting into bed beside Amelia, sitting against the headboard as he pulls on the covers.

He reaches across and switches off the light on his bedside table, and the whole room goes dark. Amelia rolls onto her side and listens to Link shuffle around until he gets comfortable.

“Goodnight, Link. Thanks again for today,” Amelia whispers in his general direction, not really sure of his current position.

“'Night, Amelia.” Amelia is surprised by the vicinity of his voice, closer than she expected.

A couple minutes later and Amelia needs to readjust herself. She gasps when her face collides with something surprisingly hard. She reaches out her hand and quickly realizes she’s touching Link’s chest, now with her hand, and leaning against him with her face pressed up to it.

“Oops,” she mutters, and Link laughs under his breath.

But she doesn’t move away.

And Link takes the initiative of pulling her in closer at her hips, and then keeping his hands there, squeezing at her waist.

“Amelia, I-”

“Link-”

They both pause. And Link squeezes at her waist again, encouraging her to talk first.

She clears her throat. “Link, I-” She pauses again, working herself up to what she wants to say.

Their eyes are adjusting to the light it seems, and Amelia can just make out Link’s eyes, staring intently back at her. Maybe he can sense her worry.

“It doesn’t have to mean anything,” Link offers.

Amelia nods. “Right,” she mumbles quietly.

Their faces are just inches apart. And Amelia knows she wants to kiss him. She wants to have him again. She wants to keep feeling. Keep falling.

Maybe she wants the complications.

Maybe she just wants to kiss him.

So she does. And Link shivers as her lips gently brush his. Amelia feels Link move one of his hands up in response, so that it’s cupping her cheek, while the other remains on her hip.

Link leans forwards and presses his lips against Amelia’s. He opens his mouth to her and Amelia does the same, catching his top lip between hers. It’s slow, and it’s lovely. And this time it’s not impulsive.

But it still feels so right.

They pull apart, smiling through the darkness. And Amelia rolls over so that her back lines up against Link’s front. His arm goes possessively around her waist, pulling her in closer than they’ve ever been.

Amelia can feel her breath start to even out, as well as hear Link’s. Both on the verge of sleep. She just barely whispers into the quiet of the room, “I kind of like sleepovers."

_______

And I want you all to myself

Just keep me caught in your spell

You stop my breathing, but keep my heart breathing

You're bringing me outta hell

Oh, I want you all to myself

[newyorktheater]

Now is the time when interest in Broadway is at its peak, piqued by the three-hour TV commercial for Broadway known as the 2019 Tony Awards.

Get tickets to attend the Tony Awards in person!

I regularly get asked for recommendations, especially from out-of-towners planning a trip to New York. When I try to explore the person’s tastes, they typically say to me “I just want you to pick the shows for me.” So here are ten (plus several “bonus” selections.)

THREE NEW PLAYS

The Ferryman Bernard B. Jacobs Theater (242 W 45th Street New York, NY 10036) Opened: October 21, 2018 Twitter: @TheFerrymanBway

Theatergoers have only until July 7, 2019 to see this feast of Irish storytelling in a breathtaking mix of genres – from suspenseful thriller to family saga to ghost story to history lesson to morality tale. Now with an American cast, this play by Jez Butterworth and directed by Sam Mendes tells the story of Quinn Carney (Brian d’Arcy James) who was once a member of the Irish Republican Army but is now a farmer with a sprawling brood — but on this day of the annual Harvest, his past comes back to threaten him.

Tickets to The Ferryman

  To Kill A Mockingbird Shubert Theater (225 W 44th Street, New York, NY 10036) Opened: December 13, 2018 Twitter: @mockingbirdbway

Aaron Sorkin has adapted Harper Lee’s beloved novel to focus more on the murder trial of an unjustly accused black man who is defended by Atticus Finch (Jeff Daniels.) But Scout (Celia Keenan-Bolger), her brother Jem (Will Pulled) and her friend Dill (Gideon Glick) still feature in the show, all played by adults.

Tickets to To Kill A Mockingbird

What The Constitution Means To Me Helen Hayes Theater Opened: March 31, 2019 Twitter: @constitutionbwy

Fifteen-year-old Heidi Schreck earned enough money for her college tuition by winning Constitutional debate competitions across the United States. Now she re-creates one such competition, portraying herself, as a way to explore the relationship between the document and four generations of women in her own family — and by extension all women. This smart, informative, funny and moving play has engendered an almost cult-like devotion, serving as a kind of communal salve for the politically shell-shocked and disaffected. It ends on Broadway on August 24, 2019.

Tickets to What The Constitution Means To Me

  Bonus Play

Opened last season:

Harry Potter and the Cursed Child Lyric Theater (213 W. 42nd St., New York, NY 10036) Opened: April 22, 2018 Twitter: @HPPlayNYC

This continuation of the saga of the boy wizard is really for (the legions of) Potter fans, but the special effects are awe-inspiring:

Tickets to Harry Potter and the Cursed Child

THREE NEW MUSICALS

Hadestown Walter Kerr (219 W 48th Street, New York, NY 10036) Opened: April 17, 2019 Twitter: @hadestown

This sung-through musical taking place in Hell adapts the Greek myth of retrieving his wife Eurydice from the Underworld. Anaïs Mitchell’s score features sweet and sexy folk music, rocking jazz, and down-home blues.

Tickets to Hadestown

Oklahoma!, Broadway 2019

Oklahoma! Circle in the Square Theater (235 W 50th Street NYC) Opened: April 07, 2019 Twitter: @OklahomaBway

This is of course not a “new” musical, but this fifth Broadway revival of the landmark musical, directed by Daniel Fish, offers such a different interpretation that it feels like new. It’s a darker take, and the music is countrified, with a small on-stage band (and some of the performers) playing fiddle, accordion, banjo guitar.

Tickets to Oklahoma!

Ain’t Too Proud The Life and Times of The Temptations Imperial Theater (249 West 45th St. NYC) Opened: Mar 21, 2019 Twitter: @AintTooProud

Fans of 1960’s Motown are in for a treat in this musical whose performers can sing and dance as well as the Temptations — and act too.

Tickets to Ain’t Too Proud

Bonus Musicals

Opened in previous seasons:

My Fair Lady Lincoln Center’s Vivian Beaumont (150 W. 65th St) Opened April 19, 2018 Twitter: @MyFairLadyBway

If you haven’t seen Laura Benanti in this fourth Broadway revival of the Lerner and Lowe musical, you have only until July 7th to do so.

Tickets to My Fair Lady

  Dear Evan Hansen Music Box Theatre (239 West 45th St.) Opened: December 04, 2016 Twitter: @DearEvanHansen

Evan Hansen is an anxious high school student with no real friends who becomes the center of attention when a classmate he barely knew commits suicide and, through a misunderstanding, people think that Evan was his best friend.  Evan turns that misunderstanding into a lie, and the lie gets out of hand. The musical offers insights into an array of issues, from adolescent insecurity to the downside of social media, while keeping us emotionally engaged with the characters. The songs by Pasek and Paul are tuneful and deeply felt.

More on Dear Evan Hansen

Tickets to Dear Evan Hansen

James Monroe Iglehart as Thomas Jefferson

HAMILTON Richard Rodgers (226 W. 46th St., New York, NY) Opened: August 6, 2015 @HamiltonMusical

I loved this hip hop musical about American founding father Alexander Hamilton,  Off-Broadway ,  on Broadway  and now with the new cast , finding it ground-breaking and breathtaking.

There IS a daily lottery online  where you can try your luck at snagging one of the tickets for only  $10 (because Hamilton’s face is on the ten-dollar bill.)

Tickets to Hamilton

  FOUR LONG-TIME HIT MUSICALS

These musicals have proven to be audience favorites, but a caveat: The original casts have long since moved on.

THE BOOK OF MORMON The Eugene O’Neill Theater Opened: March 24, 2011 Director: Jason Moore and Trey Parker Twitter feed: @BookofMormonBWY This musical by Trey Parker and Matt Stone (book), the creators of South Park, and Robert Lopez, one of the composer-lyricists for “Avenue Q” and “Frozen” (music and lyrics) is about the founder of the Church of Latter-Day Saints and his modern disciples. It is outrageous, irreverent in one way, but also deeply reverent to (even while parodying) the best traditions of the Broadway musical.

My review of The Book of Mormon: Ridiculing Religion, Worshiping The Great White Way

Tickets to Book of Mormon

  THE LION KING

Minskoff Theater (200 West 45th Street) Opened: November 13, 1997 Twitter: @TheLionKing Based on the 1994 Disney animated film about the coming-of-age of a young lion in the African jungle, this musical offers African-inflected music by Elton John, lyrics by Tim Rice and the visual magic of Julie Taymor. Taymor is the director, a composer and lyricist for some of the songs. But above all, she is the designer of the costumes, masks, and puppets — and it is these visuals that make this show a good first theatrical experience.

Tickets to Lion King

THE PHANTOM OF THE OPERA Majestic Theater (247 West 44th Street) Opened: January 26, 1988 Twitter: @PhantomBway The Phantom of the Opera, based on a 1911 French novel by Gaston Leroux, is about a disfigured genius named Erik who lives in the catacombs of the Paris Opera House and falls in love with Christine, an aspiring singer whom he helps…until an old flame of Christine’s named Raoul steps back into the picture. However, the story in the musical, written and composed by Andrew Lloyd Webber — with more than its share of 1980′s heavy power ballads — is starting to take second place to the story of the musical, which is the longest-running Broadway musical of all time, and the most profitable. I find this show too loud and overwrought for my taste, but it is the one exception I’m making to the list of recommendations based on my personal taste, because it’s a tourist favorite, and admittedly visually stunning – people still ooh at the falling chandelier.

  Tickets to Phantom of the Opera

  Wicked NY

WICKED Gershwin Theater (222 West 51st Street) Opened: October 30, 2003 Twitter: @WICKED_Musical The musical tells the story of “The Wizard of Oz” from the witches’ perspective, more specifically from the Wicked Witch of the West, who was not, as a child, wicked at all, but just green-tinted, taunted, and misunderstood. There is so much to like about this musical, the clever twists on the familiar tale, the spectacular set, and music that is a lot more appealing in context (such as the song “Defying Gravity”) that I will forgive the contortions necessary to tack on a happy ending.

Tickets to Wicked

  ON A LIMITED BUDGET?

There ARE ways to get affordable tickets to Broadway shows, especially if you are willing to 1. Wait until the day of the performance, and 2. Live with uncertainty. Getting tickets to a hit Broadway show for as little as $10 (and no more than $80) takes time, luck, knowledge and/or ingenuity. Most shows now have digital lotteries and “rush” tickets. For a show-by-show breakdown on the discounts available, check out Broadway for Broke People

  DON’T FORGET OFF-BROADWAY

Some of the best shows on Broadway began Off-Broadway. Off-Broadway shows tend to be more adventurous and less expensive. But they also tend to have more limited runs, and be less publicized. Off-Broadway shows don’t get the attention they deserve. A willingness to hunt a little will pay off in a satisfying discovery, and bragging rights possibly for years to come.

LOOK OUT FOR THE NEXT HIT

Check out my latest monthly calendar of openings to what’s newly available on Broadway, Off-Broadway and Off-Off Broadway.

What Broadway Shows Should I See? Top 10 Suggestions Now is the time when interest in Broadway is at its peak, piqued by the three-hour TV commercial for Broadway known as the 2019 Tony Awards.