#fic: museum

[kaaaaaaarf]

Hey, go fuck yourself.

[tarvek-sturmvoraus]

bats: tim are you going to tell us anything you did while searching for bruce tim: not unless everyone gets real cool about a bunch of stuff really quickly

[fictionadventurer]

I love libraries.

I'm browsing the WWI shelves (as you do) and notice a very old book about the war. I glance at the first pages that talk about how one day the war will be over and we'll look at this place and not see any signs of the battlefield.

Then it hits me. And I check the publishing date.

This book was printed before the war's end. Not written. Printed. The physical object was created in 1918, while the war in question was raging and the end was as yet uncertain.

Now I'm standing on the other side of the apocalypse, with this physical link to that era in my hands. I'm living proof that the war did end and life did go on and we can all look at the end of the world as a long-ago memory.

Reading old books is cool enough, connecting our minds and hearts through the ideas of people who lived long ago, but there's something extra profound about holding a copy of the book that comes from the time that it was written. It's a physical link between the past and the present connecting me to those long-ago people. A piece of the past come into the future that gives me the chance to almost take the hand of some long-ago reader, to hold something they could have held, connecting not just mentally but physically to their era, a moment of connection across more than a century.

Excuse me while I go weep.

[thosewickedlovelies]

A guide to writing fics set in museums / with a museum worker character

Hey hi hello it’s your local museum worker here, offering you some insight and tips to writing museum-related fics! This is primarily organized as a list of different jobs you could have in a museum and what their duties entail. This post might also be useful to you if you’re considering working in museums and want to know What Goes On In There. Let’s go!

For simplicity/fic-writing purposes, I would divide museums into 2 very rough groups: large national or city museums that Have Money (think the Smithsonian or British Museums, or the Chicago Field Museum or the Royal Armouries Museum in Leeds); and smaller local museums. These could be local industry and culture/history-of-our town museums, historic houses, or  really niche subject museums run by One Person With A Passion.

Big national museums have a fuckton of staff and money (museums can never have enough money. But these places are very well-off compared to somewhere small that might always be hustling and writing grant applications). If you work here you’re likely to have a specific role in a particular department, and you probably won’t do much outside this role (ex., if you work in collections management, you probably won’t also design exhibits)

The smaller the museum, the more varied your workload will be/the more likely you are to be doing a little bit of everything. You’re probably organizing collections storage, manning the front desk, and desperately running fundraising efforts, all at once. 

To this end, smaller museums are more likely to be closed one or two days a week- you’ll be there, probably cleaning displays or managing storage, but visitors won’t be.

A lot of (most?) universities also have museums, so a college town setting is also doable. But the same big vs small museum disparity is still possible! At Penn State University, for example, the Palmer Art Museum is its own (recently redone iirc) building in the center of campus with a lovely plaza out front, while the Matson Museum of Anthropology is uhhhhh a couple classrooms in the Anthropology Department (which they’re currently rebuilding tbf, so we’ll see what they’ve done with it in 2025).

Types of Jobs

Curator

The one museum job that everyone can name. Nominally the person in charge. Probably laments that their job is way more admin than fun hands-on stuff now.

Actually this is the role I have the least knowledge of, but I think that’s partially because this job might vary the most from place to place? Structural organization can vary a lot between institutions, but I think the higher up you get in any field, the more your job tends to consist of meetings/overseeing, designating, and ~liaising~

A list of things a curator might do:

Planning or approving events and fundraisers, schmoozing with donors and members at said events, approving or designing a schedule of exhibits, publish outreach/advertising or research materials, oversee hiring, approve new object acquisitions (or de-acquisitions), generally make sure that the museum is working within the scope of its mission and if necessary, change or refine their mission

The curator might not necessarily control a museum’s funds; in this case they’ll liaise with the people who do, likely a Board of Executives or Board of Trustees. Once they get the money from these people, though, they could potentially redistribute it as they see fit.

 If you work in a fuckoff museum like the BM, you could also be the curator of a specific department, arranged by overarching subject, geographic area, time period, or even object type (eg Curator of Archaeobotany, Curator of Korean Collections, curator of coins from the medieval period). These categories can be more or less specific depending on what kind of holdings your museum has. I think these types of curators would still be able to do interesting things, as they aren’t the ones who Oversee The Whole Place.

You can also be an assistant or associate curator, like being an assistant manager.

Education/Engagement

These are the people who design fun extra activities (esp for kids) in the galleries or relevant events/workshops/lectures the public can attend. They might be called Engagement/Education Officer or Events Manager or anything similar

Again, the bigger the museum you work at, the more specific your role is likely to be. You might focus on web content/outreach and social media, manage the ‘friends/members of the museum’ program, or engage with shareholders, etc

Or you might do things like develop content and events to engage adult audiences. Workshops or lectures connected to new exhibits, after-hours visits. These people are also probably the ones with an eye on accessibility- you’ve probably seen advertisements for museums’ early or late hours for older visitors, or ‘quiet hours’ for people who might be overstimulated by normal museum hubbub, or tactile workshops designed for visually impaired folks.

I think most places would try to have someone specific for kids activities at the very least. They’ll be designing little activities or dress-up stations for the galleries, kiddie mascots or scavenger hunt trail kind of things, as well as, potentially, activities for any digital elements in the museum. They probably also coordinate school visits and act as a tour guide for classes, and will lead the kids in specific workshops or lessons in classrooms attached to the museum.

As a note on technology- some people would probably say that integrating digital elements into exhibits is the ~next big thing~, that museums have to get with the times in this regard, but opinions vary. Big science and technology museums are the most likely to have the most digital and techy elements in their exhibits, so if this is your setting, your character could also be a generic “tech person”. I would go so far as to say the smaller/more local the museum, the less technology you’re likely to have, but smaller museums are able to get grants, some of them potentially for specifically this type of thing, so it’s totally possibly that they have a few tablets with integrated activities, or some other Digital/Screen Thing.

Engagement Officers are probably the most likely people to be drafted for out-of-hours events, so that’s a potentially fun thing for your character to do. Some museums, particularly bigger ones, have event spaces attached that anybody can rent out, for weddings, galas, markets, etc, so they might also take care of these bookings as well.

Exhibit Design

This role has a lot of nebulous terms: exhibit coordinator, design constructor, exhibit programmer- but these are the people who design the exhibits. They’ll come up with a theme or narrative, a design scheme, choose the objects, write the text. They’ll probably come up with some marketing material as well, that matches the design scheme, or they’ll liaise with the marketing people who will.

These people might not be as familiar with the collections as the collections management folk (below), depending on how strictly divided your roles are, so they’ll likely consult with the collections people on choosing objects for a particular exhibit or theme (they say that good exhibit design builds an exhibit from the objects up, but I digress).

These people will also direct and participate in the install and deinstall (the actual terms) of exhibits- putting the objects on the right plinths/stands and arranging everything just so in the cases. Genuinely there’s a lot of psychology behind exhibit design- colors, lighting, the way you might design an exhibit to be navigated vs the path people will actually take through the gallery, people’s sight lines and where their eyes go first, how the display of any given object affects people’s perception of the importance of that object. Fascinating stuff, many books on the subject. 

There are also a lot of accessibility concerns to be considered here- how bright is the gallery, how large is your display text, at what height is the central eyeline of your cases?

Museums often loan objects to and from each other’s collections, so if you’re building an exhibit and you’d really like to include X type of object but your museum doesn’t have any, you can borrow some from another museum (this isn’t necessarily a guarantee- museums are allowed to say no to these requests, but I think manners would dictate that they should have a good reason)

Museums sometimes tour whole exhibitions as well- the objects, the text placards, maybe even the stands for super special or fragile items- and exhibit coordinator people are the ones who would handle those arrangements.

Potentially good opportunities for angst stories here- wow things come to life at your museum, you fall in love with a statue but oh no it’s only at your museum for three months

Collections Care

People who work in Collections Management have the most direct contact with the museum objects themselves. You probably work here if you prefer objects to people. When a museum gets new material, these are the people involved. They might not always initiate acquisitions, and the final approval is probably down to the relevant curator, but 98% of the time they’d be consulted (I hope).

A mind-boggling statistic is that most museums only have like 10% of their collections on display at any given time. Yeah. Forreal lol. But collections folk will know where the other 90% is and what’s in it (particularly the longer they’ve been there). 

There’s usually a head Collections Manager. Other workers might be a Collection Assistant/Associate, Collections Officer (we like calling people Officers for some reason), Registrar, or some variant of these depending on the specific flavor of your duties. 

Main job duties can be divided amongst documentation and database work, organization and storage of objects, and lite conservation. Just how much/how technical the conservation work depends on your own training, but also on the size/funding of your museum. The more money, the more likely your museum is to have its own lab with people specifically trained as conservators. More on them later. 

Here’s what happens when a museum gets new stuff!:

Ideally, it goes to a ‘quarantine zone’ first. This is a separate space or room where the objects can relax for a few weeks to a few months (ultimate best practice is actually a year, but, you know. that’s a long time) to ensure that they’re not harboring anything icky (bugs, mold, etc) that will infect the rest of the collections. It’s ideally super-sealed and climate-controlled, but the primary feature should be that it’s away from the main collections store.

Collections folk do the paperwork. They’ll give each individual object a unique number (following their preexisting system that will allow it to be identified distinct from all the other objects in the collection). They’ll create a ‘collections record’ for the object- documentation containing any and all information about the object. This includes the accession paperwork (everything that says ‘we legally own this now’); provenance info (all previous owners and everywhere else the object has been in its life); measurements and description (in painful detail); and conservation history and concerns (ie ‘there’s a crack in the side so pick up with care’, ‘this was repaired in the 70s so that glue is gonna fall apart any day now’).

(I'll say as a fic writer that this would be an great time to wax poetic over a beautiful statue or painting; you can’t write “This golden crown deserved to be worn by a great king, or maybe by that broody Roman general in the painting in Gallery B” in the collections paperwork, but you can think it.)

For fiction’s sake, your collections records could be either paper or digital, but in an ideal world a museum would have both setups, for security’s sake. So you’d fill out some long forms and/or input all the information to the digital collections management system (‘the CMS’, or referred to by your specific software’s name, as there are many out there). The CMS is not a static archive, but rather a living register that’s updated every time an object is interacted with. The object records also include where an object is at any given time (‘normally in Case E in the Fancypants Gallery, currently in Conservation Lab A for repairs’).

Once the objects are done in quarantine, they’ll go to storage. If they’re being displayed immediately, they’ll probably go to some interim storage space/shelf with other objects for the same exhibit and in that case only get a temporary setting. Every object will get labeled with their object number (directly on them, with a special pen that’s safe for this. Or if it’s really tiny, like a coin or jewelry, then their own tiny box will get the label). Small or fragile items, or items grouped together, will go in their own boxes (made of acid- and lignin-free cardboard or polyethylene plastic, like Rubbermaid totes; lined with polyethylene foam and then acid-free tissue paper). Stable ceramic vessels might sit directly on lined shelving, particularly if they’re very large or heavy, like many stone objects.

Listen, every type of object has a particular way(s) of storing that’s best for them, you’re gonna have to look that up yourself or consult someone if you need that level of detail

Ideally, before being stored away, objects are also photographed. This could be part of the Collection Officer’s duty, and/or your museum could have a photographer on staff. (say it with me:) This is more likely if your museum is really huge and/or has a backlog of unphotographed collections and has hired someone specifically, even if temporarily, to improve its collections documentation.

I would say a collections person, or anyone with a museum studies degree, should have some minimum amount of conservation knowledge that includes basic storage standards for different object materials, how to spot potential preservation problems (like if your bronze axe head is actively oxidizing or if that green spot looks the same as it always has since starting and pausing decaying), and maybe how to give objects a basic clean or deal with certain types of problems. But the nitty-gritty science is more the realm of Conservators, someone with a degree that ends in -Sci or who’s done some other certification course.

The general collections store should always be dark, slightly too cool for prolonged human comfort, and labeled to high heaven. Objects will most likely be grouped by material- ceramics/pottery, metals, precious metals and stones (jewelry or beads), stone, glass, wood, bone/ivory/other organic material like feathers or teeth or anything that can be decorative, textiles, paintings. A museum often has some paper material/documents, usually part of or related to a group of objects they acquired, but generally paper and photographic material is the realm of archives and archivists. Yet again, the bigger/more well-funded the museum, the more likely it to have a separate archive department, so your character could also work as an archivist in a museum.

Another thing the collections care folk probably do is ship objects. Remember how I said that  museums loan objects and exhibitions to each other? The stuff’s gotta travel somehow! If things are being shipped internationally, they’ll go in big wooden crates, with specifically dimensioned partitions inside. Then it will be lined with our favorite foam and tissue paper, cut so the objects sit snugly inside. I haven’t personally worked anywhere with a possibility of local shipments, so I can’t say where the threshold might be as to when a museum would just pay an employee to drive the objects over vs ship them with a shipping company. But the preparations would be similar, minus the big wooden crate but with extra-careful packing (and paperwork and insurance etc)

Conservation

Conservators are the people who work in labs with fancy equipment. Not every museum will have a formal conservator or a lab of any kind; sometimes the collections care person fills this role, or if something urgently needs care beyond the abilities of the museum’s equipment, they might send it away to a lab elsewhere, the same way you can send your old VHS home videos to a professional archive to be digitized.

If an object is actively deteriorating in a way that could harm itself or other objects (as opposed to like, at risk of fading bc the lighting is wrong, which is a straightforward fix related to the environment), that’s when a conservator would intervene.

Some methods/machinery by which you can analyze objects:

Ultraviolet (UV) and infrared (IR) light - Different materials absorb and react to light differently, which you can use to identify them. Useful for seeing things like the different layers of paintings

Stereo-microscopy (microscopes, of varying strengths)

At magnifications of x5-x100 you can see things like tool marks from an object’s manufacture, traces from wear, deposits, and coatings

At x50-x500, with a thin sliver of a sample, you can see (and hopefully identify) fibers, layers, particles, metallographic structures 

You can get information from objects without taking samples, but samples are usually worth the information. 

energy dispersive x-ray fluorescence spectrometry (EDXRF) - EDXRF allows you to identify the elemental composition of the surface layer of an object. So it might tell you what a tool is made of, and also the composition of the objects it was used on, if they left traces

scanning electron microscopy (SEM) - an SEM uses a focused beam of electrons to produce a magnified, high-resolution image of the surface of an object

X-radiography, both film and digital - X-rayy are beneficial for objects that might be covered by dirt or corrosion and can show you details of an object’s construction or hidden structural weaknesses

I’m not a conservator, so if you want more hard science-based info, ask one of them lol

Listen to me. If you take nothing else away from this post, let it be this:

 Once an object is in a museum, it is never seeing natural daylight again. Sunlight is the ultimate enemy of every object’s lifespan. If you need to see an object in the sun or moon light for ~magical spell reasons~, you will straight up be stealing that object to smuggle it outside.

Okay. That being said, you do hear (and could probably google) stories about museum employees stealing things from their museums on purpose to prove a point about security or insurance to their higher-ups, so like. Depending on your type of museum, it might not be impossible to steal from lmao. (Don’t tell anyone I said that.)

Possibly the most useful advice for you to keep in mind when writing your conservator or collections care characters would be that touching objects hurts them. It might not hurt them now, it might not even hurt them in ten years, but every time you handle an object, there’s a risk that you’ll damage it. Not on purpose, obviously, but to err is human. The simplest, most effective advice my conservation professor ever gave us was “don’t handle an object if you don’t have to.” That means don’t move an object without a plan and a place to put it, first examination should always be visual, not tactile, etc. Unfortunately, that means that your character cannot walk around lovingly handling and caressing their favorite objects (unless this is a Night at the Museum situation where the objects are caressing them back, ykwim)

Museum Technician

These people probably have a lot of different names, but basically, technicians are the background muscle of the museum. They do the technical construction of bigger pieces of exhibition material, up to and including the exhibition cases themselves. 

So they wouldn’t deal with the small mount that the object rests on, but they might build the big plinth that the mount sits on. They’ll help move things around the building, particularly big heavy things, hang big framed works, assist with exhibit installs, and generally do most things which might involve power tools/equipment or heavy lifting

I worked in a big museum that hired a third party company to supply their technicians; I interviewed at another place that hired their own. If you’re a small museum, you might just have a freelance person that comes in once or twice a week to help move things.

Other

Other miscellaneous roles one could have in a museum: researcher (for exhibits and/or collections), gift shop or cafe worker, security guard, room attendant, translator, archaeologist, consultant

Honestly, TL;DR? Just have your character be a consultant of some kind. “Oh no, I don’t work here, I’m Y’s friend. They called me in to provide some expertise on X subject that they’re doing an exhibit on.” This could work for literally any subject- history/archaeology/anthropology, art, transportation, science and technology, anything you might find pictures of in an archive, idk. This could get you into an office or meeting room of some kind in the ‘employee only’ space of the museum, or potentially all the way into the collections store if you’re giving them information they were missing about some objects. Otherwise you’d probably (hopefully) need a key or some other kind of security clearance to get into the collections store.

Whew, that was a ride, huh? I hope this guide was useful to someone! I’m always open to answering questions if you think I forgot something or if anyone wants more details <3

[moonlightcycle571]

That time Catwoman became a Captain Marvel rogue.

Catwoman canonically steals out of Gotham, and has done multiple sabbaticals (heist world tour) on multiple occasions. So picture this:

Billy meeting Selina during a heist

Billy: is there to get a magical artifact that’s wayyy too dangerous to be left in a museum because obviously an evil magician is going to steal it for world domination. He goes as Billy because Cap can’t be seen doing crime.

Catwoman: a cat themed necklace of super importance or whatever. It doesn’t matter, it’s old, pretty and cat related so she has to take it.

They are not in Gotham.

Billy has no idea who Catwoman is, just that she has a magical aura around her (it’s because she steals a lot of magical items on accident).

Billy thinks Selina is an evil wizard hoarding cat themed powerful artictifactd and is apparently a known criminal(?). He should talk to Batman, he knows stuff about people, surely that won’t backfire (… right?)

Selina thinks Billy is an up and coming burglar (and she’s kinda right in that regard).

Selina wonders if she should get this kid as an apprentice (maybe son depending wether or not he’s an orphan)

Bonus:

Batman is conflicted. On one hand, he’s loosing his favourite rogue. On the other hand, his maybe love interest is getting along with his maybe kid.

Batman plots on how to lure them both to Gotham.

His kids behind him are concerned. Alfred is just done.

Bonus 2:

Tawky Tawny joins in on one of Billy’s heists in his tiger form (mostly because they are in a dangerous place and wants to protect him in his small form).

Selina sees this.

Selina is so going to adopt that kid, even if it’s the last thing she does. Maybe she should ask Batman for tips. That won’t backfire (… right?)

[sigmalaussene]

Howdy! I'm alive, and i cleaned this sketch today, because....

https://archiveofourown.org/works/62588182

New (first) NATM fic just dropped :D

[blueberry-suns]

padawan au

[arttsuka]

have Jedidiah and Octavius watch brokeback mountain on Larry’s phone

Sorry anon, but my headcanon is that Jedediah watches it alone for some reason (maybe Octavius was busy that night with something else) and he starts questioning his whole existence.

Internalized homophobia am I right? (Also Jed is definitely the kind of person who thinks like 'this isn't all that bad except from when I'm doing it, then it's the worst thing ever). Anyway, I think it's way more difficult to actually think about your feelings than just have them. It can be scary too, putting a proper name on a situation.

Then he just kinda dissappears for a few weeks, no one knows where he is. He doesn't say anything to anyone but even when he gets back he kinda avoids everyone.

He vents to Larry without giving him any context.

Octavius just blames Larry. It was something on the phone that made Jedediah upset, so naturally it must be Larry's fault.

They make up in the end but I don't know if they talk about what actually happened. Maybe Octavius watches brokeback mountain too and he understands idk

A little sequel to this here

[justaz]

merlin owns an arthurian museum with authentic items from the third/fourth century as well as statues, busts, and portraits from different artists over the years of king arthur (and the others). who better to ensure everything is real rather than someone who was there? eventually, people are pushing for him to find more artifacts bc its been a few years and bc history nerds are bloodthirsty beasts. people also want to find excalibur but whatever. merlin caves and is like “might as well see what else fell into lake avalon” so they dredge it up. merlin is relaxing at home when he gets a call. he’s expecting them to say they found something small like perhaps a link or armor or a rare, old jewel. then he hears

“we found a body”

[theresamouseinmyhouse]

every day i think about tim drake being an international art thief wanted by interpol in the rr comics and i think about the sheer volume of comedy that could potentially have

[libraryofgage]

Life in Miniature (One)

Part of: Steve Deserves Good Parents, Actually Debbie and Fester Addams One | Two | Three Rick and Evelyn O'Connell One | Two Harley Quinn One 10th Doctor and Rose One | Two (on the way!) Scooby Gang (there are plans for this one lmao, so plz be patient with me orz) Jedediah and Octavius (from Night at the Museum) One (you're here!)

There will be more Jedtavius in the next parts I promise, I just thought this would be a funner introduction to the AU lmao

I just love those little guy dudes from the museum so much hfjdks and now we get two pairs of them

Also, fun fact, I took Steve's Roman name from, like, an actual king of Rome. The actual sixth king. He seemed like a chill dude.

Anyway, there's a meme at the end and as always, if you see any typos, no you didn't ;)

---------

When Robin took this job as a night guard, she didn't think the previous guard's words about history coming to life at night was, you know, real. She thought it was a joke, a predictable and corny joke, but a joke nonetheless.

But now, after being chased by a T-Rex, getting saved by Theodore Roosevelt, and almost being taken captive by fucking Attila the Hun, Robin thinks this job definitely isn't worth $16.50 an hour. Then again, this is the best paying job she's had in a while, and she was living a nocturnal life anyway.

Robin groans, leaning against a wall in the diorama exhibit, and slides down to the floor. She lets her head fall back against the wall, her eyes slipping shut as she slides. "This is crazy. This is insane. I need to find a fucking weapon or something," she mutters.

"Pardon me," comes a voice close to her head, "but might you be the goddess Diana?"

As pick-up lines go, it's not the worst one she's heard. And, based on what she knows of Greek and Roman deities, it wouldn't be too far off. Still, she does not want to be hit on by whatever weird historical thing is trying to flirt with her.

Robin takes a deep breath, opens her eyes, and says, "Do I look like a goddess to you?"

She looks to her left where the voice came from, blinking when her gaze falls on a figurine that would barely reach her ankle. He's dressed in a toga with a chest plate, wrist guards, a sword on his waist, and a deep purple cape over his shoulders. His hair is, honestly, the most impressive thing Robin has ever seen, made only more impressive by the golden laurels resting perfectly against his temples.

He's looking at her with wide eyes, more awed than anything else. "Yes," he says. "I have heard the gods are larger than life."

Okay. Fair.

"Why Diana, man?" Robin asks.

He tilts his head, studying her for a moment, looking her up and down. "You give me the same feeling as statues of Noble Diana with her Huntresses," he explains, pausing for a moment before adding, "A feeling of kinship, perhaps?"

Oh. This...this is like ancient Roman gaydar, right? Robin snorts and turns, resting her elbow on her knee. "I'm definitely not Diana. My name is Robin. I'm the new night guard."

His eyes brighten some, his smile growing wider and certainly charming enough to make the hearts of a few girls and guys flutter. "I am Servius Tullius, Sixth King of Rome, son of Vulcan, weapons master of the gods, and adopted son of Jedediah, Cowboy King of the Wild West, and Octavius, general of the Roman army."

Robin nods, letting all of the those words process in her head before saying, "Mind if I call you Steve? You look like a Steve."

The Sixth King of Rome blinks, looking slightly confused before his eyes light up with understanding. "Ah! A nickname! Yes, I am familiar with this concept. You may call me Steve, Lady Robin, as a show of our newfound friendship."

"Yeah, don't call me Lady Robin. Just Robin is fine," she says, hesitating before offering her hand to Steve.

"As you wish, Just Robin," he says, stepping carefully onto her hand and remaining steady as she raises him higher.

Robin blinks, frowning slightly and about to correct him again when she sees his smile and realizes it's a joke. "Okay, very funny, dingus," she says, carefully poking his side.

"Is dingus another nickname? It sounds like an insult."

"It usually is, but it's affectionate when I say it."

"Oh! Yes, like when Ockie calls Jed a philistine."

"Uh, sure," Robin says, nodding once as she lets Steve move to stand on her shoulder. He quickly sits, holding onto the collar of her jacket as she carefully stands up. "Hey, you know what I'm supposed to do about the dinosaur bones?"

"Rexy? Yes, he enjoys a game of fetch."

"Fetch. Of course."

----------

"What's going on in that head of yours, little man?"

Steve blinks, looks over at Jedediah, and raises an eyebrow at him. "I'm taller than you," he says, gesturing to the good inch he has on Jedediah.

"As long as you're my son, you're a little man."

Doing his best to not laugh, Steve nods once and points to the new diorama set up in the middle of the room. It's a circular diorama, centered on an equally circular stage divided into sections. A cacophony of noise echoes from it, clashing as each slice of the stage fights for dominance. "I'm trying to figure out what in Jupiter's name they're doing over there," he says.

"Well, most of it sounds like music," Jedediah says, "I think."

"It's not any music I've heard before," Octavius says, coming to a stop next to Jedediah and frowning at the diorama. "I would have assumed it the unholy shrieking of the damned."

"Perhaps it would be nicer if they weren't all playing at once," Steve suggests, hands on his hips as he tilts his head.

"Oh, boy, there it is," Jedediah says, his grin audible in his tone. "He's got the King Face."

"What are your intentions, my boy?" Octavius asks.

Before Steve can answer, Robin strolls into the room, grinning when she sees the raving diorama in the middle. She walks over to Steve, Jedediah, and Octavius, crouches down, and says, "Hey, guys. I see you're checking out the History of Rock display."

"History of Rock?" Steve asks.

"What in the sweet hell do rocks have to do with that mess?" Jedediah asks, gesturing to the noisy stage.

Robin rolls her eyes. "No, like, rock music. It's a genre. Anyway, it was sponsored by some musician, so it's a permanent display now."

"And they will be...playing every night?" Octavius asks.

"Probably."

Steve frowns a little more and nods, rolling his shoulders back. "If they are a permanent fixture in our hallowed hall, they must be welcomed. As Sixth King of Rome, this duty falls upon my shoulders. Fathers, I shall return shortly."

"Woah, woah, hold your horses there, little man," Jedediah says, moving to stand in front of Steve. "You're not going anywhere near that snake pit without some back up."

"A few centurions, at least," Octavius agrees.

"I will have Robin. What better protection is there?"

Jedediah and Octavius glance at each other before looking at Robin. She grins and offers them a two finger salute. "I'll guard him with my life," she says, "It's literally my job."

With that reassurance, Jedediah and Octavius move out of the way. Steve steps onto Robin's hand and settles on her shoulder with practiced ease, ignoring the nervous flutter in his stomach at greeting the new museum residents. He hopes they'll get along, but he also knows the might of his Roman army and the railroad workers can crush any who stand in their way.

Robin stops next to the diorama, tilting her head as she studies it. This close, Steve can see the bands playing on each slice of stage, the instruments and fashion shifting as his gaze travels around it. "Uh, excuse me," Robin says, raising her voice.

The raucous noise from the diorama screeches to a halt, the feedback making Robin and Steve grimace slightly. "Uh, hi. We're the official welcome crew for the Hall of Miniatures here. So, I'll need someone to represent your, like, whole display," Robin says, glancing over the bands until she finds one she recognizes. "Okay, I know you guys, so I'll be designating you the spokesband. Now, could the lead singer step forward?"

Steve watches as someone on the "Corroded Coffin" (what an odd name for a band) slice of the stage steps forward. Robin offers her hand to them, carefully lifting it away once they step on. "Great, uh, carry on, I guess. But, like, maybe play some of your quieter stuff for a bit," she says, her words barely out before the music starts up and the crowds start screaming once more.

She sighs and just walks over to the bench, letting off the person on her hand before letting Steve slide down her arm in a move they spent nearly three weeks practicing if only because they knew it would look cool.

When he hops onto the bench, Steve walks up to the other miniature, a man his age with long hair and odd clothes with tears that Robin once said were fashionable. His instrument is still slung over his shoulders, resting casually against his hips much like Steve's sword. Steve suddenly finds himself thinking that the man looks a little like a warrior. An odd one, to be sure, but a handsome one nonetheless.

He flashes his most charming smile, lets his shoulders relax, and says, "My friend here is Robin, Guardian of Brooklyn. I am Servius Tullius, Sixth King of Rome, son of Vulcan, weapons master of the gods, and adopted son of Jedediah, Cowboy King of the Wild West, and Octavius, general of the Roman army. You, however, may call me Steve."

-----

As far as Eddie was concerned, nothing mattered so long as Corroded Coffin got to keep rocking in an endless concert. The energy never waned, the set list never grew boring, and the music never stopped. He was ready to inform this welcoming crew of just that and promise Hell on Earth if they tried to disrupt the music (angry concert goers are a force of nature), when the words just died in his throat.

Because the most gorgeous man he's ever seen slides down that giant lady's arm, easily and smoothly landing on the bench. Somehow, his hair is perfectly windswept, the golden laurels glinting in the lights above them. His purple cape flutters softly as he walks closer, his toned thighs on full display with the toga hem that falls to the middle of them. There's a sword on the guy's hip, a chest plate that Eddie wants to pull off, a smile he wants to taste, and a pair of freckles right next to each other on the guy's cheek he wants to drag his tongue across.

He misses most of the introduction because he's too busy staring. He gets the important bits, though: Robin, a king, son of a god, adopted son of two dads. Eddie licks his lips nervously, a grin of his own tugging at his lips as he steps forward and playfully bows. "It's an honor to meet you, Your Majesty," he says.

It's supposed to come out joking, a little poke at the guy's authority to see if he can be riled up. It actually comes out way too genuine, and Eddie has a sudden realization that he meant it. He absolutely will accept this guy as his king, actually. He'll fall to his knees before him right now if asked, and not just because it might give him a little peek under the dude's toga.

"Please, just call me Steve. There's no need to be so formal."

Eddie bites the inside of his cheek, hoping Steve doesn't realize that the things Eddie is thinking about (the things he wants to do to and with Steve) are just about the least formal things on this earth. "Good to know," he says, relieved his voice sounds normal as he stands up straight and offers his hand. "Name's Eddie Munson, uh, lead singer of Corroded Coffin."

Steve blinks, and his smile becomes a bit more genuine as he steps closer and clasps Eddie's forearm. "A fellow leader," he says, squeezing Eddie's arm. "Welcome to our museum."

"Y-yeah," Eddie says, his arm still tingling when Steve lets go. He clears his throat, idly tugging on a few strands of hair. "So, uh, what's the deal around here? I mean, giant women...Roman kings...cowboys, it looks like."

"Our noble museum is home to Pharoah Ahkmenrah and his tablet, which brings the exhibits to life each night," Steve explains.

"There's a few rules, though," Robin says, sitting down on the bench behind Steve. "One, no getting into fights. Two, be back in your display by sunrise. Three, no leaving the museum at night."

"What? Why not?"

"We have lost good exhibits to Sol Invictus's morning rays," Steve says, frowning slightly. "So, be careful."

Eddie stares at Steve with wide eyes as he nods, amazed at the fact that Steve seems to talk like that so genuinely. And the fact that Eddie is...kinda into it. Holy shit, that's not helping with Eddie's whole "fall to his knees" thing. He wouldn't mind some good old-fashioned worship if Steve would just smile at him again.

Maybe his prayers are heard, because Steve smiles at him again. "Wonderful," he says. "Now, Eddie, could I interest you in a tour of the museum tonight?"

"Oh, you could interest me in a lot of things, sweetheart," Eddie blurts out, his mouth running faster than his brain.

He snaps his jaw shut, relieved and horrified at Steve's slightly confused expression and Robin's "I know what you are" thousand-yard stare from over his shoulder. Before he can try to backtrack, Steve snaps, understanding in his eyes. "Ah! Sweetheart is a nickname, yes? I accept your offer of friendship."

Eddie clenches his jaw, stopping himself from saying that it's more than friendships he's offering, and smiles. "Yeah. A nickname. That's all. I'm just...a nickname kinda guy. I'll probably think of more, too, Stevie. Like that."

Steve practically beams, and Eddie feels his knees go weak. "I look forward to it," he says, turning on his heel to look at Robin, who thankfully schools her expression. "Robin, this is where we leave you for the night. You have my word that Eddie will be back in place before sunrise."

"Well, you two kids have fun," she says, grinning in a way that immediately puts Eddie on edge. "I'd better not hear about any funny business, though. Absolutely no bases should be reached tonight, and you'd better not do any conquering or pillaging."

She definitely looks at Eddie when she says that last bit. Eddie stiffens, doing his best to hold back a blush when Steve glances over at his, the confusion clear on his face. "Conquering requires more planning than this, Robin. I've told you before."

"Don't worry about it, dingus. Just have fun. Here, I'll even call a ride for you," she says, winking at them before turning, holding her fingers to her mouth, and whistling sharply.

Steve walks over to Eddie right as the ground starts to shake, easily catching him around the waist before he can lose his balance. "The shaking does take some getting used to," he says, his tone full of sympathy and obliviousness to the crisis Eddie is experiencing.

When his brain finally catches up enough to ask what he's talking about, a dinosaur skeleton slides into the room, its body wiggling excitedly as it growls. Eddie jerks back, the arm around his waist tightening some. "What the fuck?!" he shouts.

"Worry not," Steve says, leaning closer. His voice is a little softer now, his breath fanning over Eddie's ear. "This is Rexy, our steed for the evening. He's very friendly."

"Friendly," Eddie mumbles, letting himself be dragged over to Rexy and placed on the dinosaur's head by Robin. "The dinosaur is friendly."

"Many of the exhibits are," Steve tells him, grinning brightly as Rexy begins moving after a pet on the snout from Robin.

Eddie looks at him, feeling blinded by Steve's smile once more, and completely forgets about the living dinosaur skeleton.

--------

Lemme know if you'd like to be added to the tag list!

(Also I know there are like one or two upcoming parent AUs that people have asked to be tagged in and I tried to see if this was one of them but couldn't find anyone for the life of me hfjdks so I'm sorry if you asked on another post and I missed you orz)

And, finally, a meme for you

[kaaaaaaarf]

Presenting: Museum Wolfstar | Murder Husbands Wolfstar | Hatefuck Wolfstar

picrew link

(alternate museum Sirius and hatefuck Sirius under the cut!)

[kusanagihaku]

been busy recently but wanted to wish everyone a happy new year!!! 🍀🍊🧧

[nishayuro]

Shout out to my Ahk girlies out there who took history/archaeology related courses in college because they love Night at the Museum and Ahkmenrah so much. Here's to imagining a future with us and this fictional pharaoh 🥰

I'm literally in BA History right now in my first year suffering because I decided when I was 8 that I wanted to be "close" to Ahk and never gave up on this dream. I have a pin with Ahk's pic that says "Do it for him" just so I can cope everyday and as a reminder why I'm in this in the first place.

[phantom-fleetways]

Happy Christmas

(or Yule for those who care)

Have some Tims based off of Sonic and Tails!

[technically-human]

You feel like reading 10k of these two idiots pining for each other? Memento Mori might be for you!

I wrote a fic so of course I had to draw something for it.