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ms-demeanor · 3 months ago

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On insurance: I still live with my parents and don't know a lot yet about the sorts of things adults usually have to spend money on. I've always been skeptical of things like insurance and credit cards because it seems to me they wouldn't be selling that if they didn't expect to make money from it. I talked to my cousin a while ago about credit cards and basically came to the conclusion that they do that because they're betting on the customer getting sloppy and letting their debts stack up, and the way you beat that and get money from credit card companies is just by being careful.

I'm a little more confused about insurance though because it seems much more straightforwardly like a gamble they will simply not take if it won't pay off for them. Like, you don't go to a casino because every game they play at a casino is one they've done the math on and have determined that statistically most people will lose money on most of the time. Is insurance not kinda the same? Where they estimate the risk and then charge you an amount calculated to make sure it probably won't be worth it for you?

I know if you have a car you legally need car insurance so everyone knows you can pay for another car if you crash into someone, and I gather that here in the US at least health insurance companies have some kinda deal with hospitals so that the prices go down or something, and there's a reason I don't fully understand why not having health insurance is Really Bad. But we get to pet insurance, or like when I buy a concert ticket and it offers ticket insurance in case I can't make it to the show, and surely if they thought they were gonna lose money on that they just wouldn't sell it, right? Or they'd raise the price of it until it became worth the risk that something bad actually will happen? Wouldn't it only be worth it to buy insurance if you know something the insurance company doesn't?

So the deal is that most people don't use their insurance much, and often insurance companies will incentivize doing things that will make you use your insurance less.

So, for example, you can get a discount on car insurance if you have multiple cars because people who insure multiple cars are more likely to be responsible drivers (the ability to pay for multiple cars stands in as a representation of responsibility here). The longer you go without an accident, the lower your premiums get because that means that you are not costing your insurance company anything but you are paying into the system. The car insurance company's goal is to have the most responsible, safest drivers who never get into car accidents because they can predict (roughly) how much they're going to have to pay out to their customers and they want the number they pay out to be lower than what's paid in. So they try to discourage irresponsible drivers by raising their rates and encourage responsible drivers by giving them discounts.

Health insurance companies often do the same thing: I recently got a gift card from my health insurance company because I had a visit from a nurse who interviewed me about my overall health and made sure I had stable blood pressure and access to medications. It is literally cheaper for my insurance company to give me a $100 giftcard and hire a nurse to visit me than it is for me to go to my doctor's office a couple of times, so they try to make sure that their customers are getting preventative care and are seeing inexpensive medical professionals regularly so that they don't have to suddenly see very expensive professionals after a long time without care.

Insurance in the US has many, many, many problems and should be replaced with socialized healthcare for a huge number of reasons but right now, because it is an insurance-based system, you need to have insurance.

We're going to use Large Bastard as an example.

Large Bastard had insurance when he had his heart attack and when he needed multiple organs transplanted. He didn't *want* to be paying for insurance, because he thought he was healthy enough to get by, but I insisted. His premium is four hundred dollars a month, and his out of pocket maximum is eight thousand dollars a year. That means that every year, he pays about $5000 whether he uses his insurance or not, and if he DOES need to use the insurance, he pays the first $8k worth of care, so every year his insurance has the possibility of costing him thirteen thousand dollars.

The bill for his bypass surgery was a quarter million dollars.

The bill for his transplant was over one and a half million dollars.

His medication each month is around six hundred dollars. He needs to have multiple biopsies - which are surgeries - each year, and each one costs about twenty thousand dollars.

Without health insurance, he would very likely be dead, or we would be *even more* incapable of paying for his healthcare than we are right now. He almost ditched his insurance because he was a healthy-seeming 40-year-old and he didn't think he'd get sick. And then he proceeded to be the sickest human being I've ever known personally who did not actually die.

Health insurance costs a lot of money. It costs less money for people who are young and who are expected to be healthy. But the thing is, everybody pays into health insurance, and very, very few people end up using as much money for their medical expenses as Large Bastard did. There are a few thousand transplants in the US ever year, but there are hundreds of millions of people paying for insurance.

This ends up balancing out (sort of) so that people who pay for insurance get a much lower cost on care if they need it, hospitals get paid for the care they provide, and the insurance company makes enough money to continue to exist. Part of the reason that people don't like this scheme is because "insurance company" could feasibly be replaced by "government" and it would cost less and provide a better standard of care, but again, with things as they are now, you need to have insurance. Insurance companies are large entities that are able to negotiate down costs with the providers they work with, you are not. If you get hit by a car you may be able to get your medical bills significantly reduced through a number of means, but you're very unlikely to get your bills lower than the cost of insurance and a copay.

Because of the Affordable Care Act, which is flawed but which did a LOT of good, medical insurance companies cannot refuse to treat you because of preexisting conditions and also cannot jack up your premiums to intolerable rates - since Large Bastard got sick, he has had the standard price increases you'd expect from aging, but nothing like the gouging you might expect from an insurance company deciding you're not worth it.

Pet insurance works on the same model. Millions of people pay for the insurance, thousands of people end up needing it, a few hundred end up needing a LOT of it, and the insurance companies are able to make more money than they hand out, so they continue to exist. This is part of why it's less expensive to get pet insurance for younger animals - people who sign up puppies and kittens are likely to be paying for a very long time and are likely to provide a lot of preventative care for their animals, so they're a good bet for the insurer. Animals signed up when they are older are more likely to have health problems (and pet insurance CAN turn animals away for preexisting conditions) and are going to cost the insurance companies more, so they cost more to enroll (and animals over a certain age or with certain conditions may be denied entirely).

This weighing risk/reward is called actuarial science, and the insurance industry is built on it.

But yeah it's kind of betting. The insurance company says "I'll insure ten thousand dogs and I'm going to bet that only a hundred of them will need surgery at some point in the next year" and if they're correct, they make money and the dogs who need surgery get their surgery paid for out of the premiums from the nine thousand nine hundred dogs who didn't need surgery.

Your assessment of credit is correct: credit card companies expect that you will end up carrying a balance, and that balance will accrue interest, and the interest is how they make the money.

And it is EASY to fuck up financially as an adult. REALLY EASY. But you are still likely to need a good credit score so you will need a credit history. That means that the correct way to use a credit card is to have a card, but not carry a balance.

To do this, never buy anything on the card that you can't afford. In order to avoid needing the card for emergencies, start an emergency fund that is at least 3 months of your total pay *before* you get a credit card. That seems like a *lot* of savings to have, but from the perspective of someone who has had plenty of mess-ups, it's a lot easier to build up a $10k emergency fund than it is to pay off a $10k credit card debt.

If you don't understand how interest works on credit cards, or why a 10k savings is different than a 10k debt, here are some examples working with $10k of debt, 23% interest (an average-ish rate for people with average credit), and various payments.

With that debt and that interest, here's how much it costs and how long it would take to pay off with $200 as the monthly payment:

Fourteen years, and it would cost you about twenty four thousand dollars in interest, for a total amount paid of about thirty four thousand dollars.

To save $10k at $200 a month would take four years and two months.

Here's the same debt at $300 a month:

4.5 Years and it costs about six grand (again, just in interest - sixteen thousand dollars total). Saving ten thousand dollars at three hundred dollars a month would take just under three years.

Here's the same debt at $400 a month:

3 years, about $4000 dollars (fourteen thousand dollars total). Saving ten thousand dollars at $400 a month takes just over two years.

The thing is, with all of these models you're going to end up paying one way or another. Insurance vs out of pocket is you weighing the risk of losing a fair amount of money by signing up but not using the system, or potentially losing a catastrophic amount of money by not signing up.

For credit cards they really only work if you know you're never going to need them for an emergency, because an emergency is what you're not going to be able to pay off right away. I didn't have an emergency fund when Large Bastard had his heart attack and needed surgery, or when we moved between states suddenly, or when we moved between states suddenly AGAIN and needed to pay storage costs, or when Large Bastard needed a transplant, or when Tiny Bastard got in a fight with my MiL's dog, and the fact that I didn't have an emergency fund is still costing me a lot of money.

So, young folks out there: what's the takeaway?

Get insurance. Get the best deal possible, which usually ends up being the one you sign up for early. You may think you can let it ride without insurance, but man in the six months between when I graduate college (and lost my school insurance) and when care kicked in after 90 days at my job I got electrocuted and needed to go to the ER. If that hadn't been a worker's comp payout I would have had thousands of dollars in bills. Something could happen. You could break your leg, you could get hit by a car, you could suddenly find out that you actually have heart disease at twenty, you could develop cancer. Have insurance, you need insurance. You legally need car insurance in the US, and you financially need health insurance. If you have a pet, I think it's a good idea for them to have pet insurance.

Credit cards are not for emergencies, they are not for fun, they are not for buying things that are just ever so slightly out of your budget, they are for taking advantage of the credit card company and managing to get by in a system that demands you have a credit score. ONLY put purchases on your credit card that you already have cash for. Before you get a credit card, build up an emergency savings so that you aren't tempted to put emergency charges on your card.

If you DO end up with an interest-bearing debt, pay it off as fast as possible because letting it linger costs you a LOT of money in the long run.

Stay the fuck away from tobacco and nicotine products they are fucking terrible for you, they are fucking expensive, and they are not worth it put the vapes down put the zyns down put the cigarettes down I will begin manifesting in your house physically i swear to fuck. Knock that shit off and put the cash that you'd be spending on nicotine into a savings account.

Take care, sorry everything sucks, I promise that in some ways it actually sucks less than it did before and we're working on trying to make it suck even less but it's taking a while.

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batsplat · 5 months ago

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quick follow up to this bit

was also reminded of this valentino quote

He speaks about my shoulder like he was the best shoulder doctor in Melbourne Hospital.

what WERE they cooking

(I can't like. prove this because obviously we simply do not have solid 'evidence' for casey's thinking here either way, but given this is a speculative post about how I'd narrativise these rivalries.... do think the screenshot above is basically my theory for why casey had a thing about valentino's injuries. to such an extent that valentino picked up and commented on it! after laguna and throughout 2009, there were various waves of discourse about casey having been 'broken' by valentino - first due to casey's dip in form in 2008, then because he had to take some time off in 2009. the fact that it was an invisible illness that he himself could not explain in a sport that is all about the big, glaring obvious injuries - one that was treated as a sign of mental weakness, something he was ALWAYS susceptible to being accused of... very much the opposite of valentino's shoulder and leg in that sense, which was way easier to explain and was immediately taken seriously. my suspicion is that for casey, it was about not being extended the same grace as valentino was, being frustrated at how much leniency valentino was being granted when casey was always being harshly judged. of course, valentino (in classic demented rider fashion) was if anything downplaying the severity of the shoulder injury and only admitted after it was more or less healed that he'd been terrified by how long the recovery period had dragged on and had feared he would never be the same rider again. casey's lack of empathy on this count is completely justifiable and he does also obviously have a point, but it's still an interesting part of his character. it's what makes the rivalry with valentino so very interesting - there are lots and lots of ways in which valentino directly made casey's life miserable, but then there are other ways in which valentino's mere presence, his existence, someone whose treatment casey could compare his own to, that also contributed to casey's hatred towards him. firstly by getting more empathy than casey did and the general injustice in how the sport was 'always' on valentino's 'side' in a way it never was for casey, secondly by having this reputation of 'breaking' rivals that... well, y'know, valentino was presumably more than happy to be the beneficiary of the whole thing, but it's not like this was actually a line he spread himself, including with regards to casey. he didn't have to! it's kinda just... an awful coincidence that casey's 2009 absence was always going to be treated with suspicion and he HAPPENED to have a rival with valentino's very specific reputation?? the perfect storm! which gets you to this odd point where... if anything after that casey is the main instigator in terms of the sheer vitriol of the rivalry - but it's built on years of seething resentment that valentino at times almost seems taken aback by... and then reciprocates with interest because of course he does. because that's just how valentino ticks. fundamental lack of understanding for each other!! valentino kinda accidentally being casey's perfect foil!! casey having a million Legitimate Grievances against valentino but still somehow managing to project 85% of his other issues with the sport on valentino too!! they're soooooooooooooo. so!!)

if you were to direct a motogp movie (or make a one season of television) what season or rivalry would you make it about? and more interesting what artistic liberties would you take? it doesn’t have to be a straight up biopic bc imo those are often boring, instead it could be something like velvet goldmine (1998) aka fictional characters whose real life counterparts are pretty obvious, veering in like rpf territory. anyways👀

did you know. one time this guy put a curse on this other guy. and he never won a race again

anyway, look, I do feel like by this point that's the BORING answer from me, but obviously it's where my mind first went. I'm not sure I'd actually want it out there in film form because by now it's badly enough remembered that it's like, my cute little niche story, and I think there's something fun about the Wider World even within the motogp fandom not exactly getting how bonkers the whole thing was. (I know other humans have canonically watched motogp 2004 but I swear even journalists have forgotten some key key details and it's kinda annoying but also fun.) bold words from someone who's been blogging about it!! weird gatekeep-y instinct. but basically my job here is done as far as outreach is concerned - I wrote a very long post, now I get asks about it twice a week that allow me to think about it some more with the four other people who care, perfect balance. that rivalry doesn't need to go mainstream!! the whole point of it is that it's kinda cruel but narratively pleasing that it's gone under the radar, because it's another sign valentino won. but obviously, I cannot literally make a film about this, so the hypothetical repercussions I think maybe we can put aside for a moment here

okay I came back to this bit of the post after I increasingly got into of the spirit of coming up with dumb ideas, but it did make me flesh out what I'd even WANT from something like that. I'm with you anon, a lot of biopics are boring!! if you want to just know what happened, please just literally go and 'watch the races' and 'read books' like what are we actually getting here. you kinda want to give it a purpose for existing, right, a way of portraying real/mildly fictionalised events in a manner that is also taking some kind of stance on the material AND is doing stuff you can't do 'in real life'. thing is, look, you could make 2006 into a film, and I'm sure it'd be perfectly nice because it's fundamentally a solid underdog story (well, inherently winning a title with repsol honda is NOT being an underdog but you can write it that way), but also what are you doing beyond just telling people what happened? I feel like that generally about single seasons, they're not really doing anything for me. I was also turning around the biaggi/valentino rivalry in my head in part because that's the one valentino gave as his answer for 'rivalry he would turn into a film' (marc big wet eyes sitting right next to him), but like. a film about that rivalry from valentino's pov is fundamentally not something I'm interested in. you have all these isolated very memorable moments that make it work as a rivalry, like you can absolutely spin them into a dramatic yarn that goes through the genesis of their conflict to middle finger gate to punching gate to assen + donington + sachsenring + phillip island 2001 and it's basically *insert rousing music* successful coming of age. at most you can lean into the fact valentino became successful at being a dick. like idk it's fine but also what's the point? valentino is challenged in a sports context by biaggi, he's challenged because he realises his words have consequence and the press actually reports the words he says to journalists (the horror), but he is fundamentally not challenged on a personal level. that's the entire point, right? it's the ultimate comfort zone rivalry - biaggi is a dick who it is quite easy to hate and also reacts poorly to valentino's initial provocation. the animosity escalates and it is inherently fun to beat him. valentino is mean to him, but it's not like he even really crosses any lines to beat him. like you can make it into a film, and if you twisted the material a little bit you could make it satisfying, but I don't want to!

now the way the writing process of this post worked was that I was going to breeze through a bunch of non-sete/valentino rivalries and explain why I think some of them don't work for our purposes here, but then I ended up writing myself into changing my mind. so my take on the biaggi rivalry is that actually, you CAN make it work but it has to be from biaggi's perspective. basically, I think you've got to amadeus it (a web weave I have been thinking of making at some point btw). so,,, it's a meditation on talent and how unfair it all is, maybe minus the bit where salieri poisons amadeus (I know that doesn't happen in the film) or dresses up as amadeus' father to, y'know, make him write a requiem on his death bed. and it's not amadeus in that HERE, the clown prince gets a happy ending! but it's more like, in thematic terms, I think you have to zero in on this bit. biaggi didn't have parents who shoved him on a bike when he was three years old, he didn't have parents who were invested in his motorcycling career (or even necessarily particularly invested in him), he started the sport late and discovered that, yes, he did have a prodigious amount of skill in it - but one that he started honing far later than valentino did. he approached his career with a sort of grim resolve, surly and irascible and not interested in making friends with any of his competitors but very, very good. he goes away from the race track and dates all these models, he irritates fellow riders, he's not part of the gang and he's happy about it. he's very successful! four 250cc titles, wins his first ever race in 500cc at a time when doohan was very much winning everything. he's also just like,,,, an interesting and spiky enough character it's not hard to make him come alive

but then of course you have this gradual emergence of the amadeus character, the one who challenges his established position in the court of,, well... motorcycle racing, and also as the guy italians rooted for! and valentino's obviously, y'know, in so many ways the exact opposite from biaggi, and he's super young and cheerful and lively and is doing all his silly celebrations and is being a bit camp and goofy and treats motorcycle racing as a party (you really want to lean into the culture clash here, like in amadeus it's because you have stuffy austrian court vibes but here it's because everyone is having their bones broken every two minutes and just how... kinda grim a lot of motorcycle racing was). and he's also this innocent! yes, he insults biaggi, and yes, in retrospect we know valentino is kinda evil, but at the time he was a kid with a big mouth who was a little taken aback by how that biaggi feud sort of escalated beyond what he'd actually intended it to do! and biaggi just, hates him. and I think, sorry to the real man max biaggi here, but you've got to play with how once they're actually competing with each other, it's miserable how there's just this unbreachable gulf in talent. like, whatever biaggi does he cannot win! he isn't going to defeat valentino over the course of a full season! which is depressing and horrible and CRUEL, because there's this inevitability to the whole thing... and also! because valentino doesn't DESERVE it. and you don't have to go full salieri pleading with god to explain how god could give this CLOWN all this talent, but it's kinda the same vibe! how is it valentino, who is constantly just having a laff and canonically maybe wasn't the biggest gym-goer in the paddock and is just generally seen as, y'know, a bit of a dandy, this foppish clown who everyone loves and who doesn't have to work hard to be good - how is he the one who is winning so much!! it's miserable and unjust... and I think how you portray this is that you really emphasise the kinda, repetitive nature of the defeat. like, I think you probably want to make this into a non-linear narrative where all this biaggi backstory is communicated somehow but you don't just start it when he was born or whatever - you start it in 2001 when they're competing for a title and already hate each other. and then you heavy on the time loop vibes. the whole cinematic language and all that other shit should emphasise how all these weekends are structured in exactly the same way and if you're losing to this one guy, all these different weekends can start feeling the same. it bleeds into each other, it feels inescapable, you're trapped in this narrative you can't change... worst of all, you even return to the same places again and again - like play with that! biaggi keeps coming back to where they had the fist fight, to where valentino first insulted him all those years back. you play up the disorientation and the misery of it all, plus biaggi canonically gives us all this kinda messy freudian shit to play with like how he was dating 'valentina' and his relationship with her was falling apart because of how miserable valentino was making him. it's all there!!

ANYWAYS the way you conclude this story is!! welkom 2004!! so again we can artistic license this a little bit and, uh, ignore sete (though I do also think it's fun if you lean into biaggi being displaced as a rival and staring at them being friendly and happy with each other from the outside) - but the key bit is that valentino is finally making the big error. biaggi wasn't winning titles on a yamaha, since he left yamaha has gotten worse, now valentino is making this big mistake out of his own hubris. language of cinema that shit and make everything brighter and more hopeful.... the time loop is finally over, biaggi has escaped, this year will be different!!!! everyone in his circle agrees, valentino is fucked. step off the plane at welkom (pre season testing didn't happen in this universe) and it's literal dawn of a new day... staring out at the sun and finally, biaggi can move on, can live a new and different life. anyway. obviously we all know what's coming next - you have this big dramatic climactic race where biaggi throws himself at valentino again and again and again and he comes so close to winning it... but he doesn't. and you have valentino living his best life, being delighted, but the film is focusing on how like,,, we're bleaching the joy back out of biaggi's life, how actually he's returning to what he already knew. and it ends on the podium, with the camera focusing on biaggi on that fucking second step or zooming in or whatever (idk how cinema works) and it just finishes on this shot of biaggi dead-eyed in a bleak world, trapped again for eternity aka until the end of the 2005 season. done!! I'm not sure this is quite what valentino had in mind, but. well. that's how I'd do it

this is from the pushkin play from 1832 not the 1984 film but like. low key pushkin already kinda nailed the essence of sports rivalries in the 1830s and we just have to acknowledge that sometimes

right. so the casey rivalry is where I'm going to go completely off the wall. skip this bit to get to the slightly saner stuff. this is also one I fully admit to sometimes playing around with in my mind anyway, but. uh. I'm gonna be taking this one in just. well. places. I do have a vision here but I also don't quite know how to explain it in a way that doesn't make me sound like I've lost my mind, but well if you're still reading this then that's on you. so lemme get this out of the way: the classic sports biopic formula would work well with casey. if I had to point to a single rider I would sports biopic-ify, it's casey. so you have all this kinda,, obvious adversity that's easy to get across, and it's a narrative you can follow chronologically without too much trouble. you've got all the childhood stuff, the australian racing club not letting him join them, the move to britain, the rising through the ranks, it's also this very biopic-friendly 'nobody ever believed in him apart from like three people' stuff. and the premier class is also narratively satisfying, from the rocky rookie season to the kinda shock success to then all the lows of 2008 and 2009 and the physical ailments and the anxiety and then the switch to honda and the title and then him deciding to retire... that's all good stuff! you can absolutely biopic-ify it! gun to my head and sure, I can walk you through exactly what bits of his life I'd focus on and put in what order and so on, and I think ultimately you could make a very good sports biopic from that

[some mild gore to follow in this next section]

but also. thing is. that's fine. it's just not where I want to go here, because again I feel like at that point you can also pick up his autobiography and just read it - because what you're basically doing here is just filming that. and I get how this stuff works, you're bringing the story to a wider audience, you can show stuff in a different way in that medium etc etc, and that's all great but also I don't care about bringing stuff to a wider audience. I care about doing fun stuff in my brain. so what I'd actually do here is just, basically, go in the exact opposite direction and ditch all the realism. genuinely, ditch the live action stuff, we're going animated - what I'm interested in here is stuff where we need to be able to fully suspend our disbelief and lean into some surreal shit. I'm not going to bury the lede here: my idea is that you take that thing where casey said he hated how ducati was ruining the bike by letting valentino's yellow encroach on it and, basically,, just go all in on that bit. like come on, that is so singularly visually evocative, it truly captures a lot of what's going on thematically in that rivalry. (see also x and x for the most relevant casey posts.) casey sees valentino as the malevolent force, this infection! he associates him strongly with a specific colour, one that can be sickly or unnatural or just... evil. malignant, malicious, malevolent, all the m words. to casey, valentino is a personification of everything that is wrong with the sport. valentino is literally the walking manifestation for so many of his issues, from the dangerous riding to the lack of respect to the lying to the cult of personality to the obsession with image and the media to the backroom games to the politics to the injustice of how different riders are treated differently, like!! he's literally all of that! this is a topic for another post, but this plays out in a lot of kinda, weird and funky ways where it's a two way street and sometimes when casey talks about motogp you go 'actually I think that's just valentino?' (btw he also does this about 'europe' right I don't think those are europeans you hate casey that's literally just valentino) and sometimes when he talks about valentino it's kinda? this feels like it's about a little more than the bloke himself? and basically, right, I think you need to take this to its natural conclusion where casey used to admire him and look up to him and want to emulate him on track and then gets disillusioned when valentino's worshippers turn against casey and casey is the one to bring valentino down to earth and... listen, I think you need to play around with valentino being a literal god. and I think you need to have casey stab him to cover up the yellow on the ducati with blood

okay. look. the idea here, right, is that we're basically making the subtext text, and just digging into that process of 'bringing valentino back to earth', of taking on a god and having the audacity to succeed, and also treating valentino as this sort of. infection in his own mind. the bike is literally being infected!! casey may have left the ducati but he STILL has some fidelity and love for this project, those were his people he worked with, and now valentino is coming in and just twisting everything around himself!! but also I think how this functions is that, okay, so you have all this normal stuff that's the actual 'plot' in the 'real world', but the ISSUE with the real world is that there's a lot of stuff that just. isn't possible there. like the thing casey wants in that rivalry but is never going to have is... a captive audience. a big problem casey has in that rivalry is that he doesn't get the chance to actually say a lot of stuff to valentino. he starts using the media more and more and plays the game on valentino's level, but there's still this disconnect where mr straight talking is the valentino rival who valentino never really blanks or freezes out like... there's a disconnect! there's valentino the person, who casey never quite figures out how to just straight up hate, and then there's valentino the character, the racer, the rider, the god who casey DESPISES. but when they're doing small talk at pressers and podiums, casey doesn't get to talk to that version of valentino! he just talks to valentino the person, who obviously isn't literally a different person but is also not going to explain to casey where he's coming from, is he, and also isn't someone who casey can explain to where HE is coming from. and that gulf... it does bother casey. I don't think he can quite verbalise why either, but there's just... this creeping tension. I think it'd be easier for casey if valentino really were more of a caricature, just kinda a dick in all walks of life. and there's just these canonical hints of that... the way casey talks about how he's sure valentino as a guy is fine, but he never knew valentino like that, the whole 'I'd like to go with valentino for dinner to tell him where I was coming from in that rivalry' thing, like!! it's there

so basically EYE think what you should be doing is using the wonders of storytelling to actually. embrace that element. and just leave realism behind now and again. valentino is a god, he is literally worshipped, he's part of this pantheon that casey is trekking to reach. casey is brave enough to take him on in combat, he is the first one who is truly able to draw blood. he sees how valentino isn't just a god of joy or battles or speed or the SUN or any of that other stuff - he's a disease, an illness, a god who is also a false prophet... the worship never quite goes away, because who ever truly gets rid of their valentino rossi complex, but casey eventually is given the chance to face a chained valentino and kinda,,, ritualistically publicly humiliate him using the ducati as both this sick thing that has to be 'cured' and this symbol of valentino's failure. I'm sorry, visual language goes brr here, like chain him up, do weirdly eroticised torture idc!! (psst psst valentino's fucked up shoulder also extremely goes brr here, casey low key a teensy bit weird about valentino's injuries? his thing after the 2010 leg break where he goes 'why's everyone making such a big deal about this other people break their limbs too' and then after 2011 jerez immediately asking whether valentino's shoulder is okay in just a very obviously passive aggressive way. literally he opens with that, valentino isn't using it as an excuse or anything, for some reason it's already on casey's mind and I would politely contest it was out of genuine concern for valentino's wellbeing!! it's just kinda? I'm so compelled by it? I suppose it is kinda about how valentino's suffering gets taken more seriously than his own? how those absences are received differently by the motogp world? idk I find this fun because casey does know this is one thing valentino can't really be blamed for himself, so it just slips out a bit? but yeah, casey + valentino's injuries, nobody's talking about it but I sure will, let casey get weird and mean and a teensy bit sadistic about valentino's injuries in an artistic manner.) crucially I like animation as a medium here because I think it's easier to lean into surrealism when you don't have to hand hold the audience so much through the suspension of realism, also there's just some imagery you can do in cooler ways through animation where in live action it may just look. weird. (I think you can also do one of those things where you have a live action film with only those specific bits animated but also... why? it just feels like in live action you need more 'justifications' for things, like am I saying casey is having some weird hallucinations and is losing his mind? no I just want to have weird vision sequences ffs.) the colour stuff!! valentino/casey is big on the colour coding as a rivalry, to the extent casey is even, y'know, drawing attention to it in the literal text!! yellow and red are banger colours, valentino is big on imagery himself with all his sun + moon motifs, it's kind of all there to make the easy next step to kinda zany surreal imagery. ritualistic stabbing works better in animation, you can kinda get the blood to like. drip down and overwhelm the yellow illness that's slithered out across the bike

and. AND of course what this entire set up allows you to do is.... give them an opportunity to talk. they can't talk in real life! casey CAN'T give him his real thoughts on anything, and fundamentally valentino can't either. they're opponents. they're strangers who chat sometimes. it's not just that they aren't friends, it's that fundamentally they cannot be friends - because their ability to do their actual jobs depends on a certain level of professional distance. valentino of course does have a decent read on casey, and vice versa, because when you're figuring out how to defeat someone then (if you're valentino) you're looking to play the rider too. valentino's entire approach depends on focusing in on his rivals and attempting to throw them off, to make them unravel. he's watching casey closely!! the entire journey of casey's first three seasons in the premier class essentially becomes like, this god of their world focusing in on him. figuring him out. trying to gnaw away at him. obviously, animation also allows you to go big on the panopticon-y imagery which is kinda fundamental to their rivalry, because of their fundamentally oppositional stances to 'performing' for the ever present cameras where there IS a little bit of common ground in they have both struggled with it. but valentino isn't going to ever say that to casey! casey isn't going to open up to valentino! so if you give them,, you know, a different arena to express themselves, where casey actually has this external figure to talk to (as he's like, cutting him open I guess) whereas valentino actually is put in a position where he's allowed to respond, where he can taunt casey a little bit, where he can interrogate casey's approach and also the similarities between the two of them and how casey has been forced to become a little more like valentino to challenge him... because the thing is, right, valentino is so big on message discipline with his rivals and has completely stopped talking about that rivalry post mid 2013 that, first of all, you have this complete imbalance in who's been telling this story for the past decade, but second of all you kinda don't have a sense of what valentino would respond? idk!! I think this is mainly fun as a thought exercise for me specifically but also I do think it's kinda, digging into some of the bits that make this narratively work as a rivalry, how valentino in this rivalry is actually just kinda... removed. like he's not really emotional about it!! at most he's a bit bitchy, but even that just feels about The Game. it's the most extreme in this regard followed by jorge - but with valentino's other feuds you kinda... see a bit more an unguarded moment, see something a little more real there. the casey rivalry feels so uncomfortable precisely because valentino is a little... inhuman in this one. I mean, if you want to have valentino as some kind of cross between a deity and a monster in any of his feuds, this is the one. casey's just an obstacle to him. idk don't you think casey kinda wants to chain valentino down and stab him and make him see casey a little more... well, I think he should want it and I think it'd be fun to see and get them to talk to each other. ugh and also all the implications of making the faith vs non-believer elements more literal... casey the heretic!!!

there's some obvious stuff here you'd have to figure out, like 'how do you make this work as a narrative even to people who aren't familiar with casey stoner at all' and 'who the fuck do you think the target audience is here' and 'you do know this is not the kind of thing that would ever be made, right, go back to the casey stoner sports biopic like a sane person' but!! I do think it's material you can make work if you're just,,, efficient and smart in how you're actually telling the 'real life' version of the rivalry. also in my head this is. idk. an animated limited series not a film, which then brings in other stuff like 'episodic structure' because I'm fundamentally opposed to tv shows that think they're films. and look, I'm not going to write an entire film script treatment here, I just think a good writer can figure this stuff out. blood on the ducati is the framing device for everything else, simple. lots of animated floating eyes I reckon, first casey is watching valentino and then valentino is watching casey and the whole world is watching them... and it does bleed into real life just a little, where you're wondering whether casey is actually imagining/dreaming this stuff or valentino is or if they both know it somehow... you can get away with more ambiguity in animation. anyway, if you do want more thoughts on this one specifically for whatever reason, let me know because this one I do actually have more on

also laguna 2008 is a bit tortoise and the hare coded if you really think about it

[end of gore]

so. on to jorge. hm. the thing about jorge is that he was kinda writing a coming of age film in his own head, so like - yes, that's what you do go for? you can play it straight and follow how jorge has cast his rivals, or you can pin the whole narrative on the fact that jorge has cast them - the kinda artificiality of the narrative, the way jorge is this storyteller who isn't being recognised as much as he thinks he should be, isnt adequately appreciated. the way there's this three way discourse between what jorge thinks the story is and what the public thinks the story is and actual. you know. reality. I think this is a bit more light-hearted, like you know how the best stories about teenagers take their emotions seriously but also let them be kinda silly? because young people are silly! jorge was silly! he's got a lot of CHARM because he's so cocky and naive and full on and intense and awkward and kinda off-putting and tactless and a bit all over the place and so painfully, painfully young, like he's a good protagonist because that's a KID. but also, obviously there's also a lot of extremely not light-hearted bits of his story - everything about his father, his manager... idk this one's another one where, I don't just want to make it a generic sports biopic, and I'm trying to figure out the clear narrative arc here? I mean, you can point to the end of 2010 and really lean into him choosing victory on-track over popularity off it. the problem with 2010 is that it does not work as a dramatic season, yeah sure with the magic of biopics you can hack at it to shit but also. idk. what are we getting out of it. I think for narrative purposes you want to maybe narrow in, and end it at the end of 2008, with the switching of the numbers this kind of moment of emancipation? but also! this feels like we're straying a bit too far away from the fun sports elements and I don't want to REALLY suggest all the ways in which you could mine jorge's personal trauma in a jokey tumblr post, so I'm gonna move on from this one

the problem is 2015 just straight up doesn't work as a jorge-centric narrative, except in a very kinda comic way that leans into how absurd his role in that season was. 2012 as a season is a bit... y'know, it's fine. okay it's mostly terrible, but that's fine too. but it doesn't have a great narrative hook. which kinda leads you to the problem that I do think the valentino rivalry is more... juicy from jorge's pov, because for valentino, jorge is just kinda? an obstacle? idk he's more normal about it, it's just his job to destroy the guy, you know how it is. but also 2009 does work better narratively from valentino's pov, like it's the build up to catalunya specifically you can dramaticise... idk though, I do love catalunya but my heart isn't really in this exercise because I think valentino isn't really being... challenged here? it's a title fight where he's fundamentally using a set of tools he's already perfected, to beat a guy he doesn't really give a shit about. when the italian press is down on him pre catalunya, it doesn't spark any genuine self-doubt - it's just a handy source of extra motivation. there's no epic highs or lows that season, not real ones. and yes I know I was talking about making valentino who gets stabbed repeatedly to cover up an infection a moment ago, but that reflected real EMOTIONAL truths!! I'm committed to thematic fidelity more than I am to literal fidelity

genuinely I think the best way to tackle jorge is with the jorge/dani parallel journeys... what, film? tv show? maybe show actually - you don't have one coherent narrative Statement per se but you're constantly charting those journeys in reference to each other, really rooting it in their respective points of views, no neutral detached cinematic language like I want everything to be very much written to be from their eyes!! going from one to the other and back again. and you're charting these different journeys, right, and how they both captured different flavours of like... emotional successes and failures. I think it's actually about failure, yeah, about having to accept there's something you can't have and might never be able to get - whether that's universal love or a premier class title or whatever - but Actually, that might not be the end of the world. and during this process, they go from being enemies to tentative friends!! guys who realise they can maybe actually understand each other better than they thought!! this real moment of interpersonal connection. you have all these media narratives and the managers and so on and the fact they're competitors as these built in reasons why they've just been pitted against each other from the start... but y'know, again, it is also just a bit about maturing, about being able to set that aside, about making your peace with defeat and failure as an element of growing up. you can't win everything, maybe there's something you really really really want and you're just not going to get it, but at the end of the day it's kinda... yeah. self-acceptance. idk this is the nice one

so with marc you can go several different ways here I guess, and again he's also perfectly decent sports biopic material, probably second to casey in that category like yeah sure do the comeback story. but also, we do already have a very good self-produced documentary about what he thinks the narratives of his career are? idk this is also just a personal taste thing, I'll leave him to doing all the injury stuff himself, I don't have much to add there. we'll get to the obvious one in a second, but I was trying to figure out if there were other places I massively felt like you need the cinematic touch. and, again, the 2013 season is obviously very exciting!! but also, you have it covered in.,,,, multiple documentaries, I don't feel I have a take their either? his rivalries with dani and jorge aren't really substantive enough to sustain a bit of cinema. dovi... I mean, what are you saying there? what's the arc? I feel like if I tackled dovi, I'd go somewhere else and really go all in with the ducati stuff, and make it a bit more... you know, stark, stripped back, basically just the emotional component of how much he gave to that project and how he managed to beat away one rival after the next and how it all ended up falling apart in a kind of anti-climactic way? he's also good sports biopic material, but in a way I think the marc rivalry is the bit of his story I have the least to say on. so eg, 2017 is a dramatic season, but he's also kinda fine after it? he always knew it was a long shot, he tried his best and he got really close and then he lost. you can't amadeus it because dovi isn't (fictional) salieri. basically, I think what I'm saying here is that dovi is too well-adjusted to feature in this post. though I'd totally watch a film about his 250cc seasons, like it's a bit annoying because HE is the underdog who loses both title fights to jorge, but it'd still be kinda fun idk. I wouldn't really know what to do with the material but if someone made the film I'd absolutely watch it

right then. the thing about sepang 2015 is... yeah, sure, of course you can do it, it already exists as a narrative but... yeah, what are you adding!! idk I always think when you're adapting something, you kinda need to have a reason for it? I mean, what are you doing that's not already there in the footage? idk maybe this is just a sign of having been a fan of this sport for one too many years but to me the idea of sepang 2015 can get a bit boring (or maybe just repetitive) where I need a new TAKE on it to really get into the idea of fictionalising it. like where's the auteur's touch y'know, what can I still add to this!! but it also needs to WORK for someone who is new to the story, which kinda just makes you want to tell the story straight.... y'know the story is strong enough and COMPLICATED enough to stand on its own and it IS good but I don't really have anything interesting to say beyond 'yeah sure that'e be neat'. I can't tell you why, but I also don't think the casey approach quite works here? the idea of providing a framing device with which valentino and marc can actually talk to each other... eh. don't like that. hm. okay wait actually I just turned it around in my head for... a while and I think I've got an idea to make the worst motorcycle racing film of all time. so, my central stupid film-making gimmick here is just. centring the fact we're completely reliant on a few guys and what they're telling us in making up our minds, and our removal from that story and the imperfection of their perceptions and so on. so I think you kinda make a point of... not actually showing the motorcycle racing? like, you always show it by showing other people watching it, you're showing the tv screen rather than the actual racing. even in the cinematic medium, you're centring the theatrical aspects, where you drill it down to just a few characters. valentino. marc. uccio. marc's fuck ass manager. maybe a crew chief or two. keep it limited though, all the others are kept at a distance - you're constantly focusing in on the same few characters. and very early on you basically just like... get them to fourth wall break by telling you, the viewer, with their actual words how racing works for them, what meaning they take out of it - and again it's this remove because we're never allowed to actually feel the racing for ourselves (no helmet cams), and it sets up that as the tragedy unfolds, again and again we're just hearing from them what happened. it's all zoomed in on how claustrophobic the entire situation is, like doing the race direction room after the sepang 2015 is perfect for that kind of thing, and crucially they're only ever addressing the audience because they can't address each other. but fourth wall breaks also obviously draw attention to artificiality! I realise they are very much like, lame gimmick central, but also are these men not inherently about lame gimmicks... idk it's basically the same story but at least it feels like a kinda interesting way of telling it. kinda trite, but cinema allows you to get to the point and let valentino actually play with the camera... so literally take it into his own hands and lead it around and tell the story from his point of view. and you can play with how they do both change in what stories they think they're telling, how they're constantly revising their own stories, how their stories completely clash with each other... like. make them literal narrators. that's my pitch

so. one interesting pattern that has come up with my approaches to these rivalries is that with the exception maybe of the 2015 stuff, I feel like I'm more naturally inclined to treat valentino as a narrative device and centre his rivals. a big part of this is that valentino is a fantastic narrative device. he's kinda. this looming presence in every narrative in this sport where you can just sort of use him as a sort of way to poke away at all these other riders. the monster everyone loves who you are trapped with. BOO!! he's gonna eat you! which is fun! but ALSO, crucially, several of these rivalries aren't that emotionally challenging for him!! again, with casey right, he wants to beat him, but he's not having a crisis of faith over losing to casey. he thinks casey is annoying, he wants to beat him because he wants to win. valentino is casey's foil, but casey is not valentino's. valentino makes for an excellent personal antagonist to casey, but the reverse just isn't true. casey isn't forcing valentino to reexamine his approach except 'ramping up the levels of being a dick on-track' - like, yes, that's a serious competitive challenge, but also valentino is very comfortable in his own skin in that rivalry. sure, you could have valentino have some kind of massive revelation about the casey rivalry, but like. he doesn't in canon. he changes his behaviour towards casey in pretty predictable ways depending on what the relationship demands from his perspective at any given time. there's nothing more there

now, obviously you know where I'm going here. there IS a rivalry where you can make the argument he changes as a result of it, there IS a rivalry that tips him over the line and makes him to do stuff he hadn't done before that, there IS a rivalry that happens to coincide with a period of his competitive life that challenges him both personally and professionally. now, look, I have already talked about the sete rivalry. you know what I think about this rivalry - and if you don't, I really already have told the story here and here and here and here and also here. I think this works perfectly well as a narrative in its own right, and it's one you can tell from either perspective... but you kinda need both. I think again you probably naturally lean towards starting it from sete's perspective and that first proper meeting (I mean, idk if it is their first actual meeting, but it's the logical obvious place you start this story) with sete giving valentino advice during his first 500cc test and valentino just, y'know, ignoring him and being a cocky shit and then crashing. so you get to see sete being kinda exasperated by the whole thing. also, obviously ibiza is like, a key framing device here, like it's the most obvious in-your-face way of tracking their relationship with each other. I don't actually know how often they partied there together, but it must have been at least twice and if the commentators are to be believed it must have included 2003. artistic license and you can add one or two more times, but mainly you want to focus in on 2003 onwards right. so you've got this 2002 one where it's, y'know, high point of their friendship and in the name of narrative efficiency, you establish here that sete is looking to make the honda switch. the emphasis is on how valentino has been winning everything but on the flip side you're getting the first insight into his discontent. and there's a bit of a vibe of, what could you possibly have to complain about? like you are winning so much? so it's late one night where they've had this slightly unguarded alcohol-fuelled moment of genuine vulnerability but in the end it's actually characterised by how... unsubstantial the link between them is, because they wouldn't talk about this kind of thing with each other and they might both be similar in some ways but also don't gettttttt each other. it means you can return there as a location in 2003, where you've just had sachsenring and valentino's dramatic loss but they're still partying together and it's like. obviously In The Air that not everything is quite right... their relationship is already gradually altered and twisted because you're introducing this element of actual stakes and competition (obviously in 2004 they do NOT spend that time together, as far as we know anyway, and you can show them being very much not together at ibiza as a very obvious Oooh Things Will Fall Apart and maybe already haveeee)

and I do think basically I've already said what I think the themes here are,,,, several times by this point, so I'm not going to belabour the point. I think all of this fundamentally works as a narrative with like, minimal massaging and rearranging of the elements for dramatic effect. it's all there already, everything from sete's arc with the [insert non-tasteless way of covering a real life tragedy that fundamentally alters the course of sete's career] and how that leads to sete becoming the challenger and how he does want to win and his eventual downfall. with valentino, you have the element of liberation and self-discovery and... well, growing into your own but also kinda having the narrative drawing attention to how 'growing into your own' can involve becoming a fully realised character who is essentially quite cruel? you have this kind of... build up, right, towards this moment of revelation, where you lay bare who these two people actually ARE at sepang 2004, and then again at jerez 2005. valentino has gone his own way, he has freed himself from the chains of honda, he has embraced individualism and the chance to define himself and his own legacy and stand on his own two feet and not rely on the strongest bike or all this stuff within honda where they chose him as their flag bearer, for better or for worse... like he comes to his own here! he takes the step from 'great rider' to 'legend' because he gets to this dramatic moment of stepping into the unknown, he takes this massive risk that could have cost him so much, and it ends up elevating him. but it also puts him under duress, and in that moment he reveals himself - whatever sete did or did not do at qatar 2004, EVEN IF sete did all that shit, what you are left with is valentino vowing to ruin this man. valentino uses sete to make himself 'better', to fuel himself as a competitor. valentino turns sete into a tool in his own story. and again, thematically you've got all this stuff about how sete was managing the image of the rivalry and how valentino took advantage of that - how sete needed it to remain respectful and valentino was completely willing to abandon that. like, you have two protagonists who really are similar in quite a few ways, who think they have this shared understanding with each other, but when it comes down to it? they end up being super painfully different

now I can go on about this and how to play it straight, basically, you can just do that rivalry and I think it'd be cool and fun and very easy to arrange in a good narrative way. BUT I've kind of already. done that. like I don't want to suggest a film that is basically a nicer version of my tumblr posts. so I want to take this in a slightly different direction, and I think what we need to consider with this rivalry is this: what if you made the curse literal? basically, what's always kinda charmed me about this rivalry is that the curse should not work and all the misfortune that befalls sete after that is so comical that it's kinda... what do you do with that? and the answer is you just lean all the way in. my pitch is this: what if valentino sells his soul to the devil?

so, you know faust, right, and you know the bit at the start of goethe's faust where god and mephistopheles are basically making a wager over how corruptible this one human is. and faust is like... he's kinda disillusioned, he feels that everything he's dedicated his life to in academia is fundamentally hollow, gets very close to committing suicide. and faust has gone a bit new age-y, gotten into all this mystical shit and he's got this pentagram that ends up preventing mephistopheles from leaving his presence in their first meeting... and basically what the devil can give him is like, the chance to attain some true pleasure, and for that faust is willing to bet everything - so if faust can just have that, then maybe eternal damnation is worth it. and look, I'm not going to summarise the entire plot of faust here and it does go off the wall a bit with all the gretchen stuff, but the point is you have this version of the devil who is fundamentally a cynic and is attempting to win an argument with god by making this human succumb to his own nihilism. and what faust basically does is like, abandon his normal life where he's trying to live by normal virtues and goes off on this journey with the devil. and there's this little moment where mephistopheles,,, pretends to be faust and takes on the role of an academic adviser (you know how it is) and seduces this random student away from the word of god and sends him down a wretched path, which ends with this bit:

like, a big part of faust's tragedy is supposed to be about... well, hubris, of the relationship of god to man, of no longer being afraid of the devil... and obviously, this is all framed very much in terms of religion, but at the end of the day it's also about, you know, having purpose - faust is living a life that no longer has any meaning to him, all of his knowledge and studies now no longer fill the void inside himself. his nihilism opens the door for mephistopheles, and is what makes him willing to accept the devil's terms. now, and I am so very sorry to goethe here, I think we have some material we can use here to explore the valentino/sete rivalry. obviously, you can't do a one-to-one, you need to get rid of some of like, the depression and all that - there were times when valentino was feeling 'a bit low' in 2003, but not 'faust thinking everything he'd done in his entire life was pointless' low, yeah? also, unless you want to do a real long view here and even then it can't really be justified, there obviously isn't really a 'tragedy' here from valentino's perspective. like, he wins! this isn't valentino's tragedy, it's sete's! I was being a bit facetious when I said he was 'selling his soul to the devil', and you can kinda parse mephistopheles' motivations in different ways depending on what flavour and what interpretation of him you're dealing with here. you don't 'damn' valentino, you essentially just turn him into a tool of the devil!

so, this is how this works out in my head: the devil works more broadly as the manifestation of competitive impulses, the kind of 'how far would you go to win' question as a bloke who shows up and literally talks to the characters about it (magic of cinema). he's also engaging with valentino feeling like his victories no longer having meaning, with being disconnected from honda and from the entire culture there and just feeling like he's going through the motions. there's this element of like... opening the door to what is essentially a journey of self-actualisation, bringing him closer to being a 'god' but also allowing him to fully come into his own and become himself. to win on his own terms. I reckon ibiza is my preferred narrative device where the devil talks both to sete and valentino there (separately), first literally as a mysterious stranger and then... maybe not? he's talking to them at times of their lives when they're not at ibiza and it's not happening there in the physical world and they both end up kinda having to confront they're dealing with some potentially malevolent supernatural entity. but the important elements of the devil is that a) he's not going to do anything the humans don't actually ask for themselves, and b) everyone knows he's following his own agenda and you should be careful of the requests you make of him. so it's kinda like... essentially, the backdrop of this rivalry unfolding is they're constantly being challenged to decide what lines they're willing to cross. which culminates at qatar... and maybe you do have sete making like. a teensy mistake. a teensy error in judgement, one that is both real and deliberate but he could not have known would get that reaction and instantly regrets. and valentino, who is I think inherently sceptical of the devil coming to offer to help him and maybe does crank out the pentagrams (remember, the whole point of faust is that he was too arrogant to be scared of the devil, or one of the points anyway), in a moment of fury does decide - no, actually. I will take that step. I will curse sete. now the thing is, dramatically this is a teensy bit tricky because when you're talking about being damned by the devil, usually the consequences are a bit more severe than 'not winning a motorcycle race again' (yes, you can get into how sete did also seem genuinely cursed after that, cf his ambulance/bus crash situation, but again we are flirting with being in poor taste in this tumblr post). but the thing is, right, you have to lean into the silliness here! qatar 2004 is inherently silly, a CURSE is inherently silly, like real life is already silly here! you have to engage with the people where they are, and for these athletes all this shit is so heightened that the emotions are full on. like, valentino would've sold that guy to the devil! and to him not winning another race is basically the worst thing that can happen

so, obviously, you get to do the actual curse stuff. curses are inherently campy fun, the devil doing curses is campy fun, getting valentino rossi to crank out the pentagrams is inherently campy fun. you get to play around with this, right, like you know that bit in the brno 2005 race commentary where the commentators are talking about how valentino might as well have a little radio to talk into sete's helmet to remind him of how sete had fucked up at the sachsenring. OBVIOUSLY obviously obviously it is just so... idk scrunchy and fun to have this idea of valentino becoming a malevolent enough force to literally do that.... like damn the commentators did kinda eat with that?? ughhhhhh do you ever think about sete leading the qatar 2005 race for most of the way???? like that's SO fucked up because you literally have articles from about the race going 'hey maybe sete can break his curse' and then the commentators are talking about curses having one year expiration dates but obviously they!! do not!!!!! there's one race where sete goes off track and the commentators are talking about how valentino will surely have smiled into his helmet like that's so fucked!! it's so fucked!! but idk I think basically you have all this creeping curse-y stuff and devil stuff and then you get this twist and then it just becomes misery zone for sete until you sort of. compress the timeline and have him retire without getting into what happened at the end of 2006. and valentino just relishing in all his very worst emotions. and you've got sete who was the better man after jerez 2005, who took the high ground again and again and again and it did NOTHING for him.... and then he's cursed and his career is finished and the devil has had his fun getting mixed in with mid noughties motogp. and now obviously this is inherently kinda dumb and corny and silly but it's the devil!! mephistopheles to me is allowed to get up to dumb shit sometimes, let him have some fun!! idk I like curses being literal idc

I think the obvious critique here is 'this doesn't really feel like it gets the message of faust'. which, yes, is true - and obviously the way narratives are structured, a satisfying resolution isn't 'well selling your soul kinda slaps, actually'. and my statement to respond to this argument is as follows:

this is essentially canonically what happened. valentino DID do something kinda evil and it DID work out 100% for him and it DID kinda slap. at least when you add in the devil, you're making explicit the bit where it is a little bit bad. also, is sports not inherently about selling your soul for success... the story of valentino and sete is essentially about how we are twisted by competition, how pretending that we don't wish ill to our opponents is inherently dishonest. it is about lifting a facade for something that is already inherently there in the souls of men. this is obviously inherently a deeply cynical stance, but this is also a deeply cynical story beyond all the fun battles and camp dramatics. the devil is a cynic and he is basically the point of view character of goethe's faust - he's the one who is positioned closest to the audience. sports is all about living out some of humanity's worst instincts in a relatively low stakes setting, which means we get a free pass to have fun with a deeply cynical story that goes 'maybe selling your soul to the devil is fine, actually'

do I stand by this stance? not really, but the whole fun of storytelling is that sometimes you can just be kinda mean. I think goethe would get it... you can tell which character he enjoyed writing the most

the OTHER way you can do this is centre everything around qatar 2004 as like,,, the mystery box element...... okay look I have now made two posts that go WAY too deep on the 'what really happened' element but I do loveeeeee the whole thing like I would just make a film about that very end of the season and we show it from all these different angles as different characters narrate what happened... like fuck all the riders I want to hear from whichever mechanic used the scooter... the gresini mechanic who gave evidence to race direction.... various honda higher ups the crew chiefs like this is jb vs juan martinez it's war!!! obviously you still have the same emotional/thematic hooks as the general rivalry does but idk I would have a LOT of fun figuring out how to structure that, I loveeee mysteries... maybe I'd write it as a mockumentary yeah..... this one's just fun

anyway. a lot of stuff going on in this post, huh! you can probably tell I didn't edit this much. my classic tell when I edit my tumblr posts is I remember how 'paragraphs' work. unfortunately all I have energy for are like. a bunch of rants about things in my brain. I think when tumblr tells you that you've reached the maximum number of characters per paragraph and you need to figure out where to put a break, it's probably a bad thing? on the whole, my stance is I don't have anything AGAINST mildly fictionalised versions, but for me I'm always more of a.... well I want to take advantage of the full specificity of the events as they happened or just come up with a completely original story. kind of person. I know this ask probably wasn't looking for my 'what if you bled out valentino as he's strung up above a red motorcycle' vision but yeah. with a lot of biopics I'm always a bit 'well you could just read about this couldn't you' like I need stuff to take some kind of a stance on the material it's using... all my stuff takes a stance. that's all I've got. obviously all these stances mean that basically none of these things could ever be made. and I know what I said above but if they called me up to write the casey stoner biopic script treatment, I would also do that. if you've actually read to this point, give me a shout - you're a real one and I love you

#spec tag #casey's power is such that after half a decade of having weird hang-ups about valentino #he finally got valentino to have weird hang-ups about him #like sometimes u get these comments where ur like... huh casey doesn't this feel. a bit much. like this is a bit much #and then valentino sees it and goes????? wow FUCK this guy. and then they just keep doing it. like adults #this is the thing right. if i'd broken my leg and the main things one of my two biggest rivals says about me in those months is #a) 'the race in britain was so much nicer because that guy's fans weren't there :)'#and b) 'idk why everyone's making such a big deal about this guy being immediately fast on his extremely premature return'#'it's just a leg break he probably only lost some muscle mass'#i think i'd probably also be a bit ?? especially since the rivalry really wasn't THAT bad before 2010 it really wasn't!!#but then by 2011 casey managed to completely fry valentino's brain and it just goes off the CLIFF like it is so!! undignified!!#it's funny because it's definitely the rivalry valentino got over the quickest #but in terms of sheer hit rate of insults. like just raw frequency. when they were going at it. this ranks number one in vale feuds!!#(btw a big GLARING tell that the marc thing is weird and special is that he is *right* on the opposite end of the spectrum)#(like i think this can be tricky for people to clock but it's actually Notable how little day to day conflict those two had post 2015)#and obviously casey's still not over it. which again is DEEPLY understandable but also a littleeeeee bit funny (love you casey)#the way he still yaps on about jerez 2011!! a racing incident in the wet!! like it is kinda... well yeah. funny. when you contextualise it #idk it's just cute to me how they had completely different experiences of that rivalry #to the point where they just don't Get what's going on for the other guy. they just don't get it!!#hitherto unknown levels of 'what is this guy's PROBLEM' it's so!! they're so!!#this is how you get casey talking about wanting to explain his pov of the rivalry to valentino over dinner. this is how you get that #and it still wouldn't work!! isn't that amazing. they're going to go to their graves being vaguely baffled by the other guy's deal #//#brr brr #i put all my best analysis in tags for a read more x2 post. this one's for the real ones. all two of you #casey has a shorter sample size of a career to work with but do NOT get it twisted that is my number one girl!! my beautiful sister #my poor troubled neurotic paranoid delicate prodigy conspiracy theorist magical girl anime protagonist #casey would have an aneurysm if he read those words but is that not. the point #luminous yellow tag

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777heavengirl · 4 days ago

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Bless the Telephone ; ##02

James Potter x f!muggle!reader

word count: 1,511

warnings: i dont think theres any? lmk...

a/n: :) i hope yall like it, at the rate im pumping these out i might do two updates per week but we'll see how that goes..."

series masterlist

main masterlist

You sighed as you opened the door, the various bags of food, toiletries, clothes, and whatever else you had picked up during the day made your arms feel like they might fall off, cutting into your skin and your circulation. Your fingers had gone numb two stops away from your apartment, you could feel the relief as you dumped half the bags on the kitchen counter.

You dumped the other half and the backpack that hung heavy across your back in your room.

“Hey, darling-” your roommate popped her head up from where she lay on the couch, wild curls practically floating around her. “Yer phone’s been ringing nonstop for like an hour-”

You groaned, glancing at the clock briefly while putting your shopping in their rightful places.

7:30 p.m.

“D’you know who it was?”

“Why would you ever think I’d get up to check?” She popped some chips into her mouth with a laugh

You turned, hands on your hips, a small smirk playing on your lips

“You mean to tell me you’d rather put up with the ringing than get up?”

“Yeah- why not? Turn up the telly and boom- can’t even hear a thing mate” She said, smiling from the couch. You couldn’t help but laugh along with her-

The phone rang, not as violent as that morning two days ago, sound muffled by the wall and your closed door. It was loud nonetheless.

Your roommate turned up the volume of the television.

“Talk of the devil!” she screamed through the roaring sound of whatever trashy game show she was watching.

You dragged yourself to your room, closing the door behind you. You could still hear the exaggerated volume of the telly. The phone kept on ringing, the red light angrily flashing at you to go pick it up already-

“Hello?”

“Where’ve you been?” it was teasing, you wanted to say it was his voice. The mysterious voice on the phone, one Mr James Potter. You weren’t sure. You didn’t know how to feel about it either.

“Who is this?”

“Woah, one day and you’ve already forgotten me- you’re breaking my heart here sweetheart” the voice crackled through the static of the receiver. Oh it was definitely Mr James Potter calling again

“Potter?”

“James- But yes”

“Ah! That one- to what do I owe the pleasure?” You bit your lip slightly, excitement turning in your stomach. You grabbed the base of the phone, moving the machine as close to your bed as the cable would let you, the rest of the stretch between your bed and the telephone could be covered by the curled plastic cord. You sat on the mattress.

“Do you know any other Potters?”

“Just the one- but to be fair, I don't really know you either”

“Mhm… fair enough, I think I only know one other person with your name-”

“Really?”

“Yeah, nasty woman really- called me daft two days ago,” he said, tone serious as if recounting a deeply wounding moment… you let out a laugh “You wouldn’t believe how rude she was to me”

“Oh was she really? That’s terrible news, maybe it was because you called her— a stranger by the way, at four in the bloody morning”

“You got me, wasn’t on purpose though— you still haven’t answered my question by the way” You could hear that little smirk on his lips again

“What would that be Potter?”

“James- but where were you?”

“What’s it to you? Trying to stalk me or something?” you could feel your heartbeat quicken,

“I just tried calling earlier-”

“Yeah, my roommate said, the phone rang a ton— were those all you or should I check my messages?”

“I wasn’t sure I was hitting the right number okay? pissed off a few other people too”

“Oh so this is the norm for you-”

“Hey! It isn’t my fault, I just didn’t know how to do the little- you know…” had this guy ever used a phone before? “call the previous number thing- ugh I don’t know what it’s called but whatever I didn’t know how it worked” he huffed

“Potter, are you a ten-year-old boy? Scratch that, my cousin knows how to do that- maybe you are daft”

“If I say yes will you tell me what you were up to?” he said, you laughed again

“I was running some errands, nothing special… why’d you wanna know?” you raised an eyebrow, you curled the cable around your index finger, the rest of the cool plastic wrapping around your hand.

“Was just wondering…”

A beat.

“I realize now that me calling you back might be strange-”

“You don’t say- only took you about ten minutes of conversation, you didn’t think about that before you called?”

“Not really- my mum says I lack impulse control,”

“I can tell you have zero of that-”

“she blames Dad but we both know she’s the one I got it from” he chuckled, and you couldn’t help but mirror it.

“You still haven’t answered my question, Potter-”

“You really not going to call me James?”

“No- I don’t know you-”

“I guess that's fair enough- what was your question?”

“Why’d you call?” he stayed quiet for a couple of seconds, almost as if thinking deeply about your question before his voice broke through the static again.

“Honestly?”

“Obviously-” you retorted, another chuckle left his lips.

“I don’t really know… I don’t really have a reason I just wanted to talk” you mouled over his answer, strange but not bad.

“You don‘t have friends for that already?”

“You’ve never made new friends with complete strangers?”

“Not like this-” you traced a pattern onto your sheets as you spoke,

“Well, I can be the first! so how old are you?” he sounded giddy “If I say I’m sixty five will you leave me alone?”

“It would be worse- I love old ladies, but they love me immediately so I suspect you aren’t one”

“because I don’t immediately love you?”

“obviously” he mirrored you “I’m twenty-“

“What a coincidence, so am I” you whispered, he heard you nonetheless

You pursed your lips to suppress a smile as James asked questions and explained things about his life that you didn’t ask for. You felt quite silly- talking on the phone with a boy you’d never met, you didn’t know what he looked like, nor if he was really who he said he was.

His tone and his rambles seemed genuine enough, he was a very peculiar boy- talking about how he was mildly scared of the tube but my mate Sirius loved it.

“Is this Sirius one of the voices I heard last time?”

“Yeah- he asked if you were pretty which looking back might’ve been a little rude”

“Eh- maybe, I’d feel terrible to disappoint him though”

“Why do you say that?”

“I don’t know if he’s expecting some striking supermodel to be answering the phone…” you trailed off slightly, James went quiet “I reckon I’m alright though”

“You’re probably selling yourself short doll,“

“Anyway- what do you do?”

“What do you mean love?”

“Like are you in Uni? or something else?”

“Oh! umm- something else for sure”

“What?”

“Potter- like what do you do? you know… with your life”

“I just live? I don’t know- d’you mean like occupationally?”

“Yes occupationally idiot-“

“Okay okay don’t yell at me— you’ll break my little heart babe come on-“ he cleared his throat a couple of times “I kind of work for my father I guess? What do you do?”

“I go to Uni- I also work at a little coffee shop on weekends… what does your father do?”

“he makes hair potions-“ he said, almost choking on his words. you raised an eyebrow

“like hair gel and shit?”

“y-yeah that’s what I meant like… conditioners and s-styling… gels… and shit” you laughed out loud, not being able to conceal it this time. a short series of giggles that delighted James ever so slightly. You could hear him get quiet briefly, almost as if he was running out of words “What do you do in this Uni of yours?”

“Administration… not the most thrilling field I fear”

“I’m assuming you’re not the fondest of it then”

“not particularly, but it’ll do… do you like working for your dad?”

“he’s made a ton of money with his products- I’m very proud of him for it… to be honest probably not what I wanted to do with my life but it’s not… difficult, so I can focus on other things, more exciting things so I really can’t complain…” he was about to continue, rambling about the silver linings of it.

you interrupted “What did you want to do?”

“Pardon?” he asked,

“With your life James- what did you want to do with your life?”

You thought he had stayed quiet, maybe thinking, searching for the words until the dial tone rang in your ear— he had hung up. You stared at the phone as you put it back on the base.

Peculiar boy wasn’t he?

tags ; @ilovejamespottersomuch @ravisinghs-wife @hidontmindtheintrovert @stella-thestars @caspiankingofnarnia @lovelyteenagebeard @starkluvrr @hisparentsgallerryy @leilani13gc

permanent tag ; @laufeysvalentine

pls send me an ask if you wanna be added!

#harry potter #harry potter fanfiction #marauders #the marauders #the marauders era #marauders era #james #james x reader #james potter fic #james potter fanfic #james potter fanfiction #james potter x reader #james potter #james fleamont potter #james f potter #james f potter x reader #james potter x y/n #james potter x you

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beauty-funny-trippy · 2 months ago

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Reasons why we know there's something wrong with Grandpa:

• believes immigrants are eating their neighbors pets because he heard someone say it on TV (without any evidence) • thinks injecting disinfectant into our veins might be a good idea. (It's definitely not, don't try it.) • claims America's F35 fighter jet is completely invisible, even if you're right next to it (like Wonder Woman's plane)

• praises white supremacists and KKK members who were chanting antisemitic hate speech, calling them "very fine people" • focuses on imaginary issues like preventing children from changing gender while at school, but ignores real problems like school shootings • thought it was a good idea to give away our desperately needed Covid test machines to our adversary ("Grandpa, what have you done?" — he can't be left alone for a minute) • decided to believe Putin's lies, but dismiss findings from America's intelligence agencies • claims America had airplanes during the Revolutionary War

• believes in the Nazi ideology that immigrants are "poisoning the blood of our country," and says some migrants are actually subhuman "animals" • insisted that the U.S. would have fewer coronavirus cases if it conducted less testing (yes, a U.S. president in charge of controlling the crisis, actually said something this inept, repeatedly) • due to his incompetence and lies during the Covid crisis, the U.S. had one of the highest rates of Covid deaths in the world • thinks windmills cause cancer and kill whales • speaks endlessly about his concerns re: dying by electrocution from a boat battery or being eaten by a shark

• thinks he's above the law and, as president, should be able to commit as many crimes as he wants • is a billionaire who whines about how badly he's been treated, then he's chauffeured to his private jet • likes to discuss Arnold Palmer's penis • after NINE years of repeatedly promising to unveil his Healthcare Plan "very soon," he admits he still has no real plan —only "concepts of a plan" • has a bizarre attraction to the fictional cannibal and serial killer, Hannibal Lector (why? no one knows —and everyone's afraid to ask)

• advocates dangerous plots, like using the military against Americans who disagree with him, or using the DOJ to arrest them, or just telling people to "beat the crap out of them" and he'll pay their legal fees • thinks having a national day of violence is a good idea (we should never have let Grandpa watch "The Purge") • wants to be the "law and order president," yet this 34 time convicted felon incites people to riot and to commit criminal acts of violence • unable to take the loss of an election like a man, he had a temper tantrum like a toddler, that culminated in a treasonous insurrection

⠀This guy is so delusional, he claims he's a genius because he often speaks incoherently in something he calls "the Weave." Here are two examples: • "How disgusted were all when we see all of us are when we see three days ago when we viewed their parade." Asheboro, NC, 8/21/24 • When asked, "What specific legislation will you commit to, to make child care affordable?" He responded, “Well, I would do that, and we’re sitting down, you know; I was, somebody, we had Senator Marco Rubio and my daughter, Ivanka, who was so impactful on that issue. ...But I think when you talk about the kind of numbers that I’m talking about that because the childcare is childcare, couldn’t, you know, there’s something you have to have it, in this country you have to have it.” New York, NY, 9/5/24 ⠀If this was anybody else's Grandpa, the family would be having discussions about who's going to go with Grandpa to the doctor to find out what's wrong with him, and who's going to be in charge of finding him a nice convalescent home to live in. ⠀My suggestion is that it might be a good idea to elect a president who has no cognitive impairment and can tell the difference between reality and delusions. Personally, I think that's a rather important quality in a president.

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astrobydalia · 3 months ago

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Numerology observations

I've genuinely learned a lot from @novy2sirius when it comes to numerology so much so that it has helped me make so much sense out of many experience in my life. Therefore I wanted to share some numerology observations with all of you.

astrobydalia

People with 9 energy are so deceitful, they are easily seen as innocent. On the contrary people can see 9s as someone pretty suspicious because they have an air of mystery to them and are the kind of person who you think you know but actually you don't like at all. They always hide the most BIZARRE shit, I'm telling you their life is SO weird. This is how I see 9 people tbh lmao

I've never met a 11 life path person that was emotionally okay, but the weird thing is that they tend to want to lie to themselves and pretend they are okay all the time. All the ones that've met had diagnosed depression and spent big chunks of their lives in very VERY low lows like it's truly hard to watch. Also, random note but I've seen that they are secretly very resentful too and have a hard time letting go of things and moving on. Most of the 11 people I've met had Earth Moon or strong Saturn influence in their moon

Also, I met a 11 guy once who would often say "I have no doubt in my mind that I will be famous" lol (11 is rated to fame)

22 is a more chill number. I've seen more developed 22s than developed 11s. 22 people are very mature and level-headed, tend to have very balanced mindset for most things. However they tend to think they're the only ones who know best, they give good advice but suck at taking any.

So one of the things Novy said is that the date you meet someone in will be a significant energy in the relationship you have with them. Every person I've met on a 5 day are people I travel a lot with or people I've had long-distance relationships with (5 is related travel)

I don't have much experience with 2 energy but from what I've seen it is pretty mellow energy. The people with 2 energy are pretty harmless individuals even when they have other intense energies going on

I get along with 7 life path people cause I'm a 5 but something I've noticed about these people is that they really do struggle making genuine connections "from the heart" if that makes sense. They always rationalize getting in and out of a relationship giving more importance to practical/beneficial reasons rather than emotional ones. When they do try to follow their heart they fail miserably cause they confuse making decisions from their heart with total recklessness

Life path 1 people are so.... immature. And have very obvious anger issues. They have the patience and emotional regulation of a toddler, really do embody the Aries stereotype. At their worst they can be pretty intolerant towards other's pov. Yeah life path 1 is very passionate and driven and all and I do get along with them but I also tend to keep at arms length a little cause they're energy is very chaotic and destructive tbh

Let me tell you too that unhealthy life path 1 people are one of the most CRUEL and mean people I've ever seen like... it's giving blood lust (not literally but you know what I mean)

Life path 6 can indeed be caring and generous but I've met a lot of them who are actually very selfish, greedy and materialistic. It's like they see life mostly through the lens of material gain. They literally remind me of this clip fr.

I have good experience with 6 people tho. My manager for example is a 6 life path and I literally don't know what I'd do without him, he's so patient, always there when I need him and is always on my side even when I mess up. 6 people are also very good at setting healthy boundaries too

A lot of the life path 6 I've met had taurus placements or where earth doms astrologically

The number I struggle getting along with the most is 4 tbh. They are huge party poppers even when they're healthy and have more need for control than 8s imo. A lot of 4 people I know are the type to rain on your parade for no reason in the name of being "realistic" but really they're just being bitter imo. I know 4 people have a hard life but I've noticed they tend to often have this attitude of "if I couldn't be happy then you can't either"

What I've noticed with 8 people is that yes they can be controlling but it's not like they go around policing others like 4s do. 8s control in a very subtle and indirect way, it really reminds me a lot of scorpio energy/8th house placements. It's more like they keep in control in any situation by staying low-key and are the kind of people that is hard to knock down, yet they know how to get under other's skin

I'd describe 8s as more domineering. They can be pretty chill, fun and won't mess with anyone as long as they feel like they have the upper hand in situations. That's why they are stubborn af and refuse to be wrong and why they do not react well AT ALL to animosity. This also means that at their worst tend to have HUGE superiority complex and will minimize others and be condescending just to feel superior

One time I witnessed an argument between a 1 and an 8 (it was messy) and even tho the 8 person was wrong imo they made the 1 person back down eventually (which, if you know how 1s are, that's a huge thing) and from that experience I learned that you're better off disagreeing with a 1 than disagreeing with an 8

People with 3 energy have such a refreshing energy I love them!!!! The type to keep a young spirit regardless of their age but like in a good way. Their sense of hope and optimism can't be crushed, all the ones I've met were the kind of people who always knew how to bounce back from difficult situations.

astrobydalia

#numerology #astrology #astro #astro observations #astro notes #zodiac #birth chart #astrobydalia #astrology observations #astro community #astrologer

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grimrester · 9 months ago

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i am really so sorry to continue harping on about the watcher entertainment streaming service. but this kind of stuff (internet content as a business & marketing it as such) is truly my obsession, and i think i will implode if i don't talk about some of the takes i'm seeing.

i'd like to emphasize again i don't have strong feelings about watcher either way. i like ghost files, i watch mystery files sometimes, i watched worth it back in the buzzfeed days. i don't watch any of their shows religiously.

anyway, here's the main things i keep seeing crop up and my thoughts on each:

"watcher has 25 employees they have to pay, and employing people in this economy is good, so we should be banding together to pay them."

employing people is good if you currently have the capacity to pay them. i checked watcher's linkedin page, and many of their employees were hired within the last year or two. if they hired people they cannot pay with the business model they had before, something is seriously wrong with their internal bookkeeping/decision making. it means they either didn't know they couldn't pay these people long term, or they did know and were content with risking newly hired employees' livelihoods on a huge content pivot in the next year.

of note is that none of their employees' titles have anything to do with managing the finances of the company. they are the size of a small business but have no one aside from the figureheads of the company in charge of their finances.

this is the kind of company decision making that leads to downsizing and layoffs, which can be devastating. but you know what's worse than laying off a portion of your staff? laying off everyone because your business is going under.

"not everyone can afford the subscription, but those who can should pay it to support the watcher team."

no. $6/month for a couple hours of content (depending on what shows you actively watch and the natural fluctuation of their release schedule) is a fundamentally bad value. i can pay that much for a few movies on amazon. i can pay that much for dropout, if i want to support a smaller business instead.

and to be totally frank, even if people do sign up, i don't think they'd get enough to compete with the amount they get through patreon/sponsorships. and the fact that they didn't know how many of their subscribers would realistically sign up is a bad sign.

a pretty good conversion rate of free to paid subscribers of a service or content is 3% (usually accomplished through a free trial). given the very poor reception of the announcement, let's say about 1% of their 3 mil youtube subs pay for their service. that's 30k people paying for their new platform. that's $180k a month in their pocket.

(they currently only have 12k subs on patreon so we are being generous here.)

a sponsorship deal (based on my googling, i have less direct experience with this) is anywhere from $10-50 per 1000 views. they've gotten about 1 mil views on their last few videos. 3 mil subs is nothing to shake a stick at, but let's say they're on the lower end of the payscale at $25 per 1000 views. that's $25k a video, $100k a month if they release 1 video a week. their lowest patreon tier is 5 bucks, so even if all their subs are at that tier, that's another $60k, so $160k total. it's entirely likely they're bringing in much more than that when you factor in merch, adsence, etc.

did anyone on their team crunch numbers on how many people would need to sub to make the switch worth it? did anyone do market research on how many people they could convert to paid users? because if not, if they really didn't have a game plan for this, the subscription service was always doomed to fail.

"this was their only option to continue making the content they want to make, with the production value they want."

i watched their announcement video. a key point in that video is that they have done sponsored videos and that's what used to pay for their content, but they did not like the amount of creative control the sponsor had over the content.

look, i get that's no fun. we'd all love creatives to be able to make whatever they want. but when you are a small business with a team of employees relying on you, you have to think about making money, sometimes at the cost of creative liberties.

and they had so many other options to make money for the projects they want to make without jumping to a subscription platform.

they could have started actually promoting their patreon, and maybe done some restructuring of the tiers. why not a highly produced, special series just for patreon members? or a special high-budget episode of each series, while the main series is lower budget?

bite the bullet and continue taking sponsorship deals on some less-produced shows, while axing sponsorships from the ones the crew feels more passionate about.

schedule larger, blowout-production shows only when they can be afforded. this is what Notorious Amongus Guy streamer jerma does. he saves up for big productions like his baseball or dollhouse streams, so he can really get creative with them.

they had other options and they've tried very little, especially when you compare them to other content house business at similar scales. try guys and good mythical morning both put out significant content with significant staff, and have had to diversify their income streams with auxiliary products, shows with widely varied levels of production, etc. but it seems to be working for them. watcher has merch and that's about it, and seems to only want to increase the production quality of ALL their shows.

really, all this just boils down to a terrible business decision. it's hard to say if the watcher team is working with a consultant or anyone outside of their team, but they certainly don't have anyone internally who is experienced with running a business like this. to me, it seems very much like they got in a room together and did some extremely optimistic income ballparking with no research behind it.

and that might have been fine for three dudes running a channel alone, but if they're a business, they have to start making decisions like one.

#i encourage discussion on this in my notes btw!#you can even be mean to me if you disagree. i dont actually care #watcher

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churipu · 1 year ago

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𝐚𝐜𝐭𝐨𝐫! 𝐠𝐨𝐣𝐨

featuring. gojo satoru x reader

warnings. cursing

note. i thought of this when i saw a"rating celebrities i have met" video on tiktok, i imagined what gojo would be like as a celebrity — hence this fic. enjoy <;33 god i want to make actor! jujutsu kaisen a series so bad.

actor! gojo who first saw you during a fan meeting, and when you asked for a weird pose to do with him, he's immediately attached — like love at first sight?

actor gojo! who slips in his phone number when he was signing his picture that you asked him to sign, hoping that you, his very own fan would actually text him. because, he genuinely wants to get to know you better.

actor! gojo who receives a text from you during the night, and the first text he receives from you was a "is this a prank? if it's not, i'm going to roll on the ground and cry. if it is, i'm sorry you had to see this text." and he decided to play with you by saying it's a joke — but stopped when you actually believed in him.

actor! gojo who finds it funny that you still don't believe that the gojo satoru is texting you, so he decided to video call you to make you believe in him (you ended the call immediately and blocked his number for a bit after, only unblocking him when you got your head straight).

actor! gojo who eventually got to know you better, slipping in the time to video call you or voice call you during breaks in his busy schedule. sending you your cravings out of the blue, or even bouquets of your favorite flowers.

actor! gojo who will use his empty schedule to come and meet you — taking you out to eat or just spend the day in your home, or his apartment. even exhausted, he still wanted everything to work out with you, so he would do anything; even if most of the time, the both of you ended up napping together.

actor! gojo who sends selfies of himself or a short video of himself during his schedule so you could know what he was doing — pointing out the most unnecessary things in the video, like how he saw a cat (then taking a picture or video of the cat to send to you), or even telling you how he finished the shoot in a short amount of time, wanting you to be proud of him.

"hi! i just did a scene, and there was this really cute kitty — look, i named him tuxedo, 'cause his fur looks like a suit. isn't he cute? what do you think if i brought him home with me, i think you'd like him!" he said, panning the camera to the said cat, caressing its fur gently.

actor! gojo who checks his phone every time after a take in his shoot to see if you had replied to him, and when he sees your notification, he gets so motivated to do his shoot. and when you don't, he's pretty upset. he turns into a big baby and asks everyone in the set what it meant if someone replies late, he is so dramatic.

actor! gojo who if asked about his ideal type during interviews, mentions and describes your personality and looks. and everyone won't know that he was talking about you, he sees people talking about how specific his words are and speculates that he was seeing someone.

actor! gojo who trended on social media after that particular interview and the account who first speculated how specific his description is, and now the whole world is saying he has a secret lover or is dating backstreet.

actor! gojo who then receives a text from you asking about if he was seeing someone because of his trending name. and he decided to ask you out for good — telling you that it was you he was describing, and he would be glad if you'd go out with him.

[ you ] : you're trending omg

[ gojo satoru ] : i know :D

[ you ] : but now that i rewatched the video, it does seem like you're describing someone, who is it? 😏

[ gojo satoru ] : idk if you're nonchalant or you're just pretending not to know :/

[ you ] : ???

[ gojo satoru ] : it's you, silly. i'm describing you to the world, so now that i've said that — can i please be your boyfriend?

actor! gojo who immediately drives his way to your house when you said yes to him being your boyfriend; he had been holding back the urge to kiss you, holding you close, so when he's yours — he just has to have you close to him.

actor! gojo who was a little upset when you said you wanted to keep the relationship a secret from the world so his fans wouldn't be mad at him. but he accepted it, as long as you're comfortable.

actor! gojo who makes it clear to people on set, including his make up artist, and even director that he now has a partner; and that he's madly in love. everyone on set listens to him talk about you every single day, gojo is so lovestruck that he can't stop talking about you, telling people on set how great you are and how deeply in love he is with you.

actor! gojo who still slips in random selfies and videos of him during work so you won't overthink, he will tell you what he's about to do and with who even if you didn't ask — he didn't want to keep his partner waiting for him, he's communicative to what he's about to do so you won't worry.

actor! gojo who brings you out on a date to a fine dining restaurant one night and it turned out to be the gravest mistake ever when he finds his name trending the very next day, all for the wrong reasons.

actor! gojo who's first worry is you when he was trending. half of his "fans" were bashing the mysterious person (you) off, saying the most mean things ever, and half of his fans were happy that gojo was on a date with you, telling him how they're really happy that he's out on a date despite his busy schedule.

actor! gojo who makes sure you're alright first, telling you how you should never listen to whatever his "fans" are saying — because they're definitely not right, and they're just jealous. he tells you that he will resolve everything, so you don't have to worry about anything.

actor! gojo who clarifies, by quote retweeting a tweet that was meant to hate on you — clarifying that he's married to you (even if he's not), and that you're his partner. he EMPHASIZES on how he's not hesitating to sue anyone who delivered hate, and he's personally keeping track on the usernames of people who had made a hate towards you (he jots them down and screenshots them).

and most of these account decided to deactivate right after his open clarification. losers.

actor! gojo who then made a proper clarification by saying that he is indeed in a relationship with you and that you're his spouse (not yet), and he told the whole world how he won't hesitate to take legal actions to whoever decided to mess with him, his personal life, or you.

actor! gojo who was happy when most of his real fans supported both him and you, and tell you both how happy they are. he giggles and kicks his feet reading the comments about how you both are definitely going to last, and how you both will be the best couple ever. he screenshots them and make an album just for these comments, showing them to you to reassure you that everything was going to be fine. you were going to be fine. you both were going to be fine.

actor! gojo who was asked about you during interviews and he gets so happy and smiley that he gets to show you off in front of the camera, telling everyone how deep in love he is, and how you treat him like the best person in the world. the video went viral and people were so envious of you.

"oh, my spouse? best. person. ever. i met them during a fan meeting, yes. they were a fan of mine — i could say it was love at first sight, i look at them and i just knew i wanted to marry them."

people then began to believe that they have a chance with their own idols, most of them making this a meme, and they use gojo as one of those tiktok standards videos.

actor! gojo who still sends you selfies and videos after a long time of dating, never breaking the routine. even when he has a schedule out of the country — he still makes time for you, engaging in video calls and voice calls despite the time zones, sends you the sweetest voice mails when he can't do a call and brings you the best souvenirs ever.

actor! gojo who casually assumes that you both are married since the first time you both got caught — he bought you a ring, and just slips it on you, telling you that you're both now married. and you casually accepted, you both had your own moment, made the official marriage certificate without anyone knowing. and the next second, he just announces to the whole set who knew about his "clarification" that he's actually, for real, honestly, married to you. and he tells them his clarification wasn't just a lie to get out of the situation.

actor! gojo who posted your face for the first time in his social media after so long, and he trended again. this time, with you. the fans were so happy, he gets so happy when his fans compliments you — and he happily retweets and reposts every single thing they say about you. he's such a proud husband.

actor! gojo who mentions your name whenever he wins an award, once again telling the whole world how he wouldn't be able to make it until now without you by his side. and how he's so thankful that you're always there even during his toughest times. he has a habit of ending his award speech with a: "y/n l/n, you're the love of my life, i love you. mwah."

a fan of his made a compilation of his ending speech for you, and posted it on twitter, which of course, went viral.

actor! gojo who constantly posts you and writes about you on his social media with the cheesiest captions ever, and people were down for it. telling you how lucky you are to have a husband like him, and gojo always replies back by saying he was the lucky one.

actor! gojo who finds out you read fanfictions about him when you miss him, he pokes fun at you for it — but finds you really cute, then you both make it a routine to read fanfictions of him.

"oh, i would totally do that. how did they even come up with these? they're really good at this," gojo laughs, laying his chin on top of your shoulder as you scrolled your phone.

actor gojo! who gets so happy when you come to visit him on set, and gets so motivated because you were there real time to see him on the act. and spends his break with you, the crew on set gets so disgusted by him and posts about how gojo acts around you on social media — and the fans are finding it hilarious, they ask the crew for more information about gojo and you.

actor! gojo who definitely brings you to red carpet awards, wanting you to be there with him. asking the paparazzi to take many pictures of you so that he could save them, and they do. taking your pictures from different angles, posting them on social media so gojo could save them.

actor! gojo who refuses acts where he has to kiss another actor/ress, he didn't mind holding hands or hugging. but when it comes to locking his lips with another person who is not you — he won't do it. even when you tell him that it was fine since it was his job, gojo still refuses, and directors would go lengths as long as gojo will act for them, cutting out the kiss scenes and settling for something less intimate.

actor! gojo who sometimes get caught by paparazzi when he's on the way to visit you or when he's buying a gift for you. telling the paparazzi they shouldn't upload the pictures until a specific date when he's planning to surprise you, and the paparazzi agrees (sometimes), but when some of them uploaded the pictures right on the same day, he gets so upset that they ruined his surprise for you.

actor! gojo who protects you from shameless paparazzis, not hesitating to tell them off in front of the camera for you. because, let's all be real, most paparazzis could be a pain in the ass, they could be awful, and they could be really persistent.

"hey, back off from them. i'll fucking hurt you if you get closer, understand?" and these paparazzi will taunt him for it, but gojo could care less about them, he only cares about your safety.

"i'll ruin your fucking camera, y'piece of shit. don't you fucking dare touch my spouse, i'm serious." he mutters out, pushing away a man who had undoubtedly came rushing over, trying to get you out of the way so he could picture gojo.

actor! gojo who makes it clear that he won't tolerate people being hurting you at all. and he won't be afraid to take a risk to hurt them back for you.

actor! gojo who will sacrifice his job for you. because on camera and behind camera, all he thinks about is you.

#jujutsu kaisen #jjk x reader #jujutsu kaisen x reader #jujutsu kaisen fluff #fluff #jjk #jjk fluff #gojo fluff #gojo satoru #gojo satoru x reader #actor gojo #gojo #satoru gojo x reader #satoru gojo fluff #satoru x reader #satoru gojo #satoru x you

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thisapplepielife · 5 months ago

Text

Written for a @astrangersummer.

Tip Your Driver

Of all the shitty service jobs Steve's had, this one is definitely among the worst.

And he's been stuck working some pretty shitty jobs over the years, both before and after they moved out here. If he hadn't hated the one at the shoe store so much, because ew feet, he wouldn't be doing this in the first place. At least that was in one location, a steady paycheck, and not that far from their apartment. But, he didn't know that feet draw in some weirdos, so here he is, lugging other people's shit around, because he needs the money.

He just sighs as he pulls up in front of the address on the app. He double checks the posted numbers over the garage, and it seems to be the right place. Everything matches enough for him to call it good.

The house is really nice.

It's not in The Hills or anything, so he hadn't expected something so nice.

Now, Steve doesn't mind delivering groceries, not really, but this guy, Eddie it says, ordered a bunch of heavy shit, and the tip was only the mediocre bare minimum. Which, he wasn't that mad about, until right now, after he's seen the house this guy lives in.

No, now he's pretty annoyed.

Whatever. Par for the fucking course from Fancy Pants Rich McGee over here. How the hell you spell chauffeur? Chauffeur. Indeed. Maybe he should make tiktoks about situations just like this. Robin keeps hounding him, saying if he'd just do it, that he could rake in a little extra cash.

He's skeptical.

Steve looks back at the house.��

Oh well. He left his money behind for a reason, the only thing he kept was his car because his parents were dumb enough to put it in his name. And honestly? It does him no good to be jealous or whatever the fuck he's feeling right now.

At least this guy had been responsive, and pretty nice, when answering Steve's messages about substitutions and out of stock items. Not everybody is, unfortunately, acting as if Steve is the one stocking the store himself.

Steve opens the back hatch of his car, and leans in to grab the first items to be left at the door, as requested. If they don't see you, they feel less bad about the shitty tip, Steve's learned.

But it's fine. Steve doesn't want to deal with anyone face-to-face today, anyway. Because he needs to hurry. He and Robin are already a couple days late on rent, and he's gotta try to make up the difference today. If not, they're gonna be fucking screwed. Why is this city so goddamn expensive to live in? It's bullshit.

"Let me help," comes the voice right next to him, and Steve jumps, hitting his head on the open hatch door.

Now, he's skipped over annoyed and has been vaulted straight into pissed off.

Partly at himself for being so far in his own head that he didn't even hear this guy approaching, but mainly at this asshole for even being in his personal space in the first place. He needs to take about three big steps back.

"Oh, fuck! Sorry! I didn't mean to startle you!" the guy shouts, and Steve hasn't even seen this asshole yet, but he knows he hates him.

"Most people don't help unload the car," Steve snaps, turning to look at him, and the guy is looking back at him with big, big brown eyes. Robin would call them doe eyes, without a doubt. Well, fuck. Fine. Steve softens his tone, "It's okay. I just wasn't expecting you."

"Sorry," Eddie says again, still too close. "I'm Eddie. I ordered the groceries. Can I help? Please?"

Steve nods, and lets him reach in and grab his own case of water, while Steve picks up a few of the sacks. It's the least the guy can do, now that he's given him a headache. Literally.

Steve carries the sacks towards the porch, and leans over to put them down.

"Just come on in," Eddie says, and the door swings open, banging against the rubber doorstop on the wall.

"Don't bang the door!" comes the yell from the other room, and Steve peers into the house and sees an older guy sitting in a lift chair, with a walker in front of him.

"It's my door, old man, I'll bang it if I want to!" Eddie yells back, but there's no heat there. Steve can hear the teasing affection in his voice, and Steve can't help but smile.

"Don't come crying to me when there's a hole in your wall. Can you patch drywall? Because I can't right now," the guy, probably Eddie's dad the way they're bickering, snaps.

Eddie ignores the question from his dad.

"C'mon, this way," Eddie says, looking over his shoulder at Steve, as Steve lingers on the step.

Well, no. That's not. You don't go in stranger's houses. It's, like, rule one. And just good common sense. Which apparently Steve has none of, because he does follow Eddie into the house.

Robin will kill him, if this Eddie dude doesn't kill him first.

Steve puts the bags down on the counter, and heads back out to make another trip, Eddie following, "That's my uncle. He's just crotchety that he had to have his broken hip replaced, and now he's dependent on me for the near future."

Steve laughs, "Well, maybe don't bang the door and he won't be crotchety."

"You heard me. It's my door," Eddie says, smiling wide. He's pretty, very pretty. Long, dark hair tied up on top of his head, and heavy tattoos all along his arms, creeping up onto his neck.

He's honestly gorgeous.

Steve wonders if he's famous. He doesn't look familiar, but he looks like he could be famous. And his house is pretty fucking nice. This is L.A. Everybody is somehow famous in L.A. Except for Steve and Robin. They are definitely not famous.

Unless he's a tech bro? But he doesn't really look the type.

Either way, famous or not, Steve smiles back, can't not, not when he looks like that, then asks, teasing him, "Well do you know how to patch drywall?"

"Fuck no. But I could hire someone to fix it if the door knob somehow gets through the stopper."

"Well, at least you have a plan," Steve says, and Eddie laughs.

"He just hates the city. Hates my house. Hates everything. Except me. He loves me," Eddie says, as he grabs a case of Gatorade in one hand and the case of pork and beans in the other.

That's a lot of beans.

"That's a lot of beans," Steve says aloud, even if he doesn't mean to, even if he knows better than to comment on other people's groceries.

But Eddie laughs. "Tell me about it. Man likes what he likes, though. There's no changing him now."

Steve nods, grabbing another handful himself. It's nice that Eddie is taking care of his uncle.

"I'm not usually home much, hence all the groceries being ordered at once. Sorry about that. The cabinets were pretty bare, and I just didn't want to leave him home alone. He's still a fall risk, even if he keeps insisting he's not."

"That's okay, I understand. Big orders are more common than you'd think," Steve says, stepping back into the house that he's probably not going to get murdered in, thankfully.

Big orders are common, he's not lying about that, and more often than not, the tips offered for shopping hundreds of items, are less than you'd think. So, this order wasn't even out of the ordinary. Not really. That's why Steve took it. Some pay was better than none, especially today, that's for sure.

"Still. I'm grateful. You saved my ass today, man," Eddie answers.

"Well, it's my job," Steve says, and Eddie laughs.

They finish bringing everything in, and Steve nods at Eddie, "Okay. I think that does it."

"Here," Eddie says, and plucks an envelope off the counter, "I always worry that your tips in the app will get eaten up by the corporate assholes taking their cut off the top. So. Cash is king."

Steve takes the envelope. A tip he doesn't have to report? Why thank you, Eddie.

"Thank you. You didn't have to do this, or help bring it in, you know? But I appreciate both."

Eddie smiles, "Thank you for getting all that shit for us. We both appreciate it. Don't we Wayne?"

Wayne grumbles, but Steve's pretty sure he doesn't appreciate anything right now. He knows he wouldn't either, if he had broken his hip.

They say their goodbyes, and that's that. Steve will never see Eddie with the pretty eyes ever again.

At the next red light, Steve opens the envelope, expecting an extra ten or twenty bucks, maybe, but is shocked to see that there are three, insanely crisp one hundred dollar bills inside.

Holy shit.

That's way more than he usually makes in a single day. Two days, even. Just by delivering one order that he didn't think was gonna pay well at all.

And he got to look at a hot dude for a minute or two.

It's enough to cover what they were short on the rent, even. It might not have felt like a lot of money to Eddie, if he handed it over so readily, but it feels life-changing to Steve, right now. He remembers when three hundred bucks wasn't anything to him either, back when he had access to all his parents' money and all their unhappiness.

Now, it's different.

Robin's gonna shit.

Hot damn.

Thank you, Eddie.

"Booyah," Steve says, slapping the envelope on the counter.

Robin picks it up, and thumbs through it. It has Eddie's tip, and the few extra bucks he picked up during the rest of the day.

"Oh my god, no way! Where did you get this much cash, dingus? Are you turning tricks on the side now?" Robin asks, and Steve laughs.

"Yes. I thought I'd see what I could get for this ass," Steve says, turning and pushing his ass outwards in her direction.

She doesn't even look, but says, "Honestly, you might be worth more than this, as much as I hate to admit it," she comments dryly, and he smiles.

"No, some rich dude that ordered a bunch of heavy shit gave me a big tip," Steve explains.

"That's what she said," Robin teases, and her eyes are still wide as she looks at the bills in her hand, "Seriously, though. Thank you, rich, old dude," Robin says.

"Rich, but not old. I think he might have been famous in some way. YouTuber? Musician? I don't know. Nice house."

"Well. Describe him. Let's Google him," Robin says, wiggling her fingers in the air like she's stretching before this big task she's about to undertake.

Steve isn't sure searching for him is gonna work, but he lets her try, "Eddie. Probably a little older than us. Lots of tattoos."

"Was it Eddie Vedder? Please tell me you know who Eddie Vedder is, dingus?"

He knows who Eddie Vedder is, Jesus.

He gives her a look, "Not that old. And he was heavily tattooed. Is Eddie Vedder tattooed? Plus, this guy had dark eyes. Really dark. And no flannel."

She keeps looking on her phone, showing him options, "Him?"

No.

"Him?"

No.

"Him?"

"No. Not him." None of them are. Nobody she shows him is the same guy. So, he thinks of all the famous Eddies he knows of.

"Was it Eddie Van Halen?" Steve asks.

"Since he's dead, probably not," Robin says.

"Oh," Steve says. He didn't remember that. And he'd be too old, anyway. "We're looking for someone that looks kinda like young Eddie Van Halen. But with tattoos."

"You're obsessed with the tattoos. Was it Ed Sheeran? He has lots of tattoos," Robin asks, and he rolls his eyes.

"Robin. I think I know what Ed Sheeran looks like. This man was not ginger. Dark hair, dark eyes. And he was American. Maybe this guy is just rich? Not famous at all. It doesn't matter. I'll never see him again, anyway. We'll just thank him from afar for saving our asses today."

Robin sighs heavily, and puts her phone down, "If you'd got yourself a rich boyfriend we'd have it made all the time."

"Well, I'll work on that," he says sarcastically.

At least for now, they can pay another month's rent. That's a big win. Huge.

Maybe they can keep their heads above water, now.

And they do, by some sort of miracle. It was only three hundred bucks, but that was enough of a windfall to get them back in the black. And somehow they've stayed ahead since, for nearly two whole months. They haven't been this stable financially since they arrived in town.

Today, Steve flips through the different apps he drives for, trying to decide what order to take, when he sees a huge pizza order. The order is absurdly big, but the tip is decent, and picking up a stack of pizzas is infinitely easier than shopping a whole-ass grocery list. Steve's just seriously questioning if it'll all fit in his car.

He's gonna risk it.

Luckily, it does, but there are pizza boxes piled high in every seat and the rear. He definitely doesn't have hot bags for all of them. Hopefully he doesn't get caught in traffic.

The area seems familiar, but when Steve pulls up in front of the house, he knows why. Eddie. Only, the last time it was groceries, not food, that he delivered here.

There are vehicles everywhere. Clearly some sort of party, Steve thinks, to require this amount of pizza. And as soon as Steve steps out of the car, Eddie is out of the house, being trailed by three other, mostly leather-clad, guys. It'd look threatening, if Eddie wasn't smiling so big.

"Steve! When I saw Steve was my driver, I was like, maybe? But Steve's a common name, and there was no picture, so I didn't get my hopes up, but hey! It is you!" Eddie shouts, moving to the back of the car, "Watch your head this time, sweetheart," Eddie adds, and Steve is sure he's blushing.

He just stands there kind of dumbly, watching as Eddie commandeers his order right out of Steve's vehicle. Eddie's definitely unusual.

Eddie hands stack after stack of pizzas to the waiting guys, making them carry the bulk of it. And Steve watches as they ferry them off towards the house, Steve not having to even lift a finger this time.

Now, it's just him and Eddie standing on the curb.

Eddie holds out an envelope, and Steve looks at it.

"Man, thank you, but you tipped so well last time, you really don't have to again."

"I want to. You provide a service, I want to pay for that service," Eddie says, shaking the envelope, and Steve reluctantly takes it. Whatever is inside, will really help him and Robin stay ahead. It did last time. He's not really in a position to say no, even as well as they are doing at the moment.

"Thank you, truly," Steve says, tucking it into his pocket, "How's your Uncle Wayne's hip?"

Eddie smiles, so fucking wide, "You remembered! He's good. Great. Headed home soon, which I'm certain he's thrilled about. He's definitely never coming here again. I'll have to go home when I want to see him."

Steve laughs, "Glad to hear he's better, if annoyed."

"Do you want to stay?" Eddie asks, "We're having a little going away party for him. The more the merrier. Or, is your shift not over? You could come back?"

Steve doesn't have a shift, he can clock in and out to take orders as he pleases, and right now he'd really like to accept Eddie's offer. Even if it's probably just Eddie being polite. A pity ask, if you will.

"You don't have to invite your delivery driver into your house, you know? I could be a murderer."

"Unlikely," Eddie says, "and I'm not inviting my delivery driver. I'm inviting you, Steve."

Steve thinks over the options, and then nods. He can go in for a bit. If he's uncomfortable, he can get right back on the clock, no harm, no foul.

"Okay, let me park," Steve says, and he does just that. Putting the envelope of cash into the glove box without opening it. He doesn't want Eddie to see him scrounging through it. That feels tacky.

The pizza boxes are already open on every available flat surface in the kitchen and living room, and Eddie shoves a paper plate into Steve's hands, "Eat. Drink. Be merry."

Steve nods, and grabs a slice from the nearest box. He's not picky.

The house is full of people, and a lot of them seem vaguely famous. Like this is an industry thing, instead of a going away party for an old man with a newly not-broken hip.

Steve's worked enough of these events. They tried the catering thing for a while, and it was fine, for Steve anyway. Robin was just a little too clumsy to carry trays of dainty hors d'oeuvres around rooms filled with beautiful women in expensive dresses.

This isn't any of that though. This is cases of beer being chilled in kiddie pools, and dozens of pizzas. Fancy house, but not a fancy party. Steve spots Eddie's uncle sitting by himself on a couch, a beer resting on his knee and a paper plate of pizza on the arm rest.

Nobody else is sitting by him, so Steve goes over, "Can I sit?"

Wayne grumbles something that could be yes, could be no, Steve's not wholly sure, but he chooses to go ahead and sit down beside him.

"How's your hip?" Steve asks.

"Who are you?" Wayne asks, looking at him, suspicious.

"Steve. Uh, a delivery driver? I've brought a couple orders to you guys now. And Eddie invited me to stay."

Wayne nods, and goes back to his plate, "Hip's fine. Ready to go home."

"Where's home?" Steve asks, and he's not sure why. Clearly this man has no interest in making small talk with him.

"Indiana," Wayne says.

"Hey! For me, too. Small world."

"What're you doing in California, then?" Wayne asks. "Trying to get into show biz?"

"No. No way," Steve laughs, "Not for me. Uh, my best friend? Robin? She wanted to move out here. Wanted an adventure. And I wanted her to be happy. So. Here we are."

Wayne nods.

"Did you break your hip in Indiana and Eddie dragged you all the way out here?" Steve asks.

"No," Wayne answers, "I came to visit him and broke my hip before I got out of the airport. This is why I don't take vacations."

Steve smiles, "That's bad luck. Sorry."

Wayne nods his head, and Steve assumes that's the end of this conversation, and they sit in silence for a few moments.

"You're Steve? The one that brought the groceries a few weeks ago?" Wayne asks.

"That's me," Steve confirms.

"He's been talking about you non-stop. I was like, just order more groceries. So, he tried. It was never you. Now we have more food than he'll ever eat. Probably need to take it to the food pantry."

Steve grins, looking down at his plate. He isn't sure what Eddie would want to see him for. They definitely aren't on the same level.

Eddie is across the room, talking wildly with his hands.

"He's a good kid," Wayne says, quietly, "All this? Not him. Not all of him, anyway."

Steve looks back at Wayne, "What do you mean?"

"All this fancy shit. I'm proud of him that their music has done so well. But he's a good kid. And he just wants to be happy."

"Don't we all," Steve says.

"People take advantage. If you're here for the money, for the fame. Just. Move on. Eddie would give it to you. But he wants something more. Needs it, I think."

Steve thinks he could be something more. But he doesn't really have anything to offer Eddie in return, and maybe heeding Wayne's warning wouldn't be such a bad idea. What business does he have getting involved with a famous musician? None.

"Got it," Steve says. "Well, I'm glad your hip healed."

Wayne grumbles at that, and it makes Steve smile.

Steve puts his trash in the can, and looks around. The hallways are lined with platinum records, news articles, and he leans close to read the name. Eddie Munson. Corroded Coffin. He's never heard of them. He'll have to look them up on Spotify.

He doesn't belong here.

He takes one last look at Eddie.

Eddie Munson of Corroded Coffin.

He tries to memorize his name, his band, so he can tell Robin later, solving their little mystery.

And then he ducks out of the front door, walking down the long driveway towards his car.

"Hey, Steve! Wait!" Eddie yells from behind him, and Steve slows.

"Hey, man. Thanks for having me," Steve says, turning to look at him.

"You're leaving already?"

Steve nods, "Work, you know."

Eddie nods, "Okay. Well. Come back. Anytime."

"Thanks, Eddie," Steve says, because he's pretty sure Eddie means that, "Enjoy your party. I'm glad Wayne's hip is good as new."

Steve turns to keep walking.

"Steve. Uh," Eddie says, and Steve considers pretending he didn't hear him. It'd be easy. The music is loud, probably pissing off the neighbors, but Eddie keeps talking. "Listen. I like you. Yeah, I know. I barely know you. But. We got good vibes, man. Can you not feel that?" Eddie asks, and when Steve turns to look back at him, he sees that Eddie's hands are shoved deep into his pockets.

He looks nervous.

He's famous, clearly rich, and beautiful. He could have anyone he wants. But he looks nervous talking to Steve. Who delivered the pizza. Make it make sense. Goddamn.

"Eddie," Steve says.

"Do you not feel it? If you don't, I'll leave you alone. I swear. But if you do…"

Steve nods, "I do. But I'm a delivery driver. I live in a tiny apartment that I share with my best friend. We barely make ends meet. You could have anyone. Why would you want me?"

"Because I like you," Eddie says, "and I want to get to know you. I didn't grow up with anything either. I'm not old money. I'm new money. Brand new. So. I'm not that out of touch yet."

Steve smiles. He's old money, he just doesn't have access to it anymore. Eddie's new money, and doesn't know how to handle it. They'd be quite the pair.

Eddie keeps talking, trying to wheedle a date out of him, "Just. Let me take you out. Just us. Let's see if there's anything here," he says, motioning his hand between the two of them.

Steve wants to, he really does.

"Okay," Steve finally says, "nothing fancy. A normal date."

"We can definitely do that," Eddie says, and reaches into his pocket, pulling out his phone. "Let me give you my number."

Steve rattles off his number, Eddie texts him, and it buzzes against Steve's thigh. Already coming through, showing he's serious.

"Dinner? Movie? Bar? You name it," Eddie offers, eyes never leaving Steve's.

"Dinner's good. Nowhere fancy, though," Steve warns.

"Do I look like I like fancy places?" Eddie asks, looking down at his own clothes.

And Steve's eyes cut back to the gorgeous house.

Eddie laughs, "Fair enough. But I don't."

"Can you go out in public? Or are you too famous?" Steve asks. "I'm not familiar with your band, sorry."

Eddie laughs, "I think I like that you aren't, sweetheart. That means that maybe you like me, just for me. And I can go out. Nobody cares about me all that much."

Steve nods. Alright. They can go on one date, and see how it goes.

Well. That's how it goes.

Very, very well.

So well, that Steve's now satisfied and loose in Eddie's bed, when Eddie laughs, rolling into Steve's shoulder, face pressed to his skin. Lips kissing his shoulder, biting at him gently. Playing with him.

"What?" Steve asks, smiling as Eddie slides his hand into his, squeezing. "What's so funny."

"I tipped my driver," Eddie chokes out, laughing around each word, pressing his crotch into Steve's thigh.

Steve laughs, looking down at this ridiculous man clinging to him, "That you did. And damn well."

If you want to write your own, or see more entries for this challenge, pop on over to @astrangersummer and follow along with the fun!

#a stranger summer #week fifteen #prompt: modern au #stranger things #steve harrington #eddie munson #steddie fic #wayne munson #stranger things fic #robin buckley #stranger things 4 #steddie #platonic stobin #steve x eddie #thisapplepielife: short fic #thisapplepielife: a stranger summer

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