#i just love the idea of them shooting this scene like stop the cameras. art is definitely changing his outfit to meet his future wife

[artashipatrick]

currently obsessed with the idea of art fixating on the perfect date night outfit to meet tashi while patrick is like, i am fuckable in anything

[funtheysaid]

IWTV 2x02 Initial Thoughts (Stream Of Consciousness)

- ooh the title card changed! I’ve been wanting to see the Eiffel Tower as a “fang” since season two was announced. WE IN PARIS BABY!

- ayooo three-way (interview) incoming

- Daniel’s “Paris sucks” aka “Paris is where my ex-bf is from and he sucks (dick), but not mine anymore, and no, I’m not bitter abt that, his city just fucking stinks (literally)”

- not two minutes in and Devil’s Minion is already flirting bickering

- ALICE MENTION alice!armand truthers are gon love that shit i just know

- “I’ll tell you what a woman is” That’s my sapphic-coded queen!!! 🕯️ pls S2 give me claudeleine 🕯️

- “Gauche” well, yes.

- Loumand: 🥰🥰 Daniel: 🙄 he‘s so second-hand embarrassed for them I can’t

- I mean, it’s crazy. What? We finish each other’s- I WAS WITH HIM FOR LONGER THAN LESTAT WAS WITH HIM WRITE THAT DOWN WRITE THAT DOWN DANIEL PUT IT ON RECORD WEVE BEEN FUCKING FOR LIKE DOUBLE THE TIME …that’s what i…was….gonna say?

- Louis would be that faux-intellectual hipster who has his own darkroom full of overexposed and blurry, unfocused photos that are his “art” bc he took them on film (affectionate)

- Not claudia calling him out on it in the next scene “let me think I’m deeper than I am” okay honey you do you

- “She’s miserable but she doesn’t want to fuck with your too delusional left bank dilettante vibes” ahh the narrative foils are foiling, I see

- The show: Alice was pregnant, My dumb ass: OMEGAVERSE DEVILS MINION !?!?

- “joyfully joyless” MOOD.

- Claudia looking at Madeleine like “I don’t know if I want to be her or be with her” Dw babe it’s a rite of passage for all of us you’ll figure it out

- “Your French is ugly” 🥹👉👈 weally?

- “the dress for my body” LOOK I know what she meant, but I can’t help it that my mind is perverted

- LMFAO NOT GLORYHOLE PARK

- okay why Loumand playing with my heart “I will never harm you. And I never have” wtf wtf wtf

-Oh no the ole business card trick! we all know that’s Louis’ kryptonite he loves a man with credentials

- i like girls, but why is santiago kinda…

- Woah the Annika scene was really hard to watch which I think was the point but goddamn idk if I’ll be able to rewatch that part

- Estelle is my self-insert. I’m claiming her.

- “You both fucked Lestat!?!” HOW DID THEY KNOW WE WANTED HIM TO SAY THAT!?

- “He tasted of vermouth and annihilation” We both know you have no earthly idea what that man tastes like, Armand. Be so fucking fr right now.

- Did Armand just casually drop that he had a threesome with a father and son? I’m sorry, sir????

- “Now I know what two blood fat cocks slapping hands feel like” When I tell you my spirit left my body

- oh shit here we go. I’m a caged animal and it’s time for my weekly enrichment. give me my loustat.

- there’s a letter !?!? Wait wait I wasn’t ready for something like this wait stop stop please

- “all my love belongs to you. you are its keeper” just take me out back and shoot me at this point

- “it is a thin veil” fucking fuck why was that so romantic??

- the blood tears welling up in Lestat’s eyes I’m-

- “Rebound of my life” and in that moment, he spoke for the people

- WHAT IS HAPPENING???? Jesus Christ, they were talking about Alice and then it cuts to FUCKING ARMAND!?! This is not a drill. Everyone to your stations, this is not a drill.

- “You sold your Dad’s playboy magazines at recess” Hmmm? You’re telling me a “straight” teenage boy sold porno mags instead of keeping them for himself??? Yeah, I call gay on that one

- “she wanted to say yes” you motherfuckers.

- Oh shit Louis is pissy tonight rawr kitty got claws

- Devils minion girlies are thriving, skin glowing, hair silky, breath minty, pillow cold, stomach full, dreams sweet, and by Jove, we fucking deserve it !!!!

- daniel’s shaky “um- gulp” …….guys this is gonna sound crazy but i think there might actually be a god

- ooh the camera/photography being like a divide or barrier between Louis and his present situation. Like he wants to capture the moments, but only as if an onlooker and not a participant… interesting!

- “Who?” will never not be funny

- “Mon ami” in the same episode as “Mon Cher” FUCK ME GENTLY WITH A CHAINSAW

- “Armand for you” nah nah nah i changed my mind, you can do like Leatherface and shove that chainsaw in rough and hard

- Close up on Louis’ conflicted face, fire blazing behind him…. That’s not foreboding in any way. I’m sure they’ll all live happily ever after from now on :D

What a ride! Until next week! 🧛‍♂️🩸

[artknifeandglue]

Fanfic ask game, if you would like to answer: D, E and F ❤️

D: Is there a song or a playlist to associate with [insert fic]?

Always is! A whole bunch of my fic titles are song titles/lyrics themselves, sometimes changed or edited slightly for for grammar/vibes. Usually, I've been listening to the song on repeat obsessively while I write the fic itself. See examples: the song that gave shadows, shadows its title; the song that yielded both you could have at least wished to live and what's left is merely sentiment; the inspiration for if i reached out my hand, could i catch you? in both format and content; the song where premise and lyrics and vibes came together to become the behemoth that is as shattered stars shine.

I'm not in the habit of making playlists much, though. It's an art form I never really picked up.

E: If you wrote a sequel to [insert fic], what would it be about?

Honestly, most of my fics are complete as is (save for shadows, shadows, which I've been working on at a glacial pace ^^;), but if I had to pick one, I'd probably write something for as shattered stars shine. The adventures of Mephistopheles, I guess?

In a not-Kingsman-related answer, I've toyed with the idea of writing spin-offs of even so, someday, surely. There's so much lore in that universe that didn't make the final cut or is only just hinted at, and I'd love to explore that.

F: Share a snippet from one of your favorite dialogue scenes you’ve written and explain why you’re proud of it.

Blargh okay I'm going to cheat on this and put up two contenders! Both are from shadows, shadows, but one is in chapter 2 and the other is currently sitting in my drafts. Cut for brevity:

Excerpt #1: Chapter 2

“Bugger off, Harry, I’m not done with Merlin yet. You’ll get your turn.” Percival glares at Merlin, his side profile visible on camera, and it’s a miracle Merlin doesn’t shrivel up or catch fire, because that glare could kill. “No, it wouldn’t fucking have, but you don’t think we would have appreciated knowing that information earlier? What, did you not trust your agents?”

“If you really want an answer, Percival,” Merlin bites out, “then yes. I didn’t know if it was yet safe to inform you, and perhaps the world at large, that Harry wasn’t dead. If you want to make this about trust, then be my guest.”

“Of course it’s about trust, you bastard!” Percival roars, slamming his hand onto the Round Table. The loud noise makes Gareth jump, jostling the feed, and he fires off a quick message to Tristan through the glasses. Well, shit. “It’s always been about trust, that’s why we make every candidate shoot their fucking dog-”

The three-way argument between Harry, Merlin, and Percival! I think it does a pretty good job of establishing Harry's, Merlin's, and Percival's characters all at once by having them play off one another and also piss each other off. We also get Percival having a soft spot for Eggsy and looking out for him, which, hey, win!

Excerpt #2: Yet-unpublished chapter

"How are you feeling?”

“Great, Aish, thanks for asking. Maybe warn a bloke next time.”

“I told you the suit was flame-resistant! It’s not my fault you forgot!”

“It ain’t mine either!”

“Be that as it may,” Merlin rubs at the back of his neck, looking like he would rather be anywhere else, “kindly avoid a repeat in future.”

“Oh, yeah, I’ll ask a bunch of torture-happy mobsters to hold off the kerosene, that’ll stop them!” Eggsy splutters.

“Not the fire,” Merlin says pointedly, “the jumping into rivers in midwinter.”

“Again, I was on fire.” Eggsy throws his hands up in the air. “What part of that wasn’t clear?

Still unpolished, but I like the idea of Eggsy continuing the Galahad tradition of giving Merlin stress headaches. That, and I love being able to set up little background characters for everyone to interact with so we see just how much chaos the Kingsmen get up to (and that they're not the only ones doing this).

[catboymoments]

theres a massive difference between creating 'problematic' content bc you genuinely think its hot, or don't see how it's an issue, or you just want to rile folks up, versus creating content that deals with dark/serious/taboo topics that doesn't stop every 5 seconds to go 'THIS IS OBVIOUSLY BAD AND GROSS'

the idea that people can only make art/stories/etc about bad stuff if they expressly and only depict it as bad is fucking stupid ngl. using CSA as an example, victims often love their abusers, abusers often genuinely think what theyre doing is morally fine, victims often dont realise theyre being abused whilst it's happening. artists and writers should be allowed to depict these scenarios and get into the headspace of characters feeling these emotions without people saying they 'condone' something. depiction =/= glorification and that holds true even when the depiction is from the POV of a character who doesn't think or realise that the bad thing theyre doing and/or experiencing is bad. or demanding that the artist divulge a bunch of their own personal irl trauma so others can decide whether or not its 'valid' for them to make that kind of content.

i agree with the notion that we should all be critical of the content we create and consume regarding dark topics and take a moment to think about how it may be interpreted by different people but like,, could you imagine an action movie that has every character pause and adress the camera to explain how guns are bad and should be restricted? if an action movie has a lot guns, a lot of good guys using guns, a lot of guns used to pull off cool stunts, does that inherently mean the director thinks irl guns are awesome and everyone should have one?? fucking of course not. if you personally dont wanna watch a movie where guns are portrayed in a positive light then thats totally fine, but you dont get to argue that the director somehow condones mass shootings just bc he didnt include a scene of someone talking about how guns are used for bad stuff too.

sorry for leaving this hugeass rant in your askbox but basically tl;dr ppl need to get better at nuanced thought, critical thinking, and curating their own experiences in regards to 'problematic' content.

Yeah that makes a lot of sense

[ramp-it-up]

Scene Stealer

Pairing: Rafael Casal x Reader

Word Count: 1.6k

Warnings: Minors DNI, a little angst, some language, a smidge of jealousy, but mostly just fluff! No smut! 😃 All errors my own.

A/N: This an ask from @wreakhavoconmacroissantdiggs for the Show Runner AU.  I really love these two. Hope you enjoy, Loves! 💚

Read the previous part, Sundancer .

Hi lovely! Idk if your still doing requests right now? If you are can I have a fluffy/soft-ish moment between Rafa and reader? In the Showrunner AU and reader is actively filming a scene and Rafa's being difficult, lol

Your relationship was the talk of the town, especially since you accompanied Rafael on the red carpet of his latest win; it also happened to be your first nomination.

Ever since you went public, you were content with being ‘partners.’ You, especially, said there was no need for anything more. You didn’t want to tie Rafael to you, because you didn’t own him. 

Art was the most important thing, not a conflict diamond and a piece of paper.

Rafael quickly agreed. After all, it had been his manifesto. You two had a perfect understanding. Until you got this role. 

This gig required you to dance, and you hadn’t used your classical training in a while. You were nervous as hell.

“Who does music videos with this big a budget any more?”

You just rolled your eyes as Rafa as he delivered the shade. He would never outright say that he didn’t want you to do it; he always supported you, but you could tell it bothered him.

There was a slight tension in the air in the days leading up to filming, but you both pretended nothing was up. You were busy with rehearsal, so you brushed the thoughts of this shift in your relationship aside.

Maybe he was a little tight because you told him that the singer could definitely get it during a cast party before you two were a thing. Except in Rafael’s mind. 

Rafa had taken mental notes on everything about you, and this one he didn’t forget. But, he loved you, and he was going to ride for you.  Right?

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

On the day of the shoot, Rafa pulled up to the studio at about 1:30. He agreed to meet you there when you invited him for moral support.  You’d been there since 11 am.

He shook his head to himself as he was shown to your dressing room, lamenting the fact that he didn’t bring Diggs, because he would be the one needing moral support today.

Rafael knocked on the door and heard you say, "Come in!"

He walked in and saw you in a big, poofy, but short wedding dress. A more elaborate ballet tutu, but still definitely a wedding dress. Rafael was thrown for a loop, so he just stood there, taking you in.  He felt like he was breaking a rule, looking at you in this dress.

You looked absolutely amazing.

The make up artist was working on you, but you turned around and grinned when you saw him in the mirror.

Rafa felt like he needed to sit down. 

"What do you think?"

Rafael actually couldn't think. He looked down and noticed that you had your pointe shoes on. They matched your skin tone perfectly and extended your lovely legs. 

He began to feel warm, a heat which began in his chest and radiated throughout his entire torso. But he was a thug.  He tried to express it.

"You look beautiful...." 

His throat was dry. What the fuck was wrong with him?

To you, Rafa looked a bit like a fish, his mouth opening and closing with no sound coming out.

"What?" You cocked your head at him.

Rafa recovered and moved toward you. ‘Keep your cool,’ he thought.

You  shrugged at him, turned back around to the mirror, and continued. 

"I would never actually wear anything like this. It's too poofy and big. Too princess-y. Not my style." You grimaced.

"You look beautiful." It finally came out.

Rafael smiled, feeling an overwhelming desire to kiss you. The makeup artist exited and Rafa was left staring at you in the mirror again. You were a vision. 

He cleared his throat, deciding to lighten the mood.

"Can I climb under that dress and do what I want to do?"

You threw your head back and laughed. Once again, Rafael was caught in your spell.

"I'm working babe, but we can arrange something later..."

‘Whatever you say, my love,’ Rafael thought. 

But what he said was, "Cool."

--------

When filming started, Rafael stood out of the way behind the camera to watch. It was a church scene and apparently what you had to do was dance down the aisle to the altar for the wedding scene.

You were lowkey checking for Rafa, and everytime you looked over, he was glowering at you, the set up, or back seat directing. You could read him like a book, and he was not amused or positive about this.

That only made you more tense and out of the zone. You began to regret inviting him.  What was his problem? Was he jealous? He was being an ass, and you were going to tell him about himself later.

You ignored him as you stretched to get ready for another take. You were not going to let him ruin this for you.

---------

Rafael saw you and melted. He watched, mesmerized, as you danced toward the star of the video. Rafael’s heart clenched when you reached them and kissed them lightly on the lips. 

It happened at least six times for the different takes and angles, and Rafa had visions of dragging you away from there, but he remained calm.

Rafael had no idea that his emotions were so loud. All pretense, all acting skills, all professionalism went out of the window the moment he saw you in that wedding dress.  

He just did not think this production was up to the standard of you. And he caught on to the interactions between you and the star of the video between takes. It was not cool

You  ran through a couple more takes and finally it was time for the last scene, the love scene.

You were whisked back into your dressing room for a wardrobe change. Rafa paced up and down in the hallway to calm himself down. After a few minutes he thought it worked.

Until you came back out.

You were in the sexiest black nightgown he'd ever seen. And those heels. You looked hot as fuck. But when he looked into your eyes, it was clear that you were terrified. 

"Rafa, I don't think I can do this. I'm not feeling it…” Nerves were getting to you. 

“They are sooo not like I thought they were. They're kind of…. There’s no chemistry. And I’m a hack actor if I can’t do this…”  You bowed your head, ashamed.

Rafa hooked his fingers under your chin and brought your head up. He looked at you sternly. He was angry. But not at you.

“Energy up. Expectations down.” 

You tried to respond with a brave smile, but you were really about to burst into tears. Rafael grabbed your hand and pulled you back into your dressing room. He made sure to lock the door.

You thought you knew what he wanted.

“Rafa, we don’t have time for that, I…”

“C’mere.”  

Rafael hushed you and grabbed your hand, pulling you into his embrace. His large hand was on your lower back, and he held your other to his chest, beginning a slow dance to music only he could hear.  

You looked up at him quizzically and raised your eyebrow.

“Rafa, what…”

“I know that we talked about not seeing the need for marriage in this crazy world, and that we are married to our art, but take a little mind excursion with me…”

You fell into rhythm with him as he began to whisper-sing “Hideaway.” 

…See you’ve had the wrong plan

been sipping the wrong wine

Ay ay… let me put you on my vibe.

“Imagine we’re dancing at our wedding…”

You snapped your head up and looked in his emerald eyes. They twinkled down at you.

“I said, ‘imagine.’ This is just an exercise.”

“I would write a new song just for you and sing it while we’re dancing and get you wet for me but make you wait until after we party all night with our friends to get some.”

He smiled down at you and you were with it, getting into the fantasy. You swayed with him a little longer and smiled back up at him. Rafael’s stomach flipped.

So of course he twirled you away from him and back into his arms. His hand moved down your back to your ass.

“Seeing you in this would be the perfect wedding present. Imagine me waiting on you, not wanting to wait any more to touch you, taste you. Make you a mama.”

You stopped and stared at Rafael.

“….That’s quite the imagination you have there…”

Rafa stared back at you. “I am a creator. I create wild musings.” He turned you around to face the mirror. 

“Use it.” 

He put his hands in your satin covered hips. 

“Pretend you’re a woman who would want that. Marriage. A husband who would cherish you and try to make you happy.” 

Rafael bent down to hug you from behind, pressing his cheek aside yours.

You gazed at your reflections in the mirror. In that moment at least, you were that woman.

Rafael kissed your neck. You closed your eyes and you felt it before you opened them, but when you did, he had stepped away.

“Now go out there and pretend that person is what that woman wants.” Rafael looked at you in that way one more time before he cleared his throat and looked down.

You straightened up and walked toward the door. 

“Thanks for the fantasy, Cash.” You looked back at him.

Rafa winked at you. “Anytime.”

——-

Three hours later, after you’d killed the scene and production had wrapped, Rafa waited for you in the parking lot, smoking and dialing Diggs on the phone.

“Whattup. D. I need you to talk me out of buying a rock.”

--------

Tag List:

@braidedchallah @theatrenerd86 @sebastianabucknettastan @imatyoursurrvicesurr @riiyy @lonelydance @jbrizzywrites @honeysucklechocolatedrippin @anh1020 @sillyteecup @ohsoverykeri @theselilwonders @biafbunny @summerofsnowflakes @honeysucklechocolatedrippin @wreakhavoconmacroissantdiggs @janthonybitch

[59writes]

SEVENTEEN- SCENARIO: HAVING AN ALT PARTNER (PERFORMANCE UNIT)

VOCAL • HIP HOP • PERFORMANCE

Last but most definitely not least, the boys with the moves 🙌🙌

again! don’t be shy, feel free to reach out or request!! I’d love to have some anon buddies lol. I promise I’m nice haha!!

also hi Jun’s is about kandi I had to self indulge a little lol (which is why it’s so long omg) I make kandi and it’s literally the best pastime and the culture around it is super cool too so I had to add it in haha!!

🌈🌈🌈!!!PLUR!!! 🌈🌈🌈

tw: food maybe (?)

JUN

• you guys met on complete accident

• he was walking to the company, you on your way home

• and he bumps into you and one of your bracelets hooks onto his bag and it snaps

• you’re both shocked by the sound, watching the beads bounce into the street while people shoved past you both, glaring at you both for blocking the way

• and even though Junhui is late he stoops down to pick up the beads

• you stop him quickly

• “don’t worry, I have more beads at home”

• and he’s like “wait woah you made this” because it’s intricate and pretty and a little pixel art cat that he accidentally ruined ):

• but he feels so bad, and wants to pay you back somehow cuz the bracelets are so cute and he broke one!!! he cannot get over it!!!

• even when you assure him it’s fine he looks so concerned you have to give in

• so you give him your number, telling him to text you when he can and you can work something out

• and at the company he considers it all day

• he, an idol, just got a number from someone on the street. all because he messed up and then insisted to be in your life

• was this a good idea?

• Seungcheol hears about it eventually, and says to give it a chance

• “your friends are in another country, Jun. make some here too. plus you’re stressed, and it’s probably best to get any weight off your shoulders you can.”

• and so he texts you

• and plan to go to a cat cafe (his treat) on his next day off

• when he walks into the cafe you greet him with a beaming smile

• “I have a gift for you.” You grin, pulling something out of your bag

• and like, Jun almost disagrees, like “no I’m supposed to be apologizing to you” but then be sees what you’re offering

• a little cat bracelet just like the one he broke the other day

• he reaches out for it but you shake your head

• “there’s a special way to do it, here.”

• you give him a rundown on the style of bracelet, called kandi

• and you explain they’re meant to be traded

• “and there’s a secret handshake to trade with, ok? just do what I do.”

• peace, love, unity…

• and he’s suddenly holding your hand

• you slip the bracelet onto his wrist before letting go, grinning as he examines his new accessory

• “I’m y/n, by the way.”

• “Junhui.”

• you chat and play with the cats that come to visit your table

• you take off one of your kandi rings at one point and gently loop it around one of the kittens’ paws

• Jun hasn’t had this much fun in a while, much less been in such a positive environment

• as you were bright and cheery as you made kissy noises at the cats to offer them snacks

• always had something new to say or observe

• and when it was time to leave he really didn’t want to go

• you don’t either, but you have an appointment you can’t miss

• so you promise to do it again soon, giving Jun a quick hug and a wave before dashing off

• Jun can’t keep his eyes off the bracelet as he goes back to the company, running his fingers along the peyote weave

• he spends the rest of the night reading about kandi and kandi kid culture

• and everyone involved is so happy, and their bracelets?? like holy shit.

• he thought yours was good but some of these people had massive and intricate kandi

• the next time you meet, he asks if you can teach him how to make kandi

• and your face lights up!!

• the next few meetups he learns, little by little

• passing the bracelet to you if he can’t get part of it right

• and he just keeps getting surprised by your patience when you have to undo rows, your bubbly spirit calming a bit as you focus on a pattern

• and one day you invite him to a rave

• and yo he’s so nervous ??? but he wants to go so bad ???

• you promise him you guys can leave it early, because eventually you get overwhelmed too

• so he agrees

• you meet at your apartment, Jun shy as you flit around and drape him with more kandi

• you ask him to sit still as you paint a tiny design on his face in UV paint, hand resting on his jaw to keep him still

• and when you gleefully spin him around to look at himself in the mirror he’s just. wow.

• a line of heart stickers on his cheek, a necklace made from kid toys draped around his neck, and of course, endless bracelets

• this was so cool.

• the rave was even better.

• Jun got used to the flashing lights and eccentric music very quickly, mostly following behind as you greeted people and traded bracelets

• and then you turn and pull him out to the dance floor

• and that shit is like a fever dream.

• adrenaline, glitter, and neon lights fill your veins as you both dance for hours

• eventually too tired to keep up, you fall into Jun’s arms, laughing

• and he’s grinning too (:

• you leave shortly after that, walking home in the dark

• you stop to sit at a park bench, and Jun says he has a surprise

• he holds out his hand

• peace, love, unity, respect

• and slips a bracelet onto your arm

• he did it completely himself, as you’d never seen the design before

• it’s of a cat with a rainbow tail, along with his name spelled out in pixels

• and you look up at Jun, whose eyes are filled with anticipation

• and you give him a huge hug

• and he thanks you for showing him this diverse underground world full of color in the night; a way to break out of his shell a little

• and damn I guess you can’t help but hold back an “I love you”

• and he feels the glitter surge back into his veins

• and the feeling never leaves again (:

HOSHI

• Soonyoung always thought photographers were more likely to stay out of the lens’ view, but you proved him wrong

• when you introduced yourself as his photographer for the magazine shoot you were working on, he couldn’t help but feel like you should be in front of the camera, not him

• like holy shit. the beads and chains that engulfed your arm and shimmered in the dim lights. the clips nestled in your hair that were shaped like cartoon spiders. the patches for bands he’d never heard of on every square inch of your camera bag.

• he’s polite and energetic the whole shoot, and to be honest maybe you take a little longer than usual to line up closeups of his face

• after all he deserves the best photos (:

• once you’re finished you agree to meet again at Pledis the next day, just to review the photos

• and Soonyoung spends the whole night hyping himself up lol

• you look just as cool as the day before, if not better, and he manages to compliment you without a problem (practice pays off!!)

• he wants to see more of your photos, and you offer him a ticket to a portfolio viewing you’re having

• he shows up without telling you, taking his time to walk through the gallery and examine each photo

• and they’re so dynamic, perfectly balanced, mysterious. he can’t help but get lost in each one, not even noticing you staring at him

• you, heart warm from his wonder and genuine interest

• he was soon a common subject and reviewer of your photography

• and you were soon a common staple of his, Soonyoung trying to be with you at every opportunity

• he invites you over for movie nights with the other guys

• if you show up in your usual outfits he whines about how you’re all pokey and he can’t lay on your arm without getting stabbed ):<

• luckily you own soft sweatshirts that still look super cool so it’s a win/win

• he’s so adoring of everything you do omg

• every interest of yours is now his interest too

• and he’ll always be by your side, curious and wide-eyed, always ready for the next adventure with you

• whether it be through clothes, or photos, or even just the park

• you’re what makes it special (:

MINGHAO

• dude. he’d lose his shit in the best way possible.

• have you seen this man??? his sense of style??? he’d be drooling in seconds lol

• you’d catch him watching you as you intern at Pledis, sketching up scenes in the corner

• finishing your degree required film to turn in, and you managed to snag an internship with the production crew for Seventeen

• a successful music video for a major group would definitely save your grade lol

• every dance practice, you’d be in the corner, wedged against the mirrors, huddled over your sketchbook as you designed

• and of course you watched them dance, you had to encapsulate the emotion somehow

• during a water break, one of the members plops down next to you and introduces himself as Minghao

• his hair is damp with sweat, sleeveless shirt clinging to his chest

• and he asks to see your ideas

• the concept is focused on the ideas of identity, and your current plan was sketches of each member as the background

• you could animate them slowly turning into each member, and you explain the idea to Minghao as he very gently flips through the pages, fingers hardly touching the pages

• he lingers on his own page

• “you didn’t sketch anyone else’s face this detailed.”

• “you’re pretty.” You say simply, reaching for the book back

• he grins at his lap.

• he sits next to you every day now, always eager to see your designs

• but more often he wants to see your other works

• and when you tell him you and your friends made most of your clothes he’s dumbstruck

• “can you make some for me?”

• you laugh and he apologizes for being so straightforward

• but the next day you bring in a trench coat you’ve been illustrating

• cutting diamonds into the sleeves and lining them with neon thread

• the half-finished painting on the back your friend started working on

• and as you proudly explain the coat’s background Minghao can’t help but want to join in too

• the way your face lights up when you speak about it, how gently you fold the fabric, how you adjust the collar on him so it looks just right

• eventually you begin to hang out outside of the company

• and you take him to craft stores when you need supplies or new clothes to ruin

• and he has such a good eye oh my god

• and his long fingers pick up sewing so easily

• and many hours are spent on your apartment floor quietly snipping, painting, lacing

• minghao wears his clothes with pride, especially the ones you make for him

• you go out one day, both of you completely dressed in your own designs

• and Minghao has never felt this beautiful before

• and when he sees your outfit he can’t help but wrap you in a huge hug

• he’s proud: of himself, of you, of the creativity and passion and hours put into these clothes

• and he admits he’d like to keep that feeling around a lot more

• and so your time in the city becomes a date

• and behind the music video sets becomes a spot to hide and snuggle

• you still sketch him sometimes

• when he doesn’t notice

• when he’s too focused on choreo, or reading a book, or laughing at the other boys goofing around

• because you’re proud of him, too

• and when he sheepishly admits he’s been doing the same, pushing over his own sketchbooks filled with endless drawings, improving page by page

• you know he’s your other half.

DINO

• Dude he’d be so flustered

• he straight up would just. not know what to say and would probably be defensive whenever you talk to him so he might come off as rude ):

• it would take time for him to warm up to you

• but when he does it’s clear he can’t get you out of his head

• as a choreographer, you had to spend a lot of time with the performance line

• and in this case, specifically Chan, as he has a solo

• and just seeing you look so damn rad even when you’re slowly walking him through potential choreo,,,, homeboy is gonna break down and try and defend himself

• the first few days are awkward because he’s drawn back and a little hostile

• but you force him to get lunch with you after a particularly rough morning, just to try to have a better relationship

• you guys didn’t finish the choreo that afternoon, choosing to sit on the studio floor and talk

• the next day he’s still quiet, but shyly rather than defensively

• and he can’t seem to get his arms right, and you have to go over there and straighten his arms for him, rings digging into his biceps

• and even though he tries to hide his grin you know it’s what he wanted

• eventually your job is done and you’re ready to head to the next performer, or go plan choreo for another group

• and Chan shuffles up and even though his cheeks are red he manages to ask you out

• and how could you say no?

[shirtlesssammy]

7x05: Shut Up, Dr. Phil

Then:

D E A N

Now:

A real estate agent goes under the salon dryer of death. Heat is SO damaging to hair, amirite?

Dean Winchester continues to be haunted by the death of Cas, his brother’s psychosis, and Amy. 

He starts looking into a case because drinking only takes up 99% of his time these days. Sam comes back from a run and asks about Dean’s wellbeing. 

Dean angrily deflects.

(The Leviathans are on the Winchester’s tail.)

Sam interviews the victim’s sister. He asks if she had any enemies. The sister tells him that everyone loved Wendy. Dean interviews the stylist at the salon.

Looking around the room, he finds a coin. He calls Sam later and they discuss, coming to the conclusion that it might be some kind of hex talisman. 

At a construction site, a dude makes a pit stop at a port-a-potty. While he’s inside, the nail gun comes alive and riddles him with nails. Dean later interviews the local law enforcement about the death. Dewey was a good man, pillar of the community --and they have no clue how the nail gun worked since there wasn’t a source for power anywhere around the place. Dean finds another coin.

Sam discovers that all the victims were working on a real estate development together, along with a developer named Don Stark. Don’s still alive --and he might be the next victim. 

The brothers head to interview Mr. Spike Stark. While talking with him, his assistant, Jenny, pops in and it’s clear that he enjoys her cupcakes. Sam makes a bathroom excuse to explore the house. In the bedroom closet, he finds half of it empty, and a box full of witchy stuff. 

Dean continues to talk to Don. We learn that Dean is IN A VERY BAD WAY --LIKE SO BAD --like, guys, this is the lowest of lows. I had to avert my eyes, and weep for the lost soul that is Dean. He seemed... impressed... with.. an... autographed... photo... from... the devil himself, and I’m not talking about Lucifer. 

Sam comes back and asks about Don’s wife, Maggie. They’re “going through a rough time.” Sam presses him and he admits to having a brief “thing” with an associate. The brothers imply that maybe Maggie was behind Wendy’s death and Don could be next. 

Outside, they notice more dead plants. 

They head over to Maggie’s to investigate. Dean sneaks inside the house to find a death shrine --with Jenny on the board. Sam, watching for Maggie’s return, tries calling Dean, but runs into Maggie (Cordelia!) instead. She doesn’t want to talk, so Sam sets off her car alarm to warn his brother. 

Dean scampers outside with Jenny’s photo in hand. She’s Maggie’s next target. Upstairs, Maggie notices that her closet door is open, finds the missing picture, and replaces it with a backup photo. She draws a red X over Maggie’s photo in blood. (Note to self: always have multiple copies of revenge photographs, I guess?) 

Jenny pulls cupcakes out of the oven, the very picture of wholesome, sugary charm, when the spell activates. 

Blood drips from the cupcake she’s bitten into, which is now filled with a beating heart. She begins to choke on it, when the Winchesters arrive. Sam finds the hidden coin and shoots it just in time. After allowing Jenny to cycle through shock, they tell her that she’s been hexed. They advise her to flee several hundred miles away. They ALSO tell her to stop carrying on an affair with Don Stark. She’s DEEPLY OFFENDED at their implication and sums up her feelings about her boss in one word: “Ew.”

This is one of those weird moments in the show where you wonder if there’s a point being made about assumptions about professional women or the irony of these two men scolding a woman for her potential relationships or even different presentations of femininity and then the show just sort of forgets what it was doing and wanders off into the next room.

The next room, in this case, is Maggie’s charity auction. 

Maggie and her assistant, Sue, organize the works of art and prepare for the auction. Her assistant tells the audience that she was the one to tell Maggie about Don’s affair, and manages to squeeze off a tiny “I love you” before Maggie rushes off again. (I look directly into the camera.) Don arrives, complaining to Maggie about how her charity work has edged him out of her life completely. She, in turn, complains that his development obsession has done the same. ALSO, we learn that they both know about hunters, and that the two Winchesters are gunning for her. Maggie doesn’t seem terribly concerned. 

Don heads back outside, only to watch a bust of his face shatter in the town square. Maggie smiles down on him from above. 

Back at their motel, Sam and Dean prepare an exciting spell with rapidly spoiling chicken feet. 

At the auction, Maggie hands a celebratory martini to Sue, who pulls out the olive and shrieks to discover that it’s...an EYEBALL instead. Incensed, Maggie stalks through her art display which is quickly melting. (Outside, Don smirks in his car.) Sue vows to stand by her side no matter what, only to be neatly beheaded by a flying silver tray. Apparently, the War of the Roses is on between these two pissed-off married witches.

The Winchesters arrive later to find Sue’s body and one very ruined auction. They put two and two together. Just in case we didn’t get the reference, Dean ACTUALLY name-checks the War of the Roses as they assess the situation: they have two witches to hunt. 

Storming into Don and Maggie’s home a little while later, the Winchesters perform their chicken-feet spell. It...fizzles out.

For Look at These Two Goofballs Science:

Maggie immediately pinpoints the problem: their chicken feet were spoiled. While the Winchesters stand there gormlessly, Maggie and Don casually begin to cast their own spell. Sam and Dean decide to “counsel them” instead of fight.

The Winchesters tell them they are MFEO and they should totes kiss and make up. The two witches beat up Dean and Sam for comic effect while they discuss their relationship. 

Maggie and Don bond over beating up Dean and Sam - and even though this is a VERY CHEESY scene, I melt a little bit because I do love these two Buffy alums. 

Later, Dean and Sam return to the motel, having NOT gotten the bad guys. They’re confronted by the creepy guy (leviathan) who’s been stalking them the entire episode. Don stuns the guy for them! Yay, Don? Don then fishes the cursed coins Maggie planted in their beds and they all part cordially. 

Sam wants to know if Dean paid attention to the Starks’s cathartic counseling session...because Sam wants Dean to spill out his feelings too! Dean is hugely resistant to the idea of sharing his emotional baggage and they leave town with Dean’s sorrow unexplored.

Quoteydale High:

Don’t say ‘yeah okay’ like yeah okay

I observe with my eyes

There were tiny, beating hearts in my cupcakes. There were hearts in my cupcakes!

There’s always something eating at me. It’s who I am

Want to read more? Check out our Recap Archive!

[waitimcomingtoo]

Hii! Can you do a Tom Holland x reader where they do the buzzfeed video reading thirst tweets and Tom gets jealous of the tweets, fluff fluff fluff. 💞💞 THANK YOUU

I love this idea! I hope you like it

Thirsty

Pairing: Tom Holland x Reader

Warning: it’s thirsty tweets, so adult humor and crude comments

Masterlist

“Hi I’m Y/n L/n.” Tom said to the camera while sneaking at glance at you to see if you laughed.

“And I’m Tom Holland.” You bounced off his joke with a giggle. “And today, we’re going to be reading thirsty tweets.”

“The tweets aren’t thirsty, darling. It’s the people writing them.” Tom corrected you. He gave the camera a pointed look as you laughed at your mistake, already feeling giddy for the video.

“I’m sorry. Let’s start the video, shall we?” You asked as you picked a tweet out of the bucket. “I wonder how big Tom Holland’s- oh and this is Buzzfeed!” You suddenly remembered to credit the creators of the video. Everyone on set, including Tom burst out laughing. Tom plucked the tweet out of your hands.

“I think we’ve heard enough of the one.” Tom said as he tossed the paper over his shoulder.

“Take a two minute break. That’ll be our intro.” Someone from behind the camera called. You gave them a thumbs up and turned to Tom.

“Are you excited or nervous?” You asked him as your straighten the collar of his jacket. You’d made a habit of tidying up Tom since he had a habit of being disheveled.

“I try to always turn my nerves into excitement.” Tom told you. “But I’m a little nervous about what they’re going to say about you. You, being so hot and all.”

You laughed and tossed some of your straightened hair behind your shoulder.

“Oh, you know. I aim to please.” You replied. You were a little nervous yourself. You could only imagine what crazy things fans could’ve tweeted at your movie star boyfriend. He was definitely a fan favorite, and had a whole army of girls begging to be his. You’d just recently announced that you were together and this was your first video together as an official couple. So yeah, you were nervous.

Your break ended and you picked the first official tweet out of the bucket.

“Tom Holland is zaddy.” You read. It was a nice, calm way to start the video.

“That wasn’t bad.” Tom nodded. “Short and sweet.” He selected a tweet from the bucket.

“Y/n L/n looks a lot like my next girlfriend.” He read. He made a displeased face at the camera.

“I don’t know, mate. I heard she has a boyfriend. A really good looking one too.” Tom joked. You rolled your eyes as he took another tweet.

“Tom Holland is so fine. I think I rewatched the scene when Peters suit falls off a million times.” He read.

“Same girl.” You commented. You took the bucket from his hands and put your hand on the side of your mouth, whispering loudly, “it’s even better in person.”

“If I could only let one person bone me the rest of my life, it would be Y/n L/n.” You read out loud. Your eyes widened at the bold tweet.

“That escalated quickly.” You said. Tom didn’t look amused.

“She already has someone to do that, so.” Tom shrugged smugly and tossed the tweet aside.

“Thomas!” You smacked his arm and looked at the camera. “Do you see what I have to put up with? Let’s keep it PG, please.”

“@YOURNAMELASTNAME, girl, what you doing? Get your ass back in the Louvre where you belong.” You read.

“I liked that one.” Tom said with a nod of approval. “Because you are a work of art.”

You smiled at him and picked out another tweet.

“My sexuality is the veins in Tom Holland’s right arm.” You smacked your knee as you laughed. Tom just shook his head.

“I don’t even know what that means.” He remarked as he took a tweet.

“Y/n L/n, if you’re reading this, by all means, foreclose on my house. Destroy my credit score. Flood my basement. Ruin my life. I beg you.” He read dramatically. The lack of crudeness towards earned a chuckle from him.

“Aw that’s...sweet?” You said, sounding more like a question. You look a tweet from the bucket and cleared your throat.

“I would let 30-50 feral hogs trample over me if Tom Holland was the paramedic who transferred my corpse into the back of the ambulance.” Tom read. You burst out laughing until your stomach hurt.

“That was graphic.” You said between giggles. “And incredibly specific.”

“She wouldn’t really need an ambulance at that point though, would she?” Tom asked you, not ready to leave the topic yet.

“I’ve never been trampled by 30-50 wild hogs, so I wouldn’t know.” You replied. Tom gave you a cheeky grin.

“It’s feral hogs, love.” He teased. He had a way of forgetting cameras were there when you were around.

“Oh, I’m sorry.” You said sarcastically as you took a tweet.

“Tom Holland is the only man who deserves rights.” You read and nodded in agreement. Tom did as well which made you laugh.

“I want Y/n L/n to use my face as a trampoline.” Tom read. He looked at the paper in his hands for a long time. “Now, why are mine so tame and yours are borderline insane?” He was beginning to find the tweets less and less funny. He didn’t like people tweeting about you in such vulgar ways, especially when they didn’t even know you.

“I guess my fans just really like me.” You shrugged and picked up another tweet. “I want Tom Holland to drive over me with his private jet.”

“It’s actually Sonys jet, but I appreciate the gesture.” Tom answered as he took a tweet out of the bucket. “My ideal weight is Y/n L/n on top of me.” Tom clicked his tongue, feeling a little twinge of anger in the pit of his stomach. “That’s unfortunate, since she’s a little busy being on top of me.”

You looked at the camera with wide eyes and a dropped jaw.

“What did I say? PG!” You snatched the bucket from his hands and pretended to be angry. Tom knew he shouldn’t have said it, though be it true, but he just wanted to remind the people watching of your relationship. Tom took the bucket back from you and pressed a kiss to your cheek.

“I’m just letting the fans know who’s you are.” Tom replied with a cocky smile. “All mine.”

“I just wanna know how Y/n L/ns lips feel😔” He read. “And then they put a little sad face emoji.”

“Aw. You don’t have to be sad.” You told the camera.

“They feel amazing, by the way.” Tom quipped, giving the camera a cheeky wink. “But you’re never gonna know.”

“I want Tom Holland to use his jawline to cut me into fries.” You read. It made you chuckle again. You slid your finger across Toms jawline and smiled.

“Me too, baby, me too.” You said and picked out another one.

“This one is about you again. It says “Tom Holland walks into a room and his ass walks in 20 minutes later.” I have to agree.” You nodded. “Daddy thiccums.”

“Don’t start with that again, darling.” Tom groaned. Someone had commented that on his post the week prior and you wouldn’t let him live it down. You thought it was the funniest nickname in existence. Tom, of course, hated it, which is exactly why you snuck it into conversations every now and then.

“What? There’s nothing to be ashamed of, baby. If you got it, flaunt it.” You announced as you swiped some hair off his forehead. He felt a little hot to the touch. You noticed his jaw was clenched for the first time. If you weren’t being filmed, you’d have been all over him, asking if he was okay. You knew you had to bite your tongue until the interview was over.

“Y/n L/n can have it anytime she wants it.” You read off the paper.

“She doesn’t want it.” Tom deadpanned.

“Hey.” You laughed and took the tweet from his hand. “That’s mean.”

“Look at his profile picture. He looks like a foot.” Tom pointed to the tiny profile picture that could barley be seen on the paper.

“A foot?” You laughed and took another tweet from the bucket. There was definitely something off about Tom. You were sure of it now.

”Tom Holland’s ass is phat with a PH.” You read. You looked at the camera and wiggled your eyebrows.

“Again, completely true.” You agreed.

“Why are all of these about my butt?” Tom asked with a smile, but sounding genuinely confused.

“Maybe because you’re dummy thick.” You shrugged and took another tweet.

“Y/n in that dress at the Far From Home premiere? She walked in and said BAWDY. She said body-ody-ody.” You read from the paper.

“Stop.” You put your hand over your face in sudden embarrassment. “You’re too kind.”

“Are they wrong, though? I loved you in that black and red dress.” Tom commented and took one from the bucket.

“I had to show my man some support by wearing his colors. My man, being Spider-Man I mean. Not this loser.” You pointed you thumb at Tom.

“Hey.” He put his hand over his heart and pouted at you. “I am your man.”

“I know.” You presses a quick kiss to his still red cheeks. “I’m only teasing, lover.”

Tom looked satisfied with you answer and read his tweet.

“Not to be horny on main, but I want to hold Tom Holland’s hand.” He said. He immediately slipped his hand into yours and held them up for the camera.

“Sorry.” He said. “My hands are full.”

“@backseatL/N asks, has Y/n broken up with the Brit yet? I’m tryna know if I can shoot my shot or not.” You read. You wished you’d read it to yourself before reading it out loud. It was sure to get a rise out of Tom.

“She did not.” Tom looked directly into the camera. “So you can not.”

You could hear the tension in his voice. He was wavering from joking around to actually being serious. You squeezed his hand gently to let him know everything was alright. Tom seemed to appreciate the gesture and gave you a grateful smile.

“Sorry guys.” You said, your eyes never leaving Tom. “You know I love a London boy.”

Tom picked out a tweet that had a picture of himself at the Far From Home premiere attached.

“I would let Tom Holland break my legs. I don’t know why this photo made me realize that but it did.” He read. You took the paper in your own hands to examine the picture.

“Oh God.” You said. “Remember when you took me golfing for like our third date and you hit me in the leg with a golf ball?”

“I do.” Tom bit back a smile. “I can’t believe you let me take you on another date after that.”

He appeared to be in a better mood until you read the next tweet.

“Y/n is way too fine to be wasting her time with that toothpick. I could show her how a REAL man does it. Just wait, @YOURNAMELASTNAME, I’m coming for you. #tomhollandbetterprayup.”

You grimaced and crumpled the tweet up into a ball. Tom did not look happy and you were starting to see why.

“I think she’s been shown how a real man does it.” Tom said, trying to sound like he was kidding for the camera but not succeeding. You could tell he was throughly pissed off now and hoped the fans wouldn’t be able to tell.

“Yes I have.” You slammed your fist down like you were in court. “Real men hit you with golf balls and then laugh instead of getting you ice.”

Tom laughed at your joke so you kept going to pull him out of his sour mood. “Also, who are they calling toothpick?” You asked as you squeezed Toms bicep. “This thing feels like a ripe avocado.”

“I love it when you talk dirty to me.” Tom said in his sassy voice. You pinched his cheek before taking out another tweet.

“The sun shines for Y/n L/n. It only shines on the rest of us out of pity. It belongs to her and only her.” You read. “Aw. That was really cute.” You said. “Thank you, @fistmetonystark.”

The username caught you off guard. Tom let out a loud laugh as your face went red in embarrassment.

“Okay.” You dragged out the word. “Moving on.”

“I’m just trying to take a bubble bath and watch Home Alone with Tom Holland. Is that to much to ask?” Tom read off a paper.

“In my opinion, that is a lot to ask.” You kidded.

“I think the bath would get cold by the time the movie ended.” Tom said in an attempt to apply logic to the absurd tweet.

“But in my experience, bubble baths with Tom Holland are fun.” You saluted the camera and Tom smiled at you. Your attempt to calm him down wasn’t going unnoticed by him.

“They’re fun until Y/n gets soap in your eyes.” He said to the camera.

“Let the record show that I got soap in his eye once.” You emphasized. “And it was only because I happened to sneeze.”

Tom grabbed the leg of your stool and pulled your chair closer to his. You rested your head on his shoulder as he read the next one.

“@thatswhatmakesyoubootyful says, who said Tom Holland was allowed to have such a juicy dumper? I want answers.” Tom read and you bent over in a fit of laughter. “I can’t believe I had to read that with my own two eyes.”

“JUICY DUMPER.” You screamed. The crew laughed in the background. Tom just shook his head, stifling a laugh.

“@YOURNAMELASTNAME, I just want to put a ring on your pretty little finger. Lord knows Holland won’t do it.” You read once you caught your breath. You wiped a tear from your eye, still to fully recovering from the last tweet. Tom, who was fully recovered, took offense to this one.

“Holland will do it.” He snapped, almost sounding angry. “Holland will most definitely do it, and you can quote me on that, @chokemeharry2011.”

You giggled at the username and picked a paper out of the bucket.

“I want Tom Holland to chop me up and feed me to Tessa.” You raised your eyebrows. “Please don’t. She’s fat enough.”

“Hey!” Tom took the bucket from your hands. “Don’t make fun of my baby.”

“Your fat baby.” You said under your breath.

“Petition for Y/n L/n to win an Oscar for acting like she’s actually in love with Tom Holland.” Tom read, looking completely unamused.

“It’s not acting, but I would like an Oscar.” You poked Toms side but he was busy looking up at the ceiling with an annoyed expression. You gulped you picked up a tweet.

“I want Tom Holland to beat me with a sack of wet mice.” This got Tom laughing again, which made you relived. There were only a few left and you prayed they were tame.

“You know what Tom Holland has that I don’t have? Y/n L/n.” You began to read. “You know what I have that Tom Holland doesn’t have? Lips.”

You crumpled that one up too and gave a fake laugh.

“That one wasn’t even funny.” You said, mostly to Tom. His scowl was back on his face.

“I want to be baptized in Tom Holland’s sweat.” You tried to lighten the mood by reading one for him. He let a little air out and gave a small smile. You moved one of your legs to go over his and left it there. He wasn’t blind to what you were doing and rested his hand on your leg while taking a tweet.

“*pulls up to McDonalds window* can I get uhhhhhhh…Y/n L/n’s hand in marriage?” He read. He had to laugh at that one.

“Aw.” You looked up at the camera with a happy smile. “That’s actually wholesome. Thanks @babydollY/N.” You blew a kiss.

“That was the last one.” Tom looked inside the bucket and to his relief, didn’t see any more.

“Well that was us reading thirst tweets.” You said into the camera. “I feel like I need a shower. Or 12.”

“I feel like you need to block half the people who sent those in.” Tom half joked.

“Well, thank you so much Buzzfeed for having us.”

“And go see our movie, Spider-Man Far From Home.” Tom opened his arms out to the camera before wrapping a protective arm around your shoulders.

The camera man gave you the thumbs up, meaning he’d stopped filming. You and Tom went through the rest of your interviews for that day and didn’t get home until late. Luckily, you were doing press in London so you could stay at home and not a hotel. Tom was still acting a little off during the interviews. He kept his hand on your leg for all of them, and was a little more affectionate than usual. You were pretty sure he had kissed your cheek or lips in every single video you shot that day. Sure, that was the kind of stuff fans and shippers lived for, but Tom had never been one for PDA. When you finally got home, you asked him about his behavior.

“What’s up with you today? Is everything alright?” You asked him when you came out of the bathroom to find him lying on your bed, staring at the ceiling. You took a seat next to him as he sat up.

“I’m not gonna lie, those tweets made me kind of jealous.” Tom confessed. He insecurely toyed with your fingers and didn’t make eye contact.

“Why?” You asked him. You pressed a soft kiss to his knuckles, making him look at you.

“Because I feel like the whole world wants my girl.” He said sadly.

“But to your girl, you’re the whole world.” You assured him, cupping his face in your hands. He gave you a small smile at your corny words.

“You have a way with words, don’t you L/n?” He said, cheering up a little. “And thank you for what you did in the interview. I could tell you were trying to calm me down. I was just overwhelmed by all the people pinning for you. It made me afraid I was going to lose you.” Tom admitted. You shook you head and kissed him gently.

“Don’t worry, lover. You’re not gonna lose me to @fistmesteverogers or @babydollY/N. My heart is all yours.” You told him.

“It was @fistmetonystark.” Tom corrected, looking glum again. You couldn’t help but giggle at the stupid username.

“Whoever it was, it doesn’t matter. People can tweet me whatever they want. You’re the only one I have notifications on for, baby.” You said, trying to keep the conversation light to show Tom how he had nothing to worry about.

“Don’t you have notifications on for John Mulaney?” Tom asked, a smile finally poking through.

“Shhh.” You held a delicate finger to his lips and he laughed. “That’s not important. What’s important is I’m yours and you’re mine and no thirsty tweet could ever change that.”

“It’s not the tweets that are thirsty, it’s the people.” Tom reiterated.

“Well, let them be thirsty.” You declared, still in a joking manner. “The only thirst I’m ever gonna quench is yours.”

“Y/nnnn.” Tom whined and buried his face in your neck. You felt his hot breath on your collar bones. “I’m being serious. I don’t like people thinking about you that way. There are million of boys and girls out there who want to be run over with trucks or hit with a shovel just to be in the same room as you. How can I compete?” Tom asked, the bad feelings sinking in again.

“You can’t.” You shrugged, causing Tom to look at you quizzically. “Because there’s no competition.” You finished. Tom smiled a little as you used your pinky to tilt his face towards yours. “ Tommy, I love you. I’m never gonna love anybody else. So you can be jealous over those tweets but, it’s a waste of your time. Time that could be spent giving me love and affection.”

“You know I can’t resist love and affection.” Tom said with a happy smile. You’d finally pulled him out of his slump.

“Then stop thinking about those dumb tweets and kiss me.” You ordered.

Tom obeyed and pulled you in for a long and deep kiss. He held you close to him, even when you pulled away.

“Y/n?” Tom asked softly, sounding serious all of the sudden. You wonder if all the marriage talk in the video prompted him to ask you a certain question. You didn’t let your smile poke through and kept a calm look on your face.

“Yes?” You answered sweetly. Tom took your face in his hands and stared you deeply in your eyes. You peered back at his gentle brown eyes with all the love in the world. Tom took a deep breath, looked at the floor, and then at you.

“I want you to use my face as a trampoline.” He said finally, quoting the tweet from earlier. You smacked his hands off your face and punched him (with love) in the arm.

“You’re impossible.” You grumbled, feeling like an idiot for getting your hopes up. He, on the other hand, was dying with laughter.

“I am not impossible. I was in a movie called The Impossible, so that may be where you’re getting confused.” He teased. You’d had enough of his humor and got off the bed to walk away. “Come back! I need you to foreclose on my house.”

“Leave me alone, pervert.” You laughed, pushing him away as he tried to pull you back.

“Please? I just want you to flood my basement.” Tom continued to quote the tweets and pulled you into a hug, resting his chin on top of your head. Normally it’d be a sweet gesture, but he was pushing your buttons.

“No thanks.” You answered, giving in to the hug.

“Is it because I don’t have lips?” Tom asked. You groaned loudly and pulled yourself out of his embrace before he could see you smiling.

“I think I just heard a ribbit coming from your mouth.” You called as you walked away.

“Don’t go.” He grabbed your hands and pulled you back towards him. “I just want to know how your lips feel.”

“Two can play this game,” you lowered your voice to a grave tone, “daddy thiccums.”

“Okay.” Tom held up his hands in surrender. “I’ll stop. Just please, never say those words again.”

“I won’t.” You promised. You crossed your heart with your fingers. “But it doesn’t change the fact that you’re a baddie with a fatty.”

“If you keep that up, Holland won’t put a ring on it.” Tom wagged his finger at you, giving in to the joke that made him upset earlier in the day.

“Well I simply can’t have that.” You said in a much calmer tone as you wrapped your arms around his neck. Tom rested his thick arms around your waist and held you flushed against him, pulling a little gasp from your throat.

“I can’t have that either.” Tom said lowly, a gleam of adoration in his tired brown eyes. “Can we just put today behind us and go to sleep?”

Tom picked you up bridal style before you could give him and answer. He placed you gently on the bed, both of you already having brushed your teeth, and climbed in next to you.

“Goodnight, lover of mine.” Tom yawned. He pressed a kiss to your lips before flopping onto his pillow.

“Goodnight...” You said mischievously.

“Don’t say it.” Tom warned in a tired voice.

“Da-“

You were instantly hit with a pillow.

“I told you not to say it.” Tom said, unable to hide his laughter.

“You’re right.” You said sincerely. “I’m sorry.”

You cuddled into Toms side and laid your head on his heartbeat. He rubbed lazy circles into your back and leaned his chin into your hair.

“But @chokemeharry2011 would never treat me this way.” You said quickly.

And thus, you were hit with another pillow.

[felassan]

Gamers For Groceries 2 event

A Twitch stream event from a few days ago. It can currently be re-watched here (it was fun & interesting, so I do recommend to check it out direct). This post contains some notes on things of particular interest & relevant timestamps, in case this is useful to anyone (for example bc of accessibility reasons).

First up is the All About Animating panel, a series of mini-interviews with game devs (animators) asking what they do, how they got there, and advice for anyone interested in getting into the industry. Some or all of the devs that were interviewed are currently working on DA4. They talked a bit about their day-to-day work and a lot about the craft of game dev animation in general. This segment runs from timestamp ~38 mins 40 secs to 1:07:50. Some notes:

[sounded like DA4] Right now the creature team are working on different creatures in a way which involves going through a lot of mocap data

At BioWare they have a pretty big technical animation team, to support their animators, so each tech animator has a different specialty. Tech anim involves animation support, character art support, and rigging the characters so that the animators can pose them

[not sure if re: DA4 work specifically, another project or a general comment on the craft] One of the featured animators’ area of specialty at the moment is faces and hair (building the control structure for face animations). First they had to decide how the face rig and its control structure would work. This involves a lot of performance capture of live actors for things like cinematics and gameplay animation, therefore the rigs for bodies and faces have to be able to accurately capture the full range of expressions and emotions that the actor is portraying. Right now the stage that this dev is working on most is setting up the heads that they’re getting through the pipeline from character art e.g. making adjustments based on feedback from the cinematics team. “Polish - just trying to get realism”

Hair tech has come quite a long way in the last few years [in the industry]

[not sure if re: DA4 work specifically, another project or a general comment on the craft] Hair is very complex to get right. “In the past most games have used card-based hair, which is basically like sheets of polygons with a texture on it that looks like hair, through layers of transparency. But real hair is strand-based, digital strands, so we’re starting to look into that kind of tech - try to get more realistic, more beautiful hair, but there’s always a performance cost to hair. Layers of transparent things are always an expense, they need to balance like, it looks good and moves well, but it doesn’t make your computer or console chug. [...] I guess we’re in the prototype stage but we’ve almost got a set pipeline. It’s always fun to experiment”

In Mass Effect 2 or 3, Miranda’s hair was as expensive as a whole character (!)

[on balancing hair costs/performance, general] It depends on things like character importance and how many characters are on-screen at the time. When you’re in gameplay fighting a bunch of monsters you’re not going to be giving full beautiful hair to all the characters and the monsters, as it will cost too much. (Having a helmet on is a convenient way to get rid of hair.) But if it’s a cinematic scene, with 2 characters talking to each other in a dramatic context, there’s a better budget for nice hair allocated

Some of the hair in Anthem was quite expensive in cinematics. They kept getting bugs from QA saying (for example) that a character’s hair was tripling the performance cost in the scene, so it would go back to character art so they could take away some of the hair cards. “Tough balance, quality versus cost”

“I wish all the characters could have beautiful strand hair”

For p-cap, a lot of the time they don’t want to be too prescriptive in terms of the direction that they’re giving the actors, as the actors know what they’re doing and have a lot of experience, so they give them vague instructions that they then riff off of

[sounded like DA4] They recently did a mocap shoot

[sounded like DA4] There’s a bit more productivity happening now in the pandemic situation; now that the animators are not all going to the capture lab in Vancouver in person for shoots, if it’s not their turn to direct a shot they can instead be working on something else on their computers (multi-tasking). ((Lead DA4 Producer Scylla Costa recently gave a talk at a games festival on the challenges of DA production during the pandemic. In part of this talk he talked about various benefits and drawbacks to the remote-working situation. He also talked about and showed some behind-the-scenes stuff for p-cap and mocap. Notes, images and link here))

[sounded like DA4] Special mocap suits were sent out that they can use with a laptop to go anywhere and shoot motion capture. It’s not as high fidelity as what comes out of the capture lab, but it’s really good for prototyping stuff. Before the pandemic they did some of this (going to a park and shooting some running around)

[sounded like DA4] In one of the shoots they had some actors who were really well-trained in dancing. They were trying to get them to do some combat stuff. This was a bit challenging in the pandemic situation as there’s only so much they can demonstrate/portray as an example to the actors from a distance on camera. “It’s hard to describe what a ‘dodge to attack’ is through the camera to somebody who has no idea what combat looks like in video games”

[not sure if re: DA4 work specifically, another project or a general comment on the craft] The pandemic has really affected performance capture for the face side of things badly, as in order to record, the actor gets dots painted on their face in specific locations by a makeup artist. They can’t do that right now because of social distancing/restrictions, so they haven’t been recording faces at the moment

The more detailed a face, the more joints it has, the more the cost to performance is

---

There was also the Writers’ Block panel, featuring DA writers Mary Kirby, Sheryl Chee and Patrick Weekes, and DA editor Karin Weekes. The timestamps for this segment are ~2:37:50 - 3:26:20. Some notes:

PW has never been weirder than when they were writing Cole on DAI

PW thinks that they accidentally wrote part of “Timber” by Kesha into Solas at one point and they were like “Well, okay, I have to stop listening to Kesha”

For Sheryl, after a while Blackwall’s VA always nailed doing his lines. She loved the quality of his voice and so after a while would always hear his voice while she was writing. This really worked out

^ Mary had this with Merrill. As soon as they cast Eve Myles she listened to several hours of her in Torchwood, and then just wrote to the way that she spoke as much as possible

^ PW had this with GDL as Solas and FPJ as Bull. As soon as they heard FPJ’s delivery, they were like “Oh, okay, I have to write some lines differently, because Bull is smarter than I realized”. With GDL they were like “Okay, he’s going to put poetry into anything I say, in the best way possible”. In early drafts of Solas lines there were parts where they [PW] wondered “Is this too melodramatic? Is this too tragically-angstful?” and then they would hear GDL and be like “Oh! [It’s fine] Game on!”

For localization, German words are often quite long so they often have to make sure that everything fits on the GUI

They think scenes like the romance scenes sound prettier in the Italian versions

Behind the curtain in creating the in-world languages: PW: “There are some awesome websites that have every elven word, like ‘Here are the translations and verb tenses and conjugations’ [etc], [...] and usually Mary and I get very sad slightly looking at those pages going like ‘Does that mean that we have to stick to that?’ [...] The rule is, if I’ve looked at the Wiki and the words, and I go ‘Here’s the correct grammatical way to do it’, and if that turns out to be too long or too many disconnected syllables and it just looks bad or sounds bad, then we shorten it to something simpler, because the key is we want to give the flavor of a foreign language, but we don’t have the world-building budget and capacity to make something that is going to be dictionary-real [in a way that] someone could go through and translate all the background things written on the old temple walls”. Part of the reason for this is the consideration for VAs, who already have to act while bearing lots of things in mind, like the cues in the script for each line

Mary: “For building a language, the first things that I started with for qunlat, elven and dwarven, was what words do we need to use the most? Greetings, farewells, words for friend and enemy, basic things that will come up easily in conversation. After that it’s ‘How difficult is this for other writers to use?’ Can they just pick it off the Wiki? Do they need just one word? Do they need to write whole sentences, and how does that work? Qunlat has almost no grammar to it because asking anyone to learn how to use Qunari grammar and conjugate verbs in a pretend language is impossible, and then once you’ve done that a human being has to be able to read it, while not knowing what any of it means”

PW: “One thing that I was really impressed with with Mary in particular doing, Mary was one of the big lore people across the entire DA series; I can look at a word and go like, ‘That has two A’s in a row, that’s definitely a Qunari word. That word is kind of long and maybe has some apostrophes and has a couple of flowy vowel sounds, that’s probably elven’, I think that’s what’s important. You want players to be able to look at a word, players want to feel smart, [like] ‘Oh I don’t know what that means but I totally know that’s a word from the Qunari people!’”. Mary: “Every language has its own set of phonemes, the sounds that they make, and the sort of word structure and spelling so that it gives a flavor to that language. Hopefully that is always chosen to be pronounceable, because again, very important that the words can be said by human beings :D”

Sheryl: “One of the fun things to do is to make up swear words in the fake languages [...] Recently Brianne wanted a word, I don’t know if she managed to find one”

The origin of bosh’tet in ME: it’s just saying “bastard” and slurring it

PW: “I feel like there are times when past writers kind of leave traps for future writers, where past writers will go ‘Okay, I’m going to write this detailed phrase in a codex entry but don’t worry, it doesn’t matter if it can never be said aloud, because it’ll never have to be voiced!’ and then, next game, guess what guys! Look what you have to make someone [a VA] say! And you’re like [facepalm], c’mon!”

Karin: “Now, four games in, we have pages and pages of all these examples, and I wanna say this, well that’s how we said something before, well that’s ridiculous, I don’t wanna say that, but now we’ve said it and it’s out there, so it’s like, how do we, y’know, how do we evolve, and sometimes we just go ‘Screw it! Languages are living languages! We’ll just say it like this now!’”

PW's favorite is the sarcastic Mythal’enaste, “Because it’s the sarcastic Mythal's blessing that basically means you’re getting screwed over somehow. I love it because Mythal nasty! Whoever wrote that clearly never thought that someone would have to say this out loud”

Sheryl wrote Bull’s joke icicles line. She also wrote Isabela’s big boats line - Jennifer took it out but then DG was like “No it has to come back”

They have a pun test, they get a few of them and have to allot them wisely so as not to oversaturate on the puns. “Is this good/bad enough to be one of the times that we pull the trigger? We did have one of those recently, I obviously can’t talk about it, but it was pronounced Okay to go ahead”

The ‘baby-est’ writer is Brianne, who’s been there 8 years

It makes PW sad that the players never get to see the writers’ temp-text [placeholder text when portions are a WIP]. “People have the best temp-text". Mary: “The number of conversations that I’ve temped in like ‘WELL. I hope nothing BAD happens HERE’”

Q. If you could bring in anybody from outside of gamedev, who would you like to work with and do a writer’s session with? PW: “I will say romance novelist Nora Roberts, she is really smart and also she knows how to write inside a genre, and do wonders within it. Her structure is so good. If you pick up one of her books, you know here’s when this is gonna happen, here’s when they’re gonna meet, here’s when this first moment will happen. We’re all experienced and I feel pretty good about that but I really like all of the things she does that way, and also I am a sucker for romance so I would love to bring a romance novelist in and just have them look at our scenes and go ‘Okay here, no, they should pull the tie so that the article of clothing comes open, we need a sense of how warm the skin is here’ - something like that. I’d wanna see what they could do with that”

“Luke writes the best worst lines”

“I’m always impressed with Mary getting away with lines. There are lines that I look at like, wow, you buried that one. [...] The only players who get that line, I feel like they earned it if they went that far into it. [...] And then Varric or Merrill says a ridiculous line in a one-time throwaway”

Karin: “The group dynamic, you’ll see conversations or snippets of a lunch chat or a thing we’ve been joking about and you’ll see it get pulled in, and how all of you [the writers] are able to take a normal kind of thing - as normal as we get as a group anyway - and then turn it into a moment, and use it to further the plot or use it to further a character. It’s just the cleverest thing and it happens in so many different ways. [...] The little snippet of life, then how you crafted it into this very cool thing”

Quartermaster Threnn was written by PW in half a day. “When I was writing Threnn, ‘Okay, this is a good-hearted [person], I was doing a little bit of Steel Magnolias, southern, no-nonsense, but like, blue collar Steel Magnolias’. This is someone accustomed to the ways of the world so she’s going to call a spade a spade. If you come up to her and you’re an elf she doesn’t recognize you and says ‘Buckets are over there’ because she thinks you’re there to clean, [but] ‘Anyone calls you a knife-ear you come to me I’ll take care of it’. It’s problematic but she’s trying - the good-hearted person rooted for the wrong group on every occasion. She was a proud Loghain supporter, she gets really exited if he comes to Skyhold.  That was a fun character for me to write because I had a viewpoint in my mind. I remember someone was like ‘Threnn is really important to me’. And you have to honor that, cause you’re like ‘Cool, it means so much to me that this connected with some part of you’”

---

Also of interest was the Mass Affection panel, in which BioWare devs looked back in over a decade of history to remaster a classic. It featured devs who worked on MELE. The timestamps for this segment are ~3:36:09 - 4:24:37. Some notes:

When the pandemic hit the MELE team were in a relatively awkward spot. They were really entering into what they consider full production and were on-boarding a bunch of teams, as well as training and on-boarding third-party external partner specialized teams worldwide. When the pandemic hit, BioWare and EA were super on top of it. They were tracking it weeks beforehand, getting everyone their computers ready, and getting everything encrypted. When the middle of March 2020 hit they were home rightaway. EA were nothing but supportive throughout the entire thing. They got money every quarter for stuff. It functionally ‘hit’ at 4-6 different times for them as the pandemic occurred in different places throughout the world at different times depending on each country’s response plan (and their external partners were in different countries). “So it was one of those things where it was just like, every day we’d come in like can we still work with this company anymore? Do we need to find someone else? Do we need to pull people in off the other projects at BioWare to fill gaps here and there?”

There was a bug on Virmire at the part when you’re coming into the STG camp. If the Mako had its new boosters on and you came hurtling in really fast, it cut to the cutscene, but the Mako hit a jump and when Ash was like “What do we do now?” the Mako ended up literally flying around in the background sideways and then crashing into the camp

Another bug: when they were re-tuning the guns, the physics force on some of the guns with Hammerhead rounds was so high that when you were fighting some of the Thorian Creepers, you could ragdoll them so hard that you could basically embed them in the roof. They’d be moving so fast that they’d penetrate all the walls with their legs dangling out. It was so easy to do and you could do it to everybody. You could launch a geth halfway across an Uncharted World

Another bug: with Shepard’s casual appearance in ME3, if you didn’t have it set up perfectly correctly it would default to Grunt for some reason. You’d be walking around as Grunt, going on dates as Grunt, and your face would be all scrunched up because it was all mapped to human bones still, so it was just, like, Nightmare Fuel of Grunt

Another bug: in ME2 on Illium when trying to recruit Samara, the Asari enemies just would not stop screaming - regardless of whether they were hit or not, it was endless screaming. Later one of the devs got an audio file of the scream, endless and looped, and now one of the devs has it on their phone and uses it for their morning alarm tone

“Shepard would come up to characters and they’d just be screaming”

---

There was also the Programming Variables panel, talking about what hurdles game programmers face. Some [or all?] of the devs that were part of this panel are currently working on DA4. They talked a bit about their day-to-day work and about the craft of game dev programming in general. The timestamps for this segment are ~ 4:24:46 - 5:06:02.

[source]

[insights/notes from Gamers For Groceries 1]

[☕ found this post or blog interesting or useful? my ko-fi is here if you feel inclined. thank you 🙏]

[botwstoriesandsuch]

Kip v Age of Calamity

For someone who writes tough shit on Age of Calamity, you sure don’t see me writing a better story. So maybe I should stop complaining and be satisfied with what was given to me. 

...or...

...maybe we can dedicated a few hours of my time to spite an ask. 

Even though the entire argument of “why are you mad if you can’t write a story yourself” is inherently flawed and pointless considering that’s the equivalent of telling me I should chug spoiled milk because I’ve never milked a cow, I’ll fucking step up to the plate here, I’ll put my money where my mouth is. 

So here is Part 1 of your residential Kip approved rewrite of Hyrule Warriors: Age of Calamity. Or as I like to call it: 

Ok so before I get into it, a couple things I wanna establish. First, I know I just said I’m doing this out of spite, but I’m actually also doing this for fun. I really enjoy and am passionate about the writing process, so if you were looking for an angry rant about how terrible everyone’s opinions are about everything, this isn’t that. I don’t think that I am a better writer than anyone, or than the professionals that made this game, or that I am somehow superior to Nintendo. I am someone with the benefit of hindsight, I don’t have the constraints of producers and mandated directives and executives rubbing their hands in the story to make it more marketable or dumbed down or any of the other chaos that goes into crafting a videogame. So while obviously I think the people involved in this could have done a much better job, this isn’t a bash to say, “look how easy it is to make a story” because there’s a ton of unseen drama that goes into development that I have the luxury of avoiding, and it’s a miracle that any games are coherent and enjoyable in the first place. I’m just a lil Kip doing a fun lil exercise. 

This little series is also not going to be a fanfic. I’m going to be telling the story chronologically as if you were playing for yourself, but it’s going to be from my omniscient perspective because 1) I need to relate the story to the gameplay 2) That would take way too much time to actually make this into a fanfiction as it already takes a hell of a lot of time to even plan out the beats of this rewrite and 3) This is less going to be a telling of a story, and more of a fun little exploration on the Three Act Structure and The Hero’s Journey. In fact, I am going to try and keep the given story of Age of Calamity as intact as possible. 

The general ending is going to be the same, the characters used are going to remain roughly unchanged, (there will be no new characters, or removal of characters) and characters that live or die and where they end up are going to be mostly the same with how the original game is written. I know, I know, we all would love to see the Champions die brutally or to get us that sweet sweet Link angst or to have a game with multiple endings. And even though I personally would change some of those premises in Age of Calamity, I’m going to strive to keep it all as intact as possible, just to prove wrong the misconception that the story was only bad because of the writer’s choices for the general arc. I am a firm believer that biggest weaknesses of this game are in its methods of conveying its story, a problem in the storytelling process, and not (necessarily/only) the story product itself. 

If you want to use any of the ideas that I present, go for it! I release them into the public domain, I have no plans whatsoever to write a fanfic for this myself, in fact I already have my own separate Pre-Botw fic story that I am pouring myself into, so I give the people full permission to take these ideas off of me. 

Alrighty! With all that out of the way, let’s get into:

HERE IS THE VERSION IN A GOOGLE DOC FORM BECAUSE TUMBLR HATES YOU MOBILE PEEPS

Spoilers! Obviously. I’m going to act on the assumption that you know the full story of Age of Calamity to save myself some time, capiche?

Ok so we start out the game roughly the same, with eggbot being chased and forced to time travel into a portal. But, there is going to be some important differences in details. 

We have the part of the scene where Zelda awakens her powers, and at the same time, something else in Hyrule Castle glows with the same aura. However, this glow is not coming from the Princess’ Tower, but instead, the camera pulls back from the fields of Fort Hateno, sweeps over Hyrule (where you can see the Guardians and the sense of destruction and all that) and the camera eventually flies over Castle Town, then within the Castle, weaving through the halls, until the camera stop and focuses on the entrance of a destroyed room, slowly creeping in. It’s a room that’s been demolished, stone rubble from Guardian blasts ruin the floor and cave in from the ceiling, there’s a small fire in the corners of the room, and from the props that you can make out, it seems to look like some study or office of some sort. The room is small, but domed and circular, signifying that it’s of a bit more importance than you might think . The desks and books and all buried beneath this collapsed stone brick. But as the camera focuses on that pile of rocks, from within that rubble, you see that same glowing aura that Zelda has, glowing brighter and brighter until finally out pops, eggbot.

Now, you can have that same sequence within the game where he runs around all cute, the outter wall of the room is broken so eggbot can look outside and see the Calamity’s destruction. Then that cut to Zelda saying “I want to save...everyone,” and this is important because I need the fade in between Zelda’s line and the fade back to eggbot to wordlessly imply that he is hearing these words, something that’s already done pretty well in the original cutscene. Anyhow, then the Guardian Stalker pops from behind, prepares to shoot, and eggbot can escape into its little time portal, and then the malice follows or whatever.  

However, I’m not gonna immediately cut to the title, but instead, we have the music build to eggbot’s little jump in a pretty climactic way. But then the music still lingers slightly, and rests in suspense, camera is still looking out the window where eggbot jumped. It pulls back, turning back into this room that eggbot emerged from. Music is still relatively silent. Then, from the corner, you see some of the fire suddenly catch onto something. Flattened between the rocky rubble, just a few feet where eggbot emerged, is a purple cloak, trimmed with gold, flapping just slightly in the wind. [Said flapping being what causes it to catch] The fire catches, burning through the cloak, and underneath it, is a fallen copy of the Sheikah tapestry of 10k years ago. Camera zooms into that art of the Calamity, music suspends, merge to title card, then the music hits that climax and BOOM, “Hyrule Warriors: Age of Calamity.” Main Theme plays. Let the opening title roll.

Now the reason I changed this slightly is because 1) I wanted to earlier set up some of the plot points that I have planned for this (some of which you might already guess or maybe not who knows *wink wink*) and 2) I think that the original opening could have been much stronger with its hook. Yes, the element of mystery is established with eggbot’s existence and that element of time travel, but then the opening immediately goes into saying “This is the tale of champions, a diminutive Guardian who traveled backwards through time, and the Great Calamity they faced.” So...you just dampened that hook you established two seconds ago because you explained it all. Sure, it doesn’t completely ruin it, but I think the impact would be much stronger if that text wasn’t there at all, and the music and hype of the tapestry moving and coming alive is all there was. I’d much rather that element of time travel just be explained through the cinematography itself, because you can already understand that perfectly with that scene where you see the portal lead into birds flying around a beautiful Hyrule Castle.

Also, the music in this game is fantastic! So letting moments that really let you soak it in, I think would be very beneficial. So now this scene serves as a much more effective hook before we get into the actual plot. The mystery of eggbot’s identity is heightened and left a bit more unexplained, you have this mysterious circular room that you’ve never seen before, and the set up of details that will eventually serve later revelations in the plot, cough cough. 

Then you hit Chapter 1, Link gameplay, eggbot and the tower, that’s all the same. I got no changes for the story there, it’s a great introduction. However! I know my strength here is writing and I am by no means a game developer or designer, but I need, I absolutely need to add one aspect to the gameplay.

Near the end of the first stage, where there are those three moblins at the end, I want to add something that I’m going to call, a gambit. The game already introduced you to the special meter and “press a to use special attack” thing, but I want Impa and Link to use a gambit to defeat this last horde of moblins. Essentially, you press A to use your special attack, BUT, if another character is in proximity, the attack is even more powerful. Every pair of characters has a special little attack, that does tons of damage, and during said sequence, there are voiced lines, or at the very very least text boxes that comment on it. And with this gambit, while a regular solo special attack still does a lot of damage, I’m gonna nerf it slightly to encourage players to use this gambit feature. 

Now, why did I add this? Because I need to better connect this gameplay to the story on more than an external “lets defeat this and go from point A to point B” type of way. I need something in the gameplay to better serve to the game’s main theme of “teamwork makes the dreamwork” and all that. The CURRENT gameplay, although absolutely fun and fantastic, just doesn’t do this. I need just one element to serve this theme while ALSO having the dual purpose of serving as character interaction. The current structure of Age of Calamity works where the sidequests and battle serve as your character interaction, development, and banter, while the cutscenes serve the main story beats, and important plot revelations. The cutscenes just aren’t crafted to support the weight of these dozens of characters while also giving them all interesting interactions, and that’s fine! So I’m just adding this feature to the gameplay, because being able to customize different lines for different characters for different stages that are voiced will go a long way into making the character development seem more fleshed out. And this gambit feature doesn’t necessarily change the way you play the game drastically, as you can still have four character slots and have them split up to take on the battlefield, but now you can split them off into groups of 2. And also, because I’m not completely blind to game design, the damage percentage boost of these gambit attacks will not increase as much, just slightly lower, than the damage boost of a solo attack when you level up. So what I mean is, when your character is weaker level, you are forced to rely on others in order to defeat your enemies, but, with the way the leveling up percents work, your characters can still reach a point where they can defeat big bosses all on their own without gambits. THAT way, when certain events happen in later chapters, when your character is all leveled up, (and maybe they awaken a sacred power or two) it feels all the more powerful when you can go off on your own. You can feel how your character has grown in strength because you can contrast it with your teamwork gameplay of earlier levels. AND it still highlights the importance of that theme of companionship, because you would never have gotten to this level of strength had you not relied on your friends. 

OK, so the stage 1 ends with a gambit attack, Impa compliments Link’s fighting style or something that shows her admiration or respect for him. And then stage 2 for the Road to the Royal Lab is the same, but gambit dialogue for that stage is Impa complimenting Link, Impa being protective of Zelda, and since this is Zelda’s first playable area, Zelda’s gambit lines can be about kinda brushing Link aside like “I want to capable to hold my own in battle but thank you” to Link (cause I never really got that same “I don’t really like you” vibe that is established in botw for this game) and then to Impa Zelda’s gambit lines can be like “is this thrill what you always feel when battling?” and Impa is like “yeah isn’t it great we should do it more often!” and then you can allude to that with a sidequest for Zelda’s training or something. I just want to better connect sidequest stories with this stuff. And also, gambits are obviously optional so that’s why this is all just banter and character development and not actually plot points, and I’m going to stick with just one-on-one dialogue, although it should be theoretically possible to have gambit boosts of three and four, but I feel that would be too much as I don’t want to ruin the gameplay balance and encourage you to keep all four character slots close together, because splitting them up is an important part of the game. Anyhow!

So Chapter 1 is done, my changes being almost purely in the gameplay because this is the start of the story and the character set up is important. Chapter 1 to Chapter 2 is basically the establishment of the ordinary world, and in the Three Act Structure it’s basically Act 1. Act 1 is all about set up. I need to really focus this chapter on both introducing the player to the mechanics of the game, having them connect to the characters and the characters connect to each other through the gameplay, and I need to establish this tone so that when I rip it away, and change the tone during the threshold, it feels more meaningful and suspenseful. 

As you can see from the diagrams, Act 1 has something called the Inciting Incident. The Inciting Incident is going to be the Yiga attack in Chapter 2, where our heroes first experience the true dangers of their journey, and there is no turning back. BUT I’m getting ahead of myself.

Chapter 2 is also exactly the same. I would literally change nothing about the Champion’s sections (other than my addition of gambit interaction of course) because they’re all pretty great. For the record, yes, evil egg is still a thing, and yes, Zelda and the gang can still discover those pictures of the Calamity in eggbot, yes you beat up Revali, and the Divine Beast sequences are the same. I just really need that gambit dialogue to help establish character relations. Revali quips at Link, Mipha protects him, Daruk is his buddy [I thought a cool gambit attack for Link and Daruk to better show that they are old friends could be them both chewing down on some rocks, before striking an enemy simultaneously. Because they never eat rocks together and I just want this ok] Kohga is the same, Sooga is the same, BUT, for that scene when you first meet Astor in the Yiga base, I need two things to happen. 1) The camera reveal for Astor starts at his cloak, which is intact and NOT tattered like how his design is in game. It’s a deep purple with gold trim, the camera pans up to the back of Astor’s head. Now 2) When the camera moves to look at Astors face, I need him to be standing in front of and staring solemnly at the evil eggbot. He’s frowning, and his eyes suggest something like he’s deep in thought of something in the distant past. That’s how the scene starts, and in the background is Kohga recounting the events of his failure to beat Urbosa and the gang. Then, Kohga can say something funny to annoy him, Astor’s face changes to your classic villain disgust. Then, he can get a bit pissed and go on his little rant about how pathetic the Yiga are and how the Calamity is trapped within the evil eggbot and how he will use his powers to end the Kingdom of Hyrule. Then he can take his little astrolabe and be all “My harbinger, show me the future!” and all that. IMPORTANT LINE CHANGE,  Astor’s motivation here is not “The future, as it will and must be. I will not allow anyone to alter its course.” Instead, I need to tweak it slightly to be, “The future, as it was fated to always be. The pathetic stories and legends of children and false kings cannot waver this course. I will not allow it, for my sake…” camera pans to the broken evil guardian, Astor’s voice lowers just slightly. “...and yours.” The slightest, almost silent bits of the harmonies (not the melody) of the Hwaoc Main Theme play before fully fading back to Astor’s theme. And the final shot of that scene is Astor, looking down at the heap of Sheikah tech, with a neutral expression, but then looking back up at the malice stars, and the future visions of the Calamity. He just ever so slightly smiles. 

[Also I JUST realized that the harbinger is actually slightly above Astor, because it’s supposed to show that the power dynamic is really Calamity Ganon is in control, so ignore the “looking down” parts I talked about, and just think in the broad direction of Astor looks at the guardian, and then looks further up at the ceiling with the Calamity and the future and then he smiles]

For that scene, I also need to remove any characterization where Astor is laughing and being joyous at the impending destruction, I only need that smile at the end. There is no villainous cartoon laughter, at least, not yet. Also the part where Sooga calls Astor a fool for thinking he can control the Calamity is GREAT I need that, that absolutely needs to stay in.

And then Chapter 2 closes off with that Yiga ambush. That’s the inciting incident, so I need the tone at the end to be slightly different. Instead of ending on that cute little thing where eggbot points angrily at Link, (like that part can still EXIST in there BUT) I need it to end on a more serious note. 

Referring back to the Hero’s Journey, the Call to Adventure is the parts of each of the Champion’s recruitment. They each have their initial reasons for joining the fight, whether to protect their people, to feel validated for their skill, to get closer to the ones they love etc etc that’s all established in their respective stages.

This Yiga stage, however, serves as the official barrier between Act 1 and Act 2, the threshold between the known world and the unknown world, where the heroes prepare to seek out the obstacle that stands in the way of their goal. It’s important that this threshold establishes a sense of urgency, because that better gets you invested in the stakes, and helps the story's momentum to move forward. IT shows that the journey and adventure that these characters want/need to take is outside the safety of their home/known world.

In the original game, the threshold ends with that cute scene of eggbot and Zelda and Link and the Zelink vibes. That’s not bad, but it’s also not good. The momentum towards the later confrontation in Korok forest needs to feel more important, because this is a major turning point in the story. SO, I am going to add one more scene at the end. It’s just after the ambush, after the fires have died down, and Zelda (and in the back the Champions) discussing the events with the King. I want King Rhoam to a few things. First, I need him to kinda berate the Champions for falling for the Yiga’s “splitting them up trick” and leaving his daughter vulnerable. This 1) establishes doubt within the party, which makes for better uncertainty for the future and later internal conflict. This was supposed to be the dream team but the King is already kinda telling them off. 2) This also still characterizes the King as someone who cares for his daughter’s safety. That care for his daughters safety is layered in the subtext of him saying something like “Your priority must be to protect the only person capable of sealing the Calamity. You were so concerned with victory and glory in battle that you forgot that the fate of this kingdom lies on my daughter’s survival.” and blah blah blah. The King can also congratulate Link for keeping Zelda safe, and this is GREAT because that can add further to Zelda’s slight resentment for him, as he’s getting the approval from the King that she has yet to receive. But like overall the King is like “don’t leave my daughter alone cause she almost got killed if it weren’t for Link wtf.” and then that can also be a further excuse to hurry to korok forest to find the wielder of the sword so that they can better protect “not just the Princess, but the entire world,” something something fancy kingly dialogue. 

Also when the Champions leave THIS can also be the time where Zelda gives that Sheikah device thingy to Rhoam and also where he sees eggbot. I know that happens a bit later, but for pacing purposes and for the sake of the story changes that I made, it better serves to place it here. That interaction itself can stay mostly the same as it is in the game.

So now, the threshold ends with a bit more tension. The Champion squad is powerful, but also has flaws in how they were split up by the Yiga, (cough cough I wonder if that serves the themes of the game in some way cough cough) and it’s not just “smooth sailing” into the search for the Master Sword, and the stakes are a bit rocky as we finally enter into the story’s Act 2.

= = = = = 

And that’s Part 1 of my rewrite. Not really a lot, cause again this is mainly character set up, and establishing stuff, but personally I think it’s already a bit stronger than how Age of Calamity did it. Stay tuned for Part 2 either tonight or tomorrow, mwahaha. 

Predict the future if you can...

[peaceoutofthepieces]

Sink Or Swim

tag list: @cleocc @feeling-kinda-so-so @hopelessromanticvirgo @dreamy-slytherin @adora8 @lockerfivethreefive @painfully-oblivious @poeticinemaa @jjustonemorething @sassy-sara @wedarkacademia @coolguyssyndrome @hischbabe @suckerforsobbe @tayspots @starmansander @theah0lt @zoenneforever @invisibleme @chibibanane @odi-et-amo85 @watermelonlover-123 @xiaomailab

Warning for panic attack near the end of the scene (after Lucas reads the messages). 

~^~

Tuesday, 18:47

Songs: nilu - Are You With Me; Michael Schulte - Falling Apart

“No, no, wait, why is it doing that?” Jens whines from the screen, delicately brushing his thumb under Lucas’s eye to wipe away the dark smudge. “Why the fuck does eyeliner drip?”

“It’s liquid, man, what do you expect?”

Lucas skips ahead as Jens groans in the background and the camera moves to Sander. He plays it again when Moyo does a close up of his own face, the eyeliner now perfectly neat, and making the blue of his eyes stark. The on-screen version of him laughs at Moyo’s dramatic sounds of awe, and then there’s a close up of Jens. His tongue sticks out at the corner of his lips, brow just slightly furrowed, intensely concentrated as he paints on a light layer of lipstick. His eyes flick to the camera, and he falters just slightly, lips twitching. He manages to hold onto his focus for another few seconds before his lips crack in a smile and then into laughter, and he quickly draws his hand away from Lucas.

“Give me peace, asshole,” he says, leaving the camera shaking as he shoves Moyo back and another laugh rings out.

Robbe has sent him the completed vlog, that they haven’t posted yet. Lucas is currently watching it for the fourth time, with the volume raised to be heard over the bartering of rain against his window. By now he’s able to fast-forward to the specific shots of Jens that he likes most. He has Instagram open in the background, where his chat with Jens still remains quiet.

He rubs his hands over his face as Moyo zooms in on Jens puckering his lips, initially indicating for Lucas to do the same and ending up blowing a kiss to the camera. Talking to him yesterday hadn’t helped as Lucas had hoped it would. The few moments of contact had helped ease some of his worry, but the gaping hole in the chest that Jens usually takes up has only grown. He had hoped he would get the chance to convince Jens to come home to him, and then the connection cut out and Lucas had to hang up on Robbe before falling into a panicked state of despair.

Sander curses from the screen and then rapidly apologises as Robbe moans a complaint. “Isn’t this almost over?”

Lucas wonders the same thing as the shot cuts back to Jens and shows him leaning back with hands raised, a grin on his face as he announces he’s done. Lucas pauses on the image, chest tightening and jaw clenching.

There’s a knock on his bedroom door and he quickly shuts his laptop before his father peeks his head in. “Can I come in for a second?”

Lucas nods, setting his laptop aside as Hugo walks in and hovers by the bed as he holds an object out to Lucas.

His phone.

Lucas examines the spotless screen with wide eyes before shooting his eyes up to his father’s, which are crinkled at the corners with his smile. He waggles the object at Lucas, and Lucas takes it carefully, running his fingers around the edges. He holds in the power button and after a few seconds, it lights up.

“The guy in the shop charged it a little so he could make sure it’s working, but you’ll probably need to charge it yourself now,” Hugo says. “It look alright?”

It’s still in his old, worn, blue case, and when it finally comes to life, his favourite image of him and Kes appears on the lock-screen. He hovers his thumb over it as it shakes in his hand. Slowly, he nods. “Yeah, it’s perfect. I didn’t even know you’d taken it.”

“Well, you need your phone. Even I can’t contact you without it. Consider it an additional late birthday present, huh? Better than those old albums I got you.”

Lucas shakes his head. “The albums are good. And the art supplies are expensive, I know that. You didn’t have to…”

“Shush,” Hugo waves a hand at him. “I don’t expect you to pay for things like that yourself. No matter how many jokes I make about you being an adult now.”

Lucas smiles slightly, though his eyes are misty as he turns his phone over on his palm. “Thank you.”

His father smiles back at him, then seems to hesitate again. “I also wanted to talk to you about this weekend. I organised a trip for the youth center. A few days away, where they can all hang out and do stuff together, can really help them out at this time of year. It just means you’ll be left here on your own.”

This would usually come as a relief. Now it makes anxiety churn in Lucas’s chest, and he has to quickly bite down on his lip. Otherwise he’ll do something ridiculous, like beg his father to stay. He’s overreacting. He’ll be fine for a couple of days on his own. “So, you’ll be going on Friday?”

“Yeah. The girls are taking them on the bus and I’ll drive down to meet them in the evening.”

“Where are you going?”

“It’s some kind of adventure center. One of the kids themselves suggested it. We’re staying at a motel nearby.”

Lucas nods slowly. “Then you’ll be back on Sunday?”

“Yeah.” Hugo seems only mildly confused by the questioning, at Lucas’s unusual show of interest. “Should be back in the afternoon. So you’ll be alright? You can call me now if you need me.”

Lucas hums.

“If you want to, you can invite one of your friends over to keep you company. Maybe Jens.”

He says it cheerfully, proud of himself for remembering the name Lucas had let slip weeks ago. He seems oblivious to the pain it causes Lucas, so Lucas tries for a smile. “Yeah, maybe.”

Hugo sets a hand on his shoulder and gives a squeeze. “Okay. Give your mom a call too when you can, alright? She keeps bugging me about you.”

“Have you been talking to her?”

“Ah, now, Luc, I still talk to your mother. Is that a new hoodie?”

Lucas blinks and looks down at himself, not understanding, until he sees the red. He’d forgotten he was even wearing Jens’s hoodie. It doesn’t smell like him anymore, aside from the faintest trace if Lucas moves in just the right way. He simply shakes his head as he looks back up at his dad.

Hugo purses his lips, nodding slightly as he shrugs. “Suits you. Alright, everything else okay with you?”

It takes a moment for Lucas to gain enough composure to smile and nod, and his father squeezes his shoulder once more before leaving him alone again.

Lucas takes a moment to breathe, then moves to his desk to find his charger, phone still clutched in his hand. He finds it hidden under a stack of papers and moves back to his bed, plugging the charger into the wall. He has to sit close to the edge so the lead will reach, but he manages, and soon he’s facing a flood of missed notifications.

Jens is right at the top.

It’s only after taking another long moment to breathe that Lucas is able to open the messages. There are a whole string from the weekend he’d left, easily two dozen, and guilt churns in his stomach once more as he reads through Jens’s concern. There’s even a selfie of him and Moyo from that Saturday, with both of them pouting at the camera, eyes slightly red. Obviously high. Lucas’s chest tightens further. He scrolls further down, through Jens’s more insistent questioning, where the frustration begins to truly slip in.

Then he makes it to the end, where he has a message from Sunday morning, sent just minutes before he had messaged Jens from Kes’s phone.

I’m getting really freaked out and I didn’t even think that was something that happens to me, but I really miss you Luc and I’m worried. please just message me. I love you

He reads it, then reads it again, over and over until the words blur and a single mantra runs through his mind.

I love you, I love you, I love you, I love you.

Lucas internalises the words, letting them fill up his chest until he can’t breathe.

Jens loves him. Lucas had no idea. Jens loves him and Lucas had left him. Jens loves him and Lucas had hurt him. Jens loves him and he’s being punished for it. Jens loves him and he isn’t here.

Lucas loves Jens, and he can’t breathe.

Air finally comes out in gasps, then heaves. The world around him has blurred. He’s being flung on the floor, dropped like a ragdoll, frozen in place, and then the slap. Over and over in an endless reel. Hands are shoving him, two pairs at once. His favourite brown eyes are unfamiliar, cold and distant, unreachable. He’s running away and running away and running away.

He’s staying and making it worse.

Jens has done nothing but love him, and Lucas has done nothing but hurt him. It’s his fault. His fault that Jens is in this position in the first place. His fault that Jens felt the need to try so hard and endanger himself. His fault that Jens is hurt. His fault that Jens is gone. His fault that Jens doesn’t know.

Lucas loves him, and Jens doesn’t know, and he can’t breathe.

He tucks his head between his knees and tries his usual method. He has to drop his phone to tangle his hands in his hair as he counts in for four, holds for four, breathes out for four. Except he can’t manage it. His breaths are short stutters, insufficient, and his ring catches in his curls and he sobs.

When he feels like he is going to suffocate, he drags himself to his feet. He stops once he gets there, having to stave off the urge to curl down into himself. His hands grapple at air, curled into claws at his sides as choked sounds continue to spill from his throat. It takes him three tries to repeatedly force himself into enough motion to open his door. From there he’s overcome with urgency, and he speeds down the hall, into the kitchen where his father is sat with a newspaper at the table.

“Dad,” he croaks.

Hugo looks up, brows raised. His expression falls instantly into concern as he stands from the chair and rounds the table. “Lucas? Hey, buddy, what’s wrong?”

Lucas lets out another sob. “I can’t—“

He cuts himself off as his knees give out. His father catches him as he sinks towards the floor, drawing him into his arms and providing a sturdy support. Lucas relinquishes all his weight and lets the man hold him up, kneeling on the floor alongside him.

“Hey, Luc. It’s okay, you’re okay,” he soothes, gently rocking him back and forth, hand petting through his hair in a gesture Lucas hasn’t experienced since he was a child half his current size.

“Can you help?” Lucas pleads. “Please, can you help, can you help me?” He feels his father nod, feels a kiss pressed to the crown of his head, and he lets out a shaky breath.

Hugo holds him and guides him through it, regulating his own breaths until Lucas’s heartbeat feels just manageable. “I’ve got you, buddy. I’ll do whatever you need. Do you hear me? I’ve got you. You’re okay.”

[anobscurename]

ocean eyes – chris evans

previous part: PART XVII — masterlist

concept: you surprise chris for his birthday while he's shooting in italy. the slowest of slow burns. the ever anticipated part eighteen of many.

pairing: chris evans x reader

word count: 4.3k

warnings: fluff. just prepare to melt.

author's note: everyone can thank @tonystankschild for this one. she was deep in the dm's asking for fluff and i intended to deliver the fluffiest of fluffs.

You liked to consider yourself a rational person at the best of times.

That consideration, however, was entirely negated by the fact that you were now on a flight to Italy to surprise Chris for his birthday. There was nothing rational about it.

But you had saved for this trip, and Chris had done so much for you in the past year or so, that you had wanted to do something for him.

And you had decided that no one should be alone on their birthday, no matter how far away they were.

You had caught a flight from Boston after making the forty-four hour roadtrip to drive Dodger there, not having the funds to fly him to the Evans' household. The fees of bringing an animal on board were astronomical, and you were still balking from how high the number was.

Chris was a wealthy man, however, and those types of costs never quite fazed him as much as they did you.

So you had driven him to Lisa's, a thousand thank yous on your lips as she delivered you to the airport to minimize on the extra cost of leaving your car at the airport parking lots.

Scott – who had still been there from the Patriot's game, "tryin' to get as much family lovin' as he could" as he put it – smiled knowingly at you when you had brought Dodger in.

"You go, baby vamp," he'd whispered to you. It was an outdated saying, but you knew it anyways, and laughed him off.

"We're just friends, Scott."

"Yeah, just like these highlights are from the sun."

He had given you a tight hug, wished you luck on your trip, and – like Lisa would later do at the drop off – made you promise to wish Chris a happy birthday from them.

When you touched down in Italy, it was early morning, that hovering between night and dawn.

You had once again called Chris' agent – Mark – to get details on the shoot, ones which he reluctantly handed over.

You thought that perhaps he was trying to save Chris the PR scandal of being seen with another woman while publicly in a relationship with Lily, but you had pointed out that you had been clearly established as friend of the couple with your global third wheel memes. It didn't take much pressing, because Mark knew how much you both cared about each other and how happy you being there for Chris' birthday would make the actor. So he emailed you the shooting location, with a schedule and call sheet. The tagline was very quick: "Don't interrupt shooting :)"

After a quick shower at the affordable three star you'd rented for the weekend, you got ready in spite of the weariness the plane left you with. Hot water did wonders to waken you, and a touch of makeup never hurt.

You stepped out in the warm breeze, the wind toying softly with the skirt of the summer dress you wore. You easily hailed a cab, and, after failing at the pronunciation of where you were headed, let the cabbie read the location off your phone.

The first person you saw when you got out of the car was Chris.

He was stood off to the side by the craft table, a crewmate quickly doing a last minute adjustment to his hair as he went over his lines. Dressed in an Italian pinstripe suit, you remembered what the film was about.

The indie flick told the tale of an arranged marriage between the son of an Irish mob boss and the daughter of a New York mafia don. Most of the film, however, was set in Italy, where the son, Mickey, had to travel to win the favour of the extended mafia family for the blessing on the union. Briefly, the scene with the strawberries popped into your mind.

You were stopped by security, but Mark – who had been waiting for you – vouched for your admittance.

You stood a little ways away from Chris, within eyesight, but not obvious. It was a surprise, after all.

You called him, watching from where you leaned against his trailer wall. Chris, ringtone blaring for his attention, quickly patted down his suit pockets before finding the device. His glance at the caller I.D. was followed by his whole face lighting up, soft smile on his lips.

"Hey there, Sleeping Beauty," he said into the receiver. "Isn't it a little late in L.A.?"

"It is," you replied. "But it's your birthday tomorrow, and I couldn't resist."

"You know, I've been told I'm irresistible before," he chuckled. "Just never thought I'd hear you say it."

"Well, what can I say? Suits do it for me," you smirked, dropping your first hint.

Scott was right. Chris really could be clueless. "You'd love the one they just put me in then," he murmured, distracted by the food on display at the craft table as he perused the options. "A real classy number."

"What are your plans for the rest of the weekend?"

"They gave me the weekend off to celebrate, but you know me... Probably will go wine tasting by myself and look at some art or something. Oh, man, read a book. Yeah, haven't done that in a while."

You watched as he plucked a strawberry from the table, and your stomach fluttered.

"Can I ask you something?"

"Hmm?" He hummed as he bit in to the sweet fruit.

"Aren't you sick of strawberries by now?"

Chris froze, eyes wide in shock. Running his tongue over his teeth smoothly and swallowing the bite, he began swiveling his head, trying to look out for where you may be hiding. "Where are you?" He grinned.

"Guess."

And then he saw you.

And then he had you wrapped in his arms, the force of the running tackle hug sending your back crashing into the trailer, metal creaking.

You laughed breathlessly, hanging up the call as you hugged him back.

"Chris," you strained against the bone crush of his fierceness. "Oxygen–"

He loosened his grip, but didn't take back his arms. "You have no idea how much I missed you."

His whispery breath in your hair as he deeply inhaled the apple scented shampoo clinging to you had electricity coursing through your veins. "My bones have some idea, I think you might've fractured a rib."

The rumble of the chuckle reverberated through his body and into yours, and heat dusted your ears and cheekbones. "Sorry, I just can't believe you're here. I had to make sure you were real." And then, the question you'd expected: "Where's Dodger?"

"Dodger is in Boston with your mom. And I'm here, I'm real," you reassured him, smoothing your hands over the back of the meticulously woven cotton of his suit. "But you also have a real job to get back to."

"Oh, right," he groaned sheepishly. In his joy, he'd almost forgotten where he was. "Just hang around for a bit, we're only filming a little today before we're off."

So you did. You got given a seat, just off camera, and watched Chris do his thing. His performance was breathtaking, the way he embodied such a dangerous man. It was enough to make you flushed, the square of his shoulders, the confidence in his stride – the danger lurking under Italian silk lined cotton. You'd never quite seen him like this.

And it thrilled you to see a man you usually felt so safe around look so menacing.

It was the love proclamation scene that served to be your undoing, however.

The director kept hounding Chris, demanding retake after retake. He wanted that genuine love to flow through, and it simply just wasn't.

"Think of someone you love," the director suggested. "Put them in your mind's eye. You have a girlfriend, yes? Would it help to bring a picture for you to look at off camera? Tell the picture you love her. Someone get me a picture of this man's lover, please! Imagine you've never told her how you feel. And you've been feeling it for a while, and even though it was very... what is the English word? Uncommon? It was uncommon meeting circumstances you met... You love her. Si?"

Chris grit his teeth and nodded, ready to comply. And once the picture was brought out, the call for quiet on set rang out.

But once the director called action, Chris didn't look at Lily. Your heart clenched, your breath catching in your throat.

No, his eyes found you.

"I love you," he said the words you'd never thought you'd hear him say – at least not to you – and the sincerity in his cracked voice was overwhelming. His eyes were watery, relief dropping his shoulders – as if he'd kept this inside for too long and a weight had been lifted. He sighed it again and again, as if it was the only thing that was going to save him, as if it's the only words he'd ever known.

And when the director called cut, singing Chris' praises, he was still looking at you.

———————

"I still can't believe you're wearing that," Chris chuckled.

You dipped your sunglasses lower on the bridge of your nose to observe him critically. He was leaning against a Vespa, arms folded, the sleeves of his loose white cotton button down rolled up to his elbows, barely containing the bulge of his muscles. Black trousers clad his legs, on his feet a pair of black Italian leather loafers he'd gotten as a gift from his co-star. He wore his own pair of sunglasses, hair swept back, being tousled by the passing breeze.

The statement had been made in reference to the silk scarf you wore, twisted around your neck delicately in a way that was reminiscent of Audrey Hepburn. "If I'm going to have a Roman holiday," you giggled, tripping a little on your way to the Vespa – Chris moved to catch you, but you righted yourself, "you best believe I'm going to fucking look like it."

You had gone to a wine tasting in a vineyard on the outskirts of Rome, somewhere far into the countryside. You had both goofed off the entire time, earning yourselves scolding looks from the sophisticated tourists and the locals, who had wanted a peaceful afternoon at the farm.

You sniffed the wines, obnoxiously listing all the strange terminology the haughty wine connoisseurs would throw around casually, before taking your sips.

It became somewhat of an inside joke between the two of you, finding yourselves lagging behind the group because you couldn't stop laughing. And whenever you were shot a dirty look, it would only make you laugh more.

"You're meant to taste it," he'd whispered to you.

"I am tasting it," you shot back.

"No, you're chugging it like a sixteen year old whose parent made the unwise choice of leaving unsupervised."

The tour guide had been eyeing the two of you up, waiting for your silence. The rest of the tour group turned their critical gaze too, and you gave Chris' foot a soft stomp to get his attention.

Both of you shut up, giggling under your breaths as Chris had practically bowed in his gesture for the guide to continue.

But now it was time to go back to the inner city, and Chris had waited patiently for you by the Vespa while you'd gone to freshen up a bit. The cobblestones were hell for your tipsiness, but you were wine and laugh drunk, and hadn't a care in the world.

"You know how they say there's always that one pair of annoying people on wine tastings that ruin the experience for everyone?"

"They do?" Chris' brow creased in question as he grinningly handed you your helmet.

"Of course they do. Well, I couldn't find them, so it must be us."

Chris clicked his own helmet in place as he caught sight of the hostess by the front door giving you both a dirty look. "What finally gave it away?"

He slid easily onto the Vespa seat, heeling up the kickstand and righting the orientation.

"Hop on, princess," he beckoned you with a nod. You regretted wearing a dress for this part, but you were serious about the Roman Holiday aesthetic.

Serious enough to risk flashing someone as you mounted the scooter behind Chris. But luckily you didn't.

"Hold on tight," Chris called over his shoulder. You complied, encircling your arms around his waist, pressing your bodies together.

You could feel his heart rate pick up, but before you could think too much about it, he took off – cobblestone streets and ivy climbed buildings flying past you in your bliss.

————————

Two of the three worst things that could've happened to you while riding a scooter in the countryside did.

The scooter had broken down and it had started to rain. Not only rain, but fucking pour. You were drenched through to your skin, pulled over on the side of the road, Chris trying to kickstart the machine into working again.

After his fifth attempt, he came over to you, squinting in the rain.

"It's not working," he shouted over the droning rainfall. "Let's just find some shelter and come up with a game plan!"

There were nothing but open spans of green fields and wheat as far as your eyes could see. But a little while back, just over the hill, there had been lights in the haze of rain, a little nondescript sign on the side of the road that you'd whipped past suggesting the shelter that you so desperately craved.

"I think there was a house back there," you yelled back. "Maybe they could help out."

He nodded imperceptibly in the shower of droplets, hand on the small of your back, fitting so seamlessly in the curve of your spine, and began guiding you.

You both dashed across the road, and then you were tearing through the long grass in a shortcut to the twinkling beacons of the lights in the windows, looking like eyes peering at you in the darkness.

Somewhere along the way, you'd found out that Chris was a little ticklish at his waist, and after you'd discovered it – he'd flinched away from you and begged you to stop, but you'd continued just to antagonise him – you wouldn't let it go. It took you much longer to get there than would be normal, but soon, you were both stood, shivering and drenched on the porch step.

There was a sign on the door telling you it was a little inn – an underused bed and breakfast, most likely for road weary travelers on their way to Rome.

You didn't bother knocking as you entered the lobby, spilling inside with laughter still on both your lips. Muddied shoes squelched, and your sodden clothes dripped onto the floor.

You immediately moved to the fire while Chris went to go confer with the front desk.

His two months in Rome had taught him a fair amount of Italian, but it was still quite broken, and he found himself floundering with a lot of the words.

The landlady – a portly old woman with an extraordinarily kind smile and crows footed crinkles by her eyes – understood the predicament.

She explained to him in English – loud enough in the silence so you could hear over the crackle of the fire – that the road services would probably only be available to come out so far tomorrow morning, and that it'd be best to stay the night.

She didn't seem like someone who would scam you into staying at her little roadside hostel – even going so far as to give Chris some white fluffy towels for the both of you.

He paid for the last room available with soggy money, and returned to you, fresh towels in his arms.

He draped one over your shoulders first, and when you reached out to cling it to your frame, your fingers brushed.

That same electricity jolted through you both, travelling with lightning quick velocity down both your spines to spark alive the restless butterflies you had well and truly thought you had put to rest. You were the first to withdraw, allowing Chris to put a towel over himself.

He ran it through his hair, the pieces that had been plastered to his skin with water raising into spikes.

You laughed, reaching out a tentative hand – giving him ample time to withdraw should he need to – to smooth it back and away from his face.

But your laughter died down, as it inevitably did whenever he looked down at you like that. Because how the hell were you meant to function when his eyes were on your lips the way they were now?

And you damn near choked when he started leaning down, lips pressing closer to yours...

But before they touched, he broke into a gut-wrenching smirk, moving past your tingling and awaiting mouth to whisper in your ear. "I dibs the shower."

And then he was sprinting up the stairs.

You were so in shock that for a minute you couldn't even register what had happened, and when you did, you cursed at him, following him up, swearing you'll skin him alive.

And all the while, the landlady was watching the two of you, a knowing glimmer in those kind eyes. She muttered something in Italian, one she repeated many a time during your stay, a saying you would come to know as "young love."

And she didn't even care that you had tracked mud into her hotel and soaked the carpets through from your wet clothes.

She just cared that there were still kids in love in this world.

———————

Once you had both taken a shower and were wrapped up in your complimentary hotel bathrobes, you realised that neither of you were tired.

Your clothes were laid out, sprawled over the backs of chairs, drying by a fire Chris had taken the liberty of building.

So you both decided to go downstairs, and see what activities you could engage in with the other guests. It would do well to help you forget the prospect of having to share a bed with Chris.

According to the landlady, this was the last room available. And of course, Chris had offered to sleep on the floor, as gentlemanly as ever.

But you couldn't do that to him on his birthday, so you'd told him it would be fine, as long as a pillow fort was built to prevent any unnecessary contact.

The common area was woefully empty, save for a couple of sleepy looking musicians, poised atop their makeshift stage, on the brink of passing out on their instruments.

When you and Chris entered, however, they livened up, striking up some traditional Italian melody you may have heard before in passing.

It wasn't that late, so the bar was still open, and Chris managed to purchase a bottle of wine.

Most of the seats had been stacked on the tables, and he helped you pull some down before seating yourselves.

He poured you both wine, and you sat there in your robes, listening to the music.

The landlady came by, at some point, to light the tea light candle on your table.

When you thanked her, she said the same thing she had said earlier – in Italian, so you struggled to understand.

Chris, however, who had been taking a hearty sip of wine, nearly choked. "Mille grazie," he winked.

She scoffed, patting his cheek affectionately, much like a grandmother would her grandson. You didn't catch much of what she said, aside from one word. Cacciatore, in reference to a flirtatious man.

"What did she say to you?"

"She said amore giovane. It means young love."

You turned to try and find her – wanting to correct the innocent mistake of having her assume that you and Chris were in love. Fact of the matter was, there was still with Lily, and you couldn't stand to think of the PR nightmare it would be if it were to get out that he was at an admittedly romantic bed and breakfast with you of all people. "Oh, no, we aren't..." You faded out awkwardly. "He has a girlfriend!"

"Actually," Chris said softly, as if he had been wanting to tell you this for a while. "I don't. Not anymore. Not since the last day at the Hamptons."

Relief flooded you, followed by something undetermined – hope, you would later discover – before you were floored with absolute sympathy. "Oh, Chris. Chris, I'm so sorry."

You reached over to link your fingers in a reassuring hand hold, and his focus was pulled to that singular touch, that point of joining.

"If there's anything I can do to help..."

"No, it just..." He swallowed, finally pulling those ocean eyes to you. "It just wasn't meant to be, I guess. She wasn't the one."

His eyes told a story much deeper, hinting to something that you didn't have the strength to uncover. You'd been hurt too many times by these false feelings, you really weren't sure how ready you were to face them once more.

"What happened?"

"She thinks I'm in love with someone else." When you didn't say anything again – too stunned to do so – Chris cleared his throat. "I, uh," he tried for a smile, "I believe you owe me a dance."

It took you a while to recall him asking you to save him the last dance at the charity gala, and when it registered, you grinned, questions of who dissipating. "Let's go dance."

The band saw you and Chris approach the dancefloor, and immediately switched to a slow waltz. Chris took you in his arms, and as you both swayed to the music, you could almost imagine you were back in Vegas, before Lily, before everything, when the biggest problem in your life was that you had kissed your best friend on your birthday.

His body was so warm pressed to yours, that you felt every tense muscle in your body relax. That hand – forever fitted so perfectly to the groove of the small of your back – traced delicate patterns through the flannel of the gown.

Your cheek was on his chest, and your eyes were closed, and you couldn't see the way he was looking at you.

Because in his eyes – those beautiful ocean eyes – was a love. The love that you were incapable of seeing, but one that everyone else had – including Lily.

There was worship in every sapphire fleck, and there was pure adoration in the inky depths of his pupils.

And as he held you, body nestled so perfectly against his, knew that the angels would damn themselves for you. Because he sure as hell would.

———————

When Chris had gone to get more drinks – the bottle you had shared being finished – you had gone to speak to the musicians.

And surprisingly, they had what you had requested.

Chris was uncorking the bottle when you had hopped up on stage.

There was no microphone this time, and the musicians were glad to receive a break, joining the landlady at the back for a drink – leaving you and Chris alone in the room. Their departure caught his attention, and he glanced at you, before doing a double take.

You were sat at the edge of the stage – feet dangling off to graze the floor every now and then – and in your hands was a ukelele.

The memory of the last time you played for him was chased away by the excitement of this next song.

You were tuning it when you finally noticed Chris watching you. He had that look in his eye – one you were so used to seeing, but one you never quite let yourself understand – and he slowly sank into his seat to watch you. He propped his head on a fist, candlelight flickering in his eyes.

And without much of an introduction, you plucked at the strings delicately, beginning a ukelele rendition of "La Vie En Rose."

His smile broadened into a beam when you started singing. Never had he felt absolute peace like this – at least without having you in his arms.

Hold me close and hold me fast

This magic spell you cast

This is la vie en rose

You looked up at him, your expression earnest. You always found yourself being much more capable of conveying emotion in your actions, rather than with your words. Words made things messy. Music... that was beauty incarnate.

When you kiss me, heaven sighs

And though I close my eyes

I see la vie en rose

Chris breathed in deeply, his heart stuttering, but heavy in his chest. The hold – that spell – you so flawlessly cast on him was rising again, and he knew, with all certainty, that he would not wish to break the enchantment for anything in the world. He was Icarus, and you were the sun – the magnetic pull he felt was that strong.

When you press me to your heart

I am in a world apart

A world where roses bloom

Your eyes found his and you grinned, beguiling him. As you played the interlude, you mouthed to him "happy birthday;" and it was. It was perhaps one of the happiest birthdays he'd had in a while, because it was the one he'd spent with you.

And when you speak, angels sing from above

Everyday words seem to turn into love songs

His heart was swelling, throat thick with emotion. His eyes burned, but he was almost certain the tears gathering was from a lack of blinking. He didn't want to pull his gaze away from you, not for a single second. He had told you he had loved you earlier that day – and this felt like more of a response than he'd ever receive. He knew how difficult it was for you to say those words. And he was okay with that. He'd take what you gave, and you were giving him this – a song as lovely as the woman who was currently singing it. And he thought he was going to simply die when you looked up at him with those eyes, and that smile, and that voice reaching out to him, singing that final verse.

Give your heart and soul to me

And life will always be

La vie en rose

Little did you know, you already owned those things.

You'd owned them since the night you met.

[phantombandit-films]

Why ‘War of the Worlds’ (2005) is a underrated masterpiece.

‘War of the Worlds’ was released in 2005, it is directed by the film god that is Steven Spielberg (Jaws, E.T.) and written by Josh Friedman (Terminator: Dark Fate, Avatar 2) and David Koepp (Jurassic Park, Mission: Impossible) 

Cast:  - Tom Cruise as Ray Farrier. - Justin Chatwin as Robbie Farrier. - Dakota Fanning as Rachel Farrier. - Miranda Otto as Mary Ann. -Tim Robbins as Harlan Ogilvy. - Ann Robinson as Grandmother.  - Gene Barry as Grandfather. 

First lets start with some history of ‘The War of the Worlds’ - The 2005 film is based off the novel of the same name which was written by H.G. Wells between 1895 and 1897, it then was then made into a series by Pearson’s Magazine in 1897 in the UK, Cosmopolitan in the US. Then becoming a hardback novel in 1898, it is one of the earliest written pieces to tell a story of conflict between Martians and man and so its one of the most commented on pieces of science fiction. 

It has been adapted and developed several times over many decades in many medias, the ones that come to mind are the famous 1938 dramatic radio reading that was directed and starred Orson Welles that actually caused public panic to those who listened in and didn’t know that the Martian invasion was fiction, its said that up to a million people ran out of their homes in terror.  (Source: https://en.wikipedia.org/wiki/The_War_of_the_Worlds_(1938_radio_drama) )

The 1953 ‘The War of the Worlds’ film adaptation, which was produced by George Pal and directed by Byron Haskin. It also starred Gene Barry (who played Dr. Clayton Forrester) and Ann Robinson (who played Sylvia Van Buren) who can also been seen at the end of the 2005 film, they play the grandparents of Robbie and Rachel which I think is a sweet little cameo to see for those who loved the 1953 film.  Ann Robinson also revived her role as Sylvia Van Buren in two other films and three episodes of ‘The War of the Worlds’ tv series in 1988. 

In 1978 the most well known musical album by Jeff Wayne was produced and based off the story of ‘War of the Worlds’ this album included the voices of Richard Burton and David Essex.

This was then turned into a concert musical which tours annually through out the UK and Europe, the concert includes live performers such as Carrie Hope Fletcher but also a 3D hologram of Liam Neeson. It also includes a mix of computer animation, pyrotechnics and a big mechanical tripod that comes out on stage and lights up and can fire its heat-ray. 

(Source: Birmingham Mail.)

There have also been several Tv series, the two newest being the 2019 BBC version staring Poldark’s Eleanor Tomlinson and Full Monty’s Robert Carlyle, that has a Edwardian setting and follows closely to the novel. 

The other being the FOX 2019 adaptation that is set in present day Europe but I found this version didn’t really go off the novel, and was frustrated with the lack of the famous Tripods.  (Source: https://en.wikipedia.org/wiki/The_War_of_the_Worlds) 

As a kid I would watch the 1953 film with my mum all the time as its one of her favourites and I do really like it, but then 2005 rolled around and in comes Steven Spielberg’s version. To be fair it was probably 2006 when I finally saw it, I was nine years old at the time and I remember my dad bringing home the DVD that someone at work had lent him. I don’t remember watching it but I do remember having nightmares for a month after, only for a month though.  Many years later when I was half way through high school and getting more and more into film my dad then bought the DVD from Woolworth's before it shut down, the DVD didn’t have a case only a see through CD case so I think it only cost him something like 50p. So I re-watched and again I don’t really remember this but all of a sudden I was hooked, and it climbed to the second spot on my favourite movies list where it still sits today. Honestly if you asked anyone I was friends with at that time they will tell you just how obsessed I was with it.  

I have many scenes that I love in this film the first being the rise of the first tripod, but there are two that I geek out over every time. 

The first scene being the one in the basement at Robbie and Rachel’s house, the scene starts off with Ray asleep in a chair. He starts to stir when when a blue flash of light on his face, but then jolts up right at a load whooshing noise followed by closely by Robbie shooting up from just below the camera. I love the way that Robbie appears sort of fits with the sound that’s heard, also the whole mood of the scene which is pitch black with this blue flashing light every now and then. The fact that you’re just as clueless as the characters as well, you find out what’s happening when they find out.  Also the way that Rachel appears behind the basement stairs, which will appear again near the end of the movie in a much more damaged basement which shows just how much their world has changed in just a short few days.  The sound design in this movie as well is something that I love, I love when the sound in a film alone can creep you out. The tripod sound is one of my favourite sounds to exist, like if I heard that from outside I would be so creeped out and scared.  At this moment in time Robbie and Rachel have no idea what is hunting them or what Ray has seen, Imagine running from something and seeing something completely destroy the whole of your neighbourhood yet not knowing what it looks like. This is what runs through my mind when I heart Rachel cry “Is it them, Is it them?!”  Then the next morning when Ray goes upstairs and see’s that the house is just completely destroyed by an aeroplane that has crashed down in the middle of the the housing estate. This Boeing 747 was a out of use plane and the production crew bought it for $60,000 which then cost them $200,000 to transport, it was then broken into pieces and houses were built around it. Which just shows how far some movie productions will go to make a film look more legit. (We love practical effects in this house.) This scene is still set up at Universal Studios Hollywood and can be seen on the Studio tour. 

(Basement and Plane crash scene.)

My second favourite scene, which is one of my all time top favourite scene ever with no surprise is the dock scene.  The speeding train that’s on fire is absolute stunning in every sense but for me the scene starts when the music starts.  ‘If I ruled the world, everyday would be the first day of spring.’ But i’m really glued to the screen when Rachel starts to follow the birds coming in from the river to in land, she follows them up to the hill where she notices the tree’s on the top are moving weirdly. “The tree’s are funny.” She then reaches out and grabs onto Rays hand who was talking to a friend.  Robbie turns to the hill as the camera slowly comes back and shows Robbie also turning to look at where Ray is looking. (Just remembering that this is the first time Robbie and Rachel ever see the tripods.) 

The camera then shows us what the family is looking at to reveal a tripod stood on the top of the hill, it then moves one of its legs which crushes a tree and makes everyone else look back. Obviously chaos ensues from this point on, everyone running trying to get onto the ferry to get away from the impending doom, unfortunately we learn that no where, not even on the water is safe. As a tripod comes up from out of the water and attacks the ferry, the family manage to escape and get to land on the other side of the ferry. They stop for a moment to catch their breath as people are being picked out of the water below them, they turn as a old air raid alarm is heard on the other side of the hill and we see tripods coming over another hill that was filled with people and using their head rays to wipe them all out, we also see in the distance a lighting storm indicating more Martions are still coming to earth. The scene is like a depiction of all the stages of the attack.  (Dock attack scene.)

I mean all the action scenes in this movie are just so beautiful and amazing, but did we expect any less from Spielberg? And the CGI and practical are all done extremely well and fitted together to make a scene look as real as possible. One of the art directors that worked on this film, Doug J. Meerdink who has also worked on Jurassic Park: III, Cloverfield and Jurassic World. 

I was looking up some trivia on IMDB for this movie and found that there was a deleted scene that is called the ‘Camelot’ scene. This scene is supposed to take place between the attack on the ferry and the battle on the hill, it involves Ray, Rachel and Robbie walking through an abandoned housing estate that’s named Camelot, when a pack of tripods start walking near by.  One of the tripods breaks off and the family has to take cover behind a SUV, they watch helplessly from behind as the tripod reaches into the house and grabs people from the houses. This scene has never been released but apparently it was fully finished, VFX and all but then taken out a few weeks before post production was wrapped up.  There is only one official video from this scene that was in the actual trailer for the film, and it’s only a shot of the family hiding behind the SUV. 

The only other shot from the scene is this landscape shot of a CGI tripod. 

There are also photos of the set designers setting up the miniature of the housing estate to shoot this scene, the rest are fan arts of how the scene maybe looked/ played out.  (Source)

I really hope that one day Steven releases this scene, or for some anniversary adds it into an extended version of the film like we’ve seen for other films. Because I would love that so much! It seems like such an incredible scene, and to see the tripods up this close again would be so cool! 

One of the trailers that was released for this film doesn’t have any of the film shots it in, It takes place in a normal neighbourhood where people are just going about their normal nightly routine when suddenly over the hill there are all these brilliant flashing lights, everyone's just coming out of their houses in their pj’s and standing in the street marvelling at this sight in front of them. Then we see explosions and suddenly heat rays are blowing up the tress on the street which then goes into the title.  I just love this, a trailer that doesn’t give anything away from the movie but creeps you out enough to be invested.  (Trailer.)

All in all it’s just an very visually pleasing film, it feels real enough to give you a sense of fear for the characters and for yourself. I also love that Steven stayed true to the source material,more truer than some of the other adaptations and also added in his own little Easter eggs.  The sounds, the aesthetic, the colours just everything comes together so beautifully. I think its a very underrated movie that deserves so much more love.

[romancandlemagazine]

An Interview with Al Baker

I first came across Al Baker’s photography whilst looking through an old copy of a magazine called Flux I’d snaffled from Manchester’s world-famous second-hand wonderland, Empire Exchange.

Hidden in the magazine’s pages, between an interview with Mark E Smith and a review of a newly-released sci-fi film called The Matrix, were two black-and-white photos, snapped from the window of an ice-cream van, showing kids lined up for a bit of frozen respite from the summer heat. Reading the fairly minimal bit of text below, it turned out the photos were part of a series called ‘Ice Cream You Scream’. 

I’d missed the exhibition by approximately 20 years, but thanks to the high-speed time-machine known as the internet, I managed to track him down. Here’s an interview about his fine photos, his time living in Hulme Crescents and the benefits of carrying cameras in a Kwik Save bag...

Classic ‘start of an interview’ question here, but when did you get into photography? Was there something in particular that set you off?

Like a lot of young people, I knew that I was creative but hadn’t quite found my place. I didn’t know whether I wanted to be a writer or in a band. I used to doodle, copy Picasso’s in biro, so off I went to art college and tried my hand at different things. All it really taught me was that I had neither the patience, technique or talent to become a painter. Photography seemed a much easier way to make images, a more instant result. Of course, the more you get into it you realise that whether you’re any good or not does rely upon patience, technique and talent after all.

Was ‘being a photographer’ something that people did in Manchester in the early 90s? Who did you look up to back then?

Not really. It was very rare to see another person wandering around with a camera back then. Even years later when I began photographing the club scene in Manchester no-one else seemed to be doing the same thing. Not at the night clubs I went to anyway. 

Now it’s very different. These days you see people with cameras everywhere. Club nights almost always have a photographer. People are far more image-conscious due to social media. Today most people are busy documenting their own nights out with their phones. Look at footage from any major gig these days and half the room is filming it. Back in the 90s no-one seemed to care about documenting anything like that. You were very unlikely to see the photos that someone might be taking the next day or, in fact, ever. People often used to ask ‘What are you taking photos for?’ with genuine surprise or distain.  

In terms of photographers whom I looked up to there are so many! There are great image masters like Cartier-Bresson or Elliott Erwitt. Photographers of war and social upheaval like Don McCullin and Phillip Jones-Griffiths. I liked Alexander Rodchenko and Andre Kertez, how they broke the conventions of their day with wit and invention. 

I loved the dark and dirty images of Bill Brandt, and his inspiring nude studies too. I loved the city at night recorded by Brassai. Paris in the 1930s definitely seemed to be the place to be. Diane Arbus, Jane Bown and Shirley Baker. American street photographer Gary Winogrand was a huge influence on me, as was Nick Waplington’s book ‘Living Room’.  

I was also quite lucky to be living in Manchester at that time. Daniel Meadows and Martin Parr had both attended Manchester Polytechnic. Denis Thorpe had worked for the Guardian in Manchester. I saw Kevin Cummins iconic Joy Division images, Ian Tilton documenting The Stone Roses. Both were regularly in among the inky pages of the NME. 

I also saw an exhibition of Clement Cooper’s photographs of the Robin Hood pub in Moss Side, which was another big influence. I was also very lucky in that my very first photography tutor was Mark Warner, who produced very beautiful images, did a lot of work for Factory Records. He shot The Durutti Column’s (1989) Vini Reilly album sleeve. He was probably the first person who ever really encouraged me.

I really like that series of photos you took from inside an ice-cream van in the late 90s. What was the story behind that? 

The initial idea for that project came from my friend Steve Hillman, who is an actor. At the time he was ‘between jobs’, which is an actor’s euphemism for being unemployed, so he was working an ice-cream round to help to pay the rent. I was at his flat one night, thinking aloud about where I might go next with my camera. I’d spent quite a long time following graffiti artists work around Hulme, and had my first exhibition based around that. But it only seemed to lead to offers of more work with graffiti artists, and I wanted to do something else.  

I’d done a 2nd exhibition based around portraits of my friends in Hulme. I’d flirted with some one-day projects, like Belle Vue dog track, Speakers Corner in Hyde Park. Anyway, while I was talking, not really knowing what I was going to do next, Steve simply stated ‘You should come out on the ice-cream round with me. No-one ever comes to the van without a smile on their face.’ And it just struck me as a beautiful & simple idea. So, one day we just set off. 4 or 5 rolls of film and all the free ice-cream I could eat, which I discovered wasn’t very much!

What was the logistical side of those photos? Were they taken from the same van? 

They were all shot on the same day, the same van, all around Salford. It was good fun, but actually very hard work. Trying to constantly find new angles, different framing and working on a hot August day in such a small confined space. By the end of the day I felt that I had enough strong images for my next exhibition. They were much jollier images than ones I’d made before. As a result, because it had more universal appeal, I got quite a lot of good publicity out of it, and Walls gave us hundreds of free Magnum ice-creams to give away on the opening night!

These days I could think of more than a few reasons why you probably shouldn’t drive around Salford photographing other people’s children without permission haha (in fact, I’m surprised that I wasn’t hung from the nearest lamppost!) but I was much younger and far more naive back then. Besides, that was something that I’d learned from living in Hulme. You don’t ask for permission. Someone will only say ‘No’. Just crack on and do it anyway.

You also documented the last years of the Hulme Crescents. A lot of people talk about that time and place in Manchester, even now—but what was the reality of it? What was a normal weekend there like?

It was quite unlike anywhere that I’d ever lived before. It looked like a fascist dystopian nightmare, only one peopled by Rastas and anarchists. Bleak concrete interconnecting walkways. No through roads whatsoever. A fortress feel to the place. The entire estate was earmarked for demolition before I arrived. Everyone else seemed to be busy moving out. But I was already spending a lot of time there, post-Hacienda, parties, friends, lost weekends.  

There were lots of young people living there. Families had mainly moved out as the heating didn’t work properly, flats were cold & damp, often infested with cockroaches. There were traces of old Irish families, the Windrush generation, interwoven with punks and drop-outs. 

There was a cultural & artistic flowering among the ruins. A Certain Ratio, Dub Sex, A Guy Called Gerald, Edward Barton, Ian Brown, Dave Haslam, Mick Hucknall, Lemn Sissay, all lived there at one time. It was the original home of Factory, where all the post-punk bands played. In turn that led to Factory Records, New Order, and the Hacienda. The PSV club later hosted raves and notorious Jungle nights. It was a good time to be young.

You lived there as well as shooting it. Do you think it’s important to be a part of the thing you’re photographing, rather than just an outsider with a camera?

I don’t know that it’s important to be a part of the thing you’re photographing, ‘embedded’ is what the war photographers call it, but you definitely capture different images. Certain things that might have been shocking to an outsider were commonplace, normal & every day to me. Boring even. On the other hand, I was much less likely to be robbed walking around. That meant I could take my camera places that other people couldn’t, or maybe shouldn’t!

I used to wear my camera beneath my coat so it couldn’t be seen, and I carried my film and lenses in a Kwik Save shopping bag so as not to attract unwanted attention. I got into the habit of handing that bag over the bar at the pubs I went in. I would collect it the next day if I could remember where I’d been the night before. Bless you, saintly barmaids of old Hulme.

If you look at my images of Hulme people they’re usually reacting to me and not the camera. Either that or they’re not reacting at all. They’re ignoring the fact that I’m taking a picture. That’s what gives them that ‘fly-on-the-wall’ feeling.

This is something that I put to greater effect later when I was photographing in night clubs, skulking stage side or hiding in a DJ booth. When DJs & MCs see you week in week out at the club doing the same thing they stop posing for the camera and just get used to you being there. You become part of the furniture. And when people stop being conscious of the camera, when they ignore that you’re even present, you can step in much closer. Put simply, you get better pictures. They’re much less performative and far more honest. It’s not often people can say they like it when they’re being ignored, but for photographers it’s a gift.

Do you think somewhere the Crescents could exist now, or was it just a case of the perfect accidental recipe for that kind of creative, DIY activity?

No, I don’t think anywhere like Hulme will ever happen again. I think the city council learned that lesson a long time ago. It was a dystopian utopia for us, but it grew out of failure. When I 1st went to university they warned us never to set foot there. I said, ‘But what if you live there already?’ and there was an embarrassed silence. They really hadn’t expected a poor boy from Hulme to be in the room. Now they own half of it and it’s all student Halls of Residence.  

The city centre has been regenerated, redeveloped & gentrified. We can’t afford to live there anymore, and people like me are pushed out. Hulme was a failed social housing experiment, an eyesore & an embarrassment to the people who had commissioned it. People like me moved in & we made it our own. They’re never going to allow anything like that to happen again. Every quaint old fashioned pub that closes becomes a block of flats. The footprint is too valuable to property developers. One day all we will have will be faded photographs to bear witness to a very different way of living.

Was it through the Crescents that you started shooting graffiti? 

When I first arrived in Hulme I’d just spent 3 years living with mates in a couple of houses elsewhere in the city. It suddenly struck me that that part of my life was over and I had very few photographs of that time. I’d been too busy learning photography, taking the kind of photos that every art student takes: Broken windows; abandoned buildings, and bits of burnt wood. I vowed I wouldn’t do that again. I began documenting the life that was around me.

I started with the architecture, as it was quite unlike any other place I’d ever seen. It had a desperate, faded beauty even then. The whole estate had been condemned for demolition before I arrived, but the city council had given up on the place long before that.  

I started to notice graffiti pieces going up, seeing the same names repeated. It was obvious that there was a small group of writers trying out their styles on a large canvas for the 1st time. Wanting to claim this derelict space as their own Hall Of Fame. I started to document them as they sprang up. Then I noted that context was crucial, and so I began to include the soon-to-be-derelict buildings in the images also. The shapes & colours of the graffiti looked positively psychedelic beside the drab monochrome of the setting.

With your graffiti shots, you show a lot more than just the pieces. Was it an intentional thing to show the act behind it a bit?

Because it was Hulme and no-one cared, these guys weren’t working in the dead of night like most graffiti writers do in the train yards and what-have-you. They were working during the day, right out in the open. So, documenting their work, it wasn’t long before I ran into Kelzo. He really didn’t trust me at first, but I kept coming back. So, I got to know them. They started to let me know where they were going to be painting next.

In 1995 Kelzo organised the 1st SMEAR JAM event (named after a young aspiring writer who used to come down to Hulme to learn, and had died suddenly from a nut allergy). That was such good fun that another event arrived the following year, another & another. Graf writers came from London, Edinburgh, Leeds, Sheffield, and as far afield as Spain. The local community came out to support and, as usual, it turned into a party that lasted all weekend.  

I got into the habit of taking 2 cameras. One loaded with B&W film to capture the event itself, and another with colour transparency to document the finished artwork.

Graffiti… hip-hop… kids getting ice cream… I suppose there’s a few different subjects there, but was there an underlying thing or theme you wanted to show with your photos? Maybe getting a bit philosophical, but they’re all quite free acts—is it about enjoying what’s there?

It was more about documenting the life I saw around me. Moving to Hulme was what led to me capturing graffiti, and graffiti led to hip-hop events. Once Hulme was demolished I moved my camera into the city centre and began photographing club nights. House and hip-hop turned into Drum’n’Bass, and then dubstep. Residents and warm-up acts have now become headliners in their own right. Manchester has always been a great city for music, and it kept me busy throughout the naughty Noughties. I’ve pretty much retired from all of that now. I’d had enough after over 15 years of it. I no longer feel compelled to document something as ephemeral as a club night anymore when half of the audience are doing it themselves anyway. Then coronavirus came & properly killed it all off. I don’t know what it’s going to be like now going forward, but it’ll be someone else’s turn to document whatever that is.  

What do you think makes a good photograph? 

You need to have a good eye. You need to notice & be aware of the world around you. You always see an image before you create one. You don’t require expensive equipment. Mine never was. And you don’t need to be trained. It’s one of those areas where you really can educate yourself. A certain amount of technique and technical understanding goes a long way but, again, you can pick those things up as you go along.  

There are different kinds of photography, of course, but for me it was always about capturing a moment. The Decisive Moment, as Cartier-Bresson so eloquently put it. It’s something that the camera has over the canvas. For me the camera has always been a time machine. Like an evocative love song on the radio, it can transport you back immediately to a time & place long gone. It also acts as a witness for those people who were not there. Images tell stories. And we all like to hear and tell stories.

A couple of years ago I was invited to talk at the University of Lancaster for a symposium on documentary photography, which is a tradition that I had always considered my photographs sat within. But oddly, as I gave my slide-show presentation, images that I have seen and shown many times before, and thought I knew very well, I suddenly saw in a brand-new light. I could see myself in every image. Almost like a self-portrait from which I was absent but my own shadow cast large. I realised that I haven’t been documenting anything other than my own life. 25 year old images suddenly had something new to say, something new to tell me.  

Do you still take photos today? What kind of things are you into shooting these days?  

I don’t really do a lot of photography these days. I teach and facilitate as part of my job now. I still do the odd event but night club photography is a much younger man’s game. I really don’t have the levels of commitment, energy or enthusiasm I once did. I feel like I’ve taken enough images. If I never took another photograph ever again, that’s OK. Maybe, perhaps, I’ll get into a different kind of image making in my twilight years … but for now I’m trying to reassess the images I made 25 years ago. People are far more interested in them now than they ever were at the time. Now they have become documents of a time and place which has gone. The graffiti and the walls that they were written on have disappeared. Many of those night clubs have closed. Time moves on. The images and the memories are all that is left.  

Over all those years, how has the art of photography changed for you?

Back when I started taking photographs, where I lived in Hulme, the kind of music that I was into, the magic of a night club moment, there were very few people I knew of who were doing the same thing. Now I am aware of others who were. Almost everyone is their own photographer now. Mobile phones & social media have given a platform for anyone to make & share images of their individual lives, whether it be their friends & families, holidays, public events or more private & intimate moments. Anyone can document their own lives now, so I no longer feel that I have to. I do still love photography, it’s still my favourite form of art, but I don’t feel compelled to capture it all anymore.

I suppose I’ve pestered you with questions for a while now. Have you got any wise words to wind this up with?

If you want to become a photographer you must learn your craft. Keep doing it, and you will get better. But you must remember to always be honest. Make honest images. Listen to the voice of your own integrity. Don’t worry too much if no-one sees any value in what you do. If you’re any good people will eventually see it. It may take years, it did for me, but images of the ordinary & everyday will one day become historical, meaningful & extraordinary.  

We live in a world today mediated by images, a Society of the Spectacle, but we still need photographers: People who have a good eye, an innate feel for the decisive moment; what to point the camera at and when to press the shutter. The images that you make today will be the memories of the future.  

See more of Al’s photos here.

[attystark]

The warehouse (Part one?)

Warnings: Ambiguous ending, Remus delights in creepy things, terrible writings. 

No, I won’t give up on making Logan the twin’s older brother, I just love the idea okay? also I slipped up, didn’t pay attention and no Roman and Remus are British I guess. 

Word count: 1422. 

Ships: platonic creativitwins, platonic anroceit, platonic anxceitmus. 

The middle of the night is not a very good time to be doing anything; but it was, in Virgil's opinion, a VERY not good time to sneak around an abandoned warehouse. Yet there he was, watching nervously as Janus and Remus made to break the rusting lock, hoping that, for the first time in their lives, they would fail to open a locked door.

Needless to say, it wasn’t his lucky day, and Remus, eventually, managed to break the goddamn thing by hitting it with a rock. Usually, this would have been amusing, but sneaking onto the one building in town with more disappearances, murders and general horror tied to it than highschool on halloween felt like a bad idea, and Virgil didn't want to die today. (well, he did, but that was more a nebulous want for death than a desire to die of friends stupidity). Still, when Remus set his hand to the handle, ignoring Janus’s tetanus joke, Virgil stepped forward in turn with the others, figuring he could probably prevent them from going too far in the endeavour to cause as many problems as possible and subsequently dying.

It was possible that Janus was right, and Virgil worried easily.

“Holy shit,” Remus breathed as he stepped into the warehouse, his sneakers flashing with each step he took.

The place was huge, lined with graffiti from every teen who had stepped foot in this gorgeous building since it had closed in 1982. A patch of light, a mix of street lamps and the moon, shone into the middle of the room, casting a shadowed glow that brought to mind horror movies and murder. Remus grinned, grabbing his camera out from his bag and shooting away from the other two to take photos.

The graffiti lining the walls were not, as it turned out, from a variety of people, but a group of two who tagged their art simply with a greek alpha symbol and an egyptian hieroglyph that Remus figured Janus would know, they were both extremely talented, with Alpha, as Remus found himself mentality calling them, seeming to prefer calligraphy of sorts, leaving passages from famous books (some of which Remus even recognised!) and sometimes their own thoughts on the walls, whilst Hieroglyph seemed to prefer art, drawing scenes Remus recognised as their town in the early 2000s, when Remus himself was growing up.

Remus continued to follow the walls, taking photos of his preferred quotes and some of the coolest shots (an odeon dated to 2010, the river in winter of 2008, and the highschool from 2003 amongst others.) As he walked, he saw the art improve, the quotes become more legible and the technique more complicated, and he realised they had started in the left of the room and moved around, until the art finally stopped near the door. Finally, in the middle of the room, he met with Janus and Virgil, who were standing studying one of the quotes, and the image underneath. “Hey Rem, what’d you think this is showing?” Virgil said, his eyes on the art. It took Remus a few seconds to realise what he meant, until his brain cells kicked in and he noted that the art did not appear to depict anywhere in town, and was tagged as 1873, despite the town being founded in the late 1920s. Yet that was definitely their river, the rocks were in the same place as now and Remus would know the field the building was built on anywhere, as it was in the same place as his older brother’s house.

Janus, meanwhile, had begun to read the tag aloud, “To those who wish to meet our kind, come posthaste, do not be late.” he read, still staring up at the giant letters. “Our kind?” Remus repeated, pulling out his camera and taking a photo of both the writing and the painting.

Which was when Virgil gasped and shot forward, pointing at something none of them had noted before.

An ex in the field. It was small, maybe a few centimeters squared, and Remus stared at it for what felt like eternity, trying to figure out where one would stand to paint the image, and hence, where the X was. Eventually, he figured it out, and turned to the other two. “I know where we’ll need to go.” Virgil nodded, a brief look of relief splashing over his face. Had he been worried they’d never work out who the two mystery graffitier’s were? “Ok, let’s go back to the hideout to grab some shovels just in case, then lets go.” Janus said, already turning to the exit. “ why would we need shovels?” Virgil asked, catching up with their much shorter friend. “To bury your body, why’d you think, tickle-me-emo,” “Rem has used that one before, doesn't count.” “Your mom doesn’t count,” “My mom’s dead?” “Exactly,” “Stuff you, Double-De.” Remus laughed as the argument continued tuning out as they walked the familiar wooded path to the abandoned log cabin they’d found a few years before.

Roman frowned as he heard voices headed up the forest path, crouching low behind one of the worn armchairs in the front room of his brother’s den. The door flicked open a few seconds later and he heard Remus say “just get the shovels, we have to get there before midnight.” “Get where before midnight?” Roman asked instantly, popping up and causing Remus to jump before glaring at Roman. “What the Hell are you doing here?” “And how did you find us?” Janus asked., leaning nonchalantly against the door frame. Roman smirked. “I followed you a few weeks ago, it wasn’t hard and I was curious.” “SO YOU FOLLOWED US?!” Remus snapped, and Roman flinched, not expecting the anger. “Well I may also have been told to,”Roman admitted. “BUT, I didn’t tell, so you either tell me where you’ve been going or I tell Mum where you’ve been disappearing off two for the past three years, and I’ll tell Logan,” He figured threatening to involve their mum and older brother would work.” “Fine,” Remus snapped “we’re going to find something, the location is a secret from Janus and Virge too, so I’m not telling you that.” “Fine by me,” “If you two are done squabbling,” Virgil said, slipping into the room and short Roman a small smile “I got the damn shovels.”

It was a short walk to the field, and from there to the spot they needed to get too, which was a small indent just behind the house Logan had renovated with his fiance just a few years prior, but once they arrived it took a long time to where the large box waited, decorated with a greek alpha and a hieroglyphic bird. “The greek and egyptian letters for A,” Janus whispered to a confused looking Roman. “AA? Are you guys committing insurance fraud.” “Does the AA provide insurance?” Virgil asked, absently. “Doesn’t matter.” Remus shot back, we’ve found it. “But what is it?” Roman shot back, “you still haven’t told me!” Janus watched as Virgil and Remus moved to explain, turning his focus to the shockingly heavy box and lifting it out of the hole.

The box was painted with a view of the night sky, with constellations Janus would recognise if he knew anything about astronomy and a large moon, its craters almost forming a smile. Janus lifted the wooden lid to find several items, all from the 2000’s with the exception of a dead iphone 4, its case cracked beyond repair. The other items were a CD in a small case with a handmade cover entitled “About A and A”, a book on vampires published in 2006, a large metal cross, and two vials of what looked like blood. “Do we even have a CD player?” Roman asked, glancing over and peering inside. “I do,”Virgil supplied. “Oooooof course you do, My chemical gay-mance.” “That one didn’t even make sense, Ro,” “I’m sorry, since when did my brother get a nickname?” Janus snorted, then frowned as he noted a hinge pair of hinges on the bottom of the box. Without thinking he dumped out the contents to find a second painting, this one of the other side of the river in the false bottom. “You have gotta be kidding me!” Roman groaned. “I wish” Janus sighed as he studied the image. “We’ll figure it out in the morning, once we get that dvd player.” Remus sighed. “And sleep.” “Sure Janus,” Virgil laughed “and sleep.”

[rochey1010]

Just a quick post cause i gotta say this:

I now see exactly where the Lola/Maya/Eliott/Lucas plot is going and it's not what the fans were convinced it was at all, aka context and lack there of.

So there has been foreshadowing of what's about to go down. Let's unpack it:

Lola and Eliott's friendship based on self identification. A mirror of each other. Him male and out of the darkness. Her female and going through it. His insta being the northern brightest star POLARIS. A guiding light. Her's being beta hydri/hydra the star all the way down in the south. The line between the 2 being representative of the journey they are on in life. Focus on where they both are in their life and how one (POLARIS) can guide the other.

Eliott a mentor for lola and her being guided by him (star symbolism). Her seeing him as a positive influence and copying that influence to heal e.g. her Vendredi Daphne movie chat being a direct mimic of Eliott's playbook of helping Lola in the video club Mardi 'The Kid' clip.

Her saying to Daphne that when she wanted to self destruct, she thought of Eliott, the video club, and their chats. And it stopped her. He created a safe space and she is using it. He really is guiding her.

Him now being set up as a buffer to drugs (rock bottom)

The movie with him, and it being a focus and a sense of direction for Lola to be distracted....for the moment. His art is positive and about love and connection. Her art is negative and about breakage and destruction. The movie is again him mentoring her, through art this time and the expression of it and how you can use it to see the world.

Maya in love with Lola, Lola in love with Maya. Maya scared to get involved because of her past with alcohol. Lola wanting Maya to be her Luquette and relying on her right now as a reason to change.

Char being in the picture. Lola meeting her. Maya not hiding her (upcoming theory) preventing a consummation of love.

Lucas encouraging Lola to take part in the movie and giving his consent. But grappling with creeping abandonment issues, and not really comfortable with it.

Lucas talking of Eliott and telling Lola he's afraid their mirroring friendship will result in one dragging the other down. Him also admitting that he felt insecure over the friendship.

This is the one that worries me the most. Eliott obsessed with mental illness in his love with Lucas. "He's just worried about me. I have bipolar disorder. Do you know what that it?" Him hiding stuff rooted in those fears being mentally ill and toxic can have on your love. Not wanting to be a burden and keeping lucas from leaving him. Focussing over and over again on not wanting to stress or strain lucas (S3, S4, S6)

Him saying "And i have Lucas. I can't lose this" a declaration of hinging his mental health on his need and love for Lucas.

Him talking of suicide and attempting it 3 times in the past. Poss during depressive episodes. Him saying he still has thoughts and he suspects they won't ever go away but it's better now. Again the focus on what he has with Lucas as the above quote comes directly after this.

Him telling Lola to find her Luquette. Creating a freakin term for his love with Lucas.

Finally Eliott going out on a limb for Lola to physically help her. Protecting her feelings and keeping her secrets. (E5)

Prediction time: Char is gone after tonight. Maya won't tell Lola immediately. Lola will still think she's in the picture and will be jealous, bitter and hurt. Eliott and her are shooting 'Lux and Obscurus' Lamifex are helping and are there that night. In the pic you see Max holding the camera and beside him someone that looks like Maya with her jacket. I'll assume Jo and Sekou are out of shot too. Not sure if that scene is scripted. The spoiler says though that it is and Lucas says no and Eliott goes ahead. But Let's say for a minute scripted/unscripted it happens. So Lola is gonna pull a stunt she did at the funeral. She's gonna blow up her tentative support network she's built (Eliott, Maya, La mif) in one go. She is gonna use the scene scripted/unscripted and rile and get a reaction out of Maya, she's going to hurt her and she's going use Eliott to do it.

The fallout of that night is going to be distance from La mif, Maya hurt and getting the wrong idea, and Eliott falling out with Lucas, who like Maya gets the wrong idea. It's going to cause Lola to lose her mentor/friend/buffer in Eliott at that moment, as he is going to a dark place if he thinks he'll lose Lucas. And the foreshadowing is complete. Lola drags them both down and hits rock bottom to drug town. Eliott feels he's lost Lucas and his mental health takes a dive (depressive- please don't say poss suicidal mood) and Lola has to fix her mess and help the ones that once helped her, especially Eliott.

I don't know if Eliott reacts in a way we haven't seen before though. Maxence said we're going to see his darker phases. But what if it's not just depression or something worse. What if he snaps at Lola because of what's happened with Lucas (possibly leaves Eliott ) like what we know of Eliott is that he is a very caring individual. Doesn't judge and tries to be empathetic to his world and the people in it. He doesn't push or pressure anyone. He unconditionally supports, and he'll put himself out there to help others. We see all this in so many ways since he turned up on screen. He's simply a very compassionate character. I honestly don't see him holding what Lola does against her. She's confided in him about Maya. He knows what it is to feel that the one you want most is someone you can't have. And he knows the pain involved because of that.

BUT Lucas is a different situation all together. We've seen Eliott in his pursuit to have Lucas. He gave zero fucks and his dark side came out with both Chloe and Lucille. He's hinged his mental health and well being on his love. He is deeply in love with him, and it's been said by both Lucille (his freakin ex) and Arthur that Lucas is the one and is special. He can't lose him. If he thinks he has. His mental health takes a dive. And then so does his mood. He even snapped at his beloved Lucas in a depressive crash. Depression doesn't care about your compassion and love for others. So we may see something ugly with Lola from Eliott. Like he may be really angry with her. He may sever the friendship in that moment leading her to lose her buffer. And causing her to slip finally to rock bottom. I'm unsure though, as it can go both ways with Eliott. Compassionate and forgiving or angry and depressive. Maybe both. 🤝

Guys i'm scared. I don't think i want to see Eliott's rock bottom. It was heartbreaking the first time. And he's such a positive and warm presence that even the audience feels good when he's happy and smiling. I think they are going there. With Lola i've adapted, we've seen several benders and she's a depressive character and doesn't bring sunshine on the screen. So when she slips it's sad but more of the same. With Eliott it is a swinging extreme of light and dark. A sunshine puppy happiness to crying, black despair. 😭

Ok if it's going that way. All signs point to 😔 brace yourselves. 💜