#i think i have the whole scene memorized at this point

[vampibutch]

picking LINT off the SOFA????

[m4tthewmurd0ck]

Tom Blyth x Actress!Reader

TBOSAS Vogue Interviews — Rachel + Tom

(next part will be you and Josh’s interview)

no descriptors other than reader being shorter than tom but i use she / her. click [HERE] for the table of contents for all things tom x actress!reader

for the interviews, rachel and tom are still paired up since they’re the leads, and you’re with josh. sorry hunter hshxhsdi. also in this tbosas has been out for a month so the cast is allowed to talk specific scenes and give “spoilers”

The first bit of the video shows short clips of some answers, but no context as to what the questions are.

“Oh that’s an easy one, my girlfriend,” Tom can’t help but smile.

Rachel playfully slaps him with the card. “I was going to say her!”

~

“Pepper jack,” Rachel shrugs.

“Maybe… maybe a sharp cheddar?” Tom laughs.

~

Tom sighs, “that was quite a hard scene to film. After each take I’d ask if she was alright at least a couple of times.”

“Honestly the games as a whole, because I missed a lot of the stunt training.”

~

THE INTERVIEW —

“Hi Vogue, I’m Rachel Zegler.”

“And I’m Tom Blyth. Today we’re here to ask each other some questions, rapid fire.”

Rachel shuffles the interview cards around. “Okay first question, what would you say was the most difficult scene to film and why? Ooh I have my answer already.”

“You go first, I’m still thinking,” Tom laughs.

“Well for me, the most difficult scenes physically were honestly… the games as a whole. I missed a lot of the stunt training so to have one of my first scenes be me running like crazy screaming for Jessup, it was pretty intense.”

Tom blushes a little. “Sort of piggy backing off of Rachel’s answer, the hardest physically I’d definitely say my scene with Josh when we’re running out of the arena. The first few takes were stopped fairly quickly because either he or I would trip. But the most difficult emotionally, the scene in the cabin with Coriolanus and Nova May.”

“Aww,” Rachel puts her hand over her heart. “That’s was so cool to watch you both but yeah I can for sure see why it would be difficult. Did you guys rehearse it a lot?”

Tom shakes his head. “Not at all actually. We ran through the lines a few times but as far as acting out the whole scene, not until we were on set and they wanted a run through. And thankfully after the third take they were satisfied. That was quite a hard scene to film. After each take I’d ask if she was alright at least a couple of times.”

Off camera, someone asks “how long have you guys been together?”

“Pretty much since we met,” Tom tries, and fails to hide his smile. “So she and Josh were actually cast on the same day in June of 2022. At that point Rachel and I had already been cast, and the 4 of us, it just so happened that we were all in London for one thing or another and we all went out to dinner that night. Knew I fancied her right away, and I wanna say it wasn’t even a couple of weeks later that I asked her to be my girlfriend. Sorry I know I went off topic. To answer your actual question, almost a year and a half.”

Tom and Rachel chat for a couple of minutes as cameras are moved around to capture different angles.

“Next question, something a lot more lighthearted. If you were a cheese, what—”

“Pepper jack,” Rachel shrugs, not elaborating.

Tom bursts out laughing. “You had that answer ready awfully quick.”

“What can I say, I’m a cheese girly.”

“I guess that’s my go. Pepper jack is a good answer by the way. I’ll go cheddar. Maybe… maybe a sharp cheddar?”

Rachel taps her chin as if considering what Tom just said. “Yeah, I could see sharp cheddar. Okay guys sorry they’re motioning behind cameras that we have to speed it up. This is rapid fire and we’ve only answered two questions, sorry!”

“Sorry guys! Okay okay next question. Who is your favorite person to run lines with? Oh that’s an easy one, my girlfriend.”

“I was gonna say her!” Rachel faces the camera. “You guys, she’s seriously the best person for that. She memorizes lines sooo fast. By the end she won’t need a script to help you and she’ll be able to still correct you if you mess up!”

“What — oh wait I’ve already asked that question,” Tom flips through the cards, “okay here we go. If you could play any other character in the film, who would you play?”

Rachel claps and points at Tom. “We were just talking about this! I’d either want to play your character because I think it would be so fun to kind of switch to the villain. Or Nova May because hello she’s a badass.”

“Do you know what, and I swear I’m not making this up, my answers are the same as yours. either Nova May because I feel like she’s the opposite of Coriolanus in a way. Or Lucy Gray because I love that even after the games, she’s stayed true to who she is and she doesn’t let Coriolanus corrupt her.”

Rachel and Tom chat again as cameras and lights are moved around. They each do 2 questions.

“Okay we’ve each got one more question. Ooh this one’s fun! You’re stuck on a deserted island for a month and can have five things with you, what do you bring? And it says people don’t count,” Rachel thinks for a moment, “you go first because I need to give this some real thought.”

“No people, okay let’s see… my phone, one of those solar power generators so I could plug things in, phone charger, a book, and mini fridge. I’m sure I could cook some things up and be able to save them for later.”

Rachel nods in approval. “I am going to copy your first three things because I think I’d go crazy not being able to at least write out my thoughts in my notes app or something, or record what’s happening on my camera. But for my last two things, a guitar now that I can play, and… oh crap this is harder than I thought. And… a surfboard! If you’re stuck on an island that’s the perfect time to pick up a new hobby.”

“I think we’re finally getting the hang of this, of course right at the end. Oh I have the last question that’s right. Let’s see… what three characters from other shows or films do you think would do well in the Hunger Games?”

“I love that question!” Rachel nearly falls out of her chair. “Definitely someone from Game of Thrones — ooh or House of the Dragon! You know what, Juliette would do really good. A bow and arrow can take you really far in the games and that’s her go-to weapon.”

Tom smiles and blushes once again at the mention of his girlfriend, or at least the character she plays.

Rachel thinks about her last two answers. “Joel Miller from The Last of Us, and Spencer Reid from Criminal Minds.”

“Why Spencer?”

“He’s a literal genius. I bet he’d be able to rig a bunch of traps that no one would suspect and he’d be able to eliminate most of the other tributes without any physical contact.”

“Ahh I didn’t think of that. Hmm also from House of the Dragon, Aemond Targaryen. He’s quite ruthless isn’t he, he’d have no problem getting rid of the other tributes. And also Clint Barton, like you said because a bow and arrow is a really good weapon to have. Also… Uhtred Ragnarsson from The Last Kingdom.”

Someone behind the camera says it’s time to wrap it up.

Tom smiles at the camera, “thank you so much for having us.”

“We hope you enjoyed watching, bye!”

TOM BLYTH x ACTRESS!READER TAGLIST —

@callsignwidow | @spencerstits | @coconut-dreamz | @daenerysqueenofhearts

[ode2rin]

Was it because he sometimes fail to call you due to opposite time zones? Or was it the frequent periods when he wasn't at home? Had the distance finally played its game in your relationship?

Out of all people, you were the last person Sae would have expected to betray him like this.

Yet, it happened. You blindsided him.

“I’m just three episodes ahead! Stop being so dramatic!” you protested from the other end of the couch.

Yes, that's the grave betrayal you've committed. Was it worth fighting over? Maybe. Was he being petty? Of course not. The act itself could be the equivalent of your partner lying to you. A literal crime, if he can say so himself. 

“We were supposed to watch it together,” he frowned, his eyes fixed on the Netflix series playing on the TV with its soft glow highlighting the contours of Sae's face as he continued to express his mock indignation. “Together.” He stressed every syllable, dragging out the pettiness, much to your annoyance.

And there you both were, caught in the crossfire of a relationship dispute sparked by the unspoken rules of synchronized streaming. 

Were there any rules in the first place? Well, according to Sae's book, there certainly were. Because, much to his denial, Sae loves your relationship’s traditions. One of them being this – the two of you wrapped in thick blankets with you curling up to his side and his hands fiddling with yours while you both spend the night away watching a show you mentioned in your call with him when he was away. 

Now, however, the two of you (mainly him) are faced with the big question of how to enjoy said tradition when you're already three episodes ahead.

“I apologized already,” you point out.

“You said sorry after saying oh yeah, I kind of watched it and shrugged. Talk about sincerity.” 

You bite back your laughter at his words. You knew your boyfriend had a great tendency to be dramatic, but he surprises you every time he pulls out a fit like this one. 

“And look, you’re even laughing.” he glares at you. “You find it so funny that you broke your promise to watch it with me, is that it?”

“Oh, come on! How did you even know that I already watched it?! I was acting pretty well!” you exclaimed at him while inching closer, trying to get close to where he’s seated. 

Five minutes before this whole theatrics, Sae was sitting close to you. However, after realizing your betrayal, the sheer spite in him compelled him to retreat to the opposite end of the couch, far from your lying ass.

“Your acting skills are shit,” he tells you before rolling his eyes again.

It was a lie. He almost couldn’t tell except after one passing comical scene of the show.

Sae has developed a habit of looking at you whenever there’s a scene he thinks you would find remotely funny, no matter how ridiculous the said scene might be for him. At every joke and witty banter, he would turn to you for your own laugh.

You never caught on to this habit, and Sae would rather feed on those horrendous french fries than tell you how he seeks the way you throw your head back, and how your eyes momentarily shut from laughing because the sight spreads an indefinable warmth in his chest and how the sound fills every quiet corner of his once empty space. 

So imagine his surprise when you weren’t laughing. You were smiling – yes, but it wasn’t a laugh he seeks.

Sae was on the verge of turning his head again after hearing a sigh escape your lips. You’re sighing? And it was deep too, like it was telling him you’re getting sick of it. The absolute nerve.

“Did you just sigh–”

But before Sae could finish his sentence, your arms gracefully snaked around his torso, enveloping him in that comforting back hug you always bestowed upon him.

“I said I’m sorry,” you whispered against his shoulder blades, your right cheek caressing his back as you planted a feather-light kiss in that spot. You saw him momentarily close his eyes at your touch, making you smile secretly in triumph. 

You’ve loved this man long enough to memorize how to soften his rough edges.

“I was bored to my wits’ end last week, I couldn’t help it but check it out,” you added, your voice carrying a persuasive tone.

Last week. He was supposed to be home by that time. If he was, the two of you would be comfortably cuddling on this very same couch. But some lukewarm fool managing the team decided to extend his misery in Spain for another week.

“I don’t like that look.” 

His thoughts were cut off by the sound of your stern voice. Unbeknownst to Sae’s preoccupied self, you’ve been staring at his face far longer than a minute to notice his miniscule change of expression when you mentioned last week. Turning to his right shoulder where you were, he raised an eyebrow in question.

“I know you. Spit it out,” you demanded, a knowing glint in your eyes.

And truth be told, you do know him. You were right. For a moment, his thoughts lingered on how much easier it would be to have more nights of just you and him if he wasn't away all the time.

But he couldn’t tell you that, not just yet. Maybe when the timing finally called for his proposition. “I’m sorry my stay got extended,” is what he said instead, hoping to convey what he couldn’t put into words.

“You know I don’t mind, besides, I understand.”

“I know.”

Sensing an unspoken ‘but...’ in his words, you looked up to him, meeting his perceptive teal eyes. He didn’t need to say anything more. You knew him, after all.

To lighten the mood, you decided to test your luck by teasing him. “Oh, my big dramatic baby,” you cooed.

“I’m not a damn baby,” he snorted, beginning to squirm out of your embrace as if to prove a point without letting his ears betray him by turning red.

“Shh, you are. Don’t worry, I won’t tell anyone else. I wouldn’t dare sabotage the Japan prodigy’s aloof badass rep to shit.”

You saw his mouth twitched, holding back his own amusement. God, even after all of those tender affections from you, this guy is still trying to be petty as hell.

“I don’t have an aloof badass reputation.”

“Yeah, because what you are is a dramatic spiteful boyfriend who thrives on being petty.”

“You’re really making it hard to forgive you, y/n.”

“Forgive me already!” You gaped at him, “And you say I’m the dramatic one in this relationship!”

Sae, like the rude person he is, ignored your whines, reaching for the remote to turn the show to the fourth episode. He then carefully placed you in his lap, turning you to face the TV, your back now pressing against his chest. As you watched everything he did in bewilderment, you turned to him, “but you won’t enjoy the story if we start on the fourth episode.”

True, but he preferred it when you were the one enjoying. “I’ll ask you questions along the way, and you can tell me about it,” he reassured you before pressing a kiss to your hair.

Exactly as he anticipated, your excitement to catch him up on the last three episodes was palpable. 

The living room transformed into a sanctuary of your laughter as you animatedly narrated each event that happened. He could barely understand the fourth one with all of your extra comments and snarky remarks on the characters that he doubts is even a part of the actual plot. The night danced away in the soothing rhythm of your voice and the murmur of a TV show, until your breaths finally eased into the cadence of sleep.

Silently, Sae turned off the TV, reveling in the tranquility of the room as he gathered you in his arms to head into your shared bedroom. Gently placing your slumbering form on your side of the bed, he settled beside you and draped the blanket over the two of you. Pulling you close, he nestled your head against his chest, one arm securing you at the waist.

But before sleep could fully claim his senses, he heard you mumbling.

“Sae?” 

Responding with a gentle hum, he felt your movements, your hands exploring the contours of his back as if tracing invisible lines and circles.

“About earlier,” you start, your voice barely above a whisper, “I’m not going anywhere. I'll be here, waiting for you to get home.”

His eyes opened, the drowsiness dissipating in the wake of your words, replaced by your warmth all over his body next to yours.

“So, it’s okay,” you continued, your words a tender caress against his collarbones, “We have plenty of time for movie nights and catching up on shows.”

Silence embraced you both, the room a canvas painted in the soft strokes of your steady breaths and the gentle thud of his heartbeat. Sae didn’t verbally respond to your assurance. Instead, you felt him pressed a soft kiss to the crown of your head and his arm around your waist tightening its hold.

He didn’t say anything, but his silence and his embrace was loud enough for you to know everything he wanted to say.

Of course, you both had time— a wealth of moments to spend more nights like this. He’ll make sure of it. After all, he looks forward to spending his days off in the tranquility of your presence. No matter how mundane it could get — as long as it’s with you.

note. it's been a while since i wrote this man.. i still cannot stand him and his petty ass by the way.

[rallamajoop]

That time Heisenberg stabbed Ethan with a rusty fencepost

Thanks to this one fic project that needed a pornographically detailed list of Ethan’s most memorable injuries, I've spent some time trying to figure out exactly what Heisenberg stabs him with when they first met. Working mostly from a free-camera version from youtube, I settled on calling a metal pipe with a square profile.

Tumblr: I was wrong. The reality is so much worse.

Having cracked the game files and installed my own free-camera mod, I tracked down the original asset for this thing, and, well...

No, really, this is it! Check out those matching cross-bars if you doubt me.

FWIW, it isn’t actually a spear. Those semi-mangled crossbars flag it instead as a spear-headed fence-post. (This may not be a distinction that Ethan would find very comforting after being stabbed with the thing, but there it is, regardless.)

In fact, if you poke around the cemetery area just outside the castle gate, you can even find the fence it presumably came from.

Look in on the cemetery near the church from the lane leading up to the Duke's shop beside it, and this is what you'll see.

It's not a perfect match (in fact, it's even worse viewed from the opposite side, because someone has clearly stuffed up the textures on different sides of the same asset). I'll also note that if you go back to this fence again after meeting Heisenberg, you won’t find any suspicious gaps in it where a post was recently ripped out. So I’m going to just go ahead and assume this particular piece was lying in a pile of surplus scrap in the cellar somewhere, and Heisenberg did not, in fact, drag the thing all the way there from well outside the whole damn building. I mean, at that point, you’re just showing off.

The fence post is, admittedly, pretty hard to get a good look at in the actual game. Unlike all the other crap Heisenberg already has levitating around him in this scene, the fencepost doesn’t appear at all until Heisenberg stabs Ethan with it. It actually seems to emerge at speed from between a couple of barrels at the back. But if you’re enough of a lunatic to play around with the various slow motion/rewind settings that came with the free camera mod, you can get a decent shot of it in flight, cleaning up any remaining doubt that this is the same asset that was used in game.

It even freaking spins in the air as it moves. FTR, yes, it does go in pointy-end first. And the whole fucking spearhead ends up buried in poor Ethan. (Please feel free to insert your own dick-joke here.) Those paying really close attention might even note that the blood on Ethan's shirt is present even before the spear hits him, but that's just going to be virtual-stunt-coordination having a normal one.

I can offer you no similarly definitive insight into why Heisenberg would think stabbing Ethan with this thing was a good idea. I can’t even tell you if he knew for sure that it was Ethan Winters he was talking to at this point (maybe he's just playing dumb, pretending not to recognise him. Or maybe he legit didn't know that Ethan himself had made an appearance until Miranda told him. Sure, he's already got that whole conspiracy board, but finding real pictures of this Ethan-guy is surprisingly hard.) But whether Heis was already testing out Ethan’s ‘interesting body’, or whether he’d just generally assumed that anyone who could survive a full lycan assault on the village wouldn’t be too seriously inconvenienced by a little stabbing, hoo boy was this one way to make a first impression.

I’m not even sure which of these losers is the bigger idiot here: the one who imagined Ethan might still agree to work with him even after inserting a very convincing imitation-spearhead into his intestines, or the one who never thought to seriously question how he keeps shrugging off injuries just as exciting as this one.

They probably deserve each other.

[punkshort]

somewhere to run | 3. the statement

Pairing: sheriff!Joel x f!reader

Chapter Summary: You finally visit the station to give Joel your statement about the incident and he has concerns about you returning to work.

Chapter Warnings: language, angst, PTSD type symptoms, slow burn, possessive thoughts, mutual pining

WC: 5.5K

Series Masterlist

Joel's business card was taped to your fridge, a glaring beacon every time you strolled by for a glass of water or to throw something in the trash. Every single time, your eyes drifted to it, the numbers practically memorized by now.

You knew he gave you the card for professional reasons. But he did make a point of mentioning his cell phone was also listed. What did that mean? What did you want it to mean?

It's been two days. Two whole days since the attempted robbery, since that man put his hands on you, since the last time you saw Joel. You were supposed to work the dinner shift tonight. The first night back at work since the incident. Joel never came in at night, you've only ever seen him at lunch, and you felt fear. Fear of going back there, to the literal scene of the crime, and knowing this time Joel wouldn't appear from around the corner to protect you.

You took a shaky breath in and looked at the time. It was almost nine in the morning. You had been up for hours already, the anxiety of going back to work waking you far earlier than you wished. Walking back in the kitchen, you looked at that card again while you chewed on your lower lip. He did say to call him when you were ready to give your statement. You picked up your phone and stared at the black screen, your thumb hovering over it, poised to wake it up.

Which number do you call? His office, or his cell?

If you called his cell, that would mean something else, right? That's far more personal. He might misconstrue things if you called his cell, and things could get complicated. You couldn't let him get wrapped up in the drama of your personal life. He didn't deserve that. He had a daughter, he has a life. You couldn't let things get personal with him, although the lines already felt like they were blurring.

Before you lost your nerve, you punched in the number to his office and hit the green button. You paced around your kitchen, listening to ring after deafening ring until finally the line picked up. Voicemail. Shit.

Without thinking, you hung up before his outgoing message finished. You didn't anticipate leaving a message, you didn't have anything rehearsed.

You walked by the fridge again, your phone clutched in your hand, your eyes glancing at the little white card taped there. With a sigh, you punched in the second number - his cell.

While you waited for him to pick up, you nervously chewed on your nail, your heart thudding in your chest wildly. You thought his voicemail was going to pickup again, but at the last moment, the ring was cut off and you heard rustling on the other end before his deep voice carried through the speaker.

"Miller."

Your breath caught in your throat. His voice sounded stern. Stoic. You forgot to breathe. You heard him pull the phone away from his ear, checking to see if the call dropped before repeating himself a little louder into the receiver. Finally, you forced yourself to speak.

"Joel?"

Your voice sounded so small, so weak compared to his. You heard him take a breath in and say your name softly before asking you to hold on. There was more rustling on the other end, voices fading into the background before you heard the soft click of a door and then silence.

"Are you alright?" he asked, his voice no longer hardened.

"Yes," you lied, fidgeting nervously with the cuff of your sweatshirt. There was a long pause before he spoke again.

"Hadn't seen you at the diner. I asked, no one's heard from you and I -" he stopped talking and you realized you had stopped breathing, waiting for him to continue. "I was worried. Almost came by, but I didn't wanna upset you."

You nodded as though he could see you.

"Sorry. I just needed some time to get through it," you explained.

"You coulda called me, y'know," he said quietly. "We coulda talked about it, or if you want, I got the number of a shrink we use here to help people out when stuff like this happens. She's real good."

"That's okay," you said, declining the offer.

It was silent for another minute before you remembered the reason for your call.

"You wanted me to give a statement?"

Joel paused, realizing now that you called not for a friend, but for the sheriff.

"Right," he said, rubbing his eyes with his thumb and index finger. "When are you free?"

"I work tonight, can I come by before then?"

"Yeah, 'course. I'm here all day."

"Okay. Maybe an hour?" you asked, glancing at the clock.

"Sure."

"Okay."

There was another long silence again as you waited for him to end the call. When it became clear he wasn't going to say anything, you spoke again.

"I'll see you in a bit, then."

He sighed, a deep, heavy sound filtering through the phone, then repeated your words back. See you in a bit.

You hung up, taking a deep breath, trying to calm your racing heart. Then you caught sight of your reflection in the toaster and you cringed. You desperately needed a shower.

You hadn't been to the police station before, but everyone in town knew where it was. It was a two story building near the center of town, with three big flagpoles and a handful of police cars parked out front. It wasn't very far from your apartment, but it was in the opposite direction of the diner. You realized as you walked up to the front door that Joel most likely walked past your apartment twice a day as he made his way back and forth for lunch. The thought of him nearby so often brought you a strange amount of comfort.

When you approached the older woman at the front desk to explain your reason for being there, she seemed to already know as she picked up the phone and hit a button, waiting for Joel to pick up on the other end. Her eyes stared a little too long at your neck as she told Joel you were there, and you self consciously fiddled with your purse strap over your shoulder. You had tried to cover up the bruises with a little bit of ancient makeup you found in a toiletry bag, but apparently you didn't do a very good job.

Moments later, you heard a door unlock and Joel step out, his eyes instantly stopping on you standing in the middle of the lobby and you felt the butterflies fluttering in your stomach. He was wearing a dark blue suit you didn't remember seeing before, with a black tie and a white dress shirt. And you could have been wrong, but it looked like he had an air of nervousness about him, as well. His hair looked tousled and his voice held a small tremor when he said your name and motioned for you to follow him back.

As you walked through the station, you glanced around at the familiarity of the bullpen: rickety old desks shoved up against each other with piles of folders, empty mugs of coffee and ancient looking computers adorning them. Men hunched over eating or talking on the phone, barely sparing you a glance. You followed obediently behind Joel as he led you towards the back, towards the interrogation rooms, and you froze, a small noise slipping past your lips. He heard it and turned around.

"Somethin' wrong?"

"No," you said quickly, but he could tell you were lying. He waited, looking at you expectantly. When you still didn't say anything, he looked around, trying to figure out the problem.

"Did you prefer to talk in my office?" he finally asked, jutting his chin towards the front where there was a small, messy area with windows around the whole room so he could look out at the bullpen. You glanced at it and nodded.

His office was what you expected: a few outdated photos of him and Sarah sat on the lip of his desk, along with file folders, half of which were open with a black ballpoint pen left on top, as though he were in the middle of writing out a thought when you arrived. His computer didn't even look like it was turned on. The chair he sat in groaned under his weight, the cracked leather squeaking against his belt. You sat in the chair opposite him: an old, stained thing that you could feel had all of its padding flattened underneath the blue fabric.

"Can I get you anythin'? Coffee? Water?" he asked you, his eyes glued to his desk as he tried to tidy up his mess.

"No," you said softly, watching as he pulled out a legal pad and flipped to a fresh page, then clicking his pen and scrawling your name and date at the top with a few other notes, most likely a case file number or another identifying code.

"Alright, ever done one of these before?" he asked routinely, still writing on the pad.

"Yes."

The pen stopped.

Slowly, he brought his gaze up to meet yours, but you just waited for him to continue.

He wanted to ask. You could see it, the question burning behind his eyes, and maybe he was about to before he remembered his place, and he swallowed it down.

"Okay," he said, setting his pen down and lacing his fingers together on the desk. "Shouldn't take too long. I saw most of it. We got a few statements from other customers, too. Just need to know how it started, what you were doin', what he said. That kind of thing."

You nodded and steeled yourself with a deep breath before speaking.

"You had just walked away to use the restroom," you began, and he picked up the pen and started writing. "I had just filled your coffee. I wasn't paying attention, I was distracted that day." You glanced up at him, but he kept his eyes down on the paper. "I heard someone clear their throat. He must -"

"Marcus?"

"Yes, Marcus must have sat down when I wasn't paying attention. I apologized and grabbed another mug for him. I already had the coffee, so I walked over and poured it -"

"Did he ask for coffee?" Joel interrupted, and you stopped to think.

"No, I just poured it. Most customers ask for coffee so I guess I assumed."

"Okay, keep goin'," Joel said, his brow furrowed in concentration as he scribbled on the pad.

"I was looking down at the mug, telling him the specials and then-" you stopped, your words getting trapped in your throat. His writing paused and he looked up at you.

"It's alright," he soothed. "Take your time."

You took in a shaky breath and forced yourself to continue.

"He slid the gun across the counter, and I panicked."

"Did he say anythin'?"

"Um, I don't think so?" you replied, swallowing the lump in your throat as you dropped your eyes to your lap.

"Okay," he said softly. You looked up at him again and met his warm gaze, his eyes soft and kind, and you found the courage to continue.

"I asked him what he wanted," you said, your voice beginning to shake, but you pushed through. "He said he wanted the money in the register and gave me a bag."

"Mhmm," Joel said, nodding along as he began writing again.

"I was scared. M-my fingers - my hands were shaking. I was trying to open the drawer, but I couldn't and he was getting impatient," you said, tears welling up in your eyes now. Joel was still focused on writing but you could see the muscle in his jaw twitch as you spoke.

"Then what?" he said, his voice turning colder, and you shivered involuntarily.

"He told me to hurry the fuck up or something like that," you said, sniffling a little. "I told him I was new and I was trying-"

Joel muttered something under his breath and you stopped. You looked at him, waiting for him to repeat himself, but he just sighed.

"Sorry, go on," he said, rubbing his thumb across his forehead.

"That's when you saw him," you said. He nodded, his pen hovering over the page.

"I don't wanna make you relive it," he said, his eyes cast down. "But can you briefly explain what he did?"

"You told him to put the gun down," you continued, trying to be quick at this point. "He grabbed me by the neck and pulled me across the counter. He held me against his chest and had his gun against my head."

"Okay, thank you," Joel said firmly, effectively telling you to stop, but you kept talking.

"I couldn't breathe," you whispered, and he dropped the pen, squeezing his eyes shut, his nostrils flaring. "He was gripping my throat so tight, it made me dizzy. I was so scared, I thought-"

"That's enough!" Joel said loudly, making you jump.

"I'm sorry," you whimpered, a tear trickling down your cheek. He shook his head, his eyes still closed.

"Don't apologize," he said, but his voice was tense.

Finally, he opened his eyes and looked at you. At first, his gaze traveled to the tear on your cheek and guilt flashed across his face before looking into your eyes again. You swallowed and it felt like the muscles in your throat seized up. Looking at the anguish in his face, you wondered what you did wrong.

"Is that all?" you asked, breaking the silence. He just looked at you, his eyes traveling down your face and stopping on your bruised neck. His fingers twitched.

"Wish you woulda called me," he said, his voice soft again. "Shouldn't've been alone."

"I'm fine," you told him, but neither of you believed it. "I will be fine," you conceded when he gave you a look.

He sighed and leaned back in his chair, then raked his fingers through his already tousled curls and you watched as each one flopped back into place.

"Tonight your first day back?"

"Yes."

He nodded and ticked his jaw to the side, his eyes moving up and down your face.

"How're you feelin' 'bout that?"

You shrugged, trying to come off nonchalant, but he saw right through it. He tilted his head to the side and gave you a look that said cut the bullshit.

"Not great. But I'll manage," you finally admitted. "Gotta move past it sometime, right?"

"You want me to pop in later?" he asked, but you quickly shook your head.

"Thank you, but no. What are the chances it'll happen twice?" you said with a dry laugh. He allowed himself a small smile for your benefit then looked down. You picked up your phone to check the time, then stood.

"I should go, I have to run some errands before work," you said, reaching down to pick up your purse as he got up from his desk, his hands on his hips.

"If you wanna talk-"

"Call you?" you finished for him, raising your eyebrows with a smirk. He smiled and nodded, then led you to the front lobby.

"Now I got your number, so you can't go disappearin' again," he reminded you.

"I didn't disappear, I had a couple days off from work," you said, rolling your eyes but you couldn't stop your lips from turning up into a smile.

"You left me with Betty, y'know."

"What's so wrong with Betty?" you asked, turning around when you reached the front door. The older woman at the front desk glanced up at you both.

"Nothin', and don't you dare go sayin' otherwise or she'll have my hide," he said, and you giggled.

"Well, you'll have me tomorrow," you assured him, and he felt a rush of blood between his legs. Get your mind outta the gutter, Miller.

"Lookin' forward to it," he murmured, and you waved goodbye, pushing the door open and leaving him standing there, his mind swirling.

He turned around once he could no longer see you walking down the sidewalk, a stupid grin on his face which quickly disappeared when he saw Helen staring at him.

"What?"

"Nothing," she said, turning to look at her computer.

When he got back to his office, Joel mentally scolded himself for his behavior. What was he thinking? He couldn't believe he let his feelings for you get in the way of a case. But when you began to describe what happened from your perspective, something inside him snapped. He felt the rage bubbling below the surface with your every word and shaky breath. It was a miracle he didn't run in the back and strangle Marcus with his bare hands.

But he felt even worse for raising his voice at you. You didn't deserve that. All you were trying to do was what was asked of you, and he practically yelled at you.

You looked confused, but how could he explain himself? He couldn't tell you to stop talking because hearing how scared you were was doing something to him. Something that he knew was not part of the job. Something he thought before today he could keep separate.

He ran his rough hands over his beard and he exhaled slowly, letting his mind drift back to that day.

When he saw Marcus standing in front of you at the register, he never felt fear like that before. His job didn't usually put him in much danger. It was a quiet town, but every town had their bad apples. Over the years, he had a couple run-ins that might be considered close calls, but the other day at the diner took the cake.

Everyone knew Marcus was relatively harmless. He had never hurt anyone before when driven to do crazy things by his addiction. But Joel wasn't ready to take that chance. Not with you.

He had told Marcus he would have killed him, and he meant every word.

He told you over and over that he wanted you to call him if you wanted to talk about what happened, but now he wasn't sure he could. How could he, when his blood ran hot at just the mere memory of that gun pressed against your sweet, perfect face?

He was worried you would flee. That you would run back to Pennsylvania, back to your home where surely things like this never happened to you. You had been here but a couple weeks and someone already threatens your life? If it were him, he would probably consider leaving town.

When he didn't see you for the past two days, he thought that was exactly what you did. He laid awake at night, fighting the urge to sneak out while Sarah slept to see if your lights were on. He was so desperate to confirm you were still in town, he had actually paced outside of your apartment after lunch, coming dangerously close to ringing your bell, but he was too afraid. He was afraid if he rang the bell and you didn't answer, his heart would break. And he wasn't sure he could handle that. So he let you be, and prayed to whatever god was above that you were still around, because he realized far too quickly that he had no way of contacting you if you disappeared.

But now, he did. He stared down at his phone, at the number you called him from earlier that morning, and he saved it under your name. He considered briefly if he should put an emoji next to your name, but realized that would be ridiculous and just left it.

His thumb hovered over your contact, the little message symbol tempting him beyond belief. He wasn't much of a texter - he usually only texted Sarah and the occasional poker buddy - but he really wanted to send you a message. No, he shouldn't. It would come off too desperate. You just left, what else was there to say?

What a ridiculous question. There was mountains left to say, but he couldn't do it. Betty already tested the waters for him and you said no. But maybe that's changed. And if it hasn't, he would keep trying until it does. He was nothing if not persistent.

He sighed, looking out of the window of his office at the men typing away at their computers or talking on the phone. Then he remembered something. You said this wasn't the first time you gave a statement. You also seemed hesitant to follow him towards the interrogation rooms. Something happened to you, and he hoped one day you would trust him enough to tell him because he wanted nothing more than to hold you in his arms and keep you safe. To prove to you that there was nothing to fear, that he would treat you right and take care of you. If only you'd let him, he would give you everything.

Even Sarah liked you. How could she not?

That night after you had pizza with them, she teased him in the car on the way home. She could see it within minutes, why couldn't you? He barely even put up a fight when Sarah brought up his obvious infatuation. What was the point? He was grateful to know that his daughter approved of him dating, he couldn't deny that. Not that he hasn't seen any women since his ex left, but it was always casual. Always secretive, until the flame burnt out and the excitement was gone and he was left all alone again.

It wasn't lost on him that women around town looked at him a certain way, but he never gave it much thought. None of them interested him. Not until you.

He thought about you, running your little errands and then getting ready for work. He looked at his shared calendar with Sarah: she had a sleepover tonight after soccer practice. Maybe he would swing by the diner. He could stay in the parking lot, just to make sure you were okay.

"I'm glad we didn't scare you off, darlin'," Tommy said after the dinner rush died down and he emerged from the kitchen, wiping sweat from his forehead and smelling like french fries.

You gave him a smile and waved him off.

"It would take a lot more than that to scare me off," you said with a laugh as you refilled the sugar caddies at the counter.

"Damn, I don't think I want to find out what that is," he said, grinning as Maria approached him with a kiss.

"Busy night," Maria told him, rubbing the palm of her hand over his back soothingly. You glanced back down at the sugar, ignoring the pang in your chest from watching their open affection for one another.

"Yeah, middle of the week, too. Must be the rain that drove everyone inside," he said, peering out the window at the sheets of rain that fell. His eyes paused on something outside and he squinted before you drew his attention back.

"I'm glad it was, it made the night go by fast," you replied, moving on from the sugar to the condiment bottles, wiping them down and refilling them as you went.

"Why don't you finish up and head out," he told you, nodding towards the door. You glanced up and agreed, regretting not bringing an umbrella but maybe if you timed it right, you could leave when there was a lull in the weather.

It was nearly ten by the time you walked out, the door locking behind you. The rain was still coming down, but you hoped the hoodie you brought with you would be enough to shield you as you hurried down the sidewalk.

It was dark out and the streets were quiet as you walked hunched over, your sneakers getting soaked from walking through the puddles. The rain was too loud and your hood covered your ears, so you didn't hear him when he approached you from behind, his own shoes splashing in the water as he jogged to catch up.

"Hey," he panted, and you yelped, jumping backwards as your heart raced in your chest.

"Jesus, Joel. You scared me!" you said with a frown, your hand resting against your heart.

"Sorry," he said with a smirk, then moved closer, just inches away from your own body. You could feel the warmth rolling off him and you could smell the shampoo from his hair, he was that close. You froze, not sure what was happening until you realized the rain was no longer pummeling your head. Glancing up, you noticed he held an umbrella over you.

"Oh," you breathed, then looked at him again. "Thank you."

"Don't mention it," he mumbled, his unwavering gaze burning a hole in you. Finally, you tore your eyes away and the two of you quickly walked the rest of the way to your apartment, his arm occasionally brushing up against your own, and you resisted the urge to flinch.

You fumbled nervously with your keys as he held the umbrella over you, sacrificing himself to the weather so you had enough room to maneuver the door open. You slipped inside and he moved the umbrella back over himself.

"See you tomorrow?" he asked, and you furrowed your brow, looking up at the sky.

"Do you want to come in and wait this out? Or I could drive you back -"

"Yes," he said, cutting you off and eagerly stepping forward. You held the door open as he collapsed the umbrella, giving it a few shakes and leaving it angled against the door before following you up the steps.

He shut the second door behind him, glancing around at your meager apartment as you flitted around turning on lights and closing the shades. You turned back to look at him, standing stock still in your doorway, unsure what to do with himself. You yanked your wet hoodie off over your head, your shirt riding up just a little bit and exposing your stomach for a moment, and Joel felt a stirring below his waist. He had to force himself to look away until you managed to fix your shirt, the desire coursing through his veins becoming too overwhelming.

"Let me get you a towel," you said, noticing how drenched his hair looked for the first time. He was grateful for the extra moment to collect himself as you slipped into the bathroom and grabbed two bath towels, drying your own hair as you handed him his. He thanked you and slid his shoes off while he dried his dark curls, then wiped his face and neck. You forced yourself to look away from the droplets of water trickling enticingly slow down his throat and underneath the collar of his nearly soaked T-shirt.

"Coffee?" you asked, and he chuckled at the familiar question.

"Sure," he said, taking a couple steps forward and leaning against the doorway of your little kitchen, watching as you scooped the grounds into the coffee maker next to your stove.

"How's that faucet treatin' you?"

"Good," you said with a nod, then pressed the brew button and turned to face him. "Are you a handyman on the side or something?"

"I guess I'm just a man of many talents," he said with a wink, and you felt the heat creeping up your neck. To distract yourself, you turned and walked toward the window, peeking out through the curtains as the rain pummeled down on the street below.

"It's still really coming down out there," you said, turning back around. You gasped, not realizing he had followed you over and he was standing right behind you, looking out the window as well before his gaze fell to you. You looked at each other for a moment, both waiting for the other to do something, say something, anything to acknowledge the tension in the room.

"Were you following me?" you asked quietly, and he blinked.

"Following you? No," he said, shaking his head. But he shifted his gaze away guiltily. "I was comin' back from droppin' Sarah off at practice and happened to drive by the diner, so I stopped..."

"At ten o'clock at night?" you asked. He let a huff of laughter escape his lips.

"Might've hung out in the parking lot for a bit."

"Why?"

He chewed the inside of his cheek, still not able to meet your eye.

"You seemed shook up earlier. Just wanted to make sure you were okay," he finally said.

He spent his evening in the parking lot just to keep an eye on the place? What did that mean? You swallowed and asked another question.

"Doing some overtime, then?" you all but whispered. He took a deep breath in through his nose and finally looked at you.

"No."

His eyes flicked down to your lips and you thought you were going to pass out with how fast your blood was pumping through your veins.

The beep from the coffee pot startled you both out of your trance. You blinked and shifted around him, pulling two mugs down off the shelf. Somehow, you managed to pour the liquid without burning yourself, your shaky hands betraying you as you held his cup out to him.

"Do you mind if I go change?" you asked him, and he looked up at you over his mug, surprised.

"'Course not," he said, glancing down at your damp work uniform. His eyes trailed after you as you disappeared into your bedroom and shut the door. He knew he shouldn't be there. He knew he was overwhelming you, but he just couldn't stay away. He knew if he was at home, all alone, he would just be laying on the couch half listening to some talk show and wondering what you were doing. And he really liked being able to know instead of just wonder.

You came back out of your bedroom a minute later dressed in soft pajama pants and a sleep shirt. It wasn't anything special, but he felt himself react anyway. It was intimate, being able to see what you slept in, and it excited him.

"I'm sorry, I don't have anything..." you trailed off, pointing to his now half dry T-shirt, and he smirked. He couldn't stop what he said next.

"I'm glad you don't have any men's clothes lyin' around."

I'm glad you're not dating anyone. I'm glad you aren't sleeping with anyone. Because I want it to be me.

You cleared your throat nervously and looked around, your eyes falling on the TV.

"Do you want to watch a movie or something? 'Til the rain stops?"

"Yeah," he said with a nod. He sat down slowly at the end of the couch, watching as you fished around the coffee table for the remote and turned it on, then tucked your legs underneath you as you sat down on the other end of the couch. It wasn't a big piece of furniture, but you still managed to put as much space as possible between you two. You flicked around the channels, pausing when you found a familiar movie and you turned to check with him, only to find he had been looking at you the whole time.

"Is this okay?"

"Sure," he said, not even sparing a glance at the TV. You felt your face flush and you bit your lip, trying to breathe through your nerves as you turned back to watch some actors you couldn't quite name.

"I'm sorry I don't have anything stronger," you said, nodding to his coffee. "I'm not much of a drinker."

"That's okay, I'm not either," he said, settling back into the couch as he finally tore his gaze away from you to look at the screen.

It was a relief to hear him say that. You had spent so much time around men who drank that it turned you off from the whole idea most of the time. You opened your mouth to tell him that, but quickly snapped it shut. That would inevitably cause him to ask more questions, and you weren't ready to open that door.

The rain kept up most of the night, but you weren't sure when it stopped because even though you had drank most of your coffee, you fell asleep. You had intended on resting your head on the back of the couch and closing your eyes for just a moment, but the stress from the whole day combined with not sleeping well the night before caught up with you.

Of course, Joel noticed. He watched with a small smile as your body slowly relaxed into the couch, then your lips parted just a little bit and your breathing deepened. He probably should have woken you up, helped you to bed, then left. But he was a selfish man, and instead watched you sleep until your body began to slump closer to him. His breath caught in his throat and his body stiffened as you unconsciously leaned against him, your soft cheek coming to rest against his shoulder. His eyes fluttered shut as he tried to slow his racing heart.

Fuck, you were just too pretty and sweet, and he couldn't help himself. He was just a man. He was selfish. He was weak. And he didn't care.

Slowly, he inched his way down until he was lying flat on the couch, your body sliding down with him. Your head was pressed against his shoulder, your leg draped over his own and he felt your warm exhale through the thin fabric of his shirt. He swore he would only stay like that for a little while but it was too intoxicating. Before he knew it, his body was quickly lulled to sleep, with his nose buried in your hair and his arms wrapped around your body, holding you close.

Taglist: @harriedandharassed@merz-8@sarap-77 @nandan11 @anoverwhelmingdin @fandomscollide @survivingandenduring @honeyedmiller @pedropascalsbbg @southernbe @pedrosfanny @gobaaby-blog-blog @eloquentdreamer @yomiyasxx @mrsparknuts @missladym1981 @spacedoutdaydreamer @cosmic006533-blog @prettyinpunk85 @maried01 @sunnyskyapplepie

[thefirstlioveyou]

byler confession is gonna be so intense and one of the most memorable scenes of the whole show because think about it: what other ship has been given such a build up to a confession?

mike still has to discover the painting lie - that's gonna be a very big plot point in s5 and going to cause some drama (i don't necessarily think mike is gonna be furious, just very regretful of what could've been if he'd known.)

mike and will have no faith that the other likes them at this point. mike's hopes probably died in the pizza place, will's died in the van. meanwhile other relationships in the show had a pretty mutual understanding that the other liked them before they finally got together.

IT'S GAY. they're both closeted gay boys in a small town in the 80s who struggle with internalized homophobia and shame. it's gonna be fucking beautiful to watch them finally find the courage to confess to one and other, risking so much.

with everything that's set up, mike and will's kiss/confession is bound to be one of the most memorable moments of the show for sure

[merlucide]

BLLK BOYS W/ A THEATER NERD S/O

notes: HELP I H8 THE DRABBLES..🥲 (og ask)

characters: Reo, Isagi, Rin, Bachira

warnings: cursing?, implied fem, cringe

bllk mlist

MIKAGE REO

oh, he just LOVES watching your performances. 

Wether your on stage or not- he comes to EVERY show (drags nagi w/him too LMAO)

Helps you memorize any of your lines / helps you gather stuff you’ll need backstage.

He loves seeing you thrive in theater, and how happy it makes you ><

He always listens intently when you talk about your favorite broadway show, amazed how you remember even the smallest details

Sings your favorite musical songs with you, he will even act out the scene with you

Brings you a BIG bouquet of assorted flowers when the performance is over— rambling about how just wonderful it was

He is really proud of the effort you put into you craft, and the outcome always amazes him

Everyone had gathered on stage for the final bow, the crowd clapped and cheered. You smiled when you spotted your boyfriend holding up a limp Nagi. Reo clapped with a bright smile on his lips— and Nagi squinting at the bright lights. Everyone headed backstage and the crowd cleared, most left but close friends and family stayed and came backstage.

“Y/N that was wonderful!” You hear the familiar voice of your boyfriend praise, him running to you and hugging you tightly. He pecked your cheeks and held onto your arms. “My love that might just have been your best performance yet,” You snorted at his comment “Reo, you say that after every performance.”

“Well every performance is perfect my love,” Reo quips, his face into a smooth grin. Behind him trailed Nagi, who slurred a ‘good job’ with a thumbs up. Reo pulls back a bit and hands you a beautiful bouquet you can’t help but smile at. It was so pretty, full of tulips and lillies and smaller flowers complimenting the main ones.

“Thank you Reo,” you smiled before kissing his cheek. “Of course my love, just doing my job,”  <3

ISAGI YOICHI

oh he is so cute

You 100% get him into the world of theater

Thinks that it’s really cool how you’re passionate about this

Super supportive— tells all his friends about your plays and all of the stuff you like

His favorite broadway shows are Dear Evan Hanson and Hamilton— he thinks King George is hilarious

He likes being involved with your plays anyway he can—he will be try to be involved if he is free

Tells his family all about your performance!!

The whole family goes to your shows (≧∀≦)

Tries to memorize your lines / the plays lines with you but forgets them 💀

(or) Tries helping you with props/technical stuff but doesn’t know what to do so he just stands there 😭

“Yoichi- can you pass me the yellow please?” You asked from sitting on the floor, paint brush in hand. On the floor was props you were tasked with making. 

“Here,” Yoichi hands the paint bucket to you as he watches you pour some on your pallet. You guys were supposed to go out tonight but you still had some props you needed to finish— so Yoichi offered to keep you company. “Uhm, are you sure you don’t need any help..?” He nervously asks. 

“Oh no I’m okay, thanks though,” you happily replied, you already felt bad for canceling date night and didn’t want to ‘burden’ him with helping you. “Oh okay,” he sits back down on the floor and continues to watch you. 

“…Did you wanna help?” You slowly asked. 

“I dunno,”

“Yoichi”

“Yeah..”

You softly sighed and handed him a brush. “Here, you can paint the moon,” You stood up and grabbed the unfinished moon set-prop. Yoichi nodded eagerly as he started painting. His strokes were in all directions— you’d have to go over them later but you didn’t mind too much. He looked so cute with his brow slightly furrowed when he concentrated on painting the edges.

“How’s this?” Yoichi asks, pointing to his moon with a little grin. “It’s perfection,” you praise, which he responds with a soft ‘thanks’ as he admires his work. <3

ITOSHI RIN

lmao he does NOT get it 😭💀

like you showed him a clip of your fav musical and he was like ??? Ppl ACTUALLY like that..?? (Ignore him he’s stupid)

but SUPER supportive of your performances!! he just lacks artistic appreciation, aaaand he has as much creativity as a wet sock, so yk

When he comes to your performances, he always brings a small but pretty bouquet (he’s beet red when he hands them to you >< )

You have desperately tried to get him into the arts— which just continued to confuse him🫠

He likes Shakespeare though??? which is probably like the only plays he will willing watch (aside for yours ehe:3)

You call him your Romeo ;) (he gets embarrassed and gets mad at you LMAO)

Lmao he should’ve never voiced his ‘like’ for Shakespeare bc when ever he asks you a simple question you’ll end up going “To be or not to be, that is the question” (que rin groaning)

“Rin, you need to put more emotion into it!!” You exasperatedly said, flinging your paper up. You had asked Rin to go over your lines with you, which was a stupid idea to begin with. He ticked his jaw, fingers firmly pressing into the paper.

“tch. This is stupid,” Rin answered, glaring at you. You sighed, “I can’t feel the scene if you sound like a robot!”Rin huffed, his pride clearly wounded. He groaned and flicked the paper back and examined it again.

“What. do. you. mean he’s. been. lying?” Rin reads, his voice flat. 

You internally sigh, “I’m not sure, but when I asked him he was acting strange..” you spoke, already memorized your lines. “Could. it have. something. to do .with his. sister?” “No- he wouldn’t tell her about something like that… Unless!!” You clapped your hands.

“YAAAY!! I FINALLY NAILED MY TIMING!!” You exclaimed, clapping your hands excitedly. You then tackled Rin, who was sitting on your bed, catching his lips in a fat smooch. “Thanks honey, I really appreciate you tryin,” you praise, hands resting on his shoulders. 

“Tch.. It’s nothing..” Rin muttered, his hand coming to rest on your waist. “I’m never doing this again,” you snickered at his mood change  (he’s gonna end up helping next time you ask <3)

help Ik that was so bad 💀

BACHIRA MEGURU

AJHSNJANANNRNE 

HE MATCHES UR FREAK!!!!

LIKE HE GETS IT FR!!!

omg you wanna binge watch Chicago, Six, and Heathers? WELL SO DOES BACHIRA!

yall sing musicals together all the time like- yall are in character doing the choreography and all

He loves watching musicals sm

And he LOVES watching you perform/work in theater

Like- seriously goes to all of your shows, even rehearsals if he can

Gets super immersed in your performances- thinks it’s 10x better than any broadway show

Loves seeing your/the costumes- will definitely try to try them on (before he gets caught and gets in trouble lmao)

After every performance he takes you to go get ice cream- a little ritual you guys have :3

OH. And he tries to match his outfit to what your play is >< (keyword, tries)

He brings his mom to your plays and she whistles and claps so loud when the plays over 😭💗

“Y/N you were friggin’ awesome!!!” Bachira exclaimed, hands swinging yours back and forth. “I wasn’t even on stage for 5 minutes,” you snorted. “Well you were the best one there! Being a tree takes a lot of skill y’know!!” He grins, pulling you along faster. 

You finally arrived at the sacred land, Benny’s Ice Cream Parlor. Bachira ordered for both of you, handing you one cone of (Fav Flavor). You sat down on the bench, already licking your cone. Bachira put his foot on the bench, “Ahem, Ahem,” He began, lifting his ice cream up. “I would like to make a toast!,” You smile at his antics, waiting for what he’ll say next. “A toast to the best play in the history of the plays!” You snickered, raising your cone “A toast!” You said, ‘clinking’ your ice creams together. 

“Ah, being Tree #4 is no easy task…” You dramatically sighed, licking your ice cream. Bachira shook his head. “Tut tut..,” you both snickered, finishing your ice creams and heading back home. <3

bllk mlist

taglist: @gigiiiiislife @sharkissm @luvingshidou @kurona-theshark @soleilonthesun @duckydee-0 @rinitoshisgirl @someprettyname @nikomelo

kanakakannakkkse ive rewritten the Drabble so many times bro 😭😭 ARGH AJSNSNANANA

made August 22nd 2024

[6okuto]

EASY SWEETNESS

itadori x gn!reader | insecure reader (about your laugh and... what you look like from an angle below? he's lying on your chest and you won't look down at him)

itadori’s a sweetheart without really trying.

maybe it’s just another one of his talents, you wonder—his way of making your heart skip a beat. compliments, gifts, how, with his back turned, his hand could find yours solely from the sound of your voice. it seemed to be as ingrained in him as the raw strength he held, or the recipe to his favourite late night noodles that he made every week; practiced yet somehow innate.

“you’re such a sweet talker, yuuji,” you deflected his compliment once (you had said something about not liking your laugh, and he had called it sweet instead, because there was no bad laugh, especially yours that he always wanted to hear), warmth tingling your face and ears.

“huh?” he tilted his head. “well, i guess so…wait, no? yes? it’s just the truth, though. is it sweet talking if it’s just being honest?”

you can’t help yourself from thinking back to that as he rests on top of you, favourite throw blanket covering the both of you and tucked beneath your feet so you wouldn’t get cold, and a movie you’ve both watched a dozen times plays on the television screen.

it was a comedy—one that yuuji happened to play in the background as he studied but, inevitably, distracted him from it. he told you it stuck with him, and it’s found its way back to viewership every few months when he feels like unwinding.

it was really only a matter of time before you took part too.

you’ve both got lines memorized from the words down to the pace they’re said, even the cut-offs by other characters and the noises playing in the background. you feel the rumble before you hear yuuji’s voice, smushed like his face against your chest, as he acts out the scene.

“hey, you think at some point we’ll have the whole movie memorized?” he asks, moving to look up at you with his chin resting against you.

and the thing about someone resting on your chest is that you have to look down when you speak, and the problem with that is that the angle isn’t all that flattering.

so you smile, eyes fixed on the screen yet not following a single word being said as you become aware of the angle of your head, and what you look like from a few inches away. “maybe. that’d take at least a few more dozen watches though, unless we’re talking active memorization.”

“then what about with active memorization?”

“hm…for you? i’d still say at least a dozen. movies are really long you know?”

“and you?”

“probably the same? like, if it’s just us two, that’s a lot of lines, and i don’t think megumi would be ecstatic to join. nobara, maybe.”

a character begins to yell at another as your fingers come to card through yuuji’s hair—yuuji, whose response seems to be silence until—“babe.”

“hm?”

“why won’t you look at me?”

you snort, fingers pausing so you can gently mess with his hair instead. “i look bad from that angle, yuu.”

and you hope, maybe, he’ll leave it there, move back to the memorization idea, pick the characters he’d act out best. it really isn’t a favourable angle for anyone, so maybe he won’t look much further into the way your lips form a tight smile, or the forced breathy laugh at whatever’s just happened on screen.

“no you don’t,” he says matter-of-factly.

“...yuuji, really—”

“i think you look nice from every angle.” yuuji rests his cheek against you again. and you let your eyes flicker down, just once, just to see him grin as soon as your gazes connect. “i like looking at you from anywhere, but especially here.”

you shoot him a look of disbelief. “that’s your favourite spot to look at me from?”

“well.” he shifts his legs and kicks the blanket a little, untucking it from beneath you. “any spot that’s super close is nice so i can really see you, and do this—”

yuuji grunts a little as he moves up to kiss your cheek, hands finding home beside your head—you can feel him grinning even before he’s moved away to look at you.

“and you say you aren’t a sweet talker,” you murmur, face warm and housing a stupidly lovesick grin.

“hey.” he pouts. “i’m telling you i’m not a sweet talker, it’s just the truth as your boyfriend.”

“sweet talker.”

“i’m sweet and a talker. not a sweet talker.”

“okay, sweetie.” you try to joke and scrunch your nose, the pet name awkward and foreign on your tongue, but yuuji only smiles again in response.

“yeah, that works too. should we start calling each other sweetie now? i think it kind of fits.” 

“yuuji—”and you’re convinced he has a talent now, because even as he exaggerates the new term with a sickeningly sweet voice, it manages to roll off his tongue as naturally as every other compliment he’s said to the point that you think maybe you wouldn’t mind him using it—“yeah, sweetie?”

i'm gonna be so fr sweetness looks like a silly word to me rn. specfically when all capitalized...SWEETNESS... girl what is that

[performativezippers]

fanfic writer habits i've had to unlearn when trying to traditionally publish original work

a list in no particular order in case you're curious

starting sentences with "And"

so. many. one sentence. paragraphs. like, yeah, this is fun for The Drama but also...not how books work

using italics for emphasis--gotta use your WORDS, zippy

head hopping. rereading old fanfics i wrote, i'm like, WHOSE POV IS THIS?? HOW WOULD JANE KNOW MAURA THINKS THIS?? jesus christ keep your pov tight, zipperoni. i had to really learn this when i was revising my first book and my agent pointed it out.

Oh. Oh. some of these are good but too many are oh [failure]

Using scene breaks to skip through transitions instead of actually transitioning. this one i'm working on right now and it's haaaaaaard.

scene choreography. if someone is holding something, do they ever put it down? are they STILL HOLDING IT NOW, FIVE YEARS LATER?

overwriting vs using a lighter touch. "that's normal. that's casual. that's fine." sometimes that's great for emphasis, but if it was always just "that's casual. that's fine." the point comes across the same way, and doesn't hit you over the head with it as much.

introducing new characters and making them memorable, vivid, and not sucking up too much space when the reader doesn't recognize them (it's lena! i love her!)

pacing! things have to happen at specific times, the book needs to end at a specific time, the conflict needs to be sown here and explode there. making that all feel organic and honest for the characters while also conforming to the genre expectations that have very little flexibility (especially for a new author trying to convince publishers I know how to write books)

ending things at the right time. at first i wrote too far beyond the climax (classic fanfic problem) and then now i seem to have swung too far in the other direction and am ending too soon after it. but the good news is that my editor asked for an epilogue. you know what that means?? A WHOLE SHORT CHAPTER OF FLUFF Y'ALL!!!

Does this need to be a curse word or can it be a different word? i mean often it fucking needs to but not always!

Just cut out the word just almost all of the time even if it feels like it's just the right word; it will hurt just a little but you should just do it.

use as much sex as the plot needs. incorporate it into the plot. don't change the tone of the piece. make it stay in character and also be hot and also serve the narrative.

got questions? want examples? have thoughts? what other things have you caught yourself doing, or notice when you read through your old stuff?

[pippin-katz]

One Shots in Red, White & Royal Blue - Part 1: Alex's Room

Modern movies are fucking obsessed with jump cuts. Even scenes where it is completely unnecessary get cut to shreds. There's films I've seen where one, single sentence line got three jump cuts in it.

After watching Red, White, & Royal Blue over ten times now, I’ve noticed so many moments where they could’ve made jump cuts, but didn’t. There were moments where I was expecting it to cut because of how used I am to other movies cutting the shit out of scenes. They did not do that here, and believe me, it makes a difference.

Cuts temporarily remind the viewer that they're watching something scripted, professionally filmed, and edited. It's a subconscious feeling that most people probably don't even notice.

In case you're unfamiliar, a one shot in film is when a sequence happens without any cuts. One of the benefits of using them is the believability they add. Any amount of time could've progressed between cuts, like if they film a scene on two different days. When you see everything happening in real time, it just feels more real.

Red, White, & Royal Blue balanced their editing and camerawork incredibly well, and utilized one shots way more than I see a lot of other films doing nowadays. They use it for a variety of scenes, and it's done very well.

Example No. 1

From this moment, where Henry enters the room:

GIF by taylorz-nicholasg

To Henry pushing Alex onto the couch:

GIF by sheisraging

To when the sequence ends:

GIF by gay-bucky-barnes

is ALL ONE SHOT.

There are no camera cuts during that sequence, and there's a significant amount of movement and activity going on.

They are obviously aggressively making out, and crossing the room at the same time. Tracking this part might be common, but when they get to the couch, and Henry pushes him, I got this gut feeling that a jump cut was about to happen, but it didn't.

Instead, the camera rotates around to that side perspective, and lets Henry come back into frame and onto the couch in real time.

GIF by sheisraging

The camera doesn't change position until Henry moves down, which could've been a cut to Alex's face, but they opted to zoom in on him, keeping the shot connected.

GIF by sheisraging

This is not a small series of events to capture in one shot, and it means that Nicholas and Taylor had to memorize and perform the entire scene's blocking as a whole rather than in parts. If they mess up, they can't just say: "hey try that line again"

A one shot scene like this means that if you mess up at any point during the sequence, you can't use the take. You have to do it again from the beginning. That's the point of a one shot.

I think it's such a testament to Taylor and Nicholas' talent, skill, and dedication that they did such a long shot involving so much intimate, and difficult, choreography.

Breaking it down, they have to kiss for the first part, but it's not just kissing; it's aggressive kissing. Their eyes are closed, and they're grabbing at each other, while crossing the room. Taylor has to walk backwards. They need to have really good spatial awareness in order to move without hitting something or tripping.

Once they hit the couch, Nicholas has to undo the buttons on Taylor's shirt. If you've ever worn a button-down shirt, you know that sometimes you just struggle with those damn buttons; there's a moment in Paris where they joke about them. Nick has to undo them fast, and deliver his lines too. If he's too slow with the buttons, or they get stuck, take ruined.

Nick has to shove Taylor onto the couch. He has to be visibly forceful, but not knock him down so hard he falls off the couch, or land in a way that make it difficult for him to shift into where he's supposed to be. Nick also has to climb around onto the couch fast enough.

Obviously once they're on the couch, the difficulty comes in that they are being intimate, kissing and grabbing each other, and they need to remain in character. Then they have lines, and Nicholas has to get even more intimate by kissing his neck. He undoes another button or two and kisses his chest and down his stomach, all while delivering his lines correctly.

If either of them messes up a line, or breaks character for a second, or loses their balance, or anything, go back to the start, do it all again.

That is so much, and the two of them nailed every part of it. I still admire how they were able to trust each other and become confident in doing all that they do.

This being a one shot created a really incredible scene. It's fluid, and grounded in space and time. It's not the only scene that's drastically improved by the fact that it's a one shot, so I'll probably write more essays breaking down those scenes cause this movie has me in a choke hold.

Update: If you enjoyed this essay & would like to support me, you can give me a tip on my Ko-Fi! ☺️

[thechekhov]

Hey Chekhov! How do you start converting an AU idea from character sheets and mini comics into a plot outline for a full, continuous comic? Especially if the series you're basing it on isn't complete?

I've been following your white diamond Steven comics for years, and frankly, I love how it builds and continues the scaffolding canon laid to be something that is thematically still the same but also very unique. And I never thought I'll ever say this, but now I'm working on a canon-divergent AU with someone that's I think aiming to do something similar(continue the themes of canon but different). So I'll just like some advice, I suppose!

You might've answered something like this before, honestly, but I tried to dig a little and couldn't really find it.

Thanks, if you do answer this! I just want take the opportunity as well to say also that your comic and blog accompanied me through parts of my late teens, and I'm very grateful for you being a stabilizing influence during that time.

Thank you! I really appreciate you saying that, and I appreciate you respecting me enough to ask for advice.

As for your question...

Well, to be frank, I don't START with character sheets and mini-comics. In fact, for WD!AU, I didn't have any character sheets until I started season 2.

Think of your story as an aquarium. Your characters are fish.

Yes, they're important, but having a whole bunch of fish without any substrate, tanks, feed and WATER..... will not really make for a memorable aquarium experience.

The reality is that all stories should start with an end.

That's my personal approach, anyway.

What I mean is - you need to know the general idea for your story before you begin to write or plan it.

Let's try this:

1.Tell me about your story in THREE sentences!

Just three. Not long ones, just regular ones.

For my AU, @ask-whitepearl-and-steven, it would be:

"A young orphan runs away from home with a mysterious lady who seems more cryptid than human. He realizes that he's not human either - he used to be the ruler of an alien planet! He and the other aliens he meets decide to (REDACTED) (REDACTED) (REDACTED) and he (REDACTED) (REDACTED) (READACTED) (READ ANDCTED) (READ AND FIND OUT)."

YOU should know how YOUR story ends too! Even vaguely.

It helps if you know at what point you plan to lay down the pencil. Because if you DO know, you are always going to know which direction to walk in, even if the end is so far away it's beyond your line of sight.

It's true that when I began WDAU, I didn't have much information about White Diamond and white Pearl, because they had literally ONLY been introduced. I had to guess a lot of the details (like WP being Pink's originally) and what White would be capable of. And thankfully, my original intent for the story's end fit pretty well with what was later revealed!

But don't forget - you could also just fuck around with stuff! It's your story, after all.

And don't forget... to also look back!

2.Tell me WHY the story is happening in the first place.

There's a reason that the beginning of your story happens when it does. If there is no reason to start somewhere, then find a different place to start.

You should be able to tell me "We're picking up the story here because something significant has happened... and that significant thing happened BECAUSE...."

That 'because' is your main background information that should be revealed slowly throughout the story. In WDAU's case, we only have a few pieces of the puzzle. We know Greg's side. He know Earl's side. But there are still little bits and pieces missing! And they're all important for finding out WHY Steven ended up an orphan and WHY he is being followed by White Pearl (Earl) at the very start of the comic!

3.Tell me what the coolest and most interesting things to happen would be....and then write them!

I think this may be something that's rarely said out loud, but I will speak on the behalf of the people...

We should write the scenes we want to read. If you don't want to read the scene you're writing, then DON'T write it!

If you feel like you "have to" do a page and a half of 'lore' because you think it's traditional to have that 'explanation' about the location of your story, or the history of the species or whatever, you're simply wrong. There are other ways to reveal information aside from just forced paragraphs upon paragraphs of information that would make an SAT Reading Section sweat.

Instead, I recommend that you find the most exciting or hilarious way for the characters to discover the most important bits of info. Find a dramatic twist. Shove it into the narrative. Then, figure out what needs to happen to get there.

Ultimately, though, remember this: When you're taking advice from me or from others, don't forget to take advice from yourself, too! It's your story, after all. You know it best, and only YOU can figure out how to get it written.

I hope that helps at least a little bit! Writing it never easy, but it should still be enjoyable!

[sometipsygnostalgic]

We've been watching star wars, lots of it.

The other day we were discussing music. How the original trilogy is full of bombastic, magnificient tracks, and the prequels have these smashing epics, but the sequels have opted for more ambience, and there are only two leitmotifs to speak of, one only nine notes long (Kylo Ren).

See, I'm not alien to the creation of leitmotif without a whole song to go with it. This is how Marvel's been doing it for a little while now (since they were annihilated by a youtuber 8 years ago for their bad music apparently).

It's also how She-ra does it. This seems to be the compromise between the "in the background" scoring modern directors ask for and the "in your face" scoring musicians want to perform.

But here are a few differences even in that (rather bland) category of music:

She-ra is constantly taking advantage of its leitmotifs. That 11 note She-ra motif? You are damn aware when it's in your face, and it always shows up when She-ra is doing something magic.

Entrapta's theme is 7 to 14 notes long and it plays a lot, whenever she's doing something, whenever Hordak is thinking of her. Can be silly, loud, or very quiet depending on the mood of the scene.

Catra has a theme for when she's being evil. It is in fact She-ra's theme played in a different key. It sounds completely different so it's not obvious, which is brilliant in my opinion.

Hordak and Horde Prime... don't have a theme, but they have a specific chord that plays when they're on screen. Effective if forgettable.

Best Friend Squad has a theme. I associate it with Glimmer because it's very sparkly and used in action scenes. It repeats enough that I'd recognise it if I heard it.

And finally that complete banger of an opening, and all those whole, complete soundtracks you get in the end credits of some episodes (such as Light Hope). Those pieces of music in particular are memorable despite not being leitmotifs (mostly).

The star wars themes, you have Rey's theme which to be fair is great, and Kylo Ren's theme which only exists as 7 evil notes. You don't get all those themes from OT and Prequels which went so hard. You get a score which sounds like Star Wars Music, but none of the tracks stand out whatsoever. And none of the other characters seem to have any memorable music, none of the scenes, the intro music is the same as it's ever been. The trailer music was always remixed stuff from the Original Trilogy, never anything new.

I wonder what happened. It's possible Disney rejected any better compositions from Williams. It's possible that he was phoning it in at this point because he was called back into star wars yet again. It's possible the source material was not all that inspiring? Who knows. But while the sequels have John Williams and a bunch of OT musical references, they don't seem to have a Star Wars score.

[buddiebeginz]

So thoughts on the deleted scene:

First I think Tim has been very strategic about these deleted scenes. Which ones he chose to cut and which ones he’s choosing to release and when. More so than in previous seasons. Like obviously certain things were cut for time but I also think he filmed some of them knowing they could be used later. Like the one with T*mmy didn’t even need to be released or if it did they could have done it when the ep aired but instead they chose to release it much closer to when season 8 is coming. They’re trying to prep the audience for the fact that the B/T relationship isn’t going to last.

Similar to that this deleted scene with Chris and Eddie I think was supposed to be a part of episode 9. They could have released it before ep 9 aired so we would have understood more about why Eddie took Kim on the boat or even after the episode had aired would have worked too but they didn’t. I think that's because the scene isn’t really about Shannon it’s about Eddie and how he views relationships and it’s also about Buck.

Eddie talks about how Shannon wasn’t his first girlfriend. I've seen a lot of people say that's just because the writers fucked up. Especially given the convo that happened with him and Buck in 701:

Eddie: "I married the first girl I dated."

Buck: "Think you might mean slept with. "

Eddie: "Point is, I'm a nester. I nest."

I mean it's possible it was a continuity error but I don't think so. The thing is if Eddie has dated or had a crush on a guy before Shannon he likely hasn't told Chris or maybe anyone that. So it's possibly that's what he was talking about when he said, "your mom wasn't my first girlfriend". It's true they didn't use gender neutral pronouns but given his whole mood when he was talking about this even beforehand it makes me wonder.

He says, "I know the first one's hard to get over but you will." And the way he seems a bit emotional when saying it you'd think he's talking about Shannon initially but then Chris says, "did you get over mom?" That's when Eddie says, "your mom wasn't my first girlfriend."

His emotional response initially could have been him thinking about the first boy he had something with but wasn't allowed to be with.

Then he talks to Chris about meeting Shannon for the first time. I've seen some people say that this is reinforcing Eddie's heterosexuality and his attraction for women and love for Shannon (and no doubt the B/T stans are saying that too). But I don't see that.

He talks about looking at Shannon the whole day but the focus in his his retelling of how he met Shannon is primarily on his time spent with her and how she made him feel. It's not on the physicality of their relationship or how she looked. It's actually Chris that even asks "was she pretty" it's not Eddie who initially brings up her appearance. Eddie responds, "la chica mas guapa del mundo," which I believe translates to "the most beautiful girl in the world". To me the way Eddie talks about Shannon just reinforces what I've always believed and that's that he loves her but was in never in love with her and definitely not sexually attracted to her.

Now obviously he was talking to his teenage son and there's a certain way you're going to talk about relationships to your teenage son than you would to another adult. He's also talking about Chris' deceased mother so that's also going to color how he thinks and talks about Shannon but I still think it's very deliberate in how the show is choosing to have Eddie think about women and Shannon in particular that is connected to his sexuality.

Think about too that this conversation with Chris happened around the time Eddie was seeing Kim and we know that Eddie never made that relationship physical even though Kim likely wanted it to be (she asked him why he didn't kiss her). Eddie also explicitly told Buck that the thing between him and Kim wasn't physical. I say all this because listen to what Eddie choses to highlight about his earliest memory of Shannon:

"We spend the rest of the day hanging out, talking, sitting on a boat out on the water, away from our friends. To be honest she did most of the talking. I was just happy to be near her. We talked until it got dark and everybody went home."

He doesn't say he couldn't wait to hold her hand or we held hands or I walked her home and we had our first kiss or anything about the physical part of that relationship. Just the stuff you'd usually associate with two teens who were falling for one another. I just think it's very telling that his sole focus was on talking with Shannon and that's the same thing he did with Kim.

And then the most important part of this entire conversation comes at the end.

Chris responds, "Penny didn't make me feel like that."

Eddie then says, "Exactly. Someday somebody will and you'll never let them go."

This line to me isn't about Shannon because that relationship just never really worked with them at any time. It was something Eddie was always running from and then even when he wasn't he was using it as place to to hide behind. As the performance of what he thought he was supposed to be. Like playing at a picture perfect family when that was never how things were with them and it wasn't what he wanted. Not with Shannon anyway.

The person he has never run from or let go of is Buck. Him and Buck have chosen one another time and time again. Eddie is talking about a soulmate in that line and that person for Eddie wasn't Shannon. I'm not saying his relationship with Shannon wasn't important it was and it will always have an important place in his life but she isn't the one who knew him the best. Who he could really be his true self with. The person who has seen all of the worst parts of him and loves him regardless. Who pushes him to be the best version of himself. That person is Buck. This is why I think they held off and released that scene so close to when season 8 is coming. This is the season when Eddie will realize that his person his Buck and this conversation will hold even more meaning.

[kikisrings]

I can watch as many movies and tv shows I want, but I don't think something will ever even come close to the euphoria that S1E8 of Rings of Power gave me. Watching the Sauron reveal without spoilers, just pure wow, was an experience I'll never be able to replicate.

Starting the episode with the mystics calling the Stranger Sauron and feeling a mix of disappointment and "nah". Then Halbrand going into Celebrimbor's workshop and giving him ideas, then saying the line "Call it... a gift" !!! The way I jumped on my bed, I swear, I was alone in my room, pointing at the screen of my laptop and saying "It's you! I know it's you!". Then the episode goes on, and Galadriel gets more suspicious as Halbrand gets creepier.

And at the end, finally, the glorious scene. "I have been awake since before the breaking of the first silence. In that time, I've had many names." OMG THAT LINE !! I swear I have the whole scene memorized. The way Charlie completely changes his demeanor, his posture, the look in his eyes... perfection! And when he reveals himself, and the camera slowly shifts and makes it look like he's getting taller?

[pumpkinandcoat]

My TUA4 thoughts

Its been a week now since the final season premiered and I have finally been able to compile all my thought together

This is an essay.

Spoilers for season 4 of The Umbrella Academy

(obviously)

With the fourth and final installment of The Umbrella Academy finally released, brings the long awaited conclusion of the Hargreeves family. And suffice to say… people hated it.

Even when this show is at its weakest with its plot, the thing that makes the show so good and what many people love about the show are its characters. They are all very distinct and memorable. And in TUA3, while it's riddled with plot holes and frustrating choices, is still a lot of fun to watch because of the character moments and the relationships between the different siblings.

That is why TUA4 is so infuriating, because it takes these special and memorable characters and it morphs them into these weird versions of themselves. Every single main character falls victim to this. They regress as characters into these versions of themselves that shouldn’t exist anymore.

Luther has become a stripper. His arc has almost no dignity from the get go. This only very loosely connects with his arc in TUA2 where he works at a bar, but as a bodyman and not as a ‘professional dancer’ so as to why the writers chose to make him a stripper is weird. He has returned to live in a run down version of the academy. There is no follow up on Sloane and he mentions her only one or twice in the whole season.

Diego is somewhat resentful of fatherhood, and he misses his old life of excitement when he was a vigilante. He is unhappy with his life and he seeks the higher purpose that he thinks being a criminal deterrent will give him.

Allison yearns again to be a star and neglects her relationship with Claire in the pursuit to regain her fame. 

Klaus, as soon as he regains his power, turns back to drugs. There is no attempt for him to hold onto his sobriety, even though as we see in TUA2 and TUA3 he is (mostly) sober for three years with his powers fully intact. We don’t even get a scene of him struggling with the ghosts coming back to haunt him before he is off to go buy drugs, and then he becomes a victim to sex trafficking. 

Five’s working at the CIA. After a lifetime of hardship and struggle, after he is forced into organizations where he has to complete different missions - first as a child with Reginald in the academy, and later as an adult with the commission - and after he is ready to retire at the end of TUA3, he joins into another organization instead.

Viktor moves away to Canada and is again isolated from his siblings and alone. Shown to have no lasting and meaningful relationships in his personal life.

Every single character is reverted back to an old version of themselves that they have grown from by now. The writers strip them of all of their character growth and substance and reset them to their base characteristics. Worse than that they write them as stereotypes that they are portrayed as at the beginning of the show, in which they are shown to be more than just those stereotypes and have at this point for a lot of them grown from them all together. They are now reduced back to them but without any of the nuance or layers that they had before, and again stripping them of all of their character growth and personality. 

The writers absolutely refuse to let these characters grow in meaningful and satisfying ways.

The relationships between these characters as well are also poorly written. Many of the strong relationships we see in the past seasons barely have interactions with each other, such as Klaus and Five, Diego and Klaus, Allison and Viktor to name a few. With Allison and Viktor we only really have one meaningful scene between them where they talk about how they aren’t close anymore and then there is no further discussion or resolution between the two. And with many others at best they get fleeting minor interactions where they maybe exchange one line or comment. Then there’s the characters who we’ve been waiting to interact for a long time, like Five and Claire, where in the first season Five expresses his desire to live long enough to meet his niece but in season 4 we don’t see them interact even once.

But by far the most insulting relationship is the one between Lila and Five and Diego. 

Two fucking words: Character Assassination.

The way that they wrote Five in this season is so completely baffling. Because the writers felt the need to give Five a love interest this season they decided to pair Lila and Five up and in doing so they destroy both Five and Lilas character, and the dynamic between Five and Lila, Five and Diego, and Diego and Lila.

There are two faucets as to why this relationship doesn’t work: the in-show context and the real life implications of the pairing.

In-show: Five and Lilas relationship hinges on the fact that they are stranded together on the subway for 7 years, unable to get back to their families. In the second to last episode of the entire show they are taken away from the rest of the characters to be put in this pocket dimension for the sole purpose to develop a romantic relationship between the two of them. 

For Lila as well, but especially for Five this makes no sense for their characters and butchers everything they represent and everything they stand for. Fives' driving force for his whole character is his family. Everything that Five does, every action that he takes, everything that he endures and pushes himself though, is for his family. His family's safety and survival matter more to him than his own physical, mental and emotional well being. They are the only people in the whole world that Five cares about.

Five survives 40 years in the apocalypse, with abysmal chances to get out, where any normal person would kill themselves, Five endures for the miniscule chance to get back and save his family. He spends years working for the commission, killing hundreds of people, after being the only surviving person on earth for 4 decades, to buy time so he can get back to his family. Five spends 45 years trying to claw his way back to his family. And when he does make it back to them, Five spends 28 straight days trying to prevent three different apocalypses across three different timelines so his family would live.

After 7 years on the subway Five gives up on getting back his family, and when he discovers a way back he keeps it a secret, even when he knows they are facing the apocalypse and certain death again? It doesn’t make sense for his character at all. Yes, he was tired at the end of TUA3 and was ready to lay down and die with his family by his side, but that was again after three failed attempts at preventing the apocalypse in a very short period of time. He also isn’t with his family, separated and isolated once again.

In terms of Five and Lilas relationship - It doesn’t make sense for Five, whose sole driving force throughout the entire show is his family, to turn around and betray his brother by engaging in a relationship with his wife. 

The dynamic between Five and Lila throughout the seasons has progressed from enemies to begrudging allies to a close friendship between the two, a progression that could not have happened without Diego. At the end of TUA2 and the start of TUA3 these two hate each other's guts, but because they both love Diego they are willing to put their shit aside and be somewhat amicable. Then, because they also both have a connection through the commission they team up and to go back and investigate and it's here where they can move past their past and are able to slowly form a friendship.

Yes, they are very similar characters and they have a unique bond. They can understand each other in a way none of the others can, because of their unique experiences at the commission and as being used as tools of The Handler. But this doesn’t mean they are suited for each other romantically and in fact is exactly why they aren’t. They both have deep trust issues, paranoia, and a kind of bitterness towards the world because of their experiences. With Lila and Diego, the reason that they work so well is because Diego's trusting nature and goodwill in people shows Lila that she can open herself up to people and to trust and love.

And the showrunners take all of this characterization, all of the love and devotion and the deep bonds between these characters and they throw it away because they wanted to give Five a love story. In the second to last episode of the entire series we see a three minute montage of Five and Lila on the subway for 7 years, and then three scenes of them in the greenhouse before they return back to the main time.

The writers destroy these characters and destroy these relationships for 15 minutes of screentime.

There is no resolution to this plotline. There is no reconciliation or understanding about what happened. Lila dies on dubious terms with both Diego and Five. Five and Diego die hating each other.

In real life: The actor who plays Five, Aidan Gallagher, was a minor during the filming of TUA1/2/3, and this was the first year he filmed where he was legally an adult, being 19 years old when filming TUA4. 

From the first season of the show, when he was 14 years old when filming, he has been heavily sexualised by a certain group of the fanbase. 

And the creators of the show, who have known him since he was a young teenager, at the first opportunity they could, paired him with his 34 year old costar - They met in the filming of the second season of the show, when Aidan was 15.

They waited - literally waited - for him to turn of legal age so that they could make his character have a love story, and then regardless of morals, regardless of plot relevance, regardless of if it even made sense for the characters, proceeded to pair Five and Lila up. Completely uncaring of the story, the established relationships between the characters and the overarching arcs of these characters.

The writers literally had to completely separate and isolate Five and Lila from the rest of the characters in their own timeline for over half a decade in order for it to make sense for them to develop a romantic relationship between them.

The decisions of the creators in this season are just so insane.

In continuation of Fives character this season - he abandons his family twice. Firstly when he finds the cipher to the subway and can return home, but chooses not to. Then secondly while his family are facing a life or death situation and another apocalypse, he physically fights Diego, and when Lila intervenes and implies that their relationship is over, he abandons them in the middle of the fight, to return to the subway.

And finally we get to the finale, where Five - again whose entire character is built on the love and devotion he has for his family - decides to erase himself and his entire family's existence from not just one timeline, but across every single timeline in order to correct the universe.

Five has never cared about the timeline. In fact he has always actively been working against it for his family's survival. They are supposed to die in TUA1 but Five will not allow that to happen and he goes against everything and every one to ensure that they live. He does this in every single season - goes directly against time and the universe to make sure his family makes it out on the other side. Now he is happy to give up and give in and not just to let his family die, but to have them permanently erased as if they hadn’t existed at all.

Even with the Five diner, we see all these Fives who have given up on trying to save their family after trying and failing to save them countless times - over 100,000 times - they resign themselves to a life of solitude with only alternate versions of themselves for company. Surely some of these Five have had to make the same connection that our Five makes, but they won’t sacrifice their families existence for the sake of the main timeline. But our Five, the Five that we follow, the Five we’ve personally seen struggle and fight to make sure his family is safe is the one who does.

I just cannot express how much this season disappoints me. The fundamental misunderstanding the creators have with their own characters and their own show is unbelievable. Even at the show's weakest, what makes it so engaging, what makes it so great, is this dysfunctional ass family who love each other. Their unbreakable bonds even when they are at odds with one another. How in their own weird way they do care deeply for one another. 

And the creators when telling the final story of these dearly beloved characters, destroy the bonds between them and send them off with a big old Fuck You to the audience to boot.

I cannot fathom how the same people who made TUA1 and TUA2, created this. Truly I cannot.

The conclusion from all of this I have come to is that the creators of this show are obsessed with writing perverse storylines. More subtle in the beginning, but now at the expense of the story and the characters themselves. Even since TUA1 there have been very weird romance story lines. Luther and Allison, and though not explicitly stated, the dynamic between Five and The Handler in the first two seasons is extremely uncomfortable.

And in TUA4 it all comes to the forefront where despite all of the complexity and nuance in the previous seasons of the show, they are willing to throw it all away to write these weird creepy storylines that nobody but themselves asked for or wanted. Luther becoming a stripper, Klaus being sex trafficked, Lila and Fives whole relationship.

Again I cannot express how much this season disappoints me. I cannot comprehend the decisions the creators of this show made. I cannot understand why they chose to destroy everything that made this show great. I cannot fathom how they could end this show in such a way and then pat themselves on the back for a job well done.

This has made me so deeply upset in a way that I just can't express. I have completely lost all respect for the creators of this show. I’m glad that it's finally come to an end so the creators can’t keep continuing to ruin this show and its characters.

Goodbye, Hargreeves family. You all deserve so much better.

[crowandmousewritingco]

Late Nights

Pairing: Marcus Pike x gn!reader

Words: 673

Rating: G (mentions of anxiety spirals)

Summary: Your brain keeps you up and a certain FBI agent keeps you company.

Author: Mod Mouse

Notes: I wrote this after having a particularly bad anxiety night so I hope this helps others when the brain juice is no good. Also unrelated but I'm surprised I've never written for this Marcus before considering my love of art so I have a feeling I will write for him more!

Late nights weren’t a new thing for the two of you. One a curator for the Smithosian’s American Art museum and the other an FBI agent dealing in art forgeries. There was always a case that needed extra work done after office hours. It was typical for the both of you to see the wee hours of the morning fueled by the strongest coffee. 

But today wasn’t one of those times. This time it was your own damn head keeping you up to the wee hours of the morning. At least with the reports you could control when you could fall asleep. But your brain was a fickle creature. Uncontrollable anxiety spiral was the choice for tonight. You had to distract your brain. 

The tv slowly played in your living room. A past favorite show playing as background noise to keep your mind from spiraling anymore. The warm cup of chamomile you held in your hands is your only hope for any semblance of medicine tonight. Absent-mindedly you watched the character repeat the same scenes that at this point you have memorized. 

The female protagonist goes on a date with a guy from her office. He says all the right things and she thinks to herself “I can’t be falling for him.” But the more they talk the more they both realize the same conclusion. Cheesy but you love it. 

You were so sucked into the comfort show that you didn’t realize your husband had walked into the living room. “Honey what’s got you up this late?” You turn to see Marcus standing at the edge of the hallway, flannel robe wrapped around himself. A Christmas present from your first Christmas as a couple all those years ago. 

“You know. Sometimes your brain mixes the wrong kind of cocktail,” You shrugged tiredly. 

Marcus frowned softly. He knew you too well not to notice the use of humor to deflect the situation. “Hun,” He said softly as he sat next to you on the couch. 

Your body unconsciously leaned into his side, like you’ve done for the whole time you’d been together. “Can’t fool you huh?” You chuckled with a sniffle as tears pricked your eyes. 

“Do you want to talk about it? Or you don’t have to. I’m more than willing to stay up with you,” Marcus offered gently, kissing your head. 

You took a minute to gather the scattered remnants of anxious thoughts before you replied. “Just do you ever have those moments where your brain decides to sow some throw away thought but then you hyperfixated on it which makes you spiral. Something like that,” You answer, sighing. 

“Can’t say I’ve ever had exactly that sort of thing happen, but I can imagine that it’s scary.” Marcus gently rubbed your side with his hand. 

“Ya it’s not fun,” You answer cuddling closer into his side. 

“Is there anything I can do?” Marcus asked. “Want me to break out those cookies you bought?” 

You giggled loving Marcus’ need for sweet popping through. “No, I think this tea and you will be enough for me tonight.” 

He smiled and leaned down to kiss your head. “Then that’s what I shall do for you.” Marcus held you close as you two watched your favorite show. The noise and the comfort of your husband is enough to finally allow you to close your eyes and sleep. 

Eventually Marcus noticed your breathing evening out. Carefully he turned off the TV, and set the half-full mug on the coffee table to deal with in the morning. Gently as to not wake you, he scooped you in his arms and carried you back to your shared bed. He laid you down on your side before sliding into the covers on his side. When the blankets covered your both, he leaned over and gently kissed your head. 

“Sweet dreams my little sunflower. I’ll protect you from those awful thoughts.” And with another forehead kiss, he pulled you close as the two of you fell back into a gentle sleep.

All Works Taglist

@for-a-longlongtime @romanarose

Pedro Character Taglist

@littlemisspascal @burntheedges

@carusolikey @thebeldroramscal

@morallyinept @lady-bess

@pedrostories @rivnedell

@pascalsanctuary @readingiskeepingmegoing

Thanks to the lovely @saradika-graphics for the dividers!