#ic (sienna)

[gradienty]

Ice Cold Burnt Sienna (#b0f6df to #ef5e57)

[etruatcaelum]

[ @redacted-muses | raven // for sienna ]

Of all the reasons to go home, making offers of alliance to Shade Academy of all institutions is not one Sienna would have entertained even in jest before Atlas fell; war made for strange bedfellows indeed. She stops a stone's throw from the imposing outer wall, mouth a hard line, ears pinned back in reflexive distaste—both for the humans running the place and the self-important air exuding from the monumental stonework.

"Tch. Still an eyesore." Sighing, she steels herself and moves forward, narrow-eyed gaze locked onto the huntress loitering before the gate. Briskly, "Are you with them?" Her chin lifts to indicate the school. She's not in the habit of introducing herself.

[greenelight]

❝   so   i   hear   you   make   your   own   costumes.   ❞   mason   has   a   lot   of   respect   for   those   who   are   crafty   enough   to   create   their   own   things   ,   especially   since   he   could   never   fathom   having   the   patience   to   do   that   sort   of   thing   for   himself.   his   creative   talents   remain   with   the   piano   or   performing   on   stage   ,   but   to   be   able   to   create   something   with   your   own   hands   ?   yeah , that's   incredibly   amazing   in   his   eyes.   he   had   been   looking   for   a   costume   designer   for   their   upcoming   play   for   some   time   now   ,   but   no   one   seemed   up   for   the   job   or   even   interested   given   the   period attire   that   needs   to   be   made.   whispers   among   the   students   said   that   sienna   made   her   own   halloween   costume   not   that   long   ago   ,   so   he   figured   he'd   approach   her   on   the   subject when the opportunity struck.   it   doesn't   hurt   to   ask   ,   right   ?   the   worst   thing   she   could   say   is   no.

❝   costuming   is   a   talent   that   very   few   possess.   in   fact   ,   you   could   make   money   doing   something   like   that.   ❞   okay   ,   so   the   school   isn't   really   giving   them   a   lot   of   money   for   the   theatre   department   in   general   ,   but   he   will   do   his   best   to   ensure   his   stage   hands   are   paid   well in some way   &   not   with   a   damn   pizza   party.   ❝   you   ever   considered   doing   theatre   ,   sienna   ?   i   think   you   could   have   a   lot   of   fun   doing   that   &   honestly   ,   we   need   someone   to   help   make   costumes. i can't actually pay you , sadly , but it could be a fun thing for you ? you could meet some cool kids. make some friends.   ❞

˗ˏˋ     ᵒᵛᵉʳᵗᵘʳᵉ·     entering   the   stage   ﹕  @amreality   as   sienna   shaw.

[writingsofwesteros]

[victoriousfidelity]

"You've got to try to trust yourself."

lyric starter for @seraphshaw Heal Over - KT Tunstall

[monstersunderneath]

sender licks receivers blood off their thumb

🩸  ――――       SHE  WAS  EMBARRASSED  BY  ART  ONCE  AGAIN,  BESTING  HER  AND  RUBBING  IT  IN  HER  FACE  BY  ENJOYING  THE  BLOOD  HE  SPILLE  FROM  HER  PAINTED  ON  HIS  THUMB.  it  infuriated  sienna  to  a  point  where  her  rage  was  consuming  her  from  the  inside,  making  her  blood  boil,  and  her  limbs  quake  with  aggression.  she  vowed  from  the  moment  she  began  this  fight  with  @ourdyingwords  that  she  would  do  everything  in  her  power  to  defeat  him.  she  still  didn't  know  how  she  would  do  this  but  she'd  settle  for  causing  him  as  much  pain  as  possible.  she  stood  back  up  on  her  feet  and  spread  them  apart,  scowling  at  him,  and  squinting  her  eyes  in  anger.        “        you're  DISGUSTING        ”     she  yelled  at  him.  she  stepped  on  the  handle  of  a  shovel  that  laid  next  to  her  feet,  causing  it  to  prop  up  quickly  which  she  then  promptly  took  a  hold  of  and  slammed  the  metal  plate  against  art's  face.  she  wanted  to  see  him  bleed  too.  he  deserved  every  bit  of  pain  she  could  cause  him;  it  might  not  do  him  in  in  the  way  she  was  always  hoping  but  it  was  enough  to  make  her  feel  better.  he  was  an  evil,  soulless  thing  and  she  would  take  great  pleasure  in  causing  him  pain,  hoping  to  eventually  lead  him  to  his  death.  she  stood  above  him  and  knocked  him  again  in  the  face  with  his  shovel,        “      i  owe  you  pain.        ”

[mattressunderwater]

Recipe by K. Sawyer Photography

[sinceileftyoublog]

Small Isles Interview: A Blurry Ecosystem

Photo by Dustin Aksland

BY JORDAN MAINZER

Sometimes, dreaming big pays off--literally, in Jim Fairchild's case. The former Modest Mouse and current Grandaddy lead guitarist and now prolific film composer has been releasing music with collaborator Jacob Snider over the last few years under the moniker Small Isles. The project's debut LP, The Valley, The Mountains, The Sea, was a score to something that didn't tangibly exist: an imagined Rick Moody-written sequel to The Ice Storm adapted into a film by Ang Lee. When I spoke with Fairchild and Snider in 2021, they mentioned collaborating with string player Sienna Peck on an upcoming EP. What I couldn't have foreseen was Fairchild's ultimate endgame: for his imaginary film scoring and real film scoring to develop a symbiotic relationship.

That is, at this point, Fairchild is able to use what I called "filmless music" as a starting point. He'll imagine a film, score it, see where it takes him, and either scrap it, use it for the Small Isles record he's currently working on, or even use it for the real film score he was hired to do. Other times, his professional film scoring will yield sounds that are appropriate for the heady universes he's conjured with Small Isles. Last year, Small Isles released two EPs. The first, which was the Peck collaboration the duo spoke to me about a few years back, was Out in The Sunset, a score to an imagined follow-up to Joe Talbot's The Last Black Man in San Francisco. And the latest, Everything on Memory (Modern Recordings/BMG), released last month, was truly wild. Fairchild dreamed that Donald and Stephen Glover--the creative team behind the TV show Atlanta--wrote a movie in response to Modest Mouse's classic The Moon & Antarctica track "3rd Planet", directed by none other than Christopher Nolan.

As neither Fairchild's dreams nor his creations are hyper specific, the finished Small Isles products often resemble their inspirations more in vibes than anything else. Such is the case with Everything on Memory, a sonic collage of guitars, synthesizers, strings, and wordless vocals. Some songs, like "This Much I Know" and "The Rest is History", sound like your schema of what a film score is, juxtaposing plucky guitars with dramatic, sweeping strings, and in the case of the latter, solemn-sounding piano. Others are more experimental, like the pulsations of "Sure I'm Happy", the bubbly bass thuds of "Dewdrop Daybreak", and the rounded bass and sinewy synths of "Unfulfilled Potential". The EP, and Small Isles songs in general, however, reflect their increasingly hyper-specific touchpoints by juxtaposing moments small and big, giving them equal emotional weight and importance. Last month, I spoke with Fairchild over the phone about Small Isles to date, including Everything on Memory, the project's first live show at Hotel Cafe in November, the formative nature of Modest Mouse, and Terrence Malick. Read our conversation below, edited for length and clarity.

Since I Left You: All Small Isles material so far is scores to imaginary movies. At the same time, you've done actual film scores. Do you take what you learn from film scoring and apply it to these imaginary works?

Jim Fairchild: I've been into film scores since I was a teenager. I scored my first film when I was 17 or 18. It was a student film. Jason [Lytle] from Grandaddy brought over his 4-track, and we assembled a bunch of music one day, and it ended up being a score for his student film. I did a bunch of work in the early 2010s as we were writing Modest Mouse's Strangers To Ourselves. I really had a taste for it. I loved doing it. Once our son was coming along, I set a challenge for myself to figure out how that could become the majority of my music-making life. One way to do it would be to imagine a movie you want to score. The first Small Isles record was me imagining Rick Moody had written a shadow/companion piece to The Ice Storm, which Ang Lee directed. I imagined it taking place in early 2020s California. I started picturing what that would look like.

With the Out in The Sunset EP, I was scoring a follow up to The Last Black Man in San Francisco. I imagined the same team who made that, making this movie about kids from different backgrounds in San Francisco realizing they had more similarities than what societies would suggest to them. The objective was always, "I'm going to start sending this music to directors, and they'd hopefully see this music could accompany visual mediums, and maybe I'd get hired." It worked.

How do those two relate to each other? I have a lot more siloed approaches to music. I could see how Modest Mouse bled into the stuff I was making for TV in the early 2010s, but it was fragmented. But making the Small Isles stuff, I'll start assembling samples and think, "That could be really handy for this type of mood." And as I'm scoring things, I'll think, "That's a great sound that could appear on Small Isles tracks." I want it to be an ecosystem where the lines get blurry. Where do the roots of the tree stop and become another tree? As much as a gift as it is to be in a band like Modest Mouse, it starts to have less to do with making music. I want to make music, to be in the studio investigating that process as much as possible.

SILY: At the time we talked about your debut album, I didn't fully realize subsequent Small Isles material would follow the same idea. Now, with Everything on Memory, you're scoring a film you dreamed up, a Donald and Stephen Glover-written film, directed by Christopher Nolan, in response to Modest Mouse's "3rd Planet", a song from before you even joined Modest Mouse!

JF: Dreams are absurd, right?

SILY: Right! How vivid was this dream?

JF: There was a lot of the movie in the dream. It's gone now. All of this is impressionistic. I have two albums that I'm going to make next year sort of "dreamed up." I don't know where they came from. I have them outlined.

In the dream, it was pretty real. Donald and Stephen Glover were giving DVD commentary, and maybe [Modest Mouse lead singer] Isaac [Brock] was also weighing in. [laughs] I don't remember much of it, but I remember these small, intimate moments that felt Terrence Malick-like, but also these massive celestial moments that dealt with the bigger shit Isaac is talking about in that song.

SILY: "3rd Planet" is a world-building, impressionistic song, the type that makes a teenager have an existential crisis. I was a teenager when I first heard it, and I remember the lyrics blowing my mind.

JF: It still does, dude! I was talking about that song with a friend who is making a video for this EP. I've played that song, I don't know, certainly no fewer than 300 times live, and I was still getting choked up at the enormity of it. He's written many great lyrics, but that one is like, "What the fuck?!?" It's truly existentially magnificent.

SILY: I remember seeing some of the lines scrawled out on a paper-covered wall in my college dorm, just being like, "What the fuck?" A lot of millennials probably have that sort of relationship with that song. I want to ask, though, what has been your relationship with the work of the Glovers and Nolan?

JF: I don't really know Christopher Nolan's work that well. I'm more familiar with the Glovers, particularly those first two seasons of Atlanta. Shortly before our son was born was when those seasons came out. My wife and I were watching it, and I was thinking, "I guess this is the best TV show ever made." A big part of all of this is the suspension of disbelief. Life is fucking surreal. And a lot of times, when you ingest surreal media, whether movies or music, it's constantly reminding you how surreal it is. The thing about Atlanta I loved so much is that it was fucking crazy but not constantly raising its hand saying, "Look how crazy we're being!" You get dropped into these moments that are totally fucking surreal.

Where Nolan came into play is his willingness to collapse the conventional constructs of time. There's a relationship between the way I think about Atlanta and his movies. The bigness thing, too. As I get older, this contributes to the way I think about music and make it. I'm an older dude with a young kid, and now I realize those big moments are real. Getting a #1 song is a tremendous accomplishment, and you should soak those moments up. But the moments where you're holding your kid's hand walking down the street are as big. The collapse of relative scale. I realize how lucky I am to have made it this far at all, to be alive still. A lot of our friends and contemporaries didn't. I really appreciate that. I want to bask in that. It sounds so dumb coming out of my mouth, but life is beautiful. Once you start realizing that all moments can be fairly profound and great--even the bad stuff--the flimsy nature of the relativism of time creeps in.

SILY: You've already mentioned Malick, and I feel like you just described The Tree of Life to a tee, small moments having the same ripple effects as the creation of the universe. On the surface, it might seem absurd, but it's very real even if technically different in scale. Is there anywhere specific where any of these touchpoints, from Modest Mouse to cinema, manifest on Everything on Memory? Or is it more a general vibe?

JF: The way Small Isles works is with the illumination of narrative, to get away from lyric and conventional song structure, even though these aren't crazy song structures. It's meant to capture vibe. The first thing that happens in "Sure I'm Happy", I start going [plays a whistle melody] on this keyboard right here, then I put it in a guitar amp. What settings did I use? It's probably something like [plays synthesizer]. So I have the whistle. I put that down. The whole song is two chords. That's the vibe. You just start chasing it. It somehow fit within the movie I was picturing. From there, you're asking, "What else is happening with this world?" And then you get a little chord sequence. That's the most fun thing about making this music and scoring, to me. At this point in my life, I kind of want music to be a job, and that job is solving a riddle. There's an answer to this question. It might not be the only answer, but there is one. How do I flesh this vibe out? You just start going down these paths.

SILY: What were you just playing?

JF: It's this old Yamaha keyboard I got for The Sophtware Slump. I got it at Circuit City for $300. I use it all the time.

SILY: Did you use it on this record?

JF: There's some of that, tons of soft synths, tons of guitars. I really love using sounds incorrectly: pulling up soft synths and reversing them, or going in and making them something they're not intended to be. I'm far from the only person who does that--tons of people do that, but I love that interrogation of sound. Sometimes, you know you're within spitting distance of what you want, so you re- or deconstruct it to make it unique to a piece of music, to match to what the aesthetic is.

SILY: Tell me about the core group of players you've been working with.

JF: First, there's my collaborator Jacob Snider. [String player] Sienna Peck, who was on all of Out in The Sunset, plays on one song on Everything on Memory. I had never met Sienna in person until we played this show last month. She played a lot of stuff on the Common Ground score. Laura Andrade played the rest of the strings. My friend Keith Karman, who came into Modest Mouse on the last tour and is now kind of in the band, played bass on a song. Mike Cresswell, my collaborator forever, mixed and mastered it.

SILY: How did you come to work with Temme Scott?

JF: I had this project called Grace Meridian, the last song-focused thing I did on my own. Taylor [Broom, the real name of Temme Scott] and I sing everything simultaneously. I was really into this idea of trying to eliminate the gender perspective. I thought a way to do that would be a man and a woman's voice always singing the same damn thing. We made this EP called Clover to Clover, and I love singing with her. She also sang live and assembled a choir when we did the [Small Isles] show last month.

SILY: What about the engineering?

JF: I engineered tons of it. Jacob engineered tons of it. Andy Petr did some stuff at the last minute. He's someone I want to do more stuff with. I love what he does.

SILY: It seems like there's generally a lot of contrast on the record--for instance, on "People Come Down", the sharpness of the synthesizers with the fluttery strings. Can you talk about the role of contrast throughout the whole EP?

JF: When you say that, the first thing that comes to mind is Atlanta. My intention is not to make outside music. Rather, it's interrogating this general concept of how much can we fit inside that I wouldn't ordinarily turn to. Can a contrasting element be intubated into this composition in a way that's somehow beneficial? It doesn't have to be always harmonious, but beneficial to the vibe. It took a long time to get the horns to exist as a contrasting element in "People Come Down", in a way that felt like it flowed to me.

SILY: When I last spoke with you, you were planning a Small Isles show, or at least thinking about it. You finally played the first Small Isles show last month, as you mention. How did it go?

JF: It was super scary. I had never done anything like that. I knew I needed to get myself the actual challenge to do it, not a hypothetical looming in the distance. So I booked a show. I hit up Sienna and asked, "Can we do this? Can you put together a string section?" She took care of so much. I sent her all of the isolated parts, she recruited SUUVI, this incredible cellist, and they played a lot of double stop stuff. She contracted this copyist to do sheet music. Taylor assembled a choir. I asked her whether she knew any piano players, and she recommended Debbie Neigher, who was amazing. There was no money or rehearsal space or practice space. It's so much different than playing a rock and roll show. With Modest Mouse or Grandaddy, you practice a lot. You get familiar with the material. This band, doors were at 7:30, and there were 10 people on stage, and nobody played a note of music until 6. It was the first time I heard this ensemble make sound together. They just knew how to do it.

Joel Graves and Matt Costa, both of whom I've known for a long time, played guitar, so I felt comfortable. But a lot of these people I never met until that night. The show wound up being really good. It's totally all bound to them. They came in and knew the stuff. They seemed excited about doing it together and potentially excited to do more.

For "The Rest is History", the final song on Everything on Memory, I had to have sub-tracks there, because we didn't have a drummer. I had these Pro Tools sessions I had made. It was a crazy amount of work. We worked for weeks. Part of it was in 3/4, and there was this piano melody in 5/4 against the 4/4 of the song. I played it one time and had to go through and adjust everything in MIDI to make it make sense for the rest of the ensemble. I played it on loop because I thought there was no way anybody could possibly play it. During practice, we started to play it, and Debbie says, "Hey Jim, I can play that part. I learned it!" I was super apprehensive. In my head, I thought, "There's no way she can play this." It was me geeking out for a day in a half to construct a piano part. And she fucking nailed it! It made me certainly happy and expanded my concept of scoring these imaginary movies. There's so many places to go from here. I've been doing this for so long now that in the worst moments, you think, "What am I gonna do now?" But you haven't cracked open even a fraction of what you can do musically.

I didn't really get to talk to any of Taylor's choir. I had this crazy intense experience with these people musically and then said, "Thanks guys, later!"

SILY: Where do you go from here?

JF: I want to play more shows. Matt Costa recorded the show, so we're looking to send it to some booking agents. I hope people didn't tell me it was good just because they were my friends. A lot of folks seemed really taken by it. It was a unique show, with rock instrumentation but a choir and strings. As I'm working on some additional film scores right now, I have the kernels some imaginary scores. One is a summer movie, and one is a December sort of release. I have them in my head, so I'm starting to make the music for those. I want to get the team assembled for what those will hopefully become, and record them so they're done by the time spring rolls around.

SILY: I'm glad to hear you finally played live. That's where "music as problem solving" usually comes into play, but it seems like your show was the more seamless endeavor than your studio recording!

JF: It was, all down to them. They just fucking knew it. We played three songs from Out in The Sunset and five from Everything on Memory, and we only sound-checked each once. [laughs] It gave me a lot of optimism. I have this idea in my head that there's a lot of places to go musically, and sometimes you're just telling yourself that as an aspiration, but it turns out it's actually true. It's amazing.

[writerthreads]

SYNONYMS FOR COLOURS

Red (and versions of it): cardinal, coral, crimson, flaming, glowing, maroon, rose, blooming, blush, brick, burgundy, carmine, cerise, cherry, ruby, salmon (requires more detail, ie. "salmon pink"), mahogany (reddish-brown), wine

Orange: tangerine, apricot, coral, amber, rust, salmon, peach, burnt sienna, sunset, blush, turmeric (orangey-yellow), marigold, carrot, marmalade, cantaloupe

Yellow: marigold, sunflower, amber, gold, lemon, canary, mustard, daffodil, saffron, blonde, butter, honey, maize, flaxen, topaz, cream, chartreuse, buttercup, primrose, corn

Green: emerald, olive, jade, lime, mint, forest, sage, moss, grass fern, dark, kelp, seafoam, shamrock, olive, evergreen, lettuce, cyan, turquoise, swamp, apple, honeydew, frog

Blue: aquamarine, aqua, ice, blueberry, Caribbean, teal, navy, azure, sky, cobalt, indigo, sapphire, royal, denim, periwinkle, lapis, electric (+blue), midnight, baby blue, bluebell

Purple: royal, violet, indigo, beet, lavender, hyacinth, plum, magenta, periwinkle, grape, lilac, iris, mauve, amethyst, orchid, fuchsia, heather

White: cotton, cream, almond, pearlish, bleached, ashen, ivory, snow, pearl, milk, chalk, silver, alabaster, marble, cotton, eggshell

Black: ebony, jet, coal, onyx, raven, charcoal, ink, sable, obsidian, midnight, caviar, soot, licorice

[etruatcaelum]

[ @astr-team | aki // sienna ]

“Sometimes… what we wake up, can't be put back to sleep.”

One ear flicked in acknowledgment, but Sienna stayed put: arms folded, frowning as she gazed through the window. "Sometimes." Her mouth lifted in a sardonic smile, fleeting. "That's how it is with everything; life—it's all just flash floods and sinkholes out there."

The ear twitched again.

Sienna threw a quick wink over her shoulder. "I've been informed talk like that does not land the same outside the desert," she added, dry. "It's… don't think that needing water to live means the rains can't kill you quick as any grimm. Don't take anything for granted."

Prowling away from the window, Sienna draped herself into one of the chairs Aki kept facing their desk and propped her chin on her fist, contemplative.

"I appreciate you agreeing to meet me," Sienna said at last. "From all you've described—well." Her ears pinned back. "You could be forgiven for believing what the humans say about us. I–"

Restless instinct bade her leap to her feet and start pacing; she pressed her lips together and hiked her bad foot up to rest on her knee instead, hand on her ankle. Exhaled, slowly.

"—can't imagine you've paid much mind to the internal politics of the Fang since the Vale chapter shivved you," Sienna muttered, thick with disgust. None of it for Aki. Shaking her head briskly, she continued, "Well, Ghira stepped down at the end of last year to pursue state politics, and I was elected High Leader after him. It's…"

Again, she paused.

"I've heard," she said, with deliberation, "some rumors I don't like about our Vale chapter, over the years. Ghira always cut Hadi a lot of slack; I think, maybe, more than my brother really earned." She drummed her fingers against her boot, brows drawing together. "That's why I reached out to you, and a couple other formers; the… in-fighting, bullying our own for having human relations—I have zero tolerance for that."

But the problem ran deeper, if Aki's account of their expulsion was any indication, than Sienna had surmised.

"So," she sighed, "if it can't be put to bed, the Fang will have to cut them loose. Let them eat each other alive. But I am hopeful it isn't… unsalvageable, yet."

[tuesdayscanons]

{¤} After decades of being in the industry, Bojack knows how Hollywoob can be. If you don't put your foot down, you'll be forced to make concessions and wear yourself down until you no longer recognize yourself. One of his biggest regrets is not using his power to stick up for Herb and keep him on Horsin' Around.

The last thing Bojack wants is for Mister Peanutbutter to do something he'll regret in the name of placating someone else. He deserves better than that.

"Do you know how hard it is seeing 'Piennabutter' this and 'Piennabutter' that?" Bojack groans, "It's not fair you two get such a cute ship name! What do we have? Peanutbojack? That's just my name with the word 'peanut' tacked on! That's not cute!"

Bojack feels the urge to argue more, but the feeling of Mister Peanutbutter's hand on his chest and the sight of pinned back ears causes him to pause in his tracks. Even if PB said some things he has qualms with, it's not worth it to get mad over it.

'Okay, Bojack—Get your head together! Do you want to get PB upset? Because this is how you get PB upset!'

There's more to this than media coverage and ship names. Focusing on trivial things like that isn't going to do Bojack any good. Whether Bojack likes it or not, he's going to have to open up about the real issue if they plan on nipping this in the bud.

Besides, it's not like Bojack can blame Sienna when Mister Peanutbutter is so attractive.

'Stop it! You can smooch him later. Get to the root of the problem.'

"I know I should probably stay offline, but what else am I supposed to do when you're out working with her all the time? It feels like I barely get to see you anymore...and we only have so much time left."

Ever since Bojack reached his 60s, he couldn't help but feel...different. Mister Peanutbutter views this cycle as an inevitability, a necessity to get through shooting. All Bojack can think about is all the time he wasted on meaningless sex and doomed relationships. Despite knowing PB is only five years younger, the fact that PB treats the passage of time so frivolously makes him feel much closer to Sienna's age than Bojack's.

Before Bojack can say anything else, he drags Mister Peanutbutter back to his car and unlocks the door, pulling him into the backseat and closing the door behind them. He wraps his legs and arms around PB, his nose deeply nestled in PB's neck fur. It takes a moment for him to find his words, but once he does, they flood out of him like water from a broken dam.

"I know I've been hesitant to be too vocal about our relationship, but I can't take it anymore." Bojack sighs, "I want people to know that we're together, without a shadow of a doubt. I want to be in cute couples photos and take you out on dates and go to your special events as your husband. Not your 'Pretend Husband', but your legally binding, 100% commitment husband."

Bojack pulls back for a moment, looking deep into Mister Peanutbutter's eyes. He probably shouldn't be this vulnerable after PB just finished a shoot, but he needs PB to understand where he's coming from. Maybe it won't stop PB from letting Sienna throw herself all over him, but it'd at least keep tension and resentment from building up.

Isn't this what couples are supposed to do? Communicate with each other?

"I'm terrified I'll go senile like my mother and you won't be able to visit me in the hospital or make decisions on my behalf."

There's also inheritance and whatnot, but there's not much left for Mister Peanutbutter to inherit, between Bojack being sued by Xerox and losing out on Horsin' Around residuals. Still, it's better to have those protections in place than risk PB losing out on something that should rightfully be his. It doesn't even occur to Bojack that PB could die first because it feels more than obvious who would be more likely to live longer.

"We can get the same rights through a 'domestic partnership', but if we're going to wear the rings and call each other 'husbands', we might as well go all the way with it. Y'know?"

Pulling Mister Peanutbutter back in, Bojack's nose grazes against his floppy ear. His hold on his 'husband' tightens, as if PB could slip from his grasp at any given second.

"I understand if that's not what you want, but...I'd really appreciate it." {¤}

✧   「   @tuesdayscanons   」   ✧  - Continued from ★  

「 ☆ 」 Alright, perhaps ❛ nasty ❜ was too judgmental of a word… but Mr. Peanutbutter still stands by his question! When one is used to lathering their tone in saccharine wrappings like the canine ( people respond better to jovial voices and smiling faces ) , even polite bluntness seems like a slap to the face. No doubt a topic where the two will have to agree to disagree. Frankly, PB is aware of this. He knows how BoJack operates. Understands that tact isn’t the horse’s strongest skill. He doesn’t mind it. Much. Loves BoJack for it, if he’s being honest.

Just not when it’s aimed at a co-star he’s going to be stuck sending months with. Especially one with loose lips, the actress prone to subtle smear campaigns should she be even somewhat disrespected. Not the first snake in the grass PB has contended with, which is why he knows how to handle it better than BoJack. Good a boy as he may be, even Mr. Peanutbutter isn’t immune to the fickle nature of Hollywoob. Best to smile, wag his tail, and count down the days until it's over.

❝ She wasn't ❛ tonguing  ❜ with me; she was talking to me... ❞ He begins, exasperated at even needing to HAVE this conversation; tail no longer wagging and ears pinning back in a mirror of his Not Official Husband's. Not that he doesn't get where it's coming from. Technically. Although, he'd argue he has just as much reason to doubt BoJack's loyalty, yet is careful to hold HIS tongue. But it's unnerving whenever they fight. Far too familiar to the friction that would arise between him and his ex wives. Especially Diane. ❝ And yeah, she was clearly flirting. But that shouldn't be an issue! Because I don't have any interest in her. ❞

Palms outstretched in front of himself in a gesture partway between pleading and placating, PB looks up at Bojack with the hope he'll understand... but not the expectation of it. ❝ But I do have to continue working with her... and I'd rather not have any bad feelings making that any more difficult than it already is. ❞ Shrugging with a look off to the side, he tries to downplay the severity of what that means. Since to him, it ISN'T anything of note. Why would it, when he's finally with the man he's always wanted? ❝ If that means letting Sienna have her fun and pretend she has a chance off camera, well— I don't see the harm in that. ❞

Yes he does, but it's still the better option than shutting her down outright. It's not like she's the sort to take it as anything but a challenge anyway. Refocusing his gaze on BoJack, he rests a hand on his chest and tries to ease his voice into something more gentle. Soothing, rather than the snippiness of earlier. ❝ It's only for a few more months and then the movie will be over and she'll move onto the next guy. Come on, Honey. You've been around, you know that's how it works. ❞ Perhaps not the BEST idea to bring up BoJack's past conquests: both forgettable flings and serious attempts at a lasting partnership...

But Mr. Peanutbutter is too focused on the ❛ people moving on from it ❜ part rather than the very blatant sexual aspects of them all. Or the constant of moving on from BOJACK... but it's hard to take that view into consideration when he's had his own string of failed relationships. It's not just a BoJack thing. It's an everyone thing. A them thing. PB just hopes it's also a pattern that has finally come to an end. 「 ☆ 」

[galacticghoste]

Wanted to give these three Christmas theme clothes so I did

Silho dose like mint chocolate chip ice cream so I had to make her a candy cane for her!

Lily is literally part plant so Christmas tree for her!

Sienna is as fast as her dad so Gingerbread girl for her!

[victoriousfidelity]

"I can hear you cursing under your breath."

lyric starter for @seraphshaw Alive - Travis

[aggro-my-beloved]

since SOME OF YALL ain’t about angst, here’s some fluffy, bite-sized, tooth-rotting headcanons to curl up in bed with a warm drink and read…

＊＊＊＊

baabe mastered the art of knitting long ago, and each holiday season they will hand make themselves and asher matching sweaters. three sweaters, to be exact, so his wolf form can also wear one when it gets chilly outside. only two of six sweaters have been regifted or donated since this last year, when asher admitted to being allergic to the wool material purposed for the first two sweaters gifted to him by baabe. of course, he did spill after more than a year of owning them that “last winter’s bug wasn’t a bug at all, it was me being an idiot” but baabe thought it adorable that asher spared his feelings (and immune system) for them, nonetheless.

＊＊＊＊

milo and sweetheart stay up each year to watch the first snowfall greet dahlia’s grounds. in preparation they drink egg nog amidst expiring (regular for milo, spiked for sweetheart), while they form a trio to Michael Bublé and——“ariana grande? *scoffs* “ash must’ve added that one.” still they waltz around the baige-bathed, dwarfish living room of their apartment, with aggro leaping in toe. he is freshly three years old, and has made it his birthday mission to reach the spiked poof of red and sienna yarn attached to the toque fit snug on his owner’s head. the yule log on the grainy television exudes no heat, but the humming radiator and milo’s body swaying with theirs warms sweetheart plenty.

＊＊＊＊

“you little snot.” david chastises his partner as the icing smeared on his nose begins solidifying. leave it to him to accept angel’s invitation to build gingerbread houses on their first shared holiday. and leave it to angel to pursue their menace activities like clockwork. he grumbles something about acting indecent on a national holiday, but as angel’s come to discover, the sharp tone is all for show. at their suggestion to go clean him up with outstretched hand, david takes the risk and allows them to guide him to the kitchen for a paper towel and fresh glass of cider. his mate then pauses in the threshold, sparing a glance to the top of the doorway. “huh.” david’s eyes follow the same trail and all he can muster is a scoff at the mistletoe dangling above them. “you know, angel, if you wanted a kiss all you had to do was ask.”

[peachdues]

The Bitter & the Sweet — spicy teaser

Kyojuro secret pregnancy AU

A/N: lil surprise for you babies. The scene where Y/N tells Kyojuro she’s pregnant. Slight NSFW at the end.

CW: hot spring intimacy; Kyojuro decides to ✨thank✨ the reader at the end.

🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸

Y/N felt the warm spring heat from Kyojuro’s presence, his body capable of raising the temperature of any water by a few degrees. Though he moved with the preternatural grace that only a Hashira could possess, Y/N could still feel his blazing heat warming her back as he drew nearer.

Strong, sturdy hands braced her hips from behind as a pair of silky lips danced up the column of her neck. “What gods have I pleased to be allowed to come home to such a sight?” The Flame Hashira’s voice murmured in her ear, and Y/N leaned her head back against her lover’s firm chest.

“You think of my estate as your ‘home,’ Lord Hashira?” She teased, goosebumps rippling over her flesh despite the heat of the water and the man behind her, as the latter’s fingers caressed the sensitive skin of her waist.

Kyojuro softly grunted in amusement. “I think of you as my home.”

Slowly, Kyojuro’s broad hands gripped her hips to turn her to face him, his face uncharacteristically serious, as his hand came to rest against her face.

“Tell me, my flame,” he murmured, his thumb absentmindedly stroking her cheek as his eyes searched hers. “What did Kocho have to say?”

Y/N’s lips parted and she tried to stifle the shaky exhale of breath, but to no avail; the effort did not go unnoticed by Kyojuro, whose eyebrows drew together in concern, his grip against her waist tightening perceptibly.

“Y/N,” Kyojuro’s voice was low, and serious. “You must tell me at once.”

Y/N saw the desperation in his eyes and knew he was thinking of his late mother; knew that his greatest fear was that she, too, would be taken from him not by any demon, but by an illness he could not fight.

With a deep inhale, Y/N reached up to grip the hand he held against her cheek and gently removed it. Slowly, she lowered it between their bodies, until she pressed his hand flush against the flat of her abdomen, peering up at him through her eyelashes to study his reaction.

Kyojuro looked confused for a brief moment, before his eyes blew wide as he looked at where his hand rest against her, pressing tighter as the weight of the news settled over him.

He looked back up to her, eyes so round, she could see the white all around his amber irises. “Are you certain?” he breathed, “You are pregnant?”

Y/N nodded, heart still clenching with uncertainty as she struggled to gauge his reaction.

Kyojuro shook his head. “But we were so careful! I only — I only spilled inside you on a handful of occasions!”

Y/N looked at him, incredulously. “I’m not sure I’d call it ‘careful,’” if she’d been any less on edge, she almost could have been teasing him. “I can count on one hand the number of mornings where we threw caution to the wind.” She frowned. “Though on each of those mornings, I seem to recall us indulging in several rounds of you not pulling out.”

The Flame Pillar blushed, his hand continuing to stroke the skin of her belly.

“Kyojuro, is this —“ Y/N hesitated. “Is this alright?”

Sienna eyes ringed with gold flashed back up to hers, and Kyojuro exhaled, sharply. “My flame, this is wonderful news.” The hand that had lingered on her hip rose to cup the other side of her face as Kyojuro brought her in for a passionate kiss that nearly stole her breath.

“I am speechless…for once in my life, I am absolutely speechless.” Kyojuro whispered against her lips. “But I am overjoyed all the same.”

Kyojuro stepped back to kneel before her in the spring, hands braced on her hips as he rested his forehead against the still-flat expanse of her abdomen for a long moment.

“You are…utterly incredible,” Kyojuro breathed, turning his amber eyes up to look at the misty-eyed Ice Pillar in wonder, before turning his attention back to her stomach. “You and this child — our child — are everything to me.”

Y/N’s hands found their way to the Flame Pillar’s unruly hair, stroking her fingers against his scalp tenderly as Kyojuro closed his eyes and touched his lips to the spot just below her navel, which would soon swell with their growing child.

“Thank you, my flame,” Kyojuro whispered, turning his head to press soft, reverent kisses across her stomach. “How could I possibly thank you for giving me such an treasured gift?”

Any answer Y/N could have given him evaporated from her tongue as Kyojuro’s lips began to trail downward, his hands moving from their gentle grip on her hips to around the back of her thighs as he eased her legs slightly apart to make room for his mouth.

“You deserve,” Kyojuro murmured as his tongue teased up the slit of her core, dipping her folds to teasingly circle her sensitive clit once as Y/N’s head dropped back, a soft cry falling from her lips. “To be worshipped.”

🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸

[fcrtnite]

it wasn't what sienna had expected the woman to say and her eyes studied her expression for a moment. head bowing, she suddenly wished that curiosity hadn't gotten the better of her. “i could come with if you want.” sienna told her shyly, voice quiet. “not everyday that i get to hang out with a disney princess. meet the woman behind the curtain."

@frcshkills asked: ❛ you look like you've got something to say. ❜ - sienna ( @fcrtnite ) for sherry

she's  on  her  break,  taking  a  sip  of  her  much  deserved  treat.  when  she  was  at  the  park,  her  other  persona  was  asleep.  this  was  sherry's  time  and  she  was  going  to  make  it  the  best  for  the  kids  that  visited  the  park.  sherry  turned  to  glance  at  sienna,  quick  to  shake  her  head,  getting  some  whipped  cream  on  her  lip.  ❝  i'm  thinking  about  riding  the  rollercoaster  until  my  break  is  over.  ❞  that  was  the  truth,  and  she  didn't  know  what  sienna  meant  by  her  statement,  but  sherry  treaded  it  carefully.