#if Sam has zero fans know I’m dead

[holdingup-fallingsky]

Sammy Sammy Sammy!!!

[repapapapa]

My most to least favorite redacted Characters!!

But as we go down the list my thoughts become even more incoherent.

1. Guy:

He’s just a quirky guy. I love me a narrative story down, but Guy is one of those exceptions! Honey’s and Guy’s relationship is so cute and I eat the roommates to lovers trope up. I love the playfulness nature of their bond.

2. Hush:

Love at first listen. I don’t care how morally grey he may be, his storyline is one I cannot wait to watch develop. I love me a cryptid eldritch character who does not understand humanity and is actively learning about humans in order to. RAAAAH

3. Vincent:

If he has zero fans, I’m dead. I was hooked on this character ever since the audio that sets up his character and past.

4. Lasko:

At first it was “ooooh Lasko” as a joke, but bro… I don’t think it’s a joke anymore… Him getting a listener was the best thing because bam! Another side of Lasko that we probably wouldn’t have gotten to see. And to see him grow 🥺 ugh, slay.

5. Milo:

What can I say that is not already known? His latest audio with chef kiss! He and Sweetheart are indeed the moment.

6. Geordie:

As much as it pains me to listen to his audios, I still adore this character. His playlist showing that relationships aren’t rainbows and sunshines and how important consent is.

7. Elliot:

Give them a break pleassseeeee!!! Anyway, I think he’s pretty neat and coo.

8. Avior:

The whole storyline is so good! The fact that he had been tormented by having to watch his lover back in Dahlia, Starlight’s memory being erased, Avior trying not to make history repeat itself by being stand offish. If you look up star crossed lovers you’ll see them under the definition.

9. Vega:

His relationship with Pet, that got me a little. Just a little, but I will not be forgetting what he did to Caelum. 😡

10. Blake:

I just like his suffering. Some angst for my tea

11. David:

I cannot stand his earlier audios but I think his and Angel’s relationship is pretty cute or whatever.

12. Asher:

Meh.

13. Ollie:

I mean… he’s okay.

14. Aaron:

uhm…

15. Sam:

Don’t fight me because I know how you guys like to tussle. He just doesn’t give for me.

16. Porter:

Honk shhoooo, Honk shoooo. 😴

[jadelotusflower]

Stargate rewatch: 1x19 There But For The Grace of God

One of my favourite episodes titles of the series, also kicking off what is essentially a four episode arc to end season 1 and kick off season 2. 90’s tv was the eternal battle between episodic and arc-based storytelling, and I actually think the show threaded the needle quite well.

I do love an alternative universe episode, back in the beforetimes when a multiverse served a story purpose and not just a fodder for fanservice of the “your favourite character, and they’ve got a new hat!” variety.

The story credit for this episode is David Kemper, an Executive Producer for Farscape, but this is his only Stargate contribution. Robert C Cooper wrote the teleplay, and the episode was directed by David Warry-Smith, his first of 11 for the show.

Love that they brought back Catherine, Elizabeth Hoffman is great (RIP). Given that Jack is a general in this timeline, perhaps we can assume he kept her on the project as opposed to the main timeline’s General West shutting things down/sidelining her after Abydos?

But Jack still went on the Abydos (suicide) mission so presumably wasn’t a general at that time. I know we have to be la la la don’t think about it with the alternate timelines but I’m so curious how things went down in this universe!

How long did it take them to work out how to use the gate without Daniel’s help? I guess they couldn’t communicate with the Abydonians without Daniel but they still were able to kill Ra - how? If they never went to Chulak what triggered Apophis’s interest in them to mount an attack on Earth? Why is the attack in this universe before the attack in the prime universe when really the events should be delayed in the AU?

This is a decent wig for Sam. Sadly, the only decent wig she’ll get the entire series.

I also wonder what was the difference in this universe so Sam didn’t join the Airforce.

Daniel guilelessly giving the address for Chulak right after taking about Jack intending to blow up Abydos. He’s so used to his Jack whose come so far since then, never even thinking that alt!Jack may not have, and what they might want the coordinates for.

lol, Daniel walks down the stairs, crosses the room, looks at the map, then puts on his glasses.

“Every one of those red dots is a destroyed city.” Apophis a fan of the United Celtic Nations it seems.

Daniel finally twigs that he might be in an alternate reality (with Sam defining it for him), but we can’t be too harsh, he canonically has zero pop culture game and this was the 90’s. Even in todays over-saturation of multiverse content Daniel would probably still have no clue.

They made a decent attempt at Spader!Daniel with this pic!

Daniel and being dead/missing in alternate realities/timelines, name a better duo.

It is interesting that in a lot of the AUs the show explores, Daniel’s lack of involvement in the Stargate program coincides with that universe being doomed.

I forgot that the 38 minute gate window was first established in this episode! That’s a huge piece of lore originating in an alternate universe.

It wouldn’t be an alternate universe without at least one character with silly hair.

Generally I prefer AUs that explore character rather than ones used to advance plot (or are lazy fanservice looking at you mcu), and while the primary purpose of this episode is to give Daniel forewarning of the Goa’uld attack and the gate address to the source, there is some nice stuff here especially around Jack and Teal’c.

Because at their core alt!Jack and alt!Teal’c are still the same - Teal’c still hates the Goa’uld, Jack is still willing to take big risks on his instincts, and there’s a mirror to Children of the Gods where Jack reaches out to Teal’c, but it’s a dark mirror, and it’s the little differences that matter because Jack isn’t the same person as the one in CotG, who went through the Abydos mission with Daniel and came out a better person, instead he’s the one that sent the bomb that killed Teal’c’s family, and it dooms them both.

Opening credits shot!

“I also wish to blow us all to hell.” Alt!Sam is a badass. No difference to prime!Sam there.

There’s also an interesting moment between Teal’c and Daniel in the gateroom - Teal’c doesn’t shoot straight away when he could have, so maybe Jack telling him of the alternate universe where Teal’c was fighting the Goa’uld got through. He still fires as Daniel runs for the gate, but only hits him in the shoulder - at such close range Teal’c could probably have made the kill shot. His hesitation saved Daniel’s life, and ultimately the life of his other self.

Because Daniel’s presence in the other reality changes nothing for it - alt Jack, Sam, Teal’c and Catherine all still die, the Stargate is destroyed and that would have happened anyway (with maybe the exception of Jack being able to stall Teal’c to set the self destruct).

But Daniel’s changed - there but for the grace of god (or fate) go our team.

[maylorscardigan]

Has matty said anything about his new "t" tattoo?

What's your thoughts on it?

Okay. My thoughts.

I think this is one of those dual meaning tattoos. Hear me out.

First and foremost - it’s a cross with the lines and it is found on the back of the LP version of GY!BE’s debut “F#A#♾️”

Two versions of this record were made. One was an independent project coming from Canada and the other was after they signed to a record company. The LP is the indie version.

Side A is in F# and is regret. Side B is in A# and is desire.

It’s described as: “human beings are in a constant loop of regretting and desiring, preventing us from moving forward” and “we’re trapped in the belly of this horrible machine and the machine is bleeding to death”

The song “dead flag blues” is described as a post apocalyptic wasteland that is slowly being illuminated by the sun rising

The LP as a whole is like a post-rock orchestral piece. It’s also shorter by the CD release by half. The cross on his arm is on the back of the LP. Only 500 or so were ever printed.

When you consider Matty… constant loop of regretting and desiring… feeling like you can’t move forward….

Anyone who has ever had an addiction or knows someone who has had an addiction- you know how that is an endless cycle they feel like they’re in. The analogy of the being trapped in the belly of the machine and the machine is bleeding to death is a good way of describing not only his addictions but his personal experiences with the media and fandom. When combining both meanings… think of it as a symbol of Matty wanting to break that endless cycle and move towards a better future for himself (throwing out the Truman Black jacket, or how his stage persona has changed etc) and finding his way out of the belly of the machine and away from the public perception of who he is.

Then include the meaning behind the first song.

A post apocalyptic wasteland that is slowly being illuminated by by the rising Sun.

The cross is a symbol of that and he is working his way out of his personal apocalypse.

Now - look at the symbol itself. What is it? It’s a cross that is illuminated. The cross itself doesn’t need to be described when it comes to the apocalypse but the illumination is a sign of hope. Of better things. (As Sam said in Lord of the Rings: The Two Towers… “when the sun shines, it’ll shine out the clearer”.) Another way to consider the power of the meaning… for those of us who were alive then… 2001. 9/11. I was in 9th grade and I remember getting the newspaper every day after the attacks to keep informed on it all and one day, on the cover, there was a picture of a cross that was made from the steel beams. The sun was shining down on it. That image has stayed with me my entire life. I’m not religious in any way but it was still a symbolic thing. It now sits at the memory, acting as a symbol. Those at ground zero described it as a symbol of hope and that it gave them a sense of peace.

That whole idea fits into the themes of the LP.

Now all of that - that’s my primary explanation of the tattoo. But I did say that this could be a dual meaning tattoo.

And this is where you enter the garden gates with me.

Like a song… the meaning of it may not always be what it seems at the surface level. As fans of Taylor and the 1975… we know this is the case.

The cross is on his left arm. When you have a heart attack… your left arm often hurts. Why?

The nerves that branch from the heart and those coming from the arm send signals to the same brain cells. Your brain cannot tell the difference between the two so it’s a deferred pain. I got my sons name on my left arm for the reason that it was the arm directly connected to my heart.

But Matty isn’t religious. Why would he have a cross that is connected to his heart. An illuminated one at that? Well - the symbolism is enough of an explanation. He’s got a connection to the album and it has meaning to his life. But this is the garden so we don’t always look at the most obvious.

The fandom went crazy when it was first seen because, like you, we all thought it was a lower case t. I agree that it does - especially since the T is visible facing him. I have another tattoo on my left arm which reads towards me because it’s significant to me. On my other arm I have text written with it going out towards the reader because that’s how it’s meant to be read.

The cross looking like a t facing him is a symbol of the thing in his life that illuminates his life and helps lead him from the personal apocalypse.

Think about how he said “I can’t kiss you in front of Taylor Swift!” And how his behaviour started to shift after things formed more and more between them… how he said things happen in eras and his asshole era was over? How he filmed the announcement for the USA tour not far from where he was staying with Taylor (and rumoured to have moved in) and it was there he threw out the jacket with “Truman Black” on it? Think about how the whole “Still… at their very best” was described.

ATVB was Matty in his single man era. It was meant to tell a story of who he was then but it’s no longer who he is now… and again that video…. The bejeweled Easter eggs… etc etc etc.

Just think about it. It makes sense and is actually one of the sweetest things I can think about.

[come-chaos]

Post-LOTR Marathon Thoughts

I saw LOTR EE in the cinema today. It was my first LOTR marathon ever, as well as my first time seeing FOTR in the cinema. Despite having spent a decade of my life as a devout Tolkienist and LOTR/Hobbit fan before I shifted focus to other fandoms, it was also the first time in several years that I watched a LOTR movie at all. Naturally, I was very curious about what my own reaction would be.

What follows is my attempt at summarising some of my impressions before I forget them.

Best movie: My favourite always used to be ROTK, and it’s still by far the movie that makes me the most emotional, but I can finally say that FOTR is a better movie. Everything about it is simply magical. From start to finish, it introduces the most incredible range of settings and concepts and people. Visually, I believe it has a far richer colour palette than the others. I also get the impression that it has many more subtle references to the book than the other movies do.

Best overall: The soundtrack. I have a pet peeve when it comes to singing in movies – I hate it when a movie makes no effort to convince me that the character is actually singing. It’s surprisingly common for movies to combine the most half-arsed lip sync possible with a blatantly obvious studio production that often features a ginormous and rather glittery reverb regardless of what room the scene is set in. I’ve always upheld LOTR as an example of characters singing being done well, and Eowyn’s dirge being my favourite example in particular, but this time I noticed something new about it. Something really cool. When the camera changes angle, or when an object passes in front of the camera, the acoustics of Eowyn’s voice also change. Absolutely marvellous sound mixing.

If I could change one scene: I don’t know whether I’ve matured as a movie watcher or if I’ve just gained a healthier perspective on the whole book vs movie debate, but I found myself having nearly zero issues with the ways in which the movies differ from the book, which came as a surprise to me. I even found myself thinking that several changes were, in fact, for the better – I could see now that the story really did benefit from being adapted to the medium, instead of following the book to the letter. Don’t get me wrong – I would have preferred a Gimli who isn’t the butt of every other joke, a Legolas who’s less into surfing, and a Haldir who heads to the Havens without passing Helm’s Deep. But all of that is forgivable. If I could change one scene, I’d remove the Paths of the Dead skull avalanche. As far as I’m concerned, it’s pointless, it’s not a reference to anything, the sheer number of skulls makes absolutely no sense, and if anything, it gives the entire dead army plotline even more of a Pirates of the Caribbean feel. Speaking of, I’ve always assumed POTC is the reason why the army had to be a sickly neon green instead of the more conservative ghostly grey – the latter was already taken. The green honestly never stopped annoying me, so if I could change one thing in addition to removing the skull avalanche, I’d drastically lower the saturation of the entire Army of the Dead.

Miscellaneous thoughts: Something that struck me several times during this marathon was how much I’m still in love with the overall plot and with so many of the themes. I love the characters – including Boromir, whom I discovered is far more compelling to me now than he was in the past. I love that even those with the best of intentions may struggle to do good. I love that Bilbo’s choice to show Gollum mercy made him less susceptible to the Ring throughout his whole life, whereas Sméagol’s corruption was facilitated by his murder of Déagol. I love that Sam’s love for Frodo is everything. I wasn’t prepared for the burden of the Ring to remind me so much of the struggle of living with a mental illness, which I’m going to guess is a result of my metacognition having improved considerably since I last saw the movies.

Moment that made my heart pound so hard it hurt: The Ride of the Rohirrim.

Moments that made me the most emotional: Absolutely no surprises here. In second place, as usual, came “You bow to no one”, while Frodo’s farewell at the Havens came in first place, as always.

[atopvisenyashill]

general thoughts-

this is ep 4 & 5, which means i’m onto ep 6 and beyond and that’s usually where i start falling asleep and go “actually there’s another show i could be watching” so that’s gonna be fun aksjdj

if jory has a million fans, i am one of them. if he has one fan, i am that fan. if he has no fans it means i am DEAD.

i think john bradly is kinda awkward at first but i definitely remember him improving. he comes off a bit insincere in some spots to me but he has good chemistry with kit - when sam is like “so you DIDNT know where to put it” and jon runs over to whack him, that feels very genuine, just two boyfriends besties fucking around.

i do love alliser thorne walking in like “i know what you are” can a man not have a giggle with another man. he’s such a hater.

just the immediate, zero hesitation “you’re too fat for your armor” oh i Know ned desires that man carnally

i have completely forgotten why hugh hammer was important i had to go look him up ajsjdh

ned looking back at littlefinger like “alright we’re friends but let’s not get unserious here” when he puts his hand on sansa’s shoulder

JOFFREY STANDS UP IN ALARM (and interest) WHEN SANDOR JUMPS IN, and joffrey keeps looking at robert to see what robert is going to do, he’s like impressed, slightly concerned, excited, then you see robert kinda look joffrey’s way before he says to stop. jack, mark……………deserved award nominations dammit…….

the little fish pin bran is playing with while he’s thinking of his mom…… “from the moment i placed her in your arms to the moment she dies, she will love you” “sometimes i think you are too smart for your own good” IM GONNA SCREAM ACTUALLY.

not i moved closer to the tv to get a look at the lil fish pendant and then ros’ boobs were just right there 😭😭 i’m not saying i don’t respect sexposition but i am saying we could have gotten nedcat sexposition instead of making ros do all the heavy lifting here.

Conleth Hill is so funny as Varys. He’s got perfect comedic timing, his cadence when he’s going back and forth with someone else is always spot on, you’re always getting the feeling he’s laughing at you.

me and my sibling like to decide out loud if it’s a “good enough” reason to use that word and i’m sorry “they say the eyrie is impregnable” “i’ll impregnate the bitch” Not A Good Enough Reason To Use That Word

Ramin is a genius for this score, the way the music in the scene in the Eyrie is so unsettling but never loud, staying at the same low level until tyrion gets to the sky dungeon and THEN starting to crescendo? i love him i would die for him

this renly & loras scene is the sexiest scene in the whole series. the focus on the hair around renly’s nipple. the bitchy way they snipe at each other in between trading new pieces of hot goss. loras bullying renly into committing treason. “if you want hairless maybe you should find a little boy” “i want you” RICH coming from the man who groomed his squire.

jory’s death & this fight scene always stands out in the series and the show does a great job making it stand out too. that absolutely visceral eye horror where jory’s still aware for a few seconds & the way they REALLY let sean bean & ncw start warming up with the sword skills only to CUT THAT SHIT OFF and jaime is so upset but not enough to do anything different. really fun.

changes i noticed

i feel like they made theon much less weird. where is his inappropriate giggling. why is he not flirting with robb’s mom. i do like this convo between him and tyrion though, don’t get me wrong, i love the dynamics of it, and i love the way it’s in conversation with theon’s story as it goes on - both in that he enters another absolutely stupid ass war bc of pride, and also that he’s going to become physically disabled, but here he invokes an ableist insult towards Tyrion to soothe his own wounds over Tyrion taunting him specifically about his fondness for the Starks being so pathetic considering his status as a hostage. Tyrion says something cruel and Theon is cruel right back; this is traumatic and yet just another Tuesday for both of these men.

i remember so much discourse about this tyrion/theon scene and like which one is more ~problematic~ in this scene and it’s like bro. they’re both being huge assholes here for a very specific reason and they both deserved to get clouted what do u want from a convo between two of the most maladjusted characters in this series aksjdj

Having Petyr creepily whisper Sandor’s backstory which he shouldn’t even fucking know in Sansa’s ear instead of letting Sandor tell that story himself. Beyond that I just Don’t understand the fascination d&d seem to have for aiden’s acting and littlefucker as a character, i just don’t get the point of taking like The Foundational Sandor/Sansa scene, which is also Foundational to Sansa’s changing concept of morality and honor, as well as the overreaching concept of what a True Knight is, and giving it to a character who just Does Not Fuck With Sandor Like That. i hate this. it’s one of my favorite scenes and they just destroyed it for what. for a dude otherwise known for being the Worse, Less Sexy version of brian kinney?? rory mccann would have Killed This Scene!! I FEEL RAGE!!!!!!!

ONCE AGAIN they take the kill catelyn makes to save tyrion’s life and give it to tyrion for…..WHAT. FOR WHY. I WANT THEM DEAD FOR WHAT THEY DID TO CAT OMG.

Okay here we go, weird Theon. I think this Theon/Ros scene starts out good but it could have ended better. Like, the way he can’t even go to a brothel without being mocked for being a hostage. His fixation on Tyrion’s sex life. The way he is too close to Ros’ face when he’s talking to her. I like that last “i don’t want to pay for it” “then get yourself a wife” exchange but i think his comment about his father and her return should have been sharper. It’s missing that Pizzaz that the other added scenes have.

They changed up the Council scene by changing the wording to include the “honorable fool” nonsense, and also cut out barristan so ned doesn’t have someone on the council who he actually gets to come around to his argument, as well as cutting several points of his argument. It’s so stupid. They think Ned is so fucking stupid. ugh.

This next Robert/Cersei scene isn’t imo as good a setup as some of the other ones, because I don’t think Robert OR Cersei are emotionally in a space where she could come up there and argue that much with him and still get him genuinely explaining why he feels a certain way to her. On the other hand, the actual dialogue is VERY in character - Robert breaking down his worries about Dany is good, Cersei being both angry but also deeply curious about how to lead the realm, the way they both start drinking together and cracking up at the idea that their marriage is holding the realm together. Amazing. I love the way the redness seeps out of Robert’s face as the conversation turns serious. It’s almost like he wants to reach out to comfort Cersei, but he does it once again in the most selfish way possible by laying this horrible emotional burden on her shoulders. “does that make you feel better or worse?” “it doesn’t make me feel anything.” it’s so good. i can’t believe neither of them were nominated for this.

i also really like this scene for the later parallel they do with Aemon - the way Robert’s love for Lyanna is so meaningless, an excuse for him to disappear into his vices, she was so nonexistent as a person to him that he can’t even remember anything but the idealized stone statue of her face, and here is Aemon so much further removed from his loved ones, so far removed from even when his memory involved seeing, and he pours over every detail in his mind to remember her face

[wif-san]

She doesn’t go looking for posts to bash, y’all stick your posts in the Supernatural tag (and/or Sam and/or Dean tags), making it fair game for EVERYONE in the Spn fandom as those are general tags.

We don’t deny any characters their sexuality, that’s y’all, ignoring blatant statements made in canon and by everyone who actually has a say in the character of Dean Winchester. Also ignoring that there’s no good reason for Dean not to just fuck guys if he actually wanted to fuck guys: John’s been dead since the season 2 premiere, Dean’s certainly hedonistic enough, and he’s had multiple, MULTIPLE catalysts if he needed that extra push. Also, as far as the CW goes, as a network, they have no control over what happens in the shows they air, they only get to set the ground rules on what level of visual and verbal graphic-ness they air on their network, and even IF the CW had control of what happened in the shows they broadcast (again, they don’t), the CW has been one of the, if not THE MOST queer-friendly network on TV, as documented by GLADD. In addition, if either main character had actual canon queer-coding, it was Sam.

It’s not necessary, nor an actual requirement for a character’s canon sexuality to be compliant with your ship in order to ship it.

Firstly, it’s tagged so anyone who wants to can avoid it, and secondly, it’s not about an opposing ship, it’s about certain d3stiel shippers acting like flaming bags of shit over a fictional TV show (as opposed to normal d3stiel fans who just do their thing in their corner and are the reason why Nancy and others of us have a “most destiel fans are cool” type tag)

Firstly, if you’re going to be doing the equivalent of looking at a story about vampires and then CLAIMING that the story IS ABOUT mermaids (particularly when there isn’t a mermaid in sight), yeah normal people are going to look at you like you’re delusional, and they’re going to make comments about it too(as opposed to just a personal reading of canon, which people are generally happy to ignore if the reading doesn’t suit their tastes). Secondly, if (most) everything you claim to like isn’t canon, and (most) everything you claim to dislike is canon, and you either pointedly ignore or disregard the main theme of the entire show, of course people are going to at least question whether you are actually a fan of the actual show/canon (and rightfully so). Thirdly, when so many of you proudly proclaim to have either skipped seasons 1-3 or every episode without Castiel in it, on top of proclaiming characters to be something they are very clearly demonstrably not, people are going to rightfully question just how much you actually know about the characters/show.

D3stiel has ZERO basis in canon beyond friendship (and even that’s generous post season 6), and was unrequited at best, as although you can READ Castiel’s confession as romantic, factually it was ambiguous AF (I love you vs I’m IN love WITH you).

Dean had MORE THAN ENOUGH time to process Castiel’s confession, between the years he spent domestically living with Sam and who knows how much time in heaven, Dean could have absolutely made some sort of statement (I.e. asking Bobby about Castiel casually after Bobby mentioned him helping Jack with the new heaven), even without being too obvious, and yet he effectively shrugged Castiel off after Chuck was defeated.

The show was never ABOUT found family, yes it included some found family members, but they were never the point as Sam and Dean would absolutely sacrifice any of their found family, and any of their blood family for that matter (parents included) to save each other (I.e. Dean tossing Castiel out and sacrificing him to save Sam when Ezekiel/Gadreel threatened to let Sam die otherwise), in other words, although they care about those that are family to them, Sam and Dean were, are, and always will be paramount to each other, as in their own words there’s “family” and then there’s “each other”, also “you and me against the world”.

[the-bau-quinjet]

Plum Cobbler

Steve x Barnes!reader, Bucky x platonic!reader

Summary: What happens when Steve confronts the woman who's been sitting outside the compound every Saturday for a month?

Warnings: mentions parental death, some cursing

Word Count: 6315

a/n: This really took on a mind of its own. I was going to make it a series, but I feel like this is the whole story.

Masterlist

Nervous didn't even begin to describe how you were feeling. Sitting in your car, just outside of the entrance gate to the Avenger's compound was never somewhere you thought you'd be. Not until two months ago, when you found your grandmas old scrapbooks.

Of course, you don't know how to get inside. Honestly, you should have seen this coming. Why would just anyone be able to walk up to their door?

"Who are you?" The sudden question startled you, causing you to jump and hit your head on the roof of your car. You turned to look at the source of the voice, shrinking under her watchful gaze.

The one and only Natasha Romanoff was standing outside your car, glaring at you as if she was ready to drop everything to take you out.

"Oh, um. My name is Y/N L/N. I just wanted to talk to Bucky..." Her glare only grew stronger as you revealed why you were there.

"Barnes doesn't talk to strangers." Before you could explain why, she was gone. You watched her walk into the compound until she wasn't in your view anymore.

"Well, that went horribly." You mumbled to yourself. Now what? Should you just sit there until someone else comes out? Will anyone come out?

-

"So who is she?" Clint asked as soon as Nat got back inside.

"Why is she here?" Sam added on.

"Said her name is Y/N L/N, and she wants to talk to Bucky." Nat rolled her eyes.

"Friday, run a background check on F/N L/N." Tony asked of the AI. "What? You can never be too careful, and people shouldn't know how to get here." He explained given the questioning looks from the rest of the group.

"Y/N L/N, 27, daughter of the deceased Kathleen and Grant L/N. She owns a bookstore in Brooklyn, passed down through her family. No criminal record." Friday responded quickly.

"Sounds normal enough, probably a fan?" Tony suggested, looking around the room.

"A persistent one. She's been here for hours." Steve looked out the window, still seeing your car just outside the gate. "How did she find the entrance?"

Everyone shared similar looks, unsure how a seemingly normal civilian found the gate.

"Excellent question, Capsicle. Friday, got any ideas?" Tony, as usual, turned to the AI for answers.

"Based on GPS data from her car, she drove around upstate New York for eight hours every Saturday for the last 6 weeks until she came across the side road leading to the compound."

"Either she's really good at looking normal, or she's just normal." Nat added on, still slightly suspicious.

"Well, she just left. I guess we're not getting any answers today." Steve said from his position still looking out the window.

-

You came back every Saturday for a month. You didn't know if anything would come of it, but you'd be damned if you didn't try. After your parent's deaths, you thought you had no family left. Finding out you were related to Bucky gave you a lifeline. Something to cling to when you felt alone.

So far, nobody else had come to talk to you. You didn't even know if Bucky knew you were there for him.

The fifth Saturday, you pulled your car up to the gate at 9 am, sticking to your makeshift schedule of waiting outside for the entire day. They had to at least be curious as to why you kept coming back.

Unfortunately for you, the weather upstate today was not the same as the weather in Brooklyn.

Around 10:30, it started to rain. Just a sprinkling, nothing you couldn't handle.

You listened to music, read, ate the lunch you packed, played games on your phone, anything to pass the time. You weren't going to force your way inside, but you were definitely going to show that you were interested.

Typically, you would leave at 5:30. It gave you enough time to drive home and heat up dinner, plus you had to check in on your cat.

Today, however, was a different story. Around 5:15, it started pouring. Sheets of water were coming down around you, completely cutting off any visibility through the windshield.

You figured you'd just wait out the rain, but when it didn't let up by 6, you were getting nervous.

-

"She's still here." Steve walked into the kitchen, announcing his news to the room.

"I'm not surprised. It's not exactly peak driving conditions out there." Sam easily responded, glancing out the window.

"Aren't you the least bit curious as to why?" Steve asked again, pushing the same conversation as always.

Nearly everyone in the room rolled their eyes, sick of repeating the same things.

"Look, we figured if we ignored her, she'd eventually stop. Clearly, that might not be working. If you're so curious, feel free to go ask her." Tony gave in, eager to move on from the discussion of you.

Steve contemplated his choices for all of 2 seconds before grabbing an umbrella and walking down the driveway.

-

You had your head leaned back against the headrest, eyes closed, listening to the rain. Of course you would get stuck here. Why didn't you ever check the weather?

You shrieked when a knock sounded on your passenger side window, not having expected anyone, especially in the rain.

Mr. America himself pointed to the door, gesturing for you to unlock it. You sat up quickly, rushing to hit the unlock button.

He quickly opened the door, shutting his umbrella and lowering himself into the small car.

You were utterly speechless. After your brief encounter with Natasha, you didn't really expect anyone to come talk to you.

Sure, you came back every week, but it was more so to fill the lonely hours you would have normally spent with your parents at the bookstore.

You had other employees to run the shop on Saturdays, allowing you to come here instead.

"Why are you here?" He sounded more curious than anything. Clearly he didn't perceive you as a threat, which was good because you had zero fighting experience.

"To talk to Bucky." Your voice was quiet, unsure how much you should share.

"I know that. Why?" He had fully turned in his seat to look at you, his large frame filling nearly the entire car.

"Well, I found something a few months ago that I thought he should know." You stuttered through your response, mildly intimidated by the man in front of you.

"And that something is?" He questioned further, genuinely curious as to what you want to tell his best friend.

You hesitated, eyes flitting around the car, looking at anything but him. He sighed and ran his hand through his hair before speaking again.

"Look, if you ever want to actually talk to him, you should tell me. Buck's been through hell, he won't just talk to anyone. Especially if he has no reason to."

During your conversation, the rain finally let up. You decided to take that as a sign.

"Can I show you something?" You finally looked him in the eye, nearly forgetting why you were even here at the sight of his bright blue eyes.

"Is it the reason you've been out here every Saturday for over a month?" He joked with you, helping to calm your nerves.

You nodded in response, unsure if you could even speak while still looking into his eyes.

"Then please."

You tore your eyes from his face, throwing the car into reverse and backing out of the spot you've claimed as your own. You turned around, heading back to your apartment in Brooklyn.

"Wha- where are we going?" He's clearly surprised by your actions, but he doesn't seem worried.

"I'm going to show you what I found, and hopefully you'll let me talk to Bucky." You paused for a minute, thinking. "Although, really I guess it should be his choice. Maybe you can just give him a message for me, and if he doesn't want to talk I'll leave you all alone."

The idea of never getting to know Bucky, you're only remaining family, hurts, but it's got to be his decision.

Steve just nods in response, still slightly wary of your reasons for wanting to talk to Bucky.

When you're a few minutes away from your apartment, you decide to give him some context.

"You probably already know a lot about me, but let me explain a few things." He silently nods, encouraging you to continue.

"My parents died three and a half months ago." You immediately felt like crying, but did your best to hold it in. Of course, Steve didn't miss the break in your voice. "It was a car accident. The weather was bad. They lost control of the car. They were both pronounced dead on the scene." You parked the car, turning slightly to look at him.

"They were the only family I've ever had, and the were both just gone." You turned and opened the car door, taking a moment to wipe the tears from your eyes. You gestured for him to follow you, locking the car and heading inside your apartment building.

"We were really close. I spent every Saturday at the bookstore with them." You wiped the tears again as the elevator doors closed.

You didn't chance looking at Steve, knowing you would break down at the look of pity.

"I had to go through the stuff at their house. You know, decide what to bring here, what to put in storage, what to get rid of. I found some old scrapbooks, I think from my great grandma."

You lead him into your apartment, locking the door and immediately heading to the kitchen to feed your cat. After you set down the food, you moved to the couch. You had the scrapbooks on the coffee table, having taken every opportunity to look through them.

"I never knew her. My parents didn't talk about her either, I'm not sure if they knew who she was. Her name was Rebecca." You waited a beat, to see if he would understand. When he remained quiet, you handed him one of the books, open to a page with a picture of Steve, Bucky, and Rebecca. "Rebecca Barnes."

You waited again, letting the information sink in for him. After a few minutes he smiled.

"I remember this day." He looked at you, a wide smile on his face. "It was a few days before Bucky was enrolled. We had a picnic." He continued to reminisce, looking through the other pictures in the scrapbook.

"Maybe it's selfish, maybe he won't want to know me, but when I found out I had more family, I wanted to find him." Again, tears pooled in your eyes. "I, I just don't want to be alone."

Steve's smile faltered as he realized what you've been going through, and how you've been doing it alone.

"Hey, I'm sure he'll want to talk to you." He reached out to place a hand on your arm, trying to comfort you.

"Really?" Your eyes were still watery, but a small smile grew on your face.

"I think so. Bucky was really close with his sister when we were young." This time, Steve's eyes grew watery, memories of his youth playing through his mind.

You couldn't take the sight of him being sad, so you pulled him into a hug. He came willingly, letting you bury your face in his chest. He lowered his head so it was overtop of yours, relishing in the comfort of your hug.

You pulled away a few minutes later, not wanting to overstep, but the feeling of his arms around your waist didn't let you go far.

"Thank you for coming out to my car." You laughed, trying to lighten the mood. His face was so close to yours, you could make out the individual shades of blue in his eyes.

"Thank you for sharing your story with me." He whispered back, not wanting to break the moment.

You're not sure how long you would've stayed like that, but a loud crack of thunder jolted you apart.

"What the-" You mumbled, walking over to the window to look outside. Steve followed close behind you, also curious about the weather.

It was now pouring, lightning and thunder cracking overhead.

"I guess the storm followed us to Brooklyn." He joked, rubbing the back of his neck.

"I guess so." You looked at the clock, taking in the late hour.

Steve must've followed your line of sight, because he spoke up. "It's getting late, I should probably go."

You immediately shook your head, your fear of travelling in bad weather shining through. "I can't let you leave when it's like this. It's not safe. You, um, you can stay here tonight. You can sleep in my room. I'll sleep on the couch." You grew more confident as you kept talking.

"I couldn't impose like that." Steve shook his head, not wanting to make you uncomfortable.

"Steve, it's not safe to travel when it's raining like that. I would never forgive myself if something happened to you." Your voice grew tighter, trying not to flashback to the day your parents died.

Steve seemed to realize why you were so worried about the weather, ultimately deciding to agree to stay so you wouldn't worry about him.

"Okay, okay. I'll stay here, but you sleep in your bed. I'll be fine on the couch." He refused your offer, not wanting to force you to spend a night on the couch.

"First of all, thank you. Second of all, you are sleeping in the bed. You're like two feet taller than me." You exaggerated your height difference, but you were trying to make a point. "You won't even be able to lay down on the couch. I take naps here all the time, it's super comfortable." You argued back, unwilling to allow Captain America himself sleep on your tiny ass couch.

"You know, I should've expected you to be this stubborn. You spent five weeks waiting outside the compound with no contact. Plus you're related to Bucky" He laughed to himself, slightly shaking his head. "Fine, I'll sleep in the bed."

You smiled victoriously, jumping up from the couch. "Yay! Do you need anything? I have spare toothbrushes under the sink, and I can probably find you some clothes to sleep in. There's some snacks in the kitchen if you get hungry. Oh! And Carrot might try to lay in the bed with you, but I'll try to keep her out here." You rambled, trying to make sure he was comfortable.

"Carrot?" He smiled at your rambling, finding it adorable.

"Yes! Carrot is my cat. She's a cuddler, so consider yourself warned." You paused, eyes growing wide. "You're not allergic to cats are you? I think there's probably cat fur all over my room."

He laughed again. "No, I don't think the super soldier serum left any room for allergies." He quipped.

You smacked a hand to your forehead. "Duh! Anyway, do you need anything?" You asked again, trying to calm your beating heart.

"Some clothes would be great, thank you." The way he smiled at you did nothing to soothe your nerves.

"Okay." You breathed out, finally taking a deep breath. "I'll go grab some, the bathroom is right here if you need it." You pointed it out on your way to your room. "I'm just gonna get changed real quick, and then I'll be back with your clothes."

He nodded again, watching as you turned and walked into what must be your room.

You quickly changed into a t-shirt and sleep shorts. It took a few minutes of searching through boxes, but eventually you found an old pair of pajama pants and a t-shirt for Steve to sleep in.

You made your way out of the bedroom, handing him the clothes.

"Here ya go. Like I said, there are extra toothbrushes under the sink in the bathroom, and don't hesitate to grab anything you need from the kitchen."

He eyed the clothes in his hands, wondering where they came from, but not wanting to ask.

Luckily for him, you could tell what he was wondering. "They were my dad's." A sad smile graced your face. "I- I sleep in them sometimes when I really wish I could talk to him."

"Thank you." Steve turned to go to bed, but changed his mind last minute. He set the clothes down on the couch, pulling you into another hug. "You know, I can tell your related to Buck. He always looks out for people too."

You blushed at the compliment, grateful he couldn't see your face. "Thank you, that really means a lot." You stayed like that until Steve pulled back to talk to you again.

"I can take you back to the compound tomorrow, if you want. Maybe introduce you to Bucky."

"Really?! You don't want to talk to him first? Or double check anything I told you?" You were shocked at how willing he was to introduce you to Bucky.

"I trust you. Plus, I think you should be the one to tell him." Steve didn't say it out loud, but he also thought you and Bucky would be good for each other.

Bucky had Steve to connect his past and present, but another person for him to rely on wouldn't hurt. And you clearly were looking for a family connection.

"I would love to. Thank you!" You hugged him again, although quicker this time. You jumped back, excited to collect everything you wanted to show him. "I have to find all the scrapbooks to show him!"

When you turned to start collecting things, Steve put a hand on your shoulder, essentially preventing you from moving.

"Why don't we get everything together in the morning? It's getting late and you should get some sleep." He understood how emotionally and physically draining it could be to relive a loss like yours.

"You're right. I should sleep." You tried to slow your mind down, but the prospect of meeting Bucky tomorrow filled you with a mix of excitement and nerves. You gathered your extra blankets and pillows, setting up a bed for yourself on the couch while he went into the bathroom.

You were snuggled in bed, ready to sleep when he came back out.

"Goodnight, Steve."

His heart contracted at how adorable you looked buried in blankets on the couch, but he did his best to ignore it. He'd only just met you after all.

"Goodnight, Y/N."

-

The next morning Steve woke up at 5, per usual. He didn't want to wake you up though, so, despite his natural tendencies to run 10 miles every Sunday morning, he stayed in bed.

That is, until he heard you shuffling around the apartment.

He poked his head out of the room first, trying to verify that you were indeed awake. When he saw you in the kitchen, he fully emerged intent on helping you with whatever you were doing.

"Good morning, you're an early riser?" His question was completely ignored. Granted you couldn't see him yet, but he didn't know why you would be ignoring him.

He made his way closer to you, tapping you on the shoulder to try and get you to interact with him.

You, in a mixture of surprise and fear, turned and threw an egg at him.

He looked at you in shock, while you stared in horror at what you had just done.

You took headphones out of your ears, explaining why you hadn't heard his question.

"Oh my god! I'm so sorry!" You reached toward him with a dish towel, trying to wipe the egg off his (your dad's) shirt. "You just surprised me! I can get you another shirt!"

"It's fine, don't worry-" You ran out of the room anyway, grabbing another shirt of your dad's from the box in your room.

He couldn't help but laugh, oddly relieved that you weren't ignoring him.

When you reentered the kitchen, a shirtless Steve Rogers was washing your dad's shirt in the sink. You froze, taking in the sight of the man before you.

When he turned back around, your eyes took on a mind of their own, soaking in his toned chest and arms. You cleared your throat, shaking yourself out of your stupor to hand him the other shirt.

"Thanks." He smirked, but still blushed slightly before he put it on, ringing out the other shirt before handing it to you. "I didn't want the egg to stick to it since it was your dads, so i rinsed it off..." he trailed off, unsure if it was the right thing to say.

"That's really sweet, thank you. Especially because it was my fault there was even egg on it in the first place." You laughed, trying not to blush with embarrassment.

"Don't worry about it, really. I shouldn't have snuck up on you." He laughed as well, clearing any lingering tension. He took a look around the kitchen, taking in just how much stuff you had out.

"What are you making?" He smiled when you blushed again.

"Oh, I was making plum cobbler... I just, I read online that Bucky likes plums, so I thought I would bring him a cobbler." You blushed again, embarrassed by the admission.

"He does." Steve smiled, completely enamoured with your personality. "Did you want some help?"

"Actually, the cobblers are in the oven already. I was going to make breakfast next, though, so you can help with that." You smiled, noting how easy it was to spend time with him.

"Cobblers? I know Bucky's a super soldier, but one would have been plenty." He joked with you, moving to help scramble some eggs.

"Well, yeah. One is for him, but then I thought the other Avengers might be there and I didn't want to not have enough so I made three."

"You're too cute." The words slipped out before he could even think about what he was saying.

You blushed again, a frequent occurrence it seems when you're with Steve.

You uttered a quick thanks, trying to change the subject. "Do you always get up this early?"

He chuckled again. "Yeah, typically I don't need much sleep. I usually run in the mornings, try to clear my head."

The two of you fell into easy conversation, moving around each other effortlessly to make eggs, sausage, toast, and smoothies for breakfast.

When you finished eating, you collected the scrapbooks Bucky might want to see. You added his mom's wedding ring, the one your mom wore as well, to the box.

"What's that?" Steve pointed to the box, unsure if his assumption was correct.

You pulled out two scrapbooks, pointing to the near identical pictures of Bucky's mom and your mom after having been proposed to.

"My mom always told me her engagement ring was a family heirloom. I think it was his mom's ring too. I thought he might like to have it. As something to remember her by, ya know?"

You got teary eyed again. Thinking about how much he must miss his family combined with how much you miss your own parents was too much to handle.

You finished gathering everything, putting it all in a box to make for easier transportation. You took the cobblers out of the oven, packing them as well.

With a deep breath, you followed Steve back out to your car, ready to talk to Bucky.

-

"Where the hell is Steve?" Bucky nearly stormed into the kitchen.

"Whoa, calm down tinman. What's up?" Sam replied casually, pouring cereal into a bowl.

"Where is Steve? I was supposed to run with him this morning, but he wasn't in his room when I went to find him. I don't even like running this early. I literally only do it because it's what he prefers."

Sam laughed, enjoying anything that annoys Bucky. "Dude, chill. He probably just forgot you were going with him."

Tony walked into the kitchen as well, trying to tune out the whines coming from Bucky, but failing.

"That's what I though, but he's always back by now." Bucky huffed, annoyed with Sam for laughing.

"Who?" Tony asked, now slightly intrigued.

"Steve. I haven't seen him since yesterday." Bucky replied as he angrily ate an apple.

"Really?" Tony sounded mildly concerned, immediately alerting Sam and confusing Bucky.

"You don't think?" Sam asked, ignoring Bucky for the time being.

"I don't know!" Tony looked bewildered. "Friday, where is Capsicle?"

"Captain Rogers left yesterday evening with Y/N L/N." The AI easily replied.

"Who?" Bucky questioned the room, never having learned your name.

"You know the woman who's been sitting outside every Saturday?" Bucky nodded to Sam, unsure why he was bringing it up. "Well, Steve went to ask her why she was here last night."

"Nat told me she was just some fan, wanted to see you all." Bucky furrowed his brow, thinking over the new information on Steve's wearabouts.

"Well, yeah that's what we thought. Look, she said she wanted to talk to you specifically." Sam explained, ignoring the pointed glare from Tony.

"What? Why didn't you tell me?" Bucky rose from his chair, annoyed at everyone now. "Now she's got Steve?"

"Relax, Steve can handle himself. She cleared her background check. We really don't have any reason to believe he's in danger." Tony's words were more to convince himself than anyone else. He's the one who said Cap should go check it out if he was so curious.

"Steve's too trusting. What if it was a trap?" Bucky questioned, glaring daggers at the other two men.

Before they could respond, Friday chimed in with more information.

"Captain Rogers just entered the elevator from the parking garage."

"See, he's fine." Tony glared back at Bucky, secretly relieved that Steve was fine.

Bucky just rolled his eyes before leaving, heading for the elevators to yell at Steve for ditching him this morning.

When the elevator doors opened, however, Steve was not alone.

"Hey, punk, why'd you ditch me- Oh. Who are you?" Bucky eyed you suspiciously, looking between you and Steve.

Before Bucky interrupted, Steve was trying to reassure you that everything would work out. He had a hand on your back, rubbing up and down to soothe your nerves.

His other arm was occupied by the box of scrapbooks, or else he probably would have hugged you again.

You were holding a large sheet pan, three pie dishes sitting on top.

Steve was blushing, a surefire sign Bucky had seen something he wasn't supposed to.

"Oh, um. Hi. My name is Y/N L/N." You froze, not thinking you would have to see him so soon. You could see the family resemblance between him, your great grandma, and your mom.

"The car girl." He nodded, trying to piece together the events of last night.

"Yep, that's me." You laughed nervously, unsure of what he already knew.

"Buck, do me a favor? Let us out of the elevator." Steve eyed him, mildly annoyed with the ambush.

Bucky moved to the side, allowing you and Steve to exit the elevator. You followed Steve down the hall to the kitchen, where you put the cobblers on the counter.

Sam and Tony were still there, eating various foods.

"Well, hello there." Tony greeted when he spotted you, intrigued by the development. He looked at Steve for an explanation.

"Y/N made plum cobbler." Steve said instead, moving his hand back to the small of your back.

Bucky's eyes lit up at the mention of plums, enough to momentarily distract him from Steve's actions.

"Oh, right!" You took a cobbler out of the dish, moving toward Bucky. "This one's for you, because I read that you liked plums." You handed him the dish, quickly moving back to the others. "I also made a peach and an apple for everyone else." You smiled at Tony and Sam, unknowingly leaning slightly into Steve.

"Why does he get a special cobbler?" Sam whined, eagerly reaching for the other dishes.

Suddenly, all eyes were on you. Well, except Sam's who were on the peach cobbler.

"Oh, um, well, I was hoping I could talk to you." You looked at Bucky nervously, unsure of how he would respond.

"Anyone who bakes me a plum cobbler can talk to me, Doll." Natasha chose that exact moment to enter the room.

"Who made plum cobbler?" She looked around the room, eyes narrowing in your direction. "How did you get in here?"

"I brought her." Steve smiled at you before walking over to Natasha. He whispered in her ear, just loud enough for her to hear, but nobody else. "She's not a threat to your relationship, trust me."

Nat nodded her head, trusting Steve, although not for the reasons he thought. She could clearly see the blonde's affinity for you.

"So, what did you want to talk about?" Bucky asked between bites of cobbler.

"It's really a private conversation." Steve answered for you, seeing how unsure of yourself you were.

"Then why do you know, punk?" Bucky countered.

"Well, I had to tell someone so I could finally talk to you. Steve's the one who asked." You smiled at Steve again, trying to convey how grateful you were with just a look.

Steve smiled back at you, while everyone in else just shared a knowing look.

Eventually, Steve cleared his throat. "Buck, can you just come with us?"

Bucky nodded, moving to follow Steve while still eating the cobbler. You followed the two of them as well, growing more nervous with each step.

Steve lead you to his room, placing the box of scrapbooks on the bed.

"Do you want me to stay?" Steve looked to you for an answer.

You took a deep breath, in all honestly you would love for him to stay, but you think you should probably just talk to Bucky first.

"No, that's okay. Come back in like, 30 minutes?" You scrunched up your face, unsure if 30 minutes was long enough, but knowing you would need the deadline if you were ever going to explain it all to Bucky.

Steve nodded, squeezing your shoulder as he passed you to leave the room.

"Um," you turned to Bucky, trying to think of where to start. "I don't know what you already know about me, but-"

"Nothing really. Except that you make a delicious plum cobbler." He smiled, helping to ease your nerves. Food really was the way to this man's heart.

"Oh, I guess I'll start where I started when I told Steve." You smiled at the mention of his name, unaware of your own actions. But Bucky noticed.

"My parents died a few months ago." Bucky's eyes went wide, trying to think of what this could have to do with him. "Um, it was a car accident. They both died on the scene." You took a deep breath, trying to push through the sad parts.

"I had to clean out their house, and I found some scrapbooks that lead me to you." You shifted closer to the bed, looking through the scrapbooks you brought.

You pulled out the one with the first picture you showed Steve, opening it and gesturing for Bucky to take it.

He set the cobbler on Steve's nightstand, cautiously reaching for the book. He looked at the picture for a long time before saying anything. And when he did talk, it was a whispered "Becca..."

He ran his fingers over the picture slowly, just staring. A few minutes later, he eagerly flipped the page. He spent a good 10 minutes just looking through all the books you handed him.

"Where did you get these?" He questioned, although not accusingly.

"I found them in my parents house. They were with a bunch of my grandma's stuff that she had from her mom." You wanted to ease him into it.

"So your great grandma..." He trailed off, disbelief clear across his face.

"Was Rebecca Barnes." You finished the sentence for him, nerves clear in your voice.

You weren't sure what to say next, so you waited for him to make the next move.

"So you're my... great-grand niece?" You nodded at his question, still unsure if he was happy with the news. "God, that makes me feel old."

You nearly cackled, surprised by the joke. He smiled when you laughed, glad to have cleared some of the tension.

"Why did you want to find me?" He questioned, the mood turning more serious again.

"Well, I was really close to my parents. They were the only family I had. When I found out you are family too, I just... I knew I needed to at least tell you." You shrugged at the end, unsure if you really answered his question.

"You wanted to tell me so badly that you sat outside the compound every Saturday for five weeks even after being ignored?" He was in shock that anyone would spend that much time and effort just to talk to him. You started panicking immediately.

"I'm so sorry if you didn't want to know! It was selfish of me to force this on you. I can go, if you want. You don't have to talk to me." You started questioning everything. You moved to put the books back in the box when he stopped you.

"Oh, um. I'm sorry, you can keep those. If you want!" Tears were threatening to fall down your cheeks when you remembered the ring. You froze with your hand in the box, not knowing if you'd want to part with it knowing you'd never see Bucky again.

"Y/N..." Something in the way he said your name made you look at him. "I- I'm glad you told me. Really glad. I, uh, I never thought I would have family, well besides Steve. You know what I mean." He ran a hand through his hair, and you noticed the tears in his eyes.

"I don't want you to go. It's just hard for me..." he paused, trying to figure out his emotions. "It's hard to believe that someone would care about me that much."

"Bucky, I don't know you." He frowned at your statement. "But, I would love to get to know you." You smiled at him, trying to be reassuring.

"I'm not so sure you would." His face was hard, staring at the ground.

"Bucky, you aren't a bad person. I mean, sure you've done bad things, but it wasn't your choice. You were forced to do those things. You can't let yourself be defined by them. You're here aren't you?"

"Here?" He questioned.

"Working with the Avengers, I mean. You go on missions to help save people. That's your choice. That's who you are. I would be honored to get to know that person."

You smiled, waiting for him to say something.

"Are you sure?" He still looked unsure.

"God, maybe I get my stubbornness from you." You both laughed at that. "I am 100% sure."

"Wow." He shook his head, still in shock.

A knock sounded on the door before Steve came back in. "Is now a good time?" He asked, still standing in the doorway.

You nodded appreciatively. "Thank you." You pulled him into a hug, needing the emotional support.

"Of course. I'm happy I could help." He rubbed your back, reciprocating the hug. "Did you give him the ring yet?" He asked when you took a step back.

You shook your head, reaching into the box for the last item. "I, um, I thought you might want this." You handed him the box, nerves peaking through again.

He opened it, a soft smile on his face when he recognized it. "My mom's engagement ring."

You smiled, happy that he recognized it. "It was my mom's as well."

The two of you stared a the ring for awhile, reminiscing on time spent with your parents.

Eventually, Bucky picked the cobbler back up, not wanting to let it go to waste.

Steve couldn't help but roll his eyes at his friend. "Wow, jerk. You're just gonna go back to eating."

"Yes, punk. My great-grand niece made me a plum cobbler, and I tend to fully enjoy it."

"Great-grand niece. Ha, that makes you sound so old."

It was fun for you to see the two interacting like this, especially after the emotional hurdles you just ran.

"It's fine, Stevie. Let him enjoy the cobbler." Your face went red, not having meant to use the nickname.

"Yeah Stevie, let me enjoy the cobbler." Bucky couldn't help but poke fun, knowing there was an unspoken attraction between the two of you.

Somehow your face got even redder. Steve just rolled his eyes.

"Fine, eat your cobbler. Only because I had some of the apple one and it was delicious. It would be a shame to waste any."

You smiled at the compliment, embarrassment subsiding a bit. Steve sat down on the bed between you and Bucky, eager to ask his friend about some of the pictures. Steve put his arm around you, squeezing your shoulder as he spoke to Bucky.

You felt your eyes growing heavy, exhausted since your nerves kept you up most of the night. You rested your head on Steve's shoulder, soaking in his warmth as you cuddled closer.

Steve just rubbed your arm like it was the most natural thing in the world. Bucky narrowed his eyes at the interaction, realization dawning on his face.

"Oh my god. My best friend likes my great-grand niece. And she likes him." He said it so matter of fact, the two of you didn't bother denying it. You just smiled, and cuddled closer together.

[kumaradosha]

I’m seeing a whole lot of bad takes and ignorance of past/present content and lack of critical thinking or ability to understand character motives regarding this most recent Dream SMP lore. So please, allow me to lay down some facts, some sense, and also some speculation of my own. This’ll be really rambly, because I’m tired, and I want to say a lot. Rewatching ALL the streaming perspectives now, my thoughts start here:

Considering Sam doesn’t want to enter the cell to dirty his hands himself, he clearly has some aversion or moral qualms about torturing prisoners, but Quackity has convinced him to go along with it. Quackity spends a lot of time before he goes into the cell repeatedly making sure Sam won’t have a change of heart and intervene, which indicates Sam probably has some misgivings. Quackity feels he has to remind Sam that this is for the greater good and to stand back and let him do his thing and that this will probably be the last time. These are all reassurances and instructions that would not be necessary if Sam were known to be totally cool with it all already.

Sam believes the stringent measures Dream put in place for the prison are just desserts for him to suffer, but Techno doesn’t deserve the same cruelty, because Techno didn’t enact those rules. And that’s why Techno gets baked potatoes from Sam, and Dream doesn’t. Sam clearly believes this harsh treatment is justified, because Dream was going to do it to someone else. He thinks he’s being just. Of course, allowing the torture, though not his idea and not really comfortable to him, was still crossing a line, considering physical torture was not something Dream did to his victims (and besides, there’s the argument that not everything a criminal has done is morally correct to be done to the prisoner regardless). That, he was convinced, was for the greater good, to get the revive book. Quackity manipulated him; he thinks he’s doing what’s best, but no, of course that doesn’t make him right or his hands clean.

Sam wanted the dog dead because it’s a security risk, especially with Quackity entering the cell with two other people. He killed it later for the exact same reason. Y’all act like nobody else has ever killed an animal in Minecraft RP; get it together. Is Sapnap also evil? Tommy? He killed his own cat. Random animals are not treated with the gravity you guys are giving them; it makes no sense to call out this one time.

When Techno raised the point that he would be fine if Quackity killed him, because Dream could just bring him back, Dream countered with his warning that Techno doesn’t want to experience death, judging by how messed up it made Tommy. What motive would he have to argue that, aside from actually caring about Techno’s well-being? If Dream was only thinking of himself, he would benefit from Techno being willing to die and be brought back to life by him, giving him an easy reason not to give the resurrection knowledge to Quackity. I honestly can’t think of a reason he would argue other than the fact that he doesn’t want Techno to die even temporarily or experience death--that he cares. Interesting...

Dream hiding in the escape tunnel to make it look like he disappeared too was 5,000 IQ, but he didn’t do it just to be silly or smart. Quackity literally threatened to kill Dream when he came back. Dream HAD to pretend to disappear, because he was legitimately in fear for his life. You saw how terrified he was when Sam found him, how he just immediately begged him not to tell Quackity. He was afraid Quackity would come back and kill him before Techno managed to come back and break him out. He believed that would be his fate and had to make a last ditch attempt to avoid that outcome.

Phil confirmed on stream that the blueprints Techno was led to via coordinates are for the prison. Not Tubbo’s missing nuke, like I’ve seen speculated.

“Steve is your polar bear” was written on stream during the “Prison Podcast” Technoblade lore. This is not a mystery. Dream said he wrote it down when Techno started talking about Steve rescuing them.

If Sam doesn’t approve of Quackity killing Dream, why doesn’t he just tell Quackity Dream is still in the prison but not allow Quackity in anymore? Quackity needs Sam to lead him inside, to let him in. Since when did he have any power against Sam to force him to let him in? I don’t understand why Sam has to keep it a secret just to keep Dream alive. Just don’t let Quackity into the prison anymore. Clearly it was a bad idea, since all these security risks happened while Quackity was getting a free pass to not follow the rules of the prison.

Dream casually walking in the way of Sam’s pickaxe to disrupt his swing once Sam almost had the bell broken gets me every time.

The rapport between c!Dream and c!Sam in prison fascinates me. Clearly Dream is much bolder with Sam than Quackity and still seems to trust his sense of duty to a degree. Sam is also more malleable, convinceable, his fatal flaw being actually listening and talking to Dream, even after it clearly messes with him psychologically. He let Quackity manipulate him, too, and he compromises too much. That might seem weird to say, considering the harsh conditions he has Dream in, but. He does give in to a few things.

I’m wondering if Dream wanted to go to the courtyard hoping it was less secure and easier for Techno to break him out of.

Sam has no reason to lie and gaslight about Dream being the one to suggest raw potatoes and sealing up the courtyard. That’s not in his character to do. So clearly Dream suggested these things. In fact, we have proof. Search for the clip of Dream revealing a teaser for future lore, with him telling Sam the hole in the courtyard ceiling for the light is a security flaw. He straight up says that. Update yourselves. Furthermore, are the recordings we have of Dream suggesting nicer features for the prison even lore? Are they in-character, or was it cc!Dream and Sam making plans? I’m genuinely asking, because I don’t remember/am not sure. In any case, clearly the plans changed at some point, and they were Dream’s idea.

Dream said he didn’t realize how bad it was until after he experienced it. This could very well be a lie. However, it could also be a wake-up call. We just don’t know. Dream clearly possesses low empathy, and every person at some point doesn’t fully realize how poorly another being can feel in a bad situation. Sometimes it actually does take experiencing it yourself to realize how it feels. People can do cruel things to others before the empathy fully clicks. It is possible that Dream really does only now understand how harsh his plans were. Unfortunately, it’s just as likely he doesn’t care and is pretending to, because he has a history of acting, lying, and manipulating. We just do not know, and I think that’s part of the fun, the speculation. Note that none of this is excusing what he’s done; that bores me. I just like understanding characters and their psychology and motives.

Sam is ASKING if Dream had this prison built for Tommy. He is suspicious that that is the case. Dream did not TELL him this, because OBVIOUSLY Sam would have absolutely nothing to do with building a prison he knew Dream meant for Tommy. So no, Sam thought it was for something else. And guess what? It was. Back during the disc war finale stream, Dream told Tommy and Tubbo that the prison was originally intended for someone else (maybe multiple people, the number was not specified), but that he changed his mind and would now put Tommy in it (ha ha punny). Tubbo asked who it was originally intended for, and Dream wouldn’t tell him, preferred to keep it a mystery. Dream had zero reason to say this if it weren’t true. In fact, it would have been more impactful to pretend (or admit) he intended it for Tommy all along. Think of the horror, or even the betrayal finding out Sam, his friend, helped make it. So yes, there is every indication that it is the truth--Dream meant the prison for someone else at first.

And Dream didn’t argue with Sam’s accusations, because why WOULD he? If he didn’t tell Tubbo who it was for, he wouldn’t tell Sam now. Plus, he wouldn’t want to argue with Sam, make him more heated and less sympathetic, and risk him deciding to tell Quackity Dream was there after all. Dream has no reason to speak up. Let Sam think what he wants. Dream’s silence does not mean confirmation. This is not a new thing with him. He keeps things mysterious, and there is a lot about his planning and mindset he does not disclose.

Now, whether Dream made the prison harsher before or after he decided he wanted Tommy in it is up for speculation. We don’t know that timeline.

Anyway, Sam’s speech about Dream getting what he deserves is really delicious. All these people out here mocking Dream fans for Dream still being in prison (like Techno’s not imminently coming to break him out, hello?) and being told off by Sam, yet plenty of us are enjoying it, too, like?? Bruh, what kind of Mary-Sue-touting asshole likes characters who are flawless who never go through strife? Can’t be me. I love watching my favs through triumph AND despair, so this is all just a win for me, thanks.

It is possible to sympathize with a bastard who is highly flawed and wrong AND to understand his motivations without justifying his actions AND to realize he deserves punishment (though to what degree I don’t care to argue). All the black and white morality and taking one extreme stance of “this character is perfect!” OR “this character is wholly evil and only ever does things to be sadistic!” and polarizing the community is cringe, yo. You need to calm down. Enjoy the ride or like...get off?

Anyway, Dream is my favorite, Techno is my second favorite, I adore Sam, I really enjoy Quackity, and the SMP wouldn’t be the same without Tommy. So much love for all of this creative work and its creators. I’m having a blast.

[katytheinspiredworkaholic]

Correspondence, Chapter 01

Pairing: HotchReid

Summary:  An AU where Reid never joined the FBI, but got roped into consulting for the LA field office while working and teaching at Caltech. Hotch gets his email referred from a fellow agent, and they start to work on cases together -- until they start talking on a regular basis. Regular becomes frequent, frequent becomes constant. They know nothing about each other, but they don't really mind.

Rating: Mature/Explicit (eventually)

Chapter CW/notes: some profanity, a side character who is a dick about Reid, set in season 06, self beta’d

Word Count: 2437

Masterpost Link

Ao3 Link

--

Chapter 01

--

March 2010

--

Dr. Spencer Reid

(Current Tenure: California Institute of Technology): Fred Kavli Professor of Theoretical Physics and Mathematics; Director, Walter Burke Institute for Theoretical Physics, Department Head of Mathematics, Physics, and Astronomy at Caltech.

- (Degrees, in order) Ph.D. Mathematics, Caltech, 1995; Ph.D. Chemistry, Caltech, 1997; M.A. Nuclear Science, MIT, 1999; Ph.D. Engineering, MIT, 2000; M.A. Sociology, Columbia University, 2001; M.A. Philosophy, Georgetown, 2001; Ph.D. Psychology, Georgetown, 2002; M.A. Applied Analytics, Columbia University, 2003; M.A. Socio Economic Statistics, MIT, 2004; M.A. Geology, Caltech, 2006; Ph.D. Geography, Caltech, 2006; M.A. Economics, Caltech, 2008; M.A. Brain and Cognitive Sciences, Caltech, 2009

- (Teaching positions, in order) Professor of Mathematics, Caltech, 1995-1997, Professor of Mathematics and Statistical Analysis, MIT, 1998-2005, Visiting Associate, Georgetown, 1999-2002; Professor of Chemical Engineering, MIT, 2002-05; Kavli Professor, Mathematics, Caltech, 2005-; Professor of Theoretical Physics and Mathematics, 2006-; Deputy Chair, 2005-; Director, 2008-.

“Jesus.”

The dossier is just an information sheet; no photo ID, no news articles beyond text component pieces, but it is a thick stack of correspondence and case consultations that S.S.A Aaron Hotchner holds in his hands.

“Five Ph.D.’s and eight separate M.A.’s in fourteen years? What was he doing before that?”

“Who knows? You don’t earn a Ph.D. overnight, even if his accommodation sheet makes ‘em look like they pop up like mushrooms,” Mark Anderson says, audibly tired through the phone speaker on his desk. He was one of the Unit Chief's from the teams at the FBI L.A. field office, who’s phone number was given to him by an old friend, Sam Cooper -- another BAU team leader. Hotch had hit dead end after dead end on this case, and sitting at his desk in Quantico, Virginia, he looks down at the recommended consultant’s extensive list of degrees and teaching positions with a building headache behind his dark eyes. He wasn’t a fan of Anderson, or his briskness, but at this point he’d take anything he could get. “I’m pretty sure that man has never lived outside an academic field. He’s a handful, runs my agents up the damn wall, but he knows his stuff.”

“I hope so. I’ve been on the phone the past three days trying to find someone with a background in Obscure Cognitive Linguistics,” Hotch reads from a separate file, filled with violent images and depraved acts described in morbid detail. “Our unsub sites a very particular thesis about a Study of Language from a Cognitive and Developmental Law, and I keep getting sent to experts in adjacent fields. I don’t see anything in this Dr. Reid’s background about language.”

“Oh, trust me, Hotch -- you’ll get more than you bargained for. This is your guy. He’s basically an expert on everything, and if he doesn’t know anything about languages I’ll eat my tie. He never shuts up.”

Frowning at the speaker phone, Hotch keeps his comments to himself. He’s sure that Anderson probably doesn’t appreciate having an old professor puttering around the field office, but that didn’t mean he had to insult the man. Especially when he was there as a consultant. 

“Okay, fine. Thank you. I’ll give him a call now-”

“Oh, you don’t want to do that. Just send him an email. Trust me.” Anderson all but groans like a petulant child. Graining on Hotch’s nerves excruciatingly.

“I’m sure he’s busy enough with his students, he doesn’t need to be fielding emails from the FBI,” Hotch hedged, still frowning. 

“Not too busy to write you a dissertation in reply, I’m sure, but you’ll at least get the answers you need. You could be on the phone with him a half hour before you get to what you called about. Hopefully it won’t take you too long to sift through.” 

Alright, now he is done listening to the other agent.

“Right. Thanks, Mark.”

“Anyti-” Hotch hangs up on him before the man could make any other remarks. His patience is non-existent after the past week and this extremely brutal case that only seems to compound exponentially in it’s viciousness with each passing day. If Anderson felt like being an asshole to some old man with nothing better to do than rack up Ph.D.’s, he could do it on his own time. Hotch needed help, and this man seemed to be the only person around who might be able to finally do so.

Dr. Reid’s office number is in front of him, as well as about three different lab location phone numbers, and one email address connected to the school faculty. He considers for a moment just ignoring Anderson’s advice and calling the old professor, but he has a meeting with his Department Chief, Strauss, in twenty minutes and the team would be arriving from canvasing the dumpsites soon. 

So with a suffering sigh, Hotch pulls up a new email (for what feels like the millionth time for this case) and composes a standard correspondence introduction. Who he is, credentials, case numbers and specifics as far as clearance rates for civilians go, and then finally the questions he needs answered. There is something about this particular thesis that has to be very tongue in cheek to the unsub, saying something that isn’t really there, and this could just be another dead end -- but if it led to them saving a victim from becoming another dead body, he is willing to give it one last try. 

Thank you for your time,  S.S.A. Aaron Hotchner Unit Chief, Behavioral Analysis Unit, FBI Quantico, VA. 

Then he hits send, and leaves the response up to the universe.

-

The team came up with nothing fruitful. Strauss proceeded to ream Hotch six ways from Sunday for wasting valuable bureau resources and coming up with zero results. His day was spinning down the drain in a hellish cyclone when he sits down behind his desk in his office an hour after leaving it. Case files still piled to one side, grotesque photos stacked within them, and Aaron Hotchner wants nothing more than for them to disappear. For the case to be solved and to be able to go home to his son and his quiet house. But there was no break in sight, no new information, nothing.

Except a new email in his inbox.

Agent Hotchner, 

I know that thesis paper well. I can help you.

All air seems to have been sucked from the room as Hotch reads the words a couple of times, not quite comprehending after the morning he has had that someone wasn’t giving him more bad news. That this Dr. Reid said he could help him. 

 A single click of the email opens up the correspondence reply, and the agent is met with a giant wall of text. Scrolling down for pages, and a quick skim of the material shows such a complex, comprehensive amount of information that there is no way it’s just copy and pasted from any one source. Or even several. It’s a long email spanning a vast number of pages, covering every topic he had asked about (and then some).

The thesis paper, the tongue-in-cheek citation from the unsub, how this killer is acting like he’s being clever when it’s really ‘very obvious what he’s doing, as long as you know the paper’ and detailed links and quotations and references to locations and side tangents on items mentioned that could be evidence to look for or weapons of choice, and so much else Hotch’s head feels like it’s spinning. Like reading the cliffnotes of a complex spy novel, with all the spoilers in one place. 

It takes him half an hour to read through everything Dr. Reid sent, meaning the professor had to have been typing a million words a minute from the moment Hotch had emailed him to get everything replied so quickly, and Hotch was baffled to realize that an old man with a handful of Ph.D.’s and no FBI training just solved his case.

Not a figment of speech.

Dr. Reid just solved the case, without even holding the file in his hands.

Hotch is dialing a phone number on his speed dial without even looking away from the screen. 

“Garcia? Call the team into the briefing room, and phone SWAT to mobilize. We’re going down to the riverfront in thirty minutes.”

“--Wait, what are you talking about? Did you figure out the unsub’s code?”

Not me, Aaron thought to himself, standing up and printing Dr. Reid’s email after forwarding it to the entire team and their tech analyst, Penelope Garcia. He didn’t have time to explain it that many times, and the amount of information in that single email would be enough to send any of them tumbling heels over head. But it solved every aspect of their case. Hook, line, and sinker.

And the clock was ticking. 

“Now, Garcia.”

He rushes from the room with the stack of files in his hands and his laptop open to Dr. Reid’s email. Not even thinking to thank the man for his help as he heads across the bullpen with profound determination.

They have work to do.

-

They catch the unsub that very day. 

Quick, efficient, completely by surprise. They saved Amanda Sutton and another girl they hadn’t even known was missing. No one died. None of his team was hurt. The unsub hadn’t confessed, but Rossi and Morgan had played him like a fiddle in interrogation and now all of his team members were walking to the elevators leaving for a long weekend where they wouldn’t have to worry about serial killers or another dead soul on their conscience. Today was a win. As close to a win as they ever can get, in their line of work. 

And it isn’t until he’s back at his desk, the hours ticking into the night, that he opens up his email and there in his inbox is the very reply that started everything. Dr. Spencer Reid. CalTech Department Head. Professor of everything under the sun. Expert on anything, even the obscure. 

The reason Hotch will get to spend the weekend with his son, without the overbearing aftershocks of a case gone so horribly bad plaguing him. 

His hands are moving before he can stop them. Opening up the email, typing out a response to Dr. Reid thanking him for his help. Relaying what happened, detail by detail much in the same fashion he had completed the paperwork piled on his desk. Letting him know that his information really did end up helping them. All of it. Even the side tangents. 

I don’t know how I can ever thank you for the extensive consideration you gave this case, or how to explain how it solved it so seamlessly, but your time and effort does not go unnoticed by me. 

Okay, so maybe he fluffs it up a bit more than the dreadful bullet-point list descriptions required by the Deputy Chief and the Director and SWAT Team justification reports. Just so it doesn’t look so inadequate in comparison to the man’s thesis-paper-length email he sent to aide Hotch and his team. The passion he has for his work leaps off the page, but it was a lot -- and if the old man put that much dedication into a basic FBI correspondence email, then he was probably used to it being a thankless effort. 

Hotch sends the reply, and continues with his work. He always takes a bulk of the paperwork, so his team can go home and rest and recharge. He needs them at their best for each case, and if that means he spends a couple hours longer after when they finish a case, it is worth every minute. But this time, once he finishes, he gets to take the coveted time off as well. 

It’s as he’s finishing up, everything stacked neatly and ready to be dropped at records, in the mailroom, Strauss’s office, the director’s, and he’s about to log off his laptop that he sees a surprise -- Dr. Reid replied to him, again.

It’s much more brief this time.

Agent Hotchner,

I’m so glad I was able to help you. 

You are one of the only agents to reach out and tell me how the case went after my consultation, and I’m very grateful to know that my information actually helped your team catch the killer. I know I tend to spout facts at random, but I do have methods to my madness and it’s such a nice change to correspond with someone who understands that. 

My services are always at your disposal. Anytime. Whatever I can do to help.

Sincerely, Dr. Spencer Reid

Hotch types out a brief reply. Thanking him for his offer, for lending him his expertise, and letting him know in not so many words --

I’ll have to take you up on that. 

He’d be a fool not to. Someone with that much knowledge and the ability to connect it all in the way Dr. Reid had in the span of an hour? He could be a real asset to the BAU, as a permanent consultant, even through email correspondence. 

He sends the reply just as he stands to leave. Turning off his office light, and his chest feels lighter for the interaction. For giving the professor that sense of assurance that what he had to say did in fact do some real good. Hotch even finds himself smiling softly, sadly, that he has also found a little bit of solace in helping another lonely old man across the country find a sense of purpose that night. Who was working late, as well, despite it being the end of the week. Speaking to not much waiting for him back at home, in whatever shape ‘home’ takes for the man. But Hotch can relate to that, too. Jack is at Jessica’s until the morning, and there is nothing at his apartment to greet him but silence and bare walls and memories he’d rather not dote on. Maybe this Dr. Spencer Reid is in a similar boat, finding comfort in his work when he can. He certainly seems to, with the amount of time he’s poured into his doctorates and degrees. In the number of departments he runs and monitors. 

Hotch can’t help but feel a connection, a companionship between empty offices. Thousands of miles apart, but maybe -- possibly -- at least similar in that aspect.

Not so alone, even if only for a brief moment.

-

(tbc...)

-

Tagged list: @spencehotchner @ssa-sarahsunshine @gothamapologist @reidology @marsjareau @dragon-snaps-fandom​ @emmyraebird @just-an-emo-rat​​​ @aaron-hotchner187 @dk18077 @more-heid-pls

[awesamhimbo-abandoned]

Sorry for jumping in, and you can delete this! But yeah the whole “kill Michael” bit made me… uncomfortable. Especially afterwards with people going “It’s just pixels!” Or “it’s just a minecraft mob!” Like yeah it is, but it reminded me so bad of people who would break stuff that didn’t belong to them, then go “it’s not a big deal it’s just [Blank]!” Especially since almost everyone at this point is aware of how attached Ranboo is of Michael? Like he legit has emotes, a plush, and wants to find a way to still keep Michael after the SMP ends. We’ve already seen how upset he can get just at the idea of Michael being dead. And I’m pretty sure he’s said he didn’t want another Michael when that did happen. Why even try to risk him possibly dying?

Adding onto this, Ranboo even got worried when Fundy was in character threatening to kill Michael knowing fully well that his friend wasn't actually doing it. What Sapnap did was uncalled for and some fans coming in to say shit just makes my blood boil.

The best way to explain it is this honestly: Would you steal a child's favorite toy and threaten to destroy it? Even if you both know you fully well that the toy will be fine, the child will still be in distress and sobbing.

Yes, Ranboo and Tubbo are both teens and almost adults, but they can still have that reaction when someone threatens to take away something that they are extremely close to. Sam is the same way with Fran, another "useless npc" that Sapnap has threaten to kill for zero reason other than wanting to get a reaction, and also another npc that his friend is attached to that will make them pissed at least.

Also it should be noted that George had thorns, and if they had still been in Easy Mode then Michael would have only 3 hearts. Their 'little joke' could have easily turned into multiple people being extremely unhappy with them but Sapnap and George, especially Sapnap, did not seem to care and took in all as a challenge.

The sad thing is I know EXACTLY how people like Sapnap work and it all comes down to some form of attention seeking.

[buckyskorpion]

11 hours - part six

Pairing: Biker!Bucky x Reader

Summary: bucky is the mystery you can’t wait to solve. if you can get out of his bed long enough, that is. a biker au.

Warnings: gang-typical violence, sex scenes, alcohol mentions, probably more to come so stay tuned

A/N: so i was gonna leave this on ANOTHER doozy cliff hanger but i genuinely thought i would get lynched so i decided to just leave it at a baby cliffhanger. a lot happened in this chapter and a lot of seeds have been planted for future chapters..... so lemme know what you think hehe. predictions?? angry letters?? pitchforks??? lemme know!! i wont be taking tags for this so please dont ask.

title taken from 11 hours by wet | playlist | please donate to my ko-fi!

masterlist 

“You’re very calm for someone with a gun to their head.”

Honestly, you had been thinking the same thing. Sure, your stomach feels like a snake pit and your hands are sweating and you don’t think you’ve ever been more aware of your own heart beat, but other than that - you don’t understand why you aren’t panicking more. There are three men standing in front of you, one behind, all with guns. They’re wearing matching leather jackets with an octo-head patch on the sleeve, and they all look very scary. Briefly, you wonder if Bucky has a jacket like this, with a patch on to match his family. It’s an irrelevant detail you can’t help but fixate on right now.

Bucky. Hopefully listening on the other end of the phone you have tucked in your back pocket which your kidnappers haven’t been bothered to check yet, thankfully. You flex your wrists against the zip ties holding you to a chair and ask, “Where am I?”

“You should know,” your stalker turned kidnapper says with a condescending sneer. “You followed me here.”

“The Lerna?” you clarify, for the sake of hopefully someone on the other end of your mobile picking it up. You glance around at the old-style bar; chipped wood and beer stains, a rickety pool table one of your stalker’s friends is using as an arm rest. You curl your nose up at it - a little proudly, you note it has nothing on Sam’s bar.

“Do you recognise the place?” your stalker asks. That throws you. You want to ask what he means by that, why you would recognise this gross bar you’ve never stepped foot in, but you clench your teeth and school your face.

Once your dad sat you down in a chair much like this one, in his office at the house you grew up in. You were eleven, maybe, and you didn’t quite understand why he was tying your hands to the back with a necktie but you went along with it. He did this, sometimes - would orchestrate some strange lesson when his nightmares got really bad, his ghosts chasing him inside the house until he saw enemies in lampshades and kitchen cabinets. To keep you safe, he would say, and then he sat opposite you and asked what you would do if anyone ever put you in this position against your will.

“Kroshka, they will use anything against you,” he had said, and you see that now with the way these men are looking at you for any weakness. But you didn’t understand then, you were a kid thinking your dad was spiralling again, so he had cast around until he found a beer bottle on the coffee table. “See, like this. When the label is flat it’s fine, but as soon as one little corner lifts you can’t help it - you have to peel it all the way off. Don’t give them any corners, kroshka.”

You blink, once. The man in front of you scowls when you don’t answer, presses forward into your space in a show of intimidation. You try not to flinch, but that fear you were missing before is starting to set in real fast. What did he mean, do you recognise it? And why the hell are you so prepared for a situation like this, almost as if your dad has been training you for it since you could remember?

“Fine,” your stalker says, his breath fanning over you with how he’s leaning into your space. “Maybe you can answer something else, about your boyfriend.”

“Dunno who you’re talking about,” you say. It’s not a lie - technically, you hadn’t had the ‘boyfriend-girlfriend’ chat with Bucky yet. This man is not appreciative of your loopholes. He grabs your hair and yanks your head back, pressing his glock into your neck. You shiver, both at the pain and the cold of the metal. Through gritted teeth and mild hyperventilation, you say, “As a matter of fact, I dunno who you are either. That’s kinda weird, dontcha think?”

You can practically hear Bucky in your head telling you to shut up, but he’s not here right now. No corners, just like your dad said. Doesn’t mean you can’t try and find some corners of your own.

What you meant as a question to buy some time, with a bit of attitude on the side, sends your stalker reeling back from you. He’s confused, eyebrows drawn down low and his friends behind him look to each other with the same expression. Now, you’re confused as well. Everyone in the room stands (or sits, in your particular predicament) in a pure state of what the fuck is going on. It would be funny, if there wasn’t still a gun to the back of your head.

“You don’t know the patch?” the man asks, gesturing to the sleeve of his jacket. When you don’t respond he continues, slowly, reiterating his question from before but as a statement, “You don’t recognise this place.”

You have zero idea what’s going on, but whatever you’ve said seems have thrown your kidnappers for a bit of a loop, so you decide to roll with it. You say, and hope to god the man standing behind you doesn’t shoot you for it, “I’m starting to think you’ve lost control of this situation, pal.”

From the corner of the room behind you, a familiar husky-toned red head says, “Funny, I was thinking the same thing.”

Shots ring out, shattering the windows as one by one your stalker’s friends drop like dominos. Someone crouches behind you and cuts you lose with a knife, and you hear it clatter to the floor as they launch over the back of your chair feet first into your stalker. Natasha. The flash of her red hair over your shoulder as she sends him flying is unmistakable. You scramble from the chair, fumbling for the knife she dropped but your hand slides through something thick, wet. The man behind you with the gun lies dead, throat slit, his blood now all over your fingers. It mesmerises you in a sickening way, making your stomach turn and your vision go fuzzy.

You’d never seen a dead body before. Now they are all around you, the bar smelling like blood instead of beer and the sound of bullets pinging off glass the only noise other than Natasha grappling with your stalker. She’s so small compared to him but she has her thighs clenched around his throat and he gasps for breath, clawing at her legs. You watch, stunned, as he gets a grip on her and throws her off, sending her crashing into the wall with a groan.

She hits the floor and you see red - all you can think is that’s Bucky’s family and that man is walking towards her, his gun trained on her body as she tries to pull herself to her feet, so you stop thinking at all. You picture the back of your stalker's neck like the dartboard at Sam’s bar and you throw.  

Bullseye. Just like your dad taught you.

The man drops, knife buried in his neck and haemorrhaging blood. He gurgles this awful, awful sound as he clutches at his throat, trying and failing to push the blood back in. Natasha looks from your still outstretched hand, trembling in place, to meet your gaze. You can’t begin to decipher her expression, nor do you want to. You feel like you’re going to throw up, or choke, or scream, or all three. The man you just stabbed in the neck groans in pain, eyes rolling, coughing blood from his mouth in thick clumps. You can’t feel your hands anymore.

The door bangs open and you flinch, stumbling back until you trip on the chair you had been tied to and fall to the floor in a crumple of limbs. It’s Bucky, eyes wild and larger than life with a rage you’ve never seen before. He has a huge sniper-rifle slung over his back as he strides into the bar, stepping right over the writhing body of your stalker.

“I’ll deal with you in a second, Rumlow,” he practically growls, kicking aside the man’s hand that tries to grab for him. You scramble to your feet, practically tripping over yourself to get to Bucky. Doesn’t it say something about you that you run towards the man responsible for the death all around you?

You crash into Bucky hard, the force of the impact knocking the breath right out of you and once it’s gone you can’t get it back. It feels like his arms encompass the entirety of you as he holds you so tight your feet leave the ground. His chest rumbles with words but you can’t hear him, your ears are ringing and your chest is tight because panic attack, you dumbass. You press your face into Bucky’s neck and hope that’s enough to escape the scene unfolding around you.

“Get her out of here, I’ll deal with this,” you hear Natasha say somewhere behind Bucky but you refuse to lift your head to see.

Bucky attempts to pull away from you to look at Natasha, you can feel him try and twist his head but the inarticulate whine that rips from your throat stills the both of you. It’s mildly embarrassing, the sound you’ve just made, but it’s out there now. Bucky shifts his grip so one big palm rubs soothing strokes up and down your spine and you feel yourself becoming boneless with every pass of his hand.

“I’m not fucking lettin’ him get away with this,” Bucky says, low, threatening - if you were this Rumlow guy bleeding out on the ground, you would be afraid.

“And he won’t,” Natasha says, and then like she has to remind Bucky of his own thoughts, “but you have other priorities right now. Get her out of here.”

You feel Bucky nod, his scratchy chin moving against the top of your head. He kisses your temple and holds the back of your skull with one big palm, pressing your face further into his neck. It means you don’t see the carnage of the bar when he moves to place an arm around your shoulder and steer you out the door, stumbling under his guidance on shaky, cotton-fuzzy legs. He’s hurrying you, but as gently as he can. Once you feel the bright burn of sunlight on your skin you pull back from Bucky’s neck, blinking in the now empty street and Bucky’s piercing gaze as he looks down at you.

“Are you with me?” he asks, his hand dropping from your skull to squeeze the side of your neck. You still feel like you’re sipping each breath through a straw but you nod. You can see in his eyes he needs you to be with him right now, to get out of here, so you try and blink away the fuzzies in the corners of your vision and focus on his face.

“I’m sorry,” you say, and christ, now is not the time for that stinging pressure behind your eyes you hate so much. You hope Bucky understands - sorry for not listening to him, sorry for getting you both into this mess, sorry for not being strong when he needs you to be.

Bucky shakes his head vehemently, tugs you in harsh and strong by the grip he has on your neck to press a bruising kiss to your forehead. Your eyes flutter close at the fierce way he holds you, presses emotion into your skin like the tattoos littering his skin - a brand of your own, in the middle of this eerily empty street with the blood of strange men on both your hands. The thought makes you shake, so you twist your fingers in the hem of Bucky’s t-shirt and breathe him in deep.

“I’m sorry, doll,” he says, then pulls away from you. He grabs one of your hands from out under his shirt and links your fingers, beginning to drag you down the street. Looking back over his shoulder, he says with a grimace, “We gotta go.”

He leads you to his bike, squeezed between a brick wall and a dumpster in a side alley a block away from The Lerna. It roars to life before you’ve properly swung yourself on the back, and you aren’t bothering with helmets this time as Bucky eases the bike out from it’s tight spot with unsettling ease. All you can do is hold on tight and close your eyes as Bucky leads you away, weaving through the city in nonsensical loops before you feel the air open up around you and the familiar sounds of Brooklyn.

Bucky takes you to Steve’s tattoo in Red Hook, the first time you’re been back there since that fateful run-in with Natasha. You’ve checked out completely by the time Bucky parks - he has to lift you off the back of the bike because your legs won’t work, and he all but carries you inside. Steve is quick to rid the shop of the two customers looking at designs out front as Bucky settles you on the couch by the tattoo beds. You sink into the faded red leather without feeling a thing. Distantly, you notice the kid who usually mans the tills looking at you like you’ve grown a second head, and you suppose you deserve that.

“Stevie, I think she’s in shock,” you hear Bucky say, and the childhood nickname makes you smile. You watch Bucky’s face crease up deep concern at the dreamy look on your face, so you suppose you should stop smiling like a crazy person. A giant blonde head swims into your view, just as concerned, and he drapes a blanket around your shoulders.

“Bucky,” you say, your eyebrows drawing down as you fumble for his hand. He squeezes your fingers and mumbles something to Steve who leaves you again, his voice mingling with the kid’s somewhere over Bucky’s shoulder but you can’t focus on that. All you can do is swim in the back of Bucky’s too-deep stare and say, “I killed him.”

“No, no,” he says, shifting closer between your thighs as he kneels on the floor in front of you. This would be funny to you in any other moment, something to tease him for as he takes both your hands in his and squeezes them together, silently imploring you to stay looking at him. He says, “That’s not on you, sweetheart, it ain’t. You didn’t kill him.”

You’re crying now, properly, which you suppose is a good sign because you don’t think people in shock can cry. You watch as something cracks in Bucky’s eyes as he watches you break apart, but you can’t stop now you’ve started. You say, “I did, I killed him. How do you do it? How do you just- I feel like my throat’s gonna close up. How do you live past this?”

Bucky’s face darkens, smoothing out to something stone cold and frightening. You don’t feel scared, though, as he leans into your space so close you almost feel cross-eyed trying to stay glued to the blue of his eyes. He searches your face for something and says, no room for argument, “You did not kill that bastard, you hear me?”

“But-“

“No,” he says, simply, and that’s that. “The only reason you were in that position is because of me, doll, so no. You didn’t kill him. It’s on me, and I live with that so you don’t have to. You got that? You don’t ever have to live with that.”

You don’t know how he makes you feel like he’s physically reached into your chest and pulled out your guilt through your throat, but he does. You can see it clenched tight in his fist, his eyes shuttering down dark as he shoves it between his own teeth to hold. It’s too soon for the feelings clawing at your ribcage but you feel them just the same, that cigarette burn he left on your heart aching so bad you could scream from it. You extract a hand from his to run down his cheek, along his jaw, cupping his face in your palm. He closes his eyes, shudders as though swallowing down the guilt for the both of you.

I love you for that, you think to the soft flutter of his eyelashes against his cheeks. I’ll love you forever for that.

~~~~~~~~~~~~~~~~~~~~~~~

When Natasha returns to the shop, and Sam bundles in not long after that, the four bikers sit around Steve’s prematurely closed tattoo shop and have a family meeting. You can’t help but feel like the kid who’s stayed up past their bedtime to try and hang with the adults, the words flying over their head and sleep pulling at their eyelids but they fight to stay awake anyway. Bucky pulls your head into his lap as he sits on the couch beside you, so you lie there and let him stroke your hair while they discuss what happened over the past two hours.

Two hours, and that’s all it’s taken for your whole world to spin on it’s axis. You’d learnt to throw knives at tree trunks with your dad as a fun, albeit unconventional after-school activity. And now you’ve buried a knife in someone’s neck, you’ve been kidnapped and tied to a chair and watched Bucky gun down men from a rooftop with his sniper rifle. He pulled the trigger with the same fingers he’s carding through your hair now, nails scratching at your scalp in a way that makes your toes tingle. How is that at all ok?

“We’ve started a turf war with Hydra, now,” Sam is saying, sitting backwards on a chair facing Bucky and spreading his hands out in a placating gesture as Bucky bristles. “It was unavoidable, alright, I’m just saying.”

“Not necessarily,” Natasha says. “Rumlow has had a vendetta against Bucky for years. He could’ve been acting alone.”

“It is strange we haven’t heard anything from Pierce,” Steve says thoughtfully. He is pressing an icepack to Natasha’s back, already bruising from where this Rumlow guy threw her into the wall. She’s lifting up her t-shirt and you can see a glimpse of a back piece standing out stark against her pale skin. Giant, feathered wings and a talon, a mosaic piece of what looks like a large hawk spanning the length of her spine.

“When Pierce finds out it was us that shot up his bar, though,” Sam says, making meaningful eyebrow movements to the group. They all nod thoughtfully and fall into silence.

None of these names make much sense to you - Hydra, Pierce, even Rumlow who you’ve gathered by now was your stalker. Was, because he’s dead now, and the thought turns your mouth dry and rusted. You shift in discomfort, drawing Bucky’s attention down to you as he gives you a concerned once over. He had done a thorough analysis for any injuries, even after you’d assured him you were fine, but you can tell he’s still unconvinced.

Unfortunately for you, all your wounds appear to be mental. They’re getting deeper by the second.

“I keep thinking,” you say to Bucky, “why was he so surprised I didn’t know where I was? Or who they were?”

“Hydra is our biggest rival,” Bucky says, and huffs a laugh at your crinkly brow so he clarifies, “They’re another gang, one we’ve had a lot of run-ins with. Rumlow especially. He wasn’t our biggest fan.”

“So he expected you to have told me about him, and Hydra,” you say, the name unfamiliar on your tongue. He nods, and you have to ask, “Why didn’t you?”

Bucky frowns at that. “I already told you - the more you know, the more dangerous it is.”

“And I already told you, no secrets,” you say, frowning just as deep. A beat passes and Bucky doesn’t budge, just glares down at you like he can physically bore his opinion into your brain and make it yours. Exasperated, you say, “Bucky, it didn’t matter anyway - the danger found me. Telling me things like that isn’t going to make a difference.”

“It would’ve if you’d listened to me and not done the stupid thing,” Bucky says, raising his eyebrows. He may have a point, but you aren’t going to back down that easily. Bucky knows you, he knows if you see a loose thread you’re going to pull it. The fact he thought you’d listen to him tell you what to do at all is laughable.

“This gang is your life,” you say, and you don’t bother to hide your frustration now, “They’re your family. I’m no safer not knowing what’s going on - I got stalked and kidnapped regardless. Clearly, it’s dangerous no matter what, so just tell me, Bucky. Whatever it is.”

Bucky stares at you for a long time. Steve, Natasha, Sam - they cease to exist in this room with you. Those first few weeks, when you refused to stay the night in Bucky’s bed and would only see him to fuck - you used to be scared of looking into those eyes for too long, for fear of getting lost. Now you dive head first, a part of you hoping you do get lost so you never have to find your way back out again.

Eventually, Bucky clenches his jaw tight and says, “You’re right.”

You blink, surprised. You hear Sam whisper to Steve, “did you record that?”, and honestly, you wanna ask the same thing. Except the way Bucky is look at you- dread curls thick and choking in your gut. You look up at Bucky and he seem so far away, out of reach even though you feel him all around you. He continues stroking your hair but it’s absentminded, his mind far away too.

You are drawn back to the tattoo shop by Sam saying, “I gotta say, Barnes, your girl is smart as hell. Keeping your phone on you and out-smarting Rumlow in a hostage situation? Pretty badass.”

Bucky smiles briefly down at you, but it doesn’t quite meet his eyes. You turn to Sam and say, “I got the impression out-smarting Rumlow isn’t really that hard.”

Everyone laughs at that, even Bucky, and it clears away some of the dread eating away at your stomach. But it’s still there, acidic and bubbling no matter what you do to smother it.

Eventually, they grow tired of talking in circles about Rumlow and Hydra and the possibility of the feds showing up (Bucky assures everyone the cops will find no rifling on the bullets and won’t be able to pin them to the crime scene, but Sam mutters heard that before and an argument erupts about some debacle in Bucharest so you tune out). Bucky takes you back to his apartment, tucked securely in his leather jacket in the best kind of shock blanket you could ever ask for.

For the first time, you noticed the tiny embroidered star on the sleeve of his jacket. You wonder if all Bucky’s friends have the same star on their jackets, because they’re not just friends, they’re a gang. One you feel suddenly, irrevocably intertwined with since they’re the only reason you aren’t sitting in a jail cell for murdering someone.

You feel jittery as you walk into Bucky’s apartment, almost nervous. It looks the same as this morning, the coffee cups you used for Steve and Bucky still in the sink and hoodie of his you’d worn last night draped over a chair. But everything is different, now. It’s all changed, there’s weird new shadows over everything long after Bucky turns on the light. You linger in the doorway to Bucky’s bedroom while he rummages around for sweats and jumpers, laying out a pair for you before he begins changing himself. He shucks off his t-shirt and you see his tattoo sleeve, the mottled scars hiding underneath, and your heart flies out of your throat before you can stop it.

“So do you guys have a fun, spooky name like Hydra or what?” you ask, closing your eyes with a grimace as soon as you ask the question. What are you, twelve? Bucky doesn’t answer and you’re too afraid to open your eyes too see the look on his face.

You’re startled when you feel him kiss your cheek, sensing his large frame towering over you and blocking out some of the soft bedroom light. You open your eyes to find him smiling down at you, laughing at you with his eyes as he says, “Not so spooky. Steve named us, he called us the Howling Commandos. The HC, for short.”

You crinkle your nose up at him and he flicks the tip with his ringed fingers. You say, “That’s very old-fashioned.”

“Nat teases him for it all the time,” he says, “She calls us her barbershop quartet.”

You smile, imagining Bucky in suspenders playing the accordion, and say, “Now that I like.”

The longer Bucky looks at you the more sober he becomes, mouth becoming pinched and jaw muscle ticking. He holds you soft by the biceps and walks you back until you hit the wall, still gentle, but bracketing you in now so all you can see is the weight of whatever complicated thing is running across Bucky’s face.

“You scared the fucking shit out of me today,” he says. He shifts, grips your jaw tight so his rings dig into your skin with none of the gentleness of before - he means this. “Never do that again.”

“I’m sorry,” you say, twisting in his tight grip to press a kiss to his fingertips. He softens, allows you to pull him in flush against you by his waist, his bare skin so warm under your hands. “And, thank you. I don’t- I guess I’ve never had someone come save me before, I don’t know what to say.”

“Don’t thank me,” Bucky says, shaking his head. He kisses you, a rough press of chapped lips against yours and is gone again before you can react. Says, “I’m sorry, too.”

“Come back,” you say with a pout, and you have just enough time to see Bucky smirk down at you before he’s kissing you again. It’s just as fierce, almost painful, but the rough slide of it distracts from the burn in your chest and your racing thoughts like razorblades. You lick into his mouth, chasing away the ghosts nipping at your heels, and he presses you back into the wall with a thunk hard enough to leave a bruise on your tailbone tomorrow. You don’t care. It feels good to hurt in a way that’s physical.

The ease with which Bucky picks you up makes your head spin. It’s all you can do but pepper kisses along his stubbled jaw as he carries you to the bed, lips suddenly ripped from his skin as he dumps you on the covers. He is quick to follow, squashing you down with his tongue in your mouth before you can take another breath. This, you know. All the messy feelings and heartache and fearfearfear that beats in time with your heart, that maybe you’ll lose him or he’ll lose you and you came so close today, is unfamiliar to the both of you. But arching your back off the bed so he can take your shirt off, scrubbing your fingers through the short hair at the nape of his neck as he peppers kisses across your tits with a trail of goosebumps left behind - this is how you know Bucky best.

He makes quick work of your clothes and you fumble with his jeans, laughing into his mouth as he bats your hand away to do it for you. Bucky bites your bottom lip in playful admonishment and you chase his mouth as he tries to pull away. He places one big palm on your clavicle and pushes down, holding you against the bed. He shakes his head at you with a smile.

“Stay,” he says like he would to a dog, grinning wide as you glare at him. But you do as you’re told as he leans over you to grab a condom with his left arm. Maybe you bend the rules a little to trail kisses up the bits of his outstretched forearm you can reach. Over a shadowy skull, the stem of a rose, what looks like military windings near the crook of his elbow and tiny handwritten letters that spell S N S. Sam Nat Steve, because Bucky might be a tough guy to most but he’s a giant sap deep down.

Bucky shudders at your touch, and it makes you wonder if the scarring under his tattoos is extra sensitive. Or maybe he is just sensitive to anyone touching him in such a vulnerable place. You flick your eyes up to watch him watch you, lip drawn between his teeth and a dent between his eyebrows you ache to soothe if he wasn’t still holding you down. You don’t stop, even though he looks physically pained with every brush of your lips against his skin. You trace the edges of another small wolf with your tongue, like the ones on his chestpiece, and watch as his eyes flutter closed when you get close to the paper-thin skin of his inner wrist.

That hits Bucky’s limit. Suddenly his hand on your chest slides up to your neck and he’s leaning over you, left arm braced by your head and his mouth swallowing yours. You groan against his lips at the rough drag of his hands down your sides, gripping your waist tight enough to bruise. He makes your brain go fuzzy, the only coherent thoughts being Bucky and touch me more. He seems to understand. His fingers find your clit, smoothing slow circles which spark embers in the pit of your stomach. Bucky’s mouth falls open as yours does, as if to breath in the whine he draws from you.

“Fuck, you always sound so good,” Bucky groans. He buries his face into the side of your neck, taking advantage of your thigh trapped between his legs to rut against you while he continues playing with your clit. Every time Bucky gets filthy with you it’s like the first time, shocking and almost embarrassing in the sexiest way possible. Heat floods your cheeks and makes you lightheaded, unable to stop the moan he draws from you. You’re rewarded by Bucky’s teeth in your neck, the sensitive spot just over your pulse point, and if you’re being honest you could come just from this.

Bucky’s cock growing harder against your thigh, as his hips shift in rhythm with the circles he draws on your clit, becomes too difficult to ignore. To gain his attention you twist and nip at the closest piece of skin you can find, Bucky’s ear, and he engulfs you in a kiss which steals the breath right out of you. You buck your hips, hoping to nonverbally convey the demand get in me right now, and Bucky doesn't need any more hints than that.

He fumbles with the condom for a second and you take the time to sit up on your elbows and look at him. Bucky is so beautiful, drawn in harsh lines and stark contrasts. Tan skin turned paler against the opaque black of his tattoos, colour swirling in-between and it should be jarring, but you think he just looks like art. Bitten red lips, startling blue eyes pinning you to the mattress as he catches you staring - such bright, primary colours because he is a statement piece, and one you could look at forever.

Bucky grins almost bashfully as you stare at him, leaning back over you to kiss you soft and sweet in a sharp juxtaposition to the rough tumble which got you here. Again, he sends your head spinning when the tender kiss is punctuated by the unexpected push of Bucky’s cock in your cunt. He bottoms out before you can blink, throwing your head back out of the kiss with an untamed groan - both pleasure and pain, in the good way. Bucky drags his teeth from your lips down your chin and neck, biting a mark into your collarbone to set the tone for the bruising pace he creates as he pounds into you.

He doesn’t do anything in halves, you think. You gaze up at him with an almost dopey smile while Bucky fucks the literal breath out of you. You lift your hips to meet him as he bottoms out with every thrust, watching in awe as his face creases up in ecstasy - it’s you who brings him there. He palms your tits like he can’t help himself, loses control in your pussy because you make him feel that good, and the thought makes you giddy. Drunk, almost, as you drag your nails down his chest and nearly come once again just from the moan you draw out of this brilliant, dangerous, gorgeous man.

“You take it so well, baby, fuck,” Bucky pants, eyebrows creasing as the pleasure gets almost painful in its build. You know the feeling. Bucky’s mouth is always your undoing, rolling your eyes back into your head and the sounds you’re making turning positively feral. He kisses you again, more a slam of mouths than anything finessed, and says, “Never gonna get over this, never gonna get over how good you feel.”

“Bucky, you gotta-“

“I gotta what, huh?” Bucky grins at the pleasure-addled panic he brings you too, not wanting to come too fast but also needing to let go before you actually explode. He knows exactly what he’s doing, balancing on one hand to thumb harshly at your clit as he says, “You want me to stop? I don’t think so, sweetheart, I think you wanna come on my cock just like this, wanna hear me tell you how good you are, how sweet you are for me all laid out like this-“

Everything whites out as you come, hard, all your muscles spasming like crazy with the orgasm that rips through you. Bucky’s voice is drowned out, but it doesn’t matter what he’s saying anymore, he’s made you feel like you’ll never catch your breath again. Bucky thunks his forehead against yours, collapsing on top of you as the fluttering clench of your cunt around his cock becomes too much. His thrusts turn sloppy, his breath hot and ragged across your face as you press lazy, barely-there kisses to his cheeks - all you can muster in your fucked-out haze.

Bucky comes with his eyes closed, eyelashes tangling with yours, and you cling to him with all four limbs as he shakes through his orgasm. The release was so needed for the both of you, the events of the last twenty-four hours frying your nerves to the point where it was either fight, cry, or fuck. It feels so good to have Bucky on top of you, inside you, all around you in every single sense and it warms your heart in a way you didn’t know was possible until now. Until Bucky.

Maybe that’s the afterglow talking, and you should stop. But you can’t help but press another kiss to Bucky’s cheek, and another, over his nose and across his still-closed eyelids until you reach his mouth and he can kiss you back just as soft. You hope he gets it. You hope he feels it too.

~~~~~~~~~~~~~~~~~~~~~~~

You go to see your dad, eventually. The chaos of yesterday kept you attached to Bucky’s hip - you showered together in the morning, and he allowed you to pretend it was just the water and not tears soaking your face. But he made you cuddle with him on the couch and fed you an omelette like you were incapable of feeding yourself, and maybe you were, because the reality of what happened in that shitty Manhattan bar was starting to eat away at your executive functions. It took all of your strength to convince Bucky you would be ok and that you’d come back to him as soon as you were done, but it was time to pull on a thread you’ve been ignoring for far too long.

It turns out, that paranoid over-questioning part of your brain doesn’t turn off even during a traumatic event. Your dad lets you in without a word, tugging you into a side hug as you both walk to the kitchen to make tea.

The house you grew up in has taken on a different light since the Lerna. The kitchen chairs aren’t the same, reminding you too much of ziptied wrists and a gun in your face. Why can you superimpose the memory of Rumlow holding you hostage to one you have of being eleven and tied to a chair by your father? You shouldn’t be able to do that.

He nudges your hip, jerking you out of your staring contest with the dining chairs, and offers you a mug of tea. You both sit at the table, either end, the fruit bowl a mediator between you. He looks tired, old, like he always has somehow in your memories from childhood. He’s still your dad, the same man who always been there because he’s all you’ve ever had. He loves you, you know does. Ya lyublyu tebya, luna. But he has always been the first to say your paranoid streak runs a mile deep, and once you find a thread-

Well. Everyone knows how that ends.

“Do you want to talk about it?” your dad asks, and it’s like he knows you aren’t here to ask for boy advice or moan about a case or your skyrocketing rent.

There’s a lot you want to talk about. Why did I learn to throw knives instead of joining the soccer team, like normal kids? Why did I learn how to survive an interrogation instead of going to sleepovers, like normal kids? Why did you train me to question everyone and everything in this world, but I’ve always blindly believed you? Like a normal kid would, you suppose, the only normal you’ve ever really gotten. Always believing your dad is the superhero of six-year-old dreams, someone who would never keep you in the dark.

“No,” you say, taking a sip of tea. It burns your tongue to numbness, but you can’t bring yourself to care. We had the secret language for only us - why did I never think you might have secrets from me as well? You grimace into your tea and say, “Not right now, I’m sorry.”

“Tayny budut presledovat tebya vechno, malysh,” he says. Secrets will haunt you forever, little one.

You don’t dare look up from your tea as you say, “Ya dumayu, ty by znal vse ob etom.” I guess you’d know all about that.

He gives you leftover curry in a carry bag when you leave. Kisses you on the cheek and lets you go, but you can feel him watching you the entire time it takes you to walk down the street and out of sight. As soon as you round the corner you retch into the nearest bush, a well-manicured rose which you silently apologise to as it gets covered in your bile.

This guilt isn’t something Bucky can save you from - it feels like it’s eating you alive. You had never, ever thought you would get to the point where you’d be leaving a bug stuck to the underside of your dad’s kitchen table, but you suppose you never thought you’d be stalked and kidnapped either. You wipe the your mouth with the back of your hand as your stomach finishes emptying itself of tea and betrayal, and try to tell yourself you won’t find anything, you're just being paranoid. But you know you will.

Maybe you always have, and that’s why you’ve been too scared to pull on the thread you’ve known has been dangling in the back of your mind since you were a kid. Just one secret you wanted to leave, one dark corner you didn’t want to shine a light into. That’s never been in your nature. You spit the foul, acidic taste from your mouth onto a poor, innocent rose bud and think with just as much bitterness as the bile coating your throat, that’s not who my dad raised me to be.

Part 7

[violexides]

The DreamSMP Explained (By Someone Who Has Never Watched Any DreamSMP Stream)

cracks knuckles. okay, fucking FINALLY doing this. ahem. 

Couple things to preface with, will keep this brief. 

This isn’t entirely blind. One of my best friends has helped out in places, just because I wanted to hit on everything (accurate or not), and I know mutuals/friends who post and write about DreamSMP (though how much of that is AU or canon-typical, I can’t say. I can’t tell). I’ve never seen a single stream, but I’ve seen a few clips. So, my understanding is a bit more than the title may imply, but still not a lot. Sorry.

Also, this will be very, very long (near 2k words). All under the cut, will TW this with themes of abuse, death, manipulation, unreality, hallucinations, and me having an abrasive sense of humor where I revel in the glee of calling these guys European twinks. Though, speaking of. This is ALL about the actual characters, not the people. I don’t know anything about most of these actual streamers, so, no hate to them. In fact, I think they’re pretty cool for having come up with a… somewhat coherent… narrative, all through using Minecraft as a medium. Anyway.

Sigh. Without further ado, 

So. There’s this place. Made by Philza, AKA God, AKA one of like six different gods. Philza, born from the womb acting like someone’s 43 year old uncle, has three kids. Wilbur, Tommy, and Tubbo. There are other people here, with some scattered ancestry that raises some questions, but I don’t really care who fucked an Enderman and had an 8’0 tall kid (Ranboo DNI).

There are also places! Sometimes! On a good day, there are actual, intact locations. We’ve got hits like “The Badlands”, which I think was taken from about three different dystopian novels I read in third grade, “El Rapids” (Quackity, Subpoena (autocorrect wins this round), and Karl made this one), “Pogtopia”, no comment on this one, and “L’Manberg”, which Wilbur made. 

Only one of these is going to be important.

So, might be a good time to say this: I don’t know what the inciting incident of DreamSMP is? I don’t know what was the catalyst for all this shit, but I’m going to take a guess and say Wilbur blowing up L’Manberg had something to do with it.

… That’s going to be a pattern, by the way. Just. Stick with me here. 

So, Wilbur is an older child who read the Hamlet parts in literature class and can only cope by ripping down the very creations he has and taking the entire world down with him to hell. Which is to say, he throws a pity party after Jschlatt (some bitch who abused Quackity, that’s another trend, yippee) wins an election and decides to blow up the fucking kingdom and kill Jschlatt.

Little does Wilbur know, the devil may work fast, but Jschlatt getting a fucking stroke and dying out of nowhere works faster. 

I’m not kidding. He gets a stroke, he dies, and Tubbo takes over. I’ve tried to puzzle out the government structure of DreamSMP for a while and have drawn zero conclusions. In any case, Wilbur also tells Philza, his… father…, to kill him. And Philza fucking does? For some reason, like, holy shit.

Anyway. Wilbur is now a ghost. So is Jschlatt. The… life system, on this server, is really strange and I don’t know how to fully explain it. Just know that nothing has permanence here. 

I’m going to throw this out here because I don’t know when it’s relevant, but I wrote down something about Karl being in a place called the In Between. I don’t know how the hell he got there or what the hell he’s doing. This might be where the discs are? I can’t explain the discs. I… think they are fighting over the discs? Don’t know why, Wilbur makes music himself, I feel like you have enough to go around.

(Stream Saline Solution it reminds me of my best friend only if you want okay thx)

L’Manberg gets blown up again. This time, Techno did it. He did it just after giving this speech about Theseus, which, jokes aside-- the writing of DreamSMP is actually really good. That was all done on improv, and I did watch an animatic with some of the audio from it, and damn. I’m a whore for metaphor and I love this for him.

This happens, and Ranboo and Tommy decide to do a little hehe and burn down George’s house. Who is George? Good question: a king. Of what? Good question: call me the antithesis of a Ranboo kinnie and get me some discs because I hear no answers.

Dream gets pissed off by this (who gave him authority, I don’t know) and builds a wall. He for some reason decides that if Tommy, and only Tommy, breaks some rules, the wall will stay up forever. So, naturally, Tommy immediately yells at him, and Tubbo gets pissed (what happened to the whole, who are you without me, yourself, thing?). Dream exiles him, which is bad enough, but then Dream burns down his house, so now he’s double exiled.

Dream kins Julius Caesar but Julius Caesar does not kin Dream and I think that’s important. 

(It had to be important enough for me to literally go back and edit this in, for no reason, because I think I’m really fucking hilarious.) 

Techno takes in Tommy and shows him his super secret cave of evil, which Tommy promptly screams at. Philza and Ranboo visit sometimes, but mostly Tommy just sits there. Dream says “fuck you” to Techno, but Techno decides to wage war on L’Manberg, so Quackity and co. come over to try and kill Techno, but Techno kills Quackity with a pickaxe, but Quackity has three lives for some reason, and then Dream blames Ranboo for blowing something up for literally zero reason, and can you tell how tired I am.

Ranboo sees a smiley face in his notebook and zones the fuck out while Dream tries to kill… Tommy? No, Tubbo. No, fuck, no it was Tommy. I don’t know why people suddenly care about it n- NO, NO IT WAS TUBBO, he is TRYING to kill TUBBO. 

I hate Europeans. 

Ahem. Dream goes to jail, but he has books in jail, which is a horrible idea. Everyone knows that if you give a war criminal some novels he’ll accidentally haunt someone else’s dreams and launch psychological warfare with the prison guard, Sam, who has zero idea what he’s doing because he probably didn’t sign up for this.

Also, I’m gonna say this here because I don’t know when it will fit in. There’s this place. Called… the Egg. Now, I don’t know what goes on in the Egg. I don’t know what the Egg is. I don’t know who decided to name all these fucking things, because I think the Egg is just a box made of bedrock. I think Ranboo hallucinates about it, but Ranboo hallucinates about everything so I’m not really sure. I’m going to call it here and say that this is probably a bad sign.

People are trying to talk to Dream. First BadBoyHalo, who gives Ranboo this little note from Dream with a smiley face. Or maybe that was SapNap. Either way, Ranboo hallucinates seeing Dream, and then actually sees Dream but he thinks he’s hallucinating? I don’t know. 

Then we get Tommy. Basically he kind of comes in here and Sam, being a good prison guard, allows Dream to beat Tommy to death and then revive him (don’t ask about the revivals just pretend it makes sense please). He tells Tommy he’s also going to revive Wilbur which Tommy isn’t a big fan of, considering that Wilbur, uh. Vague hand gestures. You get the schtick. Hopefully. I don’t know.

Anyway. Uh. Quackity loses his shit, also.

As in he talks to Jschlatt, the ghost of his abusive husband. Makes a deal-- if Quackity here loses, he revives Jschlatt. I don’t know what the winning conditions are, but, thankfully, they don’t matter because Quackity loses damn near instantly. 

So he goes to Dream and Sam gives him really powerful gear for no reason. Dream is a bit terrified by this situation, and Quackity is like “give me the fucking book”, and then we never find out what happens because Quackity ends up covered in blood about to blow up El Rapids. I hadn’t expected to mark Quackity off on the demolitionist bingo, but hey, all’s fair I guess. My next bets are on Tubbo or whichever bitch became god of the sea. 

(I also made a joke to my friend about me kinning Quackity (the character not the streamer could you fucking imagine), to which they said “you’d torture someone for information”? So. I guess Dream, uh. Hm. That explains why Quackity was bloodied. Uh. Oops. Don’t know why he’s playing Poker, though.)

So, for my sanity, as we come to a close, I’m going to start listing lore details that I don’t know nearly enough about but are probably important. Just… bullet point them. Might be a bit tacky of me but I have shit to do, dammit. By that I mean, I don’t have shit to do, but I’ve had this doc open for literally 1-2 weeks and I just want to be freed.

List Of Other Shit That Happened:

Ranboo started an arg, so there’s a character named Z now. Can’t believe the kid I knew in middle school who didn’t know where the Middle East  was made it into the dreamSMP omg! 

Tubbo did something immoral, and we still don’t know who his dad is. By we, I mean me. 

Eret exists. That’s all I’ve got for this one. They’re important. Probably.

Karl hallucinated six versions of himself and left the In Between to go to hell. (Lil Nas X girlboss gaslight gatekeep in this motherfucker!!!)

Ranboo and Tubbo got married because taxes exist </3

More on this last point: they opened a hotel, despite Tubbo being a king, and Tommy got mad at them for getting engaged without his permission. But Tommy was literally dead when they had the wedding so I’m not exactly sure what he was expecting. Either way, he’s fine with it now.

Kids getting adopted oh shit oh fuck. Also, mpreg is canotical. Make this what you will. 

DreamXD is a god now. I don’t know who DreamXD is. I don’t think anybody else does either.

I’m like 60% sure George is dead. 

I’m like 60% sure Philza is immortal.

Going through my ‘notes’ to make sure I didn’t miss anything and I’m just getting more confused, so I think I’m going to call it here. Props to everyone in the dreamSMP for creating kickass lore, I would not summarize any of it ever again if you held me at fucking gunpoint, and thanks to my mutuals/friends for letting me ask a lot of really stupid questions as I try to puzzle this out. And also, another thanks to you all for reading this. I hope to God this was funny. 

I really, really, really fucking hope that Tumblr doesn’t cut this off for a long character count. This is longer than some of my fucking oneshots. My God. This was so fun, don’t get me wrong, but I also want a hit of a candy cigarette. Make it two, actually. Or three. All at once. 

Anyway. Drink some water, stay safe, and remember that statistically speaking, 100% of people with a name starting with “T” need to put down the Greek mythology books and learn about the ethics behind pyromania. Goodbye, Theseus. 

[agusvedder]

I DON’T CARE if this doesn’t get any notes. I need to vent.

My name is Agustina, I’m 27 years old. I’m a nonbinary, queer, latinx person, parent of a 4 year old, non-verbal authistic child. I suffer from depression and anxiety.

I’m 9 thousand kilometers away from the woman I love.

I’m not a victim. I am a minority. And there’s nothing wrong with that.

I started watching Supernatural in 2015, you know, being a stay-at-home parent, who dropped her career and her job to live the first years of their child, there wasn’t much I could do in my free time but to watch a show. I caught a few episodes of season 11 on tv and then I decided to start from zero. I always acknowledged how problematic it was in terms of representation, but always saw small threads of light filtering in the message it sent, recognizing how its writers were trying to shed a little light, creating a jenga tower of storylines and new characters, only to be thrown away by poor, useless deaths and the erasure of said characters.

Since my first run on season 1 I related to Dean. I saw myself on him. (I will never be as brave and cool as him tho, never ever, but his personality traits, some of his family issues, his self worth issues, his loneliness, his unaddressed childhood trauma, his growth in a circle of violence, his reticence to address his feelings until he explodes?... Yeah. There are days where my girlfriend makes fun of me saying “Ok Dean”). I kept looking up to Dean in his geekiness, in his way he always put his life on the line to protect the people he loves and put them always first… even in the supernatural side of the storyline, he still was profoundly human and abnegated to the people in his life. Also because I’m deeply in love with Castiel but that’s another subject. Thanks to this show, I’ve found people in my own country who now I recognize as my family beyond SPN, who helped me accept myself the way I am, who are always there for me. My found family, my chosen family. Because family don’t end in blood, because family cares about you, not only for what you can do for them, because that’s what all of us have in common, and why this show resonated as strongly as it did for us. That’s why we found each other and ourselves in the process, in a circle of love, support, non-judgement and willingness to find a family in ourselves when our own blood relatives ignored us, abused us, refused to recognize us. We’ve found love and family. I’ve found the woman with whom I wanna spend the rest of my life with because of this show.

That’s the power of this story. I know my small circle is not the only one who lived this, who continues to live it.

I can talk about this forever, but there’s something I wanna talk about specifically here. When the ending aired.. what I felt was… like a bucket of cold water was thrown over my head. You know when your parents come home, or call you and give you the devastating news that someone you love died? that exact feeling. The adrenaline, the heartbreak, the feeling of loss. 

The whole season 15 and 15 years of storyline were completely overturned. The misogyny the writers tried so hard to erase, it was there again, in a faceless woman who was supposed to represent the person a lead chose to spend the rest of his life with, reduced to a lilac dress, a blurry face and a uterus. We never seen acknowledged the existence of Eileen Leahy, Sam Winchester’s romantic interest since season 11, his perfect partner whose disability wasn’t an obstacle for her to be a badass hunter. (BUT COVID!! <- No. Eileen Leahy appeared in two episodes this season without Shoshannah being on set: Last Holiday and Despair. If they wanted to include her, they would have. They didn’t because they don’t give a FUCK). Sam Winchester is an academic, a witch, a leader, a powerful hunter, a kind human being, and the ending that was given to him was living an unfulfilled life, dying at a ridiculous young age, having a son only to replace his dead brother? It was sad. Sammy deserved better. He always did.

My beloved Dean Winchester, who I love so deeply, who taught me a lot about myself, about life, love, family, about *ejem* VICIOUS CIRCLES and the power of breaking free from them, of learning to embrace one’s self, our real tastes, our real identity, to come out of a shadow of being reduced to someone’s caretaker instead of having an identity of our own, to spend life loving family the healthy amount.. well, he was killed in a ridiculous way, on a milk run of a hunt.  After being eager and ready to kill himself so many times. After all he’s been through, after saying he’s good with who he is, after considering retirement, after standing up to his dad, saying he already has a family, ready to cut the “I’m Okay” bullshit, address his feelings, his trauma, don’t letting those define him. He deserved better. He always wanted a family, he always wanted to break free from the version of himself he was created to be, “daddy’s blunt little instrument” (For fuck’s sake, he even said it in the same show 10’ before dying, man. If we don’t keep living, the sacrifice the people who died for us did, was for nothing). Are you telling me this man really would refuse his brother to call an ambulance? Refused his brother to get the first aid kit even knowing it was more serious than his brother thought? He was ready to live. He CHOSE life, and at the end his choice was stripped away from him. He clearly was a bisexual man and they never explored it.

Cas. The misfit. The fish outside of the water. Ambiguous gender and sexuality. Finally makes a homosexual declaration of love after all he’s been through. After being brainwashed, used, suicidal, isolated. After telling Sam and Dean he loved them more than once, that they meant everything for him. After confessing he’s been in love with Dean since he pulled him out of hell…. Was erased from the story. Erased, literally. Two emotionless mentions aren’t enough for a 12 year old family member who pulled both brothers out of hell, who died for them more than once, who until 2 seasons ago he didn’t even feel like he belonged there ‘cause he was never told he was loved. No one ever told him “I love you” back. Not Jack, not Sam, not Dean, not Mary. No one. Ever. And still, he died for love. And with his death, he was erased from the finale, being that the first finale Castiel wasn’t in since his appearance on the show. He deserved better. 

All roads lead to Rome and you know what we got at the end of that road? a bottomless pit of NOTHING. The building up towards a different end isn’t just in s15. It’s been there for years and years. And if you watch the show, you see it at plain sight.

 

Sam Winchester hurried to die to reunite with his brother in heaven EVEN WHEN HE SPENT 30 MORE YEARS WITH A WIFE AND A KID he only wanted to die to go back to his brother? it’s insane, it’s ridiculous. That’s not what the show has been about for seasons now. SEASONS. The road was paved towards a healthy brotherly bond, each brother living their future the way they wanted, finally breaking free from the curse John dropped on Dean that Sam’s destiny was in his hands. No no. What was that? Did it ever happen? Was it a fever dream? They really destroyed everything in 38 minutes of the finale? 

Stupid. 

Representation is important, stories are important. They change lives. You know how it changed mine? After I saw Jonathan Van Ness coming out as non-binary, I started to realize how I never called myself "a woman, a girl" or anything like that, how my "female presenting" aesthetic changes drastically depending on how I feel when I wake up  how I always called myself a "person", no gender involved. I realized I was a non-binary person even after becoming a parent. Thanks to Jonathan Van Ness. Thanks to seeing a person like her being unapologetically herself. 

Representation matters. 

It matters. 

It helped my mom understand me when I was 13 and had a girlfriend. It helped my dad educate himself about trans identities. It helped my sister understand about her demisexuality. It helps break circles of ignorance and stereotypes. It helps people process what these characters wanna tell, and realize they're human beings above it all. We suffer, we laugh, we grieve. We love. We exist. 

Supernatural missed a chance to be a historical show in terms of representation. And it breaks my heart.  I cant believe they decided to erase Dean's sexuality, to erase Castiel after saying loud and proud he's in love with a man, to erase Eileen whose disability only was a disadvantage when they KILLED HER in the most ableistic way in s11, to never show Charlie and her girlfriend again, that they decided to make God bisexual AND a villain, thay they decided to turn the only regular non-binary character of color into the villain too (Billie).

I'm still grieving.

This is why "a stupid show" is so important for me, and for lot of people like me. Cause representation can change lives. Stories can change lives. It certainly changed mine, and I'm not the only one. 

Don't let anyone tell you you're just a butthurt fan because you're suffering this ending. Every one of us have a story and this is mine. All of us are valid, our feelings are valid. And we'll get through this eventually

[grigori77]

Summer 2021′s Movies - My Top Ten Favourite Films (Part 2)

The Top Ten:

10.  WEREWOLVES WITHIN – definitely one of the year’s biggest cinematic surprises so far, this darkly comic supernatural murder mystery from indie horror director Josh Ruben (Scare Me) is based on a video game, but you’d never know it – this bears so little resemblance to the original Ubisoft title that it’s a wonder anyone even bothered to make the connection, but even so, this is now notable for officially being the highest rated video game adaptation in Rotten Tomatoes history, with a Certified Fresh rating of 86%. Certainly it deserves that distinction, but there’s so much more to the film – this is an absolute blood-splattered joy, the title telling you everything you need to know about the story but belying the film’s pure, quirky genius.  Veep’s Sam Richardson is forest ranger Finn Wheeler, a gentle and socially awkward soul who arrives at his new post in the remote small town of Beaverton to discover the few, uniformly weird residents are divided over the oil pipeline proposition of forceful and abrasive businessman Sam Parker (The Hunt’s Wayne Duvall).  As he tries to fit in and find his feet, investigating the disappearance of a local dog while bonding with local mail carrier Cecily Moore (Other Space and This Is Us’ Milana Vayntrub), the discovery of a horribly mutilated human body leads to a standoff between the townsfolk and an enforced lockdown in the town’s ramshackle hotel as they try to work out who amongst them is the “werewolf” they suspect is responsible.  This is frequently hilarious, the offbeat script from appropriately named Mishna Wolff (I’m Down) dropping some absolutely zingers and crafting some enjoyably weird encounters and unexpected twists, while the uniformly excellent cast do much of the heavy-lifting to bring their rich, thoroughly oddball characters to vivid life – Richardson is thoroughly cuddly throughout, while Duvall is pleasingly loathsome, Casual’s Michaela Watkins is pleasingly grating as Trisha, flaky housewife to unrepentant local horn-dog Pete Anderton (Orange is the New Black’s Michael Chernus), and Cheyenne Jackson (American Horror Story) and Harry Guillen (best known, OF COURSE, as Guillermo in the TV version of What We Do In the Shadows) make an enjoyably spiky double-act as liberal gay couple Devon and Joaquim Wolfson; in the end, though, the film is roundly stolen by Vayntrub, who invests Cecily with a bubbly sweetness and snarky sass that makes it absolutely impossible to not fall completely in love with her (gods know I did).  This is a deeply funny film, packed with proper belly-laughs from start to finish, but like all the best horror comedies it takes its horror elements seriously, delivering some enjoyably effective scares and juicy gore, while the werewolf itself, when finally revealed, is realised through some top-notch prosthetics.  Altogether this was a most welcome under-the-radar surprise for the summer, and SO MUCH MORE than just an unusually great video game adaptation …

9.  THE TOMORROW WAR – although cinemas finally reopened in the UK in early summer, the bite of the COVID lockdown backlog was still very much in effect this blockbuster season, with several studios preferring to hedge their bets and wait for later release dates. Others turned to streaming services, including Paramount, who happily lined up a few heavyweight titles to open on major platforms in lieu of the big screen.  One of the biggest was this intended sci-fi action horror tentpole, meant to give Chris Pratt another potential franchise on top of Guardians of the Galaxy and Jurassic World, which instead dropped in early July on Amazon Prime.  So, was it worth staying in on a Saturday night instead of heading out for something on the BIG screen?  Mostly yes, although it’s mainly a trashy, guilty pleasure big budget B-picture charm that makes this such a worthwhile experience – the film’s biggest influences are clearly Independence Day and Starship Troopers, two admirably clunky blockbusters that DEFINED prioritising big spectacle and overblown theatrics over intelligent writing and realistic storytelling.  It doesn’t help that the premise is pure bunk – in 2022, a wormhole opens from thirty years in the future, and a plea for help is sent back with a bunch of very young future soldiers.  Seems Earth will become overrun by an unstoppable swarm of nasty alien critters called Whitespikes in 25 years, and the desperate human counteroffensive have no choice but to bring soldiers from our present into the future to help them fight back and save the humanity from imminent extinction.  Less than a year later, the world’s standing armies have been decimated and a worldwide draft has been implemented, with normal everyday adults being sent through for a seven day tour from which very few return.  Pratt plays biology teacher and former Green Beret Dan Forrester, one of the latest batch of draftees to be sent into the future along with a selection of chefs, soccer moms and other average joes – his own training and experience serves him better than most when the shit hits the fan, but it soon becomes clear that he’s just as out of his depth as everyone else as the sheer enormity of the threat is revealed.  But when he becomes entangled with a desperate research outfit led by Muri (Chuck’s Yvonne Strahovski) who seem to be on the verge of a potential world-changing scientific breakthrough, Dan realises there just might be a slender hope for humanity after all … this is every bit as over-the-top gung-ho bonkers as it sounds, and just as much fun.  Director Chris McKay may still be pretty fresh (with only The Lego Batman Movie under his belt to date), but he shows a lot of talent and potential for big budget blockbuster filmmaking here, delivering with guts and bravado on some major action sequences (a fraught ticking-clock SAR operation through a war-torn Miami is the film’s undeniable highlight, but a desperate battle to escape a blazing oil rig also really impresses), as well as handling some impressively complex visual effects work and wrangling some quality performances from his cast (altogether it bodes well for his future, which includes Nightwing and Johnny Quest as future projects).  Chris Pratt can do this kind of stuff in his sleep – Dan is his classic fallible and self-deprecating but ultimately solid and kind-hearted action hero fare, effortlessly likeable and easy to root for – and his supporting cast are equally solid, Strahovsky going toe-to-toe with him in the action sequences while also creating a rewardingly complex smart-woman/badass combo in Muri, while the other real standouts include Sam Richardson (Veep, Werewolves Within) and Edwin Hodge (The Purge movies) as fellow draftees Charlie and Dorian, the former a scared-out-of-his-mind tech geek while the latter is a seriously hardcore veteran serving his THIRD TOUR, and the ever brilliant J.K. Simmonds as Dan’s emotionally scarred estranged Vietnam-vet father, Jim.  Sure, it’s derivative as hell and thoroughly predictable (with more than one big twist you can see coming a mile away), but the pace is brisk, the atmosphere pregnant with a palpable doomed urgency, and the creatures themselves are a genuinely convincing world-ending threat, the design team and visual effects wizards creating genuine nightmare fuel in the feral and unrelenting Whitespikes.  Altogether this WAS an ideal way to spend a comfy Saturday night in, but I think it could have been JUST AS GOOD for a Saturday night OUT at the Pictures …

8.  ARMY OF THE DEAD – another high profile release that went straight to streaming was this genuine monster hit for Netflix from one of this century’s undeniable heavyweight action cinema masters, the indomitable Zack Snyder, who kicked off his career with an audience-dividing (but, as far as I’m concerned, ultimately MASSIVELY successful) remake of George Romero’s immortal Dawn of the Dead, and has finally returned to zombie horror after close to two decades away.  The end result is, undeniably, the biggest cinematic guilty pleasure of the entire summer, a bona fide outbreak horror EPIC in spite of its tightly focused story – Dave Bautista plays mercenary Scott Ward, leader a badass squad of soldiers of fortune who were among the few to escape a deadly outbreak of a zombie virus in the city of Las Vegas, enlisted to break into the vault of one of the Strip’s casinos by owner Bly Tanaka (a fantastically game turn from Hiroyuki Sanada) and rescue $200 million still locked away inside.  So what’s the catch?  Vegas remains ground zero for the outbreak, walled off from the outside world but still heavily infested within, and in less than three days the US military intends to sterilise the site with a tactical nuke.  Simple premise, down and dirty, trashy flick, right?  Wrong – Snyder has never believed in doing things small, having brought us unapologetically BIG cinema with the likes of 300, Watchmen, Man of Steel and, most notably, his version of Justice League, so this is another MASSIVE undertaking, every scene shot for maximum thrills or emotional impact, each set-piece executed with his characteristic militaristic precision and explosive predilection (a harrowing fight for survival against a freshly-awakened zombie horde in tightly packed casino corridors is the film’s undeniable highlight), and the gauzy, dreamlike cinematography gives even simple scenes an intriguing and evocative edge that really does make you feel like you’re watching something BIG.  The characters all feel larger-than-life too – Bautista can seem somewhat cartoonish at times, and this role definitely plays that as a strength, making Scott a rock-hard alpha male in the classic Hollywood mould, but he’s such a great actor that of course he’s able to invest the character with real rewarding complexity beneath the surface; Ana de la Reguera (Eastbound & Down) and Nora Arnezeder (Zoo, Mozart in the Jungle), meanwhile, both bring a healthy dose of oestrogen-fuelled badassery to proceedings as, respectively, Scott’s regular second-in-command, Maria Cruz, and Lilly the Coyote, Power’s Omari Hardwick and Matthias Schweighofer (You Are Wanted) make for a fun odd-couple double act as circular-saw-wielding merc Vanderohe and Dieter, the nervous, nerdy German safecracker brought in to crack the vault, and Fear the Walking Dead’s Garrett Dillahunt channels spectacular scumbag energy as Tanaka’s sleazy former casino boss Martin, while latecomer Tig Notaro (Star Trek Discovery) effortlessly rises above her last-minute-casting controversy to deliver brilliantly as sassy and acerbic chopper pilot Peters.  I think it goes without saying that Snyder can do this in his sleep, but he definitely wasn’t napping here – he pulled out all the stops on this one, delivering a thrilling, darkly comic and endearingly CRACKERS zombie flick that not only compares favourably to his own Dawn but is, undeniably, his best film for AGES.  Netflix certainly seem to be pleased with the results – a spinoff prequel, Army of Thieves, starring Dieter in another heist thriller, is set to drop in October, with an animated series following in the Spring, and there’s already rumours of a sequel in development.  I’m certainly up for more …

7.  BLACK WIDOW – no major blockbuster property was hit harder by COVID than the MCU, which saw its ENTIRE SLATE for 2020 delayed for over a year in the face of Marvel Studios bowing to the inevitability of the Pandemic and unwilling to sacrifice those all-important box-office receipts by just sending their films straight to streaming.  The most frustrating part for hardcore fans of the series was the delay of a standalone film that was already criminally overdue – the solo headlining vehicle of founding Avenger and bona fide female superhero ICON Natasha Romanoff, aka the Black Widow.  Equally frustratingly, then, this film seems set to be overshadowed by real life controversy as star and producer Scarlett Johansson goes head-to-head with Disney in civil court over their breach-of-contract after they hedged their bets by releasing the film simultaneously in cinemas and on their own streaming platform, which has led to poor box office as many of the film’s potential audience chose to watch it at home instead of risk movie theatres with the virus still very much remaining a threat (and Disney have clearly reacted AGAIN, now backtracking on their release policy by instigating a new 45-day cinematic exclusivity window on all their big releases for the immediate future). But what of the film itself?  Well Black Widow is an interesting piece of work, director Cate Shortland (Berlin Syndrome) and screenwriter Eric Pearson (Thor: Ragnarok) delivering a decidedly stripped-back, lean and intellectual beast that bears greater resemblance to the more cerebral work of the Russo Brothers on their Captain America films than the more classically bombastic likes of Iron Man, Thor or the Avengers flicks, concentrating on story and characters over action and spectacle as we wind back the clock to before the events of Infinity War and Endgame, when Romanoff was on the run after Civil War, hunted by the government-appointed forces of US Secretary of State “Thunderbolt” Ross (William Hurt) after violating the Sokovia Accords.  Then a mysterious delivery throws her back into the fray as she finds herself targeted by a mysterious assassin, forcing her to team up with her estranged “sister” Yelena Belova (Midsommar’s Florence Pugh), another Black Widow who’s just gone rogue from the same Red Room Natasha escaped years ago, armed with a McGuffin capable of foiling a dastardly plot for world domination.  The reluctant duo need help in this endeavour though, enlisting the aid of their former “parents”, veteran Widow and scientist Melina Vostokoff (Rachel Weisz) and Alexie Shostakov (Stranger Things’ David Harbour), aka the Red Guardian, a Russian super-soldier intended to be their counterpart to Captain America, who’s been languishing in a Siberian gulag for the last twenty years. After the Earth-shaking, universe-changing events of recent MCU events, this film certainly feels like a much more self-contained, modest affair, playing for much smaller stakes, but that doesn’t mean it’s any less worthy of our attention – this is as precision-crafted as anything we’ve seen from Marvel so far, but it also feels like a refreshing change of pace after all those enormous cosmic shenanigans, while the script is as tight as a drum, propelling a taut, suspense-filled thriller that certainly doesn’t scrimp on the action front.  Sure, the set-pieces are very much in service of the story here, but they’re still the pre-requisite MCU rollercoaster rides, a selection of breathless chases and bone-crunching fights that really do play to the strengths of one of our favourite Avengers, but this is definitely one of those films where the real fireworks come when the film focuses on the characters – Johansson is so comfortable with her character she’s basically BECOME Natasha Romanoff, kickass and ruthless and complex and sassy and still just desperate for a family (though she hides it well throughout the film), while Weisz delivers one of her best performances in years as a peerless professional who keeps her emotions tightly reigned in but slowly comes to realise that she was never more happy than when she was pretending to be a simple mother, and Ray Winstone does a genuinely fantastic job of taking a character who could have been one of the MCU’s most disappointingly bland villains, General Dreykov, master of the Red Room, and investing him with enough oily charisma and intense presence to craft something truly memorable (frustratingly, the same cannot be said for the film’s supposed main physical threat, Taskmaster, who performs well in their frustratingly brief appearances but ultimately gets Darth Maul levels of short service).  The true scene-stealers in the film, however, are Alexie and Yelena – Harbour’s clearly having the time of his life hamming it up as a self-important, puffed-up peacock of a superhero who never got his shot and is clearly (rightly) decidedly bitter about it, preferring to relive the life he SHOULD have had instead of remembering the good in the one he got; Pugh, meanwhile, is THE BEST THING IN THE WHOLE MOVIE, easily matching Johanssen scene-for-scene in the action stakes but frequently out-performing her when it comes to acting, investing Yelena with a sweet naivety and innocence and a certain amount of quirky geekiness that makes for one of the year’s most endearing female protagonists (certainly one who, if the character goes the way I think she will, is thoroughly capable of carrying the torch for the foreseeable future).  In the end this is definitely one of the LEAST typical, by-the-numbers MCU films to date, and by delivering something a little different I think they’ve given us just the kind of leftfield swerve the series needs right now.  It’s certainly one of their most fascinating and rewarding films so far, and since it seems to be Johansson’s final tour of duty as the Black Widow, it’s also a most fitting farewell indeed.

6.  WRATH OF MAN – Guy Ritchie’s latest (regarded by many as a triumphant return to form, which I consider unfair since I don’t think he ever went away, especially after 2020’s spectacular The Gentlemen) is BY FAR his darkest film – let’s get this clear from the start.  Anyone who knows his work knows that Ritchie consistently maintains a near flawless balance and humour and seriousness in his films that gives them a welcome quirkiness that is one of his most distinctive trademarks, so for him to suddenly deliver a film which takes itself SO SERIOUSLY is one hell of a departure.  This is a film which almost REVELS in its darkness – Ritchie’s always loved bathing in man’s baser instincts, but Wrath of Man almost makes a kind of twisted VIRTUE out of wallowing in the genuine evils that men are capable of inflicting on each other.  The film certainly kicks off as it means to go on – In a tour-de-force single-shot opening, we watch a daring armoured car robbery on the streets of Los Angeles that goes horrifically wrong, an event which will have devastating consequences in the future.  Five months later, Fortico Security hires taciturn Brit Patrick Hill (Jason Statham) to work as a guard in one of their trucks, and on his first run he single-handedly foils another attempted robbery with genuinely uncanny combat skills. The company is thrilled, amazed by the sheer ability of their new hire, but Hill’s new colleagues are more concerned, wondering exactly what they’ve let themselves in for.  After a second foiled robbery, it becomes clear that Hill’s reputation has grown, but fellow guard Haiden (Holt McCallany), aka “Bullet”, begins to suspect there might be something darker going on … Ritchie is firing on all cylinders here, delivering a PERFECT slow-burn suspense thriller which plays its cards close to its chest and cranks up its piano wire tension with artful skill as it builds to a devastating, knuckle-whitening explosive heist that acts as a cathartic release for everything that’s built up over the past hour and a half.  In typical Ritchie style the narrative is non-linear, the story unfolding in four distinct parts told from clearly differentiated points of view, allowing the clues to be revealed at a trickle that effortlessly draws the viewer in as they fall deeper down the rabbit hole, leading to a harrowing but strangely poignant denouement which is perfectly in tune with everything that’s come before. It’s an immense pleasure finally getting to see Statham working with Ritchie again, and I don’t think he’s ever been better than he is here – he's always been a brilliantly understated actor, but there’s SO MUCH going on under Hill’s supposedly impenetrable calm that every little peek beneath the armour is a REVELATION; McCallany, meanwhile, has landed his best role since his short but VERY sweet supporting turn in Fight Club, seemingly likeable and fallible as the kind of easy-going co-worker anyone in the service industry would be THRILLED to have, but giving Bullet far more going on under the surface, while there are uniformly excellent performances from a top-shelf ensemble supporting cast which includes Josh Hartnett, Jeffrey Donovan (Burn Notice, Sicario), Andy Garcia, Laz Alonso (The Boys), Eddie Marsan, Niamh Algar (Raised By Wolves) and Darrell D’Silva (Informer, Domina), and a particularly edgy and intense turn from Scott Eastwood.  This is one of THE BEST thrillers of the year, by far, a masterpiece of mood, pace and plot that ensnares the viewer from its gripping opening and hooks them right up to the close, a triumph of the genre and EASILY Guy Ritchie’s best film since Snatch.  Regardless of whether or not it’s a RETURN to form, we can only hope he continues to deliver fare THIS GOOD in the future …

5.  FEAR STREET (PARTS 1-3) – Netflix have gotten increasingly ambitious with their original filmmaking over the years, and some of this years’ offerings have reached new heights of epic intention.  Their most exciting release of the summer was this adaptation of popular children’s horror author R.L. Stine’s popular book series, a truly gargantuan undertaking as the filmmakers set out to create an entire TRILOGY of films which were then released over three consecutive weekends.  Interestingly, these films are most definitely NOT for kids – this is proper, no-holds-barred supernatural slasher horror, delivering highly calibrated shocks and precision jump scares, a pervading atmosphere of insidious dread and a series of inventively gruesome kills.  The story revolves around two neighbouring small towns which have had vastly different fortunes over more than three centuries of existence – while the residents of Sunnyvale are unusually successful, living idyllic lives in peace and prosperity, luck has always been against the people of Shadyside, who languish in impoverishment, crime and misfortune, while the town has become known as the Murder Capital of the USA due to frequent spree killings.  Some attribute this to the supposed curse of a local urban legend, Sarah Fier, who became known as the Fier Witch after her execution for witchcraft in 1668, but others dismiss this as simple superstition.  Part 1 is set in 1994, as the latest outbreak of serial mayhem begins in Shadyside, dragging a small group of local teens – Deena Johnson (She Never Died’s Kiana Madeira) and Samantha Fraser (Olivia Scott Welch), a young lesbian couple going through a difficult breakup, Deena’s little brother Josh (The Haunted Hathaways’ Benjamin Flores Jr.), a nerdy history geek who spends most of his time playing video games or frequenting violent crime-buff online chatrooms, and their delinquent friends Simon (Eight Grade’s Fred Hechinger) and Kate (Julia Rehwald) – into the age-old ghostly conspiracy as they find themselves besieged by indestructible undead serial killers from the town’s past, reasoning that the only way they can escape with their lives is to solve the mystery and bring the Fier Witch some much needed closure.  Part 2, meanwhile, flashes back to a previous outbreak in 1977, in which local sisters Ziggy (Stranger Things’ Sadie Sink) and Cindy Berman (Emily Rudd), together with future Sunnyvale sheriff Nick Goode (Ted Sutherland) were among the kids hunted by said killers during a summer camp “colour war”.  As for Part 3, that goes all the way back to 1668 to tell the story of what REALLY happened to Sarah Fier, before wrapping up events in 1994, culminating in a terrifying, adrenaline-fuelled showdown in the Shadyside Mall.  Throughout, the youthful cast are EXCEPTIONAL, Madeira, Welch, Flores Jr., Sink and Rudd particularly impressing, while there are equally strong turns from Ashley Zuckerman (The Code, Designated Survivor) and Community’s Gillian Jacobs as the grown-up versions of two key ’77 kids, and a fun cameo from Maya Hawke in Part 1.  This is most definitely retro horror in the Stranger Things mould, perfectly executed period detail bringing fun nostalgic flavour to all three of the timelines while the peerless direction from Leigh Janiak (Honeymoon) and wire-tight, sharp-witted screenplays from Janiak, Kyle Killen (Lone Star, The Beaver), Phil Graziadel, Zak Olkewicz and Kate Trefry strike a perfect balance between knowing dark humour and knife-edged terror, as well as weaving an intriguingly complex narrative web that pulls the viewer in but never loses them to overcomplication.  The design, meanwhile, is evocative, the cinematography (from Stanger Things’ Caleb Heymann) is daring and magnificently moody, and the killers and other supernatural elements of the film are handled with skill through largely physical effects.  This is definitely not a standard, by-the-numbers slasher property, paying strong homage to the sub-genre’s rules but frequently subverting them with expert skill, and it’s as much fun as it is frightening.  Give us some more like this please, Netflix!

4.  THE SPARKS BROTHERS – those who’ve been following my reviews for a while will known that while I do sometimes shout about documentary films, they tend to show up in my runners-up lists – it’s a great rarity for one to land in one of my top tens.  This lovingly crafted deep-dive homage to cult band Sparks, from self-confessed rabid fanboy Edgar Wright (Shaun of the Dead, Hot Fuzz, Scott Pilgrim), is something VERY SPECIAL INDEED, then … there’s a vague possibility some of you may have heard the name before, and many of you will know at least one or two of their biggest hits without knowing it was them (their greatest hit of all time, This Town Ain’t Big Enough for the Both of Us, immediately springs to mind), but unless you’re REALLY serious about music it’s quite likely you have no idea who they are, namely two brothers from California, Russell and Ronald Mael, who formed a very sophisticated pop-rock band in the late 60s and then never really went away, having moments of fame but mostly working away in the background and influencing some of the greatest bands and musical artists that followed them, even if many never even knew where that influence originally came from. Wright’s film is an engrossing joy from start to finish (despite clocking in at two hours and twenty minutes), following their eclectic career from obscure inception as Halfnelson, through their first real big break with third album Kimono My Place, subsequent success and then fall from popularity in the mid-70s, through several subsequent revitalisations, all the way up to the present day with their long-awaited cinematic breakthrough, revolutionary musical feature Annette – throughout Wright keeps the tone light and the pace breezy, allowing a strong and endearing sense of irreverence to rule the day as fans, friends and the brothers themselves offer up fun anecdotes and wax lyrical about what is frequently a larger-than-life tragicomic soap opera, utilising fun, crappy animation and idiosyncratic stock footage inserts alongside talking-head interviews that were made with a decidedly tongue-in-cheek style – Mike Myers good-naturedly rants about how we can see his “damned mole” while 80s New Romantic icons Nick Rhodes and John Taylor, while shot together, are each individually labelled as “Duran”.  Ron and Russ themselves, meanwhile, are clearly having huge fun, gently ribbing each other and dropping some fun deadpan zingers throughout proceedings, easily playing to the band’s strong, idiosyncratic sense of hyper-intelligent humour, while the aforementioned celebrity talking-heads are just three amongst a whole wealth of famous faces that may surprise you – there’s even an appearance by Neil Gaiman, guys!  Altogether this is 2+ hours of bright and breezy fun chock full of great music and fascinating information, and even hardcore Sparks fans are likely to learn more than a little over the course of the film, while for those who have never heard of Sparks before it’s a FANTASTIC introduction to one of the greatest ever bands that you’ve never heard of.  With luck there might even be more than a few new fans before the year is out …

3.  GUNPOWDER MILKSHAKE – Netflix’ BEST offering of the summer was this surprise hit from Israeli writer-director Navot Papushado (Rabies, Big Bad Wolves), a heavily stylised black comedy action thriller that passes the Bechdel Test with FLYING COLOURS.  Playing like a female-centric John Wick, it follows ice-cold, on-top-of-her-game assassin Sam (Karen Gillan) as her latest assignment has some unfortunate side effects, leading her to take on a reparation job to retrieve some missing cash for the local branch of the Irish Mob.  The only catch is that a group of thugs have kidnapped the original thief’s little girl, 12 year-old Emily (My Spy’s Chloe Coleman), and Sam, in an uncharacteristic moment of sympathy, decides to intervene, only for the money to be accidentally destroyed in the process.  Now she’s got the Mob and her own employers coming after her, and she not only has to save her own skin but also Emily���s, leading her to seek help from the one person she thought she might never see again – her mother, Scarlet (Lena Headey), a master assassin in her own right who’s been hiding from the Mob herself for years.  The plot may be simple but at times also a little over-the-top, but the film is never anything less than a pure, unadulterated pleasure, populated with fascinating, living and breathing characters of real complexity and nuance, while the script (co-written by relative newcomer Ehud Lavski) is tightly-reined and bursting with zingers.  Most importantly, though, Papushado really delivers on the action front – these are some of the best set-pieces I’ve seen this year, Gillan, her co-stars and the various stunt-performers acquitting themselves admirably in a series of spectacular fights, gun battles and a particularly imaginative car chase that would be the envy of many larger, more expensive productions.  Gillan and Coleman have a sweet, awkward chemistry, the MCU star particularly impressing in a subtly nuanced performance that also plays beautifully against Headey’s own tightly controlled turn, while there is awesome support from Angela Bassett, Michelle Yeoh and Carla Gugino as Sam’s adoptive aunts Anna May, Florence and Madeleine, a trio of “librarians” who run a fine side-line in illicit weaponry and are capable of unleashing some spectacular violence of their own; the film’s antagonists, on the other hand, are exclusively masculine – the mighty Ralph Inneson is quietly ruthless as Irish boss Jim McAlester, while The Terror’s Adam Nagaitis is considerably more mercurial as his mad dog nephew Virgil, and Paul Giamatti is the stately calm at the centre of the storm as Sam’s employer Nathan, the closest thing she has to a father.  There’s so much to enjoy in this movie, not just the wonderful characters and amazing action but also the singularly engrossing and idiosyncratic style, deeply affecting themes of the bonds of found family and the healing power of forgiveness, and a rewarding through-line of strong women triumphing against the brutalities of toxic masculinity.  I love this film, and I invite you to try it out, cuz I’m sure you will too.

2.  THE SUICIDE SQUAD – the most fun I’ve had at the cinema so far this year is the long-awaited (thanks a bunch, COVID) redress of another frustrating imbalance from the decidedly hit and miss DCEU superhero franchise, in which Guardians of the Galaxy writer-director James Gunn has finally delivered a PROPER Suicide Squad movie after David Ayer’s painfully compromised first stab at the property back in 2016.  That movie was enjoyable enough and had some great moments, but ultimately it was a clunky mess, and while some of the characters were done (quite) well, others were painfully botched, even ruined entirely.  Thankfully Warner Bros. clearly learned their lesson, giving Gunn free reign to do whatever he wanted, and the end result is about as close to perfect as the DCEU has come to date.  Once again the peerless Viola Davis plays US government official Amanda Waller, head of ARGUS and the undisputable most evil bitch in all the DC Universe, who presides over the metahuman prisoners of the notorious supermax Belle Reve Prison, cherry-picking inmates for her pet project Taskforce X, the titular Suicide Squad sent out to handle the kind of jobs nobody else wants, in exchange for years off their sentences but controlled by explosive implants injected into the base of their skulls.  Their latest mission sees another motley crew of D-bags dispatched to the fictional South African island nation of Corto Maltese to infiltrate Jotunheim, a former Nazi facility in which a dangerous extra-terrestrial entity that’s being developed into a fearful bioweapon, with orders to destroy the project in order to keep it out of the hands of a hostile anti-American regime which has taken control of the island through a violent coup.  Where the first Squad felt like a clumsily-arranged selection of stereotypes with a few genuinely promising characters unsuccessfully moulded into a decidedly forced found family, this new batch are convincingly organic – they may be dysfunctional and they’re all almost universally definitely BAD GUYS, but they WORK, the relationship dynamics that form between them feeling genuinely earned.  Gunn has already proven himself a master of putting a bunch of A-holes together and forging them into band of “heroes”, and he’s certainly pulled the job off again here, dredging the bottom of the DC Rogues Gallery for its most ridiculous Z-listers and somehow managing to make them compelling.  Sure, returning Squad-member Harley Quinn (the incomparable Margot Robbie, magnificent as ever) has already become a fully-realised character thanks to Birds of Prey, so there wasn’t much heavy-lifting to be done here, but Gunn genuinely seems to GET the character, so our favourite pixie-esque Agent of Chaos is an unbridled and thoroughly unpredictable joy here, while fellow veteran Colonel Rick Flagg (a particularly muscular and thoroughly game Joel Kinnaman) has this time received a much needed makeover, Gunn promoting him from being the first film’s sketchily-drawn “Captain Exposition” and turning him into a fully-ledged, well-thought-out human being with all the requisite baggage, including a newfound sense of humour; the newcomers, meanwhile, are a thoroughly fascinating bunch – reluctant “leader” Bloodsport/Robert DuBois (a typically robust and playful Idris Elba), unapologetic douchebag Peacemaker/Christopher Smith (probably the best performance I’ve EVER seen John Cena deliver), and socially awkward and seriously hard-done-by nerd (and by far the most idiotic DC villain of all time) the Polka-Dot Man/Abner Krill (a genuinely heart-breaking hangdog performance from Ant-Man’s David Dastmalchian); meanwhile there’s a fine trio of villainous turns from the film’s resident Big Bads, with Juan Diego Botta (Good Behaviour) and Joaquin Cosio (Quantum of Solace, Narcos: Mexico) making strong impressions as newly-installed dictator Silvio Luna and his corrupt right hand-man General Suarez, although both are EASILY eclipsed by the typically brilliant Peter Capaldi as louche and quietly deranged supervillain The Thinker/Gaius Greives (although the film’s ULTIMATE threat turns out to be something a whole lot bigger and more exotic). The film is ROUNDLY STOLEN, however, by a truly adorable double act (or TRIPLE act, if you want to get technical) – Daniella Melchior makes her breakthrough here in fine style as sweet, principled and kind-hearted narcoleptic second-generation supervillain Ratcatcher II/Cleo Cazo, who has the weird ability to control rats (and who has a pet rat named Sebastian who frequently steals scenes all on his own), while a particular fan-favourite B-lister makes his big screen debut here in the form of King Shark/Nanaue, a barely sentient anthropomorphic Great White “shark god” with an insatiable appetite for flesh and a naturally quizzical nature who was brilliantly mo-capped by Steve Agee (The Sarah Silverman Project, who also plays Waller’s hyperactive assistant John Economos) but then artfully completed with an ingenious vocal turn from Sylvester Stallone. James Gunn has crafted an absolute MASTERPIECE here, EASILY the best film he’s made to date, a riotous cavalcade of exquisitely observed and perfectly delivered dark humour and expertly wrangled narrative chaos that has great fun playing with the narrative flow, injects countless spot-on in-jokes and irreverent but utterly essential throwaway sight-gags, and totally endears us to this glorious gang of utter morons right from the start (in which Gunn delivers what has to be one of the most skilful deep-fakes in cinematic history).  Sure, there’s also plenty of action, and it’s executed with the kind of consummate skill we’ve now come to expect from Gunn (the absolute highlight is a wonderfully bonkers sequence in which Harley expertly rescues herself from captivity), but like everything else it’s predominantly played for laughs, and there’s no getting away from the fact that this film is an absolute RIOT.  By far the funniest thing I’ve seen so far this year, and if I’m honest this is the best of the DCEU offerings to date, too (for me, only the exceptional Birds of Prey can compare) – if Warner Bros. have any sense they’ll give Gunn more to do VERY SOON …

1.  A QUIET PLACE, PART II – while UK cinemas finally reopened in early May, I was determined that my first trip back to the Big Screen for 2021 was gonna be something SPECIAL, and indeed I already knew what that was going to be. Thankfully I was not disappointed by my choice – 2018’s A Quiet Place was MY VERY FAVOURITE horror movie of the 2010s, an undeniable masterclass in suspense and sustained screen terror wrapped around a refreshingly original killer concept, and I was among the many fans hoping we’d see more in the future, especially after the film’s teasingly open ending.  Against the odds (or perhaps not), writer-director/co-star John Krasinski has pulled off the seemingly impossible task of not only following up that high-wire act, but genuinely EQUALLING it in levels of quality – picking up RIGHT where the first film left off (at least after an AMAZING scene-setting opening in which we’re treated to the events of Day 1 of the downfall of humanity), rejoining the remnants of the Abbott family as they’re forced by circumstances to up-sticks from their idyllic farmhouse home and strike out into the outside world once more, painfully aware at all times that they must maintain perfect silence to avoid the ravenous attentions of the lethal blind alien beasties that now sit at the top of the food chain.  Circumstances quickly become dire, however, and embattled mother Evelyn (Emily Blunt) is forced to ally herself with estranged family friend Emmett (Cillian Murphy), now a haunted, desperate vagrant eking out a perilous existence in an abandoned factory, in order to safeguard the future of her children Regan (Millicent Simmonds), Marcus (Noah Jupe) and their newborn baby brother.  Regan, however, discovers evidence of more survivors, and with her newfound weapon against the aliens she recklessly decides to set off on her own in the hopes of aiding them before it’s too late … it may only be his second major blockbuster as a director, but Krasinski has once again proven he’s a true heavyweight talent, effortlessly carving out fresh ground in this already magnificently well-realised dystopian universe while also playing magnificently to the established strengths of what came before, delivering another peerless thrill-ride of unbearable tension and knuckle-whitening terror.  The central principle of utilising sound at a very strict premium is once again strictly adhered to here, available sources of dialogue once again exploited with consummate skill while sound design and score (another moody triumph from Marco Beltrami) again become THE MOST IMPORTANT aspects of the whole production. The ruined world is once again realised beautifully throughout, most notably in the nightmarish environment of a wrecked commuter train, and Krasinski cranks up the tension before unleashing it in merciless explosions in a selection of harrowing encounters which guaranteed to leave viewers in a puddle of sweat.  The director mostly stays behind the camera this time round, but he does (obviously) put in an appearance in the opening flashback as the late Lee Abbott, making a potent impression which leaves a haunting absence that’s keenly felt throughout the remainder of the film, while Blunt continues to display mother lion ferocity as she fights to keep her children safe and Jupe plays crippling fear magnificently but is now starting to show a hidden spine of steel as Marcus finally starts to find his courage; the film once again belongs, however, to Simmonds, the young deaf actress once and for all proving she’s a genuine star in the making as she invests Regan with fierce wilfulness and stubborn determination that remains unshakeable even in the face of unspeakable horrors, and the relationship she develops with Emmett, reluctant as it may be, provides a strong new emotional focus for the story, Murphy bringing an attractive wounded humanity to his role as a man who’s lost anything and is being forced to learn to care for something again.  This is another triumph of the genre AND the artform in general, a masterpiece of atmosphere, performance and storytelling which builds magnificently on the skilful foundations laid by the first film, as well as setting things up perfectly for a third instalment which is all but certain to follow.  I definitely can’t wait.

[found--family]

We were waiting so many years for something to happen between Dean and Cas, for something to prove we are not imagining this and all those people who abandoned the show years ago now are shitting on that scene because Dean didn’t immideately said it back?! 12 years of incredibly complex relationship and they really think it could be resolved with usual hetero “I love you” - “I love you too”? If that has happened they would be the first to tell how unrealistic it was. I’m so done with antis 😤

(sorry this got so long, also sorry for my lack of links! if anyone's after something in particular i can probably help you find The Thing.)

Your anger is valid nonny 💙

A lot of the hate going around and the jokes being made at the expense of these characters and their journey is coming from people who have never watched the show or who don't ship Dean/Cas, but that doesn't bother me much. It's frustrating but haters gonna hate so best to just ignore the outsiders.

What does bother me, just as you mention, are the shippers who either stopped watching years ago OR who are up-to-date with season 15 but they view That Scene in a negative light and are bitching into the digital void, dampening the celebratory mood of shippers who view That Scene in a positive light.

I feel sorry for the shippers who feel disappointed or angered by the dialogue in That Scene, Dean's reaction, and Castiel's "death", because honestly what show have they been watching? TBH i think if they were more involved in the fandom they would've come across informative content (in its multitude of forms) that would help them see there's So Much to be positive about.

Let's work backwards:

We will see Cas again. afaik Misha has one more episode on his season allotment contract (possibly 2? which would probably mean a brief cameo in 15x19) if you want some hard facts - i don't have links but Google is your friend here. Also, the entire cast + crew have been pretty damn quiet in the wake of 15x18 (bar a few Twitter interactions and the DarkLight Convention livestream), which is a Big Damn Clue that they're holding back because Something More is yet to come; even Misha has refrained from posting about it on his social media accounts - i think there was 1 post? - which is very unlike him (plus we hear he's written an essay about Cas' coming out which he's yet to share, possibly waiting until after his Real final episode airs, ie. 15x20). Then there's Castiel's story: it's not over. We know The Empty is compromised due to Jack's cosmic implosion, we know there are ways into and out of The Empty, and with cosmic Entities meeting their end this season maybe The Shadow will too? Plus, Cas being left in The Empty isn't a peaceful ending for him (as Ruby mentioned, those trapped there relive their greatest regrets on a loop) and also: Been There Done That In That Place so it's not a good ending writing-wise. Not to mention what we've seen of grieving!Dean means he won't find peace either as long as Cas is in The Empty/dead. 15x18 was exclusively Castiel's love confession, so Dean's is surely on it's way, which means More Cas!

Dean’s reaction was very much in-character for him. Dean's a volatile smelting pot of Anger and Too Much Heart, especially this season, and while we've seen him blow up about some matters (Chuck's machinations, failing, losing people, etc.) and be honest and vulnerable about how he's feeling (with Sam, with Jack, with Cas - usually in regards to Chuck's BS, although I'm not just talking about season 15) Cas' love confession was something else altogether, something personal just for him, for them, something Brand New: Dean's best friend reveals he's in love with him, which is unprecedented for Dean on both counts. Losing people and losing battles and suffering because of trauma and his upbringing and The Ongoing Hunter Life - that's not new. But he has zero experience with receiving genuine love confessions, which also happen to come from his best friend (who he is also in love with if the past 12 seasons are anything to go by). So his shock/tongue-tied reaction is justified, it's expected really, because like you say an "I love you, too, Cas" just wouldn't feel organic for Dean or his years-long relationship with Cas (plus it's too soon, story-wise). While Misha gave us a stellar emotional outpouring for Cas (appropriate, since he was spilling his heart) Jensen did what he does best: micro-expressions, the nuance acting he's imbued into Dean's character since season 1 and one of the top reasons He Deserves All The Awards. Anyone who complains about Dean's "lack of reaction" isn't taking into account his shock and are apparently not fans of the show because again, that's Dean/Jensen, the subtle emotional shifts in his expression that have (skilfully) conveyed Dean's state of heart and mind through the years (when his contrasting emotional outbursts weren't on display). I understand wanting more from Dean in that moment, that folks feel cheated because they didn't get More, but.. we did: Tears steadily filled Dean's eyes as the scene progressed; Fear added to his Shock as Billie and The Empty showed up and as Cas was stolen away; and OFC the curled-up-and-freakin-sobbing moment at the end as everything sunk in, as he realised he couldn't even answer Sam's call (even if something else had gone wrong) because he would've broken down - which he did.

@ the folks who wanted more from Dean in That Scene: It's There. It's in the micro-expressions, meta, parallels, subtext, symbolism, callbacks - because this show has always needed more than a passing glance; it's about the layers, the story which every cast and crew member has always had a hand in enriching by giving the audience Something More to think about, More to feel. It's in the 15 years of Dean's character journey. It's in that closing scene. It's in the 2 whole episodes we're yet to see. It's there, you just gotta look for it. You're watching Supernatural, after all.

Once again, I encourage folks to read the brilliant meta that's been coming out in the wake of 15x18 (and all of season 15) as well as the insightful thought-posts of shippers who understand the layers and the journey of Dean and Cas' relationship and manage to sum-up canon happenings so beautifully in a hundred words or less.

And you're 100% right nonny 💚

We deserve this love story because we know Dean and Cas deserve this love story, because those involved in making the show have been building towards this for 12 years, that The Slowest Burn To Ever Slow deserves acknowledgement, closure, and a happy ending.

I know it can be hard to stay positive when your dash is littered with negativity, but remember you control the flow: use that block function for tags and post content. Unfollow and block the blogs you need to. If others get their rocks off criticising and hating The Things You Love, just ignore them. They're gonna live mad about Stuff but you don't have to. Pity the haters, but don't let them get you down. Also, post/like/reblog as much positive content as you can find; drown the haters in love.

You deserve happiness just like our beloved OTP.