#it's something very very important to me:

[amalashuor]

Things that were and had suddenly changed:

When cooking oil ran out from the market, we replaced it with ghee as an alternative. So the price of ghee increased ten times. When they hoarded sugar, we started to use vanilla extract instead until sugar ran out from the market.Instant coffee is blocked from entering, and the kind that is available is now very expensive. We turned to fresh coffee instead. They started skimping with fresh coffee and its price increased dramatically. Vegetables are expensive and practically nonexistent. We started to depend on canned food. Now the can of spoilt food, peas, beans, fava beans and chickpeas, is 7 shekels (2$)

My friends, I want to clarify something very important to you, which is that all the campaign money is spent and nothing is left. This post shows you the cost of living in Gaza.

Don't look at how much the campaign has earned, but look at how many people it has spent on and how much life costs in Gaza.

Thank you for any assistance you can provide. Time is of the essence! ❤️‍🩹🙏

@fairuzfan @el-shab-hussein @fairuzfan @90-ghost @feluka

@schoolhater @jehadism @irhabiya @sayruq @sar-soor

@mrala @scodoz @youngmanhattanite @clientsfromhell

@wlwaerith @miametropolis @jujusjunk @tamarrud

[cheer-nympho]

Steve had been conned into chaperoning the kids to a ren faire.

Admittedly with very little resistance, but he was keeping that to himself. Once there and with their bags packed away into some apparently theme appropriate tents he had shrugged on some medieval casual clothes and…immediately lost track of all of them,

But a figure he did spot was a long haired Jester entertaining a small entourage with juggling,

Steve finds himself laughing slightly condescendingly at the jingling man. Why do people find juggling so impressive?

He picked it up straight away with some hackey sacks while bored between practices. He’s just good with his hands.

When he looks back up to get another glance in however, the jester isn’t perched on top of his little rock anymore and the crowd has merged with the other dweebs.

Steve stares at the empty space for a moment before a jingle right by his ear spooks him into turning around.

“Art thou not impressed by my amazing skills, your lordship?” The jester asks, swaying on his feet and causing the bells all over him to ping, grin wide and mocking.

And up close Steve notices one very important, very dangerous thing.

This court jester is really fucking hot.

He looks like an idiot, a nerd, a dweeb. Its hard not to in a pointy hat. But he also wore it too well, looked too perfect like that.

Steve notices the…is that..? Yes, the corset wrapping tightly around the mans waist, red and black diamonds decorating the sides and leading to small puffy shorts. His legs are covered in tight black leggings which should look ridiculous. It should.

An obnoxious cough and head tilt-jingle make Steve aware that he has been staring at the mans waist for way longer than was ‘bro code permitted’

He looks up with a wince, expecting a look of disgust ranging from mild embarrassment to punch-your-lights-out.

He was, instead, greeted by a smug and knowing smile. The red and black triangles painted over the mans eyes warped where the grin reached them. “Or maybe thou art impressed, but skills are not what draw thine eyes.”

Shit. Fuck. The stupid hot nerd is using stupid nerd speak on him. And Steves stupid nerd, apparently ‘very accurate’ pants are getting tighter. He needs to say something. Anything.

“You’ve got…bells.” Okay, maybe not anything. He used to be better at this shit.

He is rewarded with a wild, joyous laugh as the jester throws his head from side to side. “I do! Isn’t it amazing?The staff insisted on it so they could hear me coming.”

“It certainly makes an impression-“

“Eddie, names Eddie. And what does my lordship go by?”

“Steve is fine.”

“That he is…” The comment was punctuated by a less than subtle glance, almost a leer. “However, Fine Steve seems unimpressed with my merrymaking. As the official court jester, I cannot let that stand.” He stamps his foot, causing another cacophony of jingles.” “Therefore…”

“…Pick a card any card!” A pack of standard cards was presented to him with a flourish, but all he could do was roll his eyes.

“Come on, really? This shit is basic. All I have to do it watch your hands. You’ll swipe my card out and put it back in later, or mark it somehow.”

“Ooo his highness has it all figured out doesn’t he. Well then, princess, you have nothing to lose by picking a card, do you?” And that was…true. Plus he could maybe try to fix his previous fumble and try to claw a number out of this disaster.

So with another bitchy roll of his eyes, Steve plucks a card from the deck and hides it behind his palm. Two of Hearts.

Then out of nowhere… “You know, Stevie, if you think I’m pretty you can just tell me. I know the kingdom would approve not of a noble like yourself marrying a commoner like me, but they need know little of how we…” He begins to reshuffle the cards, motioning for Steve to place his chosen one back in before making some very obvious, very crude movements with his fingers. “…get to know each other in the meantime.”

He was going to die. In the middle of a nerd fest.

“Well, my lord…” Eddie continues, circling him while dragging a finger across his arms and shoulder blades before coming to a stop in front of him. A very bold hand takes Steves jaw and forces his head up, pretending to inspect something on his costume for any bystanders.

“If you would like some more…close up demonstrations…” He leans in tightly, still holding Steve’s jaw in a tight grip. “You can pay me a visit in staff cabin 23 tonight.” He strokes a piece of hair gently behind Steve’s ear before pulling out a card, as if from said ear.

Steve was glad that Eddie took the initiative to carefully pull his hand up and place the card into his palm, because currently Steve was too preoccupied with staring like a fish out of water into Eddies eyes. Everything about him was just so captivating, so alive.

Maybe that’s why he did little more than step forward aimlessly, with small grabby hands when Eddie pulled away. Before Steve could even process it, the bells and jingles had mingled back into the crowd. But that was…that was okay. Cause he could go to the…cabin?

But how was he supposed to- Oh. He looks down. On the card was a loosely clipped room key with a ‘23’ crudely engraved into the edge as if by a pocket knife.

The card itself, to his horror, was the Two of Hearts.

Shit.

He forgot to watch the fucking hands.

[ajlockwood]

one of the most powerful things about arcane in my opinion is that it managed to capture so many forms of love, so please bear with me while we delve into this analysis.

[SPOILERS FOR SEASON 2 OF ARCANE!]

vander’s love for vi and jinx was the one of a good father; he raised them like he promised their mother, and for as long as his consciousness lived, he was determined to protect them. silco also grew to love jinx like a daughter, in his own way. she wasn’t just one of his most prized assets: while he was ruthless to most, he had a tendency of going “softer” on her, and was desperate to save her when he thought she was gone. singed loved his daughter so much that he was willing to go to unspeakable lengths to bring her back. and despite everything, ambessa and mel were still mother and daughter, and in the moment of death, they recognised how much they meant to each other. a mother stabbed by her own daughter, and yet, with her final breath, she expressed how proud she was of who mel had became — quite similar to silco’s death.

caitlyn and vi have always been romantic, this third act showing the passionate kind of love they had. ekko loved jinx in a most pure way, a love he carried with him since childhood and somehow persisted. mel and jayce had their troubles in the beginning, but they grew to trust each other and became very significant to one another with time.

vi and jinx were one of the most important of all, because they clashed and fell apart, and even through it all, even with so much hatred and hurt and grief, they never let go. they loved each other beyond words. their love was powerful enough to bring forgiveness. with isha, jinx showed all this love that was still inside her, the love for a sister she thought she had lost. silco and vander too clashed and nearly killed each other (silco succeeded) and yet their love persisted.

and then it concluded with jayce and viktor. their love was transcendental, beyond simply romantic or platonic bonds even. ever since they first met, without their knowledge, their lives had always been intertwined. it all started with them, and it ended with them. they clashed to near death, but jayce didn’t let go, and viktor couldn’t either. “it was affection that held us together”, viktor said. they were both alive because of each other. they owed each other so much. it was their love’s power that saved the universe of its collapse. again, a love powerful enough to forgive and leave everything behind.

so yes, I am very emotional and may have many conflicting thoughts about some aspects of these last acts, but the portrayal of love was something that I felt deeply throughout the entire series and can’t go unnoticed. all in all, the message of the show can be summarized in silco’s line: “the greatest thing you can do in life is find the power to forgive”.

[bugflies00]

i have so many thoughts about the tommy song/video and theyre a jumbled mess. i wouldnt call this an analysis this is just. most of my thoughts surrounding the video and what it shows about tommy

one of the things that stuck out to me (outside of how depressing and just like. is this guy okay) is something that ive always respected tommy for because he's always stuck with it and its his like. fervent conviction in people doing things theyre passionate about. thats always been one of the things he talks about all the time!!!

when AI started appearing he was talking about death of creativity, with the internet he's always talking about how the real tragedy is the algorithm killing people's passion by driving them with views and money, and even when he talks about youtube itself, and nowadays standup, its so full of passion.

and i think thats really important because it would be extremely easy for someone like tommy, who's in the process of maturing his online image from a very loud, immature and PASSIONATE persona, to make fun of it. it would be so easy to do like so many other creators and laugh at how "cringe" it was and make a quick cash/attention grab with a funny clip of him laughing at himself. but he never has. well don't get me wrong he's laughed at himself or old videos but it's always just. good natured taking the piss out of himself, it's never this like. mocking your younger self who was so excited to do what they did only because now its "cringe".

not only is he constantly giving that advice to other people (its been years of him replying, to any kid in his chat or donations asking advice on how to be a creator etc, "just go and do it if you love it!!"), he's coherent with how he applies it to himself. he realised he was making cash grab tiktok react vids and hated it so much he just stopped uploading for a while.

i dont know i just think there's something admirable about being able to still be sincere in a time where everything especially online has to be processed through a layer of irony. and its even funnier because he's more sincere THROUGH the irony i mean he's literally going into standup.

letting yourself create something that "means" something is fucking hard especially when half the internet still sees you as a kid who screams around. except the thing is that kid DID make stuff that mattered and that meant something because he was, in his own words, having fun.

i think thats what the format of the video was about too. i mean i think it was pretty clearly not a song thats meant to be streamed, its not purely music, its also a video because tommy is also first and foremost an editor who went to film college. its also not a "comedy" song like he's made some before, because those were all intentionally created to land as many jokes and make a big buzz— which doesnt mean they were bad! im philza is a contemporary lyrical masterpiece. but they had a specific purpose and it was to make people laugh and i think this video was completely like. opposite of what peoples expectations are of tommy. the "wow hes not a child anymore hes being mature🤓" reactions are the most obvious aspect of this (which, like, its been a while, get with the program).

i think the point of this was to make something that genuinely meant something but that was also like. as unpalatable to the algorithm and to the TommyInnit Viewer as possible. even now that he's gone into making quieter, more reflective videos, we've never had the flashing texts and the projector images and just all of that. hes always talking about how he hates the way the "youtube formula" has dictated the course of content and stolen all creativity for youtubers. its not meant to be a YouTube Video tm. its just meant to mean something to someone, and obviously process some sort of personal emotions, and i just think thats. yeah. yeah

i mean he even says so outright. "this needless, self indulgent spiral of self gratification" is pretty damn explicit. its not meant to be funny content its really a cry for help or for just. anything at all really

it was also a lot about perception, yknow the "entertainer" dilemma, "its all attention porn"... theres a layer of this point thats universal, everyone struggles with how they're perceived and i think any "artist" or "entertainer" figure can see themselves in it, but there's also a layer thats completely impermeable to most of us because it touches upon the sheer absurdity of a "youtuber". especially one of tommy's popularity. especially one who blew up so so fast so young. i honestly think its IMPOSSIBLE to process that. its about the ethics of having millions of people's time so readily available to you if you just press the right buttons to make the algorithm happy and then you've got them. im like 75% sure i remember him saying this on stream once, something like "your time is valuable" and if a fan didnt value him as an entertainer they should drop him.

and even here^ thats the saddest "lmao" ive seen in my life SORRY LOL but its really just. yeah im not gonna repeat myself it speaks for itself. perception and internet expectations and all that

one of the other images that stuck out to me was also this:

"yeah i know its too much like bo burnham but it wont be in a year though. in a year it will be like tom simons. just let me figure out what that means, ok?"

a lot of the video is about. influences and inspirations. the bo burnham references are so obvious he's poking at them, but i think he's raising a good point about the creativity that he's constantly praising. its never something that springs up on its own, its all about looking at others work and making it your own and feeding yourself with all those experiences and slowly, surely building your own way of doing things (tommyinnit "minecraft talent show" and "a tribute to dream smp" serial quackity + schlatt impersonator would know all about that) ->

and its daunting! its fucking scary to move away from that! which is also the main vibe i got from the video which, outside of his own issues with how he's perceived online, was the sort of existential dread that comes with actually creating. its one thing to preach you need to be passionate and create, its another to sit down and create something thats BY you. its a part of growing up! and we're literally seeing him do it live (well the bits that he chooses to show obviously)! thats also part of why i think tommy's so relatable to so many people is that he's so like. honest and real about what it's like to grow up, simple as that, and growing into yourself.

"this was everything to me" and using the picture of his younger self... man. theres obviously so much sadness underlying the whole thing but i think the nostalgia and melancholy in mourning being someone who was only inspired/excited by your interests and role models is universal. and obviously for tommy a lot of those influences turned out. well i think it was pretty damn clear who/what he was referring to here. ->

i don't think i need to go too in detail about that, especially cause a lot of the video was clearly a way to process his own personal emotions. especially with those next few images. i just hope he's okay and that god doubles his pain and gives it to mr beast to quote my friend bronzetomatoes. man.

of course he had to end with a funny clip about a hot anime girl and i think that kinda. sums it all up in a way. if that makes sense. at the end of the day its about the fact that he has to use humour to make the thing work when its out in the open, even when he tries not to and to be actually honest, but theres also the fact that hes literally a comedian and creating something "honest" IS through humor. its kindof a double edged sword

right well that was my jumbled mess of psychoanalysing tommyinnit i hope he is alright and all that because well that was. something

[ego13]

LET ME IN YOUR OCEAN – YU JIMIN

now playing : chase atlantic - swim

SYNOPSIS : your mafia girl loves it too much when you bring her lunch to work (in fact, she doesn’t mind fucking you on her desk either.)

warnings : mafia!jimin, lesbian sex, service top!jimin, praise kink, hickeys, fingering sex in public places, pet names (princess, good girl, kitty).

pairing : yu jimin x fem!reader

you? oh, her favourite baby-girl, damn, jimin loves her girl too much, she loves to pamper you incredibly, because if this comes up in conversation, then yu does not hesitate to spend several million a day on her princess. expensive prada dresses, diamond necklaces and rings are what you literally swim in, bouquets of flowers, romantic dinners and then night walks in a black porsche with jimin - your daily routine, her hand on your thigh as you both silently drive through Seoul at night listening to your favorite playlist, during such moments it always seemed to you that there were only you two left in the world, and no one else

and if her girl wants it, jimin will buy the whole world for her, as long as it’s really just the two of you.

when you first saw her in the casino, you would never have thought that a cold-blooded member of the mafia could be such a gentle romantic, whose words always made your knees weak. one of the nicest things was that she was so close to you, she didn’t allow anyone to see her as tender except her princess, because you were the only one who truly deserved it. and the only downside of all this was the fact that she was often busy, although in a very interesting way she always made up for her guilt to you. a romantic dinner, another necklace and wonderful sex right against the wall in the hallway of your mansion is probably the best way for her to made it up.

waking up after another such evening, you realized that jimin was not next to him in bed, which made you slightly upset, after all, your desire to wake up in her arms, spending the whole morning sleepily hugging, alas, was cut short. you stretched, rubbing your eyes sleepily, reaching over to the bedside table and taking your phone off the charger, having unblocked it, the first thing you did was go into chat with yu, realizing that she didn’t even write about where and why it would be so early in the morning.

you : jiminnie? no good mornings? :(

you : i hope that you really have something important, because depriving me of morning hugs and breakfast in bed is a crime

just as you were about to get out of bed, several notifications came to your phone, and seeing the messages from yu, your face broke into a sleepy smile.

jim💘 : so sorry, princess, had to leave early, important meeting.

jim💘 : you know that i love you, princess?

jim💘 : i would never leave my precious girl without cuddles and kisses without reason.

jim💘 : i’ll be home in the evening, afterwards, expensive champagne and a delicious dinner, perhaps even a continuation in the bedroom, or in the kitchen, if I can’t restrain myself. i love u.

after reading the messages, you were mentally preparing for the upcoming evening, fuck, she knew exactly all your weak points, and knew where to hit so that you wouldn’t get angry. getting out of bed, you stretched again along the way, going into the kitchen, wanting to drink a glass of water, you noticed that you forgot to take lunch with you, which you carefully make every evening. a small pink lunchbox with hello kitty and a small love note is what jimin put in her black leather bag, and it made her heart beat faster every time.

you were a little upset, but you could put up with it, considering how flighty jimin can be sometimes, so you once again got excited about the idea of ​​going to her office to give lunch for her forgetful girlfriend. quickly getting dressed, you called the personal driver whom yu hired with the words 'my princess will not walk several kilometers on the asphalt every time with her beautiful legs so give me the most skilled driver'. the road was quite fast, and upon entering the large building, one of the bodyguards let you inside with a warm smile, personally escorting you to jimin's office.

knocking on the door several times, you opened it, seeing how she carefully rummages through documents in her damn sexy glasses, the way she looked made you turn into a waterfall every time you saw her. finally looking up from the papers, she smiled brightly, seeing her beloved girl.

"princess," getting up from the table, she took off her glasses and put them aside, she came closer to you, seeing a pink lunch box in your hands, "damn, I'm too forgetful and forgot my girl's lunch..." she awkwardly scratched the back of her head, taking it from your hands, placing it on the table, returning her gaze to you as her hands found their way to your hips, "you didn't have to drive halfway across town to see me, sweetheart, but I really fucking appreciate it, kitty..."

her lips carefully approached hers as your noses touched each other, finally pulling you into a slow and loving kiss, deepening the kiss, yu buried her head in the hair at the back of her head with one hand, and touched tour waist with the other hand. you hummed right into the kiss as she picked you up, moving her hands to her hips, and sat her on the table, settling between your legs. having stopped tormenting your lips, she lowered herself to your neck, while her free hand lifted your skirt, getting under your underwear, jimin began to slowly stimulate your clit, making circular movements, carefully watching your expression, searching for any hint of discomfort, “good girl... already so wet for me?"

your body kept shaking, and the thighs tried to close, but yu was standing between them, and did not allow this to happen. your hands fell on her shoulders, you pulled her closer, so close that ypu pressed herself against her, resting your head on her shoulder, her free hand nuzzled your thigh until her fingers finally slid inside you, causing you to let out a loud whine that was like honey to her ears, "just like that, you're doing so well, kitty, it feels like you were created for me to be inside you..."

yu's lips kissed your skin from your neck down, reaching the collarbones and leaving several purple marks there, again fell to her beloved neck, without ceasing to work with her fingers and feeling how your body began to tremble.

she felt with her fingers how the walls tightened around her fingers, enveloping and sucking, and in the next second a languid cry flew from your lips, which made her instinctively squeeze your waist tighter, not allowing you to fall off the table, on the contrary, helping you sit more comfortably, kissing your neck soothingly, enjoying the sight of the purple marks on your milky skin, "everything is fine, princess, my good girl..."

finally moving away from your neck, her hand combed the fallen strand of your hair behind your ear, smiling, she liked seeing you like this too much, all excited, trembling from orgasm, while your hair stuck to your forehead and barely visible drops of sweat flowed from your temple.

"you know, after such a “lunch”, I’m no longer as hungry as before your arrival, you can come to me more often, I’ll be all for it."

[narutobookshelf]

#i want to meet the jōnin housing interior decorator. who is the one who designs these apartments. what are the principles they use going in #i like the cluttered idea of his home more bc while the idea that kakashi keeps his home absolutely spotless bc he doesnt live in it #and doesnt have a real ''home'' personality is loaded in a very compelling meow meow way #but for my interest...i have to say its not as compelling to me bc kakashi is not an empty man! he's bursting with feelings #i very much like the idea that hes incapable of letting go of the past and so he keeps a lot of trinkets #people leave and people die and people vanish but if you have something of theirs—in some way its a tangible memory #a way to hold them in your hands#i think hes careful with his trinkets though i think he keeps the important ones in sealed containers out of sunlight or elements so that#they remain unchanged by time #(of relevance: exposing things to sunlight is one way to break down odors quickly) #its not clean and feelingless and efficient but i think kakashi might be a little bit of a pack rat... #i think that naruto gives him drawings when hes first appointed sensei of team 7....and he keeps them in a little cardboard box bc #he doesnt know what to do with them but the idea of getting rid of them doesnt even cross his mind. so hes got all these goofy kid drawings #of naruto as a huge badass fighting sasuke and enemies with lots of teeth and spikes and like kakashi and sakura #one day like 20 yrs later when narutos in his thirties kakashi finds them again and loses his fucking mind laughing#gai + yamato (who live with him now bc they need to share the fridge) are like what. what happened whatd you find #kakashis the kind of person where if you give him something he just holds onto it for eternity

(reblogging with ops tags)

i am trying to find a image of the outside of kakashi's window to see what textures i should use for jōnin housing, and i am not finding it but i did find this. look. look

i have so much to say. firstly, everyone wears their shoes in kakashi's apartment, kakashi wears his shoes in kakashi's apartment. i think there is an absolutely and entirely unused shoe rack. there, that blue vertical cubby thing next to the door. it has at least seven slots and there's not a single set of shoes in there!

there have probably NEVER been a set of shoes in there. no respect for Kakashi's living space allowed.

secondly, if i am correct, the caligraphy on that wall just says shinobi. it's like. this is really funny to me. imagine just having ur job title in caligraphy hung up on the wall. a little like having this hung up on ur wall

u feel me? did he pick that out himself. did it come with the apartment (jōnin standard housing...obsessed). what about that weird abstract art behind sasuke in the front area, the one that kinda reminds me of the inside of Jiraiya's frog jutsu. did kakashi hang that up in his own room. did he see that and go "yeah, this is something I want to wake up and look at every morning that I'm back in Konoha"

also. skjghsdkgjhsdkgjhsdgkjhsdgkjshdgkshdgdsg. hello to mr ukki on the window sill. and hello to kakashi's shuriken blanket. that's so cute. what the hell is his interior design sense. it seems like.

if everything is put together. it seems like...well, as kate said, pinterest shinobi...

also sidenote he takes off his shoes even when hes just poking around his students homes w/ the hokage

so its Just his own apartment that gets this disrespect. when i told kate abt this they pointed out "well, that's probably because kakashi has no ownership of his own space and feels transient always but he respects the space of others send tweet" which is so true, so true.

(it should be noted that in the manga his home is a lil more cluttered)

[threeacttragedy]

Entry 11: The One About the Heart of the Ocean

My father is a big history buff. He fancies himself a bit of an expert about the U.S. Civil War, U.S. Presidents, and World War II. In fact, he’s gifted me with the Useless Knowledge of which four U.S. Presidents were assassinated while in office (Lincoln, Garfield, McKinley, and Kennedy – you’re welcome for that little addition to your own Library of Useless Knowledge).

But, more importantly, my dad has instilled in me the importance of a timeline. The idea that, if you’re collecting information, it’s vital to keep it in chronological order, that way you can look at it, (try to) understand it, and theorize about what happened before and after an event. If the facts are out of order, the conclusion you reach may be in error.

My father and I also like to solve True Crime together. When he visits, we spend hours on the porch studying some random, usually cold, true crime event. We timeline the shit out of it, connect the puzzle pieces together, and exclaim in the end, “We’ve solved it!” I suppose that is part of what keeps me interested in Lukola – not that there is anything criminal in Lukola, except perhaps the “Single White Female” that pops up behind Nicola from time to time – I just enjoy the game of trying to put the pieces together.

Lukola has become a rather intriguing puzzle, don’t you think? It’s definitely one to which I do not have all the pieces. I do, however, enjoy collecting the information and chronologizing it, and now I find it enjoyable to scribble my thoughts out on Tumblr.

So, how did I get here?

Well, it started with boredom and ended with a timeline.

My first entry to the timeline?

July 20, 2024.

What happened on that date?

Well, nothing spectacular really, except JVN posted –

HOLD UP!

HOLD THE FUCK UP!!

OH SHIT!!

YES!

YES, you guessed it! After blowing JVN off for at least three, maybe four, posts in a row, I’m finally getting around to dedicating an entire entry to Their Royal Highness.

JVN is such a fascinating creature. I mean, you get beautiful, witty, and intelligent wrapped into one human being. Oh, and they are kind of a catty bitch, too, and who doesn’t love one of those? That’s why they're the Heart of the Ocean on the USS Lukola; they just give off this very rare blue diamond vibe. Well, that, and because something they did marks the focal point – the heart – from which the rest of my timeline branches.

*I will cut in here to note that I am referring to JVN as they/their in this entry as their Instagram bio indicates they accept “they/he/she.”

Okay, back to July 20.

On that date, JVN posted to TikTok their version of the Charli xcx “Apple” dance. You know that annoying TikTok trend that took over our summer? Yeah, that’s the one – the same one Antonia tried doing – she just couldn’t pull off the JVN version of it. Dear girl couldn’t come close to matching JVN’s “enthusiasm,” and JVN’s version was only made more enjoyable in that they were seemingly mocking Antonia!

But, all’s fair in love and war, right?

JVN’s bestie, Nicola, had already spent the entire summer subtlety combating Antonia over social media. The vibe in the fandom was that Antonia was always trying to one-up Nicola, with Nicola always coming out the victor. I’m sorry, Antonia, you just can’t beat some perfectly timed BTS drops.

So, why did JVN’s TikTok post intrigue me? It wasn’t because it was that amusing. It was because they’d done something I hadn’t noticed before – they’d taunted Antonia on a public forum.

Curious, that.

Now, I’m not saying it was the first time JVN mocked Antonia, but July 20 was the first time I noticed it. That date is the heart of my timeline, but it does not have to be the heart of yours. We can all start at different times but still reach the same conclusions, so long as we keep the information in order.

You would think one wouldn’t mess with the “girl friend” of your best friend’s “best friend,” at least not publicly. But, here was JVN shamelessly mocking Antonia on TikTok. And, just so we’re clear, the public opinion of what JVN was doing with this TikTok is available to view in the comments of their TikTok post. It wasn’t just me that came to this conclusion – and JVN has left these comments up for four months at this point.

JVN’s “Apple” dance was only made more interesting the following day – July 21 – when they included it in their Sunday Dump post on Instagram.

And, Nicola liked it.

Hmm, things were becoming curiouser and curiouser.

Let’s not even pretend that Nicola isn’t street savvy and didn’t understand the context of that video. And, let’s definitely not underestimate the length of her claws.

To be honest, I hadn’t paid too much attention to Lukola since mid-June. It was an “it is what it is” thing for me. Even though I believed the relationship between Luke and Nicola was complicated (see my first blog for that story), Luke had also apparently disappeared into the summertime sun with his friend group, which included Antonia.

Something about JVN openly making fun of Antonia, and Nicola, at the very least acknowledging it with an Instagram like, made me realize something in Luke’s situation must be shifting.

What have I said about little changes? That deviations in modus operandi are what make people start giving the side-eye to a situation.

And, side-eye I did!

I started paying attention to JVN and, on July 25, they posted a series of photos on TikTok and Instagram showcasing “What I would wear if you invited me to your…” We will fast-forward through all the slides until we get to the last one, which read, “…just got dumped and going to take 8 shots dinner at Lupe’s in SoHo.” Was it possible that JVN was hinting at a dumpster fire at the Soho Farmhouse?

If you don’t know what the Soho Farmhouse is, it’s the place where Luke and his friend group, including Antonia, frequented, probably on Luke’s dime (*insert wicked laugh – oh, and a disclaimer that this is all speculation).

Funny that Nicola liked this post on Instagram, too, and it wasn’t even buried in a Sunday Dump.

At this point, JVN had really sparked my damn interest. Like, dear one, what are you hinting at?

On July 29, Deux Moi creeped out from under its rock and reminded the fandom to hate Luke by rehashing Papsmear. Thank you, we needed that. I mean, half of us almost forgot how much we hated him! That’s me being a sarcastic tart, by the way. If we were to fast-forward to today, I’d argue that Luke was the most darling thing to come out of Bridgerton.

Any ways, again, thank you, Deux Moi, for those suspiciously timed Papsmear pictures because they aligned perfectly with the pap pictures People dropped the following day – July 30.

Yep, I am talking about those strangely awkward pap pictures of Luke hanging out in the murky waters of Sorrento with Antonia. Oh, and let’s not forget the video footage of that encounter, which I am sure still upsets and confuses people to this day. In fact, I know it does because, as I was researching this, I had a couple of people get annoyed after I asked them to view it. Funny thing is, that shit never bothered me (I didn’t say that it didn’t later confuse me!). The first time I saw them, I was like, “Luke is not into that girl at all,” and my next thought was, “I wonder how old these pictures are because I would have sworn JVN was hinting at something.”

Now, this story wouldn’t be complete if I didn’t address the rumor portion of it.

First rumor? That Antonia set up the entire Italy pap photo-op because she seemingly knew where to find the cameraman. So, let’s discuss that video everyone seems to hate to acknowledge exists. In the video, you can see Antonia maybe looking in the direction of the cameraman. She then leans into Luke, either to whisper something to him or to reach for something behind him. In my opinion – and this is strictly my opinion – it looks like she’s pretending to reach for something over his shoulder. Still shots of this interaction are the photos People published, presumably because Luke and Antonia looked like they were cheek to cheek.

Okay, notice I said, “first rumor,” because, yeah, there’s a second rumor, too! But, it fits snuggly into that first rumor. Almost immediately – because that’s how fast the Lukola Sleuths get to work around here – rumors began to circulate that Antonia was following on Instagram the photographer that took the Italy pap pictures. In fact, several people I’ve spoken to swear that they witnessed during a TikTok Live a host prove that Antonia was following this photographer. That’s a bit suspicious, isn’t it? Yeah, it fucking is.

Let’s keep moving.

That same day, we had that video drop of Luke watching fireworks, at night, with sunglasses. Speaking of sunglasses, I guess Luke found those motherfuckers because he sure as shit didn’t have them while floating around in that dirty ass water. Any ways, at the end of the video, Rory appears behind Luke, looking in the direction of the camera and smiling like a condescending, sneaky little shit. Now, who was the cameraman? Well, a possible suspect would be Antonia since she was not seen in the video. Go figure.

Alright, so that day finally ended and on July 31, JVN posted to TikTok a cutesy video of themself at the market titled, “When you catch someone trying to sneak a pic but you were born for these moments.” They prance around the market and randomly look at the cameraman (Mark) with a smile and a pose. The caption reads, “I welcome sneaky pics but I can’t guarantee I won’t sneak some back or put on a show for you.”

WAIT A MINUTE!

Did JVN just inexplicably confirm Luke was getting papped by his own friends?

Yeah, I kind of think JVN did.

And, Nicola liked this one as well when JVN posted it to Instagram on August 8.

Didn’t I tell you JVN was a fascinating creature? And, to be honest, JVN only gets better as this Lukola ship continues on its voyage.

Oh, strangely enough, a few days after the Italy pap crap, Luke returned to London alone. The friend group became unsettlingly silent, and Nicola started to get really, really loud – Chaos Week was incoming! And, so were some more JVN crumbs (and nicely timed clap backs).

[unrealisticlea]

since everyone is telling Buck to move on from Tommy, when they get back together (they go to couple’s therapy and they put in all the work to make it work) Buck tries to keep it a secret.

but he’s too overjoyed to be normal. he gets into work smiling like an idiot, he spends all his time on his phone, he receives flowers from “a secret admirer” once a week and he takes some time off to go on a romantic getaway.

Everyone obviously clocks this new person very quickly and everybody is super happy for him. Hen says “I’m glad you finally moved on” and Eddie says “I liked Tommy but this new person is clearly good for you” and Bobby wants to meet them but Buck says he wants to keep the relationship for himself a bit more

cue hilarious hijinks. They run into Hen at the grocery store and they only have one cart so Tommy pretends to read something from the nearest shelf and Buck hides in the frozen isle (Tommy’s reading tampons. He only notices when he hears “hey Tommy. Why are choosing tampons?” and he goes “uhhhh. It’s for my cat. It’s a female” because soulmates).

Maddie shows up at his house unannounced and Tommy has to hide in the bathroom. She leaves Jee. Tommy is sure Jee doesn’t remember him so he introduces himself to Jee as “Casey” so she won’t blow their cover but Jee says “but you’re Mr. Tommy the pilot. You can’t be Casey”.

Eddie finds out because they meet Tommy on a call and they try to play it so cool. Tommy says “Good morning Station 118” and Buck says “Firefighter Kinard” in the coldest voice he can manage. and they think they fooled everyone because Chim comments “yikes. That was awkward!”. But when they’re alone Eddie looks at Buck dead in the eyes and says “You’re sleeping with him” and Buck has to explain that no, it’s not just sex, they’re actually in love and he’s pretty sure it’s forever.

anyway, they keep digging themselves deeper. at some point Buck implies he has a girlfriend to throw everyone off. Tommy keeps receiving horny DMs so he has to set his FB status to “In a relationship” and everyone starts treating Buck like he just suffered a loss (Buck is so stupidly happy they’re official on FB even if he stopped using it ten years ago). Eddie casually asks Buck “is Tommy done with the Chevrolet he was working on?” in front of everyone.

everyone figures it out at some point or another (Hen knew since he run into them at the grocery store, Jee started talking about wanting to becoming a pilot like Mr. Tommy the moment she got home, Bobby just knows because he’s Buck’s dad and also he’s Tommy neighbor and he’s pretty sure Buck moved in).

but they wait for Buck to come to them.

Bobby gets tired of waiting and eight months after Buck and Tommy got back together, says “you know, you can bring Tommy on Saturday. Officially introduce him to the family. Again.” and Buck starts laughing hysterically and says “what. I’m not with Tommy. I don’t know Tommy. Who even is this Tommy you’re talking about” and then realizes everyone is smiling and looking at him and Hen takes his hand and says “Buck. It’s okay. We like Tommy. As long you’re happy” and Buck gets all smiley and says “I’m happy. He makes me so happy” and then they all hug.

they arrive at Saturday’s bbq holding hands but Tommy is very tense because he thinks everybody hates him because he did break Buck’s heart. But he’s done therapy and he’d do anything to keep Buck this time so, before anyone can even say anything, he says “Hi. I know you don’t trust me and you don’t have to like me. But you’re Buck’s family and your opinion is very important to us so I just ask you respect his choice to give me a second chance” and then Eddie says “come here, you idiot” and everyone hugs him and Buck looks at his family hugging his boyfriend with tears in his eyes and thinks that this is it. this is what he’s been looking for all these years. the secret to happiness.

[badnewswhatsleft]

rock sound #312 (nov 2024)

transcript below cut:

ROCK SOUND 25 ICON

FALL OUT BOY

A BAND THAT CAPTURED THE HEARTS, MINDS AND HEADPHONES OF A GENERATION OF KIDS WORLDWIDE, FALL OUT BOY UNDOUBTEDLY CHANGED THE LANDSCAPE OF THE ALTERNATIVE SCENE FOREVER, NEVER AFRAID TO EXPERIMENT, TAKE CHANCES AND MAKE BOLD CHOICES AS THEY PUSHED FORWARD. FOLLOWING A SUMMER SPENT EXPLORING THE 'DAYS OF FALL OUT PAST', PATRICK STUMP AND PETE  WENTZ REFLECT ON THEIR PATH FROM POP PUNK, HARDCORE MISFITS TO ALL-CONQUERING, STADIUM-FILLING SONGWRITERS AS THEY ACCEPT THEIR ROCK SOUND 25 ICON AWARD.

WORDS JAMES WILSON-TAYLOR

PHOTOS ELLIOTT INGHAM

Let's begin with your most recent performance which was at When We Were Young festival in Las Vegas. It was such a special weekend, how are you reflecting on that moment?

PATRICK: It's wild, because the band, I think, is going on 23 years now, which really came as a surprise to me. I know it's this thing that old people always say, 'Man, it really goes by so fast', but then it happens to you and you're just taken aback. There were so many times throughout the weekend, every 10 minutes, where I'd turn around and see somebody and be like, 'Holy shit, I haven't seen you in 18 years', or something crazy like that. It was hard not to have a good time. When I was going up to perform with Motion City Soundtrack, which was an exciting thing in itself, I turn around and Bayside is there. And I haven't seen Bayside since we toured with them. God, I don't remember when that was, you know? So there was so much of that. You couldn't help but have a good time.

PETE: I mean, that's an insane festival, right? When they announce it, it looks fake every time. The lineup looks like some kid drew it on their folder at school. For our band, the thing that's a little weird, I think, is that by deciding to change between every album, and then we had the three year break which caused another big time jump, I think that it would be hard for us to focus on one album for that show. We're a band where our fans will debate the best record. So it was amazing that we were able to look backwards and try to build this show that would go through all the eras - nod to Taylor obviously on that one. But it's also an insane idea to take a show that should really be put on for one weekend in a theatre and then try to take it around the world at festivals. The whole time on stage for this particular show production, I'm just like 'Is this thing going to go on time?' Because if the whole thing is working totally flawlessly, it just barely works, you know what I mean? So I give a lot of credit to our crew for doing that, because it's not really a rock show. I know we play rock music and it's a rock festival, but the show itself is not really a rock production, and our crew does a very good job of bending that to fit within the medium.

That show allows you to nod to the past but without falling fully into nostalgia. You are still pushing the band into newer places within it.

PATRICK: That's always been a central thing. We're a weird band, because a lot of bands I know went through a period of rejecting their past, and frankly, I encounter this thing a lot, where people have expected that we stopped interacting with older material. But we always maintained a connection with a lot of the older music. We still close with 'Saturday'. So for us, it was never about letting go of the past. It was about bringing that along with you wherever you go. I'm still the same weird little guy that likes too much music to really pin down. It's just that I've carried that with me through all the different things that I've done and that the band has done. So for us, in terms of going forward and playing new stuff, that's always the thing that's important to me; that there should be new stuff to propel it. I never wanted to be an artist that just gave up on new music and went out and played the hits and collected the check and moved on. It's all got to be creative. That's why I do it. I want to make new music. That's always why I do it. So something like When We Were Young is kind of odd really. It's an odd fit for that, because it's nostalgic, which is not really my vibe all that much. But I found a lot of nostalgia in it. I found a lot of value in looking back and going 'Wow, this was really cool. It was amazing that we did this, that we all did this'. That scene of bands, we're all old now, but it has taken off into such a moment culturally that people can point to.

Let's jump all the way back to the first ever Fall Out Boy show. There is very little evidence of it available online but what are your memories of that performance?

PATRICK: So the very first Fall Out Boy show was at DePaul University in a fancy looking dining hall. I actually applied to DePaul, but I never went there because the band went on tour. I think there were only two or three other bands. One was a band called Stillwell, who were kind of a math rock emo band, and then this heavier, more metallic band. And then we were there, and we had a guitar player, John Flamandan, who I have not seen since that show. He was only in the band for a week or two, and we were still figuring ourselves out. We had three songs and I had never sung before in front of people. I did a talent show at school one time when I was a kid and theatre kind of stuff where you would sing, but it was more in that context. And I was also a kid too. This was the first time ever that I'm the singer for a band and I was fucking terrified. We had a drummer named Ben Rose, really great guy. I haven't seen Ben in a million years, either, but we were still figuring ourselves out. The other thing is that all of us, with me being the exception, were in other bands, and all of our other bands were better than Fall Out Boy was. We were very sloppy and didn't know what we were doing, and so I don't think any of us really took it seriously. But there was a thing that was really funny about it, where even though we kind of thought we sucked, and even though we weren't really focusing on it, we had a lot of fun with each other. We enjoyed trying this other thing, because we were hardcore kids, and we were not the pop punk kids and the pop punk bands in town, that was like 'the thing', and we were not really welcome in that. There was a fun in trying to figure out how to make melodic and pop music when we really didn't have any history with that. It was very obvious that we didn't know what we were doing at the beginning.

So when did it begin to feel like things were finally clicking? When did you find your roles and what you wanted the band to be? 

PETE: In regards to the music, I liked Fall Out boy, way before I probably should have. I remember playing the early demos and it giving me a feeling that I hadn't felt with any of the other bands that I had been in. Now, looking back on it, I might have been a tad early on that. Then as far as the roles, I think that they've been carving themselves out over time. We've always allowed ourselves to gravitate to our strengths. Between me and Patrick, we'd probably make one great, atypical rock artist if we were one person. Because our strengths are things that the other doesn't love as much. But I think that what has happened more is it's less of a fight now and there's more trust. We have a trust with each other. There's things that Patrick will play for me or explain to me, and I don't even really need him to explain it, because I trust him. I may not totally understand it, but I trust him as an artist. On the other side of that, it's also very nice to have someone who can veto your idea, you know what I mean? It's nice to have those kind of checks and balances.

PATRICK: I had been in this band called Patterson, and all three of the other guys sang in kind of a gravelly, Hot Water Music vibe. I was not intending to be a singer, but I would try and sing backups and, it wasn't a criticism, but there was this vibe that, while I could do the gravelly thing, my voice was coming through and it didn't fit. It was too pretty and that became a thing I was kind of embarrassed of. So when Fall Out Boy started, I was actively trying to disguise that and mute it and hide behind affectation. Pete would really push me to stretch my vowels because that was in vogue in pop punk at the time. There were all these different ways that we were trying to suppress me, musically, because we were just trying to figure out how to do the things that the bands we liked did. But that wasn't really us, you know? It's really funny, because 'Take This To Your Grave' was recorded in three sections, about six months apart. Over the course of that time, I can hear us figuring it out. I think a really defining moment for me was 'Saturday', because I am not brave, I am not a bold person, and I do not put myself out there. When I was showing the band 'Saturday', we were jamming on the bit after the second chorus, and I was mumbling around, just mucking my way through it, and I did the falsetto thing. I didn't think anyone could hear me over us bashing around in Joe's parents house in this tiny little room. But Pete stopped, and he goes, 'Do that again'. I was so terrified of doing that in front of these guys, because you gotta remember, I was incredibly shy, but also a drummer. I'd never sung in front of anyone before, and now I'm singing in a band and I'm certainly not going to take chances. So I thought the falsetto thing was really not going to happen, but when I did it, there was this really funny thing. Somehow that song clicked, and it opened up this door for us where we do something different than everybody else. We were aiming to be a pop punk or hardcore band, but we found this thing that felt more natural to me.

As you embarked on Warped Tour, simultaneously you were finding this huge level of pop and mainstream success. How was it navigating and finding your way through those two very different spaces?

PATRICK: I used to work at a used record store and what shows up is all the records after their success. So I got really acquainted and really comfortable with and prepared for the idea of musical failure. I just wanted to do it because I enjoyed doing it. But in terms of planning one's life, I was certain that I would, at most, get to put out a record and then have to go to school when it didn't work out. My parents were very cautious. I said to them after 'Take This To Your Grave' came out that I'm gonna see where this goes, because I didn't expect to be on a label and get to tour. I'm gonna give it a semester, and then it will almost certainly fail, and then after it fails, I'll go to school. And then it didn't fail. Warped Tour was very crazy too, I was talking about this at When We Were Young with My Chem. Both of us were these little shit bands that no one cared about when we booked the tour. Then we got to the tour, and all these people were showing up for us, way more than we expected, way more than Warped Tour expected. So Warped Tour was putting both of us on these little side stages, and the stages would collapse because people were so excited. It was this moment that came out of nowhere all of a sudden. Then we go to Island Records, and I had another conversation with my parents, because every band that I had known up to that point, even the biggest bands in town, they would have their big indie record and then they would go to the major label and drop off the face of the planet forever. So I was certain that was going to happen. I told them again, I'm going to put out this record, and then I'll go to school when this fails. 

PETE: I think that if you really wanted someone to feel like an alien, you would put them on TRL while they were on Warped Tour. You know what I mean? Because it is just bananas. On our bus, the air conditioning didn't work, so we were basically blowing out heat in the summer, but we were just so happy to be on a bus and so happy to be playing shows. You go from that to, two days later, stepping off the bus to brush your teeth and there's a line of people wanting to watch you brush your teeth. In some ways, it was super cool that it was happening with My Chemical Romance too because it didn't feel as random, right? It feels more meant to be. It feels like something is happening. To be on Warped Tour at that time - and if you weren't there, it would be probably hard to imagine, because it's like if Cirque Du Soleil had none of the acrobatics and ran on Monster energy drink. It was a traveling circus, but for it to reach critical mass while we were there, in some ways, was great, because you're not just sitting at home. In between touring, I would come home and I'd be sitting in my bedroom at my parents house. I would think about mortality and the edge of the whole thing and all these existential thoughts you feel when you're by yourself. But on Warped Tour, you go to the signing, you play laser tag, you go to the radio station. So in some ways, it's like you're in this little boot camp, and you don't really even think about anything too much. I guess it was a little bit of a blur.

Pete, when you introduced 'Bang The Doldrums' at When We Were Young, you encouraged the crowd to 'keep making weird shit'. That could almost be a mantra for the band as a whole. Your weirder moments are the ones that made you. Even a song like 'Dance Dance' has a rhythm section you never would have expected to hear on a rock track at that time.

PETE: You know, I just watched 'Joker 2' and I loved it. I do understand why people wouldn't because it subverts the whole thing. It subverts everything about the first one. That's something I've always really loved, when I watch artists who could keep making the same thing, and instead they make something that's challenging to them or challenging to their audience. Sometimes you miss, sometimes you do a big thing and you miss, and we've definitely done that. But I gotta say, all the things that I've really loved about art and music, and that has enriched my life, is when people take chances. You don't get the invention of anything new without that. To not make weird stuff would feel odd, and I personally would much rather lose and miss doing our own thing. To play it safe and cut yourself off around the edges and sand it down and then miss also, those are the worst misses, because you didn't even go big as yourself. This is where we connect with each other, we connect by our flaws and the little weird neuroses that we have. I rarely look at something and go 'Wow, that safe little idea really moved me'. I guess it happens, but I think about this with something like 'Joker 2' where this director was given the keys and you can just do anything. I think a lot of times somebody would just make an expected follow up but some people turn right when they're supposed to turn left. That's always been interesting on an artistic level, but at the same time, I think you're more likely to miss big when you do that.

PATRICK: Going into 'From Under The Cork Tree', I had this sense that this is my only shot. It has already outperformed what I expected. I don't want to be locked into doing the same thing forever, because I know me. I know I'm not Mr. Pop Punk, that's just one of many things I like. So I would be so bummed if for the rest of my life, I had to impersonate myself from when I was 17 and have to live in that forever. So I consciously wanted to put a lot of weird stuff on that record because I thought it was probably my only moment. 'Sugar, We're Goin Down' was a fairly straight ahead pop punk song but even that was weird for us, because it was slow. I remember being really scared about how slow it was, because it's almost mosh tempo for the whole song, which was not anything we had done up to that point. But in every direction, in every song, I was actively trying to push the boundaries as much as I could. 'Dance, Dance' was one of those ones where I was seeing what I can get away with, because I might never get this chance again. We were on tour with a friend's band, and I remember playing the record for them. I remember specifically playing 'Our Lawyer…' that opens the record, which has that 6/8 time feel, and they kind of look at me, like 'What?'. Then I played 'Dance, Dance', and they're like, 'Hey man, you know, whatever works for you. It's been nice knowing you'. But I just knew that, on the off chance that I ended up still being a musician in my 40s, I wanted to still love the music that we made. I didn't want to ever resent it. It's ironic because people say that bands sell out when they don't make the same thing over and over again. But wait a second. Say that again. Think about that.

That attitude seemed to carry directly into 'Infinity On High'. If you may never end up doing this again then let's make sure we bring in the orchestra while we still can... 

PATRICK: That was literally something that I did say to myself this might be the last time, the likelihood is we're going to fail because that's what happens, so this might be the last time that I ever get a chance to have somebody pay for an orchestra and a choir. I always think of The Who when they did 'A Quick One, While He's Away' and there's a part where they go 'cello, cello', because they couldn't afford real cellos, they couldn't afford players. That's what I thought would happen for me in life. So I went in and thought, let's do it all. Let's throw everything at the wall, because there's no chance that it's going to happen again. So many things came together on that record, but I didn't expect it. 'Arms Race' was a very weird song, and I was shocked when management went along with it and had kind of decided that would be the single. I was in disbelief. It did not feel like a single but it worked for us. It was a pretty big song and then 'Thnks Fr Th Mmrs' was easily the big hit off that record. So then we have two hit songs off of an album that I didn't even know would come out at that point. But again, it was very much just about taking the risks and seeing what the hell happened.

As you went on hiatus for a few years, you worked on a number of other creative projects. How did those end up influencing your approach to the band when you returned?

PETE: On the areas of the band where I led, I wanted to be a better leader. When you're younger and you're fighting for your ideas, I don't think that I was the greatest listener. I just wanted to be a better cog in the machine. When you're in a band originally, no one gives you the little band handbook and says 'these are the things you should do', you know? I just wanted to be a better version of who I was in the band. 

PATRICK: There's a combination of things. 'Soul Punk' is a weird record. I love that record but I kind of resent that record for so many things. It's my solo record, but it's also not very me in a lot of ways. I had started with a very odd little art rock record, and then I had some personal tragedies happen. My EP that I put out far out sold expectations so then all of a sudden, Island Records goes, 'Oh, we think this could actually be something we want singles for'. I think we had all expected that I would be putting out a smaller indie record but then all of a sudden they were like 'oh, you could be a pop star'. So then I have to retrofit this art rock record into pop star hit music, and also channel personal tragedy through it. I hadn't ever really been a front man - I'd been a singer, but I hadn't really been a front man, and I hadn't really written lyrics, certainly not introspective, personal lyrics. So that whole record is so strange and muted to me. So I went from that album, which also failed so fucking hard - I should have gone to school after that one. But Pete had reached out to me just as a friend, and said 'I know you're in your own thing right now, and I know that you're not the kind of person that is going to be in my fantasy football league, so I'm not going to see you unless we make music. But you're my buddy, and that kind of bums me out that I don't see you at all, so I guess we have to make music'. I thought that was a fairly convincing pitch. It's true, that was what we do when we hang out - we make music. So we reconvene, and going into it, I had all these lessons that really made me understand Pete better, because Pete is the natural front end person. So many of our arguments and frustrations and the things that we didn't see eye to eye on, I grew to understand having now been in the position of the point man that had to make all the decisions for my solo thing. It really flipped my understanding of why he said the things he would say, or why he did things he would do. I remember early on thinking he was so pushy, but then, in retrospect, you realise he was doing it for a reason. There's so many little things that really changed for me doing 'Soul Punk' that were not musical but were more about how you run a band and how you run a business, that made me understand and respect him a lot more.

What are memories of that initial return and, specifically, that tiny first show back at the Metro venue in Chicago?

PETE: Those first shows were definitely magical because I really wasn't sure that we would be on a stage again together. I don't have as many memories of some of our other first things. We were just talking about Warped Tour, I don't have many memories of those because it is almost wasted on you when it's a blur and there's so many things happening. But with this, I really wanted to not take it for granted and wanted to take in all the moments and have snapshots in our own heads of that show. I did a lot of other art during the time when we were off, everybody did, but there's a magic between the four of us and it was nice to know that it was real. When we got on that stage again at the Metro for the first time, there was something that's just a little different. I can't really put my finger on it, but it makes that art that we were making separately different than all the other stuff.

Musically, as you moved forward, everything sounded much bigger, almost ready for arenas and stadiums. Was that a conscious decision on your part?

PETE: Patrick felt like he was bursting with these ideas. It felt like these had been lying in wait, and they were big, and they were out there, and whether he'd saved them for those records, I don't really know. That's what it felt like to me. With 'Save Rock And Roll', we knew we had basically one shot. There were really three options; you'll have this other period in your career, no one will care or this will be the torch that burns the whole thing down. So we wanted to have it be at least on our terms. Then I think with 'American Beauty...' it was slightly different, because we made that record as fast as we could. We were in a pop sphere. Is there a way for a band to be competitive with DJs and rappers in terms of response time? Are we able to be on the scene and have it happen as quickly? I think it kind of made us insane a little bit. With 'American Beauty…', we really realised that we were not going to walk that same path in pop culture and that we would need to 'Trojan horse' our way into the conversation in some way. So we thought these songs could be played in stadiums, that these songs could be end titles. What are other avenues? Because radio didn't want this right now, so what are other avenues to make it to that conversation? Maybe this is just in my head but I thought 'Uma Thurman' could be a sister song to 'Dance, Dance' or maybe even 'Arms Race' where it is weird but it has pop elements to it.

PATRICK: I had a feeling on 'Save Rock And Roll' that it was kind of disjointed. It was a lot of good songs, but they were all over the place. So when we went into 'American Beauty…', I really wanted to make something cohesive. I do think that record is very coherent and very succinct - you either like it or you don't, and that's pretty much it all the way through. By the time we got to 'MANIA', I had done all this production and I'd started to get into scoring. The band had done so many things and taken so many weird chances that I just felt free to do whatever. At that point, no one's going to disown me if I try something really strange so let's see what happens. 'Young And Menace' was a big part of that experiment. People hate that song, and that's okay. It was meant to be challenging, it's obviously not supposed to be a pop song. It's an abrasive song, it should not have been a single. However, I do think that record should have been more like that. Towards the end of the production, there was this scramble of like, 'Oh, fuck, we have no pop music on this and we need to have singles' and things like that. That took over that record and became the last minute push. I think the last half of that record was recorded in the span of two weeks towards the end of the recording to try and pad it with more pop related songs. I look at that record and think it should have all been 'Young And Menace'. That should have been our 'Kid A' or something. It should have really challenged people.

But we have spoken before about how 'Folie à Deux' found its audience much later. It does feel like something similar is already beginning to happen with 'MANIA'...

PETE: I agree with you, and I think that's a great question, because I always thought like that. There's things that you're not there for, but you wish you were there. I always thought about it when we put out 'MANIA', because I don't know if it's for everyone, but this is your moment where you could change the course of history, you know, this could be your next 'Folie à Deux', which is bizarre because they're completely different records. But it also seems, and I think I have this with films and bands and stuff as well, that while one thing ascends, you see people grab onto the thing that other people wouldn't know, right? It's like me talking about 'Joker 2' - why not talk about the first one? That's the one that everybody likes. Maybe it's contrarian, I don't really know. I just purely like it. I'm sure that's what people say about 'Folie à Deux' and 'MANIA' as well. But there's something in the ascent where people begin to diverge, you are able to separate them and go 'Well, maybe this one's just for me and people like me. I like these other ones that other people talk about, but this one speaks to me'. I think over time, as they separate, the more people are able to say that. And then I can say this, because Patrick does music, I think that sometimes he's early on ideas, and time catches up with it a little bit as well. The ideas, and the guest on the record, they all make a little bit more sense as time goes on.

'MANIA' is almost the first of your albums designed for the streaming era. Everything is so different so people could almost pick and choose their own playlist.

PETE: Of course, you can curate it yourself. That's a great point. I think that the other point that you just made me think of is this was the first time where we realised, well, there's not really gatekeepers. The song will raise its hand, just like exactly what you're saying. So we should have probably just had 'The Last Of The Real Ones' be an early single, because that song was the one that people reacted to. But I think that there was still the old way of thinking in terms of picking the song that we think has the best chance, or whatever. But since then, we've just allowed the songs to dictate what path they take. I think that that's brilliant. If I'd had a chance to do that, curate my own record and pick the Metallica songs or whatever,that would be fantastic. So it was truly a learning experience in the way you release art to me.

PATRICK: After 'MANIA', I realised Fall Out Boy can't be the place for me to try everything. It's just not. We've been around for too long. We've been doing things for too long. It can't be my place to throw everything at the wall. There's too much that I've learned from scoring and from production now to put it all into it. So the scoring thing really became even more necessary. I needed it, emotionally. I needed a place to do everything, to have tubas and learn how to write jazz and how to write for the first trumpet. So then going into 'So Much (For) Stardust', it had the effect of making me more excited about rock music again, because I didn't feel the weight of all of this musical experimentation so I could just enjoy writing a rock song. It's funny, because I think it really grew into that towards the end of writing the record. I'd bet you, if we waited another month, it would probably be all more rock, because I had a rediscovered interest in it.

It's interesting you talk about the enjoyment of rock music again because that joy comes through on 'So Much (For) Stardust' in a major way, particularly on something like the title track. When the four of you all hit those closing harmonies together, especially live, that's a moment where everything feels fully cohesive and together and you can really enjoy yourselves. There's still experimental moments on the album but you guys are in a very confident and comfortable space right now and it definitely shows in the music. 

PATRICK: Yeah, I think that's a great point. When you talk about experimentation too and comfort, that's really the thing isn't it? This is always a thing that bugged me, because I never liked to jam when I was a kid. I really wanted to learn the part, memorise it and play it. Miles Davis was a side man for 20 years before he started doing his thing. You need to learn the shit out of your music theory and your instrument - you need to learn all the rules before you break them. I always had that mindset. But at this point, we as a band have worked with each other so much that now we can fuck around musically in ways that we didn't used to be able to and it's really exciting. There's just so much I notice now. There are ways that we all play that are really hard to describe. I think if you were to pull any one of the four of us out of it, I would really miss it. I would really miss that. It is this kind of alchemy of the way everyone works together. It's confidence, it's also comfort. It's like there's a home to it that I feel works so well. It's how I'm able to sing the way I sing, or it's how Andy's able to play the way he plays. There's something to it. We unlock stuff for each other.

Before we close, we must mention the other big live moment you had this year. You had played at Download Festival before but taking the headline slot, especially given the history of Donington, must have felt extra special. 

PETE: It felt insane. We always have a little bit of nerves about Download, wondering are we heavy enough? To the credit of the fans and the other bands playing, we have always felt so welcomed when we're there. There's very few times where you can look back on a time when... so, if I was a professional baseball player, and I'm throwing a ball against the wall in my parents garage as a kid, I could draw a direct link from the feeling of wanting to do that. I remember watching Metallica videos at Donington and thinking 'I want to be in Metallica at Donington'. That's not exactly how it turned out, but in some ways there is that direct link. On just a personal level, my family came over and got to see the festival. They were wearing the boots and we were in the mud. All this stuff that I would describe to them sounds insane when you tell your family in America - 'It's raining, but people love it'. For them to get to experience that was super special for me as well. We played the biggest production we've ever had and to get to do that there, the whole thing really made my summer.

PATRICK: There's not really words for it. It feels so improbable and so unlikely. Something hit me this last year, this last tour, where I would get out on stage and I'd be like, 'Wait, fucking seriously? People still want to see us and want to hear us?' It feels so strange and surreal. I go home and I'm just some schlubby Dad and I have to take out the compost and I have to remember to run the dishwasher. I live this not very exciting life, and then I get out there at Download and it's all these people. Because I'm naturally kind of shy, for years, I would look down when I played because I was so stressed about what was happening. Confidence and all these have given me a different posture so when I go out there, I can really see it, and it really hits you. Download, like you said, we've done before, but there's something very different about where I am now as a person. So I can really be there. And when you walk out on that stage, it is astounding. It forces you to play better and work harder, because these people waited for us. The show is the audience and your interaction with it. In the same way that the band has this alchemy to it, we can't play a show like that without that audience.

[torrilin]

My mother got an ADHD diagnosis in the 1990s, after first my brother and then me (a daughter) were diagnosed. My father has refused to pursue diagnosis despite in many ways having more severe symptoms than my mother, but knowing what i do about diagnosis and heredity of ADHD… he’s got something in that area. It is not surprising that two individual cis people with unusual neurology produced 3 neurodiverse children. (my sister’s diagnosis is recent and I’m not confident either parent knows)

None of my grandparents had a diagnosis, since only one of them lived past 1985 and that one only just barely. Out of the four of them, 2 were alcoholics, one has a listed cause of death as Alzheimer’s, and the last to die probably has a listed cause of death of lung cancer, but diabetes is also reasonable. Statistically, alcohol abuse is very common for ADHD folks. I’d be shocked if the two alcoholic grandparents did not have ADHD.

Going back to great grandparents, I’m reasonably sure that my longest lived great grandparent was neither ADHD nor someone with autism. The other 7 all died at normal ages rather than hitting their century marks, so I never met them. On my mother’s side, most of them have a cause of death of heart failure or heart disease, which given how diabetes works suggests that the diabetes on her side is hereditary and may well be on both sides and going into great great grandparents. Both sets of my mom’s grandparents were utterly horrified by the alcoholism, and did their best to mitigate it, given cultural norms. My dad’s side is… an utter blank. So if I had to guess, alcoholism was more acceptable on that side, and there’s probably more people on the ADHD/autism spectrum on that side. But things pass out of living memory in a family in a very short time, and ancestors dying before age 65 really hurts the chain of evidence.

As all my ancestors reproduced, leading to me, it’s difficult to tell at this remove whether any of them were out of gender norms for their era. But gender norms in 1890 were in some ways very different from 1990, and it’s important not to assume that I was more free in 1990 than my great grandma in 1890. Yes, I could vote in theory. Yes, I had a high school diploma and I’m not at all sure great grandma did. That doesn’t mean I was better educated, or better traveled, or better at anything else you might name. Ok, better vaccinated is fair.

something that should be taken with a grain of salt are the statistics talking about the high rates of mental illness + neurodivergence among trans people (ocd, bpd, adhd, autism, etc)

I see both sides of the political spectrum taking these studies at face value - conservatives say we're broken, and trans people try to come up with reasons why for example autism + gender dysphoria makes sense and why one of them feeds into another

at the end of the day you have to remember that we're the one category of people on this planet who are legally required to go see a psychiatrist in order to receive non-psychiatric medication and surgeries.

more trans people are in therapy by law than any other demographic of people, and as a result, this captures more comorbidities.

if I had to look at my own family & rates of mental illness?

mom, dad, 2 maternal aunts, maternal grandmother, paternal grandmother, sister, sibling, and me all have OCD.

7/9 of them are cishet, never been to therapy, never diagnosed. 2/9 are trans, required therapy for hormone treatment, and were diagnosed.

you don't have to do any math to just see that the resulting statistics end up intensely skewed.

and we can think back to how autism was virtually never diagnosed more than 50 years ago - ruling out any grandparents being included in statistics - and even my parents' generation (they're in their 60s now) wouldn't have been included either.

I don't think it's to anyone's benefit to accept these studies uncritically. a lot of these things are hereditary and far more prevalent in the overall population than people realize

[pureastrologywisdom]

𝔖𝔬𝔪𝔢 𝔖𝔢𝔡𝔲𝔠𝔱𝔦𝔳𝔢 𝔓𝔩𝔞𝔠𝔢𝔪𝔢𝔫𝔱𝔰

Lilith aspecting Moon

This is a very powerful placement for women specifically. The moon, which is your emotions, connected to the unconscious self, habits, comfort and femininity is connected to the point in your chart that is powerful and dark, a part fuelled by pain, and all about transmutation. These woman often have a very intriguing essence about them. Strong and seductive. It's like you are playing with fire. She enjoys being a little off putting and knows exactly how to be enticing yet intimidating all in one.

Neptune/Venus/Pluto in the 3rd House

The third house is often overlooked when people are speaking on seduction and sex appeal in astrology. People are so focused on visual they miss a key point. Seduction includes all the senses. Someone being beautiful doesn't necessarily mean they are seductive. It's the way someone moves, speaks, the things they say and don't say, how they hold themselves along with present themselves. It's subtle.

This brings me to why the third house comes into play. It inductees how we communicate. As mentioned words can be very seductive. Having planets like Neptune and Venus will give someone a sweet and sensual demeanour when talking. Neptune is very receptive and often these people are incredible at being able to asses the needs of the person they are taking to, it's a very intuitive placement. Neptune is also all about fantasy. Playing into a role you project onto them.

Pluto in the third's seductive tactics are centred around power snd control. Manipulation if you will - not always in the worst sense. They are good at digging for information getting to the base of the persons psyche that they are speaking to. Once again it's about understanding the people around them. You can see how Neptune and Pluto have this in common but the way they use this is different.

Scorpio Rising

I feel like you guys know this one has to be mentioned. And I am sure I have written about this before. However I feel it's important to explain why this rising sign specifically holds such seductive energy. I often hear people talk about their eyes, which is very true. But it goes much deeper than just appearance. Scorpio naturally rules over the 8th house, a house that is very deep and dark. It's shrouded by mystery and taboo, along with being a sexually charged house. Now think about all of these themes being brought into the 1st house. Being at the forefront of someones being in not only the way they look, but they way they carry themselves and interact with the world around them. It's very provocative energy.

But there is more. Though people may assume that because of this scorpios may give off an overt sexual energy, its not quite as obvious one one may think. Whilst there is this air of sex appeal around them, this often doesn't come from being so open and bold about these things, but rather from holding a little something back. As we know scorpio is about the things below the surface, secrets, privacy. This creates a dynamic where people can sense this energy, however they must peel back the layers and investigate more to truly see what these people are like. This can create a push and pull, a little bit of an enigma. It piques the intrigue of people and encourages the chase.

Mercury quintile/Bi-quintile Mars, Pluto or Neptune & Lilith in some cases

Very similar to the previously mentioned third house, Mercury rules over communication, along wit the way we think and process things. Having a quintile or Bi-quintile aspecting mercury it shows us that someone has a particular skill around communication. I have already explained why having Pluto and Neptune connected to areas of your chart dealing with communication creates seduction.

I also included Mars, as Mars is a planet of strategy. Often working towards a goal these people like to win, and are very good at 'winning people over' in conversation. Mars is more of a dominant planet so domination is a tactic often used by these people. Sometimes being commanded is sexy. These people speak strongly which is sexy.

The reason why I put Lilith as a case by case aspect is because as we know, Lilith often states as a place of wounding in a natal chart. It's only after someone has healed those wounds and understood the source of power that that area of their chart is with Lilith sitting there that they can truly start to embody and experience this. Though I will say having Lilith in a quintile or Bi-quintile is often easier. When developed Lilith is a very untamed energy, a little wild and unpredictable. Two traits that are extremely enticing.

Thank you all for reading my loves,

Pureastrowisdom x

Also a quick notice - I have a TikTok account under the name of

.plutonian.priestess

I would love if you would go and follow me on there too where I can post more image based content and eventually go into video style content too.

I am thinking of putting a face to my name and my account as I want you guys to see the person behind my work

[hadesisqueer]

The way some people are talking like Caitlyn's life is over because she lost an eye is straight up ableist and rubs me in a really bad way. “B-but sight is a very important part of her character because she's a sniper” that's the whole fucking point though. She let herself be manipulated by Ambessa, she knew she'd fucked up and she was willing to do anything to stop her and try to fix this, and she ended up sacrificing something important for her. It's the whole point.

Also, that was her non-dominant eye. She can relearn how to shoot and fight. And she can learn how to live with it! Her life isn't over or ruined because she has a disability now, and if you think so you are being kinda ableist even if you think you're not.

[keferon]

My friend is urging me to resubmit this because they're sure it must have been askbox eaten, my deepest apologies if this is a repeat.

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

Jazz breathed out. He’d been screened, and the chance of him collapsing into a complete, insane mess was very, very low. He kind of wished that they’d tell him exactly how low. That would be nice and reassuring, unless it wasn’t, at which point he would… go ahead with it anyway, because what else was there to do at this point?

One motion jacked in the last cable, and then there was… something. A sensation, like electricity and like opening. There was something outside of him, on the edge. The mech, probably. It wasn’t like there were testimonials about this. Yet. Maybe he should write one, when this was over, so that baby mech pilots would know what the hell to expect. So long as he was able to do that.

He was stalling.

Jazz breathed in, and pushed outwards.

Then began to run out of himself, spilling to fill the new space that he’d found. It was a strange sensation, like water and electricity flowing out of him. He blinked, and shook his head, filing the thought for a song or something. Always important to save lines when you thought of them.

Jazz blinked again. Oh. This wasn’t the inside of the cockpit. This was the inside of the hanger. That was… good. That was good. And now that he checked, he’d backed that line up to some kind of electronic memory. That was probably meant for recording encounters with the monsters, not for keeping up with the poetical ideas of the pilot. Ah well, his idle thoughts probably wouldn’t take up enough room for anyone to notice or care. He put a lock on it anyway. If they asked him to explain it, he’d just wink at them and say that they didn’t want to know everything that he thought.

Carefully, he flexed his hand. It was different, but not bad different. His connections and struts communicated feedback to him, telling him how much strain they could take, what materials they were made of, how far they could bend. It was kind of cool to have this level of detail about his body.

Checking the power levels, Jazz was made aware that his human body would shut down far before his mech one. There was enough auxiliary power in here for two weeks- oh, and there was a storage cache in here. What was that supposed to be for? It was airtight, he knew his own seals. Big enough for food, water, and medical supplies, as well as some mech repair tools and materials. Fuck whatever it was supposed to be for, it was gonna be his don’t die cabinet. Closet. Pantry. Whatever. Supply room. That was better. He added the new designation to his mental map. It slotted right in, nice.

There was actually a lot of empty space in here. He should get some tape and ties and bundle the cables in some of his limbs so that they didn’t rattle around and tangle. They could even get unplugged if they got tied up enough, which was a hazard. Who had built this thing? Having an actual person to make complaints to about how his body was built was going to be nice.

Wait.

Okay.

Jazz needed to get back to himself. This wasn’t his body. He had done the basic checks. He needed to unjack the cable and check that he was alright.

He reached up, and the mech hand moved.

Okay. Don’t panic. Panic is not useful. Panic is bad. He could feel his fans- the fans of the mech kicking up. It thought that he was in a fight, and was preparing. It wasn’t exactly helpful for what he was trying to do. It made him feel more present and alive in the body that wasn’t supposed to be his body.

Jazz offlined his optics that weren’t supposed to be his, and tried to retreat. Tucking himself back in, becoming small again. It hurt, and he cringed back outward. Why was he hurting himself? Because he needed to. He crunched down harder, forcing himself out of his own (NOT his own) systems. Pressing himself into that small organic core again.

Finally, he brought up a human arm and unplugged himself.

The face was damp. Why was it damp? His face was damp. He had been crying. Probably from pain.

Was being human supposed to hurt? Being a mech hadn’t hurt at all. Inhabiting. Using. Using a mech hadn’t hurt at all. Vocabulary. Word choice. Very important, he’s written enough songs to know that.

He’d thought of a good line during that, hadn’t he? But when he tried to access it- remember it- ah. It was in the mech. Which he wasn’t in right now. Well, he was in it, but he wasn’t it. Because he was a human and wasn’t a mech.

Jazz breathed in, staring at the cable in his hands. It would be so easy to plug it back in, just to get to the line.

It would hurt so much to be human again.

Jazz breathed out, put down the cable, and began the process of getting himself out of the mech.

OOHHHHHH WAIT I HAVENT SEEN THIS OH MY GOD OTROKRKGKEL

[journalofimprobablethings]

I think the thing about your first response that is provoking knee-jerk reactions (at least, it did for me) is that it implies that character death's only purpose in fiction is to "maximize pain" for the readers, and that any other purpose it might serve can be found through other means. And I don't think that's true at all.

To a certain extent I agree with the OP commenter that it's not necessary to kill a character simply for 'emotional impact' or 'realism'. If an author's main goal with a character death is just to "inflict maximum pain" on the reader, then that's probably not very good writing, and not "necessary". The death needs to do more than just hurt the reader; it should affect the story in some way, either in how other characters react to the death, or how events change because of it.

But I also agree with friskdaferret's argument that some character deaths are necessary for the story that the author is trying to tell. That's the key. Could they choose to write it a different way? Sure. They're the author, it's their story, it's all made up. But then it would be a different story.

I know that you consider the Holes argument to be a bit of a tangent, but for the sake of using an example that's already been brought up, Sam's death in Holes serves a particular purpose in the story. It reflects real-world racism in a very direct way: black men being lynched for having a relationship with a white woman (or after being accused of assaulting/touching a white woman, whether they did or not) is a real fact of American history. It's an ugly fact, and it's something that Louis Sacher decided was important to include in the story. For some kids reading that book, it may even have been their first exposure to that sort of racism. Having Sam leave Kate for other reasons, as you suggest, would change the story, and would make a different point. It's not the story Louis Sacher was trying to tell.

Your argument, if I understand correctly, is that sometimes, the potential pain inflicted on a reader who is very attached to the character might outweigh an author wanting to make a particular point or tell a particular story. How then, do we handle telling stories that are inherently about painful topics? What is the "utilitarian calculus" as it relates to a story like Orpheus and Eurydice which is about grief; or tragedies like Hamlet?

I also think that if you're going to make that argument, you have to consider the other side - that is, what benefit do those deaths, as written, bring to readers? Why has the author included it in the story? What do people get out of it? That answer is going to be different for different readers and stories, but there is a reason that death has been such a prominent trope in human storytelling since forever. Death and grief are inherent, immutable facts of life, and so storytellers are going to find ways to engage with and examine it.

Two examples that came to mind while I was thinking about this post were The Fault in Our Stars by John Green and Babel by R.F. Kuang. Both of those books contain absolutely devastating moments of loss in connection with characters we have become very close to as readers. I don't think I've ever cried as hard at a story as I cried at those two books in particular.

Both of those stories would not be what they are, or say what they wanted to say, if those deaths didn't happen. They are a book about cancer and a book about imperialism and the violence it engenders, respectively. Both those topics are impossible to handle without at least talking about death.

Now, would I give people a warning before I recommend those books to them? Absolutely, because it's the sort of thing you probably want to be in the right headspace for. But do I think that those books should have been written differently, just because the stories were painful? Absolutely not.

I don't know that I agree with any sort of utilitarian argument about the potential effect of a character death on readers vs its function in the story, in part because that sort of thing is impossible to quantify. How would you ever possibly judge what was "too much"? It's entirely subjective, and in the end, authors do not have control over what a reader's reactions to their story will be.

I also think that to a certain extent, readers are responsible for their own reading experience. If a person does not want to encounter painful moments in their reading, that is their responsibility to tailor their reading accordingly. If they as a reader know they are prone to making deep connections with characters such that it might genuinely hurt them if that character then dies, they can take steps to avoid those sorts of stories, or to use sites like doesthedogdie.com to check whether a story has something that they don't want to/can't engage with. But it's not an author's responsibility to tailor their story so that it doesn't make anyone sad. That's not the point of fiction.

Fiction is a reflection of life, and a way for us as humans to examine and process all aspects of it, including the aspects that hurt, that are awful, the parts that don't make sense. It's perfectly valid for someone to not want to engage with challenging fiction, but to say that authors shouldn't be writing it at all because it might somewhere cause someone grief? I can't agree with that.

im starting to think you guys dont like it when stories make you feel things

[murdockcastleslut]

𝔒𝔣𝔣 𝔗𝔬𝔭𝔦𝔠

synopsis: y/n is an up and coming influencer, who has established her own with thriving youtube channel and podcast. when she releases a new episode with her new co-host and special guests, things get messy.

a rafe cameron smau! |part eight| part nine |part ten|

a/n: This is a long one for you guys :) thank you to @ivysprophecy @kimoralov3 for letting me annoy the shit out of you as i bounce ideas off of y'all.

Off Topic Official Transcript

12:30 

Cleo: so Rafe, you did a recent shoot with loewe. 

Y/n: [you bite your lip subtly] oh my god yeah, i remember hearing Sarah talk about it. you looked really good. 

Rafe: oh yeah? [he raises his eyebrow] thank you. it was really fun, the crew and photographer were great. i’ve always wanted to do a shoot with them and i was so grateful when i got the chance. 

Rafe: i know it’s yalls’ podcast but if you could work with any brand, which would it be? 

Cleo: easy, easy man. either gucci or miu miu. 

Y/n: i think for me it would probably be ysl or prada. 

Rafe: yeah, you’d be a prada girl? [he asks cockily]

Y/n: yeah, haven’t you seen me rock a pair of prada sunnies. i always serve face. [you smile and then give a model face to him and cleo] 

Cleo: that is correct. my girl always looks good, especially in prada. 

Rafe: oh, i have no doubt. [he smiles at you brightly]

26:45

Y/n: [laughing at something Rafe said before hand]

Cleo:[smirks] so rafe, we have this recurring segment of this show called “be mine” and it’s where we ask the guest, what’s their ideal type or what they are looking for in a relationship.

Y/n: [stops laughing and is subtly looking at Cleo with bewilderment] 

Cleo: and since we don’t have more than one guest today, y/n will share with you! 

Y/n: [looks at Cleo with a look of confusion] i will? 

Cleo:[gives her look] 

Y/n: i guess i will be today. 

Rafe: [chuckles at your reaction] i have only been in two really serious relationships and they were both totally different experiences. the first person i'm really good friends with still but that relationship taught me all the things i did want like someone adventurous, kind, and someone who can communicate. in this life we live in the media. i never wanna be the last person to know something about my partner. i think from my last relationship we were very private and i didn’t really mind it but sometimes i wanted to share cute photos of them… [he shifts in the chair and manspreads a bit]

Cleo: [she looks at you and gives you a smirk at the mention at photography]

Rafe (continued): especially since i really like film photography and really i couldn’t share my photos, so i wanna find someone who's comfortable with that for sure. and by no means do i think i am perfect, i think i got somethings to work on but those are just somethings that are really important to me. [he finishes speaking and looks at you for your reaction.]

Cleo: [is smirking in her seat] damn model boy knows what he wants. 

Rafe: [laughs] sometimes if you want something you just gotta put it out there. [he shrugs and smirks]

Cleo: ya know y/n here loves film photography? has a whole account dedicated to it too.

Y/n: [your eyes blunge out hoping she’d be quiet] yeah, i do but it’s nothing. 

Rafe: [smirks and leans forward and places his elbow on the chair arm and places his chin on his knuckles] it’s not, nothing. it’s cute, sweetheart. [he gives you a kind smile] so, what are you looking for? [he points with his chin to you]

Y/n: um… i agree with a lot of what race has to say. i especially feel the same about communication, in my last relationship there was a really big lack of it and that along with cheating was the end of our relationship. 

Rafe: [frowns at the mention that you have been cheated on]

Y/n: So now i think i need someone who is willing to take things slowly and understand that it takes me a second to trust their intentions. but i also really want someone who likes to travel because i love traveling and seeing new places. also my friends have to give the stamp of approval because they are everything to me. [you smile at cleo]

Y/n: but my ideal type, i don’t know, tall, kind, intelligent, passionate, empathetic, and i don’t think it would hurt anyone if he was pretty on the eyes either.[you smile widely] 

Rafe: i think it's really raw and real of you to talk about trust in that way because i feel the same way. 

Cleo: you two have a lot in common huh? 

y/n's phone

taglist: @ivysprophecy @kimoralov3 @sabrina-carpenter-stan-account @charli123456789 @wearemadeofstardust0 @frankoceanluvr11 1 @harrys-housewife @urbrunettebombshell @mayhapsnini i @psychicnatural @aariahnaa @rafeycameronsgf @laniirackssss @cl4uus @honk4emoboyz

[vervainandspritz]

HEADCANONS - what would he do to get you in the mood?

Characters: Lenny Miller, Jonathan Crane, Robert Fischer, Jackson Rippner, Raymond Leon, Emmett (TQPII), Tommy Shelby,

A/N: Requested by @lau219 ,y'all feel free to send requests.

~~

Lenny Miller - Leonard is an experienced man, he knows how to get his way around Y/N. Pretty frequently on his way home, he would already have a rough plan on the evening ahead of them. Sometimes grabbing a bouquet of flowers in the nearby florist shop or a bottle of wine. After coming home, Lenny impatiently would find her around the house, searching for any physical contact he could get. "Did you miss me like I missed you?" He'd ask her in that velvety voice, thumbs rubbing up and down on the little crevice of her hips, almost teasing. Sometimes they end up sitting on the couch, Y/N's feet on his lap as she told him all about her day, while Leonard listened and gave her a massage, hands barely visibly moving higher with each stroke. "Poor girl" He liked to tease, closing the proximity once his pants became too tight in a crotch from the simple touches. "Left you all alone here" From that point, he didn't play coy. Knowing all the right spots to touch, he effortlessly kept making her go soft, almost putty in his hands.

~

Jonathan Crane - Jonathan's methods differed depending on the mood he was in. Sometimes days in Arkham were more difficult than the others, and so his patience ran thin. He'd come back home abruptly, peeling the layers of clothing away. The way he'd press his bare, hot chest against Y/N's back, searching closeness he could get only from her. "Was it a bad day?" She would ask, turning around to face him. Sometimes it would all start from the touch as innocent as holding hands, when he'd direct her hand to his cheek, steely blue eyes carefully studying her body covered in the clothes she was wearing. Pulling her closer till their fronts would connect, and she'd feel the proof of his urgency. His own hands landing on her back, massaging the skin and pulling her against his chest while simultaneously hiding his face in her neck. The way she'd feel him so intensely slightly trembling, connected with shivering delightfully from how his hot breath bounced off her skin could come off as symptoms of fear to a mind so great in his very major.

~

Robert Fischer - Robert's favourite way of showing affection would come on display as soon as he made it through the door. He thoroughly enjoyed the ability Y/N taught him - talking. Using words of affection was one of the greatest joys for both of them, after all the time it took for him to get used to doing so. "I couldn't stop thinking about you. Missed you so much" He spoke softly into her ear, the vulnerable tone of his voice showing nothing but honesty. Y/N immediately mirrored his mood most of the time, growing warm in his embrace. In a couple swift movements he'd gain access to her skin, caressing it delicately while simultaneously holding her gaze. "I need you" he'd confess quietly, leaning to capture her lips in a kiss so needy, Y/N could barely breathe.

~

Jackson Rippner - Jackson was anything but patient when this urge would hit. It wouldn't matter whether she was busy or not, his hot hands would grasp her hips, often pressing her against something to gain control. Leaning down to graze his nose against the sensitive skin of her neck, taking in the scent that never failed to make him hard. "Jackson, I'm busy" Y/N would sometimes manage to stutter out, feeling the heavy weight of his body against her back. A quiet chuckle would push past his lips, as he pressed harder. "What can possibly be more important than taking care of your man?" His voice would come off arrogant, often purposely. Knowing how well it worked on working her up. His roughed up hands would move higher, barely brushing against her breasts to come resting on her throat, not squeezing just yet. "Feel what you do to me, sweetheart?" He'd growl, nearly on the edge of just... Bending her over the desk and taking what he wanted. Giving her throat a little squeeze, he'd quickly reach between her legs, getting a hold of her. Jackson's lips would stretch into an arrogant grin as he'd feel the wetness beneath her panties. Lightly rubbing against her covered slit, he'd lean closer to whisper. "So wet and needy. I'll give you what you need, but you owe me one, hmm?"

~

Raymond Leon - Raymond wasn't one to ask, not to.. talk too much. He liked to use the advantage of how easily bothered Y/N would get seeing him like that. "What are you doing?" he'd ask like it mattered, leaning on the counter, crossing his arms over his bare chest. His scent and warmth would be enough to make her notice the close proximity, causing Y/N to squeeze her thighs together lightly. Not going unnoticed under his watchful gaze, as he'd keep looking at her, knowing well she could feel him watching. Brushing his arm lightly against hers, he'd move around pretending to be busy before finally having her cornered. She'd be breathing heavily, eyes taking greedily the sight of his bare, freckles skin and muscles on his torso. Sooner or later his hands would end up on her face, pulling her closer. Their noses brushing against each other as he'd smile, looking deeply into her eyes. "What got you so bothered, honey?" Raymond would ask, because even though he hated talking, he secretly loved hearing her talk.

~

Emmett - His favourite thing to get Y/N in the mood would always be kissing. He'd lean in for a kiss, his arms wrapping tightly around her middle to keep her in place. The deep groans leaving his lips would echo in her stomach, making the heat pool to the lower side of it. "So beautiful" He'd murmur in a deep voice, keeping her lips occupied with his own while slowly touching and grasping every inch of her skin he could get to. "Emmett–" Y/N's whiny voice would never cease to make him lightheaded as he moved lower, kissing a trail they both knew by heart already. "Keep saying it, baby. Keep saying my name" His voice was rougher with lust as he kept her legs apart, kissing her stomach and hips. She had a hard time staying still, squirming needily in his grasp. "Come here.." He cooed, looking her in the eyes as his face moved closer to where she needed him the most. "Let me take care of you" Emmett whispered, as his face leaned down, diving between her legs.

~

Tommy Shelby - Thomas loved the control he secretly held over Y/N when it comes to her needs. Being so fluent in directing them with his touch or affection. The way she'd move around, doing her own thing while pretending to not feel how he looked at her. "Come here, darling" He'd eventually call out, patting his thigh. He'd use the close proximity to look her in the eyes, encouraging to talk about her whereabouts when he was at work, while petting her thighs lightly. He touched and felt, eyes following the tender lines of her body beneath the clothes she wore. He'd proceed to touch caress her cheeks, pulling her closer as he murmured how beautiful she was. Y/N could never remain unaffected under his rough fingers and soft words, leaning into his touch with a sigh. "You're my good girl, aren't you? Always so good for me." He purred, feeling how fast her heartbeat became under the weight of his seductive words. He'd gently rub her inner thighs, before parting her legs and letting his hands claim what was his Swallowing every cry that would come out of her mouth not longer after, as she writhed on his lap in orgasmic spasms.