#no the director did not tell the audience to tell everyone you know to go see it if its good

[maxe-murderer]

btw babes if you get the chance to go see purlie victorious on broadway go see it HOLY SHIT it was amazing. i wanna kiss everything abt this show. i wanna kiss the concept of this show. wanna kiss the set. the set got applause listen the set got applause. everyone was fucking amazing and the cast was so sweet afterward and just HOLY SHIT its a great show

[the-acid-pear]

Btw if you're a fan of the movie and you saw any of my criticism OR NOT I deeply encourage you to tell me why you love this movie and maybe counterpoint my takes. I'm so into getting a new perspective thru the eyes of a lover.

That said the fact that around 8 people saw me asking if I'd watch this movie and Fargo and everyone voted Fargo (of that group, like 2 went for nope) gives me such hope about the fans in the crowd. True lulyheads knew I was gonna hate it before I knew that. Wild.

[ghouldump]

I want to be lestats make up artist and stylist so baddddd after that trailer.

Imagine touring with him while he constantly tries to woo you.

And the fans just seeing him being flirty toward reader

SOMEBODY TAKE MY PHONE AWAY I AM NOT WELLLLLLLLLLL

Diva | Lestat De Lioncourt x Reader

ෆ lestat is a handful to tour with but he's also incredibly handsome and charismatic.

lmfaooo same, more rockstar lestat coming soon!

Touring with Lestat De Lioncourt was not the easiest, at least not at first. The number of makeup artists and stylists who accepted the job, before quitting was ridiculous. Everyone was terrified of him, or of making him angry, walking on eggshells around him.

You were a well-known makeup influencer, starting with tutorials, but with your renowned success, you began working with celebrities, doing makeup, or simply styling them. When you were contacted by his manager, offering twice as much as others, explaining he couldn't keep a stylist or makeup artist, you accepted. You had dealt with plenty of other celebrities in the past, with even more diva tendencies, so you weren't going to let some rockstar ruin your coins.

Meeting him, you immediately realized two things, one, he was even more handsome off-screen, and two, he acted as if everyone was insufferable, like he was gracing their presence, doing them a favor.

“Can we get some makeup on him,” the director told you, picking up the pallet and brush, moving to his cheek, he scoffed.

“Does it look like I need makeup?” he asked you, while you rolled your eyes.

“Actually, yes, you could use some lipgloss and highlight,” you said, matching his tone. Everyone grew quiet, watching the interaction. He turned his head, looking at you, before smirking.

“You may,” he said, letting you lift his head, and apply the highlight, before taking a thinner brush and dabbing the tinted lipgloss onto his lips.

“Better?” he asked you.

“Much better,” you grinned, walking away.

“I like her,” he said, adjusting in the chair.

Instantly after, you were offered a contract, the first in nearly twenty artists to be able to lift a brush to his skin, they needed you. As the tour began, he continued with the shenanigans seducing the audience, while managing to keep them terrified.

“Sit still, I hope you don't frown at your fans like that,” you told him, as you clamped the necklace around his neck.

“And who did your hair?”

“He did,” his assistant mumbled.

“I can tell”

“Is something wrong with my hair?” he stared at you through the mirror.

“Nope, it fits you, wild and untamed,” you snickered, as you moved in front of him, using a brush to apply glitter to his face. Using your finger, you rubbed a bit on his chest.

“You know I enjoy when you touch me there, ma chérie,” he said.

“Whatever,” you laughed, finishing his look.

Over the last few months, Lestat became increasingly bold with his flirtation with you. Hell, besides his manager, you're the only person on his team that he talked to, with eye contact.

“They're ready for you,” His assistant said, reading a text from her phone. Standing, Lestat kept his eyes set on you.

“Come, we haven't finished our conversation,” he held out his hand, stopping you as you were about to put away the makeup.

Taking his hand, he led you out of the trailer, his arm going around your neck to pull you closer.

“What is it?” you asked him, biting back your smile.

“Have you thought about my offer?”

After touring the States, he was set to go on a world tour, and he insisted that you renew your contract to come along.

“I don't know, that's a long time, Les,” you said lowly, intertwining your fingers with the hand over your shoulder.

“I’ll need my makeup done and only the best clothing”

“I thought you didn't need makeup?”

“I don't, but only you could do the task so beautifully, I wouldn't dare let one of those amateurs near me,” he frowned.

“Oh my god, there he goes,” a fan screamed, causing an uproar. Lestat remained unfazed, his arm still around you, his eyes unmoving from your face.

“Is that his girlfriend?”

“He has a girlfriend? I thought he was gay”

“No girl, he's bi”

“Then I still have a chance!”

“They're so cute together”

“You’re going to have us in blogs in the morning,” you told him.

“All publicity is good publicity,” he shrugged.

“We’ll talk more later,” you told him, rubbing your lips together, when you realized he was staring at them.

“Hopefully about you staying with me, and not wanting to go home”

“You need to focus on your concert right now, and we can talk later,” you laughed.

“Fine, make sure to scream extra loud for me, ma chérie,” he said, blowing a kiss to you, before walking up the steps, the loud music starting up.

Crossing your arms, you watched as he performed, his aura exuding sex appeal. After all these months of working with him, you could see why he acted as if he was gracing people with his presence. He was more handsome than most, the attention falling on him wherever he went, and here he was, openly desiring you.

Late nights, after he'd come back from doing whatever, he'd come to your hotel rooms. You eventually realized that on the inside of this beautiful man, was a lonely soul. He craved companionship and being around him, you didn't know how much more you could take before you gave into temptation.

[geotjwrs]

Tall Male!R (preferably around 6'6"/198cm or more) playfully teasing Jenna Ortega for being short ;P

shorty

Pairings ; Jenna Ortega x Male!Reader

Warning/s ; none

Jenna and Y/N sat side by side on the plush couch, facing a lively audience and the charismatic talk show host, Emily. The interview had been going well, with both stars sharing insights about their latest project. The chemistry between them was palpable, drawing smiles and laughs from everyone present.

Emily leaned forward, her eyes twinkling with curiosity. "So, Jenna, Y/N, you two have become quite the talk of the town—not just for your amazing performances, but also for your adorable relationship. How do you manage to keep things light and fun on set?"

Jenna exchanged a quick, knowing glance with Y/N. "Well," she started, a playful grin spreading across her face, "it helps that we don't take ourselves too seriously. Especially when someone here," she nudged Y/N with her elbow, "loves to tease me about my height."

Y/N chuckled, his deep voice resonating through the studio. "What can I say? When you're 6'6" and your girlfriend is just over 5'1", it's hard to resist."

The audience laughed, and Emily raised an eyebrow, intrigued. "Do tell, Y/N. How do you go about teasing her?"

Y/N leaned back, his smile widening. "Oh, it's all in good fun. Like the other day, Jenna was trying to reach something on the top shelf in the kitchen. I offered to help, but she was determined to get it herself."

Jenna chimed in, rolling her eyes but smiling. "I was almost there, and then he comes up behind me, pretending to use me as an armrest. I was like, 'Really? Right now?'"

Emily laughed along with the audience. "That must make for some interesting moments."

"Oh, definitely," Jenna agreed. "But it's not just him. I get my fair share of teasing in, too."

Y/N nodded, mock-serious. "She's got a wicked sense of humor. Like, she'll hide my stuff where only she can find it. I once spent an hour looking for my phone, only to find it in one of her tiny shoes."

The audience erupted in laughter, and Jenna grinned proudly. "Hey, you have to get creative when you're the short one."

Emily's eyes sparkled with amusement. "It sounds like you two balance each other out perfectly. Any more funny stories?"

Jenna thought for a moment. "Oh, there was this one time we were filming a scene, and Y/N had to pick me up. He lifted me so high that I almost bumped my head on one of the stage lights. The director had to remind him to keep it grounded."

Y/N shrugged, laughing. "What can I say? I forget my own strength sometimes."

Emily leaned in, her tone conspiratorial. "Okay, but seriously, what's the sweetest thing about being with each other, despite the height difference?"

Y/N's expression softened as he looked at Jenna. "Honestly, it's the little things. Like when Jenna stands on her tiptoes to kiss me, or when she snuggles into me perfectly because of our height difference. It's those moments that make it special."

Jenna's eyes glistened as she smiled up at him. "And for me, it's feeling protected and cherished. Plus, I get to have the best hugs."

Emily sighed dramatically, her hand over her heart. "You two are just too sweet. Any plans for future projects together?"

Y/N nodded. "We're looking at a couple of scripts. We really enjoy working together, so we're hoping to find something that lets us continue doing that."

"Well, we can't wait to see what you two do next," Emily said, beaming. "Thank you so much for joining us today and sharing your delightful stories."

As the interview wrapped up, Jenna and Y/N stood, their height difference once again evident as Y/N helped Jenna down from the couch. The audience applauded, clearly charmed by the couple's dynamic.

Walking off stage, Jenna glanced up at Y/N, her eyes twinkling. "You know, I think we aced that."

Y/N grinned, wrapping an arm around her shoulders. "Of course we did. We're a perfect team."

Backstage, the couple found a quiet corner to relax. Jenna nestled comfortably under Y/N's arm, feeling the comforting weight of his presence. Their public appearances were always fun, but it was these quiet moments together that Jenna cherished the most.

"You know," Y/N said, breaking the silence, "one of my favorite things about these interviews is how they always make us reflect on all the fun we have."

Jenna nodded, smiling. "Yeah, and it's nice to share those moments with everyone. Plus, it gives us a chance to tease each other publicly."

Y/N laughed, his eyes twinkling with mischief. "True. And speaking of teasing, remember when you tried to scare me on set by hiding behind a door? I heard you giggling before you even jumped out."

Jenna burst into laughter. "I couldn't help it! Your reactions are just too funny."

Y/N shook his head, smiling fondly. "Well, you definitely keep me on my toes."

Just then, a production assistant approached them. "Great interview, you two. There's a press conference in an hour, and then you're free for the rest of the day."

"Thanks," Jenna said, glancing up at Y/N. "You ready for round two?"

"Always," Y/N replied, giving her a quick squeeze. "But after that, how about we grab some lunch? I'm thinking of a place with chairs that don't make me feel like I'm sitting in kindergarten."

Jenna laughed. "Sounds perfect. And maybe a place where I don't have to ask for a booster seat."

Y/N chuckled, standing up and offering his hand to Jenna. "Deal. Let's get through this press conference, then it's lunch date time."

As they walked hand in hand towards the next part of their day, Jenna felt a warm glow in her heart. Despite the public scrutiny and their busy schedules, she knew they always made time for each other, balancing their playful teasing with deep affection. And as long as they had that, she knew they could handle anything together.

[teamfreewill2pointo]

Tumblr won't let me share the audio clip of Misha answering the last question from Crossroads, so here's a transcript.

[Fan] Um, it's kind of about Destiel so - [Misha] Perfect last question really

[Fan]So there's a show called 911 and - It's about firefighters and it's been going on for about seven seasons now. And recently in seven seasons it moved networks from Fox to ABC. And um, one of the main characters, he's a man named Buck and- he kissed another man and it's been said that by the actor who plays Buck on the previous network Fox, they wouldn't have been able to do that. So when they moved, they thought, okay, we can do it now because it's on a different network. So my question is, do you think if Supernatural had a new networks earlier on, or if the show was made later something like this could have happened between Dean and Cas? [Misha] If think that if the CW- [Fan 2] Fuck them! [Misha] had not been- Had not been so homophobic- [Audience cheers] [Misha] Dean and Cas would have been balls deep. [Audience cheers] [Rob] I think you just made a headline. [Audience cheers and laughs]

[Misha] I will tell you- I will answer that question um- in- in part earnest. I, I think that there's been a sea change in culture um broadly. When I joined Supernatural and- and- Destiel became this very like hush-hush thing on the internet that we weren't even supposed to talk about. Um, there was no way on God's green earth that anything like it, uh, a consummation of that kind of relationship would make it to the screen on our show. And by the end of the series, we had lasted for so long that the culture had changed and there had become an acceptance of the possibility that that kind of, like, Declaration of Love could happen. Um, I- I- I mean... When I was growing up, um, we used the word f*g as a filler all the time. It was like, just want to insult one another, and f*g, homo, like, that's what everyone was saying in elementary school. My kids see two dads or two moms dropping their peers off at school and it does not faze them at all. And there's none of that language in their schools. Now, I know that [Audience claps and I can't understand a few words due to clapping] we're decades away from eliminating homophobia in our society. But we've come so far and so I think the answer to your question is, yes, like had to show happened later on and had another 10 years to evolve who- who knows what could've happened. Um, I think that there would have been a lot more representation on the show, in general. We would have had more female directors. We would have had more female leads on the show. We would have had more people of color. A lot of things would have been different on the show, um, if it had just been 10 years later. Um, and there- and of course, like you know, the pendulum always swings. There's always a reaction to Evolution and, you know, in our country, we have the far right emerging and Neo-Nazis like, honestly taking, you know, like, seats of power and potentially, you know, for a second time, the presidency. It's- It's a pretty scary time.

[Rob] Book burning happening, you know? [Misha] What's that? [Rob] And book burning happening. [Misha] Yeah [Rob] You know, watching the show too- watching the rewatch podcast that I do with Rich, like- [Cheers] You see how much things have changed. There are certain things in the show where like, oh, then you wouldn't do that now. You know? [Rob] Like they use the word bitch all the time in the show and it's like- eugh- a little cringy, right? You know. [Misha] Yeah. Um, a lot of- there were a lot of things that we did that I don't think would stand the test of time at all now. But, um, we try to be better. [Rob] Also, I would just say, like, one thing I love about these rooms that this- this, um, family that we're here, in the Supernatural family, is like everybody is welcome and everybody's okay whoever you are, whatever you are, however you are- like, it's this is a safe space.

ETA: so it turns out that the enforcement at Starfury is different than the rules at jibcon or CE and I will not be sharing the audio clip. Jibcon officially has a no recording rule, which almost everyone in fandom ignores. Starfury is different.

[miwiheroes]

Dropping Byler Evidence Every Day Until Season 5

. ݁₊ ⊹ . ݁˖ . ݁ Day 21: Elmike Breakup vs. Byler Fight Scene . ݁₊ ⊹ . ݁˖ . ݁

Hi guys sorry I haven't done one of these in a couple days, I've been really sick and gross and super gross <3 yeah, but I'm back to give my mediocre analysis again today

DONT READ THIS POST IF U HATE LONG ESSAYS ABOUT BYLER HEEHEE

Today I wanted to talk about the parallels, or, as I like to call them, perpendiculars, between the mil*ven breakup scene and the byler garage fight in S3. The contrast between the two scenes shows the attitude that the writers take towards the two ships, and it honestly super obviously shows the difference between Mike's attitudes towards either relationship. This analysis won't just delve into the breakup scenes themselves as well, also the aftermaths, which are very telling.

The Breakup

The Lighting and Tone: for a scene that's supposed to be a breakup scene, the lighting is extremely bright here. It's supposed to be a sunny day, and the lighting is extremely even on everyone's faces. Things are bright, there's not upsetting music in the background. In fact, the music that plays after El breaks up with Mike is literally supposed to be funny because it's instantly: "she's as cold as ice". The lines have little meaning to them, for example, saying "i dump your ass" is played off as a joke or some kind of comeuppance, because it was what Max had said earlier.

Also, Lucas, Max and Will are also included in these scenes, making the tone less upsetting due to it being so busy, along with other mallgoers. This is very different to the tone in the garage scene, where no one is around, it's just Mike and Will, making it more intimate. This is in spite of the fact LUCAS was literally involved in the argument.

Also another thing about the lighting which I've not really seen many talk about. Everyone says that the day is a really sunny day, but honestly, it's not. It's super overcast and the clouds are grey, but here's the thing, this foreshadows the storm later on. This shows that something worse is coming for Mike. I.e. the garage fight in which the storm actually is happening.

Mike's Facial Expressions: I call this succession panicked, confused and annoyed. Because that's all he is. It's pretty much another case of the directors playing this scene off as a huge joke, rather than a serious scene that should cause any upset to the characters. It's just a transition scene from one side of the season to the other, aka from one side of El's arc to another. El being in a relationship with Mike feels like an incomplete part of her arc.

Okay I got a bit off track there, but I wanted to talk about Mike's faces he makes when El says: "You lie. Why do you lie?". I think the question here is supposed to be as if El is speaking for the audience. The audience is supposed to question the truth of why Mike is really lying, which, judging by this look is actually more than just Hopper telling him not to tell her the truth. If he was really that desperate to keep her, he would sacrifice having to go through with Hopper, but he doesn't see her as worth it. And, as you can see from Mike's face here, he really, truly doesn't know why he feels this urge to keep lying to her, to hide that something is wrong. He eventually does realise tho (at the end so S3 ofc heehee)

Then there are his faces when El finally dumps him, which did not have to be so confused and annoyed looking. Imagine watching him look annoyed and confused with sadder music over the top, it would be extremely jarring and wouldn't fit the tone. However, the music kind of matches his attitude, which is that he's kind of confused and doesn't take this seriously. Aka, the audience aren't supposed to feel upset that they're broken up. This is extremely different than when the byler argument scene happens, which you will see.

How It Makes the Audience Feel: Everyone in the GA talks about how S3 ruined Mike's character and the fact they no longer root for him. Well, well, well, maybe that's because you're not supposed to root for him. Especially not in this scene. The writers aren't stupid, they didn't just accidentally write a breakup scene where you're supposed to want the break up to happen. El looks extremely happy, and the previous scene is all about her finding herself and what makes her happy, so the breakup is the perfect ending for this scene of hers. So basically, in other words, breaking up with Mike makes El feel more 'her'. Which we are supposed to want. Ultimately, we see that Mike got what he deserved.

The music, the lighting, the facial expressions, the laughter, all of it makes the audience supposed to feel something. And that is happiness. Happiness at the end of a breakup scene? For the show's main couple? Wow. While it may seem like later on, they make the audience want Mike and El to get back together, it almost seems like a confusing journey, something that isn't truly what reflects El's wants and needs that she instinctively discovers here. Her first reaction is excitement.

The Aftermath: So after seeing El happy about breaking up with Mike, the audience who still root for Mileven may want a scene where El expresses some sort of regret or sadness that she just broke up with Mike. However, instead of writing that, the writers decide to make her look at other boys and have fun with Max, making her focus on the supernatural, familial-centered storyline that makes more sense for her arc.

Based on how El talks about Mike with Max, describing him as her "first boyfriend", I'm not sure that we can ever see her here as honestly ever being madly, obsessively in love with Mike. This will be a great contrast to Will literally saying that he thought him and Mike would just spend the rest of their lives together! Yeah, so, I wonder which relationship is supposed to be taken more seriously...

And obviously, we have to talk about the "he'll come crawling back, begging for forgiveness" thing happening in the same episode where El actually finds out what Mike and Lucas and Will are doing. The same episode where Mike chases after Will in the rain to his house across town to talk, banging on his door and apologising.

After El breaks up with Mike, he has no idea what he has done wrong, despite El spelling it out for him with the "why do you lie?" question. This further shows his denial and confusion on who he really is during this season, making his realisation at the end all the more gratifying. It's also interesting that he can easily, easily tell her truth now that they are broken up. The Hopper excuse is no longer valid. Her literally breaking up with him is what Hopper threatened him with if he told the truth. So now that they're broken up, WHY CANT HE JUST TELL HER??? This obviously contrasts with the fact that Mike instantly knows where Mike went wrong with Will, knowing how he needs to apologise and doesn't see himself as the victim in that situation despite Will's multiple insults of El.

Because El is the one to break up with Mike, ending their relationship, he says that she's acting on emotion rather than logic. This shows that Mike doesn't see his relationship through an emotional lens. He views it as the logical thing to do. I've talked at length before about how Mike sees being in a relationship with El and getting over Will as a vital part of growing up. He emulates his parents' loveless relationship, because that's a logical part of life, and to him, El just can't see that. So what does this mean? Does this mean that if Mike acted on his emotions, he would also break up with El?

This scene is also supposed to cast Mike in a bad light. As further emphasised by them not talking this situation seriously at all, resulting in them just doing typical 'boy' behaviour (burping and farting and laughing), rather than caring.

Basically, in this scene we see that Max's promise to El that Mike's hoping that El will take her back and begging for forgiveness, is false. And we see that El's reaction to that, is to laugh. She doesn't care, meaning the audience shouldn't either. The audience is, once again, not intended to root for Mike to get back with El, because a) she deserves better and b) she clearly doesn't care that much.

IN CONCLUSION: We are supposed to be happy that El broke up with Mike, laughing along at the unserious situation. Mike doesn't see where he went wrong, doesn't want to apologise, views his relationship with El as something logical and not emotional, and chooses to continue to lie to her despite not needing to anymore. El is happy and laughs about the situation, describes Mike as her first boyfriend, showing she has no real intention of getting back together with Mike.

The Garage Fight

The Lighting and Tone: Do I really need to say anything about fucking pathetic fallacy here? Is it really not that clear to some people lmao??? The fight happens in a literal storm, in the dark, which represents the feelings of the characters in the scene. This compared with the bright colours and weather of the breakup scene shows that it's supposed to be taken more seriously. Without realising it consciously, the audience are immediately focused on the fight and its impact, because the storm implies that this'll be painful (which it is jesus)

As well as the weather and dark lighting, we can see that Mike and Will are silhouettes in this scene, which are often used to make an image stand out to the viewer, to make it memorable and stick in their heads. The shot of them fighting in profile is shown multiple times, it's supposed to stick in the viewers' heads, it's supposed to create a huge impact for both characters' mental states.

The music is emotional and serious, very much contrasting to the music choice for the breakup which is supposed to be light and humorous. The music chosen for the scene is called "Not Kids Anymore", which begins me talking AGAIN about how Mike's always trying his best to grow up while Will just wants things to stay the same as it's always been.

Mike's Facial Expressions: Throughout this scene, we see frustration, regret and MORE regret! The first regret and the second regret are obviously different however. Overall, though, the facial expressions that both Mike and Will elicit in this scene are extremely painful--especially wills :(-- and this is greatly contrasted with the facial expressions in the break up scene. In the breakup scene we see confusion and annoyance, in this scene we see annoyance, yes, but it's immediately followed up by regret and sadness.

This is Mike's own reaction to himself saying the infamous "it's not my fault you don't like girls" line, because he immediately regrets saying it and knows where he went wrong, unlike with the other scene. Am I going to analyse that line? HAHA no no of course not, so many people have done it lololol--

Okay so Will had been talking about Dustin, which was the main focus during the argument, bringing about the topic that Mike never takes their friendship seriously anymore because he's focusing too much on a girl. Mike, despite being all nice to Will beforehand, suddenly goes on the defensive as soon as the legitimacy of his relationship is attacked, projecting his own denial about his sexuality towards Will. He sees Will's comment about El to be about him instead. The reason he regrets saying it so much is because he knows it hurts Will first and foremost, but also because he may realise that Will wasn't questioning Mike's sexuality.

THE SECOND REGRET comes after he mistakenly assumes that Will is going to agree with him that they should just grow up and get girlfriends. Instead, Will tells the truth that Mike is afraid to hear, which is that he did want to spend the rest of his life with him. So, we then see that Mike possibly wanted that as well, and just said that because it's the logical course of life that he's been internalised to believe in.

Another interesting shot to take note of is this one, which is after Will has left:

This is an immediate juxtaposition to the previous shots where Mike and Will are silhouetted together. In case you can't remember, silhouettes are meant to create a memorable image. So seeing this image where Mike is in the exact place he was, but this time without Will, is supposed to make the audience feel his absence in Mike's world. This shot is otherwise completely unnecessary.

How it Makes the Audience Feel: Does this image^ also make you feel deeply pained inside, even if you don't completely relate to Will's struggle in this season? Well, then it's a success for the writers! This scene's intention for the audience's takeaway cannot be more clear if it tried. You're not only supposed to feel terrible for Will, however, you're also supposed to root for the both of them to make up.

This is very unlike the Mileven breakup because the intention there was to root for El to break up with Mike, and feel happy for her once she's done it because Mike deserves it. However, in this scene, the lighting, the tone, the fact that they are both alone (despite Lucas being included in the prev argument), creates this intimately emotional moment that makes the audience feel pain instead of happiness. I mean, can it get any clearer?

The Aftermath: The two different aftermaths of these scenes are very different on both sides. They could not be more different if they tried. While El goes home, has fun, reads a magazine about another boy, calls Mike her 'first boyfriend', Will goes to Castle Byers, cries while reading a comic book and looking at pictures of him and his friends. The picture in particular is of the boys in their halloween costumes, which is the same day that Mike promises that they'll "go crazy together" (which symbolises love, hopefully you know that already). Will calls himself stupid, which is to say that he thinks he's stupid for thinking that those things could be any deeper than he thought they were back then.

Will then destroys Castle Byers, which symbolises him destroying the part of himself that he hates the most. After S4 canonised Will's feelings for Mike, this scene becomes more about his internalised homophobia manifesting itself. This is obviously a heartbreaking scene for so many audience members, and they obviously aren't rooting for Will to feel this pain. This is contrasted to the intention that we are supposed to be rooting for El's happiness without Mike, after seeing her happy with being with Max.

As for Mike, his reaction to the fight is super contrasting to the reaction to breaking up with El. With El, he has no idea where he went wrong. With Will, he instantly regrets what he says and says that he's been a jerk and is willing to apologise. With El, Mike takes the breakup less seriously and makes jokes with Lucas. With Will, he takes it way more seriously and bikes across town in the rain, bringing Lucas with him. Keep in mind this is from the same episode where Max promises El that Mike will come "crawling back to you", which ends up being proven wrong for her, but right for Will.

Throughout the show, we see that Mike has a hard time apologising and seeing where he has gone wrong. In season 1, Dustin has to force Mike to apologise to Lucas, and in s3, Lucas has to be the one to force Mike to apologise to El. With Will, Mike does not need encouraging, he does it on his own.

IN CONCLUSION: We, the audience, are supposed to feel both Mike and Will's pain during this argument. Mike clearly regrets everything he says due to his denial and confusion during S3, showing how much it hurts him to force himself to grow up. Mike sees where he has gone wrong and immediately is able to apologise. Will's reaction is the polar opposite of El's reaction, resulting in a self-destruction (in a metaphorical sense).

This post was my magnum opus. And broke my tumblr multiple times bc of its length so i hope ur happy with it <3

[caapsiizzereads]

I got your heart skippin' when I'm gone

Jamie Tartt x f!reader

Words: 2,3k

Warnings: language, author’s first attempt at writing🥴

A/n: yes, the title is, indeed, a Taylor reference.

A glass of champagne in your hand, you are standing in the company of Frank, your boss, and a few other of your colleagues, chatting about how good of a job they did at setting up today’s event. A bunch of compliments are also directed at you and Frank for all of the work you’ve done leading up to this. You know you’re great at your job, but moments like this really make you feel fucking good about yourself. At 26, you can proudly say that you are the Assistant Creative Director for one of the biggest jewelry brands in England. And today your company is celebrating the launch of their latest collection that you’ve been working really hard on. The past couple of months have been terribly busy, Frank and you practically living at work and surviving purely on caffeine. But now it’s finally over, and you can just relax, look pretty (“absolutely stunning,” actually, to quote Frank), and sip champagne, while people are singing you well-deserved praises.

The company’s event team really knew what they were doing too. Natalie, your friend from PR, had been very pumped for the night, rambling about all the famous people coming. You briefly went through the guest list, of course, but, honestly, you were more excited about the open bar. But if one of those guests just so happened to be lovely enough, you wouldn't mind indulging in some of that either.

An hour into the party, you were done with all the formalities, and you could switch from your neat glass of champagne to a drink more worthy of a Saturday night. You’re standing by the bar, looking at your phone, when you hear a question, seemingly directed at you.

“Can I get you a drink?” Looking at you, there’s a guy, around your age, dyed blonde hair, pretty face, really nice bone structure. His face looks familiar, but you just can’t remember why.

You give him an amused smile, “You know that they are free, right?”

“And how am I supposed to be chivalrous in these conditions?” he says theatrically.

“If buying a girl a drink is your definition of chivalrous, maybe you shouldn’t even try,” you say, your voice full of sarcasm, but still a smile on your face.

He chuckles lightly and smiles at you, “I’m Jamie.” Really pretty smile too.

“Y/n,” as a force of habit you offer him your hand to shake. The gesture seems to surprise him a little bit, but he goes with it anyway, shaking your hand lightly.

The two of you settle next to each other by the bar with an easygoing chatter. You’ve been talking for about 10 minutes, when Jamie says that he’s a football player, and it finally clicks for you.

“Oh my God.” You tilt your head down and cover your eyes with your hand in embarrassment. “You’re Jamie Tartt. You were in our campaign a few months ago. Fuck, I’m so sorry. My memory, like, resets once the campaign is done and it’s not my problem anymore.”

Jamie smiles almost shyly at your realization. “No, no, it’s fine! I’m sure you go through a lot of those, can’t remember everyone.” He definitely remembered you, though. Not that he’s gonna tell you that. And a part of him is even kinda relieved that you didn’t because–

“On second thought, I do remember you. You were, like, 40 fucking minutes late.” Yeah, that. You didn’t speak to him directly that day, but the look on your face was the most passive-aggressive thing he’d ever seen. Honestly, could give Roy a run for his money. Except that your version also looked kinda hot. But he still would rather not be at the receiving end of that glare ever again.

“I’m sorry! I underestimated the traffic,” he says awkwardly. And to think that this has been going well…

You take a sip of your drink, giving him an unimpressed look.

“I’m not getting invited again, am I?”

“Well, you are on my naughty list, but I wouldn't write you off that fast. You attract a nice audience of sports fans and sportsmen fans.” Jamie can swear you have just checked him out. “And you have a nice neck, you know, makes the necklaces look good. But that’s just my professional opinion.”

You said it in the most nonchalant way, but you might have just become the first person to make Jamie Tartt flustered. He decides to push his luck some more.

“And your personal opinion?”

“That you were 40 fucking minutes late,” you deadpan.

No luck, then.

“So,” Jamie perks up again at your attempt to keep the conversation going, “did you have a match earlier today? Or is it tomorrow?”

“Yeah, it was today.”

“How was it?”

A smug smile appears on his face, “We won, 3-1.”

“Well,” you raise your glass, “cheers to that.”

Jamie clinks his glass to yours, “Cheers.” You both take a sip of your drinks.

“So you’re not into football then?” Jamie asks, once you put down your glasses.

“Nope,” with a dramatic ‘p’. “Don’t take it personally. I’m not really into any sports,” you say blithely.

The conversation keeps flowing easily between you two. 30 minutes later, you are pretty sure that you are taking this man home with you tonight. Jamie seems genuine, in a cute kind of way, (mostly unintentionally) funny, attractive, obviously, and there’s something about him that you just know that he would be such a good time. 40 minutes later, you even consider letting him stay for breakfast. 45 minutes later, however, you start feeling a slight headache, but fuck if you will let it ruin your night, so you decide to just ignore it and hope it will take a hint and go away.

No such luck. The universe must truly hate you, because about an hour and a half into your conversation with Jamie you feel like someone is kicking your skull from the inside. You’ve tried to ignore it to the best of your ability, but this party suddenly isn’t any fun anymore. Fuck. Your. Life. You are aware that Jamie is saying something, his voice being a steady background noise, but you don’t have a clue what he just said because all you can focus on is a throbbing pain in your head. That’s when you know that you should just give up and go home.

Jamie notices your attention slipping away and your smile faltering as he speaks. Then you look away for a moment before looking back at him with a smile, saying that it was nice talking to him and wishing him a good night. You get up from your seat and start walking away before he can even process what has just happened.

You’re putting on your coat when you see Jamie quickly walking up to you with a concerned expression on his face. “Did I say something wrong? I’m sorry, I didn’t mean–”

You don’t let him finish, “No, no, no! You’re good.” Jamie keeps looking at you with an obvious question on his face. “It’s just–,” you gesture at your head with a circling motion, “my head is fucking killing me. So I'm gonna go home, take some Ibuprofen and pray it goes away.”

Jamie’s face changes from concern to understanding. You think that this is it, so you turn to leave, but then he speaks up again. “I can give you a ride?” It was more of a question than a statement.

“No, it’s fine. Really. I’ll just get an uber.”

“It really is no problem. Come on,” he’s looking at you expectantly.

You think on it for a moment and give him an evaluating look. “I’m not inviting you in.”

“Oh. No! I didn’t mean it like that! I was really just–”

“Relax. I was just making sure you don’t have any false hopes.”

“Nope, no false hopes here.”

“Good,” you nod at him.

You walk to his car and Jamie opens the door for you. He sees you smiling at him approvingly.

“What?”

“See, now you’re being chivalrous,” you say playfully before getting in the car. Jamie closes the door after you and gives himself a moment to blush in privacy. After starting the car, he turns the volume on the radio all the way down and opens a window a little bit for you. You lean back in your seat and give him a small smile, “Thanks.”

Your talk on the way home consists mostly of you giving Jamie the directions and his attempts on small talk.

“Do you get them a lot?”

“No, not really. Only when it’s the least convenient apparently.”

“Maybe it’s because you–“

“If you’re about to say that it’s because I don't drink enough water, I'm jumping out of this car at full speed.”

Jamie’s mouth opens, closes, and opens again. “Actually, I was going to say…” he pauses again.

You raise your eyebrows at him, prompting him to go on.

“I was going to say… that it’s probably because of your hard work schedule, yeah. You know, having to deal with people being 40 minutes late and everything.” He throws a glance at you, checking if he’s managed to save the situation.

That makes you chuckle, despite the pain it causes. “You know what, I think you might be right.”

Soon, you’re parked by your building. “Thanks for the ride. It was really nice to meet you,” you say, before opening the car’s door.

“Yeah, you too,” he smiles at you.

Jamie spends another minute parked by your building. It’s only after you disappear from his view that he realizes that he hasn’t even gotten your number. He sighs and bumps his head against the steering wheel.

Meanwhile, you’re just glad to finally get your hands on some painkillers and flop on the couch, waiting for your head to stop throbbing. But an hour later, when you feel like a person again, your mind goes back to Jamie. You really liked him, huh. Hypothetically, you can look up the paperwork for the campaign he did, and his contact information should be there. Realistically, you should probably just let it go.

On Monday everything goes back to normal. After the workload that you had to deal with before the launch, the lack of a hundred points on your to-do list and constant burning deadlines almost feels like a vacation. And judging by the laid-back atmosphere at the office, you’re not the only one who feels this way.

You go out for lunch with Natalie, and after she’s done catching you up on all the fresh gossip, she can’t help but ask about your chat with Jamie Tartt. You tell her that’s exactly what it was, just a chat at the party.

She looks at you like she knows something you don’t. “That’s interesting. Because Keeley Jones, you know, from KBPR, called me earlier today to ask for your number.”

You give her a look that says “is this supposed to mean anything to me?”

Natalie dramatically rolls her eyes like it couldn’t be more obvious, “KBPR represents Jamie Tartt!”

Now it’s your turn to roll your eyes.

“Excuse me, have you seen yourself in that dress? I totally would ask for your number too.”

You smirk at her, “You have my number.”

“And now so does Keeley Jones. All I’m saying is, if you’re not interested, let him down easily. ‘Cause I'm totally planning on using him for more campaigns. Have you seen those hands?! They were meant to put rings on them. I’m sure he wouldn’t mind if you–”

You start cackling before she can even finish.

It’s just after 6pm and you’re getting in your car when your phone rings, you don’t recognize the number.

“Hello?”

“Hi! (Y/n) (Y/l/n)?”

“That’s me.”

“Hi! It’s Keeley Jones, from KBPR. Natalie gave me your number.”

“Right, she mentioned. How can I help you?”

“It’s more of a social call, actually. Jamie asked me to ask for your number. You know, Jamie Tartt, the footballer? He said you met at the brand party the other night.”

You smile to yourself, “Yeah, no, I remember him.”

“I was just gonna check if it’s okay with you?”

“Yeah, it’s fine. Thanks for asking me first, though.”

“Of course!”

Keeley then congratulates you on your launch, and you tell her that she should totally come to the next one.

Not even an hour later, another call, another unknown number.

“Yes?”

“Hi. It’s Jamie. Tartt. We met–”

“I know. Did you ask Keeley to ask Natalie for my number?” you ask teasingly.

“Maybe…? The alternative was to wait for you outside your building, but that would be creepy.”

“Yeah, better not do that.“

“Right. Uh, how’s your head?”

You chuckle at the question, “It’s fine.”

“Good, that’s good.”

“Mhm,” an amused smile is growing on your face.

“So… I was gonna ask, do you want to, I mean, if you’re not busy, maybe we could go out for dinner?” You can easily tell that he’s nervous, it’s quite cute actually.

“Alright,” the easiest yes you have ever said.

“Yeah?” Jamie wants to smack himself in the face for how hopeful that came out.

You chuckle again, “Yeah.”

“Cool. Uh, are you free tomorrow?”

“I can do tomorrow.”

“Fucking mint. I will pick you up? At seven?” You can hear the excitmenet in his voice.

“Okay.”

“Okay,” he grins.

“See you tomorrow then,” and if you’re smiling then there’s no witnesses and no one will prove anything.

“Yeah, see you,” and if he’s grinning like an idiot then it’s no one’s business.

“Oh, and Jamie?”

“Yeah?”

“Don’t be fucking late.”

[awesomebutunpractical]

making a fan-character: why and how also I didn't plan this.

Here's a thing to remember, a fan-characters is every bit yours as any of your other characters. I feel like this is obvious but some people who are not me do not know this and I am trying to remember not everyone is me.

A fan-character is indulgent play. There's no obligation to do it well. I enjoy doing it as well as I can because that's part of the play for me, but I promise literally no one is going to grade you. You can't fail here.

The people who don't like fan-characters are not your target audience unless you're me and there's a very real little gremlin in you who wants to prove them all wrong.

In fact get any ideas of mass appeal out of your head right now. You're gonna learn how to play with your imaginary friends on your own. Not because their inherently not fun, but because YOU should have fun doing this whether anyone else is on board or not. (see point 2)

Also get the idea of avoiding cringe kicked to the curb. You need to be all in.

Alright now that I have walked you through five points I did not think through I'm gonna tell you how to actually do the thing. Step one, love the source material. The main difference between making your own character in your own world and fan-character crafting is the sandbox. Love it for what it is.

The Big Thing is going to be how your character relates to the world. This is where knowing the basic themes you're playing with comes in handy. Think it through. How seriously would the world you're playing in take an Edgy Sword Man? Does the character have traits that they wouldn't have in any other setting? Does the backstory Involve the World?

We want to have the fun of interacting with the source material before we even drag the canon characters into this. This particular version of the character shouldn't be able to exist in any other setting.

Let's drag the canon characters into this. They should hate your guy.

No, I kid, but the best dynamics are going to have a natural point of conflict and contrast. There should be something they would argue about, and there should be room for both or neither of them to be right.

Go ahead and make them related. Try it. See what happens. Maybe the world will explode.

Try to give your character a perspective on the canon character we don't usually see. One trope I like to play with is "grown up friend for the Mom of the Group."

Don't make a character to be the Better Version of Canon Man and expect people to think your guy's the Cool One. Remember when you're writing conflict that people already have a basis to love and root for the Canon Man. Your new guy is on hostile turf.

Make NPC style background characters. Now make them think they're the main characters and the canon characters are the weirdos that they avoid eye contact with. Explore the world from a mundane perspective. Make them wait in line at the bank.

Let the fan-character BE impressive. Let them fail. Let both things be dramatic and over the top. Stretch your muscles a bit. Your character is not you. You're the director and you want a good story. So let them lose if that's what it takes.

Go ahead and let them smooch someone. It's fine. I have it on record you'll survive.

[shojosparkle]

Confessions from an Actor:

Everyday I stand on a stage, perform for a crowd with a big smile on my face.

It’s what I love to do, it’s what makes me happy. I never feel more alive than I do for those couple of hours with lights beating down on me as I sing and dance my heart out.

It’s a connection to myself, my cast-mates, to our audience in a way that electrifies a room. Performing, I say, is the highest art form. You can reach anyone in the world with a good enough performance.

But when we bow, when those lights go down, I take a step back. I tell my cast-mates good show as they run out to meet their family and friends. I turn to get out of costume, knowing there’s nobody offstage waiting for me.

And that becomes my routine. The brief sensation of feeling alive followed by the hollowness that becomes taking off my costume in a silent cold-tiled room alone.

I walk out of the theatre, bag in hand, as I pass everyone in the lobby. Pictures are being taken, bright smiles are on their face as they chatter with loved ones and make plans together. They’re so wrapped up in everything they don’t even tell me bye.

I never expect them to. I know that I too would be guilty of the same thing had anyone been in the audience for me.

Sometimes an audience member gives me a compulsory, “great performance” or “good show!” as I pass, though I can tell by the look in their eyes they don’t even recognise me. Did my performance really mean so little?

It doesn’t matter, I tell myself, as I hike my bag higher on my shoulder and thank them with a warm smile. They go back to their conversation feeling good about themselves. I don’t mind, it’s what I live for: making other people feel things that I myself seldom feel.

Exhaustion laces me when I finally make it back to my car, throwing my bag in the passenger seat. I sit there for a moment, wondering if any of what I’d done tonight actually mattered. I decide, for my own sake, that it does. Those moments under the lights are the only thing that’s ever made me feel alive.

I take a deep breath, pushing back the feeling that even front and center infront of an audience of a hundred people, I am still invisible. I can still see the laughter and joy from inside as I turn my car on. The radio buzzes full of static and ads, my favourite station doesn’t play music this late. I click my radio off.

I drive half an hour in silence, reviewing my performance for the day, figuring out what I need to tweak, how I can make it better, how I can work with the people around me more effectively. No performance is perfect. It never is. That’s part of the beauty of it.

When I get home I unlock my door to a dark, empty, and quiet house. There’s no one there as I eat my dinner, well after midnight. No one messages me or calls to ask how my performance went. My cat wakes up as I hang my bag on the wall. He stretches and meows at me, angry that I’ve woken him up from his sleep. I give him a pat on the head and apologise as he curls up and goes back to sleep.

Once I’m ready for bed, I check my phone one last time. There’s a notification, I open it, hoping and wishing that somewhere in the world someone remembered my performance and was reaching out to ask how it went or to say good job. My face falls when I recognise the same post I see every night. More notes from my director.

They never say “good show” or “great job” or “I’m proud of you all”. That’s not her job. I respect that. It’s a barrage of “you missed this cue”, “this set change didn’t go right”, “the harmonies on this song sounded awful”.

I add these mental notes to my head for the next day as I place my phone on the charger and fall into an uneasy slumber.

The next day, I walk into the theatre, makeup done, trusty bag on my back. One of my cast-mates asks, “do you have anyone coming to see the show tonight?”

I plaster a smile on my face as I shake my head and reply, “not tonight, it’s alright though, maybe someone will surprise me another night.”

No one ever does, and I know no one ever will. It makes them feel better though, they won’t go through their night feeling sad for me, knowing that no one will watch this performance. Any of my performances. Minutes later the lights in the audience fall, obscuring faces that I wouldn’t recognise anyway, and I step out onstage knowing that as much as I love the stage it will never love me back.

[tooturtly]

Just watched Nosferatu, and I’ve heard a lot of things. But oh boy did nobody warn me that it was a bad film (in my opinion)!!!!!!

Here’s me ranting bc I have so many thoughts:

1. The costumes and set, the DESIGN that went into this film were all gorgeous, but they did nothing for the story. The costumes and set did not convey the story of the characters

2. The environment also did not play a role in the story of the film despite being used visually. Why use beautiful vistas and the grandiose aspects of nature if you’re not gonna fucking use them for anything other than “here’s something nice to look at!” (Especially when you’re set in the FUCKING ROMANTIC ERA!! Come on!)

3. The plot (oh boy the fucking plot), of which there were three? There were too many plots. This film did not know what it’s point was.

Was it about forbidden desire? (I don’t think so) if it was it didn’t say anything with it. What was the point? What was the message? That forbidden desire is something you must sacrifice for?

This film wanted to be about desire and then someone (the director?) made the choice to make vampires unsexy??? For a film where one of the plots was about sex and desire, it was shockingly uninterested in sex and desire??? It was so committed to being unsexy? Where the vampire is literally called by her desire to exist and yet, there’s nothing? What is happening!

4. Sexism. I thought, considering the setting and the new focus on the woman (idk her name, idk anybody’s names, the Mina Harker stand in), they would address the sexism of the period??? But no! They even discuss hysteria!! Melancholy! They tie her to the ficking bed and it GOES NOWHERE!!!

5. The dialogue. This film is so over exaggerated, it could be so stylistic, the dialogue certainly is. and yet it plays itself so serious, so straight. How can anybody say “I’ve seen things that would make Isaac Newton crawl back into his mothers womb” and not even a little bit acknowledge that it’s a crazy thing to say??? If you acknowledged that this man was a little off his rocker it could work! But no! The audience in the theater laughed!! Multiple times when the tone of the film was very clearly supposed to be serious! But it was funny!!

5a. See Thomas laying flat on his face after his first night in the castle (laughter). Or like, plenty of the buckwild lines. I’m gonna have to go to Reddit to find a proper list some day bc there’s some real gems.

6. Lily Rose Depps performance. It’s so intense. She’s going at a ten when everyone else is acting very subtly, with really great subtle expressions that convey what they’re feeling. And then she’s shouting half her dialogue, with very little build in intensity or time to build up. It made it hard to tell how I was supposed to interpret what she was feeling. Did she really love Thomas? Was she truly afraid of Orlock? What was happening?

7. Pacing. There’d be one incredibly intense, chaotic, horrifying and emotional scene, and then it would cut to Frederick and the two doctors just standing around talking!!! Where does your carefully built tension and suspense go!!!!! For a film highlighting the experiences of a woman, it sure doesn’t spend a lot of time showing us what she’s thinking!!! Or doing! Or feeling!!!

This film dragged. The first half was too long, the second half was unfocused. I could go into the cutting room with this film and take half an hour out and I guarantee you wouldn’t notice. Defoe’s character could be folded into the other doctor and no changes would be necessary. Why is Knock in the later half? What does he add to the story to begin with? (Nothing)

Especially when you consider that it’s totally normal to assume everyone is somewhat familiar with the story of Dracula. You do not have to reinvent the wheel!! You can cut stuff! We do not need Thomas spending so much time in the Castle! Or with the nuns! Or Frederick! (Speaking of, what happened to the money and debt subplot?) we don’t need them. Give me more of what’s her faces story! (Is it Tulla? Helen? Something with an L?)

8. Dracula’s castle: as a modern audience, we know Dracula is evil. Thomas does not need an extended scene of being told Dracula is evil. We do not need him in this house of horrors. It might actually be MORE horrifying if we don’t see it, if we guess! He doesn’t know what’s happening, he’s being violated! And we don’t know either! Just cut it bc it does nothing to the plot after the contract is signed. If you need a reason somebody in this story can kill a vampire, give it to Defoes character.

9. I have seen other films do these same themes and ideas, this exact story even, and I have seen it done better. Hell, I’m a massive fan of Bram Stoker’s Dracula from 1996 with Winona Ryder and Keanu Reeves. It does the same story in a very campy, silly, seductive manner. But because it knows what it is, because it knows what tone and story it’s going for, because it does not take itself too seriously, I can actually get into it! I can vibe! I can have fun! I can see what it’s going for and appreciate it!!! But no! Count Orlock’s stuttering drawl has no place in this film! It does not fit stylistically! The “sexy” scenes, the need for Mina to sacrifice herself in a way, it doesn’t work the same!

I think this is what makes me so mad!!!!!!!! It’s similar to how I felt after watching Bullet Train. A well done, we’ll executed movie which very clearly had talented artistic people working on it, but without a soul. A film that has taken better movies and ground them up into a paste to spit back out at me. A film without anything to say. A hollow shell of shots and cuts and dialogue that doesn’t actually add up to a story.

[lelliefant]

If you want to know why the Loki fandom has drifted away, just look at what Disney/Marvel did to him.

He was incredibly powerful—they made him weak and helpless.

He was smarter than everyone else—they made him a fool.

He was a prince—they made him a corporate office drone. They literally put him in a cubicle.

Loki was an alien—they made him an ordinary guy.

He was flamboyant and colorful—they put him in beige. They actually made him act as if he was excited to wear a beige uniform.

The real Loki would never have tolerated a uniform of any sort, much less something so bland. He was never a soldier or a cog in the wheel. Loki is the piston.

Loki was a deeply wounded, angst-driven son with complex motivations—Disney made him an uncaring narcissist who suddenly sees the error of his ways (in one episode) and has a total personality swipe.

Loki was iconoclastic—they made him ordinary.

They took the most interesting and volatile character in the MCU and warped him into an Everyman role, and somehow everyone bought it. Apparently because they used the same actor with the same face—?

Really think about it. If another actor had started playing Loki for the series, they couldn’t have pulled it off. Series Loki is not the same character as Loki from Thor 1, Avengers 1, and Thor 2. He’s as different as the moviemakers in charge of the productions are. (The directors of Avengers 1 and Thor 2, Joss Whedon and Alan Taylor, simply had the grace and humility to take their cue from the original vision of Kenneth Branagh.)

If you don’t actually pay attention to Loki’s character, motivations, logical action, or his history, and you’re only interested in being entertained, I guess it doesn’t matter. This is just a superhero movie character, so who cares if they turned him inside out to conform with a simpler, less challenging archetype?

He’s their property, after all. They can use him however they want to. If they want to chew him up and spit him out as a naive, lovelorn mensch because that’s the Disney protagonist formula, they can and will. If they want to put him into a buddy-cop procedural, as if he were an ordinary human person whose shtick is a magic kit, they can.

A lot of you who are constantly defending the Loki Series are not really thinking about it. Maybe you’re just happy he has a show to his name. Maybe you don’t care; you just want more “content.” Maybe you don’t want someone spoiling your fun.

Maybe you think you’re being the loyal crowd by “defending” Loki. You’re not seeing that Disney did worse than kill him off—they unmade him. They put the God of Mischief into a blender with the Disney formula, audience response data, standard storytelling tropes, a limited range of plot lines, and a great deal of money, and out came this golem with Loki’s face on it.

You might revile me for saying all this because that’s easier than facing the truth or questioning the Powers That Be. There will always be people who can’t tolerate having their beliefs challenged.

I have seen nastiness on this hellsite toward people who question and protest what the majority accepts—but that’s just a reflection of the real world. It’s never going to work out well for those of us who see things differently and who don’t shut up about it. So, why do we keep annoying everyone with our dissenting opinions?

In my case it’s because I actually do care about Loki. I care enough to tell the unpopular truth, as I see it. Because, to me, Loki isn’t just an MCU character. He is representation.

He was a survivor of abuse and scapegoating by his own family. He was an outsider who defied convention and took on great challenges, despite everyone in his world trying to push him down. He shirked the role he was forced to play and chose to define himself instead. He saw the hate and scorn directed at him from all sides and laughed.

He struck out on his own into the unknown—which is incredibly hard to do, even if you had been given the support to believe in yourself.

The Loki Series did get one thing right: Loki is a survivor. He’s survived misinterpretations before, and he will survive Disneyfication. Maybe the public will tolerate a warped mischaracterization of him for a while before they lose interest, but the God of Mischief prevails. Thor1 Loki will always be there, smirking triumphantly from the shadows.

[pain-in-the-butler]

How was the rest of the Kuroshitsuji panel? I'm curious lol

I'm so glad you asked! I was actually planning to make a post on this regardless of interest, so it's convenient that someone will actually already be curious to hear lol. Here is the long version of what happened at the panel:

Before CDawgVA, the directors, and Daisuke Ono came out onstage, they had a hype man going around and interviewing cosplayers in the audience/giving them random Crunchyroll prizes. He would ask the cosplayers to tell him something about their costume. My favorites were the Sebastian who cut their wig just that morning and the Ciel who left their neck bow at home, so they improvised one out of tissues and it actually looked pretty good. Here's my picture of it on the big screen:

I guess I'm an outlier who never watched a CDawgVA video, so seeing him in person was actually my first time seeing him ever. He seemed like a nice guy and happy to be there, I can see why people like him. He did a pretty good job inviting the guests onstage and asking them questions -

Producer Yoshito Ito and director Kenjirou Okada both received applause when they came out, but the crowd fuckin exploded for Daisuke Ono. He clearly has a lot of experience in working a room, he did a little theatrical bow when he walked out, and I think he said "yes, my lord" or something like that, I don't remember exactly. I'm actually not much of a fan of his, but I still joined everyone else in cheering loudly for him -

All the guests spoke Japanese and as far as I could tell the translator did a really good job up there, he was quick on the draw every time. I could tell the fan next to me spoke some Japanese and he seemed to think it was accurate -

To break the ice, CDawg asked the three panelists about what they thought of Los Angeles. I can't remember what the director and producer said, but Ono went to see a Lakers game and had a good time even though they lost -

Then CDawg (do people call him that or Connor? I actually don't know, sorry if I sound like a pleb) said that because Sebastian likes cats so much, he wonders if any of the panelists would like to have a cat. I believe it was Okada who said he had a cat two years ago when he lived with his parents, but when he moved out, his mother told him "The cat is staying here." Ito said he would rather have a dog, and Ono said he would also prefer a dog, but he would definitely name the dog "Sebastian" -

The panel was scheduled to be under an hour, so I was kind of glad when CDawg moved on from the goofy questions and asked about the anime. Ito and Okada talked about location scouting a little bit in England. They said the oddest thing for them was how there weren't mountains and that they could see the horizon even when they weren't near water. They said if they hadn't actually visited England, they probably would have put mountains around Weston...... -

CDawg also asked them about the food (and apologized for its taste before they could answer lol). Ito and Okada said that they enjoyed the fish and chips, but were surprised that afternoon tea did not live up to the hype. They didn't like the scones with clotted cream, which surprised CDawg, who said "clotted cream is the only good food we have" lmao -

Ito and Okada also talked about how they initially turned down an offer to make a new season, supposedly because they didn't think they could hold a candle to the earlier seasons. They said they later changed their minds when they realized that there were still fans of the series who wanted to see what came next. I personally don't buy that answer, but not for any reason other than it sounds fake. Maybe there's some truth to it (maybe) -

They also talked about how they really went into the Public School arc hoping to create something that felt different from the previous seasons. That was interesting to me, because it didn't really feel like that's what they were going for when I watched it, but okay I guess they were -

Ono said the most exciting thing for him about working on the Public School arc was that he was granted permission to give a more emotional performance this time. He believes that Ciel and Sebastian's experience fighting Undertaker on the Campania was a turning point in their relationship and that it changed the way he voiced Sebastian. He really did seem pleased with this fact, though it seemed to me that he could not remember Book of Atlantic very well lol—but that could have simply been due to the way the translator referred to it as "that cruise ship" -

I think that was when they took another little break to play a game CDawg came up with where the panelists had to guess what a few words in British slang meant. The first was the Welsh word "cwtch". We weren't supposed to take pictures but your girl took one anyway

"Cwtch" is pronounced "cootch" and CDawg said "Here's a hint: when you see Ciel, you want to give him a cwtch." Through no fault of the Welsh, CDawg clearly picked this word to sound like an innuendo, and some people in the audience were shouting "Kiss? Kiss?" I can't remember who, but either Ito or Okada's guess was something the translator apparently "Couldn't say out loud" with the impression that their guess was sexually inappropriate? Ono and the remaining director/producer guessed the word "hug" which was close: "cwtch" means "cuddle." It was such a bizarre moment, I stg when will we stop making sexual jokes about this child character. That includes you, Yana 🫵 -

The next word CDawg had everyone guess was "chuffed", with a picture of young Vincent celebrating his cricket victory. The hint was "you feel this after you win a cricket match." Both Ito and Okada correctly guessed "happy" and Ono guessed "like you want to drink a beer." CDawg said that that was truly in the spirit of English culture -

After that we got the Green Witch trailer, which was another bizarre moment, this time for the reason that we saw no new animation and we basically knew it was coming. Still, the audience went wild and it was fun to experience it together. We also got the 2025 release date so I guess that's cool -

Next, Ito and Okada talked about the upcoming season a little bit. The only thing of note that I can recall is that they said they weren't going location scouting this time because Sieglinde's village wasn't a real place. However, they said they planned to take a lot of inspiration from the manga itself. These points struck me as disheartening and obvious in turn, but I guess at least they were honest -

Ono said he was excited to give a darker performance this time around. He also said, mostly likely to drum up the crowd, that he was a little nervous but that he could do anything with "Ciel" (Maaya Sakamoto) by his side, and yes the audience did eat it up with more applause -

After that, CDawg raffled off what looked to be a drawing of Sebastian, possibly by Yumi Shimizu, signed by Daisuke Ono. They had given us these tickets before the panel started and the person with the winning number got the prize. Shockingly, I did not win -

Next someone came and took a picture of the panelists and the audience in the background, then Daisuke Ono did this thing where he waved at everyone and got us to wave with him, and finally the panel ended after roughly fifty minutes

Overall, I give the event a 6/10. We didn't have a lot of time, so I understood that they couldn't go too in-depth and that they wanted to keep it lighthearted too, but I personally would have appreciated some more interesting information on season 4 or something juicy about season 5. As it was, it felt like a lot of what we learned was entirely unsurprising. But it was nice of everyone to come all the way from Japan and the UK, and I guess it's kind of cool to say I've seen Daisuke Ono live now, even though he's only my third favorite Sebastian. My expectations were low, I went just to say I was there, and what I mainly gained was a bit of whimsical joy at being in a room full of Kuro fans, which is no bad prize at all.

[herbgerblin]

ipre theater thots

loosely based off of this poll. sorry, this got away from me. i was a theater kid for years (i still am, i literally made a bunch of friends larp as wizards two weeks ago)

Davenport: Producer and Stage Manager. Personally more experienced in opera than musicals, but answers the call when the need for a manager arises. Keeps everyone focused and on schedule. Has final word on what choices the art department gets to make. Sometimes does solo performances on his own time.

Merle: Choreographer and Director. Leads the ensemble into meditation every rehearsal before warming up. Talks with each member of the cast one-on-one. Sometimes leaves the script open to interpretation. His artistic vision sounds bonkers in concept, but illuminating in execution. Why are there so many plants? Don't worry about it.

Magnus: Lead Actor and Set Builder. He brings the energy every single night. He doesn't need to be micc'ed up because his natural voice projects well enough. It takes a bit of time for him to memorize the script, but he devotes his heart and soul to it. He claps loudly for the ensemble when he's in the wings. He cries at the emotional numbers. Built all the sets by hand.

Lucretia: Co-stage Manager and Supporting Actor (not for lack of chops, only because she spreads herself very thin.) Knows the script like a second language. Mainly reserves her Director Voice for backstage when things get chaotic. Enjoys performing the musical numbers because no one knows she can belt, until she does. Standing ovation girlie, but bashful about it.

Lup: Co-lead Lead Actor and Costumer. Only willing to do the role if Davenport lets her include cold sparks and fog machines in the set budget (he finds a way.) No one knows when she took measurements for the costumes, but they're ready by dress rehearsal and they fit perfectly. Helps the other actors figure out their groove. Great at engaging the audience.

Angus (special edition): Child lead and stagehand. The sweetest little singing voice you ever did hear. Everyone is going to rue the day his voice starts cracking. A heartbreaker of a performer and a speedy backstage assistant.

Taako: A MYSTERY. He's wearing a fancy scarf and roaming all over the place. He's talking about the Art of the Theatre. He's listed on the billing of lead actors and NO ONE knows what his role is. He remembers all the little things that everyone forgets: clothes pins, a hot glue gun, and electrolytes. He's got a walkie-talkie. Only the managers and tech are supposed to have walkie-talkies. Hello, this is Taako speaking, over.

Barry: Usually Tech. He's got a beautifully choreographed queue of lighting designs and stage effects. He's got an immaculately labeled pad controller and a ready-to-go Excel spreadsheet. But on opening night, Lucretia informs him he's in the orchestra pit.

Barry: ...But I'm lighting tonight.

Lucretia (via walkie-talkie): And our percussionist twisted his ankle tripping over a stage light. You're in the orchestra now, compadre.

Barry: (with increasing emphasis, decreasing conviction) But. I'm. Light. Tech.

Taako: E N T E R T H E P I T B A R O L D

Davenport: Taako, get off this line.

During intermission, Magnus asks him to help lift the ensemble dancers onto the set scaffolding, and hold it steady. Barry agrees, thinking he's in the clear after that. But the second the music number ends, Merle tells him that one of the support roles had to leave, so now he's the understudy.

Barry (longsuffering): I am just. the light guy.

Merle (gesturing to Taako in the balcony, having a ballgame playing with the lightboard): well, in two minutes you're the showstopper guy, so you need to go out there and stop the show

Lup (emerging from nowhere, slapping a red, hooded robe on Barold's shoulders): Knock 'em dead!

Barry: D:

[seaweedstarshine]

Late to the game as I’ve kinda been kinda non-here for a minute but I scrolled through the Dot and Bubble tag, and thought I wanted to write this post into existence.

There's this part in Doctor Who Unleashed where RTD says this:

“What we can’t tell is how many people will have worked that out before the ending. Because they’ve seen white person after white person after white person, and television these days is very diverse. I wonder, will you be ten minutes into it, will you be fifteen, will you be twenty, before you start to think, everyone in this community is white. And if you don’t think that — why didn’t you? So, that’s gonna be interesting. I hope it’s one of those pieces of television you see, and always remember.”

And I'm like. Yeah. But the reason this works even as well as it does is largely thanks to the work of the previous showrunner with the previous creative team, which was notably the first era to have any writers of color (amongst other firsts in terms of inclusivity in directors, composer, actors). While Chibnall fumbled whenever he tried to write about race himself, he did have the self-awareness to have Black and South Asian writers writing the episodes where race is the focus (and a female writer for the episode where sexism is a focus; my point is, he seemed to know his shortcomings).

I wonder what the current creative team looks like? (not really, but I wasn't 100% sure for all of them)

To quote RTD:

“...before you start to think, everyone in this community is white.”

This is pretty non-self-aware, right? It's pretty “It is said, and I understand this, there was a history of racism with the original Toymaker, the Celestial Toymaker, who had ‘celestial,’ and I did not know this, but ‘celestial’ can mean of Chinese origin, but in a derogatory way,” right? (from The Giggle Unleashed) It's pretty “and I had problems with that, and a lot of us on the production team had problems with that: associating disability with evil,” right? (from Destination Skaro Unleashed)

—none of which are issues that should be overlooked, but think how much exponentially better they might’ve been addressed if he’d consulted with Chinese writers and wheelchair-using writers before going straight to giving the Toymaker weird fake accents and making Davros walk?

How many Black or non-white people do we think saw the Dot and Bubble script before it landed in Ncuti’s hands?

And this just keeps happening.

And like, from some of the shocked responses I've seen from white viewers to the ending of Dot and Bubble, maybe the episode's unsubtlety was needed? From the way RTD talks about it in Unleashed, the episode was written with a white audience in mind, Baby's First Microaggressions (where of course the microaggressions come from people who are pretty self-admittedly white supremacists). Ricky September, a more seemingly normal depiction of someone in the racist bubble of Finetime, seemed like an interesting element, up until the way he died.

The ending worked for me, because I do think the Doctor's reaction is true to how the Doctor would react. I just keep thinking of how much better the core themes could've been handled by someone with actual lived experience on the subject matter.

[firthbetterorfirthworse]

2005 Pride & Prejudice

oh boy. I realize I am about to tread on dangerous ground here

I will say that I fully recognize that my prejudice (snort giggle) has influenced when I've seen this in the past. Colin Firth was my first Darcy and that's a hard thing to let go of, even setting aside my obsession preference for him.

That being said, this movie is visually GORGEOUS. Beautiful shots, sets, music, etc. I just...don't love the characterizations of the main characters. Most of the secondary characters I love! Explaining Charlotte's viewpoint for a modern audience and making her warmer, an awkward Collins (I could make a whole post about how if P&P were written today we would consider Collins autistic-coded), they did great! Also, Caroline gives the sassiest, bitchiest curtsies, which I adore.

I appreciate Lady Catherine, not just because I love Dame Judi Dench but because they clearly paint a picture of someone holding onto the past. Not that the costumes in this adaptation are particularly, you know....accurate. in any way. BUT she's got a style that more closely aligns with 1790s than 1810s. (Although maybe that was intentional? Cursory googling suggests the director wanted to bring it back in time but then why isn't everyon- you know what it's fine, it's fine I'm not gonna get into it here, but basically be hyper-accurate or throw all realism out the window, there shouldn't be an in between it just feels lazy)

I very much appreciate the heat in the proposal. It is a FIGHT. I think modern audiences can easily lose that feeling when they're reading the dated text on the page, but they are saying VERY impassioned things and making accusations and I really appreciate the energy this adaptation brings! And the almost kiss, it's hot I get it it's not true to the book but it's fine it's not fair of me to care so much for inaccuracy in this adaptation but not others. still gonna tho I miss the intimacy of her admitting the tragedy of Lydia only to Mr. Darcy, I understand that having the Gardiners there saves time and is more appropriate, but I have strong feelings about that scene where Elizabeth returns Mr. Darcy's trust when she doesn't have to and how it really speaks to her feelings.

Speaking of Lydia, LOVE that she's clearly so so young. Sometimes it's not as obvious.

And my dear Mr. Darcy, bold of you of all people to help Mr. Bingley practice a proposal

but oh dear if that scene isn't just absolutely adorable. I appreciate that this Bingley found some fortitude and requested a private audience with Jane. On second thought, maybe it's for the best that Darcy is the one to help him so he can be like "here's what not to say"

(I'm sorry, she even tells Mr. Bennet about what Darcy did for the family and they STILL didn't include the line about "I'll offer to pay him back, he'll rant and rave about his love for you, and that will be an end to the matter"?? How rude) (But I do adore Donald Sutherland, good scene for him)

The little epilogue scene is sweet, it's cute. I understand why people love this movie. It just doesn't hit me the same way please don't hate me

[haee-elia]

spence-tober: day 18 - archaeologist

pairing: archaeologist!spencer reid x fem!actress!reader

summary: in which you open up during an interview to promote your movie about your boyfriend, whom you met on set.

word count: 1950

warnings: fluff, not much if any dialogue between you and spencer, mostly story telling through descriptive narratives

spence-tober masterlist

From where you’re sitting on the famous Graham Norton’s couch, you can’t really see the stage audience, not with all the bright studio lights surrounding you on the set. But you don’t mind, it wasn’t like it was your first rodeo being on a talk show.

After all, you were a highly decorated actress having made your start when you were just a teen in indie films and then graduating to a TV show that ran for several seasons and then starring in blockbuster after blockbuster. 

You’ve loved acting ever since your first theater class in high school and decided to try your shot right after you graduated. Since then, you’ve starred and dabbled in a lot of shows, movies, and other. It was only a few years ago when you had decided to accept a lot less roles than you usually would and be more picky, wanting to get an online degree and enjoy your young adult life. 

Since your small break from acting, you’ve completed an online degree, learned some new hobbies, and did some small renovations on your house. You were already well off from box office backpoints, residuals, and contractual salaries and under your belt already you had a Tony, an Oscar, and two Emmy’s. You cooled down your ambition and worked on yourself.

Until that is, you got an interesting email in your inbox one day coming from one of the first directors that gave you a chance in the industry. In the indie film you had worked on together, both the director and you had risen to a small level of stardom and had been able to take on a lot more work after the film had released. You had bumped into each other a few times in the rest of your careers, but this time, they was reaching out for a role they thought you were perfect for and might be interested in.

It was a role to play an archaeologist in a historical film loosely based on a true story. You accepted the role and officially ended your small break in your acting career. Although you had taken on a few more roles here and there since finishing the shooting for the film, this was your first time back on a talk show to promote something you worked on.

“How is everyone feeling tonight?” Graham said, greeting all of you on the couch.

It was the director, yourself, and a few of your castmates. In your small break from acting, you found yourself valuing comfort over fashion more and more and so you sit dressed in a comfortable lose fit dress. It’s still designer and very expensive, but you’ve paired it with a sensible pair of black wedge heels and simple jewelry from your own personal collection.

The rest of the couch gives their answers first before Graham looks to you, “I’m really good, thanks.” You say. 

To you, it seems like a generic answer and in fact, if it was anyone other than you, Graham would move on, but he gets a sly playful smile on his face and you just know what he’s going to do.

“Really good?” Graham repeats, “That wouldn’t have to do with who’s here tonight with you, would it?”

You blush under the teasing gazes of your castmates and Graham.

“I’m not sure I know what you mean.” You say unconvincingly.

He grins and then gestures his hand to behind him, pointing at a random wall of the set, “Are you sure? Because I could have sworn there was someone waiting for you back in the green room.” 

You smile and shake your head, you just knew Graham was going to pull something like this. How could he not? It was the leading story of gossip sites, twitter, and tumblr for days on end when the news broke.

“Oh, do you mean my boyfriend?” A cheshire-like grin grows on your face and your face burns even more when the studio audience cheers at your last word.

Graham nods, loving the applause and cheers, “Didn’t you meet him on set?”

Before you can answer, your director/friend decides to pipe in, “I hired him to work on set and then I come to find out he’s actually slacking off with her!” He jokes, pointing your way.

You scoff with a smile on your face, “Oh please, you played matchmaker all the time!” Your castmates nod in agreement.

What Graham has decided to bring up is your newly public relationship which bloomed when you were filming on set for the movie. Because of the large historical and archaeological background of many of the characters and how it caters to the main plot of the movie, several consultants were hired to bring some validity and realism.

One of those was Dr. Spencer Reid, a professor on a short sabbatical from teaching archaeology. His job was to consult on the actions of the characters and help teach some of the actors and actresses who’s characters have a background in archaeology some tips and how to be more natural in the motions. 

Your character has a large archaeological background and had the most scenes where you were seemingly handling fossils or excavating them. 

That’s how you met Spencer and after spending months together, working together, seeing each other every single day on location, crushes on both sides formed.

“Guilty!” Your director exclaimed, holding his hands up as if he was caught.

The room laughs again. “But you admit you were distracting him from his job?” Graham prods, playfully.

You shrug, a smirk on your face, “You could say he was distracting me from mine.” You counter.

“Okay, okay.” Graham says, jokingly backing down.

He moves onto your other classmates with fun anecdotes about them for most of the rest of the interview. But then, as the interview goes to close out and nothing too eventful has happened, you knew he was saving that Graham Norton mischief just for you.

“Circling back,” Graham says, making direct eye contact with you.

You groan in fake annoyance, a knowing smile on your lips. 

“Oh come on,” Graham replies with a chuckle, “You didn’t think I was going to let you off that easily, did you?”

Shaking your head, you wait for Graham to go on. 

“Well, I thought that we shouldn’t waste this opportunity, so I asked your dear boyfriend to join us during the break.”

He turns to the camera, “Ladies and gentlemen, let’s make some room on the couch for Spencer Reid!”

You can’t help but correct him, “Dr. Spencer Reid.”

“Dr. Spencer Reid!” He remedies.

With this cue, your cute professor boyfriend walks out on the stage. He’s squinting because of the bright lights and even brings up a hand to block some of the blinding studio spotlights. 

He isn’t wearing anything too fancy, though he would argue that he was wearing his good slacks and a new button up. To be honest, any clothes that didn’t have any dirt or various sediment on it was good enough for you. 

Spencer’s eyes, framed by his glasses, quickly find you on the couch and you’ve already scooted down to make some room for him. His hands hang awkwardly by his side and you know he’s fighting the urge to wipe his sweaty, anxious palms on his pants.

When he reaches you on the couch, you guide him down with your hands taking his. You also give his hands a small squeeze of assurance and comfort.

Frankly, you’re not sure why he’s agreed to such a situation in the first place. 

Spencer didn’t naturally get nervous by famous people like you thought he did when you first met him. In that particular situation, Spencer was really just nervous because his massive crush on you was growing each and every day. If only he knew it was the same for you.

Spencer, however, did get nervous in situations with lots of people or when the attention would primarily be on him. This made being a professor as a first career quite confusing for you to wrap your head around, but Spencer relaxed a lot when he was talking about something he’s passionate about.

“So, Dr. Reid-” 

Spencer interrupts Graham, “Please, just call me Spencer.”

Graham smiles at him, “Alright,” He continues on, “So, Spencer, have the two of you realized how viral you’ve gone?” He asks first.

You and Spencer exchange a look.

How could you have not realized? When you had accidentally leaked your relationship on an actress-friend’s podcast, you first panicked. But was assured by your friend that it could be edited out if wanted. After a long discussion between you and Spencer, you decided it was time to soft-launch your relationship and was prepared for the news to break.

What you didn’t expect was how the world freaked out. You knew a few sites would report on the announcement, after all, you were a well known actress who’s fans were often loyal and you hadn’t been in a serious or noteworthy relationship in a while.

A few days after you went public, edits were being made of your boyfriend’s interviews, people not even in the major were signing up for his upcoming classes, and the world fell in love with him as did you. You two were proclaimed the new ‘it’ couple and the flame was fanned with pictures you two shared to your social medias. 

You had once asked Spencer if it was bothering him that he was getting so much attention, but he answered with a peck on your temple, then nose, then lips and a sweet phrase on how the only attention that mattered to him was yours.

He remedied with a followup to say he also hopes his students pay attention to him. At which you laughed and kissed him back.

“No, at least, not at first,” Spencer answers honestly, “It has calmed down from that initial wave and we’ve learned to deal with it for the most part.”

You look at him by his profile and smile, proud of him. He has done interviews, but none with the main focus being your relationship.

“And how would you say did your relationship progress off set and when filming wrapped?” 

“Well, it was a lot less sand.” Spencer jokes, making the crowd laugh. “That and we grew to know each other beyond our jobs. There’s more to both of us than our occupations and that was an important step in dating for us.”

“No sand certainly is a bonus.” Graham confirms, gaining a laugh as well. 

“Now, Spencer, you’re a professor in archaeology?” 

With the short remainder of the interview, Spencer’s anxiousness and tense body language melts as he gets to talk about what he knows best. The audience, and Graham, love him and eat up his responses. You already know your castmates love him as well judging by the way when they extend an invite out to you, they ask you to bring Spencer if he’s available. 

Although you’re rather proud of your boyfriend being so comfortable in the spotlight, you do ask out of curiosity how he was able to overcome his anxiousness later that night after you had gone back to your shared hotel room to unwind for the night.

With you leaning against his frame, both propped up in a sitting position in the bed, he would simply smile down on you and ask if you didn’t remember.

He’s able to relax when he talks about something he’s passionate about.

When you ask him what he means, Spencer simply presses a quick kiss to the top of your head and answer.

“You, of course.”

a/n: i didn't mean for this one to be so long but i got carried away... i can definitely see myself writing more about this pairing because i think so much can be expanded upon it. i also really like the style i did this one as writing domestic fluff or meet cutes over and over can be a little draining, especially doing it everyday