#operation london bridge

[lifes-commotion]

Happy heavenly Birthday Elizabeth II (21 April 1926 – 8 September 2022)! She became Queen 6 February 1952 and reigned of 70 years and 214 days, which was the longest of any British monarch and the longest verified reign of any female head of state in history.

[houseofbrat]

I didn’t think she was going to go to the Coronation after her appearances at the Jubilee service and Queens funeral. That pillar candle blocking her was the nail on the coffin for her- i think they had it at the ready again just in case:). No way was she going to subjugate herself again to play background player when the star of the show wasn’t herself.

[thepastisalreadywritten]

Armageddon to wet lettuce: The phrases that defined 2022

Agence France-Presse, 5 December 2022

PARIS — A year of extraordinary upheaval, from the war in Ukraine to catastrophic natural disasters, AFP looks at some of the words and phrases that have defined 2022.

ARMAGEDDON 

With the war in Ukraine and increasingly strident threats from Russian President Vladimir Putin, the specter of nuclear warfare is stalking the globe for the first time in decades.

"We have not faced the prospect of Armageddon since Kennedy and the Cuban missile crisis" in 1962, US President Joe Biden warned in October.

Experts warned of the most dangerous situation they can remember, with fears not limited to Russia: North Korean nuclear saber-rattling has reached new heights, with the world bracing for a first nuclear test since 2017.

LONDON BRIDGE 

At 6:30 p.m. on September 8, Buckingham Palace announced that Queen Elizabeth II had died, bringing to an end the longest reign in British history and sending shock waves around the world.

For 10 days, Britons paid respects to the only monarch most had known, following a carefully choreographed series of ceremonies.

The program of events, famously codenamed "London Bridge", set out in minute detail every aspect of the protocol -- down to BBC presenters wearing black ties.

In the event, she died in Scotland, meaning special provisions came into force -- Operation Unicorn.

LOSS AND DAMAGE

World leaders and negotiators descended on the Egyptian Red Sea port of Sharm el-Sheikh for the latest United Nations summit (COP27) on tackling climate change.

After a fractious summit, widely seen as poorly organized, a deal was clinched on a fund for "loss and damage" to help vulnerable countries cope with the devastating impacts of climate change.

Behind the institutional-sounding name lies destruction for millions in the developing world.

The COP summit was hailed as historic but many voiced anger over a lack of ambition on cutting greenhouse gas emissions.

WOMAN. LIFE. FREEDOM. 

The chant screamed by protesters in Iran following the death of Mahsa Amini, a young woman arrested by the Tehran morality police.

Protesters have burned posters of supreme leader Ayatollah Ali Khamenei, and women have appeared in public without headscarves, in scenes scarcely imaginable before the uprising.

The demonstrations have lasted 3 months and appear to pose an existential challenge to the 43-year rule of the clerical regime.

BLUE TICK

The tiny blue tick (it's actually white on a blue background), which certifies users on Twitter, became a symbol of the chaos engulfing the social media platform in the wake of its $44-billion takeover by Elon Musk.

The mercurial Tesla boss announced that anyone wanting the coveted blue tick would have to stump up eight dollars, only to scrap the plan hours later.

A month on from the takeover, Twitter's future remains up in the air, with thousands of staff laid off, advertisers leaving, and its "free speech" platform hugely uncertain.

ROE V. WADE 

In an historic ruling, the conservative-dominated US Supreme Court overturned the landmark 1973 "Roe v. Wade" decision that enshrined a woman's right to an abortion.

The Supreme Court ruled that individual states could restrict or ban the procedure -– a decision seized upon by several right-leaning states.

Protests erupted instantly in Washington and elsewhere, showing how divisive the topic remains in the United States.

The overturning of "Roe v. Wade" became a critical battle in the US mid-terms in which candidates in favor of abortion rights won several victories. 

QUIET QUITTING 

One of the "words of the year" in Britain and Australia, the phrase refers to doing the bare minimum at work, either as a protest against your employer or to improve your work-life balance.

The trend, which has sparked debate about overwork, especially in the United States, appears to have surfaced first in a TikTok post in July.

"You're not outright quitting your job but you're quitting the idea of going above and beyond," said the post which went viral, drawing nearly a half-million likes.

WET LETTUCE 

As Liz Truss approached the end of her chaotic and short-lived tenure as British prime minister, the Economist weekly mused that her effective period in office had been "roughly the shelf-life of a lettuce."

The tabloid Daily Star leapt on the idea, launching a live web cam featuring said vegetable -– complete with googly eyes -- next to a picture of the hapless Truss.

Her premiership lasted just 44 days and featured a mini-budget that collapsed the markets and generated extraordinary political upheaval. In the end, the lettuce won.

TOMATO SOUP 

Environmental protesters seeking to draw attention to the role of fossil fuel consumption in the climate crisis hurled tomato soup at Vincent Van Gogh's "Sunflowers" painting at London's National Gallery in October, touching off a series of similar stunts.

Since then, activists have smothered mashed potato on Claude Monet and glued themselves to works by Andy Warhol, Francisco Goya and Johannes Vermeer.

For some, the campaigners are heroes bravely drawing attention to the climate emergency.

For others, the attacks are counterproductive and lose force by becoming commonplace.

A4 

Protests erupted in China, initially over COVID restrictions but later widening to broader political grievances, posing the greatest threat to the Beijing authorities since 1989.

The demonstrations became known in some quarters as the "A4" protests as protesters held up blank A4-sized sheets of white paper in a sign of solidarity and a nod to the lack of free speech in China.

© Agence France-Presse 

[feigeroman]

Saturday Movie Night: Operation London Bridge (1975)

No, not the plans for Elizabeth II's funeral. This Operation London Bridge, arguably of equal significance to the nation, was British Rail's scheme to make much-needed improvements to London Bridge, the oldest of the seventeen terminal stations then serving that capital (three of which have since closed). The BTF unit was called upon to film the proceedings, which commenced in 1972, and the final product compresses three years of hard work into just fifteen minutes.

[thetravelingtyper]

Our Shattered Heart (Part 1) (GN! 'Heart' Reader x Taskforce 141)

After an injury and recovery, the men of the force find themselves acting a little differently towards you.

Inspired by the Smiths and Cage the Elephant.

Warnings: a building falls, use of song lyrics, protective 141

Part 2, Part 2.25, Part 2.50, Masterlist

SO I POPPED OFF at like 1 am with three shots of brandy lmao

The strings of a bass echoed into the open night. Electric steps, iron bridges, the river. Central town spinning away into the flurry of the night. You were running from phantoms, what had you done but cried into the night? Your phone long since turned off you were afraid to return to the safe house. Made up as a civilian you blend smoothly in, but the oppressive nature of their stares made your eyes water so you took your chance and bailed. 

Even in your distress, you admired London proper. You wipe your tears and stop your swift walk. You could hear music? There was a well-lit area a dozen or so yards, (Metric Sergaent) You frown as your Lieutenant’s voice echos in your head naturally. You grit your teeth. Nothing you did was right. In training he’d catch every little mistake, poking out your weaknesses without telling you how to better your stance.

What of Soap and Gaz? Your fellow Sargents and supposed friends. One moment they had your back then after your injury they joined Ghost. Soap would pull you aside and scold you for using your ‘bad leg’ or your hits were too low or high. Gaz just commented after you healed up against you even serving. It took three weeks for you to have enough.

You turn on your phone to check the time, and it rings with a skull icon, you answer it as you can pick up the music. 

“Fucking hell Sergeant where are you.”

“Doesn't matter Ghost, Fuck off”.

“Wait, Lo-”

You hang out and toss your phone into the river. You smirk, a sense of relief flooding your tense body. What had your valiant captain done about your concerns? Immediate relocation to a safe house for surveillance, with said team. Nothing of “I’ll talk with Simon” No you got the “You could be a liability so let us have three grown-ass men babysit you in the middle of the city.” You went to protest but he shushed you with a disappointed look that made you reel back. 

You weren't British, maybe you didn't meet his standards. He's the one who requested an outside operative all those months ago. You performed top of your class and threw your body and heart into the job working your way into being the face of the team. It was you whom they sent to comfort those who lost loved ones as collateral. Everything changed when you broke orders to save a child.

--

“Heart, Ghost, Soap Clear Out Now! That is a direct order!”

The building rumbled and air support had’nt arrived. You had about a minute until the whole place collapsed. 

“Affirmiative, Sergeants move out!” 

Ghost ushered you in front of him and Soap was already running through the dust to get out. But as you turned to run you caught movement.

“Ghost there is someone in there!” You try to trace the movement but Ghosts gloved hand yanked you back as he started towards the entrance. 

“No Heart-”

You gasped, there was a girl pinned under rumble! Your instincts take over and you shove out of his gasp with more strength then you ever though you could muster, Ghost stumbles and you book it back as he yells after you.

“GHOST, HEART OUT NOW THE BUILDING IS COMING DOWN!”

He had no choice but to leave you as you threw yourself over the girl. There was a loud rumble then black. 

You huff, odviously you had survived and the little girl you pulled out from the rubble survived as well. After the dust cleared the next day, you had lugged a beam off her and you and hobbled her out to seek medical attention. Once the mission had finished Price and the others had rushed back to find empty rubble, it was a joyous mother who led the foreigners back to their Heart. And there you were, in some small village a hero treated to the best they could. All you could offer despite the pain of your leg was a small smile towards to girl who clung to you like a baby. 

Soap had about given out before he rushed you with curses, poking and prodding like a mother hen. Gaz laughed, a wholehearted sound like melted caramel and quipped about surviving the sky falling. It was Price and Ghost who were not too keen, but you had a back up. The leaders of the village, who’s daughter and grandaughter you had saved, had what turned out to be excellent intel that you handed to Price with a smirk on your face. 

“Fucking Hell.” Was all you gotten from Ghost and his head in his hands with a deep sigh. 

--

What you didn't realize was how big of a deal it was to the Captain and Ghost. Once you got back to base and were put on a 3 month leave was when things soured. You were able to use connections in the village to work intel, something Laswell was grateful for, But Ghost  took this personally, giving you almost a disapproving sneer when he would see you out of bed. Price was silent. No yelling, no scolding just silent. Some storm brewed and once you fully healed and went back to training it seemed Ghost tainted Soap. The Scot became overbearing, making less hurtful comments. A Gaz, once level headed, turned into Price’s little shadow, you could tell from their glances they were communicating. 

After  three weeks of being stationed with them, fully healed mind you, you had enough of walking on egg shells, being the subject of Ghost’s anger and Gaz’s twists and turns. You didn’t snap until Soap had risen his voice after your pacing. 

“ENOUGH HEART.”

It caught Ghost and Gaz off guard in the small apartment as you turned wide-eyed. His eyes were stormy, set off by something you couldn’t identify.

“Johnny-”

“No LT. They need to learn their place”

Your hackles rose, you tried to calm the rage, how dare he?

“And whats that MacTavish? You four have been acting like I’ve been a virus since the day I came back! I worked my ass off to help you and this is how you asses repay me? Im not a fucking toddler you can drag around.”

Gaz went to speak but the glare you shoot him is venemous,

“No you don’t get say anything Kyle. You’ll  just go running back to Price and prolong this little ‘vacation’ Im sick of being treated like a child.”

“Sergeant” 

“Oh rich from you LT” You feel your nerves bristle as Ghost steps forward in challenge. Despite him towering over you, you bite back 

“You can take your Sergeant and Stuff it. You have acted like an asshole through these past 4 months and I’m sick of it! You three are grown ass men acting like children. Run back to Price and bully someone else I'm sick of this shit.”

And with that you grabbed your bag and stormed off, disappearing into streets of London the three men stunned at your outburst.

---

You enter the lit area to find a band and civilians listening to, was that the Smith’s? You relax to the familiar music. The main singer is a handsome man, dark eyes raking the crown with a calm smile before you lock eyes and he winks. Unexpecting, you blush and turn into the crowd. He begins to sing with a voice of silver and honey.

Take me out tonight

Where there's music and there's people

And they're young and alive

Driving in your car

I never, never want to go home

Because I haven't got one

Anymore

There is a little irony as you take a seat at the bar. Over the past two years, before your four odd months the taskforce had become home to you. You settled in quite fine, either bickering along side Soap, joining with Ghost or helping Price and Gaz with their reports. Seeing your personal skills Laswell insisted on you staying.

She smiles when you enter in under the arms of Gaz and Soap. 

“Hey kid, good to see you. 

You nod at here before Price enters, he passes you three a look before ushering the three of you out of the office.

“Come on you two, the parents gotta meet now.”

You giggle as Price rolls his eye as you turn you catch a knowing look from Laswell to Price and as you head out the door, but being dragged to lunch, you miss the fond look he shoots you. 

You order a bourbon neat, as you take a sip the chill of the night hits a little deeper and you frown behind your glass watching couples get up to dance. You remember that mission with a fond sigh, the bourbon reminding you of your tall and often mysterious Lieutenant.

Take me out tonight

Because I want to see people 

And I want to see life

Driving in your car

Oh, please don't drop me home

Because it's not my home, it's their home

And I'm welcome no more

You tilt your head down, that mission oh. Something in your chest ached.

You entered the room in a shuffle, the trails of your outfit not what you were used to, but a mission like this called for finery. You stumble but pale hand’s catch your arm and tucks it in under his. You turn to the perpetrator but find dark eyes quietly regarding yours and you jump.

“Ghost!”

“Call me Simon at this point Heart”

You manage a quiet yes sir. He watches you with softer eyes before there is laughing down the hallway. 

“He’s a lucky bastard is what he is, getting to take Heart all dolled up.”

Johnny’s voice has your eyes rolling. After a few months of your service the Scot had accepted you with open arms, and the flirting, my god the pick up lines. You sigh fondly into your drink.

“I mean you could just ask them-Lt! You’re early.”

Simon doesn’t offer more then a raised brow as he and Soap meet eyes and Soap turns away. 

“Kyle please can you help me with this,” You lift the tails of your outfit in a huff. 

The man chuckles and nods, it was his idea anyway. His dark eyes meet yours with soft smile that makes you swoon. He offer you a hand and you go to take it but find resistance. 

“Simon?”

“Hurry Love. We ship out in 10.” And with that he lets you go. Kyle’s hand is warm and rough and he twirls you to adjust the back of your outfit. Soap turns to Simon, 

“The mask?” 

And to your surprise, Simon looks to you and nods before slowly removing the balaclava. Soap and Gaz seemed unfazed but you were surprised. A year in you had yet to see more then his lips from a smoke or a drink, but the soft blond hair and scars found you staring at him. He watches you but when you meet his eyes you give him a soft encouraging smile. And his lips quirk up as Soap fusses with his mic and collar. Simon just grumbles at him and you laugh, a chiming sound that has all the men smiling. 

You peer back through the crowd, how long had it been since you’d been out? You tip back the the rest of your bourbon and set the glass down feeling the sting. Fuck it. You drop your back and relax into the seat, the singer’s eyes meeting your with a smile as he continues to sing. You sway in your seat to the music. 

And if a double-decker bus

Crashes into us

To die by your side

Is such a heavenly way to die

And if a ten ton truck

Kills the both of us

To die by your side

Well, the pleasure, the privilege is mine

You and Soap tumble together, hitting the ground before rolling. The impact steals the breath from your lungs as you grasp at him making sure he was alive.

“Never though i’d get ye like this Heart.”

You sigh, he was fine, despite just saving his ass. He rolls over so his weight isn’t on you more then it needed to be. You are sitting almost on his hips, he grins at you cockily with a raised brow.

“Stuff it Johnny, I just saved your ass.”

“Aye and I gotta thank you for it.”

And in a sudden sweep he pulled himself up and presses a soft kiss to the side of your lips.

“Thank you Love.”

Your face lifts a little at the memory and your heart skips a beat. Your eyes close an you bask in the warmth of the crowd. Following that moment the taskforce changed.

Take me out tonight

Take me anywhere, I don't care

I don't care, I don't care

And in the darkened underpass

I thought, "Oh God, my chance has come at last"

But then a strange fear gripped me 

And I just couldn't ask

You hop off the stool and head into the crowd, heart aching for comfort and the hands of others. 

First it was soap, falling into your shadow, after the kiss your heightened senses saw his eyes on you everywhere. With other soldiers? One of the members of 141 was there, or he was, hands across his chest, standing guard. 

You were training with members of KorTac. The largest fellow, König had taken a keen interest in you due to your language skills and you found a calming friend in the man. Masked like your Simon you felt more comfortable with him. So when he had you pinned you squirmed and broke free. 

“Good”

His voice is soft, pale eyes meeting yours as you roll up onto your feet. You run at him before he can get up, but he shoots up and grabs you with a little yelp escaping from your mouth as you are then thrown a few feet onto the soft mat. You roll onto your back, the breath knocked out of you and the ceiling spinning slightly. 

“That’s enough!” 

Garrick’s sharp voice surprises you as his form appears in your settling vision. He’s quick to kneel down and check you out.

“I’m fine Kyle, just a bit of the rough and tumble.”

His soft lips frown disapprovingly,

“I don’t like you wrestling with him.”

He helps you up and you see König’s form looking out for you. You give him a small wave.

“Sorry Schatz” The nickname pauses you as you stand, Kyle’s arm around you guarding. 

You blush a little and smile at the tall man before a gruff ‘Sergeant’ calls from the edge of the room. You find Ghost leaning against the wall, arms crossed, glaring at König before he calls you to him. You nod a little dumbfounded and before you can pull out of Kyle’s grasp the man presses a kiss to the side of your head. Then lets you stumble into the waiting grasp of the Lieutenant. 

You shake off the memory and your heart murmurs, but you ignore the hurt. For one night you were free from the confusion and rejection from your team. The crowd, seemingly sensing this welcomed you into their sway. A few single ladies sidled up you with wide smiles and pulled you into their group. You knew how to dance, you learned young, this skill pulled you into some interesting missions. As you sway with the ladies you recollect as the singer watches you. 

Take me out tonight

Oh, take me anywhere, I don't care

I don't care, I don't care

Driving in your car

I never, never want to go home

Because I haven't got one, la-di-dum

Oh, I haven't got one

Oh, oh

Simon’s arms were steady around you, Price’s voice in your ear letting you know about the target. You had gone undercover as a couple to infiltrate a drug smugging ring. The leader was hosting a gala at a large mansion in the mountains. And seeing as Kyle and Johnny were on a mission that left you three on your own. You nod silently to Price. Simon pulls you closer and then spins you out on your heels. 

“Who knew you could dance?” 

You quip up at him, but he only nods, umber eyes taking in your form. You looked breathtaking and it stole the words from his lips.

FIrst Johnny then Kyle. You wondered as you looked up at Simon, handsome as ever in a dark black suit. 

“Are you ok Simon?”

He hums, the sound deep in his chest, then in a moment he pulls you flush against him.

“Target on the move lovebirds.”

Price’s voice sound in your ears in a chuckle. 

“RIght Captain.”

You sigh but Simon pauses in his movement, and you look up at him in confusion, you call his name but he just stares at you. 

“We need to move Lt.”

Nothing, but his hand raising from your side to your face as he leans down and kisses you. After a few seconds he pulls a way and finishes with a 

“Affirmative.”

Before leading your frozen self away. 

You lose yourself in the music for a moment, rotating partners in innocent sways, just treasuring being lost in the moment, But this song of course must end.

And if a double-decker bus

Crashes into us

To die by your side

Is such a heavenly way to die

And if a ten ton truck

Kills the both of us

To die by your side

Well, the pleasure, the privilege is mine

The voice is much closer and you soon find yourself face to face with the mysterious singer. He smiles as he sings and it reminds you of the final piece of the puzzle.

Price had fallen asleep at his desk, again. You sigh fondly and set a cup of warm lady earl grey aside. You move over to him as he mutters something in his sleep. You felt bad waking him but you knew you needed to before he slumped over.

“Captain”

Nothing, even as you call it 3 times. Finally desperate,

“Johnathan Price!”

He shoots awake, eyes darting around tensely before he finds you and softened immediately.

“You can’t be doing that to a man love.”

“You were falling asleep again, how many times do I need to get on you about that Cap? “

The man regards you and chuckles before he sees the tea. You notice this and turn to grab and hand it to him. When you you turn back around the man is standing regarding you. The moment then feels intimate and you flush a little, stepping back.

“Sorry I’ll just leav-”

“No love it's fine, and please if it's just us call me John.” 

He reaches for the tea taking a sip while his ocean eyes watch you. There is something there and you can sense it. After nearly two years of serving under him you grew to know him pretty well, there was fondness in his gaze for all his soldiers. But this was something softer.

“John, I…”

He finishes the cup and sets it down, listening wholly to you and you find the attention has your heart stammering.

“The others have-”

“I know love.”

There it is again and you find yourself pausing as John leans forward, taking your hand in his, rubbing comforting circles into.

“What do I do?”

“Up to you love. I am here for you regardless. You need to get some sleep.”

With this he presses a soft kiss to the palm of your hand and lets you go.

The next day your deployed to the small village and the following four months are hell. 

You shake off the feeling. After your injury they treated you like a child, like a burden to be kept locked away. You sigh, pausing, feeling alone in the middle of everybody again. 

Oh, there is a light and it never goes out

There is a light and it never goes out

There is a light and it never goes out

There is a light and it never goes out

There is a light and it never goes out

There is a light and it never goes out

There is a light and it never goes out

There is a light and it never goes out

The singer finishes with a frown. The crowd cheers then standard music plays and the moment is broken. The singer passes the mic to his member then turns to your pondering self. 

“Are you alright Love?”

His voice is soft and he stands a respectable distance away. One of the members of his band takes the mic and begins with Heaven knows I'm miserable now, continuing the Smiths theme. You almost want to laugh a smile lighting up your face at past (bad very bad) Karaoke attempts with Soap and Gaz. 

“There’s a smile.” He smile down at you and offers a hand, you take it introducing yourself. He raises a hand to the crowd and your new girl friends cheer you on as you allow the stranger to pull you into a dance. 

The next hour passes with another drink with your new friends and opening up about yourself. Nothing about missions nor sensitive information, but finding yourself in a strange position with the four men of the 141. A little looser you describe them all with a few giggles in response as you recount their crazy tactics. It was nice and you settled into the easy arm of the singer. His arm laid only on the back of your chair but under the watchful eyes of the girl group you got comfortable. At the end of the hour, approaching 3 in the morning the singer was called back on to stage. 

A new base line and you swooned as something a bit more American played. The singer nodded his acceptance to the bassist and began to sing. 

Sun went down, sun went down over Pompeii

On both sides, the vow was broken

Oh my my, I'm the one, tryin' to hide this damage done

One day, all our secrets will be spoken

He looked at you and gave a wink and the girls cheered as you threw back a beer. Fuck it. You allowed them to pull you into the ever thriving crowd. Your group drew into the heart of the crowd right up in front of the stage.

As we slow danced, I became your statue frozen

Times I wonder, are we just a puff of smoke? Yeah

Underneath this bed of ashes, still withholding everything

Like we were never close

The singer surprised you and under a breath he hopped down from the stage to join the crowd. He approached you with a sway and a open offered hand. You looked into his eyes with a twinkle in yours. The girls cheering you on, you took his hand and swung into the music.

Don't you worry, baby, no sense tryin' to change it

I'ma strike these matches, never had control

I'm ready to let go, no, was I foolin' myself?

I'ma spread these ashes, never had control

I'm ready, I'm ready

I'm ready to let go

Here you were free to experience life, a break from the bullets, free from the heated stares of the 141. Well, at least for a while. You would go back eventually, you bag had enough supplies for a few days. As you spun in the singers free arms flashes of green, blue and brown spun through your vision. You were a little under but still alert, but with the music you let it all go. 

Sun went down, sun went down over Pompeii

On holy ground, our vows were broken

We met up, we broke bread, I was blue, your dress was red

Ain't it strange? We both knew this day was comin'

As we slow danced, I became your statue frozen

Times I wonder, are we just a puff of smoke? Yeah

Underneath this bed of ashes, still withholding everything

Like we were never close

He pulled you closer in then, even if for a fleeting moment you felt your heart skip a beat. His eyes were obsidian, reflecting the lights like stars and he sings until he’s breathless. You wondered for a moment what could happen. 

Don't you worry, baby, no sense tryin' to change it

I'ma strike these matches, never had control

I'm ready to let go, no, was I foolin' myself?

I'ma spread these ashes, never had control

I'm ready, I'm ready

I'm ready to let go

But as you dance the more of alert of the ladies elbows another, her head tilting subtly towards the entrance of the outdoor bar, where a familiar new set of men appeared. The girl went towards getting you but her friend stopped her as four sets of eyes found you then split up. She sent the girls a look.

Let’s see what happens.

Meanwhile you know the song is finishing and you find yourself taking the hand of the singer and he pulled you into a light embrace and spun you out as he finished breathlessly

Don't you worry, baby, no sense tryin' to change it

I'ma strike these matches, never had control

I'm ready to let go, no, was I foolin' myself?

I'ma spread these ashes, never had control

I'm ready, I'm ready

I'm ready to let go

He stops with a hum as the music continues for a few paces then goes out with the cheering of the crowd. You spin on the pads of your feet with a whooping feeling light in your chest, but you then bump into someone. But before you can apologize you are turned around in their arms and your breath hitches as Simon is staring down at you with dark eyes. It is then you sense another presence behind you and between you and the singer (whose hands are up in surrender) is Johnny.

The sounds of the band drown out with the depths of Simon’s eyes. There is too much there for you to comprehend. His sudden appearance breaks up the alcohol burning in your system and you stand up straighter. Emotions swirl underneath his balaclava, that alone a straight giveaway to his identity. There is anger yes, that much is evident, but you see the stinging presence of worry and something much deeper you dare not name. You turn your head away, the weight of the emotion pulling your heart back from the sky.

The singer shifted looking a little concerned, but Soap was a wide wall of muscle and kept himself close enough to brush your back from within Simon’s arms. The girls however outnumbered the men and give you a knowing look, you nod and they pull the singer away as he nods. You see Soap loosen immediately before turning and forcing your eyes into his.

Stormy blue oceans, the depth of which scare you as he nods to Simon towards the empty bar. You sigh and force yourself to loosen in Simon’s arms. He passes you to Soap and the men pull you gently to the bar where you are especially ashamed to see not only Kyle with your stuff, but a in the corner of the venue, out of noting eyes was John. Gaz with your bag, drew towards you and the four of you reached the awaiting Captain.  

Johnny stood at your right, Kyle moving to your left and Simon towering over you like a vengeful wraith, and Johnny still had not let you go. You move to pull your arm from his, but he gives you a stern look, something of a overprotective mastiff. 

“MacTavish”

“Captain-”

“Johnny.”

Simon’s deep voice rumbles from behind. Johnny hands trace down yours slowly before he takes your hand with a sigh, the tension finally releasing as his pinky takes yours in a final embrace before he finally lets go of you. He huffs and turns away in a slight pout that warms your heart and you find yourself taking his pinky back with yours. It’s a small show but the way his eyes light up behind the worry makes your heart melt. The other men trace the action, Kyle’s eyes meeting Price’s in silent communication. You all stand for a moment longer, not daring to speak, but when the wind causes you to shiver, alcohol in your system reddening your cheeks, its the weight of Simon against your back that surprises you, his arms, minding Soap’s hand, come under yours and wrap around you, his warmth melting into yours.

“‘Were worried Dove.” He leans down over you until his chin rests in top of your head and you can feel the rumble of his voice in your soul. It’s Kyle that speaks next.

“That was one of the stupidest things you’ve ever done Love.” The man frowns, but his eyes move back to the singer and the group of girls, then he eyes you again sharply.

“What if something had happened?”

Its hard to move with Simon's weight on you but you shot Kyle a withering look.

“Nothing happened, I happened to be having fun.”

“But he had his arms-”

“Kyle”

John’s voice finally speaks up and the man turns away to glower at the crowd, then he reaches a hand for your free one and meets your eyes. There you see a storm of concern, a deep fondness and a bit of protectiveness. 

“We need to talk Love, about the past months.” John takes command again, something deep in his soul calm again seeing his team together. But there was time in the morning to talk. He could see the exhaustion of the day creeping into as did the other men.

“In the morning, John” SImon’s voice rumbles feeling your form sway.

“Right Simon” he nods but before turning John steps forward and presses a kiss to your forehead. The action jolting your heart awake and leaving you flushed. 

“John?”

“It’s ok sweetheart, sleep, we’ll get you home.”

With that he turns as Kyle and Johnny reluctantly release your hands. This leaves you and Simon as the men wait.

“Si-?” You are suddenly lifted, strong arms finding your back and under your knees to lift you bridal style. You look up at him with wide eyes and he chuckles,

“I think I like the sound of that Love.”

And with a final turn to the crowd you manage a wave to the girls and the singer who shoots you a wink that causes a huff from simon before the man turns to follow the others.

Time to go home and as they walk, joking amongst each other with Simon’s soft voice luring you to sleep, You feel the loving eyes of the four men on you as you fall asleep. 

---- 

End Part One!

Taglist! @ghostlythots

[ltwilliammowett]

The anti seasick ship SS Bessemer Saloon Steamship

The SS Bessemer Saloon Steamship- SS Bessemer for short - was an experimental Victorian passenger side wheel steamer designed to counteract seasickness and operated between Dover and Calais. Her inventor was Sir Henry Bessemer.

Bessemer Saloon Steamer, 1874

In 1868, Bessemer, who suffered from severe seasickness, developed the idea of a ship whose passenger cabin - the saloon - was to be suspended on a gimbal and mechanically held horizontally, thus levelling out the swell and sparing the occupants from the ship's movements. Sounded too good to be true, but more on that later. He patented this ingenious idea in December 1869 and after successful trials with a model in which the levelling was carried out by hydraulics controlled by a helmsman observing a spirit level, Bessemer founded a limited company, the Bessemer Saloon Steamboat Company Limited, which was to operate steamships between England and France. Capital of 250,000 pounds was used to finance the construction of a ship, the SS Bessemer, whose chief designer was the naval architect Edward James Reed.

SS Bessemer, by Henry Spernon Tozer 1874

And so she was built by Earle's Shipbuilding in Hull. She bore the shipyard number 197 and was launched on 24 September 1874. As already mentioned, she was a paddle steamer with four buckets (two buckets each on port and starboard, one forward and one aft). She had a length of 106.68 m (350 feet), a width on deck of 12.19 m (40 feet), an outside width over the bucket boxes of 19.81 m (65 feet), a draught of 2.26 m (7 feet 5 inches) and a gross register tonnage of 1974 tonnes. What also characterised her was that she was completely identical fore and aft, she had two bridges and two wheels, which simply made her faster and more manoeuvrable in both directions. Her maximum speed was about 17.4 knots.

The inner saloon was a room 70 feet long (21 metres) and 30 feet wide (9.1 metres), with a ceiling 6.1 metres above the floor, Moroccan-covered seats, partitions and spiral columns of carved oak and gilded panels with hand-painted murals. The press liked to call it the floating clubhouse. However, the swinging saloon was only intended for first class passengers. The second class, on the other hand, did not enjoy this and had to make do with cabins on the sides of the hull.

Harper's Weekly Interior Pages showing the newly building ultra Luxury Bessemer Channel Steam-Ship, 1874

The disaster begins

On 21 October 1874, the Bessemer had her first misfortune. She had just arrived in Hull to be fitted out when she was driven ashore in a storm. She was refloated and found to be undamaged, which was not entirely true, as would later become apparent.

In March 1875, the ship sailed on a private trial voyage from Dover to Calais. During this voyage she is said to have steered well and even had a top speed of 18 knots. Her swinging saloon is also said to have worked excellently. However, things didn't go so smoothly because on arrival in Calais, a paddle wheel was damaged when she crashed into the pier because it didn't react to the rudder at slow speed.

The first and only public voyage took place on 8 May 1875, with the ship sailing with her revolving cabin locked (some observers suggested this was due to the ship's severe instability, but Bessemer attributed this to lack of time to repair the previous damage). The ship was operated by the London, Chatham and Dover Railway. After two attempts to enter the harbour, it again crashed into the Calais pier, this time destroying part of it. Calais billed the company £2800 for the damage.

The Bessemer Saloon-Ship running foul of Calais Pier. Illustrated London News, 1875

Due to the poor performance, investors lost confidence and the company was dissolved in 1876. On 29 December 1876, the Bessemer ran aground on Burcom Sand in the Humber upstream of Grimsby, Lincolnshire, after the removal of the swivelling saloon and other extensive alterations. She was refloated and taken to Hull. The Board of Trade's investigation into the grounding found that the captain was at fault. His certificate was suspended for three months.After removal, the designer Reed had the saloon cabin taken to his home, Hextable House, Swanley, where it was used as a billiard room. When the house was later converted into a women's college, Swanley Horticultural College, the saloon was used as a lecture theatre, but was destroyed by a direct hit when the college was bombed during the Second World War.

The Saloon as a lecutre theatre

The ship was then docked in Dover until it was sold for scrapping in 1879.

The Theory of the Top. Volume IV, by Felix Klein, Arnold Sommerfeld, London, 2010

The Nautical Magazine for 1874

Sir Henry Bessemer, F.R.S.: An Autobiography, 1905

The Gale, The Times. No. 28140. London. 23 October 1874. col E, p. 8.

London, Chatham & Dover Railway Company

[whencyclopedia]

D-Day was 80 years ago today!

D-Day was the first day of Operation Overlord, the Allied attack on German-occupied Western Europe, which began on the beaches of Normandy, France, on 6 June 1944. Primarily US, British, and Canadian troops, with naval and air support, attacked five beaches, landing some 135,000 men in a day widely considered to have changed history.

Where to Attack?

Operation Overlord, which sought to attack occupied Europe starting with an amphibious landing in northwest France, Belgium, or the Netherlands, had been in the planning since January 1943 when Allied leaders agreed to the build-up of British and US troops in Britain. The Allies were unsure where exactly to land, but the requirements were simple: as short a sea crossing as possible and within range of Allied fighter cover. A third requirement was to have a major port nearby, which could be captured and used to land further troops and equipment. The best fit seemed to be Normandy with its flat beaches and port of Cherbourg.

The Atlantic Wall

The leader of Nazi Germany, Adolf Hitler (1889-1945), called his western line of defences the Atlantic Wall. It had gaps but presented an impressive string of fortifications along the coast from Spain to the Netherlands. Construction of gun batteries, bunker networks, and observation posts began as early as 1942.

Many of the German divisions were not crack troops but inexperienced soldiers, who were spending more time building defences than in vital military training. There was a woeful lack of materials for Hitler's dream of the Atlantic Wall, really something of a Swiss cheese, with some strong areas, but many holes. The German army was not provided with sufficient mines, explosives, concrete, or labourers to better protect the coastline. At least one-third of gun positions still had no casement protection. Many installations were not bomb-proof. Another serious weakness was naval and air support. The navy had a mere 4 destroyers available and 39 E-boats while the Luftwaffe's (German Air Force's) contribution was equally paltry with only 319 planes operating in the skies when the invasion took place (rising to 1,000) in the second week.

Neptune to Normandy

Preparation for Overlord occurred right through April and May of 1940 when the Royal Air Force (RAF) and United States Air Force (USAAF) relentlessly bombed communications and transportation systems in France as well as coastal defences, airfields, industrial targets, and military installations. In total, over 200,000 missions were conducted to weaken as much as possible the Nazi defences ready for the infantry troops about to be involved in the largest troop movement in history. The French Resistance also played their part in preparing the way by blowing up train lines and communication systems that would ensure the defenders could not effectively respond to the invasion.

The Allied fleet of 7,000 vessels of all kinds departed from English south-coast ports such as Falmouth, Plymouth, Poole, Portsmouth, Newhaven, and Harwich. In an operation code-named Neptune, the ships gathered off Portsmouth in a zone called 'Piccadilly Circus' after the busy London road junction, and then made their way to Normandy and the assault areas. At the same time, gliders and planes flew to the Cherbourg peninsula in the west and Ouistreham on the eastern edge of the planned landing. Paratroopers of the 82nd and 101st US Airborne Division attacked in the west to try and cut off Cherbourg. At the eastern extremity of the operation, paratroopers of the 6th British Airborne Division aimed to secure Pegasus Bridge over the Caen Canal. Other tasks of the paratrooper and glider units were to destroy bridges to impede the enemy, hold others necessary for the invasion to progress, destroy gun emplacements, secure the beach exits, and protect the invasion's flanks.

The Beaches

The amphibious attack was set for dawn on 5 June, daylight being a requirement for the necessary air and naval support. Bad weather led to a postponement of 24 hours. Shortly after midnight, the first waves of 23,000 British and American paratroopers landed in France. US paratroopers who dropped near Ste-Mère-Église ensured this was the first French town to be liberated. From 3.00 a.m., air and naval bombardment of the Normandy coast began, letting up just 15 minutes before the first infantry troops landed on the beaches at 6.30 a.m.

The beaches selected for the landings were divided into zones, each given a code name. US troops attacked two, the British army another two, and the Canadian force the fifth. These beaches and the troops assigned to them were (west to east):

Utah Beach - 4th US Infantry Division, 7th US Corps (1st US Army commanded by Lieutenant General Omar N. Bradley)

Omaha Beach - 1st US Infantry Division, 5th US Corps (1st US Army)

Gold Beach - 50th British Infantry Division, 30th British Corps (2nd British Army commanded by Lieutenant-General Miles C. Dempsey)

Juno Beach - 3rd Canadian Infantry Division (2nd British Army)

Sword Beach - 3rd British Infantry Division, 1st British Corps (2nd British Army)

In addition, the 2nd US Rangers were to attack the well-defended Pointe du Hoc between Utah and Omaha (although it turned out the guns had never been installed there), while Royal Marine Commando units attacked targets on Gold, Juno, and Sword.

The RAF and USAAF continued to protect the invasion fleet and ensure any enemy ground-based counterattack faced air attack. As the Allies could put in the air 12,000 aircraft at this stage, the Luftwaffe's aerial fightback was pitifully inadequate. On D-Day alone, the Allied air forces flew 15,000 sorties compared to the Luftwaffe's 100. Not one single Allied aircraft was lost to enemy fire on D-Day.

Packing Normandy

By the end of D-Day, 135,000 men had been landed and relatively few casualties were sustained – some 5,000 men. There were some serious cock-ups, notably the hopeless dispersal of the paratroopers (only 4% of the US 101st Air Division were dropped at the intended target zone), but, if anything, this caused even more confusion amongst the German commanders on the ground as it seemed the Allies were attacking everywhere. The defenders, overcoming the initial handicap that many area commanders were at a strategy conference in Rennes, did eventually organise themselves into a counterattack, deploying their reserves and pulling in troops from other parts of France. This is when French resistance and aerial bombing became crucial, seriously hampering the German army's effort to reinforce the coastal areas of Normandy. The German field commanders wanted to withdraw, regroup and attack in force, but, on 11 June, Hitler ordered there be no retreat.

All of the original invasion beaches were linked as the Allies pushed inland. To aid thousands more troops following up the initial attack, two artificial floating harbours were built. Code-named Mulberries, these were located off Omaha and Gold beaches and were built from 200 prefabricated units. A storm hit on 20 June, destroying the Mulberry Harbour off Omaha, but the one at Gold was still serviceable, allowing some 11,000 tons of material to be landed every 24 hours. The other problem for the Allies was how to supply thousands of vehicles with the fuel they needed. The short-term solution, code-named Tombola, was to have tanker ships pump fuel to storage tanks on shore, using buoyed pipelines. The longer-term solution was code-named Pluto (Pipeline Under the Ocean), a pipeline under the Channel to Cherbourg through which fuel could be pumped. Cherbourg was taken on 27 June and was used to ship in more troops and supplies, although the defenders had sunk ships to block the harbour and these took some six weeks to fully clear.

Operation Neptune officially ended on 30 June. Around 850,000 men, 148,800 vehicles, and 570,000 tons of stores and equipment had been landed since D-Day. The next phase of Overlord was to push the occupiers out of Normandy. The defenders were not only having logistical problems but also command issues as Hitler replaced Rundstedt with Field Marshal Günther von Kluge (1882-1944) and formally warned Rommel not to be defeatist.

Aftermath: The Normandy Campaign

By early July, the Allies, having not got further south than around 20 miles (32 km) from the coast, were behind schedule. Poor weather was limiting the role of aircraft in the advance. The German forces were using the countryside well to slow the Allied advance – countless small fields enclosed with trees and hedgerows which limited visibility and made tanks vulnerable to ambush. Caen was staunchly defended and required Allied bombers to obliterate the city on 7 July. The German troops withdrew but still held one-half of the city. The Allies lost around 500 tanks trying to take Caen, vital to any push further south. The advance to Avranches was equally tortuous, and 40,000 men were lost in two weeks of heavy fighting. By the end of July, the Allies had taken Caen, Avranches, and the vital bridge at Pontaubault. From 1 August, Patton and the US Third Army were punching south at the western side of the offensive, and the Brittany ports of St. Malo, Brest, and Lorient were taken.

German forces counterattacked to try and retake Avranches, but Allied air power was decisive. Through August 1940, the Allies swept southwards to the Loire River from St. Nazaire to Orléans. On 15 August, a major landing took place on the southwest coast of France (French Riviera landings) and Marseille was captured on 28 August. In northern France, the Allies captured enough territory, ports, and airfields for a massive increase in material support. On 25 August, Paris was liberated. By mid-September, the Allied troops in the north and south of France had linked up and the campaign front expanded eastwards pushing on to the borders of Germany. There would be setbacks like Operation Market Garden of September and a brief fightback at the Battle of the Bulge in December 1944, but the direction of the war and ultimate Allied victory was now a question of not if but when.

[canmom]

the Spirited Away theatrical adaptation

today I went with @birdfriender to see the stage production of Spirited Away, produced by Toho, currently on tour in London.

and like. holy shit??

you might say how the hell could you adapt a film like spirited away to stage. the answer is: incredibly inventive stagecraft, puppetry, costumes and especially choreography.

I was completely blown away by how this play flowed across the stage. set transitions were masked with lighting to direct attention, with the descending screen, with the rotating central platform that managed to function as nearly every part of the bathhouse. stairs, rotating bridges, creative use of size to indicate perspective (like the tiny train that circles the stage), and just the way the crew would move the props with a flourish -

but also the puppetry, like man! the way characters like Kamaji, Yubaba's giant head (used only at moments of intense emotion), and No Face would be operated by entire teams of puppeteers - it was extraordinary. the puppetry director was Toby Olié who's worked on a million different things including War Horse and you can really see them applying all these tricks accumulated over the years...

the show is remarkably faithful to the film; a few scenes are slightly abridged but every sequence I remembered was there and deliver with style. where it does need to pause and breathe, like in the famous train scene, it does. and like... it is fascinating to see an adaptation from animation to theatre. seeing how Mone Kamishiraishi (Chihiro) would stumble and bumb into walls just as she would under the pen of Shinya Ohira. or how a memorable sequence in the film could be represented symbolically: a collapsing pipe as a string of segments pulled on a string, a flower garden by dancers in flower outfits.

some of my fave sequences involved wooden panels carried by dancers, choreographed so the characters would weave between them, or they'd rotate to represent elevators on different floors. it was also fascinating to see how they'd symbolically represent things it would be impossible to stage, often representing fluids with fabric sheets. a transformation could be shown with actors swapping places with a flourish. at other times, it feels like stage magic tricks are in use, like a flash of light drawing your attention to a rope that was there all along. sometimes the puppeteers will be on stage, wearing simple beige outfits that mark them as not being 'present' as they manipulate the soot sprites and frogs and so on.

they also made effective, sparing use of a large projector screen, which descended at certain points, primarily for the driving scene at the beginning and the train scene. this actually didn't use scenes from the movie, but more of a soft, painterly style applied over... probably animated video? hard to say with the blurring, could be live footage. it reminded me of the use of similar screens in the later YoRHa plays, although it was a minor element here.

we weren't allowed to take photos (i took this one during the final bow anyway) and I would have been too busy watching to take them anyway, but this teaser shows briefly a number of the coolest setups. still, it's so much more when you see the whole thing flowing along without interruption.

and it was very interesting to me looking at this kind of show - big stage, directly homaging an animated film - from the eyes of someone who knows a lot more about film and animation than I do about theatre.

compared to film, you simply do not have closeups; the closest thing is when the puppeteers bring out the segments of Yubaba's giant floating head, but this is used sparingly. so everything is basically a long shot. however, because the acuity of a human eye is much greater than that of a camera, even from near the back of the theatre you can make out a lot of details that you wouldn't be able to make out with an equivalent camera shot. this allows compositions where there is loads going on at stage at once, with the eye being drawn to different areas by lighting and movement.

I do feel like there are definitely things to learn for animators from this kind of stage choreography. so many times I thought like, wow, that's so clever. like how chihiro riding haku was shown by splitting the dragon puppet into segments and putting her on the shoulders of one of the puppeteers.

and everything was done with such style too. if something shuffles off stage, you know it will be done with a wiggle and a flourish. small things but they add so much.

presumably because this seems like an incredibly involved show, there are multiple performers for each major character: four Chihiros, and three Hakus, Yubabas, Kamajis and so on. I'm not sure the exact lineup tonight beyond Chihiro. the exception is Kaonashi (No Face), who is played only by Hikaru Yamano, who gives an incredible performance, sidling and flexing around the stage in all sorts of strange ways that really get across the character's whole deal despite literally performing under a white mask and concealing robe. it's kinda amazing.

another fantastic casting is fundoshi dancer Yuya Igarashi as Kashira (the stack of three big heads that serve Yubaba, and speak only in wordless grunts). he basically has his real head as one of the three, and he has two more heads on his hands, and moves them around in incredibly energetic and funny ways. it's a brilliant way to interpret this, somehow feeling perfectly appropriate to have a buff guy in a red loincloth moving them around.

Yubaba's actress tonight would have been either Mari Natsuki or Hitomi Harukaze; either way she did an incredible job, it was really cool seeing a more human-proportioned version of the character and she brought a lot of energy and authority to the role.

the whole cast did a fucking amazing job honestly. I wish I knew more about theatre acting so I could comment more specifically on the tricks they were doing, but you definitely felt Chihiro's emotions

the production is in Japanese; English subtitles were shown on two screens on either side of the stage. the translation was on the 'honorifics included' end of that scale, but absolutely clear and idiomatic. the format worked - it was generally not hard to follow the action and glance at the subtitles, even though they were further away than they would be in film - and it definitely filled the theatre. I really hope this leads to more Japanese theatrical productions going on tour like this. wish i'd been able to see the Totoro one a few months ago.

definitely this kind of theatre must depend on a fairly obscene budget of the kind that only comes to biiiiig properties like, say, an adaptation of a beloved Studio Ghibli movie (one family turned up in cosplay) - there's a lot to be said for less extravagant staging. at the same time... this really was something.

i gotta go to the theatre more

[writing-in-the-impala]

Secret Smokes (Part 14)

Pairing: Teacher! Remus Lupin x Reader

Series Summary: When the reader bumps into the new DADA professor on the bridge in Hogwarts she begins to build a friendship with him all thanks to their shared feeling of not belonging and love for muggle cigarettes. Their friendship blooms while they both fight internal battles deciding what is wrong and what is right leading to a lot of fluff, angst, flirting and a rollercoaster of emotions.

Warnings: Swearing, smoking, drinking, teacher-student relationship, angst, jealousy, fluff, smut.

Word Count: 2400

A/N: I haven't had time to proofread this one but I wanted to get it out in celebration of it being Remus's birthday today. Happy Birthday Moony.

 | SERIES MASTER LIST (All chapters) |

Previous Chapter, Part 14, Next Chapter

The trees outside were becoming greener, and the air a bit warmer. Remus and you would even sometimes take walks outside together to enjoy the sunshine, obviously distanced and acting appropriately. Acting appropriately was beginning to drain you as the honeymoon stages of being with Remus began to wear off.

January was filled with the thrill of being together and sneaking around, you got comfortable in February and now it was March. You were entering your third month of being exclusive, but not being anything, spending evenings together but barely ever sleeping in the same bed. No matter how much you enjoyed it you couldn't hide it was all becoming slightly draining. You longed for a date, to go the theatre like Remus once promised, to go for a walk and hold hands. To kiss in a public space.

"Any plans for the weekend?" You asked Remus as you strolled through the grass in the morning on Friday, you asked in the hope of finally going on a date again.

"I have a meeting with some members of the order, apparently there's rumours of activity between death eaters" He kept his hands firmly in his pockets. "What's your plans?" He looked at you with a gentle look of admiration as he spoke.

"I was thinking you could take me around London?" You asked slightly nervously.

"I'm sorry, not this weekend. There's too many people from the order around right now. Besides we shouldn't speak about this in public." His body was closed off as he looked around and spoke in a hush tone, it used to thrill you the secrecy, but it was beginning to hurt.

"When can we? You promised me the theatre." You said and he smiled gently.

"As soon as possible."

"When's that?" You pushed and Remus shook his head. "When it's less risky."

"Fine can I at least come officially meet Sirius?" You asked.

"I would like nothing more,"

"But?" You interrupted

"But, the order operates out of his house, and there's been more meetings recently, it's not safe for us to be hanging out there." He explained.

"What about your cottage? Or is that too risky too?" You tried your luck.

"That's actually a good idea, but," You rolled your eyes at Remus again. "I need time to make it habitable, it's a mess there. I'll go this weekend and depending on the progress soon we can go together." He explained and you nodded satisfied with getting at least somewhere. He looked around before continuing. "Tomorrow, after my meeting I'd love to see you. If that's okay? Although I don't know what time I will be back it would mean a lot to me if you were free." He almost whispered.

"Of course, if you won't take me out on a date at least we can have one here." You said and he offered a weak smile.

"Now tell me, how's your preparation for exams going?" He changed the subject now speaking in a louder tone and it felt more like spending time with Lupin than Remus. You enjoyed all sides of Remus J Lupin. You enjoyed learning his habits and quirks, you would sit in your DADA lesson and watch him intensely as he would tap his fingers on his wand when he was nervous. You could quite define what was going on between you both, on one hand he was very reserved, he wanted for you to come over to spend time together and then for you to leave, like you were a way for him to have company. On the other hand he was passionate, he talked about his dreams of showing you the world, about how he saw the future it made you feel like maybe you were special to him. You spent the day alone waiting for Remus to come back, every few hours you would walk past his office to find out if he was back yet no sign of him. It was getting late and you were begging to believe he won't come back today and you wasted your evening waiting for him.

Finally around nine pm as you walked back to your dorm from his office you saw him walking in your direction towards his office, you smiled at the sight of him. He was very dressed up in a nice shirt and blazer, he looked like he really cared about his appearance today as he went to the meeting. You didn't really understand why he got so dressed up to see the order or why his "meeting" lasted all Saturday. He greeted you in the corridor with a nod and you turned around walking side by side to his office. "Hello Professor." You said with a playful tone.

"Hi Y/N, I know it's Saturday but do you mind coming to have a quick discussion with me in the office?" He asked with a smirk on his face.

"My pleasure." You said as he held the door open for you and you stepped inside.

"Hello my dear." He said as soon as the door closed and he leaned in to kiss you. "Sorry for running so late, everyone couldn't stop talking I left as soon as I could." He explained as you walked up the stairs to his office.

"You look really nice." You pointed out.

"I've got to impress you, how else would I keep you interested in boring old me." He said, at this moment you clicked the thing you could smell was fire whiskey, he had been drinking.

"Do you often drink at important meetings?" You asked, a sting of jealousy on your tongue.

"Only when they run late," He explained as he poured two drinks and you sat down.

"I waited for you like an idiot all evening." You explained feeling upset by how you ruined your day waiting while he was drinking and dressing up for a meeting.

"I'm sorry, dear, I tried to leave as soon as the meeting finished but everyone wanted to talk, they wanted to talk to me, which rarely happens, you know how I talk and people lose interest well this one time when I wanted them to not listed they did listen. But I wanted to come back to you this whole evening. Anyway we're here now and I can bore you instead of them." He gave you a soft kiss on your cheek as he sat down next to you.

"So tell me about your cottage." You said making yourself comfortable on the couch, with your legs crossed and your drink in hand.

"What do you want to know?" He re-adjusted himself to face you as he sat on the opposite end of the sofa and music played in the background, he had his favourite vinyl on which filled the room with positivity even if your conversations didn't start on a good note.

"I don't know, we always just talk about music and me, I feel like I barely know you."

"I'm an open book."

"That's a lie."

"What do you want to know?" He said gently ignoring your remark.

"Did you grow up there?" You snapped.

"In the cottage? No, god, no." He snapped back instantly looking down at his glass with the last three words.

"So where did you grow up?"

"Everywhere, we moved around a lot because of my condition. Listen Y/N I would rather not talk about this today. Ask me any other day and I'll tell you, today I want to listen to some records, hold you in my arms and sip some expensive whiskey." He said putting an arm around you and pulling you closer.

"So you'll speak to others all night but all you want is to sit next to me and listen to music?"

"I also want to kiss you." He said planting a light kiss on your lips making you blush.

"Remus, I feel like you don't want to let me into your life."

"You are in my life, dear. I spend more time with you than anyone else. The last time I was around someone so much it was Sirius and I was your age."

"Yet you won't even let me meet Sirius." You left his embrace sitting on the opposite side of the sofa.

"Y/N, we spoke about this..." he said sitting up himself.

"What are we?"

"I don't know." He said slightly defeated.

"Are we dating?"

"No." He replied calmly but instantly without time to even process the question .

"But we're exclusive?" You asked after a moment of thinking

"Yes." Once again instantly.

"Why?"

"Because I can't bear the thought of anyone else kissing you."

"Why won't you date me?"

"Because I'm your teacher." He didn't break eye contact.

"Bullshit. You've crossed that line too many times for it to matter, why?"

"Because it's me. Y/N, I wouldn't want to curse anyone with me, especially not you. You don't understand what I am..."

"I do Remus, and I don't care so drop this self destructive attitude and let yourself feel happy."

"I want you to feel happy!" He almost shouted but controlled himself. "I am sacrificing my job for you to be happy-"

"Yes because you don't get any enjoyment out of it, you're just having sex with me and inviting me over for my enjoyment." You snarked back and he rested his head in his hand as he massaged his temple trying to find the right words to say.

"Y/N, you know what I mean. I care about you, I am smitten by you. But it would be selfish of me to decide to date you to call you mine. You're a young witch, you have so much potential. I have to change jobs before people realise my condition, I am always moving, I'm not safe, and I'm not safe to be around. I want to keep you safe and happy, I don't want to ruin your future by people finding out you're dating not only your teacher but a werwolf."

"Selfish is you not giving me a chance. Do you know what would make me happy? If you held my hand. The day you took me to the British Museum was one of the best days I've ever had, I was so happy, you can offer me happiness but you decide not to. You would know all this if you weren't too busy feeling sorry for yourself to notice." You now raised your voice a little bit too much.

"This isn't how I wanted this evening to go." He simply said looking down at his feet almost defeated.

"I'm sorry but you can't keep running from this conversation Lupin it's March, am I just your plaything or do you hate yourself so much that you truly won't allow yourself to feel okay for a moment?"

"Dear, can we just come back to this tomorrow when you're more calm and I'm more sober?" He asked with a soft tone that contrasted your own.

"Maybe I should go." You said standing up and gathering your belongings.

"Dear-" he began as he stood up and followed you towards the door.

"No Remus, I'm not going to allow you to hurt me with your mistaken nobility, the worst part is you truly think you're doting the right thing." You said emotions getting the best of you.

"Y/N. Please stay." He placed his hand on the door to stop you from opening it.

"Why? Why are you so desperate for me to stay when you won't talk to me about anything real."

"Because it's my birthday..." he said and it hit you like a wall of bricks.

"Remus I'm so sorry-" you began but he seemed dismissive.

"Actually I believe it may be best if you do leave," Remus said letting go of the wall and walking to sit back down, downing the rest of his drink and closing his eyes as he sat there not looking your way.

"Yes I should go, we should go. Let's go to London."

"What?" He shot a confused look at you.

"Let's go, what are we doing wasting away here? Do you really want to spend your birthday sitting here like every other evening? Or do you want to celebrate?"

"I don't celebrate my birthday, I just don't want to be alone this year."

"Why isn't Sirius here?"

"Because I already saw him, they bought out a cake and sang me happy birthday at the meeting. I didn't like the attention but it was nice if Sirius to organise it, but I told them I just want to sit at home today."

"No let's celebrate!" You insisted sitting down next to him and putting hands on his knee.

"I told you I don't want to I just want to sit here and have a nice, normal, evening with you." He said sternly, his body stiff.

"Remus, why didn't you tell me it's your birthday?"

"Because I didn't want you to react like this, it's not important, I didn't want a cake, I didn't want people singing happy birthday, I just wanted to sit with you here and feel normal and happy." He explained it felt like he was lecturing you.

"I don't understand..."

"No you wouldn't would you?" He stood up moving your hand off his knee and walking away to go top up his glass before he continued speaking. "I didn't want to be reminded another year has passed, another year where there no cure, another year where each month is a curse, another year my mother is dead, my friends are dead. Another year closer to loosing my father, to loosing Sirius and another job. What is so fun about celebrating this?"

"Because it's about celebrating the person you are." You emphasised walking over to him, you stood in front of him looking up at him hoping he would kiss you as you moved up your him standing on your toes.

"There's nothing to celebrate about me." He said walking past you to sit on his office chair. You followed right behind him.

"Yes there is Remus. You're amazing, do you really think I'd be waiting for you all evening if you weren't worth celebrating." You moved in closer invading his personal space and straddling him on his desk chair. His body shifted below you as he cleared your throat, you could feel his penis twitch as he was begging to get hard. "I'm sorry Y/N, I think you should leave." He said almost whispering. You looked into his eyes for a moment before storming out. "Self destructive asshole" you murmured as you slammed his office door behind you.

NEXT CHAPTER | More stuff I wrote

A/N: sorry for the angst I had to do it.

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[amarriageoftrueminds]

If The Howlies were real...

I've been thinking about Steve's time during the war, and wondering if anyone has any headcanons about, eg. where he was stationed, how exactly the Howling Commando mission planning went, etc?

In the comics, Steve isn't assigned to the 107 but to the 1st Battalion, 26th Infantry Regiment, 1st Infantry Division (aka the ‘Big Red One’.)

They were part of D-Day landings, on Omaha Beach.

In deleted scenes / clips from the Smithsonian, it’s implied that Steve was also a part of D-Day: 

(That’s General Eisenhower, the Supreme Commander.)

(These landing craft 👆 were only used at D-Day. Although it’s possible this is propaganda footage of a rehearsal.)

If the Howlies had the same set up as the 26th, then Steve and the guys would’ve been stationed in Swanage, Dorset:

(Members of ‘A’ Company 26th Infantry Regiment US Army, billeted at Craigside in the High Street opposite Purbeck House Hotel, Swanage, around 1943 – 44.)

That’s 114 miles south west of Camp Griffiss in Bushy Park, Teddington, where General Eisenhower had his SHAEF HQ, starting from January 1944

(before that his HQ was at No.20 Grosvenor Square, Mayfair, in London -- aka ‘Little America’ or ‘Eisenhower Platz’ -- a couple of miles northwest of Churchill’s War Rooms, which inspired the underground bunker HQ seen in CATFA.)

Thousands of American troops, including the 26th Infantry, started arriving in Dorset in November 1943 -- which is also when Steve arrived in England after rescuing the 107!

While in Dorset, the US troops were largely engaged in rehearsing for Operation Overlord, aka D-Day. 

One such rehearsal was the disastrous Operation Smash, on the 18th April, 1944, which was a live-ammunition practice for beach landings at Normandy. (Disastrous because six men accidentally drowned when their Valentine semi-submersible tank... sank.)

Operation Smash was staged in Studland Bay (that’s 4.5 miles north of Swanage). Present to observe were: Winston Churchill, King George VI, Dwight D. Eisenhower, Field Marshal Bernard Montgomery, and Acting Admiral Louis Mountbatten. They did so from ‘Fort Henry,’ a 90 foot long bunker (built and named by Canadian engineers in 1943 -- so it would’ve been there by the time Steve n’ Co got there -- and it’s still there today!) overlooking the bay. 

The US troops moved on from Swanage in late April 1944, and departed England entirely (from nearby places like Weymouth, Poole Quay, Portland Harbour, etc.) on 5th June 1944. D-Day was on the 6th.

In the deleted scene from Avengers, Steve is clearly shown crossing  the Ludendorff Bridge:

...But this is impossible!

Because that bridge (at Remagen) was only captured on the 7th of March 1945:

(9th Armored Division in Remagen, Germany, recorded 9th March, 1945).

...and Steve had already crashed the Valkyrie 6 days prior!

(So unless that bridge was captured earlier, possibly because of Steve n’ Co., that footage can’t be right! 

CATFA does have a habit of putting the US Army in places they had no business being yet at that time of the war -- i.e. showing the US Army right up at the North of Italy, when in reality the Nazis still held it. 

(In fact, Mussolini’s Nazi puppet republic, the Republic of Salò, was nicknamed after a lake in Brescia... which is 200-ish miles further south than the US Army are shown in November ‘43.)

So I guess it’s possible that Steve & Co really were in Remagen, Germany, and crossing the Ludendorff Bridge before March ‘45! 

Or (perhaps more likely) we’re supposed to read it as some generic bridge in Western Europe, captured on D-Day (a la Pegasus bridge). 

.

Where exactly the Hydra factories were (and thus most Howlie missions) is not categorically stated. However, what Steve says / taking rough guesses from the map we see in Krausberg...

...it looks like the Howlies would’ve had missions in: Italy, France, (then) Czechoslovakia, Poland, and... Greece. 

(The script also mentions Belgium and Russia, which are neither shown on the map nor mentioned. However, there is a shot of them creeping through snowy forests, which looks very much like the Ardennes. That might put them in Belgium as part of the Battle of the Bulge -- which in turn gives us a date that could be the ‘difficult winter’ mentioned in the Smithsonian footage.)

If the Howlies were an active team from say 14th November 1943 -- 1st March 1945 (when Steve went down in the Valkyrie) 

That’s 473 days / or 1 year, 3 months, 15 days / or 15 months, 15 days.

If they had 9 missions total during that time...

6 Hydra factories around Europe

+ 1 winter mission to save over a 1000 men (as mentioned in Smithsonian; could be Battle of the Bulge? 🤔)

+ 1 D-Day mission (possibly including amphibious landings &/or bridge captures)

+ 1 Zola-capture mission, probably somewhere in the Alps. 

+ 1 Valkyrie mission makes 10. 

...That would give them 52.5 days (less than two months) to both plan, travel in and out, and execute each mission. That seems like a pretty tight turnaround, especially if each factory was different enough to warrant a new/fresh plan. 

(One difficulty never mentioned because their raids are relegated to a montage: the fact that Hydra factories appear to be staffed by slave labour. Means the Howlies can’t just bust in guns blazing! Or, at least, I don’t think Steve would stand for it. They’d have to free the workers first, and hopefully they’d be workers both physically capable and willing to join in the fight.)

In the film, they are never shown being back in the UK between these missions,  right up until the last Valkyrie mission in 1945, and dialogue seems to suggest there hasn’t been any personal contact between them and the HQ staff in between. 

(It does seem a bit nuts to be shipping them out and back every time, rather than just keeping them on the continent. Also nuts to be planning their most important Valkyrie mission only the day before. But anyway...) 

In order to take part in D-Day, they had to have been back to England at least once, to receive those highly classified orders and to rehearse (can’t be discussing details of D-Day over radio!) 

Also, they couldn’t have been allowed to go haring off attacking Hydra bases any old where, because it might have been inconvenient for D-Day (ie. if the Nazis increased defenses in certain places just because Captain America had been sighted there recently.)

TPTB could have used the Howlies as a diversion, sending them on dummy missions designed to make the Nazis think D-Day is going to happen somewhere else. I think Greece and Italy would be a great way to convince the Nazis that an invasion will be coming from the south, not the north! They could even have used doubles of the Howlies to throw the Nazis off the scent, as part of the Ghost Army (they did this IRL with Bernard Montgomery!) 

Maybe the SSR would be advised to keep the Howlies’ real missions as far away from Normandy as possible, earlier on, and then the reverse right before D-Day? (ie. damage Hydra’s factories that are nearest to Normandy, close to D-Day, so that they can’t supply weapons and don’t have enough time to rebuild).

Other possibilities: 

If they were not stationed in the UK between missions, and weren’t with the US Army of occupation (because it hadn’t invaded that part of Europe yet) Steve & Co. might have been living undercover in Nazi-occupied territory in the run up to missions against local Hydra bases (in, eg. France and Poland. Chance for Frenchy to get his Maquis on!) Very dangerous, very nerve-wracking, very Inglourious Basterds of them. Also potentially very dangerous for the locals, too, since there would surely be reprisals against them after any successful anti-Hydra attack by Howlies. 

IRL There was a concentration camp called Terezin in Czechoslovakia, near-ish where that one Hydra base is shown. (It’s the one that the Nazis famously filmed a propaganda movie in, after cleaning it up and deporting a bunch of people to Auschwitz to seemingly reduce overcrowded living conditions, to fool the visiting Red Cross.) So Steve and the Howlies might have gone off-mission to go and liberate that; could be that was a source of slave labour for the nearby Hydra factory.  (From a character POV, Terezin was known for having a big artistic culture among the inmates, and surely Steve would feel empathy for those used in propaganda, having been made to do that himself.)

Logically speaking, I would’ve expected that last Hydra base to be in Holland or Denmark -- not Greece -- to complete the ring of bases formed around Germany. 🤔 Maybe even more likely to be Denmark, since the Tesseract (which kicked off the whole Hydra supremacy thing) was discovered in Tønsberg, SE Norway.

[jbaileyfansite]

Interview with the Los Angeles Times (2024)

“This is where all the cruising happened.”

Jonathan Bailey and I are standing in Pershing Square on a bright, blustery spring afternoon, nearing the end of a homemade queer history tour of downtown L.A.: One Magazine, Cooper Do-Nuts/Nancy Valverde Square, the Dover bathhouse, the Biltmore Hotel and this, the city’s former Central Park, a haven, since before World War I, for “fairies” and “sissy boys,” servicemen on leave and beatniks on the road.

“Is it still happening now?” he asks.

“Probably not as much,” I venture.

“Well, you let me know if it’s happening,” he teases, a mischievous smile lighting up his face.

Bailey understands the uses of the charm offensive. As Sam, the handsome Lothario of Phoebe Waller-Bridge’s delightful pre-”Fleabag” curio, “Crashing”; Anthony, the romantic hero of “Bridgerton’s” second season; and John, the jerk of a protagonist in Mike Bartlett’s love triangle play “Cock,” the English actor, 36, has swaggered up to the precipice of superstardom. With roles in such studio tentpoles as “Wicked” and “Jurassic World” on the horizon, he may just break through. Yet he delivers career-best work in Showtime’s queer melodrama “Fellow Travelers,” as anti-Communist crusader-turned-gay rights activist Tim Laughlin, by leaving behind the self-assured rakes and tapping a new wellspring: soft power.

Tim may be, as Bailey puts it, “an open nerve,” but as it turns out, the devout Catholic and political naïf — who falls for suave State Department operative Hawkins “Hawk” Fuller (Matt Bomer) just as Sen. Joseph McCarthy tries to purge the federal government of LGBTQ people — is formidable indeed.

Stretching from the Lavender Scare to the depths of the AIDS crisis, in scenes of tenderness, cruelty and toe-curling sex, Bailey’s performance communicates that little-spoken truth of relationships: It takes more strength to submit than it does to control. The former demands discipline, courage, trust; the latter requires only force.

“In ‘Bridgerton,’ [Bailey] is like a Hawkins Fuller character — he is very sexy and has lots of power, has that kind of confident charisma that absolutely is not Tim at all,” says “Fellow Travelers” creator Ron Nyswaner.

But any doubt about Bailey’s ability to mesh with Bomer, who boarded the project early in development, was put to bed with the actors’ virtual rehearsal of a meeting on a park bench in the pilot. “‘Well, that’s a first,’” Nyswaner recalls an executive texting him. “I cried in a chemistry read.”

‘Am I inviting people in?’

Bailey grew up in a musical family in the Oxfordshire countryside outside London, and this, coupled with an appreciation for the morning prayers, choir practice and Mass he attended as a scholarship student at the local Catholic school, fed his precocious talents. (“I loved the performance of it,” he laughs. “Not to diminish the celebration of religious process, but I did love the idea of wearing a gown.”) By age 10, he’d appeared in the West End, playing Gavroche in a production of “Les Misérables,” an experience he now recognizes as an encounter with a queer found family — albeit one shadowed by the toll of the AIDS crisis, which peaked in the U.K. in the mid-1990s.

“When I’m asked about my childhood, there’s so much I don’t remember, and I think that’s true of anyone who’s been in fight or flight for 20 years,” he says. “I would have been in a cast of people whose friends would have died in the last seven years. I think of where I was seven years ago. I had all my gay friends then. It’s only retrospectively that I can retrofit a real gay community around me [in the theater], that I just wasn’t aware of [then].”

During the late 1990s and early 2000s, American and British culture presented queer adolescents with a bewildering array of mixed signals. As beloved celebrities came out in growing numbers, and the battle for marriage equality became a central locus of LGBTQ political organizing, the media continued to propagate harmful stereotypes of gay men as miserable, lonely, perverted or worse — and, Bailey remembers, callously turned George Michael, arrested on suspicion of cruising in a Beverly Hills restroom in 1998, and Irish pop star Stephen Gately, who revealed his sexuality in 1999, fearful he was about to be outed, into tabloid spectacles.

No wonder Bailey, like many LGBTQ people of his generation, should feel the “chemical” thrill of “validation and acceptance” during London Pride at age 18, then embark on a two-year relationship with a woman in his 20s.

“Dangerously, if you’re not exposed to people who can show you other examples of happiness, you think that’s the easiest way to live,” Bailey says. “It’s funny. You look back and you can tell the story in one way, which is that I always knew who I was and my sexuality and my identity within that. But obviously at times, it was really tough. I compromised my own happiness, for sure. And compromised other people’s happiness.”

Disclosures about his personal life have become particularly thorny for the actor since the premiere of “Bridgerton,” the blockbuster bodice-ripper from executive producer Shonda Rhimes.

“The Netflix effect does knock you off center completely,” he says, recalling the experience of finding a paparazzo waiting outside his new flat before he’d even moved in. “Suddenly, you do start having nightmares about people climbing in your windows... Even now, talking about it makes me feel like, ‘Am I inviting people in?’”

He is also critical of the media for churning out headlines about the smallest details of celebrities’ private lives, often detached from their original context. In an interview with the London Evening Standard published in December, Bailey described a harrowing encounter in a Washington, D.C., coffee shop in which a man threatened his life for being queer — and, in recounting the experience, offhandedly mentioned the “lovely man” he’d called, shaken, after it happened. Although Bailey acknowledges that the original story handled the subject with aplomb, he felt dismayed that more attention wasn’t paid to the intended warning about rising anti-LGBTQ sentiment: “The only thing that got syndicated from that story was that I had a boyfriend, and it wasn’t true,” he sighs. “It was kind of depressing, if I’m honest.”

Still, Bailey, who once turned down a role in a queer-themed TV series because it would have required him to speed along revelations about his personal life he wasn’t ready to make, is prepared to embrace the power of vulnerability when it feeds the work. Although a member of his inner circle expressed doubts about “Fellow Travelers’” steamy sex scenes, for instance, the actor intuited that they were what made the project worth doing: “I was like, ‘I’m telling you, they are the reason why this is going to be brilliant.’”

‘He’s changed my trajectory in my own life’

To those who would complain about the state of sex in film and TV, “Fellow Travelers” is the perfect riposte. All of it matters, from Tim’s first flirtation with Hawk to the finale’s closing minutes, because the series, at its core, is about the importance of soft power: the strength required to bend, but not break; to adapt, but not abandon oneself; to survive without shrinking to nothing in the process.And depicting that through sex, specifically gay sex, makes “Fellow Travelers” radical indeed.

Bailey understands that baring so much comes with certain risks. When I tell him that research for the story has filled my algorithmic “For You” feed on X (formerly Twitter) with speculation that his onscreen relationship with Bomer has a real-life element, he notes that “shipping” fictional couples and costars alike has long been part of Hollywood fantasy. But he bristles at the implication that he and Bomer are anything but skilled actors at work.

“I would love for people to know that the success of our chemistry isn’t based on us f—. It’s actually about us leaning into the craft,” he says. “It’s a vulnerable situation to be in, talking about it on record. I don’t want to rob people of their thoughts. But I do have a set of values, and as an artist, you don’t need to be f— to tell that love story.”

Underlying that craft, Bailey adds, is the confidence to speak up, as with one scene in “Fellow Travelers” that was adjusted because he said, “I don’t want to be naked today.” He learned to use his voice the hard way: In his early 20s, he recalls, he was once “bullied” on set when “someone was threatened” by him and vowed to himself, “I’m never going to do that to someone. I’m never going to allow that to happen.”

This impulse to direct his influence in support of others has blossomed further with “Fellow Travelers.” On the day of our interview, Bailey enthuses about an upcoming meeting with legendary gay rights activist Cleve Jones and shares his idea for a docuseries recording the stories of elders in the LGBTQ+ community while they are still here to tell them. He describes lying in a hospital bed on set on World AIDS Day, in character as Tim, surrounded by gay men who had lost friends and lovers during the crisis, and finding himself thinking, “What do I want to leave behind?”

“I think he’s changed my trajectory in my own life,” Bailey says.

This is, perhaps, the most common reaction I know to diving deep into queer history — the understanding that we, like our forerunners, are responsible for shaping the queer future, whether in politics, society or art. No one is going to do it on our behalf.

As we stand on the nondescript corner now named for her, I relate the story of the late queer activist Nancy Valverde, who was arrested repeatedly while a barber school student in the 1950s on suspicion of “masquerading” because of her preference for short hair and men’s clothing, and later successfully challenged her harassment by the police in court.

“What a hero!” Bailey exclaims, wondering at Valverde’s bravery. “The thing that’s so interesting with power battles is, ultimately, identity is the thing that gives you the most strength and power in your life, isn’t it?

“Because that’s one thing people can’t take away from you: who you are and how you express yourself.”

Source

[juneibyou]

big scary meteor discovered heading straight for london. current official plans are unknown however tower bridge operators have been overheard planning to play "big pinball"

[houseofbrat]

Well, gee, look at that A-line dress on Kate!

(An A-line dress is one that goes out from the bust.)

Is Kate too afraid to wear something bodycon to church?

She's not afraid of looking "thick" or "wide at the middle," is she?

Because, dare I say it, her abdomen does not appear perfectly flat in this photo.

And she still has an ample bosom that she didn't have a year ago when QEII passed away.

Where did Kate get the enhanced bosom to push out an A-line dress that far? And the dress is extending out from her body because her arms are not pushing it in. (Her arms are in front of her body, not to the sides.)

Somehow, Kate didn't have this amount of bosom when she wore the plaid monstrosity a couple of years ago? Where did it come from?

[arebirthingofsorts]

the entirety of buzzfeed unsolved but the stories are in chronological order: https://youtube.com/playlist?list=PLGGIwil6tMX95BMdYvMY8Co5Y2J8yxpe-

supernatural was very hard to do so under the cut i've added my reasons for some difficult episodes to list! if anyone has qualms with it or if you notice any mistakes in the playlist please let me know!

the london tombs, la llorona, and the voodoo episodes were difficult due to no real timeframe being known for when they began so i based the london tombs off of ryan saying the bridge has been around since ancient rome which is why it's one of the first videos in the playlist. la llorona required me to do my own research which led me to believe the story came about in the 1500s? possibly predating that but the first written versions were apparently from the 1500s. for the voodoo new orleans episode i did some research and based it on when it could have been brought to the area.

for bigfoot, mothman, and the men in black, i listed those based on the first encounters/evidence presented

many of the locations, i listed based on when they closed their operations or the owners passed before becoming noted haunted locations. (winchester house, sorrel-weed, villa montezuma, whaley house, old city jail, pythian castle, vulture mine, waverly hills, bellaire house, eastern state, rolling hills)

other haunted ones are currently still operating so i listed those based on when they first opened or got into the hands of the current owners (viaduct tavern, st. augustine, tombstone, goatman's bridge, the viper room, bobby mackey's, moon river)

dauphine orleans hotel was listed as the date ryan said a license to may bailey was given for the bordello. im very unsure about this one so if anyone has suggestions on how to list this one, please reach out EDIT: decided on 1775 because ryan mentioned that year as the site the hotel is on and i felt more sure about it that choice

farnsworth was listed as the year of the battle of gettysburg due to the house being named after a soldier who died in that battle + notable events happening and around the house

the bermuda triangle was tricky so i listed that as the date the term "bermuda triangle" was first coined EDIT: it's been moved to close to the top of the playlist due to the first alleged reporting of weird bermuda shit being by christopher columbus in 1492. this made more sense to me

colchester and morris-jumel are museums now so those were dated as when they were officially museums

the uss yorktown and the queen mary are listed as when they docked for good.

the alien abductions episode is in the 70s area of the playlist because 2/3 of the stories happened in the 70s.

the date the island of the dolls began is where i based "3 horrifying cases of ghosts and demons" since there are separate episodes for the winchester mansion and the sallie house

i based all the haunted locations on those things because i figured that the ghosties would appear after the notable deaths and wild events instead of listing all of them as when they first opened.

i hope all of this makes sense. enjoy.

[wavesoutbeingtossed]

One day I’m going to finish that essay or whatever it was in my drafts that’s about the themes of womanhood/relationships/thirtysomething stuff and TTPD but since part of this discussion has been revived on the dash but also it’s Saturday so this won’t ruffle as many feathers, I think one thing that sometimes gets lost in the shuffle in the conversation about the muses and stories in the lyrics is just why the recurring theme of the broken dreams pops up all over the album, and why they permeate the discussion of both muses, if not *all* the muses in the album.

Not to project things on Taylor, but it feels pretty clear to me* that the dreams she’s talking about specifically are about having a family, and that is the through line in the album, and why the successive blows devastated her. (*I don’t want to presume that anyone else feels this way and this is just my interpretation etc.)

The suburban gothic allegory in Fortnight depicting a miserable, lonely marriage. The ring on the ring finger in TTPD making her explode with joy because it was a shorthand for lifelong commitment. “He saw forever so he smashed it up” in My Boy. “I’m pissed off you let me give you all that youth for free” and dying on the sacrificial altar in So Long London. Marrying her wild boy in But Daddy. “Get the matches, toss the ashes off the ledge” in Fresh Out the Slammer (as in, she burned her life down). “You shit-talked me under the table talking rings and talking cradles” in loml. “The deflation of our dreaming leaving me bereft and reeling” in How Did It End. “Promises ocean deep and never to keep” in Peter. The allusion in The Manuscript that the man in question made her think he was in it for the potential of a serious commitment only for her to feel used when he moved on. And there are probably more examples I’m not thinking of off the top of my head here.

But what I’m trying to get at delicately is that from what she’s put down in TTPD, as well as what she’s put down in previous albums (“give you my wild, give you my child,” Paper Rings, Lover, renegade, YLM, etc.) building a life and a family with this person (Joe) was not only something she wanted, but seemingly deliberately planning and working towards. So in the death throes of the relationship, her grief was not just about things like losing someone she once loved, the breakdown of this relationship that was once comforting to her, what she gave up to make their life work, etc. but about this important thing she had dreamed of and what she seemed to feel was on the horizon. What I think I’m trying to say is that it had likely shifted at some point (even just based on the album pipeline) from a hypothetical “one day we’ll have ten kids and teach them how to dream” thing you wonder about with a partner to something that felt a lot more… tangible. (Again trying to be sensitive in my word choice/not project or assume things etc.)

I don’t want to make any accusations or assumptions on main, but I think those kind of life plans feeling within reach not only makes it understandable as to why someone would stay in a relationship whose cracks were turning into fault lines, but on the flip side why giving up on something that felt like it was on their doorstep would be so wholly devastating.

But it’s also why what happened in the two successive relationships *was* so devastating in the songs on the album, and why the Matty thing specifically was so twisted. He’d reentered her life and he’d insinuated himself back into her circle and gained her confidence which in turn led her to confide things in him (the “hostile takeovers” of it all, the whole bridge of The Smallest Man with its honey pot spy mission imagery in which like a mark he sweet talked her into sharing her most vulnerable, compromising “secrets” only to then turn it around to use her and ghost her like a trained operative). And given the way the family thing appears in both presumed storylines, it’s again because Muse #2 used the info gleaned about the life with Muse #1 to sell her a con about an alternate path to what she was mourning so deeply. (And why it’s such an unconscionable act because it’s manipulation, at least going by her own words about her experience of it. It’s as cavalier as the organ donor line in The Manuscript, with the same effect.)

The shittalking about rings and cradles is both of them (if not all of them) because in all cases, they ended up raising her hopes only to not plan on following through. One because he maybe couldn’t commit, one because maybe he was never serious about it. (And the one who did it first who was both 🥴.)

If I had to guess (because I am not Taylor so I will obviously never know any of this for sure besides picking up context clues), the dream was like a carrot dangling in her mind, feeling like this is what the “agony” to quote another one of her songs was for — like, things may be hard, but life is hard, and at least they were building towards *something* she felt they both wanted. And as that dream slipped through her fingers, it created a cascading series of events that crippled her emotionally for a time. So when she mourns that life in her songs, it’s almost like it’s the same dream, just in shifting contexts. The conman selling her dream back to her is comforting at first, but hits doubly hard and leaves her broke when it disappears.

The story throughout the muses on the album isn’t “she jumps to the person who promises her these things,” it’s that it’s a whole life she’s built that crumbles under the weight of reality knocking at the door and a foundation that shifts until it disintegrates. And losing that foundation and the dreams built upon it leaves her searching for answers in the wreckage — and looking elsewhere for clarity for a time. And it’s why it’s so hard to remove one muse from the other (or again, all of them), because that central driving force is used by each of them in different ways to build her up and take her down. And why working through the pain of one situation bleeds into that of another.

It’s hard to delve into this more without crossing boundaries or whatever, but it’s just such a palpable open wound in the album, but also why working through the pain in different contexts on TTPD brings to light all these different kinds of hurt but also the emotions that go along with them.

Anyway. That other essay will write itself at some point idk.

[thetravelingtyper]

Our Shattered Heart

141 x reader (Teaser)

NOW POSTED! :)

Something cooking in my brain (Not sure about the pairing quite yet) At least 141 x reader platonic at least with protective Simon and Price. Heavily inspired by the Smiths

The reader is written GN with the callsign Heart!

Master list here FULL PART ONE HERE

The strings of a bass echoed into the open night. Electric steps, iron bridges, the river. Central town spinning away into the flurry of the night. You were running from phantoms, what had you done but cried into the night? Your phone long since turned off you were afraid to return to the safe house. Made up as a civilian you blend smoothly in, but the oppressive nature of their stares made your eyes water so you took your chance and bailed.

Even in your distress, you admired London proper. You wipe your tears and stop your swift walk. You could hear music? There was a well-lit area a dozen or so yards, (Metric Sargent) You frown as your Lieutenant’s voice echos in your head naturally. You grit your teeth. Nothing you did was right. In training he’d catch every little mistake, poking out your weaknesses without telling you how to better your stance.

What of Soap and Gaz? Your fellow Sargents and supposed friends. One moment they had your back then after your injury they joined Ghost. Soap would pull you aside and scold you for using your ‘bad leg’ or your hits were too low or high. Gaz just commented after you healed up against you even serving. It took three weeks for you you have enough.

You turn on your phone to check the time, and it rings with a skull icon, you answer it as you can pick up the music.

“Fucking hell Sargent where are you.”

“Doesn't matter Ghost, Fuck off”.

“Wait, Lo-”

You hang out and toss your phone into the river. You smirk, a sense of relief flooding your tense body. What had your valiant new captain done about your concerns? Immediate relocation to a safe house for surveillance, with said team. Nothing of “I’ll talk with Simon” No you got the “You could be a liability so let us have three grown-ass men babysit you in the middle of the city.” You went to protest but he shushed you with a disappointed look that made you reel back. 

You weren't British, maybe you didn't meet his standards. He's the one who requested an outside operative all those months ago. You performed top of your class and threw your body and heart into the job working your way into being the face of the team. It was you whom they sent to comfort those who lost loved ones as collateral. Everything changed when you broke orders to save a child.

Link to Part 1 here!

Will reblog or post the entire, not sure if it'll be a short series.

Should I make it poly IDK comments are appreciated