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personnage-neutre · 1 month ago

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"Tintin, quel âge as-tu ?"

Today marks 96 years of The Adventures of Tintin, and readers have spent at least the last 78 of those years asking the same question: "How old is Tintin?"

The series is infamously coy about giving a definite answer, as was its creator, but I argue in the first part of this post that 1) there was indeed a specific intended age range for Tintin and 2) it is very much possible, using evidence from many different sources including the albums themselves, Tintin magazine, other BDs of the time, and interviews with Hergé, to say exactly what that age range was. Let me be very clear: I'm specifically making an argument about how old Hergé saw him as and how old Hergé wanted him to be seen as.

The second part is less concrete; it presents how a few scholars have interpreted the ambiguity of Tintin's age, plus some of my own thoughts about it that build on their claims. That part is less trying to find an answer to the age question and more trying to explain why his age is so much in question.

This is a long post.

I. Intent

Official sources

When asked about Tintin's age in a 1960 interview for Cinq colonnes à la une, Hergé judged that "il doit rester aux environs de quinze ans" ("he must still be around 15 years old," 0:33-0:44).

In 1962, he gave a very similar response on the Canadian program Premier Plan: "Une quinzaine d'années ? Quinze ans, seize ans, je ne sais pas, moi" ("About 15? 15, 16, I don't know"). "Donc c'est l'adolescent" ("So he's a teenager"), pursues the interviewer, and Hergé answers with a firm yes.

Nearly ten years later, in 1970, he added some nuance: "What age do I give him? I don't know... 17? In my mind, he was about 14 or 15 when I created him, a Boy Scout, and he practically hasn't budged. Let's say that he's picked up three or four years in forty years... All right, let's take the average: 15 plus 4, 19." (translation mine)

In 1979, his interviewer on Apostrophes preempted him on the age question, saying that "c'est un reporter de quinze ans" ("he's a 15-year-old reporter"). Hergé agreed: "C'est ça, à peu près" ("That's right, more or less").

Today, the official Tintin website run by Moulinsart declares him to be "Seize, dix-sept ans (dix-huit tout au plus !)," that is, "16, 17 years old (18 at most!)."

Responses to reader questions in the Journal Tintin

Early in the Journal Tintin's run, between 1946 and 1954, readers who wrote in with questions had a chance to see the responses to their letters published in the magazine each week. Supposedly it would be Tintin himself who was answering - questions addressed to him would be answered in first person, which probably only increased the urge to ask about personal details. So there were naturally many questions about his age, which provoked a range of responses.

Who was actually answering the letters? It's hard to say. But seeing as the responses were being published in the official Tintin Magazine as the voice of Tintin himself, Hergé would surely have been at least consulted on questions concerning his character, especially as the team running the magazine was still very small when it was regularly publishing responses.

The most common response was to dodge the question entirely. The stock phrases were "Qu'importe mon âge ?" and "Tintin n'a pas d'âge !" ("What does my age matter?" "Tintin has no age!").

In a small number of cases they related Tintin's age to that of his readers; an 11 1/2 year old was told that Tintin can be "l'âge que tu souhaites : entre dix et vingt ans !" ("whatever age you want: between 10 and 20!", 1953), and for a couple others, where the age of the writer wasn't listed, Tintin's age is "un peu plus que le tien" ("a little older than you," 1951) or "un peu moins que le double du tien" ("a little less than twice your age," 1950). The target audience of the Journal Tintin - as it was for the Petit Vingtième, and for comics magazines of the time generally - was 8-15 year olds.

The only definite answer that appeared with regularity put Tintin's age between 15 and 20:

(TIntin nos. 19, May 8, 1947; 26, June 26, 1947; 6, February 5, 1948; 2, January 12, 1950; 9, February 27, 1947. The second and third examples also have Tintin declare that "I've travelled so much that I no longer remember where I was born," a fine example of the de-Belgicanization he underwent after the early years.)

("As I've already told several of my friends, I'm older than 15 but younger than 20." (1947) "My age? Let's say 15… or a little older." (1947) "My age? Between 15 and 20 years old." (1948) "Tintin? He has no age! Seeing him move about, he seems to be about 15." (1950) "I'm not yet 20 but I'm older than 15." (1947))

Real-life incarnations of Tintin

When the end of Soviets was celebrated with "Tintin" arriving at the Gare du Nord in Brussels, the role was played by 15-year-old Lucien Pepermans. When the event was repeated for the end of Congo, two years later, Pepermans was replaced by Henri Dendoncker, age 14. About thirty years after that, Jean-Pierre Talbot was declared Tintin's spitting image at 16 ("Same age, same silhouette, same face, same hair," reads the announcement of his casting in the Journal Tintin). He was 20 at most when Blue Oranges (released 1964) was filmed. Hergé told Numa Sadoul that he unconsciously based Tintin in Soviets on his younger brother Paul, who was 16 when it started. Additionally, Palle Huld, often cited as an inspiration for Tintin, completed a tour of the world in 44 days in 1928 at age 15 (and in plus-fours).

(Lucien Pepermans, Henri Dendoncker, Jean-Pierre Talbot, Palle Huld)

In the play Tintin et le mystère du diamant bleu (1941), which Hergé was very involved in the writing and production of, the role of Tintin was played by Mlle. Jeanne Rubens, a woman - a common theater trick for portraying young boys. He was played by a woman again in Radio Luxembourg's 1950s audio adaptations: Claude Vincent, "qui interprétait à merveille les rôles d’enfants et d’adolescents" ("who played children's and adolescents' roles wonderfully"), was the voice of Tintin. Sadly those broadcasts appear to be lost, but she can still be heard in the likely similar role of Alix.

(Shared on forum-tintinophile.com, "Tintin aux Indes, ou le mystère du diamant bleu." Certainly the only adaptation that got his height difference with the Thompsons right.)

In 1959, the Journal Tintin invited readers who thought they looked like Tintin to send in their pictures; five candidates for "Tintin's lookalike" were chosen by the magazine and presented to the readers for them to vote on. The winner was a 15-year-old, and while the ages of the other contestants aren't listed, they appear to be the same age or younger.

(Tintin nos. 25, June 24, 1959 & 31, August 5, 1959)

Comparisons with contemporary characters

Mainstream BD in the first half of the 20th century was not particularly inventive, especially as it was contending with its relative youth as a medium, a focus on the children's market, and, especially after WWII, heavy scrutiny from both religious and secular moral watchdogs. In the specific case of the Journal Tintin, Hergé's iron-fisted artistic direction in the early years led to a high level of artistic homogeneity across the magazine, while restrictions on the types of stories that could be told (from both the threat of censors and expectations about reader interests) limited variety in plots, characters, and settings.

All that is to say that a lot of what was being published alongside Tintin in the 40s and 50s looked more or less like Tintin, and even was likely directly modeled on it, which makes it useful for comparison. The protagonists of the time can be generally divided by age into children, the "15-20" range, young men, and middle-aged men. Each category is visually distinct (comics are a visual medium!) and each results in a slightly different kind of story with different character dynamics.

Here's Tintin with a couple of the teenage protagonists that appeared alongside him in his magazine:

(L'Affaire Tournesol (1956), p. 51; La Griffe Noire, Tintin no. 6, February 5, 1958; Les Deux Visages de Kid Ordinn, Tintin no. 1, January 2, 1957)

Hergé's no. 2 collaborator Jacques Martin created Alix (center, 1948), a Roman Gaul confirmed to be 16 in the original albums. Chick Bill (right, 1955), who in looks and narrative role is effectively just Tintin as a cowboy, is identified (by none other than Franquin) with the 15-20 age range. Some shared visual markers of their youth are a short and slight build, rounded shoulders, a round head, and a soft jawline. While all very independent, they are all three semi-accompanied by a much older man and a child sidekick.

Now, here are some examples of characters from the next age range up:

L'énigmatique Monsieur Barelli, Tintin no. 44, November 2, 1950; L'ouragan de feu, Tintin (Kuifje) no. 37, September 15, 1960; Défi à Ric Hochet, Tintin (Kuifje) no. 8, February 25, 1964)

Hergé's no. 1 collaborator Bob de Moor had a humor-adventure series using the same style as Hergé, but his character, stage actor Georges Barelli (left, 1950), is a grown man. Martin's second series was required by publishers to somehow be a modern AU of Alix, but Alix's counterpart, reporter in the same way that Tintin is a reporter Guy Lefranc (center, 1952), is clearly older than him. So-called reporter, really amateur detective Ric Hochet (yes, that's his name, right, 1955) is kind of an odd case; he started out a child, then looked basically exactly like Chick Bill (they were both drawn by the same artist, Tibet), then finally settled into his final form as a young man in his mid-twenties - a 1969 album places him at age 26. All three own their own cars (admittedly a moot point for Alix and Chick), and, compared to their teenage counterparts, they're much more likely to have friends and colleagues their own age instead of being supervised by someone older.

It should be clear from these six pictures that Tintin was not drawn in a way meant to make readers think he was an adult. And besides, there's really no reason to believe that Hergé, who once declared that "my primary objective is to be legible. The rest follows," would have chosen to give his main and titular character an appearance that was somehow deceptive. I'm prepared to say with confidence that Tintin looks young because he's supposed to be seen as young.

Textual evidence

For this section, I first look at a few ways that the albums actively present Tintin as a non-adult character. However, most of what follows is about showing that what happens in the albums does not contradict the argument that Tintin is intended to be a teenager. The Adventures of Tintin may be deceptively timeless, but not only is the series nearly a century old, it also was written during a time of extremely rapid and intense social, cultural, and technological change. Consequently, I want to make sure that I'm not judging the past with the attitudes of the present; in order to put the series in its proper context, I try to identify viewpoints and conventions expressed in texts created at the same time (and, when possible, by the same author) to see if a teenaged Tintin fits in with them.

In looking over how other characters refer to him across the albums, one sees that Tintin's most distinctive feature to those around him is his youth. This is, I think, more visible in the original French, where other characters address or describe him with a whole array of words commonly used for children: jeune homme, (jeune) garçon, gamin, galopin, blanc-bec, enfant de choeur, fiston, freluquet, moussaillon, (mon) petit (used as a noun), and morveux, not to mention many, many instances of characters appending "jeune" or "petit" to another word ("reporter," for instance). In English, he's variously (a) young man, (young) boy, kid, boyo, whippersnapper, wonderboy, lad, brat, puppy, young fellow-me-lad, and cabin-boy, along with liberal use of the corresponding adjectives "young" and "little." (I've collected specific panel examples for reference in another post.)

As @professorcalculusstanaccount has pointed out, there's no question of Tintin being called up for the draft as Haddock is in Black Gold; that album also contains the only example of Tintin's competency being questioned because of his age, on page 7: "So you're the new radio officer... You look a bit young to me..." (There's one similar remark, in America, after Tintin is injured in a car accident on page 6: "The poor kid..." "He looks so young...") Him not being called to war is particularly striking because Belgium historically required young men to do compulsory military service at age 18 or 19, after which they would be enrolled in the reserve army (p. 274). Thanks to a hard-to-translate joke in the original French for Emerald (below), we know that military service exists in Tintin's world and that the Thompsons have done theirs; Hergé did his at age 19, and then was called up from the reserves in 1939, interrupting the magazine publication of, precisely, Black Gold. Given his longtime anti-war stance and the peace sign sticker he wears in Picaros, though, one can easily imagine Tintin becoming a conscientious objector after it was legalized in 1964 - but by 1964, most of the series was already over.

(Les Bijoux de la Castafiore, p. 37)

He also doesn't dress like an adult: the plus-fours look very childish after the 1930s, as @illegally-blind-and-deaf pointed out. He also never wears a proper hat, only a flat cap in a few early adventures, and from Temple on (that is, after 1948) he runs around in his shirt and sweater with no tie or jacket. Some of that can be put down to the importance Hergé placed on his characters being maximally recognizable, but it certainly doesn't make Tintin look any older - look at a few of Hergé's crowd scenes and compare how the background characters are dressed.

Next, he doesn't seem to ever need to shave. In fact, in the original French for Black Island, Tintin remarks that the bad guys have gotten away "à mon nez et à ma barbe," an expression equivalent in English to "right under my nose" but literally "at my nose and at my beard," to which Snowy incredulously responds "Your beard? What beard?"

(L'Île Noire, p. 29)

It's true that nearly everyone who meets Tintin, including his adult friends, addresses him respectfully with the formal pronoun "vous" instead of with the informal "tu," as you typically would for someone much younger than you. However, Pierre Assouline attributes this to a dislike of over-familiarity on Hergé's part, citing him as saying that "Le tutoiement est la fausse monnaie de l'amitié" ("Using 'tu' is the counterfeit money of friendship").

(There are a few moments where Haddock slips and uses tu with Tintin, but I won't go into them here. Suffice to say that the majority of them are indeed moments where he's treating Tintin more as a child.)

Much has been made of Tintin's nonchalance about drinking alcohol as proof of adulthood, but evidence from other BDs indicates that this perception is a result of a shift away from historically looser attitudes towards drinking. Early comics for children frequently carried moralizing messages, but there's no marked moralizing present around youths drinking like there is around them smoking.

Compare, for example, the difference in tone between these two Quick & Flupke pages, where the kids are sternly warned off from tobacco...

(Originally published in Le Petit Vingtième nos. 4, January 28, 1932 & 43, October 24, 1935)

...Versus this gag, where Flupke's own relatives getting him drunk on New Year's over his protests is played entirely for humor.

(Le Petit Vingtième no. 1, January 3, 1935. "Tu es un homme et tu dois boire!")

There was even a follow-up comic at the same time the year after, in which Flupke imagines the alcohol he'll be plied with on January 1st and attempts to move to the North Pole to avoid it.

If a kid as young as Flupke is being given alcohol, then Tintin really doesn't have to be much older to be drinking as well. In fact, one might even note an echo between Flupke's reluctance to drink here and Tintin's in Picaros, when he's pressured to take a swig of whisky by Arumbaya custom (p. 34). On the other hand, since Quick and Flupke are so young, the ban on smoking is stronger for them. Tintin is old enough to occasionally be offered a cigarette, but still young enough that he always must refuse: Hergé was adamant that Tintin remain a good model because of the children who identified with him, while Haddock smoking his pipe, for example, never raised the same issue.

Beyond that, for a non-Hergé example and a later one (from 1960), here's child tennis prodigy Jari, hero of an eponymous strip in the Journal Tintin. He's just bicycled from Belgium to the Netherlands and wants a refreshment, so he goes to a drink stand and orders a beer - and no one bats an eye. Similarly, the only alcohol that Tintin orders casually, in a cafe or pub, is beer (Golden Claws p. 2, Black Island p. 41).

(Jari et le Plan Z, Tintin (Kuifje) no. 40, October 6, 1960)

At the same time, this relaxed attitude has limits. Tintin won't share a friendly drink with Haddock, for example when returning to Marlinspike after an excursion (though Haddock pours two glasses anyway in Affair (p. 3)). Calculus scolds Haddock severely when he thinks that Haddock has given Tintin champagne at breakfast in Tibet (p. 4: "Vous avez bien tort de lui faire boire du champagne de grand matin, à ce garçon !…"). Later in that same album, Haddock drunkenly warns Tintin against alcohol, telling him it's "very bad for young people like you!" (p. 38).

Next, while Tintin is undeniably capable of driving a car, there's actually no indication outside of the earliest stories that he can legally drive. (A quick Google search also tells me that Belgium has historically been notoriously lax on road safety.) At no point after the first four albums - that is, after Hergé became interested in telling a story that makes logical sense, a development typically placed at Blue Lotus - does Tintin drive a car that was acquired legally, not commandeered or outright stolen. (In Soviets and Congo he buys a car; in Cigars he drives the two Rajaijah victims to the asylum, though I doubt anyone was worried about him getting pulled over in the jungle.) On the few occasions where there isn't an emergency, it's always Haddock who drives; see for example Crystal Balls or the few pages of Thérmozéro. When Tintin finally gets a vehicle of his own, in Picaros, it's... a motorbike, which one can get a license for at a younger age than for a car. And in Alph-Art, where the motorbike plays a much larger role, Haddock still drives Tintin into town (p. 25) - and then gets left in the car while Tintin investigates!

Hergé also apparently didn't think flying a plane was particularly difficult. In Jo et Zette, one of his other series, Hergé has little Jo be able to fly his father's "Stratonef" and even land it from a glide, despite only ever hearing his father talk about how to fly it. Over the course of the two-part story (Le Testament de M. Pump and Destination New-York), Jo manages multiple successful flights - more than Tintin ever does! - despite unambiguously being a child.

(Destination New-York, p. 41)

And as with the cars, every plane Tintin ever flies is stolen, so whether he has a legal license or not really doesn't matter.

The same goes for his guns. In all but the first albums and Ear where, surprised in his flat, he really does pull a revolver out of nowhere, Tintin's guns are explicitly either given to him or taken from a disarmed enemy. The series doesn't make a point of him owning and carrying his own gun - just the opposite. And while it seems to us now that Tintin has a lot of firearm use for a children's comic, proficiency with guns was honestly a genre expectation for all adventure heroes of the time (just don't put a gun on your cover). For example, Chang, who from his introduction on acts like a second Tintin, wields a pistol at the end of Lotus and is even implied to be the one who makes the shot that breaks Didi's sword despite appearing even younger than Tintin. (See also the previous section of this post; Chick Bill is carrying a gun in the picture I included.) What's more, the gunplay in Tintin is actually a step down from its predecessor Totor, where Hergé's titular Boy Scout kills a man with a rifle shot to the face.

In short, Tintin is able to do a lot of things he shouldn't legally be able to do by simply not doing them legally.

The fact that Tintin lives alone isn't necessarily a mark of maturity either. It's hardly uncommon for a young adventure protagonist to be unusually unsupervised; it's effectively a demand of the genre. Hergé learned why that is from experience when he created Jo et Zette for the editor of the French, ultra-Catholic children's magazine Coeurs Vaillants, who had raised concerns about how unrealistic Tintin was. In Hergé's own (translated) words:

(From Entretiens avec Hergé, reproduced & translated in The Comics Journal no. 250, p. 191)

Parents are a nuisance, one that Hergé was only too happy to dispense with in Tintin's case. And besides, Tintin isn't completely alone forever; with the introduction of the Marlinspike "family," not to mention Marlinspike Hall itself, during the war, he at least ends up with a home and some adult supervision, however dubious it may be at times.

As for his schooling, according to a report on the Belgian education system from 1932, education was only compulsory there (not to mention free) from ages 6 to 14. That same report records that in 1928, the number of students in the higher level of secondary education - corresponding to high school in American terms - was only 1% of the number of students enrolled in compulsory primary school. Even adjusting for the fact that primary education enrolls children for twice as long, the percentage is still a paltry 2.6%. And then the number of students in university that same year was only about three-quarters of the number of students in secondary education.

What that means is that at the time when Tintin was getting started, only very, very few people stayed in school beyond age 14. Hergé himself was one of those few, but to many of his readers in the early years, the idea that Tintin was already working at age 14 or 15 would have been not just reasonable but recognizable - especially as he has no apparent family to support him. (Not that Tintin isn't knowledgeable: judging from the number of books in his apartment, we can presume that he's quite the autodidact.) Of course public education was broadened after WWII, but by then the character was already firmly established.

As for how Tintin is already a reporter, well, Hergé freely admitted that he gave him the job just because that's what he thought was cool at the time. "Of course it was a pretext," he said on British radio in 1977. (The announcer for that interview describes Tintin as "a 16-year-old Belgian boy with a strange lick of hair, a pair of plus-fours, and a terrier." In it Hergé, questioned about the outsize success of his series, responds that for him "he [Tintin] keeps to be a little boy. Only that.") The tone of the series would be very different if Tintin were just an office clerk or a paperboy, after all - and besides, all but the youngest readers of Le Petit Vingtième would have understood that it's not a real newspaper, just a little children's magazine, so the idea of it having its own official reporter was not to be taken fully seriously.

It's important to remember that our current cultural idea of the teenager as a separate, unique stage between childhood and adulthood was largely a post-WWII American innovation - in fact, the word "teenager" only entered popular use in the 1940s. By contrast, fully half of the Adventures of Tintin (up to the first 2/3 of Crystal Balls) were written either before or during WWII. Hergé himself, born in 1907, began submitting illustrations to a magazine (Le Boy-Scout) at 14, was hired at the Vingtième Siècle at 18, created Totor and did his military service, reaching the rank of sergeant, at 19, and before turning 22 had been given full responsibility for creating and running the Petit Vingtième, gotten engaged to his first wife, Germaine Kieckens, and created Tintin. Being young looked different then.

To close this section I'll also note that, as far as I can tell, positioning Tintin as a teenager never seemed to pose much of a problem to anyone reading the series while it was actively running. Anecdotally, nearly every published source I've read takes for granted that he's an adolescent, and an exception like writer of multiple books on Tintin Renaud Nattiez saying on the air in 2016 that he thinks Tintin is at least 22 (~03:30-03:50) seems to be a uniquely 21st-century development.

TL;DR: Everything I can find indicates that Tintin was always intended to be around 15, and never older than 20, years old.

II. Interpretation

Finally, it's important to not overstate Hergé's commitment to realism. At the end of the day, Tintin can do whatever the story needs him to be able to do, because he's the protagonist of a very straightforward adventure serial. He's always been aspirational, even for Hergé himself: "Tintin is me the way I'd like to be: heroic, flawless." And yet Tintin, victim of its own success, has always been held to a higher standard of realism than its fellow comics, not to mention a higher level of scrutiny in general. Even if, as I've tried to demonstrate, Tintin's feats aren't entirely out of the range of possibility (or at least the norm for comics characters) for his time period, I'm not arguing that he's supposed to be a perfectly accurate representation of the average boy of any point in the mid-20th century. I also don't deny that he typically does act like an adult. So the guiding question here is: How can this dual nature of Tintin's - his adolescent status and adult aspects - be interpreted?

Jean-Marie Apostolidès writes that as "il unifie dans sa personne deux aspects opposés de l’existence, l’enfance et l’âge adulte" ("he brings together in his person two opposing aspects of existence, childhood and adulthood"), Tintin represents "un mythe réconciliatoire" ("a reconciliatory myth") of which the "fonction implicite est de ressouder entre deux générations une confiance brisée" ("implicit function is to mend a broken trust between two generations"). He names this type of child-adult character the "surenfant" ("superchild"), and argues that it is specific to the 20th century and the cultural shock of WWI.

For Pol Vandromme, who wrote the first book of analysis on Tintin (or on any BD), Tintin is simply a perfected version of the teenage boy, one that other teenage boys can aspire to. First, he cites as conventional wisdom that Tintin is around 15, and concludes that "c'est dans tous les cas un adolescent" ("in any case he's a teenager"). While Vandromme accepts that Tintin is presented as a teenager, he also points out that Tintin doesn't represent the experience of being a teenager; Tintin "ne présente [...] que les apparences de l'adolescence" ("only displays the appearance of adolescence") because he's so self-assured and stable, traits antithetical to "l'époque de la métamorphose" ("the time of metamorphosis") that is adolescence.

And yet "il [Tintin] demure malgré tout suffisamment proche pour que les garçons se disent qu'ils auront un jour la chance de lui ressembler, d'imiter son style de vie. [...] Ce que Tintin propose à ces garçons de quinze ans, c'est la figure achevée de leur âge. Il les venge de leurs insuffisances" ("he [Tintin] remains all the same close [i.e. similar] enough that these boys tell themselves that one day they'll have the chance to be like him, to imitate his way of life. [...] What Tintin offers to these 15-year-old boys is the perfected version of their age [group]. He makes up for their shortcomings"). Consequently, having put themselves in Tintin's place, these boys "ont l'illusion d'être déjà de la tribu des jeunes gens qui ont découvert dans leur sac de voyage les clefs qui ouvrent les portes de la fable du monde" ("have the illusion of already being part of the clan of young people who have discovered in their travel bag the keys that open the doors of the world's fable"). In plainer language, being able to identify with Tintin as an apparent peer lets teens imagine themselves as being more capable and powerful than their age allows in reality, an attractive illusion.

I'll add that the static quality of Tintin as a character that Vandromme identifies is dictated by the form of the series. When presented with a teenage protagonist in a work, the novelistic expectation is that what follows will be some kind of bildungsroman, where the events of the story will push the protagonist to change and mature into adulthood. However, I believe that it's a mistake to approach The Adventures of Tintin as a novel when it is fundamentally a serial - even late in his career, when he didn't need to do prepublication anymore, Hergé's approach to plot was still oriented around the page-a-week format. Serial characters, as a rule, change very little. Tintin gets compared to Sherlock Holmes more than once in the series, and it's also true on a meta level: Holmes has a few minor moments of character development, but he largely remains exactly the same over the course of Conan Doyle's stories, which were likewise published in a magazine. In a true serial, the status quo is god, because the main aim of the serial is to perpetuate itself - theoretically forever. And so Watson always finds a reason to return to Baker Street, and Tintin never gets old enough to think of settling down and getting a real job.

Like Holmes, Tintin does change and grow somewhat as a character over the course of the series, but also like Holmes, that growth is not a planned arc with an endpoint, as you would expect in a novel. Instead, it's just a result of Hergé himself maturing and changing. In his contribution to L'archipel Tintin, Benoît Peeters notes that "Grande est la tentation, pour beaucoup, de lire la série comme une totalité, un monument où tout signifierait" ("The temptation is great, for many, to read the series as a totality, a monument where everything has meaning"). And yet he declares that "si accomplies soient-elles... Les Aventures de Tintin se sont élaborées en l'absence de tout grand dessein" ("however polished they may be... The Adventures of Tintin were created in the absence of any grand design"), citing the testimonies of both Hergé and those who knew him at the beginning of the series. Hergé never really had a plan for Tintin as a character; he really did just put him in situations over and over again for a little more than fifty years. However, now that the series is only read in album format and serial publishing is less common, the "temptation" Peeters describes is even stronger. This mismatch in narrative expectations may be part of why modern readers might struggle to view Tintin as a teenaged character.

There's one more element to Tintin's strangeness: the world of the series was built around Tintin himself to facilitate his adventures. Vandromme recalls the fact, so obvious that it's easily forgetten, that "Tintin étant ce qu'il est et ne pouvant être un autre, infléchit l'intrigue d'une certaine manière. [...] Remplacez Tintin par le père Fenouillard et il vous faudra modifier l'album de fond en comble. Dans un roman les personnages déterminent les événements avant d'être déterminés par eux" (Tintin, being who he is and unable to be anyone else, influences the story in a certain way. [...] Replace Tintin with the father of the Fenouillards [character from a 19th-century comic about the misadventures of a French family abroad, n.b.] and you'll have to change the album from top to bottom. In a novel, the characters define the events before the events define them"). This point is especially relevant to Tintin given that the series' beginning was, to put it mildly, haphazard. Starting from Soviets, where Tintin is alone with his dog in a bizarre world where he can sneeze down a sewer grate, cut down a tree with a pocketknife, or fistfight a bear - whatever it takes to keep the plot moving - set a precedent for the character: that Tintin, and nobody else, will always triumph over whatever enemy or obstacle he is faced with.

Because it's founded on Tintin himself, there are no real adults in the Adventures, and in fact there can't be any. Preserving Tintin's Soviets-era boy hero status as the world of the series became steadily larger and more realistic created a kind of 'competency warp' where Tintin, along with his young "doubles," Chang and Zorrino, is effectively always the most capable, the master of the situation, while those closest to him who are much older (the Thompsons, Haddock, Calculus...) tend to act rather childishly. I think it's telling that the 1946 introduction of Blake & Mortimer is often hailed in terms like these: that "pour la première fois, les héros n'étaient pas des enfants, mais des adultes responsables dont la psychologie était en parfaite harmonie avec leurs fonctions" ("for the first time, the heroes were not children, but responsible adults whose psychology was in perfect harmony with their roles," emphasis mine). All the major adult characters in Tintin had been introduced at that point, but apparently none of them qualified as "responsible" or properly suited for their positions.

Apostolidès similarly notes a deforming effect: "Tintin est un adolescent qui, sans jamais entrer dans l’âge adulte, rajeunit le monde en se confrontant à lui. Au lieu que le personnage se soumette passivement au monde adulte, s’intègre dans une histoire, vieillisse et meure, c’est l’univers extérieur qui se fige dans le temps au contact du héros" ("Tintin is an adolescent who, without ever entering adulthood, makes the world younger by confronting it. Instead of the character submitting himself passively to the adult world, fitting in to a history, getting older and dying, it's the outside world that freezes in time at the hero's touch"). Not only does Tintin resist adulthood himself, he also protects others from its effects.

There are characters who escape the warp, but they must stay on the very edges of Tintin's orbit. One example is the efficient and no-nonsense Mr. Baxter from the Moon books. He has a real job: he's director of the atomic center, and every time we see him he's actually doing it. He also remains disengaged from the antics of the Marlinspike crew, often exasperated and confused by them. They don't belong in his serious space program, and he doesn't belong in their funny adventure series - hence the clash. Another (and very different) example is Jolyon Wagg. I wish I could remember where I read it, but I once saw it pointed out that Tintin and Wagg almost completely ignore each other; their only direct interaction in the whole series is saying hello to each other exactly once (Emerald p. 17). The unidentified author's point was that Wagg inhabits a world so intensely banal, so different from Tintin's - one with community organizations, salesman jobs, an old mother, an Uncle Anatole, a wife and (a lot of) children - that the two can't even come into contact. Wagg may be almost preternaturally obnoxious, but he's also a genuinely ordinary man in a way that the major characters really aren't.

Tintin must remain the sole and main driver of action, because if he isn't, the series would have to change fundamentally. That means no other character can threaten his role by being more competent and responsible than him - and so the adults become ridiculous and/or irrelevant, and Chang and Zorrino are only allowed to act for one album each. And yet Hergé created Tintin as a teenager, and suggested that a Tintin who progressed past teenagerhood would also grow out of adventure: "Il est difficile, pour un personnage comme ça, à le faire vieillir. Parce que s'il vieillit, il va avoir vingt ans, il va avoir vingt-deux ans, il va rencontrer une jolie fille, il va se marier, il va avoir des enfants..." ("It's hard to make a character like that get older. Because if he gets older, he'll be 20, he'll be 22, he'll meet a pretty girl, he'll get married, he'll have children..."). Tintin passing into adulthood, 'real' adulthood, symbolized here by settling down and starting a family, would make the series just as unsustainable as demoting him to a more technically age-appropriate role would; both sides of the tension between Tintin's youth and his maturity are required to make him a proper adventure hero for children.

And so he remained, as he remains today, the world's most competent teenager.

#tintin #hergé #journal tintin #le petit vingtième #resources #also featuring:#jean-pierre talbot #quick et flupke #jo et zette #alix #chick bill #monsieur barelli #lefranc #ric hochet #jari

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rafeskai · 1 month ago

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Starstruck | Drew Starkey

Chapter Three

Summary: In the bustling crowd of a premiere event for Outer Banks, you find yourself caught up in a chaotic moment, lost in the sea of fans. Desperate for a way out, you stumble into an alley where fate leads you to an unexpected—and painful—encounter with Drew Starkey. What starts as a simple misstep soon spirals into something far more complicated, and your life takes an unexpected turn.

Pairings: Drew Starkey x Reader

Warnings: N/A

Author's Note: SORRY IT TOOK ME SO LONG TO UPDATE OMG. HERE'S A LONG CHAPTER FOR Y'ALL.

Masterlist Here

The faint buzz of your phone woke you before the sun had fully risen. Groggily, you reached for it, expecting some random notification or perhaps an email that could wait. But as you squinted at the screen, Ava’s name popped up, her message in all caps: “CHECK TMZ NOW.”

You rubbed your eyes and mumbled, “What?” It was too early for any kind of drama, but Ava rarely texted in all caps unless it was something urgent—or, more likely, celebrity gossip. Your curiosity finally nudged you to open your browser and type in the site’s name.

The headline on TMZ’s homepage made your stomach drop:

“DREW STARKEY SPOTTED WITH MYSTERIOUS WOMAN”

Your breath hitched as you clicked on the article. There it was: a grainy photo of Drew and you, blurry but unmistakably you. Your heart pounded in your chest. The mask you’d been wearing at the bar covered most of your face, and the dim lighting made it difficult to make out any details. But the white tank top, courtesy of Ava’s insistent styling, was unmistakable.

The article buzzed with speculation.

“Who’s the masked woman spotted with Drew Starkey last night? The Outer Banks star was seen leaving an intimate LA hotspot with an unidentified companion. Sources say the two appeared comfortable and spent several hours together inside the bar. Could this be Drew’s latest flame? Or just a casual night out? Our team are on the case!”

Your stomach churned. You scrolled through the comments section.

“Another mysterious nobody who’ll ghost him in two weeks, I bet.”

“Imagine being her. I’d die to just breathe the same air as Drew Starkey.”

“The way she’s covering her face... suspicious much?”

“She’s definitely hiding something. Maybe she’s married?”

A few deep breaths later, you set your phone down, but the sense of dread didn’t leave. Before you could even collect your thoughts, Ava burst into your room, her messy hair looking like a halo of chaos.

“Y/N!” she squeaked, waving her phone around frantically. “You’re famous.”

You groaned, falling back onto the futon. “No, I’m not. No one even knows it’s me.”

“They will,” Ava said with way too much enthusiasm. “TMZ doesn’t just let this go. They’ll start connecting the dots—who was at the premiere, who’s wearing that outfit in public, and eventually, they’ll figure it out. It’s only a matter of time.”

You ran your hands through your hair. “I’m never wearing that outfit again.”

Ava ignored you, pacing back and forth. “Look, we have two options. One: deny everything, keep your head down, and hope the internet finds someone else to obsess over. Or two: lean into it. You’re the enigmatic mystery woman. Milk it for all it’s worth.”

You shot her a flat look. “Option two isn’t happening.”

“Fine, fine,” Ava said with a dramatic sigh, flopping onto the futon next to you. “But come on! You have to admit, it’s kind of cool. You’re the first non-celebrity girl to pop up in Drew Starkey’s dating rumors without getting immediately torn apart. That means something.”

“Yeah,” you muttered, rubbing your temples, “it means I have to be extra careful. I don’t want my life blasted all over the internet.”

“Don’t worry,” Ava reassured you, her hand resting gently on your shoulder. “We’ll figure it out. And honestly? If Drew’s as decent as he seemed, he won’t let this get weird.”

⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

Later that afternoon, as you sat in the corner of your room, your phone buzzed again. This time, the name on the screen made your heart skip: Drew.

Drew: “Hey, you good? Saw the TMZ thing. Sorry if this is overwhelming. Let me know if there’s anything I can do.”

You stared at his message for a moment, a mix of relief and panic flooding you. You could feel the weight of the situation pressing down. Part of you wanted to brush it off, pretend it wasn’t a big deal. But another part of you—the one that was still a little overwhelmed by the chaos—was grateful for his words of concern.

You: “I’m fine. Just... not used to this. Do you deal with this kind of thing a lot?”

Drew: “More than I’d like, yeah. But it usually blows over fast. People move on to the next headline. If you need me to talk to PR or anything, I can.”

You winced at the thought of involving PR—public statements, press releases—it all felt too formal, too... invasive.

You: “I don’t think it’s necessary. As long as they don’t figure out it’s me, I’ll survive.”

There was a pause before Drew’s response came through.

Drew: “If it helps, you’re handling this way better than I did the first time TMZ came for me. If you need to vent or just want a distraction, hit me up.”

His offer to just talk made you smile. You weren’t entirely sure what to say back, so you typed a quick reply, thanking him for the message, and then set your phone down.

As the day wore on, things quieted down. TMZ didn’t update the story, and the internet’s attention began to shift. Without a clear shot of your face or any definitive details about your identity, people started to lose interest. But that didn’t mean it was over for you.

⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

The day crawled forward, each passing hour a mix of relief and unease. It seemed TMZ's interest in Drew’s “mystery woman” had dwindled without a fresh lead to stoke the flames. By early evening, the frenzy online was noticeably quieter.

Still, the tension in the air lingered, like a storm that had passed but left the skies unsettled.

Ava had mercifully stopped treating the situation like a red-carpet event. She sat cross-legged on the living room floor, scrolling aimlessly through her phone while munching on a bag of popcorn. You paced nearby, trying to shake off the knot of nerves in your stomach.

Then your phone buzzed. It was Drew again.

Drew: “Can I come over for a bit? Just got done with a photoshoot and paparazzi are everywhere outside my place, and I need to lay low for a while.”

Your heart leapt at the thought of him showing up at your apartment—your quiet, nondescript little corner of the city suddenly becoming a refuge for Drew Starkey. You glanced at Ava, who raised an eyebrow as she noticed your sudden stillness.

You: “Yeah, sure. How are you going to get here without being seen?”

Drew: “I’ll figure it out. I know a back way in. Just text me your address.”

You hesitated for a moment, then sent the details. It wasn’t long before he replied.

Drew: “Be there in 15. Thanks, by the way.”

The next 15 minutes passed in a blur. You hurriedly cleared the living room of any clutter, your nerves bubbling into a chaotic energy. Ava, meanwhile, perched on the couch with a dazed grin, clearly trying to play it cool but failing miserably.

When the soft knock finally came at the door, your pulse quickened. Ava bolted upright, her excitement palpable. “This is it,” she whispered, clutching the couch cushion like it was the only thing keeping her grounded.

You opened the door, and there he was—Drew, in a plain hoodie and baseball cap, looking like any regular guy. He offered a small smile, his eyes scanning the hallway before stepping inside.

“Hey,” he said softly. “Thanks for this.”

“No problem,” you replied, closing the door behind him. “Figured you could use some peace.”

Ava, standing awkwardly by the couch, let out a shaky laugh. “Hi. Um. Wow. Hi.”

Drew chuckled, clearly used to this reaction but handling it with grace. “Hey. You must be Ava.”

She nodded rapidly, then promptly sat back down, her face bright red. Drew turned to you, his smile warm but tired. “I hope I’m not imposing.”

“Not at all,” you said, motioning for him to sit. “Make yourself at home.”

As he settled onto the couch, Ava finally seemed to snap out of her starstruck trance—at least a little. “Do you need anything? Water? Snacks? I have... popcorn?” she offered, holding up the bag as if it were a peace offering.

Drew smiled. “Popcorn sounds great, actually.”

Ava handed over the bag, then promptly excused herself to the kitchen under the guise of making tea, though you suspected she just needed a moment to compose herself. That left you and Drew alone in the living room.

“So,” he said, leaning back slightly. “How’s your day been? Any more chaos?”

You laughed softly. “Thankfully, no. The internet seems to be moving on. I think we’re in the clear.”

“That’s good,” he said, popping a kernel of popcorn into his mouth. “I feel bad for dragging you into this.”

“It’s not your fault,” you said, sitting down on the armchair across from him. “It’s not like you invited TMZ to follow you.”

He gave a wry smile. “Still, I appreciate you being so cool about it. Most people would be freaking out.”

“I think Ava freaked out enough for both of us,” you joked, glancing toward the kitchen. Drew laughed, the sound light and genuine, and you couldn’t help but feel the tension in the room ease.

Over the next hour, the conversation flowed surprisingly easily. Drew talked about his hectic schedule, his favorite low-key spots in LA, and a few funny on-set stories that had you laughing until your sides hurt. Ava eventually returned, having calmed down enough to join in without squealing every time Drew spoke.

As the evening wore on, the initial awkwardness faded entirely. Drew’s presence felt natural—like he belonged there, sitting on your couch, sharing popcorn and swapping stories. It was almost too easy to forget who he was, how absurd this situation really was.

At one point, Ava let out a dramatic yawn and stretched. “I’m gonna call it a night,” she said, giving you a not-so-subtle wink before retreating to her room.

That left you and Drew alone again, the apartment quiet except for the faint hum of the city outside. He leaned back against the couch, his gaze soft as he looked at you.

“Thanks again for letting me crash here,” he said. “I really needed a break from... all of it.”

You smiled. “Anytime. Seriously. It’s nice having company.”

He held your gaze for a moment, and you felt a flutter of something unspoken pass between you. Then he grinned, breaking the moment. “Well, if TMZ ever finds out about this, at least I’ll have a great story to tell.”

You laughed, shaking your head. “Let’s hope it doesn’t come to that.”

⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

The evening stretched on, a slow dance of easy conversation and laughter. It felt surreal—Drew Starkey, the star of Outer Banks and Queer, sitting in your living room, eating popcorn and talking about his favorite movies like any regular person. But the longer he stayed, the more normal everything felt. He wasn’t a celebrity in this space. He was just Drew, the guy sitting across from you, making you laugh and sharing little bits of his world.

Ava had retreated to her room after her not-so-subtle hint about bedtime, leaving you and Drew alone in the living room. You didn’t mind—it gave you the space to talk without interruptions, to get to know each other a little more.

“I’ve been meaning to ask,” Drew said after a pause, setting the popcorn down on the coffee table and shifting slightly on the couch. “What do you do when you’re not dealing with... all of this?”

You couldn’t help but laugh a little at the way he gestured vaguely around the room “Nothing nearly as exciting as your life, that’s for sure.”

He smiled, his eyes softening. “I’m sure that’s not true, although it’s definitely a different world, being in the spotlight like this.” He paused for a moment, his tone thoughtful. “I think people forget that celebrities are just people, you know?”

“I think people forget that about anyone, really,” you said with a shrug. “Everyone’s got their own thing going on. Whether you’re famous or not, it’s all the same. We all have our struggles, our ups and downs.”

“Yeah,” he agreed quietly, nodding. “I think that’s what I miss most sometimes. Just... being able to go out without feeling like everyone’s watching, analyzing your every move.”

You looked at him, the weight of his words sinking in. You hadn’t really considered how strange it must be to live under that kind of constant scrutiny. You found yourself wanting to offer him something more than just sympathy. “You don’t have to be ‘Drew Starkey’ tonight,” you said gently. “You’re just... Drew. And I’m just me. No TMZ, no cameras, no headlines.”

His smile returned, a little softer this time. “I like that. I really like that.”

The conversation drifted effortlessly from one topic to another. You talked about favorite childhood memories, your go-to comfort foods, and the last book you’d both read. He listened with an openness that made you feel like you could share just about anything, and the more you spoke, the more at ease you became.

Drew revealed little snippets about his life that were both surprising and comforting. Like how he had a weird obsession with vintage comic books or how, despite being a well-known actor, he still had the same group of friends he’d had since high school. You learned he was surprisingly humble, almost self-deprecating at times, and he had this way of laughing at himself that made him even more relatable.

“You ever go to concerts?” you asked after a moment, trying to steer the conversation toward something lighter.

He grinned, his eyes lighting up. “Oh, I love concerts. I try to hit up a few whenever I can. Nothing like live music, right?”

“Right,” you agreed, smiling back. “There’s just something about the energy in the air. It’s like everyone’s in the same vibe.”

“I’m a sucker for the energy,” Drew said with a nod. “What’s your favorite genre? Or are you more of a ‘whatever’s on’ type?”

“Definitely more of a whatever’s on type,” you said, laughing. “I like a little bit of everything. But I do have a soft spot for indie rock. You?”

“Indie rock, too,” he said without hesitation. “I swear, I could spend hours listening to bands you’ve never heard of and not even care.”

“That’s the best part, though. The discovery,” you said. “I love finding those hidden gems. The stuff that feels like it’s just yours.”

“I totally get that,” Drew agreed, and there was something about the way he said it—like he really meant it—that made you smile. It was nice, sharing something like that with someone, especially someone you’d barely known just a few hours ago.

As the night wore on, the conversation became less about anything significant and more about just... being. The silence that fell between you wasn��t uncomfortable. It was the kind of silence that happens when you’re with someone you trust, someone you don’t feel the need to fill every moment with words.

You glanced over at the clock on the wall and realized it was past midnight. You yawned, your body starting to feel the effects of the long, unexpected day.

“I think I’m about ready for bed,” you said, stretching a little.

Drew chuckled. “Yeah, me too. It’s been a long day.”

“Thanks for hanging out,” you added, not sure if it sounded too casual, but it felt right. “It’s been nice—just, you know, talking and not worrying about anything.”

Drew smiled, his expression sincere. “Yeah, it’s been nice. Really nice. I’m glad I could... hide out here for a while.”

You grinned. “Anytime.”

He stood up from the couch, stretching his legs. “Well, I guess I should let you get some rest. You’ve probably had enough of me by now.”

“Not at all,” you said, standing as well. “But I think I’m gonna crash before I regret it.”

“Fair enough,” Drew said, his voice warm. “Sleep well, Y/N.”

“You too, Drew. And thanks, again,” you said quietly.

With a final smile, Drew grabbed his hoodie and headed toward the door, turning back for one last glance.

“Goodnight,” he said, before stepping out into the night, leaving you standing there, a feeling of warmth spreading through you.

As you made your way back to your room, you realized just how much you’d enjoyed the unexpected company, the quiet conversation, the sense of connection with someone who, for a few hours, was just like you. No drama, no paparazzi—just two people talking about life.

You crawled into bed, your thoughts swirling with everything that had happened, the night’s laughter still echoing softly in your mind. And for the first time that day, you felt... peaceful.

⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

The next morning, you woke up to a quiet, almost peaceful stillness. The events of the previous day felt like a dream—Drew in your living room, hanging out like any other person, sharing stories and laughter. The time spent with him had left you feeling light, surprisingly at ease considering everything that had happened. You couldn’t remember the last time you’d spent an entire night without feeling the weight of your worries, the world of social media, or the endless noise in your head.

You sat up, stretching, and reached for your phone. The screen lit up with a message from Drew.

Drew: "Hey, hope you slept well. I know we just met, but I was wondering if you’d be up for an adventure today. I’ve got a couple days left in LA before work picks back up, and I could use a break from the usual."

Your heart skipped a beat. An adventure? Just the two of you? The idea was tempting, and, honestly, you hadn’t expected him to reach out so soon after everything that had happened. But there was something about his message that felt... genuine. Like he just wanted to spend time with you, not because of the headlines or the drama, but because you’d connected.

You chewed on your lip for a moment, debating the logistics. It was sudden, but at the same time, it felt like a chance to break away from the chaos, to have a normal, carefree day. Maybe that’s exactly what you needed.

You typed back quickly, the excitement creeping in.

You: "I’m in. What do you have in mind?"

A few minutes later, his reply came through, and you couldn’t help but grin.

Drew: "Perfect. How about we start with a hike? I’ve heard this great spot in the hills with a killer view of the city. We can grab breakfast after and see where the day takes us. No paparazzi, no drama—just a chance to be outside for a bit."

You could almost hear his grin through the text, and you found yourself feeling a little giddy. It had been forever since you’d just wandered, no plans, no expectations.

You: "That sounds perfect. What time do you want to meet?"

Drew: "How about 9? Gives us a little time to get our bearings, but still plenty of daylight. I’ll pick you up at your place."

You: "Deal. I’ll be ready."

The exchange left you buzzing with excitement. There was something about this—a spontaneous day with Drew, exploring LA without the pressure of anything. Just... living in the moment.

You quickly jumped out of bed, got dressed, and packed a small bag with the essentials: water, sunscreen, a hat—anything that would make the day more enjoyable. As you glanced in the mirror, you couldn’t help but feel a little self-conscious. It was one thing to hang out with Drew at your place, but hiking? A day out in the open? You weren’t sure what to expect, but you figured you’d roll with it.

A few hours later, the knock on your door jolted you from your thoughts. You opened it to find Drew standing there, dressed casually in a t-shirt, athletic shorts, and sneakers, his hair slightly windblown as if he’d already been out for a little while. He was holding a water bottle in one hand, a wide, genuine smile on his face.

“You ready for this?” he asked, his eyes glinting with the same excitement you felt bubbling inside.

You grinned back, nodding. “I think so. Lead the way.”

He chuckled and gestured for you to follow him down to the car, where the day’s adventure would begin.

The drive was surprisingly calm, with Drew playing some laid-back tunes and chatting about random things—his love of LA's hidden gems, how he’d gotten into hiking recently, and how crazy it was that he was actually getting a few days to relax between filming schedules. You felt yourself easing into the rhythm of the day, his presence comfortable, easy.

As you reached the trailhead, you couldn’t help but stare at the sprawling view of the city below, the sprawling landscape unfolding in front of you like something out of a postcard. The hills were quiet, a peaceful escape from the noise of LA.

Drew turned to you with a playful grin. “Ready to get your steps in?”

You raised an eyebrow, matching his grin. “I’m ready. Let’s do this.”

And so, the two of you set off, the trail winding upward through trees and rocky paths, the air crisp with morning freshness. The conversation flowed easily between you both, sometimes serious, sometimes silly. You talked about your favorite movies, shared memories of childhood adventures, and joked about the ridiculousness of modern-day life, social media, and the constant pressure to perform.

The higher you climbed, the more the city seemed to disappear, swallowed by the dense trees and distant mountains. You took breaks along the way, sitting on rocks and chatting, letting the quiet calm of nature seep into your bones. There was something so refreshing about being away from it all, away from the spotlight and the noise, and just sharing these small, human moments.

After a few hours, you finally reached the summit. The view was nothing short of breathtaking. You could see the entire city sprawled out below you, the glittering skyline on one side, the ocean stretching off into the horizon on the other. Drew sat down on a large rock, motioning for you to join him.

You settled next to him, the moment stretching out peacefully between you. Drew glanced over at you, his gaze soft and contemplative.

“You’re quiet all of a sudden,” he teased lightly.

You shrugged, letting the view speak for itself. “It’s just... a nice change of pace. Everything feels so loud sometimes, especially in LA, you know? But up here, it’s just... quiet.”

“I know exactly what you mean,” Drew said, his voice quieter now, a touch more serious. “It’s nice to get away from everything, even if it’s just for a few hours. No expectations, no noise. Just... living.”

You smiled, your heart feeling lighter than it had in days. It felt like this was exactly what you needed—a simple day of adventure, of discovering new places and enjoying the company of someone who wasn’t focused on all the distractions of the world.

After a long while, you both stood up and started the trek back down the trail, still laughing and joking, your connection growing deeper with every passing moment.

When you reached the car, Drew turned to you, a mischievous glint in his eye. “So, breakfast time?”

You nodded enthusiastically. “I’ve never earned a meal so much in my life.”

“Great,” Drew said with a wink. “Let’s go get some pancakes.”

⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

The drive to the diner was easy, the calm of the road soothing your nerves. Drew didn’t put on any music this time, letting the hum of the tires on the pavement fill the air as you both enjoyed the simple comfort of the drive. It felt grounding to be out of the whirlwind, just the two of you cruising through LA, away from everything else. No flashing lights, no rumors. Just a quiet moment.

When you arrived at the diner, it was an unassuming little place on a corner, a slice of nostalgia with its neon sign flickering invitingly. The retro décor inside felt like stepping into another time, and you immediately felt at ease in the warm, cozy atmosphere. Drew led the way, holding the door open for you with a smile that made everything feel effortless.

“Welcome to the best pancake spot in LA,” he said with a grin. “Trust me, they know what they’re doing here.”

You smiled, following him inside, and the waitress greeted you both with a friendly nod before leading you to a booth by the window. It wasn’t crowded, and the faint murmur of conversations filled the background as you both settled into your seats. It was the kind of place where you could be left alone to enjoy your meal, and the thought of it made you feel even more relaxed.

The waitress handed you both menus, and Drew glanced at his for a moment before looking up at you. “So, you’ve been in LA for what, a couple of days now?” he asked, his eyes bright with curiosity. “How’s it been? Adjusting from your small town?”

You hesitated for just a moment, taking in his question. It felt strange to admit just how big the change had been. In your small hometown, everything was familiar, comfortable, but LA was… overwhelming, in a good way, mostly. You had come here for something new, but that didn’t mean it wasn’t a challenge.

“It’s been… different,” you said, shrugging slightly. “I mean, I grew up in a town where everyone knew everyone. You can’t walk into a store without running into half the people you know. LA’s kind of the opposite—huge, anonymous. It’s been nice, but also a little isolating. That’s why I’ve been trying to make sure I don’t get stuck in my own head too much. I’ve been trying to actually explore, you know? Get out and see the city.”

Drew nodded, his gaze steady, like he was really listening. “Yeah, I get that. LA can swallow you up if you let it. But it’s all about finding your rhythm. I think that’s why I love getting out of the city sometimes, doing stuff that reminds me what life’s like beyond the buzz.”

You smiled, feeling like you could connect with that more than you expected. “Exactly. It’s easy to forget there’s more to life than all this. I’m still figuring out how to balance it all.”

“That’s the thing with LA,” Drew said with a half-smile. “Everyone thinks you’re supposed to be constantly on the go, constantly working. But sometimes the best days are the ones where you’re just… present.”

His words made you pause, and you felt like the weight of the conversation wasn’t just passing by—it was something real. For someone who had so much of the world watching him, Drew seemed to get it, more than you expected. He was speaking to something you’d been trying to figure out since you’d gotten here: what life could look like outside the noise.

Before you could respond, the waitress returned, and you both ordered your meals, Drew sticking with his usual blueberry pancakes and you opting for a classic stack of buttermilks with a side of crispy bacon. The conversation drifted for a moment into lighter territory—favorite foods, places to visit in LA—but you felt the undercurrent of a real connection building between you.

As the waitress set down your pancakes, the sun had already climbed higher in the sky. You dug in, savoring the warmth and comfort of the food. It wasn’t just the pancakes you were enjoying—it was the feeling of normalcy, the feeling of being with someone who made you forget all the distractions.

“So,” Drew said between bites, “I remember you telling me that you came out here for a change. What was it like before? Your small town, I mean.”

You glanced at him, taken a little off guard by the question. You hadn’t really talked about your past in detail, and you weren’t sure how much to share. But Drew seemed genuinely curious, and something about the way he asked made it easier to open up.

“It was a lot quieter,” you said, your voice soft as you thought about your hometown. “A lot of people stick to the same routine, year after year. It wasn’t bad, but I knew it wasn’t the life I wanted. I needed something… bigger, I guess. Something where I could challenge myself. I didn’t want to wake up in ten years and feel like I hadn’t tried.”

Drew’s eyes softened with understanding. “Yeah. I get that. LA’s definitely a place that pushes you out of your comfort zone. I think that’s what I like about it, too—if you’re brave enough, it’ll make you grow.”

You nodded, feeling the truth of his words sink in. “I guess I’m just figuring out what that looks like.”

“I think that’s the beauty of it,” Drew said. “You don’t have to have it all figured out. The point is just… living it, you know?”

His words hit home in a way you hadn’t expected. Maybe it was the sincerity in his voice or the ease with which he spoke, but you felt like you were hearing something important. Maybe it wasn’t about having everything lined up or planned out. Maybe it was more about being open to the journey.

You smiled, realizing that being here, right now, with Drew, was a part of that journey.

After finishing your pancakes, Drew leaned back in his booth, looking satisfied. “So, what’s next? I know you’ve probably seen all the tourist stuff by now, but I’m thinking we hit some places that aren’t on the usual list. You up for an adventure?”

Your heart skipped a beat at the thought. You had only just started getting to know LA, and the idea of seeing it through someone else’s eyes—someone who had lived here long enough to know the best hidden gems—sounded perfect.

“Adventure sounds great,” you said with a grin. “What do you have in mind?”

Drew grinned back, his eyes sparkling with excitement. “You’ll see. Let’s go.”

And just like that, you were back on the road, ready for whatever Drew had planned. You didn’t know what the day would hold, but you were more than ready to find out. The city, with all its chaos and beauty, didn’t feel so overwhelming anymore. Not when you had someone by your side who understood what it meant to be in search of something more.

⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

As you and Drew cruised through the winding streets toward the beach, the excitement you felt earlier in the day had started to shift. There was a sense of unease building in the pit of your stomach, and you couldn’t put your finger on why. You’d spent the morning laughing, talking about your favorite places in the city, and getting to know each other more. But as the car neared the coast, something began to feel off.

Drew was in high spirits, excited about showing you something he loved. But just as you started to relax again, you noticed something—you hadn’t seen a single paparazzi yet. For a moment, you told yourself it was just coincidence. LA wasn’t that small, right?

Then, the first click of a camera caught your ear.

You froze, eyes darting toward the rearview mirror. Drew, blissfully unaware, was focused on the road, humming lightly to the music. But you could see them now—two cars trailing a little too closely. Paparazzi.

Your stomach dropped, and before you could say anything, Drew swore under his breath, his expression darkening.

“Shit,” he muttered, hands tightening on the wheel. “Of course, they found us.”

You started to speak, but Drew was already acting. He began weaving through traffic, trying to shake them off, but the paparazzi followed relentlessly. You felt yourself growing more anxious with each passing second, the buzz of the chase creeping into your nerves.

“This is ridiculous,” you said, glancing over at him, trying to make light of the situation. “We were just going to the beach.”

Drew’s eyes flickered toward you, but it wasn’t the same relaxed, playful Drew from earlier. He looked frustrated, panicked almost. “Yeah, well, this is what happens when you’re seen with someone like me.”

The words hit you harder than you expected, the weight of them sinking deep into your chest. You blinked, processing. “What do you mean, someone like you?”

Drew shook his head, his jaw tight. “I mean, me—a celebrity. People want to know every little thing about me. And now I have to deal with it because I invited you along. People are going to start thinking you're just another hanger-on, someone who wants to use me for the attention.”

His voice wasn’t cruel, but the implication stung all the same. It felt like he’d just dismissed everything about you—everything you were. As if your presence wasn’t your own choice but something tied to his fame, and he didn’t even see how that could hurt. You could feel the heat rise in your chest, the hurt twisting in your gut.

You opened your mouth to respond but stopped yourself. What could you say? You weren’t sure if you were hurt more by the words themselves or by the way they seemed to come so naturally to him. It felt like you were an accessory to his life, just something he had to keep in line to avoid drama. And yet, you hadn’t asked for any of this.

Before you could process it any further, Drew pulled into an alley near a side street, his car screeching to a halt as he scrambled to hide. He turned to you quickly, his eyes frantic. “Put this on.” He reached into the back seat and threw a dark hoodie at you.

“What’s this?” you asked, holding it up.

“A disguise,” he said, voice clipped. “Just do it, okay? I need you to look like someone else right now.”

You stared at the hoodie in your hands, a sinking feeling growing inside you. He was treating this like a game, like you were just a prop to be hidden away. You didn’t have time to argue, though—he was already turning the car around, trying to make his escape.

Your fingers fumbled with the hoodie as you quickly pulled it over your head, the oversized fabric swallowing you. Your mind was spinning, and you couldn’t shake the uncomfortable feeling gnawing at you. The way he’d talked to you, the way he was treating you—it felt like he was just seeing you as a part of his world, not you. And that hurt more than anything else.

“We can switch cars with Ava.” You offered. Within minutes, you were back at Ava’s apartment, and Drew was practically dragging you inside, his eyes scanning the street as if expecting a mob to pop up at any moment. He rushed you into the apartment, clearly panicked, and you could tell his nerves were getting the better of him.

“We need to go. We can’t stay here,” he said urgently, tossing a bag into the back of Ava’s almost-broken-down car. He had barely taken a second to notice the difference in the car’s condition before he threw the keys into your hands.

You didn’t protest—this was his world, after all. You just followed him, your stomach twisting, feeling more like an afterthought in his plans. The more you saw of this side of Drew, the more you realized that it wasn’t just the paparazzi that were a problem—it was the way he expected you to just fit into it, without a word.

The car started, and Drew floored it as he raced toward the mountains, hoping to escape the frenzy for a while. The roads became more winding, the city skyline fading behind you. But the paparazzi didn’t give up so easily, and just when you thought you were free, you saw the familiar outline of the cars in the rearview mirror.

You sighed. “They’re still following us.”

Drew’s knuckles were white on the steering wheel. “This is ridiculous,” he muttered under his breath. “They can’t leave us alone for five minutes.”

In an effort to lose them, Drew took a sharp turn onto a stray road, one that seemed to go deeper into the mountains. The road grew narrower, the trees thicker, but the paparazzi stayed right behind. You felt your patience wearing thin, and as the car started to slow, Drew cursed again.

“We’re lost, aren’t we?” you said dryly, looking out the window at the dense trees that surrounded you.

“I’m just trying to shake them,” Drew replied, trying to hide the frustration in his voice, but you could hear it clearly.

A moment later, the car sputtered and came to a stop.

Drew swore again, banging his hands on the steering wheel. “Shit! We’re stuck.”

You groaned, leaning back in your seat, the weight of everything crashing down on you. “Are you kidding me? We’re stuck in the middle of nowhere, and we’re lost?”

“I didn’t plan this,” Drew snapped. “You think I wanted this?”

“Obviously you didn’t think this through,” you retorted, your voice rising in frustration. “We’re out here because you couldn’t accept that people are following you. You forced me into a disguise, dragged me out of the city, and now we’re stuck in the mud!”

Drew turned to you, his face hard. “You think I wanted any of this? I didn’t ask for this either, you know. I didn’t ask to be followed around by paparazzi all the time. I didn’t ask for people like you to get involved in my life.”

The words stung, and for a moment, you felt something inside snap. “You don’t get it,” you said, voice trembling with emotion. “I didn’t ask for any of this either. I came to LA for a fresh start, to get away from all of that. But now I’m just here, stuck with you in the middle of nowhere, pretending to be someone I’m not, and for what?”

Drew’s face softened, but the damage was already done. You couldn’t look at him anymore. The silence between you both was deafening as you sat in the car, the weight of the moment pressing down on you.

You weren’t sure what you were more upset about—the situation itself, or the way Drew had made you feel so small.

⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯

The car sat idling in the middle of nowhere, its engine sputtering one last time before dying with a sad cough. You stared at the dense forest surrounding you, the humid air creeping into the small confines of Ava’s beat-up car. Drew banged his fists lightly on the steering wheel and groaned, muttering something under his breath.

“I can’t believe this,” you muttered, unbuckling your seatbelt. “We’re literally stuck in the middle of nowhere because you—”

“Because me?” Drew interrupted, incredulous, turning toward you with wide eyes. “Let’s not forget, the only reason we’re here is because I’m trying to protect you.”

“Protect me?” you shot back, your voice rising. “You mean forcing me into a disguise, dragging me into some wild goose chase to avoid a couple of cameras, and now stranding me in the wilderness counts as protection?”

“You think I enjoy this?” Drew countered, gesturing wildly at the forest. “You think I wanted to get stuck in mud, in a car that sounds like it might explode at any moment?”

“Don’t you dare blame Ava’s car!” you snapped, your voice almost a growl. “It’s a miracle this thing even runs, and honestly, I’d trust it over you right now!”

Drew opened his mouth, then shut it, running a hand through his hair in frustration. “This is ridiculous,” he muttered. “We should be working together, not blaming each other.”

“Oh, now you want teamwork?” you scoffed, crossing your arms. “You mean after you implied I’m some leech who can’t handle your celebrity life?”

“I didn’t mean it like that,” Drew said quickly, his tone defensive. “I was frustrated, okay? You don’t know what it’s like having your every move watched.”

“I didn’t ask for this!” you yelled, finally stepping out of the car. The humid air hit you, but you didn’t care. You needed to move. “You dragged me into this! I just wanted a nice day out, and instead, I’m in the middle of nowhere, wearing your hoodie, and wondering if I’m about to be eaten by a bear.”

Drew stepped out of the car too, holding his hands up in surrender. “Okay, first of all, there are no bears here—probably. Second, I was just trying to make the day fun.”

“Oh, yeah, super fun,” you shot back sarcastically, pacing in front of him. “Getting chased by paparazzi, being forced into a hoodie that smells like Axe body spray—real thrilling.”

Drew blinked. “Axe body spray? That’s Tom Ford.”

“Whatever,” you said, throwing your hands up. “It all smells the same when you’re stressed out and stuck in the mud!”

Drew sighed, leaning against the car, his head tilted back. “Look, I’m sorry, okay? I didn’t think it would get this bad.”

“You didn’t think at all!” you snapped, poking a finger at his chest. “And now we’re stranded, because apparently, your grand plan to escape paparazzi is to drive until the Earth swallows us whole.”

“Hey!” Drew said, his tone turning defensive again. “I was improvising. I didn’t see you coming up with any ideas!”

“Because I didn’t sign up to be part of your personal action movie!” you shot back.

There was a beat of silence before Drew’s lips quirked upward, the tiniest hint of a smirk forming.

“What?” you demanded, narrowing your eyes at him.

“You’re cute when you’re mad,” he said, a lazy grin spreading across his face.

You blinked, caught completely off guard. “Excuse me?”

“I mean,” Drew continued, leaning slightly closer, “the way you’re all fiery and passionate right now—it’s kind of hot.”

You gaped at him, utterly speechless. “Are you—are you seriously trying to flirt your way out of this argument?”

“Depends,” he said, his smirk growing. “Is it working?”

You let out a sharp laugh, more out of disbelief than humor. “You’re unbelievable.”

“Unbelievably charming?” he quipped, raising an eyebrow.

“Unbelievably infuriating,” you corrected, throwing your hands up. “I’m out of here.”

You turned on your heel and started walking toward the road, your footsteps crunching against the gravel. Drew scrambled after you.

“Wait! You can’t just storm off into the wilderness!” he called.

“Watch me,” you shot back, not breaking stride.

“Y/N,” Drew said, his voice dropping into a softer, coaxing tone. “Come on. You don’t want to leave me here all alone, do you?”

“Oh, don’t worry,” you said, turning around to glare at him. “I’m sure you can charm the forest animals into helping you out.”

Drew stopped in his tracks, his mouth opening and closing like he wanted to say something but couldn’t find the words. Finally, he sighed and threw his hands up in surrender. “Okay, okay. You win. I screwed up.”

You raised an eyebrow, crossing your arms. “Go on.”

“I’ll admit,” he said, rubbing the back of his neck, “I didn’t think this through. I was trying to be... I don’t know, spontaneous? Adventurous?”

“Well, congratulations,” you said dryly. “You’ve succeeded in creating the most chaotic adventure of all time.”

Drew chuckled softly, his eyes meeting yours with a hint of guilt. “I’ll fix it. I promise. Just... don’t walk away, okay?”

You sighed, the fight draining out of you as his expression softened. “Fine,” you said reluctantly. “But if we get eaten by a bear, I’m haunting you.”

“Deal,” Drew said, grinning. And despite everything, you found yourself smiling back—just a little.

#rafe cameron #rafe cameron x reader #outer banks #outer banks x reader #obx #obx x reader #drew starkey #drew starkey x reader #rafe cameron obx #rafe cameron request #rafe cameron season 4 #drew starkey fanfiction #starstruck

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superficialdomina · 1 month ago

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Down Under - Part 1

Series masterlist

Part 1

“The epicentre of the outbreak,” Steve was saying to his bleary-eyed team, “appears to be here.” His long pointer made a thwack as it struck the wall map somewhere in the south of Australia. His accompanying PowerPoint ticked over to a slide showing a photo of a single road running through a smattering of houses, deserted save for a large mob of kangaroos. Nice shot, you thought, as you covered a yawn with the back of your hand.

“The village of Hall’s Gap,” Steve continued, “population 496. The Victorian Premier’s Office has been in touch with us tonight – that is, this morning –"

He pulled his wrist away from his face and blinked rapidly in an effort to check his watch. 4.30 am.

“Ahem. What I mean to say is, the local government has asked us to investigate what seems to be an outbreak of an unusual contagious illness. Fortunately, the remoteness of the locale means that the infection is so far contained to this small township. However, speed and discretion remain of the utmost importance.”

Your sleepy mind began to catch on. A contagion outbreak? In Victoria? An Australian mission... You nervously tried to blink away some of the fatigue. You were the obvious choice – a local, an ex-pat. Am I about to be sent home?

Bruce stood, drawing eyes to him in the semi-light afforded by the projector. “Ah – yeah,” he said. “Sorry to get you all up at this hour. But the faster we get in, find the source, and treat the patients, the better chance we have of eradicating it.”

“Hang on,” Barton interrupted, rubbing an eye, “hang on. Just back up a minute. What exactly do you mean, “unusual illness”?”

“Ah – yeah,” Banner said again, his face pink. “I’ll - I’ll just show you.” The PowerPoint ticked over again, and Steve averted his eyes.

This time it was footage. The scene was grainy and captured from above, as though on a cheap security camera; it looked like the front room of a bank. Clusters of bodies, dozens of them, writhed on – or against – every surface. There was no sound, but there was also no mistaking what they were doing.

The conference room was suddenly wide awake.

“Wait...” Natasha spoke to Bruce without moving her eyes from the scene. “Are they?...”

“Involved in coitus, yes,” Steve answered instead, his gaze still resolutely at the floor. “The major symptom of infection is what you see here: an insatiable… desire. For copulation.” He swallowed. “For sexual intercourse.”

Voices broke out across the room. “Brother,” you heard Loki chuckle, “does it not remind you of that party we attended on Vanaheim?”

Rogers spoke over the noise, having overcome his embarrassment. “The repercussions of infection are serious. We mean truly insatiable; patients are forgetting to eat, drink, or sleep. We believe several lives have been lost.”

Muted respect fell over the room, and Bruce spoke again. “I need to get in there and collect a sample in order to prepare treatment options – ideally a vaccine.”

You finally found voice to speak. “Can’t Australia just send you a sample? Why do we need to go in?”

“Great idea,” Tony broke in. “Except that no one who’s entered Hall’s Gap in the past week has come out.”

Steve took over again. “We suspect this is a Hydra bioweapon pilot, possibly released from a hidden location in the nearby national park.” Another slide, this time of picturesque wilderness: mountain streams and gushing waterfalls framed by towering eucalypts and sheer rockfaces. “To that end, our objectives are two-fold. Collect a sample for analysis, and find and neutralise the Hydra base.”

There was a brief silence before Clint spoke again. “Alright, Cap. Who’s going in?”

“It will just be four of you at first; a small group will move faster.” Steve looked directly at you. “As our resident Australian, Agent, I want you on the ground.” You had been expecting the order, but a pit still instantly formed in your stomach. “A local SHIELD operative will meet you and guide you in. Banner will obviously join you… As will our Asgardian brothers here.”

Thor rolled his shoulders back and gave a pompous nod, but Loki narrowed his eyes. “Why?” he asked.

“You never get sick,” Stark cut in again. “Remember that flu that ripped through here in February? The two of you didn’t even sneeze. We don’t know what this is, but you’re the safest bet when it comes to any degree of innate immunity.”

“The rest of us will wait here for your signal,” Rogers continued. “Any sign of Hydra – any suggestion that you might need support – we’ll be on our way.”

“When do we leave?” you asked.

Steve checked his watch again. “An hour.” He squinted. “Make that – forty-six minutes.”

You always hated take-off. The familiar plummet of your stomach as the Quinjet rose into the air; the crushing embrace as it accelerated to full speed. But once you were safely at cruising altitude and could move about again, flying wasn’t so bad. You sat next to Banner as he skillfully piloted the aircraft across the Pacific Ocean, feeling your apprehension grow with every passing mile of open sea.

Focus on the mission, you thought.

“Bruce, if no one has made it back out of Hall’s Gap, how do we know what’s going on there? How did we get that footage?”

“It’s a cloud-recording. When State officials realised no one in town was answering a phone, let alone leaving the area, they accessed the bank’s security footage.” He grinned, but it was mirthless. “Bet they weren’t expecting to see that.”

“So, what – it’s a virus?”

“More likely a fungal pathogen,” Bruce replied. “There’s a cordyceps fungus that does something similar to ghost moths in the Himalayas. I’ve got some generic antifungal meds that we’ll all take as a precaution, but I can’t develop a proper vaccine until I’ve got a sample.”

“How do you get a sample?”

“From infected brain tissue,” Bruce said grimly.

You were interrupted by a deep yelp from behind, and you turned to see Thor shaking out his right hand as though stung. The brothers were passing time with a game that looked like a combination of rock-paper-scissors and bloody knuckles. Loki leaned back in his seat, his cat-got-the-cream expression widening. One long, leather-clad leg stretched out into the aisle; the other bent at the knee so that his foot could rest on the seat in front. You could see the raised outline of his quadriceps. He lifted his arms to settle his hands behind his head, the card of his slender fingers through his own hair making you squirm. Why are the pretty ones always such dickheads?

You mentally shook yourself. Loki’s smarm and sex appeal were irrelevant. People were dying.

Rage flared within you. How dare they. Hydra had targeted Australia not because it posed a threat, or because the location gave them a tactical advantage. It was because a test release of a bioweapon in a place like Hall’s Gap was easy to hide.

Remote. Wild. Dangerous.

You pushed Loki’s long limbs out of your mind. Without your full concentration, the mission could be deadly.

It was after midnight local time when the Quinjet began descending.

“Ten minutes, guys,” Banner said, as the altimeter rapidly ticked down.

Loki stood, making a big show of stretching, his leather armour creaking. He caught you watching him and gave a wolfish grin, then a small shrug of his left shoulder.

You almost jumped in surprise. Green light licked up his body, and the black leather was replaced by sensible, climate-appropriate clothing: a lightweight collared shirt open over a tight, V-necked tank top, and moleskin hiking pants. A small triangle of pale flesh was visible at his shoulder where his layers left a gap. You had to make a conscious effort to close your mouth. Sensible, but hot as hell. I bet those pants make his ass look amazing.

He winked at you from under the wide brim of a dark-brown Akubra, resplendent with what looked like kookaburra feathers, as Banner landed on a grassy flat at the fringe of the Australian desert.

“We’ll sleep here the rest of the night,” he said, as the group descended the Quinjet ramp into the warm, moonless night. “There’s a local guide meeting us in the morning, then it’s a day’s hike into Hall’s Gap. Can’t risk flying any closer and being detected, in case Hydra really is nearby. We’ll stay off the roads for the same reason.”

“When you say, ‘here’…” Loki looked around the rough clearing distastefully.

“Loki, you must learn to tolerate the lesser comforts!” Thor’s jovial voice was louder than ever in the abandoned night. “Remember the time you stole away from the Queen’s retinue at Mimisbrunnen because the baths were too cold…”

You followed the sound of running water to a nearby stream, surrounded by the scent of eucalyptus and tea tree. As water trickled into your canteen, leaves rustled; the movement of some large marsupial, disturbed by your presence. It was unexpectedly comforting.

It’s been too long, you thought, as memory flooded your senses. But then, once upon a time, I didn’t think I’d ever be back again.

There was a slapping sound from the group, and a swear word in a foreign language. “What in Hel?!” Thor spluttered. “These biting insects are the size of small birds!” The hiss of an aerosol can quickly followed, as Banner generously doused him in mosquito repellent. You grinned to yourself.

The Quinjet’s lights shut off, leaving the four of you in darkness. You rolled out your sleeping gear some distance from the others, stripped out of most of your clothing, and lay flat on your back in your sleeping bag. Sleep might be a big ask, you thought, as you gazed upwards. The arm of the Milky Way stretched overhead, like a hug from an old friend.

You’d always secretly thought this hemisphere had the superior night sky. You were mentally cataloguing as many southern constellations as you could remember when Loki appeared out of the night beside you. Is he… topless? It was hard to tell in the dark. Maybe he’s just wearing really tight sleepwear. The thought made you press your thighs together.

“May I?” he asked, polite but vaguely entitled. “Thor, of course, is already snoring loudly enough to disturb Valhalla.” You could indeed hear the deep rumble.

“Ah - sure,” you said, surprised. In general, Loki didn’t speak to you. Or anyone, besides Thor, if you didn’t count barbed quips and snarky commentary on the day-to-day operations of the team. You weren’t even sure he knew your name.

He spread another of SHEILD’s high-tech swags out beside you.

“This is your home, yes?” he asked, as he slid into his bedding.

You let out a deep breath. “Yeah. Well, um, not here here. On the coast.”

“You are lucky to be able to return,” he murmured.

You risked a quick glance at him, struck by the sadness in his voice. “I guess so.” He, too, was gazing up at the night sky. “Do you... miss home?”

“Ceaselessly.”

You felt the silence stretch, disconcerted by his honesty. “Um - can I tell you about our stars?”

“I am very familiar with the Midgardian sky.”

“But the sky here is different. Everything’s upside down, for a start.” You pointed to the constellation of Orion, clearly head-down. “See?”

You heard the slight smile in his voice as he said, “I see. What else?”

Speaking quietly, you pointed out all the familiar sky-marks you had found when you’d first laid down. "It's a pity the SHEILD tactical goggles don’t work very well for the sky – too specialised for detection and warfare, I guess,” you said. A thought occurred to you. “I don’t suppose you’ve got a pair of binoculars in that magic pocket of yours?”

Loki either smiled or grimaced – you could only see the glint of his teeth. “I can do better than that,” he muttered, almost to himself.

With a faint fizzling sound and a flash of silver, the entire night sky blossomed into colour and light.

It was as though you were lying under an enormous telescope dome. Your eyes could discern individual stars of the Omega Centauri cluster, or the spectacular colour and shape of the Carina nebula, or any of a hundred other astronomical wonders suddenly visible to you from horizon to horizon.

You glanced at Loki again. His sky was casting enough light to see him clearly now; he lay with his arm under his head and a serene smile on his face.

“Thank you,” you said softly.

“My pleasure,” he murmured, not taking his eyes off the scene above.

You lay there, the two of you, gazing upwards in silent wonder. You thought about what it meant to be home, why you had left so many years ago… How it might feel to have no home to return to. Until finally, just as Loki’s breathtaking illusion began to fade, you fell asleep.

Part 2

Tags in comments xx

#loki #loki x female reader #loki x reader #loki x you #loki fic #loki smut #avenger loki #sex pollen #(eventually)

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starkwlkr · 1 year ago

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celebrity skin | cillian murphy

barbenheimer series

‘Is Hollywood done with Y/n?’

‘Y/n L/n, the girl failure’

That’s what the articles published on their front page. Recently, Y/n had refused to do a big budget film for a legendary director claiming that she wanted to take a break from the world of acting. Her and Cillian were looking to buy a house in Ireland so she was busy looking at listings and calling multiple real estate agents.

The director ended up calling her a bitch over the phone. He had insulted her over and over, stating that she would regret her decision.

After a source told multiple magazines about the situation only the ‘source’ didn’t tell the full story, the media started calling her annoying, selfish, dumb blonde, and the one that stuck the most, a bitch.

Cillian was not having it. Instead of going to his audition for a new series, he stayed home with her. He didn’t want her to be alone, especially at a time where the media and ‘fans’ were turning their backs on her.

“You don’t have to stay with me.” Y/n sighed as she snuggled up to Cillian. They were currently in London since Cillian had gotten an audition for a BBC series. He called the casting director and canceled, which made Y/n mad. Why wouldn’t she be? He had talked about the audition for months and now he canceled?!

“I want to.” He replied, giving her a kiss to the side of her head. “You haven’t eaten anything. I can make you pancakes, I know how much you love breakfast for dinner.”

“I’ll eat in a bit. I think I want to take a nap.” She said.

Cillian had noticed how she’s been taking naps all week. Sometimes she wouldn’t even come out of her room and all she ate was granola bars and orange juice.

“I want you to know that I’m with you every step of the way. Those articles? They’re wrong. Fuck those articles. You’re the best thing that’s ever happened to me and I love you so much.” Cillian admitted.

Y/n could feel a tear roll down her cheek. Sometimes all she wanted to do was run away with Cillian to whatever country and live their lives in a nice house.

“You’re a jerk, you know that. . I wasn’t planning on crying today. But I love you too.” Y/n laughed as Cillian pulled her in for a kiss. “I wish we could leave this place and go to one of those cottage houses in the countryside. That’s always been a dream of mine.”

“That sounds nice. Why don’t you pack your bag and I’ll buy our tickets and we can leave tomorrow.” Cillian said.

“What?” Y/n asked confused.

“I saw you looking at this cottage the other day on your laptop. I bought it two days ago and I payed my mum to buy us some nice furniture and food so by the time we get there it’ll be okay for us to stay there for a while. So go pack and I’ll arrange our flight. You and I are leaving all this behind for the next few days. No work, no fancy dresses or premieres to attend. Just us and our new home.” He explained.

“You’re full of surprises, my love.”

TIME SKIP

OCTOBER

It had been a few months since Y/n and Cillian left their life in London and stayed in their new cottage in the countryside. She loved it there. No paparazzi or pushy fans to bother her or Cillian. It was paradise for her. Eventually the casting director for Peaky Blinders offered the role of Tommy Shelby to Cillian since last time Cillian was going to audition he had called to cancel. The casting director desperately wanted him to portray the protagonist of the new BBC series.

Y/n encouraged Cillian to take the role. She was fine with staying in their cottage after all she had made new friends with the women that lived nearby. So Cillian flew back to London to film and Y/n stayed behind. She had picked up new hobbies, fixed some stuff that needed fixing like the guest room and even started working on her garden.

Soon, Cillian had finished filming and made it back home to Y/n just in time for her birthday. Even though it was her day, Y/n insisted on making dinner herself. She decided to cook a comfort food of hers, chicken alfredo.

Cillian watched as she set a plate full of pasta and chicken in front of him then placed hers on her placemat. “I should be cooking for you.” Cillian said, grabbing his fork and beginning to eat.

“If the birthday girl wants to cook then let her.” Y/n stated then began to eat. “How was filming? I saw some pictures on twitter of you on set and I have mixed feelings about the haircut.”

“You don’t like it? Be honest. I don’t like it.” Cillian admitted.

“Well it took some time to get used to it, but I kind of like it now. I don’t know, you look hot either way.” Y/n smirked.

“Then I guess I’ll have to thank the hair department.”

Soon, both plates of food were forgotten as the two lovers made their way to their bedroom, pieces of clothing scattered around. It had been months and both Cillian and Y/n were counting down the days until they say each other again. Months without a single kiss or the feeling of skin on skin. What a way to end your birthday . . .

TAGLIST

@leclercloml @butterfly-skinnylegend @rockerchick05 @agustdpeach @celesteblack08 @probablypossesedbysatan @kittyrumbl3r @electrobutterfly @knpgituloh @butlersluvbot @captainwans @bellstwd @theekyliepage @marti-su @multifans-things @ceruleanrainblues @litterallnobody @jackierose902109 @sinarainbows @cosniffee @thatgirlthatreadswattpad

#barbenheimer series #cillian murphy series #cillian murphy one shot #cillian murphy x reader #cillian murphy imagine #cillian murphy fanfic #cillian murphy

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catkora · 3 days ago

Text

Canada is preparing for war with the United States.

Canada's prime minister Justin Trudeau says threats made by Donald Trump should be taken seriously.

This week Trudeau plans on shoring up alliances with allies in the EU and NATO.

Canadians have also started boycotting US made products and US businesses, focusing on those made by "red states".

Many provinces have pulled US made liquor from shelves to boycott the US.

Businesses in Canada plan to stop working with businesses in the US and have begun making plans to start working with business in other countries, such as those in the EU.

Canadian businesses are focusing on self sufficiency and trade diversification

Sources:

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miss-musings · 5 months ago

Text

"The Bad Batch" Timeline: Explained

I've had some interesting conversations with folks on Twitter over the last few weeks about the timeline of "The Bad Batch" show: How much time passes between any given episodes? How old is Omega during S1 or S3? etc.

The short answer is that the entire show takes place over 18-24 months*

(*NOTE: All timeline discussion excludes the TBB epilogue at the end of episode 3.15 "The Cavalry Has Arrived.")

EDIT: I’m also calculating time based on Earth weeks/months/years. I recognize that time in the Star Wars universe likely varies from planet to planet, so I just want to clarify we’re going off IRL time calculations: 7 days to a week, ~30 days to a month, 12 months to a year. I’m also not referring to any external sources (except Wookieepedia, but that’s more to confirm the timeline than create it), so I don’t care what some guidebook says. I’m going based on what happens in the show itself.

Wookieepedia lists Hemlock's death as 18 BBY, so 12-24 months pass between 1.01 "Aftermath" in 19 BBY and Hemlock's death in the series finale.

However, the two biggest and clearest indications of how much time passes during the show is Mayday's comments in 2.12 "The Outpost" and Omega's tally marks in 3.01 "Confined."

In 2.12, Mayday says he's been posted on Barton IV for over a year, and based on his comments, he wasn't posted on Barton IV until after The Clone Wars ended. So, it's been at least a year -- but probably more like 14-15 months because Mayday says "over a year" -- since the events of 1.01 "Aftermath."

Then after the time-jump during 3.01, Omega has about 5.5 months of tally marks. Rounding up from when Crosshair was arrested and taken to Tantiss, about 6 months have passed since 2.12.

So, between those two indicators, at least 18 months have passed between 1.01 "Aftermath" and the end of 3.01 "Confined." But, realistically, it's probably been more like 20-21 months.

Then, the rest of S3 takes place over a pretty compressed timeframe, as no more than a few days seem to pass between episodes. I'll get into this more later, but I'm guessing that the end of 3.01 "Confined" to the big showdown on Tantiss in 3.15 "The Cavalry Has Arrived" takes place over the course of 1-2 months.

Again, it's confirmed that 18-24 months pass between the series premiere and the series finale.

But, my best guess is that the entire show takes place over 22-23 months based on in-universe clues.

THE SEASON 1 TIMELINE BREAKDOWN

Overall, I'm guessing that Season 1 takes place over the course of 4-6 months. I think this is much shorter than some people think, but it makes sense to me based on context clues.

1.01 "Aftermath" takes place over the course of a few days, and then 1.02 "Cut & Run" to 1.06 "Decommissioned" all seem to take place in a very compressed timeframe. No more than a day or two seems to pass between episodes, and no more than a day or two passes within each episode.

So, I'm thinking the end of 1.06 takes place about a month after 1.01.

Then we get our first notable time-jump between 1.06 and 1.07.

1.07 "Battle Scars" opens with the Bad Batch having done at least 10 more jobs for Cid since we last saw them in 1.06. (FYI: this is based on Omega and Wrecker's order of 20 cartons of Mantell Mix).

However Cid talks about the Corellia job like it wasn't too long ago, and if we average 2-3 days per job (which seems realistic based on what we see in the show), then about a month has passed between 1.06 and 1.07.

So, at the beginning of 1.07, I'm saying about two months have passed since 1.01 "Aftermath."

Then 1.08 "Reunion" and 1.09 "Bounty Lost" take place immediately after 1.07.

Skipping over 1.10, we get another notable time-jump between 1.09 "Bounty Lost" and 1.11 "Devil's Deal." The biggest indicator is Crosshair's recovery from his injuries on Bracca.

Assuming at least a month for him to recover and be stationed on Ryloth with Rampart & co., that means at least three months have passed between 1.01 "Aftermath" and 1.11 "Devil's Deal."

Even though we don't have any firm timeline, I don't think more than 2 months passed between 1.09 and 1.11, because everyone on Ryloth talks like it hasn't been that long since the Clone Wars ended.

Anyway, then 1.12 "Rescue on Ryloth" takes place immediately after 1.11.

Now, we know that 1.14-1.16 all take place over the course of a few days. So that just leaves us with how much time passes between 1.12 "Rescue on Ryloth" and 1.14 "War-Mantle."

Given that Rampart gave Crosshair permission to hunt down his brothers at the end of 1.12, I'm going to assume he wasn't looking for them that long. Rampart never complains that Crosshair's manhunt is wasting time, or that it's taking so long that they should abandon the effort. Plus, they were also busy decommissioning Tipoca City and the other Kaminoan facilities, so I imagine that took some time.

So, maybe 3-5 weeks (or another month) in all.

To recap, we have:

A month from 1.01 to 1.06

A month between 1.06 and 1.07

A month between 1.07-1.09 and 1.11/1.12

A month between 1.11/1.12 and 1.14-1.16

Overall, 4 months for sure, but 5-6 months seems a good estimate.

This would also account for how much time passes during the Bracca and Ryloth arcs, and gives more wiggle room on how long Crosshair's recovery process was. Maybe it took him two months to recover from Bracca and be assigned to Ryloth. Or maybe Crosshair was searching for his brothers for more than a month after Ryloth. Who knows?

EDIT/ADDITION: 4-6 months also seems to be a reasonable amount of time for the Empire to establish the Daro base with commandos like Gregor and Scorch, and then recruit, supply and train all the TK troopers we see in 1.14 "War-Mantle."

But, overall, I'm estimating the events of 1.16 "Kamino Lost" take place 5-6 months after 1.01 "Aftermath."

THE SEASON 2 TIMELINE BREAKDOWN

I'll tell you now: early Season 2 is where a lot of my guesses go out the window, because we get far fewer clues as to how much time passes between episodes.

Let's start with the time-jump between the end of Season 1 and the beginning of Season 2.

Based on Rampart and Crosshair's conversation in 2.03 "The Solitary Clone," Crosshair was stranded on Kamino for a month.

Given that he didn't have any food or water on him when his brothers left him on the platform, he must've been emaciated and dehydrated AF, even if he found some way to collect rainwater and/or catch fish. And Rampart said he needed to be "medically cleared" for active duty.

At least two months seems a good estimate. One month for Crosshair to be stranded; another month for him to recover. It's possible it was longer, though, I admit.

So, at the beginning of 2.03 "The Solitary Clone," we're at least 7 months removed from 1.01 "Aftermath."

Now, I actually think 2.03 takes place before 2.01/2.02. Story for another time, but it boils down to:

1) The creators would want to kick off Season 2 with a Bad Batch-centric episode not a Crosshair-centric episode, even if Crosshair’s episode takes place first chronologically; and

2) Rampart learns the Bad Batch is alive in 2.02, but never has Crosshair arrested or monitored as a potential spy or anything -- this only makes sense if Rampart finds out TBB is alive after Crosshair is cleared for duty and has proven his loyalty.

But, ultimately it doesn't matter:

Based on Mayday's comments in 2.12 "The Outpost," early Season 2 has to cover at least 7 more months. That means that months are passing between episodes in early S2.

In 2.12, Mayday says he's been stationed at the Outpost for over a year, and that he wasn't stationed there until after the war ended. So, assuming at least a month after the war for him to be reassigned, and then 13 months for him to be on Barton IV ... 2.12 has to take place at least 14 months after 1.01 "Aftermath."

So, ultimately, I think 2.01/2.02 might take place 3-4 months after the Fall of Kamino in 1.16 "Kamino Lost." It would allow enough time for the Bad Batch to get new clothes, repaint their old armor, and for Omega to start all of her studies while the Bad Batch continues to do jobs for Cid.

Then we probably have another month between 2.02 "Ruins of War" and 2.04 "Faster." Then another month to 2.05 "Entombed." And then another month to 2.06 "Tribe." And then another month to the beginning of 2.07 “The Clone Conspiracy.”

Because of how compressed the back-half of Season 2 is, I think 2.07/2.08 takes place about 13 months after the war ends in 1.01 "Aftermath" and, thus, about 7-8 months after the Fall of Kamino in 1.16 "Kamino Lost."

Now, once we get to 2.07, that's when the timeline starts compressing again based on in-universe clues.

We know 2.08 "Truth and Consequences" takes place almost immediately after 2.07. So, no more than a week seems to pass between the beginning of 2.07 and the end of 2.08.

Then, 2.09 "The Crossing" takes place a few days after 2.08, as Omega is still adjusting to Echo's absence. Then 2.10 "Retrieval" is immediately after 2.09, and 2.11 "Metamorphosis" takes place maybe a day after 2.10.

So, from the beginning of 2.07 to the end of 2.11, maybe two weeks have passed in-universe.

Then, at the beginning of 2.13 "Pabu," Cid remarks that it's been 20 rotations since she last talked to the Bad Batch in 2.11.

From 2.13 to 2.14, I'm guessing 1-2 weeks have passed based on how much of Pabu has been rebuilt since the sea surge and other context clues (like Shep and Hunter's conversation about the Bad Batch staying on Pabu).

Now, we're not exactly sure where 2.12 "The Outpost" falls in the S2 timeline. I'm guessing it's simultaneous with 2.13 "Pabu" for thematic and dramatic reasons, but we see all our various plot threads align in 2.14 "Tipping Point." Everything Echo, Crosshair and Hunter & co. do happens within 2-3 days.

Then, based on Echo's comments, we know 2.15 "The Summit" takes place two days after the Bad Batch's conversation at the end of 2.14 "Tipping Point." And then 2.16 "Plan 99" takes place immediately after 2.15.

So, while I can't speculate much on early S2, I can tell you that 2.07-2.16 spans about two months.

To recap:

2 months between 1.16 "Kamino Lost" and 2.03 "The Solitary Clone"

Several months between 2.01/2.02 and 2.07

A week during 2.07 and 2.08

A few days between 2.08 and 2.09

Another week during 2.09 to 2.11

Three weeks between 2.11 and 2.13

Two weeks between 2.13 and 2.14

A week during 2.14 to 2.16

But, overall, I'm estimating the events of 2.16 "Plan 99" take place 15-16 months after 1.01 "Aftermath."

THE SEASON 3 TIMELINE BREAKDOWN

Unlike the previous two seasons, Season 3 is very compressed. Outside of the time-jump within 3.01 "Confined," the entire season takes place over the course of 5-6 weeks. Not months. Weeks.

Now, again, I actually think 3.02 "Paths Unknown" takes place during the five-month time-jump within 3.01. But that doesn't really matter.

As we see from Omega's tally marks, the end of 3.01 takes place about 5.5 months after 2.16 "Plan 99." So, we have our between-seasons time-jump spelled out for us this time.

This means the end of 3.01 "Confined" takes place 21-22 months after 1.01 "Aftermath."

Skipping over 3.02, episode 3.03 "Shadows of Tantiss" seems to take place within a few days of the end of 3.01. We see that Omega is still being monitored closely after her outburst in the lurca kennels; and Hemlock told Nala Se in 3.01 that the Emperor would be arriving soon to check on their progress, which he does in 3.03. Heck, maybe 3.03 takes place the day after 3.01, but I’ll give a little wiggle room and say it’s been a few days.

Then, we know that the beginning of 3.03 to the end of 3.05 all takes place in a very short amount of time. Maybe a week.

3.04 "A Different Approach" takes place immediately after 3.03, and no more than a day or two passes between the end of 3.04 and the beginning of 3.05 "The Return."

So, from the end of 3.01 to the end of 3.05, two weeks have passed at most.

The gap between 3.05 and 3.06 is the only span of time in S3 we don't have any solid indicators about. It clearly wasn't too long, as Howzer talks about Crosshair escaping Tantiss like it happened fairly recently. Overall, I'd guess it's been maybe a week or two since Crosshair and Omega escaped Tantiss.

Then, 3.07 takes place immediately after 3.06.

Excluding 3.10 "Identity Crisis," we know that 3.08-3.11 all take place within a short amount of time. No more than 2-3 days seem to pass between episodes, and no more than 2-3 days passes within each episode. In total, I'd say these three episodes take place over the course of two weeks.

Thus, I'm guessing 4-5 weeks, or about a month, passes from the end of 3.01 "Confined" to the beginning of 3.11 "Point of No Return."

Then, we know the timeline between 3.11 and 3.15 is very short because all the episodes take place almost immediately after each other. The only exception is between 3.12 and 3.13, when maybe 12-24 hours passes based on Omega's movements in the Vault and her brothers' plans to infiltrate the orbital station.

You can round up and say a week, but that almost seems generous to me. Maybe a work week. Like the Empire invaded Pabu Monday night and Omega & co. were back on Pabu Friday morning.

Overall, I think the beginning of 3.11 "Point of No Return" to the end of 3.15 "The Cavalry Has Arrived" spans 3-5 days.

To recap:

5.5 months from the end of 2.16 "Plan 99" to the end of 3.01 "Confined"

A week from the end of 3.01 to the end of 3.05

A week between 3.05 and 3.06/3.07

Three weeks during 3.06/3.07 to 3.11

A week during 3.11 to 3.15

Again, outside of the time-jump within 3.01, the entirety of Season 3 takes place over 1-2 months if we're looking at the larger post-"Aftermath" timeframe.

Overall, I'm estimating the showdown on Tantiss and Hemlock's death in 3.15 "The Cavalry Has Arrived" takes place about 22-23 months after 1.01 "Aftermath."

We know it's not more than 24 months after the war ends, because Wookieepedia would list Hemlock's death in 17 BBY instead of 18 BBY. So no more than 24 calendar months can pass between "The Bad Batch" series premiere and series finale.

But, accounting for things that happen within the show, 22-23 months seems about right. Like, it's been almost two calendar years, but not quite.

So, to give a real-world example, if Palpatine gave his "Revenge of the Sith" speech to reorganize the Republic into the Galactic Empire on Jan. 1, 2022, then the big showdown on Tantiss takes place in October or November 2023.

That means:

If Omega was 12 years old when her brothers met her on Kamino, she was 13-14 during the showdown on Tantiss.

After his inhibitor chip activated, Crosshair was separated from his brothers for more than 18 months before finally reconciling with them in 3.05 "The Return."

The Bad Batch worked for Cid for over a year, and she still betrayed them.

Phee and Tech's ~situationship~ might've lasted half-a-year between their first meeting in 2.01 "Spoils of War" and his death in 2.16 "Plan 99."

Howzer and his men from Ryloth were in prison for almost a year before Echo & co. broke them out in 2.14 "Tipping Point."

When Crosshair sent the Plan 88 message, the Bad Batch hadn't seen or heard from him in ~10 months (since the Fall of Kamino).

Omega only got to spend 15-16 months with Tech before his death in 2.16 “Plan 99.” 😭

Crosshair hadn't seen his brothers for over a year between the Fall of Kamino and escaping Tantiss with Omega.

Omega and Crosshair only spent about 7 months together during the show (5.5 on Tantiss and 1.5 after their escape), and most of that was off-screen. 🙁

Apparently, more time passed between S1 and S2 than during S3 (excluding the time jump and epilogue). Seriously. From the end of 3.01 to the final showdown on Tantiss, the Bad Batch had a very insane and stressful 5-6 weeks. They all looked like they could use a nap in that final group shot under the tree, and I don't blame them!

All the clones (except Omega) aged 3-4 biological years over the course of the show. So, if Hunter & co. were biologically 22 when they met Omega on Kamino, they'd be around 25-26 when they finally settle down on Pabu.

Not sure how this will help people, but I wanted to share it because I've been thinking about how insane this show's timeline — how loosey-goosey it is in some places while being super-rigid in others.

So, enjoy!

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