#primarily because the people who don’t speak to their dads need someone to project onto

[maeo-png]

i am once again asking for a rachel fawcett episode if we get season 5.

[hellzabeth]

i have opinions about The Prince of Egypt musical adaption and you’re going to listen to them: An Essay

So, quick disclaimer: The Prince of Egypt is one of my favourite movies of all time. The casting, the music, the animation, I think it’s one of the top-tier movies that have ever been made. I went into seeing the London West End production of PoE with a full expectation that nothing I saw on stage would ever live up to how much I love the movie. I was fully aware there are plenty of limitations to what can be shown live on a stage with human actors and props.

That being said, I was enormously disappointed with how the whole thing was handled.

The Good

Now before I launch into a whole tirade of what I didn’t like about the production, it does behoove me to say what I think they did do well. 


The casting of the role of Moses was done fantastically, as was Miriam, Tzipporah, and Yocheved. The swings and the ensemble were really engaged and well placed, going through lots of quick changes to go from Hebrews to Egyptians to Midianites and back.


The two Egyptian queens, wifes of Seti and Ramses, are actually given names, lines, and character beyond being simply tacked onto their respective kings. We get to see how they feel about the events happening around them, and there’s even a scene where Ramses meets his wife and courts her, whereas in the movie, she stands in the background and says nothing. This is one of the areas I was hoping the musical, which would naturally have a longer run-time, would expand on, and I was pleased to see the opportunity was taken.

Light projections on enormous curtains were used to very good effect, taking us instantly inside the walls of the palace and then out to the desert. 


Over all, the work was really put in to be engaging and emotional, and the orchestra really worked to deliver the right musical beats.


One of two stand out scenes as being done very well was the opening “Deliver Us”, which included a bone-chilling moment of Egyptians separating a mother and her baby, with her screams as she’s dragged off-stage, and the blood on the guard’s sword. It really brings home the fear as Yocheved tries to lead Aaron and Miriam to the river with her, not to mention Yocheved’s actress nailed the lullaby. 


The second was at the other end of the show, “When You Believe” was beautifully performed by the whole cast, though it was somewhat stunted by what came before...

The Bad

Oh boy.

So the main problem with this show is not the music, not the staging, not even that sometimes the ensemble was a little off-beat (the lai-lai-lai section in Though Heaven’s Eyes comes to mind). Any mistakes there can all be forgiven, since sometimes things just happen in live performance, someone’s a bit off or something’s just not possible to do on the budget allotted. 


The problem is in the script.

The Prince of Egypt movie is a story that stands not only on the shoulders of its fantastic music and visuals, but also on its emotive retelling and portrayal of the characters within - mainly Moses and Ramses. And while the stage musical does spend a lot of time with the two mains, it neglects two other, incredibly important characters.

Pharaoh Seti, and God. 


In the movie, Seti strikes an intimidating figure. He is old, hardened, and wise in the ways of ruling his kingdom - and is voiced by Patrick Stewart, who brings his A-game to the role. Both Moses and Ramses admire him and look up to him immensely as young men, and the relationship he has with both of them deeply informs their characters as the story progresses. It’s from Seti that Moses learns that taking responsibility for your actions is the respectable thing to do (and later, the true horror of having your idol turn out to be not what you think), and it’s from Seti that Ramses takes a huge inferiority complex.

There are two lines that Seti gets in the movie, one spoken to Moses, and one to Ramses. These two lines define Moses and Ramses’ actions later on in the story:

To Ramses - “One weak link can break the chain of a mighty dynasty!” To Moses - “Oh my son... they were only slaves.”

Guess which two lines are absent from the musical?

One Weak Link is turned into an upbeat song, rather than shouted at a terrified and cowed young Ramses. Instead of being openly a traumatic, internalised moment of negative character development for Ramses, it’s treated as a general philosophy that Seti passes down to his son. Instead of a judgement that is hung over Ramses’ head like a sword of Damocles, lingering in his mind through the whole story and coming up in a shouted argument with Moses later, it’s said and then moved on from. 


The “they were only slaves” comment, on the other hand, is absent entirely. This changes Moses’ relationship with Seti enormously, as well as his relationship with the Hebrew people. Upon finding the mural depicting the killing of the slave children, Moses is appropriately horrified, and Seti shows up to comfort him and defend his terrible actions. Moses leaves this interaction... and then sings about how this is indeed all he ever wanted! He has no moment of horrific realisation that his father thinks of the slaves as lesser, as lives that can be thrown away. This means that the scene where he kills the guard doesn’t lead into a discussion of morality with Ramses as he runs away, but rather Moses breaking down about his heritage as though it’s a negative, instead of something he’s realised is just as valuable as his life as an Egyptian. Instead of Moses being shown as having a strong moral core that protests against the idea of any life being lesser, he bemoans his Hebrew blood loudly, and makes little mention of the man he killed. His issue that causes him to run away is being adopted, rather than his guilt that he’s a murderer, and nothing Ramses can say will change it.

Later on, we don’t see Ramses express this opinion either (in the movie - M:”Seti’s hands bore the blood of thousands of children!” R:“Hah, slaves!” M:“My people!”) so it seems the core reasoning for the necessity of the extremes God had to go to in order to convince Ramses to let the Hebrews go is completely gone.

Which leads us into God Himself, as a character. 


God is a tricky topic in general. He is hard to talk about as a concept and as a character, and even harder to depict in a way that won’t offend someone. The Prince of Egypt movie always struck me as a very good depiction of the Old Testament God - vengeful and strong-willed, commanding and yet nurturing, capable of great mercy and great cruelty in one fell swoop. God is incredibly present in the story, a character in and of Himself, speaking with Moses rather than simply commanding him. The conversation at the Burning Bush is bone-chillingly beautiful. Moses is allowed to question, he’s allowed to enquire, he’s allowed to express how he feels about God’s choice, and God is given the chance to respond (and reprimand, and comfort).

In the musical, the Burning Bush scene lasts all of two minutes, during which God (the ensemble cast, acting as one moving flame, speaking in unison) monologues to Moses, and Moses is not given room to question, talk to, or build a relationship with God. Later on, once some of the plagues have gotten underway, Moses rails against God, flinches in his resolve, and tries to back out... and God says nothing. It’s Miriam and the spirit of Yocheved that convince Moses to keep going. As a character, God is nearly absent. Even when it comes to calling upon the Plagues, or parting the Red Sea, God’s voice is absent. Moses does not pray. He does not even use the staff that God encouraged him to pick up as a symbol of his becoming a shepherd of the Hebrews out of Egypt. 


It’s these little changes, these little absences of such vital lines and presences, that ends up changing the whole vibe of the show. Seti is more like a dad than an emotionally distant authority figure, and God is more like an emotionally distant authority figure than a character at all. Ultimately, the whole feeling that one is left with at the end…

The Ugly

… is that the script doesn’t like God, or religion in general.

A bold statement to make, considering the source material is one of the central biblical stories in EVERY Abrahamic religion. Moses as a figure is considered so important and close to god, that The Prince of Egypt, even with its sensitive portrayal, cannot be aired in a number of Islamic states, because it’s considered disrespectful to depict any of the prophets, especially an important one like Moses. Moses is arguably the MOST important prophet in the Jewish canon.

However, I haven’t highlighted one of the most noticeable script changes - the elevation of Hotep, the high priest, to main antagonist.

In the original movie, Hotep is a secondary villain, a crony to the Pharaohs, bumbling and snide and two-faced. He and his fellow priest Hoy are there primarily to juxtapose how charlatans can control power through flattery and slight of hand, reassuring Ramses that Moses’ miracles are merely magic the same as what they can do. They even get a whole villain song, “Playing With The Big Boys” which is a lovely deconstruction of lyrics vs visuals, where while the priests boast that their gods and magic are much more powerful, in the background the staff, transformed into a snake by god, devours and defeats the priests’ snake handily. The takeaway from the song is that God’s power is true, and doesn’t need theatrics.

It’s a good little nugget of wordless world building. And it is completely absent from the stage musical, with only a vague reference to the chant of all the gods names.

Hoy is gone, and Hotep is the only priest. He actively speaks out against the Pharaoh, boasts about having all the power, and is played as bombastic and proud. He’s a wildly different character, even threatening Ramses at one point. In the end, it’s shown that Ramses won’t let the Hebrews go not because he has inherited his father Seti’s cruel attitude towards the lives he considers beneath him, but because he is being actively bullied by the priest, and will lose his power and credibility if he doesn’t do as he’s told. Ramses is even given a whole song about how little power he really has. The script desperately wants us to feel sorry for Ramses’ position and hate the unrepentantly, cartoonishly evil priest.

That’s another matter as well - a LOT of time is dedicated to making the Egyptians more human and sympathetic, portraying them as largely ignorant of the suffering beneath them, rather than actively participating in slavery. Characters speak out of turn without regard for formality and class, even to the royal family. They are casual, chummy even. And this would be fine - in fact, it’s good to have that sort of third dimension to characters, even ones who are doing reprehensible things, to show the total normalcy and banality of evil - if it were not for the fact they still include a completely open-and-shut case of evil right next to them.

Hotep has no redeeming features. And on the other side, God is barely present, certainly not in a relatable context. Moses has several lines about how cruel and unnecessary God’s plagues are - and you know what, in this version, they are unnecessary! Ramses is not the stone-hearted ruler that his movie counterpart is, he has no baggage over being a potential failure, because it was never really given to him in the same way! By taking away Ramses’ threatening nature, numbers like the Plagues lose half their appeal, as the back-and-forth ‘you who I called brother’ lines between Moses and Ramses are completely absent. Moses is faithless, and is less torn between the horror of what he’s doing and the necessity of it for the freedom of his people, and more left scrabbling for meaning that he doesn’t find. And the only thing hanging over Ramses is Hotep nit-picking everything he does and threatening him, which is considerably less compelling than the script seems to think it is.

This is best exemplified at the end, when all the issues come to a head. The angel of Death comes and takes the Egyptian first borns (which was actually a well done scene), and the Hebrews leave to a rousing rendition of When You Believe. But then we cut to Ramses and Hotep, with Hotep openly threatening to revolt against the Pharaoh - whom was believed, especially by the priesthood, to be a living god! Hotep is so devoid of redeeming features he cannot even be trusted to stand by his beliefs! - unless Ramses agrees to chase after the Hebrews. Reluctantly, Ramses is badgered into the attempt.

Back with the Hebrews, Moses parts the Red Sea… not with his faith, not by praying to God for another miracle, not even by using his staff as in the most famous scene of the movie… but by holding out his hand and demanding the ‘magic’ work. Setting aside the disrespect of Abrahamic religions to call one of the most famous miracles “magic” (and my oh my, if there was a fundamentalist of any religion in the audience they might have gasped to hear it), it again belittles the work of God, and puts all the onus on Moses, not as a conduit for God’s work, but as the worker himself. Then, the Egyptians arrive in pursuit, lead by Hotep, not Ramses. Moses sends the Hebrews through first, lead by Miriam, and stays behind with Tzipporah… to offer his life in penance to Ramses! The script has completely stripped both Ramses and Moses of their convictions towards their causes, and Moses cannot even stand by his decision to lead his people.

Then, in a moment of jarring melodrama, Moses has a sudden vision that Ramses, his brother, will one day be called Ramses the Great (an actual historical Pharaoh who reigned 1279-1213 BCE). There is no historical evidence that this was the Ramses that ruled over the Hebrews (there are 11 Pharaohs called Ramses through the history of Ancient Egypt), and maybe if the scene was acted a little better, it wouldn’t have been so sudden or jarring. Even more jarring, is that then Hotep arrives with the rest of the army, and Ramses refuses to lead the charge into the parted sea. Hotep does so himself, and is the one to have the final dramatic moment, being crushed under the water.

The Takeaway

After watching the show, I’m afraid I could never recommend it as either a play, an adaption, or even as a faithful retelling of a bible story. Its character drama isn’t compelling enough to be good as a standalone play, with it two main characters declawed and their core motivations reduced to a squabble between brothers rather than a grand interplay between two cultures and ideas and trauma handed down from their father. As an adaption of the movie it’s upsettingly bad, with grand numbers like the Plagues rendered piecemeal and fan favourites like Playing With The Big Boys missing entirely. As a retelling of the bible story, it’s insulting, completely cutting God out of the equation, taking no opportunity to reintroduce Aaron as an important character (which he was, in the bible, as Moses was a notoriously bad public speaker, with a stutter, and Aaron often interpreted for him) and more importantly, completely erasing God’s influence from the narrative.

I don’t know who this show was… for, in that case. If it wasn’t for drama lovers, movie fans, or people of the faith, then who the hell was it for? Why change such a critically acclaimed and well-beloved story? Why take away all these defining moments? If you wanted to tell a story about how religion is the true evil, how God can command people to do terrible things, and how those who uphold organised religion like Hotep are unrepentant, one-dimensional monsters… why would you tell that through the Prince of Egypt?

Underwhelming at best, infuriating at worst… just watch the movie. Or read Exodus. At least the Bible’s free.

[recurring-polynya]

Your thoughts and headcannons on Nemuri Hachigou because I don't think she gets talked about enough, when in reality she's pretty interesting, she's essentially, a blank slate, Mayuri's second chance that I don't think he feels like he deserves. She's Nemu but she isn't and I think people(especially Mayuri) forget that a lot, that's a fascinating position to be in.

Puttin’ this under a cut because I’m gonna say some unkind things about Mayuri and I do not want to cause any distress to the many lovely people on this website who delight in his horrible antics.

This is not so much a headcanon so much as a thing I came up with for fanfiction purposes, but it’s all I got.

Right. So, like I said, I despise Mayuri. I just hate him. I understand that he appeals to some people, but I strongly dislike the dude and go to exorbitant lengths to avoid him ever appearing in my fanfic.

Additionally, I do not vibe with Nemu 7. She registers as not-a-person for me, she’s basically an extension of Mayuri himself. Don’t get me wrong, I find Mayuri’s treatment of her to be vile and I wish someone would take her away from him, but she comes off as very robotic to me. She is conscious, but she is not an independent being, if that makes sense. She is not a real girl. It’s funny that Mayuri keeps talking about how advanced she is, because clearly he means only her cognitive and fighting abilities. In terms of recreating a person, she’s incredibly primitive compared to the other mod souls we see. Take Kon, for example, who has a fairly limited powerset, but is never presented as less of a soul than any of the other characters. An even more interesting example is Ururu and Jinta. Ururu is described as being older than Jinta, and she is clearly “less human” than him-- she has less affect, she shifts into a distinct “attack” mode, etc, which implies that Jinta represents advances in mod soul technology. It’s notable that Urahara and Tessai and even Renji, in the canon scene where he protects the Shouten kids, never treats them as anything less than people. The contrast with the way Mayuri treats Nemu is stark. He likes that her feelings and personality are limited, he sees this as a feature.

I was completely unmoved by the entire chapter where Nemu died. Her sacrifice did not come across to me as anything indicating growth or humanity-- in every battle she's ever been in, she nearly dies because Kurotsuchi tells her to. She simply prioritizes Mayuri over herself. She always has. It’s simply the logical extension of her programming. A lot of people say they would have preferred Nemu to live and Mayuri to die and for sure I would have *preferred* that, but I have never seen Nemu as enough of a character to be worth rooting for. Like, at least Uryuu would have gotten some satisfaction form killing his clown ass, and that might have convinced me for at least half a second that he actually was on the side of the Quincy.

Caveat: if some talented fanficcer wants to write a short novel on Nemu discovering her humanity etc etc, I’m all for it, I’m just saying that canon hasn’t given us anything to suggest she would do more than just shut down without Mayuri to tell her what to do.

Onto Nemuri 8. I can’t believe they let Mayuri have another one. It makes my blood boil. The dude is an on-screen abuser and Kubo had the gall to try to make me feel sorry feel him (I did not) and then gave him another one.

So, I took her away from him.

I mentioned earlier that I go to great lengths to keep Mayuri the hell out of my fanfic, and usually the way I do that is to have my characters go through Akon whenever they have to deal with Squad 12. I think I started doing this because Akon is sort of weirdly familiar with Renji and Rukia in the TYBW, but I have projected all over him and he’s mine now. The way I assume Squad 12 functions, based on my career in scientific programming, is that Mayuri is like a primary investigator-- he's the Big Ideas guy and he spends a lot of time doing wholly self-directed research. He’s the face of Squad 12, so he has to go talk to the Captain-Commander and beg for money and defend blowing things up, but when it comes to science stuff, he does what he wants. Nemu is the lieutenant, and I think she handles most of the usual lieutenanting-- paperwork, meetings, etc., but I think Mayuri takes up a lot of her time by using her as a personal lab assistant on his wacky projects. There's nothing wrong with this, but I think in a lot of squads, the lieutenant is responsible for the day-to-day running of the squad and spends a lot of time dealing with their subordinates and other lieutenants. Nemu, instead, focuses on her captain. Now, the rest of the Gotei counts on Squad 12 for a lot actually-- gigai, Hollow tracking, Dangai monitoring, etc. etc. From the point of view of most science people, this stuff is mundane-- it’s all application, not development, and all the difficulty is in the twitchy little details. It’s frustrating and it’s unrewarding and you never get credit for it, and it is vitally important. There is a certain kind of science professional that makes a career out of this. They usually have master's degrees instead of PhDs, and they are usually tragically underpaid and underappreciated for what they do. In the real world, without these people, you wouldn’t have mass vaccination sites or weather data on your phone or cute li’l robots landing on other planets. In Bleach, these are the people keeping soul reapers alive in the field. And in my mind, this is Akon’s department.

So here’s the headcanon:

After Nemu’s death, Mayuri has so much sad clown pain about it that he wants another robot child poste-haste, but can’t bring himself to do the actual work, so he shoves it off onto Akon, with a list of the design specs he wants. The last one was pretty good, Akon can handle a few minor upgrades, it doesn’t need his personal hand in it. Thinking about going through all that work again just pisses him off, honestly. What a waste!

And Akon's like, yeah, cool, fine. It was heavily implied that he did a lot of the work on Nemu 7, it's just a matter of digging out his old notes and cleaning out some vats.

Except that, right around the same time, Rukia and Renji decide to have a baby.

Babies are super rare in the Gotei, and it’s not like those stuffy nobles are gonna let Akon look at their precious offspring. But Rukia is a rank weirdo, and Akon is their pal, so she’s always like “I hear they have these things in the Living World where you can pee on a stick and tell if you’re pregnant, can you make me one?” and Akon’s brain goes, “Wow, what even is the first detectable sign of a newly formed soul, this is very interesting.” So, at the same time he’s trying to grow a new and improved Nemu, he’s got access to the developing fetus of two captain-class shinigami. So when he has to pick between eight good candidate embryos to move to the next vat, he picks… not the one with the strongest reiatsu signature, like they did last time, but the one whose reiatsu looks the most like a real baby.

Akon reminds me of a lot of programmers I know, so I always sort of headcanon him as particularly interested in whatever passes for programming in Squad 12, and I think he takes special interest in revamping Nemu’s artificial intelligence system, which is primarily based on taking in information about the world and building up a realistic personality based on people she observes. In particular, it gives extra weight to “people who resemble her”. Nemu 7 was raised by Squad 12, so she came up very Squad 12, just like Mayuri wanted. Unfortunately, toddler Hachigou Nemuri’s algorithm unexpectedly decides that she has much more in common with toddler Abarai Ichika than any of the adult soul reapers around her.

Nemuri 8 is a very successful sample in terms of power and intelligence but she’s also very boisterous, and the rest of Squad 12 is like “Akon do something” so Akon takes drastic measures: he asks Renji for parenting advice. Distressingly, Renji is full of useful ideas like “tire her out” and “only fight the important battles” and “we’re signed up for baby yoga, you wanna start comin’ to baby yoga? Your back is gonna thank you.”

Akon didn't mean to let them hang out so much, but Ichika is a very useful data point and also if he takes Nemuri over to the Abarai house, the girls will entertain themselves (i.e. chew on each other) long enough for him to have a beer with Renji and Rukia and honestly my man really needs that beer.

I don’t think Akon thinks of himself as Nemu’s dad past the first time when she calls him ‘Daddy’ and he corrects her (she only did it because that’s what Ichika calls Renji, very predictable quirk of her programming). She’s just a work project. She’s not even his project, she’s Mayuri’s project, he’s just handling the little details. Fathering just happens to be an adjacent field of study that he’s found to contain a number of very useful best practices.

I would prefer not to get into the detail of the physical abuse that Mayuri uses against Nemu 7, but I would like to think that Akon finds ways to protect Nemuri 8 from the same, or barring that, maybe this is what finally drives Akon to murder Kurotsuchi and become Squad 12 captain himself.

Other Nemuri Headcanons:

Her favorite book is Rejection of the Twin Fishes!, Captain Ukitake’s posthumously published children’s book.

She prefers to be called “Nemuri” over “Nemu.”

Nemuri’s second favorite person in Squad 12 after Akon is Rin, because he always has candy. Rin actually likes having someone to share his hobby with and helps her make a World of the Living Snack Bucket List. When other shinigami come in for gigai, Nemuri constantly tries to con them into bringing something back for her.

Rukia teaches her to cuss, but tells her never to do it around Akon. Nemuri never actually cusses around anyone, but really enjoys having Forbidden Knowledge.

Speaking of Forbidden, she is mildly obsessed with Urahara, even though she’s never met him. She’s constantly on the lookout for thumbprints of his work in modern Squad 12 technology.

The one thing she does have in common with Mayuri is an absolutely batshit personal aesthetic. She starts painting her face as a tween and is somewhat inconveniently both into piercings and inflatable outfits.

The true proof that she has surpassed her predecessor, at least in terms of humanity, is that she is able to learn the name of her zanpakutou.

Oh, if you want to read any of my fanfics with Nemuri, here's one where she and Ichika play football and here's one where she tries to con Byakuya into buying her shaved ice. I really like writing Nemuri hanging out with Byakuya because I think an adult man who navigates social settings via rigid system of etiquette and class hierarchy and a small child with a pile of Markov chains for a brain would be natural friends.

[j0elmill3r]

A Brief Inquiry Into Online Relationships

Prologue

Series Masterlist

Chris Evans x Daughter!Reader

"Go down, soft sound, midnight, car lights"

Featuring: Chris Evans, Jaeden Martell, Reader

Word Count: 1.2k

Warnings: None!

A/N: Alright! Welcome to my newest series, 'A Brief Inquiry Into Online Relationships'! I seriously hope you all enjoy this as much as I do! It's my first real person fic, so please be nice! If anyone wants to be added to the series taglist, please let me know! This is inspired by the album by The 1975, so please check out the track that is titled!

--

You had never liked the moving around part of your dad's job. But, luckily for you, his latest project, 'Knives Out' was primarily being shot in Boston which meant that you would be doing the absolute minimum moving around. Being raised by an actor, most people would have expected you to follow in your dad's footsteps and become an actor but you didn't find any interest in the art. Rather than acting, you were more than likely to be found in front of a camera for a different reason. You were Instagram famous from a modelling agency that had scouted you when you were younger. Most times, it would just be small stuff for your Instagram with the occasional sponsor. Growing up with Chris Evans as your dad, you never really had any boyfriend, or even normal friends. Most people in your school only wanted to be your friend because your dad was Captain America, but you could tell who was who. And plus, your dad would never allow you to have a boyfriend, right?

-

"Shit, shit, shit," You swore under your breath as your phone rang yet again. You were late, as per usual. "I get it, I hear you." You mumbled, hopping over to your bedside table while you got your shoe on.

"Y/N! You were supposed to be here half an hour ago,where the hell are you?!" Your dad yelled down the phone. You took your phone away from your ear and screwed your face up at the volume.

"Good morning to you too, dad," You mumbled. You could invision the unimpressed look on your dad's face. "And calm down, I'm on my way there right now, I'm just about to leave." You assured him. Chris sighed.

"Alright, I'll see you soon," He hung up. You slid your phone in your pocket and then ran down to the living room, making sure that all the doors and windows were shut and locked, then going to pet your dog goodbye. Dodger's head fell into your hand as you rubbed behind his ear, a satisified groan coming from him.

"Alright pal, I'll see you later," You said to him as you dusted your hands of the copper fur that he shed onto your hands. You left the house and got into your car, let out an exasperated sigh as your head hit the headrest. You drove to where your dad was filming and flashed the badge they had given you at security. You got into the set and looked around for your dad, but on your way there accidentally bumping into someone. You fell back onto your ass and groaned. "Ow, shit." You mumbled, checking to see if you had skinned your palms.

"Oh my God, I'm sorry. Are you alright?" You looked up at did a double take. You weren't an idiot, you knew who that was. You had literally just bumped into Jaeden Martell. Nodding, you pushed yourself up and smiled at hiim.

"Yeah, I'm alright. My fault, I should have watched where I was going," You said, putting your hands up. Jaeden smiled at you and nodded. "I'm Y/N." You introduced yourself to him.

"I-uh, I know," Jaeden stammered. He interally kicked himself, knowing that he sounded like he was stalking you. "I follow you on Instagram, I didn't mean for that to sound weird. I'm Jaeden." He cleared up, then introducing himself. You giggled at him and his behaviour.

"It didn't sound weird, trust me, I live with Chris Evans, I know weird," You assured him. "Speaking of my dad, you don't happen to know where he is, do you?" You asked him.

"I'm pretty sure that I saw him go onto the set, I can take you there if you want?" He offered. Jaeden didn't know what he was doing, he felt like he was entranced by you. If he was to be honest, you were the prettiest person he had ever spoken to, and Jaeden had spoken to a lot of people.

"Sure, you can lead the way," You said, holding your arm out and making Jaeden laugh. He led you to the house where they were filming and you looked up, almost falling back again.

"Do you have a balance problem?" He asked you, a sarcastic laugh leaving his lips. You rolled your eyes as you turned to look at him.

"No, I just suffer from a severe case of dumb bitch syndrome," You deadpanned. You were confused at how comfortable you felt around Jaeden, normally, it took you a while to get comfortable around people, but this was different. You looked up at the stairs leading up to the house and saw your dad coming down towards you and Jaeden.

"There you are! You finally made it," Your dad said, putting his arms around you like he always did when he saw you. "Oh, Jaeden, I see you met my daughter, Y/N." Chris said, standing back to look at both of you.

"Well, technically we bumped into each other, I was too busy looking for you," You said, narrowing your eyes at your dad. Chris held his hands up in defense and chuckled.

"Listen, Y/N, I have to go, but we should talk again," Jaeden suggested. You smiled and nodded.

"Alright, I'll see you around," You said, watching as he walked away. You turned back around to look at your dad, who had crossed his arms over his chest. "What do you even need me here for today anyway?" You asked your dad.

"I missed you and I heard you say you needed some new friends, you and Jaeden are both the same age, it could work out and you could both be friends," Your dad said. You huffed out and rolled your eyes. "What?"

"Nothing, I just didn't think you'd try to get me friends of the opposite gender," You teased him of his protectiveness. "And I have plenty of friends!" You said, sounding extremely offended. Your dad laughed incredulously and shook his head.

"Y/N, you were literally complaining about how much you hated your current group of friends a couple of days ago," Your dad said. You sighed and slumped your shoulders. "Just, give him a shot, okay? Don't be so pessimistic, honey, you're too pretty to have a mad little face." He said. Chris pinched your cheek and you groaned as you slapped his hand away gently.

"Dad, stop it!" You whined. Chris chuckled and sighed. "Can I go now?" You asked him. Chris nodded and brought you in for another hug, one that this time you returned. Chris kissed the top of your head and then let you go.

"Alright, just promise to stay on the set and try to make friends with Jaeden?" He asekd you.

"Okay, I promise,"

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Permanent Taglist; Open!

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