#sentimental as in when u look at it youd be like 'yeah thats THE car'

[petewentzisblack1312]

hey dils!! was listening to sunshine riptide and thought of u so i wanted to say i hope ur taking care and also ask if u have any favorite fob videos/interviews?? lately i have been obsessed w the promo video patrick did for the honda civic tour where he drove around LA and said the only reason they got the tour was because he already drove a civic ahsjdbd

first of all it is SO flattering that listening to sunshine riptide made you think of me 🥺

secondly i was molded out of clay to answer this question, 100% i have a lot that i think about like way too often

the one where petes giving a tour of his parents house where he lived at the time and was showing off his stuff and was particularly very excited about the fact that his band was turned into action figures and then half way through andy shows up and is like "were best friends forever!" and petes like "yeah andy comes over for sleepovers a lot, we hang out in my basement and make zines and stuff" and then at the end he gets all excited cuz he hears his moms car pull up and he goes out and shes coming out of the car and then patrick gets out of the car carrying groceries and petes like "here mom me and patrick can put the groceries away you finish the interview" and shes like "no- pete i just got home from work im a mess" and hes like "what? no! no mom you look great, you can finish the interview well take in the groceries" and then she did and the camera crew came back to the two of them messing around and putting groceries away.

"pete wentz is honestly the only way to describe pete wentz. hes the most complicated guy i know." [cut to] "if anyone can make a strike without touching the lane i will pay you $300" *throws bowling balls straight into the air* *runs down the lane*

ok but in all seriousness i love that interview not only for that iconic moment but because later the footage is like blaring i dont care and pete goes and grabs a stuffed giraffe out of the prize thingie and hes like "what do you mean :)? we bought this with our tickets!!" and the editors are very much trying to make it a bad boy rebel without a cause moment except if you looked the woman behind the counter had a smile on her face and was laughing and then afterwards he gave it back and said "we werent really gonna steal it" but it really seemed like she knew that already

and then at a different point a couple fans showed up and they were all shy and excited to meet him and he was just like "hey are you guys coming to the show later" and they were like "yeah" and he was like "cool! thanks for coming out :) do you want a picture?" and they took a picture and it seemed like he was still kinda excited that people were excited to meet him. marcus (their bodyguard) was like trailing behind him and smiling and laughing throughout most of these antics and i just think thats sweet.

later in this same interview once again as they were on the ride back to their hotel or whatever theyd brought back a fake moustache and patrick put it on and did a bunch of dumb impressions.

patrick: if i wasnt doing music i think id be like a music critic or music journalist or something

andy:...i thought you said youd work at walmart

theres this one srar era interview thats just joe and patrick riffing for like 15 minutes. like it looks like they just straight up forgot the interviewer was there its so funny theyre such good friends.

this one joe and pete interview where i dont even really remember what they were talking about but theres a moment where joes talking about music with this intense passion and pete just kinda looks at him with this level of brotherly pride that keeps me going

this one andy and pete interview where 1) there were waterfowl chillin behind them which was deeply fascinating to andy and 2) they took a moment to swivel their chairs and hug each other bc theyre besties

band superlatives, specifically the moment where theyre all separately like "technically marcus isnt in the band but like. its marcus." bc that was sweet, unofficial 5th member of fob. and also "whos the most talented" "patrick. patrick. its patrick, hands down." "hm. petes like a really good soccer player" like thats a moment out of a fucking sitcom

halloween asmr with pete wentz. the man cant act but god can he commit to a bit.

there was this like live text chat that they all were in with fans on some radio station website. there were a lot of very fun moments, including joe saying "this is very current technology." as a comment on how very dated the live chat was and andy being like "can we set an icon i wanna change mine to an XVX" and pete and joe being like "oh are you vegan straight edge? we had no idea." and then pete was like "actually i wanna change my icon to andy hurley" and andy was like "no pete im not gonna send you a picture of me" and he was like :( and then a minute later he changed it to andy and he was like, and i swear this is almost a direct quote "BOOM! i love my life haha" and andy was like "goddammit" like i have no idea where to find this but it was so good.

theres this one "this or that" interview with joe and andy wherein the interviewer was a woman and like she seemed pretty at ease around them and got to the last question and imo seemed kinda uncomfortable and kind of established (in a way that seemed like she didnt usually do that) that it was a gross question, which was "would you have sex with a super hot celebrity but shes just died" and both of them were like "hey. what the fuck. absolutely not." and shes like "oh thats a first" and they are both like "do people say yes to that????????" and shes like "youre literally the first people to say no haha" in a way that made it seem that she did not find it funny and i just find that to be an interesting moment and i hope shes doing well and has a better producer now.

theres this one interview w andy on a hardcore podcast where the interviewer asks andy "do you every wish fall out boy were more political?" and he said (paraphrasing) "fall out boy is political, in its own way. we may not be as explicit with our politics as my other stuff, but kids find fall out boy, and through me, with all my other bands, or through joe, since he does a lot of metal, find heavier stuff, and are introduced to this stuff and to being vegan straight edge or anarchist or just more radical politics, and i dont think that just because we arent being super political in our music we arent a political band" which was really something to me bc i had just been thinking about that as a concept i call "gateway punk"

theres this one interview i recently found of a very small chicago music news outlet where a young lady interviewed pete and asked far more interesting questions than any other interviewer id ever seen and one such question was how he felt about the legalization of marijuana in illinois and he said that it was cool that it was legal but everyone locked up for it right now should be released and i like that he got to be political

theres a moment on the badass jew podcast episode joe was on where the interviewer whomst i do not recall was espousing some veiled antiblack sentiments wrt some antisemitic comments some famous black people had made and joe just completely rebutted it immediately and pointed out that black people not only are not a monolith bht are at a greater disadvantage

and also he made a joke that i could never make and cant fully get bc im not jewish but it was very funny and i love hearing people make jokes that arent for me.

this one interview before patrick had kids where he was saying how everyone kept asking him and elisa when theyd have kids and he was like "you cant just make that happen yknow? how do you just do that?" and pete immediately grinned and leaned over and mock whispered "you have sex" and patrick punched the air and was like "i hate you so much"

that one interview about abap where pete was like "we actually got the guy who did the whistles on patience by guns n roses to do it on this" and then he looks over at patrick and patrick shakes his head and petes like "you couldnt let me have this?" and he was like "i was gonna but then you looked at me and i just couldnt."

"whats the most important thing to you right now?"

patrick: star wars

joe: my daughter.

patrick: ...my son?

the puppy interview. everyone involved including the puppies was having the time of their goddamn life.

i have to stop this is too much its been like an hour

[comicsnas]

showtime

WARNING: eye gore!!, violence Disclaimer: this is..... an au where guy fieri isnt a cool and chill dude that just likes food. i am very sorry for what i do to him in this. i dont mean it and if the cops knock at my door i will blame it on hussie word count: about 3.7k. i am so sorry

context john gets kidnapped by his mom dave doesnt panic

Los Angeles, CA, Wednesday

“No matter what happens, nobody cancels the premiere,” you say. “Okay? No matter what’s in the news. No matter how bad it gets. The movie drops on Thursday, and people are gonna watch it. Got it? This is a scare tactic and we’re not falling for it. Even if the world is ending, we are premiering this movie and going through with the promo. With or without me.”

Catalena, your manager, has been with you for too long to think that you’re joking. She was who flew you in from Houston to LA back when you were twenty, who let you sleep on your couch until you made enough money to get an apartment, who thought that the message you had for the world was one worthy of her help. She knows that all of this is real, and that she can’t stop you.

Her face says, Dave, you’re scaring me. Her mouth says, “You got it. Could you at least tell me… what you think is going to be in the news that would make us not premiere it?”

“Something bad,” you say. “Hopefully, anyway.”

She tilts her head. “Are you faking your death?”

“Lalonde and I are gonna disappear for a sec,” you say. “How people interpret that is gonna be up to them.”

“Not like you to leave things up to chance,” Catalena says. “Some will think it’s elaborate PR.”

“That’s why I’m only telling you. Lalonde and I are gonna frame this to look serious, and no one else is gonna know what’s going on. You keep your cool, but don’t let anyone know that you’re in on it.”

“I mean, I barely am.” She gives you a Look, a capital L Look, then sighs and nods. “Fine. So if I hear about your presumed death tomorrow, I won’t freak out. At what point am I allowed to assume you are actually dead, and freak out a little bit?”

“If you don’t hear from me in a week,” you say, “then Lalonde and I have been killed by Betty Crocker.”

Houston, TX, twelve years ago

You’re blind.

That’s not true. You’re not blind. You don’t think you are going to be blind. There is no way that you’re fully blind, because the assassin only got your right eye, so it doesn’t make sense for you to be blind, but you’re blind.

The pain might originate from your right eye, but it’s engulfing your entire head by now, and there is something sticky in your left eye and you can’t open it anymore and it burns, and you’re going to go blind, and then you’re going to die in a ditch, in a pool of your own blood, and this is it. It’s over. You and your half sister fucked around on the internet a bunch, got really deep into some conspiracy theories, and barely two weeks after you made the discovery that Betty Crocker definitely, undoubtedly, literally is an actual alien, someone was sent to kill you.

They didn’t manage, so far. They got your eye, and they broke your glasses, leaving a cut on your nose, and a bunch of cuts everywhere else, and you think you cracked your head open when you fell. But you cut their knife hand off, good and clean off, watched it fall to the ground right in front of you. By the time it hit the pavement, the assassin had already turned around and ran away, leaving you to crumple and suffer here by yourself.

This is it.

“Strider?” Rose says. Before the blood trickling into your good eye ruined your vision, you managed to dial her number and call her up, and now you’re lying on your side with your phone pressed to your ear, imagining her in her college dorm room in New York. You were going to visit her there, years ago, after you ran away from your parents. It never worked out. Neither of you has the money. You really wish you could have seen her at least once.

“Yeah,” you croak. “You at home?”

“At the dorm, yes. What’s going on?”

“You gotta go. She sent someone after me, she’s gonna come for you too. If she knows that I know, she’ll know that you know.”

One of the most comfortable parts of friendship with Rose, you’ve found, is that she never asks you to clarify what the fuck you’re talking about. Either she just lets you ramble, or she knows exactly what you mean. “Shit,” she hisses, and you can hear rustling on her side of the line, hopefully from her getting ready. She probably has a getaway bag somewhere, you think. You have one, but not on you right now. It’s too late for that.

“They’ve already hit me, so whoever she sent to you can’t be far,” you say. You try to blink your eye open, but then it hurts the other more, and it burns. You can’t even tell where exactly. It just burns. “Hurry up, Lalonde.”

“They’ve hit you?” she echoes, still rustling, breathing into the phone. On the move. Good. “Are you okay?”

“No,” you say. “Gonna call an ambulance after this. Just get the fuck out and text me later, yeah?”

Rose pauses. You can hear her pause, you can hear everything go very silent for a second. She says, “You called me before you called for help?”

“Yeah,” you say. She told you, once, that there is a quick and easy way out the window of her second-storey dorm room, that lets her balance over to her girlfriend’s room only a few windows ahead. She can’t hide there, it’s too close, but it’s a start. She’ll figure it out, she always will. She was the first person to ever have your back. “Of course I did.”

On a plane, Thursday morning

“What’s on your mind?” Rose asks.

You’re leaned back, staring out the window, listening to the clicking of her knitting needles next to you. The pilot here doesn’t know who he’s dealing with, just that he is flying two rich people and their car to Washington, DC. Your Mustang is in the cargo part of the plane, a vital part of the plan. You’ll torch it later. It was the first car you bought with your own money, after SBaHJ had become big and you had finally paid off your hospital debt.

Rose’s apartment isn’t that old, she got it after Roxy was born and she decided to move to Los Angeles, so you could help each other babysit. Trashing it still felt wrong. A home is a home, but you wanted it to look broken into, to make sure that people put two and two together. This isn’t a Dave Strider marketing scheme, you both got hit. After all the work that you’ve done, at least some of the public should understand what that means.

“Us,” you say.

“That’s very sentimental,” she says. “Are you sure you aren’t mourning your car again?”

“Shut up,” you say, and blindly swat at her, hitting her elbow. She hits you back, hand slapping your shoulder. “It’s a good car.”

Rose hums. When you look at her, she’s already back to knitting. You have no idea what she’s making, but it looks like a onesie for an octopus. “We will be fine,” she says. “We have to.”

You nod, and go back to staring out the window, thinking about what Alma said. “It’s just,” you say quietly. “We gotta start thinking about the endgame, here, don’t we.”

“Start?” Rose echoes. “Dave, we know the endgame to this. We’ve known for a while. The second you landed in the hospital with a cut inside your eyeball, you and I both knew that this would end in death.”

You don’t say anything. She’s right, of course she is. You knew then, and she knew, as soon as you texted her from your hospital bed, and she texted you back from a Greyhound bus. And you tried to forget, you both did, for a very long time. You almost managed, for a whole decade, until last year, someone made you scared and angry enough to ram a sword through his throat. Until Rose came and disassembled the body on your rooftop, and then helped you burn it. Reality has caught up with you, and someone is going to die.

The clicking of her needles has stopped again. You turn your head to look at her, and she’s looking back at you, and her face seems younger than it should be. She is just as scared as you are. Neither of you ever wanted it to go this far. Neither of you wanted to kill.

“I don’t like it either,” Rose says. “But someone is going to wind up dead, and it sure as shit isn’t gonna be us.”

Washington, DC, now

)(IC: u comin or what TG: yeah about that

You’re on the hood of your car. The children -- and Sally, John’s pet hedgehog -- are with the one sitter you still trust. Rose is in position, which means she is at a remote location outside the city holding Guy Fieri hostage. She has sent you a picture of him tied to a chair and gagged, which means that it’s go time.

All according to plan.

TG: how about you come kill me somewhere else instead of home sweet home )(IC: why would i do that TG: dying mans last request? )(IC: stfu lol this is so obviously a trap TG: wow ok so is yours )(IC: fair TG: just thought that you know TG: john means something to both of us and dont try to tell me no because i know he does TG: so like can we maybe duke it out somewhere where i wont accidentally blow him to smithereens TG: innuendo intended )(IC: UG)( )(IC: gross TG: lmao TG: anyway bethany you know me and you know im comin with c4 in my backpack if im comin TG: do you really want that around your son or can you just get off your ass and meet me here so john stays safe )(IC: u reely think ya have a fighting chance to even get that far )(IC: buoy you set one foot in my house and ya get spearfished TG: yeah not really making a great point for me to come there rn TG: just thought maybe youd wanna be with your guy guy )(IC: who TG: you know TG: guy the guy )(IC: tf

You text her the picture that Rose sent, just Guy Fieri looking miserable, no indication of whether or not you or Rose are with him.

)(IC: )(-EY )(IC: motherglubber what do u think yoar doin TG: yoar??? TG: thats literally not a word. wym you oar?? what TG: anyway im gonna dismember this asshole if you dont agree to keep john safe and come here and im gonna start with the frosted tips )(IC: FIN--E )(IC: cant effin wait to be done with you )(IC: ill come krill ya if its so shrimportant just gimme the location TG: ok shrimportant is actually pretty funny TG: [coordinates] TG: see you soon

She drives a fuchsia Jaguar that looks like Xzibit threw up all over it, because of course she does. You watch it leave from your perch on your Mustang, then slide off the hood. shes gone, you text Rose. get ready to bounce

Before you leave, you turn back toward you car, and gently pat the roof. “See you soon,” you repeat, “for one last ride.”

Look, it’s a good car, alright.

Later on in the plan, once you’ve convinced John to come with you, and Rose has joined you in the no doubt brutal course out of the house littered with security guards, the three of you will pack into this car, and you will drive. You will be tailed, you know you will. Rose and you estimate two to three SUVs with more security personnel that will follow you, and sooner or later, you won’t stand a chance against them.

So, you’ll call the cops. You don’t usually do this -- even during all these years, neither you nor Crocker ever called the police on each other, and technically, you still won’t, today. You will just anonymously call authorities, and tell them about a burning car by the side of the road. Then you will hang up, and you and Rose and John will hop out of a moving vehicle as you crash your beloved Mustang and have it go up in flames. Authorities will come and find Dave Strider’s infamous car, and hopefully that’ll get people talking.

Crocker’s guys will hopefully exit their cars and go looking for you, or at least for John. It’s an easy con from there -- while they look, you will steal their SUVs and drive off toward your safehouses. Simple. No sweat.

“This better work,” you mutter to yourself, then leave your car behind and start climbing the fence around Crocker manor.

You’ve been here once before, while she was out and John was showing you around. You weren’t actively trying to case the place back then, just spending time with your boyfriend and checking out where he grew up, but you couldn’t help how curious you were. You still remember the most important spots, and you did your best to paint a proper picture of them to Rose (you drew a map in MS Paint), so now you have a pretty good idea of where you need to go.

The guard posts, of course, are randomized. You’ll have to take these as they come, and you feel prepared enough, with just your sword and a handful of knives. You’re wearing the kevlar you wore to the Oscars. You’re gonna be fine.

It’s a race against time now, knowing that there is no guarantee when Crocker will be catching on and returning to her house, and knowing that you stand no chance actually fighting her face to face. You climbed in toward the side of the house, because it’s the shortest distance between fence and wall. The front and back yards are ridiculously huge and opulent, and while you would have plenty of gaudy statues to hide behind, you’re not looking to make your way through there.

The first guard spots you right as you hop down off the fence, and your knife is in his shoulder before he even finishes drawing his gun on you. He’s also wearing a vest, but those don’t stop blades, and you take offense in knowing that she made them dress up like that. As if either you or Rose were going to show up with guns. She really doesn’t know you at all. You knock out the guard with a hit of the knife grip against his temple. Maybe you can get through this without deaths.

One of them you comfortably take out from behind a useless fountain placed in this part of the garden for some reason, appreciating how quiet and low-key you can be about it so far. The bigger the ruckus, the sooner she’ll return, so having them all go down in silence is your best case scenario.

It’s the third guard that ruins your track record. You’re almost at the house wall, and you know you’re under the right window, which means all you have to do is scale it and climb right into John’s room, but for that to work you need to have a clean path behind you. Which you don’t, you realize the second a bullet hits your back.

Your vest catches it, but the momentum still knocks you down, and you scrape both of your palms open on the weird break between lawn and pavement. You hate this fucking garden. Who lives like this? You’re gasping for breath and trying not to inhale any grass, dealing with the reality that this is the first time someone has shot at you and actually hit you, and the bullet might not have penetrated skin at all, but Jesus Fucking Christ it still feels awful. Like someone kicked you in the spine, only with a bullet instead of a foot.

Onward. You hear footsteps behind you, and now it’s your turn to kick, hitting them in the face with your boot in the same motion that you’re pushing yourself up from the ground. As they curse and stumble, you draw your sword, but they catch their footing quickly, and you know you only have a split second to act. That gun is pointing at you, again, or still, and they’re going for your head this time, and if you don’t fight now, the journey ends for you here. Someone is going to die, and it sure as shit can’t be you. Your arm darts forward.

The sword goes through their vest, their ribs, and their heart -- you wouldn’t call it smoothly, you really wouldn’t. You can feel resistance with every inch, you feel it right up to your shoulder, and you hate it, and it makes you want to throw up, but you can’t, now. You shove them off your blade and watch them crumple to the ground, and turn right back toward the wall. They are not getting up again. That’s on you, and you can deal with that later. You have to get moving.

Your phone vibrates.

You manage to pull yourself up on a balcony and crouch there, hiding from whatever is going on in the yard now. Other guards must have heard the shot being fired, so you really need to get the fuck out of sight, but this has to do, for now. If Crocker is messaging you, you have to respond, so she doesn’t think you’re in her goddamn garden.

)(IC: yo )(IC: send me proof yoar still with him )(IC: almost there this betta be worth it TG: one sec

As expected. All according to plan, so far. You hope the blood on your sword won’t make the sheath sticky. You’ll have to clean it, later. You don’t want to.

TG: shes asking for proof TG: go ahead. sorry TT: No worries. TT: I know we don’t endorse violence, but honestly, Dawon, after being in a room with him for this long, I am quite happy to do this.

She sends you a picture, and you grimace at your phone. It takes a lot to make you grimace, as a Strider born and raised -- at the same time, you’re not easily shocked or grossed out, but this isn’t great to look at. Fieri’s eye has been pulled from its socket, dangling down his cheek suspended from the nerve, a hole in the eyeball. You hope Crocker won’t be able to tell that this was done with a knitting needle, and forward the photo to her.

TG: hows this )(IC: )(--EY FUCK OFF )(IC: stop i reely like guy 38( TG: yeah well i really like john TG: eye for an eye TG: hurry it up im waiting and theres a second eye to gauge out )(IC: ten minutes )(IC: ur gonna be so sorry buoy

TG: 10 mins TT: On my way.

Okay. Crocker is on her way to a location where there will only be Guy Fieri and a set of elaborate boobytraps which you know won’t kill her, but hopefully slow her down. Rose is on her way here, to help you and John get out of here. That’s plenty of time you still have. Things are going suspiciously well, you think, before you remember the ache in your back and the fact that you killed someone.

You have to get to John.

He’s another two floors up, but you are right in front of a balcony door. For a second, you wonder if you could get into the house from here and do the rest from inside, so you don’t present yourself to the mob of people with guns in the garden. Unfortunately, before you can do that, another person with a gun appears on the other side of that door, mouths an angry what the fuck at you, and draws an assault rifle. Alright, well.

The thing that has mostly kept you from becoming too violent in the past is the fact that you’re fast, and you’re a great climber, so when you hop backward onto the banister of the balcony and pull yourself up to the next one above you, it happens so fast that nobody in the garden reacts. It’s after you’re already crouching behind the balcony, thankfully made of robust concrete, that the shots start hitting it. You do nothing, count the bullets, wait for them to get rid of half of their magazines down there. Then you pull a knife, peek over the balcony, and throw it right into someone’s bicep.

More shots. More ducking and counting. You have two more knives to throw, and you do, rinse and repeat. The people down there are very angry with you now, and very much still able to shoot, but you figure at least their aim will be off, and they’ll be slower. You hope. You haven’t held a gun yourself in fucking forever.

You take a breath, and jump up to grab the balcony you know belongs to John.

As soon as you’re in the open, another bullet hits your back, further toward your side this time, and you almost let go. You let out an undignified noise instead, and hold on harder, focusing all you have into your arms to pull yourself up. Shots are ringing in your ears, and one hits the concrete right next to your head at almost the same time that another one grazes your leg. You hiss in pain, grunt in exertion, pull, pull, and roll yourself onto John’s balcony.

Someone in the garden yells, “Motherfucker!”

You sit, curled up, and pull apart the tear in your pants with your aching fingers to check the wound. It’s not deep, certainly not as bad as the chunk of missing flesh you have in your arm from being shot at last year. It’s fine. You’ll forget about it in a second, when your newest problem will be telling your amnesiac boyfriend that he needs to come with you.

You pull yourself up into a crouch, not more. You don’t want to risk getting shot in the head as you finally face him, so you just do it like this. Hunkered down, disheveled and bloody, you lean forward and knock on John’s window.

[saltylittleass]

dad was teaching me how to drive this morning. hit the car that has been parked near our house for more than 40 years. that's why I say, even be you senior citizens, u still gonn get it for trying me😴💅

Feeling: like fuckkng shit up💯💯🤬🤬😇