#so everything was 40-70% off

[darcyfirth]

i went stir-crazy from being trapped at home (sprained ankle) so i put on some music and started re-organizing my makeup shelves & in true capricorn fashion, also counted products i’m using & storing for future use

the cleanser part wasn’t updates at this point because i hadn’t been to my bathroom yet but apparently i’m using 3 cleansers at the moment

also if you’d like to peek into my lippies choices here are the swatches (the look disgusting i know i didn’t plan for it to happen)

they all look the same, don’t they 🥹

[deoidesign]

Sketching

[yo9urt]

in other news i started reading l0u sull!van (avoiding search results) 's diaries today and its been very <3

[nomaishuttle]

I'm gonna be so open and honest with you guys right now i fucking rly dont want to go to work tomorrow .

[buckaroosboogara]

Hi! Just wanna raise some awareness here because South America is on fucking fire and I need to see more people talking about this.

Source: RSOE EDIS x

Im just going to talk about the ones i'm closest to, but if you know about these fires, feel free to add in the reblogs!

Chile

In Chile there's (up to Feb 5) 160 wild fires, of which 40 are still trying to be controlled by authorities. The president, Gabriel Boric, has declared State of Emergency in the whole country, and theres a Red Alert Code in most part of the country.

Isla de Chiloé, Southern Chile (900 km away from Santiago de Chile)

This is a (recently controlled) fire that lasted a week, but many neighborhoods were burnt to the ground.

The whole South is in red alert for constant sudden fires that spread quickly due to the lack of rain and the elevated temperatues in the zone. Just today, two fires had to be controlled in the main land next to this island, and more are being reported in the Los Lagos region. This is added to the "controlled" intentional fires that farmers make to clean their fields of old crops along the Central-South parts of the country, mostly surrunding the main route, Ruta 5, that connects the whole country, thus making it hard to see and breathe because of the smoke. (flashnews, most of them get out of control quickly.)

Valparaiso/Viña del Mar, Central Chile (100 km away from Santiago de Chile)

A fire that started on Friday 2nd and grew exponentially because of the wind and the dry, hot climate. More than 100 people are dead, with 70 unrecognized bodies and other 400 that have dissapeared. At least 30000 people that have lost everything to the fire.

There's massive evacuations from this and the neighboring city, Viña Del Mar.

This is said to be the second most deadly fire in the century, surpased by Australia in 2009.

45000+ hectares that include land and neighborhoods have been burnt down.

I could go on about this one, so more info here and here

Argentina

Parque Los Alerces (Esquel), Chubut

The fire strarted on the 25th January, and the climate has made it hard to contain. 3000 hectares of native forest have been burnt to teh ground. It is now growing in the direction of the nearest city, Esquel. Theres been evacuations between yesterday and today (4 and 5th Febuary)

Parque Nahuel Huapi (Bariloche), Río Negro

The reason why im writing this. The city woke up today covered in smoke after a wildfire developed yesterday during the night. The reason? A fireplace that was not turned off in a place where people cannot disembark and can only be reached via boats.

As of now, there's not much information about the fire but hopefully the firefighters will be able to contain it before it reaches Tronador Mountain, where an ancient glaciar is.

...which leads me to the other point i wanted to talk about.

Firefighters

They volunteer to do this job.

In Argentina and Chile, firefighting is not rewarded with a salary, and most of the times they dont even have full firehouses to stay in. These people are at their houses, ready to jump into action and run to the station the second the alarm goes off.

They are neighbors, people that risk their lives and run into danger willingly, just because they want to help the community.

I felt the need to give a shout-out to these people and say:

Don't be a fucking dick, don't start fires in the woods unless it's an approved place, and if you do, TURN IT OFF.

Pour abundant water on it, and do not stop when you don't see any more flames.

Keep pouring water until the ashes don't burn/feel like room temperature in your hand if you put it 10 cm away from it, and even then, pour some more just to be sure.

No heat and no smoke mean a safely extinguished fire.

Save lives and forests.

[catastrophicdisasters]

apologies, i'm still angry abt TUA S4

so, if we take out all of the blatant issues with the season (character assassination, 'resolutions' that create more plotholes than they solve, rushed scenes that make no sense, side plots that go nowhere, raymond vanishing for no reason, etc etc), what are we left with? let's see:

fatphobia (multiple jokes made about 'chubby Diego', when David just looks hydrated and healthy)

SA played for jokes (it's clear that Klaus having sex while possessed is supposed to be funny, but he's being held hostage and forced to do this for money, when we already know he didn't even want his powers back??)

cheating

problematic / borderline problematic age gaps (either way you spin it, either Five is physically 20-26 while Lila is likely mid 40s, or Five is mentally 70s while Lila is mid 40s; Aidan was 19 while filming, and Ritu was 34)

waiting for the actor to come of age before introducing a romance (we already know what some fans can be like over Five/Aidan, this will not have helped; I would be horrified if I found out the show runners had planned a romance arc with a coworked 15 years older than me and then waited for me to turn legal age to execute it)

sexism (i was reluctant to call it that but i also don't know what else to call it - Lila basically had her agency stripped away to become the love interest two men fought over; Steve wanted Five to have a romance and didn't care who with - use Lila simply because she was there)

complete disregard of character trauma (Klaus being buried alive despite it having been mentioned in every prior season that he was locked in a mausoleum by Reginald, including literally being left to die)

possible overstepping of an actor's boundaries (i've not been able to verify this, but i've seen it said that robert sheehan has requested not to do sex scenes?) (still havent been able to prove this; wasn't an issue with other roles so... hesitant to leave it)

actors requests being ignored (David asked multiple times if the Lila cheating sideplot was required, but clearly it went ahead anyway)

bad cgi

that awful vomit montage

Reginald (im not quite calling it abuse forgiveness but uh. it's not far off tbh)

i don't even know what to call this, but basically told the Hargreeves the abuse they suffered was their fault because they shouldn't even exist??

what did i miss? (im sure there's something)

from the replies:

the song in the ep3 dance scene uses a slur for romani people (and is also about a man and an underage girl)

SA dismissal (it's literally never addressed that Allison SA'd Luther last season. like, at all. everything's just a-okay now!)

more sexism (Allison's arc was also reduced to serving men; there's a single line to explain that Ray left, with no mention of why (i could go OFF about this but this post isn't supposed to be about mishandling of characters); even after everything, all her bonding with Claire comes through Klaus's storyline. also, Sloane is just gone and nobody gives a shit - Luther has one line and that's it??)

so many issues with consent (all of the girls shown in the place Klaus works look drugged / Klaus doesn't want to be there and doing any of that, it's all against his wishes / they all get their powers back against their wishes - although they do tell Ben that wasn't his choice to make / Klaus gets his powers back against his will when Allison is pressured to do it to save his life)

[moonkitty]

hi im triple AAA game studio. Welcome to our game gunshitters 7. this is a 70$ USD game that is not finished but you can buy the DLC at launch for 50$USD. also theres a seprate in game currency where you can spend 200$USD to get diamonds to buy cosmetics. look at our roadmap. dont you want to pay 30$ for our first season pass? you will unlock special epic gear that will never ever come back so you can get a nice healthy dose of FOMO. the next season pass is next month and is also 30$. also we are locking 40% of the entire game behind our fun new feature 'present mechanics' so you can gift the rest of the game to yourself for the low low price of 40$ and you also get an epic gun skin if you pay for the GOLD season pass for 60$. also you know how the game was unfinished at launch? oh haha were sorry about that. were releasing it now but you need to pay 20$ for it. fuck you. fuck you. fuck you.

guy in a duplex living off of nothing but bread with a computer from 2009: hi everyone im so sorry im late to announce this but my game honeydew mayhem where you can conquer the universe as a bee is gonna release a month late because i still need time to work on making sure that everything works properly and i also need to make sure that the free content updates i will release over time for the next 10 years will be on their way. i need to make sure that you can do absolutely everything you can think of in this game and i still need to polish 20 boss fights and finalize 40 more in-game areas to explore. im sorry you guys will have to wait a bit longer. also my game will be 25$ i hope that isnt too much to ask. if it is i promise it will go on sale soon for 9$. i love all of you and hope you are having a good day

[fratboykate]

I'm totally in support of the writers in theory but I'm trying to understand more of what you're fighting for because I've seen some people on twitter claim writers make more money a week than most of us make in a month so I'm trying to understand what the issue is. Also if that info is accurate. This is a genuine question. Not trying to have a "gotcha moment". I really want to hear from a writer.

people have always had wild misconceptions about how much a writer earns because of their lack of understanding of how the industry actually works. there's so many posts about how "you guys make 5k a week. what more do you want?!" yeah...let's do some math on that.

5k a week for 14 weeks (and that's a long room. a lot of rooms these days are 8-10 weeks. those are the dreaded mini-rooms we're trying to kill) is $70,000. for roughly three months of work. you'd think we're cooking with gas...BUT HOLD UP. that's gross! let's see everything that has to come out of that check:

10% to our agent

10% to our manager

5% to our entertainment attorney

5% to our business manager (not everyone has one but a lot of us do. i do, so that's literally 30% immediately off the top of every check)

most of these breakdowns ive seen downplay taxes severely. someone made one that says writers pay 5% in taxes and i would like to ask them "in what universe?". that doesn't even cover state taxes. the way taxes work in the industry is really complicated, but the short of it is most of us have companies for tax reasons so we aren't taxed like people on w2s/1099. if we did we'd be even more fucked. basically every production hires a writer's company instead of the writer as an individual. so they engage our companies for our services and then at the end of the year we (the company) pay taxes as corporations or llcs (depending on what the writer chose to go with). my company is registered as a "corporation" so let's go with those rates. california's corporate rate is 9% and the federal corporate tax rate is 21%. there's other expenses with running a business like fees and other shit so my business managers/accountants/bookkeepers have recommended i save between 35-40% of everything i make for when tax season comes.

you see where the math is at already??? 25-30% in commissions and then 35-40% in taxes. on the lower end you're at THE VERY LEAST looking at 60% of that check gone. 70% worst case scenario. suddenly those $70,000 people claim we make are actually down to $28,000 as the take home pay. and that's if you're only losing 60%. it goes down to $21,000 if it's 70%.

lets pretend you worked a long 14 week room (that's the longest room ive ever worked btw) and let's also be generous and say you only have 60% in expenses so the take home is $28,000. average rent in los angeles is around $2,800-$3,000. if you're paying $2,800 in rent that means you need AT LEAST $4,000 a month to have a semi decent life since you need to also cover groceries, gas, medical expenses, toiletries, phone, internet, utilities, rental and car insurances, car payments, student loan payments, etc etc etc. and again, this is los angeles. everything is more expensive so you're living BARE BONES on 4k. and these are numbers as a single person. im not even taking having children into account. so those $28,000 you take home might cover your life for 6-7 months. 3 of which you're in the room working. the reality is that once that room ends, you might not work in a room again for 6-9-12 months (i have friends whose last jobs were over 18 months ago) and you now only have about 3 months left of savings to hold you over. we have to make that money stretch while we do all the endless free development we do for studios and until we get our next paying job. so...3 months left of enough money to cover your expenses -> possible 9 months of not having a job. this is how writers end up on food stamps or applying to work at target.

this is why we're fighting for better rates and better residuals. residuals were a thing writers used to rely on to get them through the unemployment periods. residual checks have gone down from 20k to $0.03 cents. im not joking.

they've decimated our regular pay and then destroyed residuals. we have nothing left. so don't believe it when they tell you writers are being greedy. writers are simply fighting to be able to make a middle class living. we're not asking them to become poor for our sake. we're asking for raises that amount to 2% of their profit. TWO PERCENT. this is a fight for writing even being a career in five years instead of something you do on the side while you work retail to pay your bills. if you think shows are bad now imagine when your writer has to do it as a hobby because they need a real job to pay their bills and support a family. (which none of us can currently afford to have btw)

support writers. stop being bootlickers for billion dollar corporations. stop caring about fictional people more than you care about the real people that write them. if we don't win this fight it truly is game over. the industry as you know it is gone.

[ectospacecadet]

-[Danny’s Powers]-

So we all know Danny’s got a lot of powers, but I feel like a lot of people underestimate how powerful he really is, let’s compare a scene from S1 to S2. Specifically “My Brother’s Keeper” and “Kindred Spirits”.

So Danny in the first clip is angry, so angry he amps up the power of his ghost ray mid-blast, this is just 4 episodes after he gets this power. He’s still learning to use it so this is probably as strong as he can make it currently.

In the 2nd clip Danny totally wipes out everything in a several foot radius, which is way stronger than what his ghost ray was in S1. I decided to do a quick bit of calculation just to see how far Danny shot that ghost ray.

See I initially thought “eh, maybe 30-40 feet” but nope, if Danny’s at least 5ft tall then that puts the blast radius somewhere between 65-70 feet, including the tail of the blast where it would just fade out. That’s with the ground in the way which adds friction, meaning the blast could go much further by possibly 40-50 feet if shot clear off the ground, maybe even further as that’s only scraping along the bottom section of the blast.

I also love Danny’s reaction to this, because even he’s like ‘whoa’ at what he just did, you can hear the panicked breaths in there too, he’s freaking out. This episode also takes place after TUE, so Danny being afraid of his power makes sense here. He’s hurt people with it before: his parents, Sam, Tucker, Valerie and Dash (though he wanted to do that).

Imagine if someone was within that blast range? They’d be more than dead, they’d be erased.

So after seeing that, yeah, I’d get out of there too. If someone saw Danny Phantom could do that in a public space with no evidence of a ghost attack where people are, who knows what they’d say about him in the media?

[espinosaurusrexex]

Remember Me

WinterSoldier!BuckyBarnes x Female!Reader

summary: After a fight against the most notorious Hydra agent of all, Steve and you discover that your assumed diseased friend Bucky is still alive. Old wounds resurface as you are confronted with the grappling reality that you have lived vastly different lives for the past 70 years. Will he remember your shared history? And most importantly: does he still feel the same?

word count: 3.1k

a/n: Just a short piece that I managed to finish. I know it's not a lot, but I hope you enjoy anyway 💕

warnings: a bunch of fluff and angst, mentions of war, mentions of sexism, swearing, Bucky is really broken in this one, happy ending (:

･ﾟ✫* 𝒎𝒂𝒊𝒏 𝒎𝒂𝒔𝒕𝒆𝒓𝒍𝒊𝒔𝒕 ｡✭･ﾟ

“Proceed with caution, unidentified shooter on bridge. I repeat: unidentified shooter. It is not clear what the motive is. Take cover and shoot on sight.”

“Dispatch, this is Captain America - we’ll take it from here.”

“With all due respect, Cap, I will keep my men on site to keep your cover.”

“I appreciate it.”

“Least I can do for you, sir.”

“Stop chatting it up with the police and do your job, Rogers.”

“Alright, alright.”

You chuckled and turned to Tony. “How long are we out?”

“Three minutes, 46 seconds.” 

“You gonna survive that long, Stevie?”

“That guy’s got a good aim on him, gotta give him that.”

Muffled noises pushed through your earpiece before you stepped into the back of the Quinjet to gear up. 

“Can’t let him do anything. It’s one guy they’re fighting... one.”

“Yeah, one Hydra-trained assassin who’s apparently immortal and got more deaths on his record than Romanoff.”

You huffed as the meeting recollected in your mind. The Winter Soldier had been the newest pain in the Avenger’s asses ever since you discovered that Hydra was still operating in the shadows of S.H.I.E.L.D. 

“They’re just making a show out of everything, huh?” 

You strapped your gloves over your wrists and watched as Tony chuckled in the pilot seat. You and him had become good friends over the past few years. Ever since you and Steve had been discovered in the frozen airship of what you had thought to be your last mission about 70 years ago, you and Captain America had woken up in a vastly different world. One through which Howard’s son, Tony, gladly guided you. 

Both you and Steve were overwhelmed by the amount of changes the world had endured while you had soundly served your time as human popsicles, though Captain America seemed to struggle a little more with 21st-century technology and norms. 

It was fine, Steve had always been a little old-fashioned, even back in the day. You for one were delighted to learn about all the opportunities the world had to offer for women and other people who couldn’t have dreamed of any in the 40s. Because while Steve was celebrated for being the face of hope for the American people, you were still dodging snide comments doubting your place in the Army. And while you tried not to let anyone see the toll it took on you, it was the reason for enough nights you spent with Peggy sharing stories over a bottle of wine. 

You both decided the important men in your life should never find out. Though, of course, your not-so-secret didn’t stay hidden from Bucky for long. Which was one of the reasons you had jumped on that plane with Steve. Even when Bucky was already dead. Even when Steve was still oblivious. You constantly needed to prove yourself. But this one time, it had actually changed something – well, time had. 

You shook your head free of that thought and walked towards the cargo hatch. Tony had landed the Quinjet – it was go time. 

“Ready?”

“That guy won’t know what happened to him when we’re done with him.”

“Let’s rock his world, then,” Tony winked before his helmet closed and he flew out of the jet. You were close behind him, running the short distance from the ramp to the bridge from which you swung yourself off with a grappling hook. 

“What’s the status?”

“I’ve been shot.”

“I’ve got it, Bearcat check on Steve. He looks ridiculously helpless.”

“Roger that,” you sprinted towards the two fighting men on the street, as the Winter soldier threw Steve to the ground, his shield nowhere to be seen. 

“Okay, my turn.” You stepped in front of him, analyzing his movements, and dodging punches, trying to get some in yourself. 

“Oh come on, that’s not fair.” You huffed when he took a knife out of your leg holster and almost acrobatically threw it over your head just to graze your cheek with the blade. 

He had knocked off your guns at this point, leaving you with choking wire and some smaller daggers in your jacket. When he turned the right angle, you jumped his shoulders and locked your thighs around his neck, kicking the knife out of his hand and watching as he ripped your choking wire in half. Damn.

“Now, that’s not nice.” You threw the torn metal to the side as The winter soldier struggled to get you off him. A look to Steve told you he had a new plan, and with a short nod, you signaled your understanding to him. 

“But if you wanna be like that...” Steve threw you his shield and in a swift motion you managed to drag it over the soldier's head. He pushed his metal arm forward just in time, though your hit had already knocked the mask off his face. 

When the shield came down, you heard Steve’s footsteps halt next to you, the world going quiet. 

Your stomach churned when you watched blue eyes twitch between the dark smudges. Familiar and oh-so strange at the same time. 

“Bucky?” Steve stammered, and at the sound of his name, goosebumps rippled over your skin. 

The Winter Soldier’s look darkened before he reached for a gun. “Who the hell is Bucky?”

From then on, the day seemed like a blur. You remembered Sam knocking Bucky down and the lot of you flying back to the compound on standby. Steve was functioning a lot better than you were, considering the man you thought to be dead for over 70 years was currently handcuffed to a handrail on your jet. 

James “Bucky” fucking Barnes. Captain America’s best friend, founding member of the howling commandos, infamous war hero apparently turned assassin, and the man who stole your heart somewhere along the way. 

You dared a glance at the chained-up, unconscious brunette in the corner as Steve sat down next to you, a calming hand squeezing your shoulder. 

“Can I get you anything?”

You ignored him. “How are you not freaking out?” You whispered through glassy eyes instead. 

Steve’s expression softened when he pulled you into his chest, his other hand pressing your head further into him. His heart was hammering beneath his ribcage, his fingers cold to the touch. 

“I am. Just trying to be a captain.” His voice was strained when he mumbled into your hair. 

You just nodded in understanding, finding comfort in the fact you weren’t the only one feeling this way. 

❁ ❁ ❁

You watched him through the glass of the interrogation room with your arms crossed before your chest. Buck was sitting at the table, his head hung low, his dark hair falling in wet stands into his face. He didn’t move a muscle. For half an eternity, he stared at the table his wrists were chained to, almost statue-like. But when he finally looked up, you could see the confusion and nervousness in his ocean-blue eyes. 

They had given him time to recover, to shower, and feel like a human again. They forced him into normal clothes and offered him a bed to sleep. But it wasn’t enough. The man you were looking at was terrified and lost - exhausted and overwhelmed. 

Bucky visibly tensed when the door opened and Steve stepped into his sight. They spent the next hour reconstructing his past. Steve told him how he had ended up in the 21st century and by the end of their conversations, the tension was a lot less static.

“She’s alive,” Bucky stated and tore his eyes away from Steve to look at the one-way glass.

“She’s a tough one. Survived the crash without super soldier serum and came out of the ice just as unharmed as I did.” 

“What are the odds?” Bucky chuckled bitterly. “What are the fucking odds we all end up together again?” 

Steve only gifted his friend a sympathetic smile along with a squeeze to his shoulder. “Take it as a chance.”

“Feels like a punishment.” 

They were locking eyes and even though you were watching the interaction from the outside, you could feel the atmosphere turn somber. The men were staring at each other in silence for a while, though you knew there was an entire discussion happening in their eyes.

“Does she... does she want to see me?” Bucky’s voice was hesitant and broken. And you couldn’t help but somehow imagine a different question nestled in his words. 

You almost had to stop yourself from touching the glass with your hands, wanting to tell him that you were already seeing him - really seeing him. 

“Why don’t you ask her yourself?” Steve stood and with a last smile to Bucky, he exited the room. 

This was it. The door was open. The love of your life sitting only a few feet from it. Though it seemed like he was trapped inside another’s body. 

“I’ll give you some privacy,” Steve murmured as he stood in the doorway looking at you by the window. And you just nodded, trying to suppress your pulse rushing in your ears. 

“Thanks.” It was only a whisper. You weren’t used to your voice being this small. And Steve didn’t seem so either. He was looking at you with sad eyes, fists clenched by his sides. There was nothing he could do to make you feel better. Not this time. And he seemed to know so. With one last tight smile, he sent a short nod your way and then left. 

❁ ❁ ❁

Bucky didn’t look at you when you finally built up the courage to step inside his room. He was much bigger than you remembered. Thick muscles adorned his arms and shoulders. Shaggy, longer hair fell from his head and over his scrunched brows. His left arm was entirely of metal, a red star reminding him who had taken claim to him several decades ago. 

If you hadn’t known, the man before you had almost no resemblance to the soldier you loved in 1941. He had been lean and full of life. He was broken now. And you were terrified someone had taken the very thing from him that would keep him from becoming himself again. 

Without a word you approached Bucky, cupped his hands with yours, and undid the restraints that tied him to the table. And this was the first time he looked at you. Really looked at you. Bucky’s piercing blue stare was full of awe and sorrow, a deep pain etched beneath the grey flecks within the vibrant color. 

You sat down beside him. 

“Hey.” Your voice was shaky, dragging a long silence in its wake that only made your heart beat faster. 

“Hello,” Bucky finally whispered, breaking the spell. His voice was a raw timbre, like a long-forgotten melody. And so much more tangible now that you weren’t listening to it through a speaker. 

But that was it. Neither of you spoke afterward. 

There was so much that could have been said, so much that could have been exchanged, known, explored about the other. And yet it didn’t feel like any of the words known to you were enough to break the static tension in the room. You were just looking at Bucky, scanning every part of his body like it was a flash card for the most important test of your life. 

So, here you were: With the opportunity of a lifetime right at your fingertips and the confidence of a kicked puppy settled deep in your wounded soul. The person you had known for the longest looked so timid as if he were looking at a stranger. Not that he had ever been shy about strangers back in the day. But this was different. This was strange and beautiful, and scary, and exciting. No book in the world held the answers as to what to do in this situation. 

And the solution was so easy: you just had to say something. So why didn’t your damn mouth open?

The speaker above your heads crackled and then Tony’s voice rang through the room. And for the first time in what felt like hours, a tiny bit of the weight on your shoulders lifted with it. “Bearcat, If you don’t open your mouth and put the guy out of his misery in 5 seconds, I’ll personally mediate this incredibly static confrontation.”

You rolled your eyes and then glared at the mirror, knowing full well Tony was watching you despite your asking him to leave. You mouthed a ‘shut it’ towards the glass and then turned in shock when a familiar voice rose from the silence.”

“Bearcat?”

You stared at Bucky with soft eyes. There was an innocence in the way he slowly guided this conversation - almost like he’d always had. It was an easy question, a nice entry to the heavier stuff that was bound to be discussed. 

And just as you began to explain, it dawned on you how much you had missed about each other. How differently your life could have been if it weren’t for the cruel turn of fate.

“When Steve and I were discovered, S.H.I.E.L.D. was our home for a long time. They tried to put us in apartments, even set us up with chaperones to guide us through the new century.” Bucky looked intrigued, even leaning forth as he listened intently. You wondered if he ever realized how much time had passed when he was the winter soldier... if anyone ever cared to tell him. “But it wasn’t until I met Natasha that I felt like I had arrived. She showed me so many things and trained with me until I became an agent here. Howard’s son came up with the nickname. He reminds me of him.” You smiled and shook your head “He’s a pain in my ass but a genius that can be genuinely helpful even though I don’t want to admit it at times. I haven’t grasped the explanation fully, but apparently, my fast learning and efficiency when it came to fighting reminded him of one of those small powerful fighter jets that were finished just after the war.” You chuckled at the memory before your eyes found Becky’s again only to see pain all over his face. 

A silent tear rolled down his cheek and hit the floor before you could see it stain his skin. “I'm so sorry.” His voice was shaking, his body trying to make itself smaller but failing miserably with all the muscle surrounding it. He took up the room and your heart right along with it.

“Hey you have nothing to apologize for, you hear me.” You cradled his face and his hands instantly covered yours, only for his metal one to retract just as fast again. He was sorrowful and it made your heart ache. 

“You’ve been navigating through so much alone and this is yet another thing you had to do without me.” He confessed through his tears and squeezed his eyes shut. He hadn’t changed within - always caring for everyone around him and never putting himself first.

“I’m fine. Was then and am now.” You ensured him. “If you want to worry about someone, take Steve. He’s a lot more overwhelmed than I am.” Bucky chuckled through his tears, a deep seriousness settling in his eyes. “If anything, I’m sorry we didn’t save you sooner.”

He shook his head. “You couldn’t have known.” And there it was: a glimpse of the loving, caring, charming man you’d known so many years ago. A small smile snuck onto your face at the revelation and a spark of hope shot through your body. 

“I haven’t stopped thinking about you,” you confessed, "We never had the time to actually be just us. To live all the dreams we shared back then.” 

Bucky's eyes were full of sorrow before he closed them and pressed his forehead to yours. “I wish I could say I missed you,” he whispered and slung his arm around you, “But I didn’t remember.”

“And that’s not your fault, you hear me.” Your hand stroked over his damp hair, pulling it back and making Bucky look at you again. “None of this is your fault. Don’t you ever doubt yourself. What happened to you is horrible. And I vow to kill every single person responsible for keeping us apart for this long. But not once will anyone ever consider this your fault.”

Bucky averted his eyes and turned his head but you were quick to catch his face with your hand. “Promise me you won’t beat yourself up. Please. That’s all I ask of you. Let Steve and me handle the rest and focus on becoming comfortable in your skin again. I can’t wait to meet the man you can become.”

“You don’t want to know me, doll. Not anymore. Even if it wasn’t my fault, it changed me. I’m not the man you-“ he stopped talking as you watched regret flash over his features. “I don’t think I can give you what you deserve.”

“I don’t care what I deserve, Bucky. I want you. I always have and that won’t change because some bullies tried to brainwash you. The very fact that we are here talking like this shows how much stronger you are than them. How the good in you never wavered.”

“But I can’t even trust myself. How can I expect you to do so of me?”

You cradled his head harsher as you felt your own tears roll down your cheek. “All I need is for you to try and trust me. We’ll figure this out... like we always do.”

Bucky’s flesh hand had fallen to your thigh, a soft thumb stroking over your leg and he watched the movement in awe. You didn’t know how long it had been since he had last felt comfort but you were determined to make up for all the lost time. With the wild beating of your heart, you took his metal hand and laved your fingers with his, watching as Bucky’s eyes glued to your smaller hand in his. There was no fear of what could happen, no aversion towards the alien element attached to his body. And then, finally, he encased your hand with his silver fingers. 

Your other hand still stroked his cheek and you waited until he caught your gaze again. And once he did, you did not hesitate to slowly push your lips to his. 

Just a short, sweet kiss. One that held more words than you could ever say. And then you waited. What for? Maybe a rejection, the shake of his head, or the sheer confidence with which he used to kiss you decades back. 

Bucky’s breaths were shaky, his hands still touching you and sending softly timid comfort through your body. He held your gaze for a second... and then, he finally kissed you back. 

please consider showing this post some love if you liked it 💛

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[mclennonlgbt]

(JUST LIKE) STARTING OVER WAS DEFINITELY FOR PAUL – a compilation

A meaningful wordplay As you know, John attached great importance to the lyrics of his songs. He liked to smuggle in word games and hidden meanings. Let's look at a fragment of the lyrics of "(Just Like) Starting Over". It's time to spread our wings and fly Wings was Paul's band in the 1970s.

Don't let another day go by

"Another Day" is a song by Paul and Linda that was released as the A-side of a non-album single in February 1971. It was Paul's debut single, following the Beatles break-up in 1970. (Sidenote: giving credits to both himself and Linda, Paul broke up the Lennon-McCartney partnership, angering Allen Klein).

my love

"My Love" is a 1973 song by Wings. The single was viewed as Wings' first significant success.

2. The demos

In the first demo, John uses the word "walrus":

Everyday we used to make it love so why can’t we be making love – it’s easy. The time has come, the walrus said, for you and me to stay in bed again, it’ll be just like starting over

The walrus is a famous motif from Beatles songs. In the song "I Am The Walrus" (1967) John declares that he is the titular walrus, a year later in "Glass Onion" he stated: „And here’s another clue to you all – the walrus was Paul”. In "God" (1970) John sings: "I was the walrus." In an interview from 1969 or 1970, George jokes: „And if you are listening, I am the walrus too”. Regardless of which Beatles was the walrus, John is for sure giving us an interesting clue here.

As for „in bed”:

Here's another fascinating demo... This requires no comment. It's just that John suddenly referred to "Why Don't We Do it In the Road", a song by Paul from the Beatles era.

EDIT:

The whole fragment is:

Just take your clothes off honey, and stick your nose in money.. why don’t we… do it in the road?! (Laughs) A little hotel where we used to screw A little place down in Montauk Just you, me, the cook and the servants too

As @i-am-the-oyster pointed out (the screen is theirs) - it's a 17 minute drive from Paul's house in the Hamptons to Montauk Motel.

3. John explaining who the song is for

„I’m not aiming, I am not aiming at 16 year olds. If they can dig it, please dig it. But when I was singing and writing this and working with her, I was visualizing all the people of my age group from the 60s. Being in their 30s and 40s now, just like me, and having wives and children and having gone through everything together, I am singing to them! I hope the young kids like it as well, but I’m really talking to the people that grew up with me and saying: „Here I am now, how are you? How’s your relationship going? Did you get through it all? Wasn’t the 70s a drag? You know, here we are, let’s try and make the 80s good, you know, because it’s still up to us to make what we can of it. It’s not out of our control”. I still believe in love, peace. I still believe in positive thinking when I can do it. I’m not always positive but when I am, I try and project it”.

Source: https://www.youtube.com/watch?v=rqxPx2Tvf6A

Let’s point out that the song which convinced John to come out of retirement was „Coming up” by Paul. You want a love to last forever One that will never fade away I want to help you with your problem Stick around, I say

(…)

You want some peace and understanding So everybody can be free I know that we can get together We can make it, stick with me

BONUS (this is not evidence or premise, but maybe Paul understood that the song was addressed to him): Paul's reaction to the song after John's death.

„…Time passed. Paul locked the door of his home studio and played (Just Like) Starting Over, the first single from Double Fantasy. Top volume. For days”.

- Christopher Sandford, „McCartney”

EDIT:

(it's also @i-am-the-oyster's reveal): One Sweet Dream podcast did an interview where May Pang agreed with the host (JL)SO was for Paul and emphasised that it wasn't about Yoko -- it's a patrons-only episode so I can't link it, but it's April 2023, around the 1h29 mark).

I would take it with a grain of salt, though, because May (for valid reasons) dislikes Yoko.

As @paul-mccartney-official noticed, the stripped down mix of this song begins with:

When they were teenagers, John and Paul identified with their musical idols: John was Buddy Holly and Paul was Little Richard or Elvis.

This is Lennon talking about his and McCartney's meeting at Village Woolton fete:

It is possible that John refers to his youthful years in this dedication. However, there is also an option that he mentioned his former idols, because "(Just like) starting over" musically refers to the 1950s. It depends on you what you believe in.

[sipthegossip-if]

— Progress report

Hello! I hope you are all well and good! It's been over a month since I published the intro. I am currently working on the first draft of the prologue and decided to update you on the progress and what you can expect.

The pilot episode is a bit messy and fast paced. Lots of things happening all at once lol. Also more social media focused than the coming chapters. I wrote a good amount in August but September didn't start off well for me. I ended up falling severely ill and haven't written a word since then ahaha. I am back now though. I am hoping to have this draft finished by the beginning of November so that I can move on to polishing everything— which may or may not lead to scenes getting added or removed lol. I want this out asap. Fingers crossed!

intro — 70%

the buzz — 100%

tea with Natasha — 60%

pinkpappz — 100%

A's clip on chirp — 40%

celebcrush — 100%

helluva debut — 1%

movie screening — 0%

the big bang — 0%

aftermath — 0%

[anyataylorjoys]

Someone asked me how I created the fade transition in this gifset which I’ll try to explain in the most comprehensive way that I can. If you've never done something like this before, I suggest reading through the full tutorial before attempting it so you know what you'll need to plan for.

To follow, you should have:

basic knowledge of how to make gifs in photoshop

some familiarity with the concept of how keyframes work

patience

Difficulty level: Moderate/advanced

Prep + overview

First and foremost, make the two gifs you'll be using. Both will need to have about the same amount of frames.

For ref the gif in my example is 540x540.

I recommend around 60-70 frames max total for a big gif, which can be pushing it if both are in color, then I would aim for 50-60. My gif has a total of 74 frames which I finessed using lossy and this will be explained in Part 4.

⚠️ IMPORTANT: when overlaying two or more gifs and when using key frames, you MUST set your frame delay to 0.03 fps for each gif, which can be changed to 0.05 fps or anything else that you want after converting the combined canvas back into frames. But both gifs have to be set to 0.03 before you convert them to timeline to avoid duplicated frames that don't match up, resulting in an unpleasantly choppy finish.

Part 1: Getting Started

Drag one of your gifs onto the other so they're both on the same canvas.

The gif that your canvas is fading FROM (Gif 1) should be on top of the gif it is fading INTO (Gif 2).

And here's a visual of the order in which your layers should appear by the end of this tutorial, so you know what you're working toward achieving:

Part 2: Creating the grid

Go to: View > Guides > New guide layout

I chose 5 columns and 5 rows to get the result of 25 squares.

The more rows and columns you choose, the more work you'll have to do, and the faster your squares will have to fade out so keep that in mind. I wouldn't recommend any more than 25 squares for this type of transition.

To save time, duplicate the line you've created 3 more times, or as many times as needed (key shortcut: CMD +J) and move each one to align with the guides both horizontally and vertically. You won't need to recreate the lines on the edges of the canvas, only the ones that will show.

After you complete this step, you will no longer need the guides so you can go back in and clear them.

Follow the same duplicating process for the squares with the rectangle tool using the lines you've created.

Align the squares inside the grid lines. The squares should not overlap the lines but fit precisely inside them.

This might take a few tries for each because although to the eye, the squares look all exactly the same size, you'll notice that if you try to use the same duplicated square for every single one without alterations, many of them will be a few pixels off and you'll have to transform the paths to fit.

To do this go to edit > transform path and hold down the command key with the control key as you move one edge to fill the space.

Once you're done, put all the squares in their separate group, which needs to be sandwiched between Gif 1 and Gif 2.

Right click Gif 1 and choose "create clipping mask" from the drop down to mask it to the squares group. This step is super important.

After this point, I also took the opacity of the line groups down to about 40% so the lines wouldn't be so bold. Doing this revealed some squares that needed fixing so even if you aren't going dim the lines, I recommend clicking off the visibility of the lines for a moment to make sure everything is covered properly.

Part 3A: Prep For Key framing

I wanted my squares to fade out in a random-like fashion and if you want the same effect, you will have to decide which squares you want to fade out first, or reversely, which parts of Gif 2 you want to be revealed first.

In order to see what's going on underneath, I made Gif 1 invisible and turned down the opacity of the squares group.

If you want text underneath to be revealed when the squares fade away, I would add that now, and place the text group above Gif 2, but under the squares group.

Make a mental note that where your text is placed and the order in which it will be revealed is also something you will have to plan for.

With the move tool, click on the first square you want to fade out. Every time you click on a square, it will reveal itself in your layers.

I chose A3 to be the first square to fade and I'm gonna move this one to the very top of all the other square layers.

So if I click on D2 next, that layer would need to be moved under the A3 layer and so on. You'll go back and forth between doing this and adding key frames to each one. As you go along, it's crucial that you put them in order from top to bottom and highly suggested that you rename the layers (numerically for example) which will make it easier to see where you've left off as your dragging the layers into place.

Part 3B: Adding the Keyframes

This is where we enter the gates of hell things become tedious.

Open up the squares group in the timeline panel so you can see all the clips.

Here is my example of the general pattern that's followed and its corresponding layers of what you want to achieve when you're finished:

So let’s try it!

Expand the control time magnification all the way to the right so you can see every frame per second.

As shown in Part 3A, select your first chosen square.

Where you place the time-indicator on the panel will indicate the placement of the keyframe. Click on the clock next to opacity to place your first keyframe.

Move the time-indicator over 3 frames and place the next key frame.

Things to consider before moving forward:

Where you place your very first keyframe will be detrimental. If you're using a lot of squares like I did, you may have to start the transition sooner than preferred.

If you're doing 25 squares, the key frames will have to be more condensed which means more overlapping because more frames are required to finish the transition, verses if you're only using a 9-squared grid. See Part 4 for more detailed examples of this.

The opacity will remain at 100% for every initial key frame, and the second one will be at 0%.

Instead of creating two keyframes like this and changing the opacities for every single clip, you can copy the keyframes and paste them onto the other clips by click-dragging your mouse over both of them and they'll both turn yellow. Then right click one of the keyframes and hit copy.

Now drop down to your next clip, move your time-indicator if necessary to the spot where the first keyframe will start and click the clock to create one. Then right click it and hit "paste".

Tip: When you have both keyframes selected, you can also move them side to side by click-dragging one of them while both are highlighted.

Your full repetitive process in steps will go as follows:

click on square of choice on the canvas

drag that square layer to the top under the last renamed

in timeline panel: drop down to next clip, move time-indicator tick to your chosen spot for the next keyframe

create new keyframe

right click new keyframe & paste copied keyframes

repeat until you've done this with every square in the group

Now you can change the opacity of your squares layer group back to 100% and turn on the visibility of Gif 1. Then hit play to see the magic happen.

PART 4: Finished examples

Example 1

the transition starts too soon Cause: initial keyframe was placed at frame 0

the squares fade away too quickly Cause: overlapping keyframes, seen below. (this may be the ideal way to go with more squares, but for only 9, it's too fast)

Example 2

more frame time for first gif

transition wraps up at a good point Cause: in this instance, the first keyframe was placed 9 frames in, and the keyframes are not overlapping. The sequential pair starts where the last pair ended, creating a slower fade of each square.

Part 5: Final Tips and Saving

You can dl my save action here which will convert everything back into frames, change the frame rate to 0.05 and open the export window so you can see the size of the gif immediately.

If it's over 10gb, one way to finesse this is by use of lossy. By definition, lossy “compresses by removing background data” and therefore quality can be lost when pushed too far. But for most gifs, I have not noticed a deterioration in quality at all when saving with lossy until you start getting into 15-20 or higher, then it will start eating away at your gif so keep it minimal.

If you've done this and your gif is losing a noticeable amount of quality and you still haven’t gotten it below 10gb, you will have no choice but to start deleting frames.

When it comes to transitions like this one, sometimes you can't spare a single frame and if this is the case, you will have to return to the timeline state in your history and condense the key frames to fade out quicker so you can shorten the gif. You should always save a history point before converting so you have a bookmark to go back to in case this happens.

That's pretty much it, free to shoot me an ask on here or on @jugheadjones with any questions.

[thewalrusespublicist]

omg can you speak more to your latest post about the reverse happening in 1980, I’ve never about the coherence of the narrative actually :O

Yeah an alternate universe would be crazzyy because our main narrator and star witness of the Beatles would be resident shit stirrer … John Lennon.

John

Fucking

Lennon.

The thing with Paul is that he’s kept to a pretty consistent narrative for the past 40 years or so: John broke up the Beatles cause he wanted to move on, army buddies, they loved each other etc. You can criticise it (I certainly do), but it’s coherent. It’s also one that has allowed John grace and promoted love and community as a core message, something that the other last surviving Beatle Ringo is more than happy to support. It works, we get it, it's a good message in many ways.

Whereas John … wooo boy. The only idea we have of what John would have been like is the 70s where he couldn’t even make a narratively coherent sentence.

If you take his comments and put them together, the Beatles break up was because the guys were blokes he got bored of but also the temple he loved too much but also a marriage that had to end but also a mistake in many ways. Simple, right?

And who was Paul again? Oh, well he was his closest friend ever but also someone he was never very close to and a genius but also artistically dead and yeah, he talks to him often but hasn’t spoken to him in a decade and could talk about him for days but also never thinks about him and is his dear one but also a straight and his ex-coworker who he didnt really work with much … wait no fiance/brother that he would do anything for. Whatever emotion John felt at that moment was his new forever truth/cope and that was the shit he was sticking to on record for those five minutes.

 And that’s John in normal factory mode. Now imagine the nuke that would be losing Paul, his Paul. Imagine every extreme feeling and every defense mechanism under the sun all going off at once and right in the interviewer's face like a deranged grief firework show. Then the added mess of Paul being seen as a saint and Paul the person not being there to reality check John’s view of him … chaos. On top of all that, if Yoko is right and John did contemplate an affair with Paul, you think he wouldn’t have spouted that at some point AMONGST OTHER THINGS WE DON’T KNOW ABOUT? 

Trying to work out the whole Beatles saga would be like trying to find Bigfoot but the compass is pointing in every direction and through several detours through an inexplicable amount of orgies, scandals and psychosexual drama.

 Who were the Beatles? God knows, apparently only the best band ever of bffs/coworkers who were so overrated and boring that John couldn’t wait to leave/never wanted to quit. Who the fuck was Paul McCartney? Duh, the most beautiful perfect wonderful genius man who had ever lived, one of the great loves of John’s life whose memory will stalk his dreams and waking hours until his dying day and has seances for on the reg. Oh he's also a sheep fucking devil who was hated and who intentionally and maliciously slept with half of London and wrote 'nogoodsongsshutup' in an evil plot to trick John to make music with him until Yoko freed him from his spell. What was their relationship? ????????? (okay maybe not everything would have changed lol but we would have so many more details on John’s side). There’d be no message from the Beatles tale, no story, no cohesion. Just a free-for-all pile of disparate tales of love, hate, treepanning and heartache to sift through.

In any case, I would love to see the madness that would be their version of Beatles tumblr.

[serahlink]

‼️HELP A HOMELESS ARTIST ‼️

Reblogs are greatly appreciated! :")

Making a new post because my family and I are in dire need of help. My name is Link, I'm a 22 y/o artist and since November 2021, my family and I have been homeless and living in a motel. Since neither of us had our documents or IDs when we first got here, it was up to me to open commissions to support us. Although my father has his id now, getting a job out in the mountains where we don't have transportation or a way for them to contact us is very difficult. Until that changes, we're still dependant on my commissions to help us through paying for rent and soon food, as this is our last month of food stamps due to the policies here.

This week and especially this month has been super tough on us since work has gone down for me tremendously. There's been weeks were we can't pay and owe upwards of 100$+ every other day since it adds up so quickly. There are days where if we didn't have food stamps, we wouldn't have any food at all and since it's ending soon, I'm hoping this will help me find some more work to care of my family with. Right now our situation is urgent. We need 250$ to cover for tomorrow and we don't have anything as of yet. If we can't have everything paid for by tomorrow, we will be kicked out and since families on both sides have cut us off both communication and money wise, it doesn't look good if that happens.

So, all my slots are open for anyone who's interested in helping us out! I'm a primarily DnD/fantasy themed artist. I mainly draw Dragon Age centered art but I've also done work of Baldurs Gate 3 tavs and other DnD related stuff as well! I can also work outside of fantasy, I've done all things from simple portrait commissions to furries to even dragons, I'm flexible with most things. The only thing I won't do is sexual nudity since I'm not particularly educated enough to draw that sorta stuff yet. Payment will be upfront since our situation is extremely dire at the moment and in turn since we have to use the money we get immediately for rent and soon enough food, no refunds can be given back so please take that into consideration. I'm all for making changes if you aren't happy with how a piece is turning out.

My prices will be below! Thank you to all that sees this and helps either through reblogging or commissioning me, it always means a lot to my family and I! :")

~Prices~

Sketch (price depending on type of sketch) - base price of 15$

Sketch page - 15$ per sketch

Headshot - 25$ (+10$ if shaded)

Bust - 35$ (+10$ if shaded)

Expression Sheet (minimum of 3 heads per sheet, 10$+ per extra head) - 45$ (10$+ if shaded)

Half body - 50$ (+10$ if shaded)

Full body - 70$ (+15$ if shaded)

Couples Commission (a commission that includes two people) - 90$ (+15$ if shaded)

Group commissions (commission that includes more than two people, price dependant on the details) - 60 base price(one character, unshaded; each extra character is +75% to the original price) (40$+ if shaded)

Paintings (price depending on the details) - 100$+

[doctorgirlsblog]

Merz Prinzessin vs. Dutch Lion

Part 1: She-devil

Warnings: throughout the series, there are mentions of cheating, explicite sex scenes (+18) and swearing.

P.S. Hope you guys like the first part, feel free to leave your opinions in the comments 👀

Many more parts coming soon 🫶🏻

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

"Miss Wolff, the conference starts in 40 minutes." Aria groaned upon hearing her name being called, a sweet reminder of the upcoming press conference ahead of the new season. In her rookie year, all she heard were whispers about how she had secured her place on the Mercedes team because of her father, especially after Lewis retired at the end of 2022. She made no attempt to justify the rumors; she knew her worth and talent. Instead, she let her performance on the track do the talking.

That's how she earned the nickname "Mercedes Princess," a title that garnered both admiration and secret resentment. She didn't mind the attention, though. However, she silenced all the naysayers by finishing 2nd in the Drivers' Championship that same year, surpassing Charles, who landed in 3rd place, almost 70 points behind her. This year, however, she would be driving as the team's first driver, with George as her teammate. She couldn't help but smirk at the thought of posible win this year, of wiping that Red Bull golden boy's smile off his face when she finally overtook him and snatched his dream in Abu Dhabi.

Ever since their karting days, the two could not stand each other. Always trying to beat each other, pushing the other off the track, laughing when the other failed. Still, their whole lives, they were there, growing up together, side by side, watching each other, learning all the little tricks the other liked to pull.

Max envied the girl. She was talented, yes, but besides that, she had everything he didn't: a supportive family behind her, the support and unconditional love Totto provided for his little girl even when she failed, and somehow, wherever she went, everyone loved her instantly. Her looks worked in her favor. Sometimes, when he was alone, he thought of her and wondered if he could be friends with the girl if it weren't for his dad.

Still, she didn't acknowledge any of it, and for his own sake and that of his father, he couldn't either.

Max had to work hard for it all. He never had it easy, with his dad trying to build a champion. He still doesn’t. But he learned to cope with it, mostly. Kelly being there helped a lot. Her love helped a lot. So he locked himself in the peace and security she brought. It was a safe place, with no risks being taken.

But somehow, when it came back to that German devil—and somehow it always did—he was still that little boy looking for approval all over again.

Little Aria did feel some kind of pain seeing him alone on the track in his cart in the pouring rain while she sat in her dad's lap in the warmth, drinking hot chocolate. But as soon as those feelings came, they went away; they had to because he was her rival—competition. She couldn't care for a rival. So she didn't. Or at least, that's what she had convinced herself of all those years ago. Instead, she settled for bickering and teasing, riling the boy up just for fun and challenges.

It surely didn't change over the years.

"Ari, you coming?" George's voice pulled her out of her thoughts as he opened the door of her driver's room. "Yeah. I'll be there in five."

Of course, he had to be there at the same time. Just her luck. And, of course, the only available seat was next to him. He watched her with a smile on his face. Her stomach turned at it, and she was already counting the fees she would likely have to pay if she turned away and walked out. It didn't help that her PR, Elena, was watching her, silently challenging her to do something. And the poor girl already puts up with so much from her.

So, she sat, politely answered all the questions, smiled like the golden girl of the team that she was, and ignored the sweet smell of perfume emanating from her left side. She didn't care. It didn't even smell that good.

"Max, one last question for you," said the reporter, pulling Aria from her thoughts. "What is your opinion on Wolff challenging you for the title this year?" Her head snapped up at the question, and she looked at him questioningly.

And then he laughed. He fucking laughed. "Well, I'm quite confident in the car and the team. Preseason testing went great, so yes, I would say I'm going for the fourth title this year. Time will tell, but yes, I mean, someone has to get silver too. May the best win." And then he looked at her, a smirk plastered on his face.

She saw red. In that exact moment, she came up with ten different ways to kill him and make it look like an accident. But she maintained her stoic façade, not giving any reaction. Instead, she smiled. Softly, cunningly, all while digging the heel of her foot into his under the table. He winced at the contact, glaring at her angrily. She smiled again. The journalists had already begun packing up after the last question to Max, and George also got up and left, but the staring match between the two was still ongoing.

"Du kleine Arschloch!" - she whispered - yelled at him. (you little asshole!)

"You seem to forget that I do speak German, Aria." Her name rolled off his tongue for the first time this year. It surely didn't cause her heart to skip a beat. Not a chance. Not him.

"Well good for you then. You understand that you are an asshole in both of them. You refused to even acknowledge me as the competition!"

"Now, now, don't be so hard on yourself. Second place is a good place to be." He kept smiling at her, provoking her even further. But she, deciding on being mature again, did what any pissed-off mature person would do. She decided to make him crumble and prove him wrong once and for all. She made a silent promise to herself that she would bring him to his knees.

"Okay then. If you're so sure of yourself, Verstappen, we will talk before Bahrain. I do have a proposition for the reigning world champ." A cunning smirk was plastered on her red lips as she looked up at him. Damn the height difference.

"What for?" - asked Max, looking at her sharp features, not allowing his eyes to wander.

"You'll find out when the time is right, Liebchen. I do have some errands to run. Say hi to sweet Kelly for me." Her nails grazed along his arm for a split second before she pulled her hand away.

He lost his previous train of thought. Her touch was brief, almost nonexistent, yet she managed to throw his brain out the window with it.

"Wait, what ar-.." he didn't get to finish his sentence because she had already turned her back on him and started walking.

Max kept staring at her receding form. The girl was a menace, and nobody seemed to notice except for him. Yet, she didn't seem to care about teasing anyone else. Other drivers on the grid adored the girl.

He scoffed and, shaking his head, went to get his things and drive back to the hotel.

-------------------------------------------------------

What Max didn’t expect was a certain someone coming into his dreams that night. As he woke up, sweaty and out of breath, running his hands through his hair, like she had done minutes earlier in his dream, he realized one thing.

He was upmost und uterrly fucked.

And Aria Wolff was the reason, all over again.