#theatre kid in me is going wild

[theoutsidersswag]

hey gang i'm deranged again

idk if i'm gonna post much but ill try

let's see how long this lasts!

[pyjamacryptid]

little girl, a patient: can I have a lollipop

doctor merlin in the 21st century: can you have— I have created butterflies from nothing and horses from smoke. I have seen empires rise, fall, crumble, and start from nothing but a fish in a poor man’s hand. I’ve fought witches and failed them too. I’ve laid waste to armies and blessed nations of people with health that will never make up for it. I have pantsed Kings and kissed Queens. I have stood upon the precipice of this world and called forth the ocean only for time to swallow me whole and spit me back out. And I would do it all again if I could grant you, dear Matilda, a lollipop.

little girl: strawberry?

merlin: say no more, Tilda, this should clear up the taste of that cold medicine right away

[woofies-draws]

Honestly one of the worst experiences working in theatre, particularly in musicals, is sometimes you'll get really into the show you're doing, and find a cast recording somewhere to listen to, and its just. slightly off. Like obviously voices are gonna be different but when its lyrics ???!?!?! songs?!?!? that are missing or gone ?!?!!? idk it makes me go insane

[whimsicalcotton]

Rachel for da blorbo bingo

she Is the whitenoise in my brain I Can't live a normal life anymore

[insert-geeky-things-here]

Now that I’m officially of legal drinking/smoking age, be prepared for me to become a menace to society

[mohammed1201]

Hello, give me a few minutes of your time and read this post. I am your friend Mohammed from Gaza, 16 years old. I had many goals and dreams, and I am a very ambitious person. I was always one of the best in my studies and I always strive to achieve my dreams, but in one moment, dreams turned into pain. Yes, it happened, and the war came and stole my dreams from me. Despite the war, I continued to follow what remained of the dream, but circumstances always prevented me from displacement, which is more like slow death, food, and going very long distances to get drinking water, which is not completely clean, but this is what we found. I lived in tents for 10 months, and also the financial conditions were always in my way, so help me by donating to me to survive, me and my family, and to continue striving towards dreams. Share my posts because my campaign is new, and thank you all for your time.

VITTED BY @90-ghost

VITTED LINK

@zaharsimiere @falloutalexx @stellacadente @seasonofprophecy @horrificgoth @jannas-little-theatre-kid @cosmicary @k-eke @k-uromori@walcotts @fujiwaradivebar @mx-piggy @choccy

@feluka @nabulsi@sayruq@sar-soor @90-ghost @socalchops@chilewithcarnage

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@vetteduke @palhelp @dIxxv-vetted-donations @commissions4aid-international @rainy-rosie @cipher-of-the-round-table @genericusername37 @ @ibtravart @vague-humanoid @neptunerings @chilewithcarnage @frigidfries @diasdelasombra@annevbonny @taloness

@stuckinapril @king-bOmbastic @dykes @lesbianmaxevans @qattdraws @irhabiya@sar-soor @sayruq @gazagfmboost @dIxxv-vetted-donations

@vetted-gaza-funds @butchtardis@butchfemmelove

@sar-soor @akajustmerry@annoyingloudmicrowavecultist @thatdiabolicalfeminist @tortiefrancis @tsaricides @riding-with-the-wild-hunt @vivisectionmoth

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@queerstudiesnatural @awetistic-things @socalgal @paper-mario-wiki @buttercupagere @malcriada @3000s @newporters @virovac @postanagramgenerator @alivehouse @meshugenist @mangocheesecakes @wizardarchetypes @gaza-evacuation-funds @rununcal @vampiricvenus @necronatural@sealsdaily @ringneckedpheasant @cantsayidont @sabertoothwalrus @ankle-beez @who-do-i-know-this-man-s4 @omegaversereloaded @fournolee444 @magic-can @sporesgalaxy @wis-art @justsomeantifas @amygdalae @fairuzstuff @mar64ds @dirhwangdaseul

@rickybabyboy

[badnewswhatsleft]

rock sound #312 (nov 2024)

transcript below cut:

ROCK SOUND 25 ICON

FALL OUT BOY

A BAND THAT CAPTURED THE HEARTS, MINDS AND HEADPHONES OF A GENERATION OF KIDS WORLDWIDE, FALL OUT BOY UNDOUBTEDLY CHANGED THE LANDSCAPE OF THE ALTERNATIVE SCENE FOREVER, NEVER AFRAID TO EXPERIMENT, TAKE CHANCES AND MAKE BOLD CHOICES AS THEY PUSHED FORWARD. FOLLOWING A SUMMER SPENT EXPLORING THE 'DAYS OF FALL OUT PAST', PATRICK STUMP AND PETE  WENTZ REFLECT ON THEIR PATH FROM POP PUNK, HARDCORE MISFITS TO ALL-CONQUERING, STADIUM-FILLING SONGWRITERS AS THEY ACCEPT THEIR ROCK SOUND 25 ICON AWARD.

WORDS JAMES WILSON-TAYLOR

PHOTOS ELLIOTT INGHAM

Let's begin with your most recent performance which was at When We Were Young festival in Las Vegas. It was such a special weekend, how are you reflecting on that moment?

PATRICK: It's wild, because the band, I think, is going on 23 years now, which really came as a surprise to me. I know it's this thing that old people always say, 'Man, it really goes by so fast', but then it happens to you and you're just taken aback. There were so many times throughout the weekend, every 10 minutes, where I'd turn around and see somebody and be like, 'Holy shit, I haven't seen you in 18 years', or something crazy like that. It was hard not to have a good time. When I was going up to perform with Motion City Soundtrack, which was an exciting thing in itself, I turn around and Bayside is there. And I haven't seen Bayside since we toured with them. God, I don't remember when that was, you know? So there was so much of that. You couldn't help but have a good time.

PETE: I mean, that's an insane festival, right? When they announce it, it looks fake every time. The lineup looks like some kid drew it on their folder at school. For our band, the thing that's a little weird, I think, is that by deciding to change between every album, and then we had the three year break which caused another big time jump, I think that it would be hard for us to focus on one album for that show. We're a band where our fans will debate the best record. So it was amazing that we were able to look backwards and try to build this show that would go through all the eras - nod to Taylor obviously on that one. But it's also an insane idea to take a show that should really be put on for one weekend in a theatre and then try to take it around the world at festivals. The whole time on stage for this particular show production, I'm just like 'Is this thing going to go on time?' Because if the whole thing is working totally flawlessly, it just barely works, you know what I mean? So I give a lot of credit to our crew for doing that, because it's not really a rock show. I know we play rock music and it's a rock festival, but the show itself is not really a rock production, and our crew does a very good job of bending that to fit within the medium.

That show allows you to nod to the past but without falling fully into nostalgia. You are still pushing the band into newer places within it.

PATRICK: That's always been a central thing. We're a weird band, because a lot of bands I know went through a period of rejecting their past, and frankly, I encounter this thing a lot, where people have expected that we stopped interacting with older material. But we always maintained a connection with a lot of the older music. We still close with 'Saturday'. So for us, it was never about letting go of the past. It was about bringing that along with you wherever you go. I'm still the same weird little guy that likes too much music to really pin down. It's just that I've carried that with me through all the different things that I've done and that the band has done. So for us, in terms of going forward and playing new stuff, that's always the thing that's important to me; that there should be new stuff to propel it. I never wanted to be an artist that just gave up on new music and went out and played the hits and collected the check and moved on. It's all got to be creative. That's why I do it. I want to make new music. That's always why I do it. So something like When We Were Young is kind of odd really. It's an odd fit for that, because it's nostalgic, which is not really my vibe all that much. But I found a lot of nostalgia in it. I found a lot of value in looking back and going 'Wow, this was really cool. It was amazing that we did this, that we all did this'. That scene of bands, we're all old now, but it has taken off into such a moment culturally that people can point to.

Let's jump all the way back to the first ever Fall Out Boy show. There is very little evidence of it available online but what are your memories of that performance?

PATRICK: So the very first Fall Out Boy show was at DePaul University in a fancy looking dining hall. I actually applied to DePaul, but I never went there because the band went on tour. I think there were only two or three other bands. One was a band called Stillwell, who were kind of a math rock emo band, and then this heavier, more metallic band. And then we were there, and we had a guitar player, John Flamandan, who I have not seen since that show. He was only in the band for a week or two, and we were still figuring ourselves out. We had three songs and I had never sung before in front of people. I did a talent show at school one time when I was a kid and theatre kind of stuff where you would sing, but it was more in that context. And I was also a kid too. This was the first time ever that I'm the singer for a band and I was fucking terrified. We had a drummer named Ben Rose, really great guy. I haven't seen Ben in a million years, either, but we were still figuring ourselves out. The other thing is that all of us, with me being the exception, were in other bands, and all of our other bands were better than Fall Out Boy was. We were very sloppy and didn't know what we were doing, and so I don't think any of us really took it seriously. But there was a thing that was really funny about it, where even though we kind of thought we sucked, and even though we weren't really focusing on it, we had a lot of fun with each other. We enjoyed trying this other thing, because we were hardcore kids, and we were not the pop punk kids and the pop punk bands in town, that was like 'the thing', and we were not really welcome in that. There was a fun in trying to figure out how to make melodic and pop music when we really didn't have any history with that. It was very obvious that we didn't know what we were doing at the beginning.

So when did it begin to feel like things were finally clicking? When did you find your roles and what you wanted the band to be? 

PETE: In regards to the music, I liked Fall Out boy, way before I probably should have. I remember playing the early demos and it giving me a feeling that I hadn't felt with any of the other bands that I had been in. Now, looking back on it, I might have been a tad early on that. Then as far as the roles, I think that they've been carving themselves out over time. We've always allowed ourselves to gravitate to our strengths. Between me and Patrick, we'd probably make one great, atypical rock artist if we were one person. Because our strengths are things that the other doesn't love as much. But I think that what has happened more is it's less of a fight now and there's more trust. We have a trust with each other. There's things that Patrick will play for me or explain to me, and I don't even really need him to explain it, because I trust him. I may not totally understand it, but I trust him as an artist. On the other side of that, it's also very nice to have someone who can veto your idea, you know what I mean? It's nice to have those kind of checks and balances.

PATRICK: I had been in this band called Patterson, and all three of the other guys sang in kind of a gravelly, Hot Water Music vibe. I was not intending to be a singer, but I would try and sing backups and, it wasn't a criticism, but there was this vibe that, while I could do the gravelly thing, my voice was coming through and it didn't fit. It was too pretty and that became a thing I was kind of embarrassed of. So when Fall Out Boy started, I was actively trying to disguise that and mute it and hide behind affectation. Pete would really push me to stretch my vowels because that was in vogue in pop punk at the time. There were all these different ways that we were trying to suppress me, musically, because we were just trying to figure out how to do the things that the bands we liked did. But that wasn't really us, you know? It's really funny, because 'Take This To Your Grave' was recorded in three sections, about six months apart. Over the course of that time, I can hear us figuring it out. I think a really defining moment for me was 'Saturday', because I am not brave, I am not a bold person, and I do not put myself out there. When I was showing the band 'Saturday', we were jamming on the bit after the second chorus, and I was mumbling around, just mucking my way through it, and I did the falsetto thing. I didn't think anyone could hear me over us bashing around in Joe's parents house in this tiny little room. But Pete stopped, and he goes, 'Do that again'. I was so terrified of doing that in front of these guys, because you gotta remember, I was incredibly shy, but also a drummer. I'd never sung in front of anyone before, and now I'm singing in a band and I'm certainly not going to take chances. So I thought the falsetto thing was really not going to happen, but when I did it, there was this really funny thing. Somehow that song clicked, and it opened up this door for us where we do something different than everybody else. We were aiming to be a pop punk or hardcore band, but we found this thing that felt more natural to me.

As you embarked on Warped Tour, simultaneously you were finding this huge level of pop and mainstream success. How was it navigating and finding your way through those two very different spaces?

PATRICK: I used to work at a used record store and what shows up is all the records after their success. So I got really acquainted and really comfortable with and prepared for the idea of musical failure. I just wanted to do it because I enjoyed doing it. But in terms of planning one's life, I was certain that I would, at most, get to put out a record and then have to go to school when it didn't work out. My parents were very cautious. I said to them after 'Take This To Your Grave' came out that I'm gonna see where this goes, because I didn't expect to be on a label and get to tour. I'm gonna give it a semester, and then it will almost certainly fail, and then after it fails, I'll go to school. And then it didn't fail. Warped Tour was very crazy too, I was talking about this at When We Were Young with My Chem. Both of us were these little shit bands that no one cared about when we booked the tour. Then we got to the tour, and all these people were showing up for us, way more than we expected, way more than Warped Tour expected. So Warped Tour was putting both of us on these little side stages, and the stages would collapse because people were so excited. It was this moment that came out of nowhere all of a sudden. Then we go to Island Records, and I had another conversation with my parents, because every band that I had known up to that point, even the biggest bands in town, they would have their big indie record and then they would go to the major label and drop off the face of the planet forever. So I was certain that was going to happen. I told them again, I'm going to put out this record, and then I'll go to school when this fails. 

PETE: I think that if you really wanted someone to feel like an alien, you would put them on TRL while they were on Warped Tour. You know what I mean? Because it is just bananas. On our bus, the air conditioning didn't work, so we were basically blowing out heat in the summer, but we were just so happy to be on a bus and so happy to be playing shows. You go from that to, two days later, stepping off the bus to brush your teeth and there's a line of people wanting to watch you brush your teeth. In some ways, it was super cool that it was happening with My Chemical Romance too because it didn't feel as random, right? It feels more meant to be. It feels like something is happening. To be on Warped Tour at that time - and if you weren't there, it would be probably hard to imagine, because it's like if Cirque Du Soleil had none of the acrobatics and ran on Monster energy drink. It was a traveling circus, but for it to reach critical mass while we were there, in some ways, was great, because you're not just sitting at home. In between touring, I would come home and I'd be sitting in my bedroom at my parents house. I would think about mortality and the edge of the whole thing and all these existential thoughts you feel when you're by yourself. But on Warped Tour, you go to the signing, you play laser tag, you go to the radio station. So in some ways, it's like you're in this little boot camp, and you don't really even think about anything too much. I guess it was a little bit of a blur.

Pete, when you introduced 'Bang The Doldrums' at When We Were Young, you encouraged the crowd to 'keep making weird shit'. That could almost be a mantra for the band as a whole. Your weirder moments are the ones that made you. Even a song like 'Dance Dance' has a rhythm section you never would have expected to hear on a rock track at that time.

PETE: You know, I just watched 'Joker 2' and I loved it. I do understand why people wouldn't because it subverts the whole thing. It subverts everything about the first one. That's something I've always really loved, when I watch artists who could keep making the same thing, and instead they make something that's challenging to them or challenging to their audience. Sometimes you miss, sometimes you do a big thing and you miss, and we've definitely done that. But I gotta say, all the things that I've really loved about art and music, and that has enriched my life, is when people take chances. You don't get the invention of anything new without that. To not make weird stuff would feel odd, and I personally would much rather lose and miss doing our own thing. To play it safe and cut yourself off around the edges and sand it down and then miss also, those are the worst misses, because you didn't even go big as yourself. This is where we connect with each other, we connect by our flaws and the little weird neuroses that we have. I rarely look at something and go 'Wow, that safe little idea really moved me'. I guess it happens, but I think about this with something like 'Joker 2' where this director was given the keys and you can just do anything. I think a lot of times somebody would just make an expected follow up but some people turn right when they're supposed to turn left. That's always been interesting on an artistic level, but at the same time, I think you're more likely to miss big when you do that.

PATRICK: Going into 'From Under The Cork Tree', I had this sense that this is my only shot. It has already outperformed what I expected. I don't want to be locked into doing the same thing forever, because I know me. I know I'm not Mr. Pop Punk, that's just one of many things I like. So I would be so bummed if for the rest of my life, I had to impersonate myself from when I was 17 and have to live in that forever. So I consciously wanted to put a lot of weird stuff on that record because I thought it was probably my only moment. 'Sugar, We're Goin Down' was a fairly straight ahead pop punk song but even that was weird for us, because it was slow. I remember being really scared about how slow it was, because it's almost mosh tempo for the whole song, which was not anything we had done up to that point. But in every direction, in every song, I was actively trying to push the boundaries as much as I could. 'Dance, Dance' was one of those ones where I was seeing what I can get away with, because I might never get this chance again. We were on tour with a friend's band, and I remember playing the record for them. I remember specifically playing 'Our Lawyer…' that opens the record, which has that 6/8 time feel, and they kind of look at me, like 'What?'. Then I played 'Dance, Dance', and they're like, 'Hey man, you know, whatever works for you. It's been nice knowing you'. But I just knew that, on the off chance that I ended up still being a musician in my 40s, I wanted to still love the music that we made. I didn't want to ever resent it. It's ironic because people say that bands sell out when they don't make the same thing over and over again. But wait a second. Say that again. Think about that.

That attitude seemed to carry directly into 'Infinity On High'. If you may never end up doing this again then let's make sure we bring in the orchestra while we still can... 

PATRICK: That was literally something that I did say to myself this might be the last time, the likelihood is we're going to fail because that's what happens, so this might be the last time that I ever get a chance to have somebody pay for an orchestra and a choir. I always think of The Who when they did 'A Quick One, While He's Away' and there's a part where they go 'cello, cello', because they couldn't afford real cellos, they couldn't afford players. That's what I thought would happen for me in life. So I went in and thought, let's do it all. Let's throw everything at the wall, because there's no chance that it's going to happen again. So many things came together on that record, but I didn't expect it. 'Arms Race' was a very weird song, and I was shocked when management went along with it and had kind of decided that would be the single. I was in disbelief. It did not feel like a single but it worked for us. It was a pretty big song and then 'Thnks Fr Th Mmrs' was easily the big hit off that record. So then we have two hit songs off of an album that I didn't even know would come out at that point. But again, it was very much just about taking the risks and seeing what the hell happened.

As you went on hiatus for a few years, you worked on a number of other creative projects. How did those end up influencing your approach to the band when you returned?

PETE: On the areas of the band where I led, I wanted to be a better leader. When you're younger and you're fighting for your ideas, I don't think that I was the greatest listener. I just wanted to be a better cog in the machine. When you're in a band originally, no one gives you the little band handbook and says 'these are the things you should do', you know? I just wanted to be a better version of who I was in the band. 

PATRICK: There's a combination of things. 'Soul Punk' is a weird record. I love that record but I kind of resent that record for so many things. It's my solo record, but it's also not very me in a lot of ways. I had started with a very odd little art rock record, and then I had some personal tragedies happen. My EP that I put out far out sold expectations so then all of a sudden, Island Records goes, 'Oh, we think this could actually be something we want singles for'. I think we had all expected that I would be putting out a smaller indie record but then all of a sudden they were like 'oh, you could be a pop star'. So then I have to retrofit this art rock record into pop star hit music, and also channel personal tragedy through it. I hadn't ever really been a front man - I'd been a singer, but I hadn't really been a front man, and I hadn't really written lyrics, certainly not introspective, personal lyrics. So that whole record is so strange and muted to me. So I went from that album, which also failed so fucking hard - I should have gone to school after that one. But Pete had reached out to me just as a friend, and said 'I know you're in your own thing right now, and I know that you're not the kind of person that is going to be in my fantasy football league, so I'm not going to see you unless we make music. But you're my buddy, and that kind of bums me out that I don't see you at all, so I guess we have to make music'. I thought that was a fairly convincing pitch. It's true, that was what we do when we hang out - we make music. So we reconvene, and going into it, I had all these lessons that really made me understand Pete better, because Pete is the natural front end person. So many of our arguments and frustrations and the things that we didn't see eye to eye on, I grew to understand having now been in the position of the point man that had to make all the decisions for my solo thing. It really flipped my understanding of why he said the things he would say, or why he did things he would do. I remember early on thinking he was so pushy, but then, in retrospect, you realise he was doing it for a reason. There's so many little things that really changed for me doing 'Soul Punk' that were not musical but were more about how you run a band and how you run a business, that made me understand and respect him a lot more.

What are memories of that initial return and, specifically, that tiny first show back at the Metro venue in Chicago?

PETE: Those first shows were definitely magical because I really wasn't sure that we would be on a stage again together. I don't have as many memories of some of our other first things. We were just talking about Warped Tour, I don't have many memories of those because it is almost wasted on you when it's a blur and there's so many things happening. But with this, I really wanted to not take it for granted and wanted to take in all the moments and have snapshots in our own heads of that show. I did a lot of other art during the time when we were off, everybody did, but there's a magic between the four of us and it was nice to know that it was real. When we got on that stage again at the Metro for the first time, there was something that's just a little different. I can't really put my finger on it, but it makes that art that we were making separately different than all the other stuff.

Musically, as you moved forward, everything sounded much bigger, almost ready for arenas and stadiums. Was that a conscious decision on your part?

PETE: Patrick felt like he was bursting with these ideas. It felt like these had been lying in wait, and they were big, and they were out there, and whether he'd saved them for those records, I don't really know. That's what it felt like to me. With 'Save Rock And Roll', we knew we had basically one shot. There were really three options; you'll have this other period in your career, no one will care or this will be the torch that burns the whole thing down. So we wanted to have it be at least on our terms. Then I think with 'American Beauty...' it was slightly different, because we made that record as fast as we could. We were in a pop sphere. Is there a way for a band to be competitive with DJs and rappers in terms of response time? Are we able to be on the scene and have it happen as quickly? I think it kind of made us insane a little bit. With 'American Beauty…', we really realised that we were not going to walk that same path in pop culture and that we would need to 'Trojan horse' our way into the conversation in some way. So we thought these songs could be played in stadiums, that these songs could be end titles. What are other avenues? Because radio didn't want this right now, so what are other avenues to make it to that conversation? Maybe this is just in my head but I thought 'Uma Thurman' could be a sister song to 'Dance, Dance' or maybe even 'Arms Race' where it is weird but it has pop elements to it.

PATRICK: I had a feeling on 'Save Rock And Roll' that it was kind of disjointed. It was a lot of good songs, but they were all over the place. So when we went into 'American Beauty…', I really wanted to make something cohesive. I do think that record is very coherent and very succinct - you either like it or you don't, and that's pretty much it all the way through. By the time we got to 'MANIA', I had done all this production and I'd started to get into scoring. The band had done so many things and taken so many weird chances that I just felt free to do whatever. At that point, no one's going to disown me if I try something really strange so let's see what happens. 'Young And Menace' was a big part of that experiment. People hate that song, and that's okay. It was meant to be challenging, it's obviously not supposed to be a pop song. It's an abrasive song, it should not have been a single. However, I do think that record should have been more like that. Towards the end of the production, there was this scramble of like, 'Oh, fuck, we have no pop music on this and we need to have singles' and things like that. That took over that record and became the last minute push. I think the last half of that record was recorded in the span of two weeks towards the end of the recording to try and pad it with more pop related songs. I look at that record and think it should have all been 'Young And Menace'. That should have been our 'Kid A' or something. It should have really challenged people.

But we have spoken before about how 'Folie à Deux' found its audience much later. It does feel like something similar is already beginning to happen with 'MANIA'...

PETE: I agree with you, and I think that's a great question, because I always thought like that. There's things that you're not there for, but you wish you were there. I always thought about it when we put out 'MANIA', because I don't know if it's for everyone, but this is your moment where you could change the course of history, you know, this could be your next 'Folie à Deux', which is bizarre because they're completely different records. But it also seems, and I think I have this with films and bands and stuff as well, that while one thing ascends, you see people grab onto the thing that other people wouldn't know, right? It's like me talking about 'Joker 2' - why not talk about the first one? That's the one that everybody likes. Maybe it's contrarian, I don't really know. I just purely like it. I'm sure that's what people say about 'Folie à Deux' and 'MANIA' as well. But there's something in the ascent where people begin to diverge, you are able to separate them and go 'Well, maybe this one's just for me and people like me. I like these other ones that other people talk about, but this one speaks to me'. I think over time, as they separate, the more people are able to say that. And then I can say this, because Patrick does music, I think that sometimes he's early on ideas, and time catches up with it a little bit as well. The ideas, and the guest on the record, they all make a little bit more sense as time goes on.

'MANIA' is almost the first of your albums designed for the streaming era. Everything is so different so people could almost pick and choose their own playlist.

PETE: Of course, you can curate it yourself. That's a great point. I think that the other point that you just made me think of is this was the first time where we realised, well, there's not really gatekeepers. The song will raise its hand, just like exactly what you're saying. So we should have probably just had 'The Last Of The Real Ones' be an early single, because that song was the one that people reacted to. But I think that there was still the old way of thinking in terms of picking the song that we think has the best chance, or whatever. But since then, we've just allowed the songs to dictate what path they take. I think that that's brilliant. If I'd had a chance to do that, curate my own record and pick the Metallica songs or whatever,that would be fantastic. So it was truly a learning experience in the way you release art to me.

PATRICK: After 'MANIA', I realised Fall Out Boy can't be the place for me to try everything. It's just not. We've been around for too long. We've been doing things for too long. It can't be my place to throw everything at the wall. There's too much that I've learned from scoring and from production now to put it all into it. So the scoring thing really became even more necessary. I needed it, emotionally. I needed a place to do everything, to have tubas and learn how to write jazz and how to write for the first trumpet. So then going into 'So Much (For) Stardust', it had the effect of making me more excited about rock music again, because I didn't feel the weight of all of this musical experimentation so I could just enjoy writing a rock song. It's funny, because I think it really grew into that towards the end of writing the record. I'd bet you, if we waited another month, it would probably be all more rock, because I had a rediscovered interest in it.

It's interesting you talk about the enjoyment of rock music again because that joy comes through on 'So Much (For) Stardust' in a major way, particularly on something like the title track. When the four of you all hit those closing harmonies together, especially live, that's a moment where everything feels fully cohesive and together and you can really enjoy yourselves. There's still experimental moments on the album but you guys are in a very confident and comfortable space right now and it definitely shows in the music. 

PATRICK: Yeah, I think that's a great point. When you talk about experimentation too and comfort, that's really the thing isn't it? This is always a thing that bugged me, because I never liked to jam when I was a kid. I really wanted to learn the part, memorise it and play it. Miles Davis was a side man for 20 years before he started doing his thing. You need to learn the shit out of your music theory and your instrument - you need to learn all the rules before you break them. I always had that mindset. But at this point, we as a band have worked with each other so much that now we can fuck around musically in ways that we didn't used to be able to and it's really exciting. There's just so much I notice now. There are ways that we all play that are really hard to describe. I think if you were to pull any one of the four of us out of it, I would really miss it. I would really miss that. It is this kind of alchemy of the way everyone works together. It's confidence, it's also comfort. It's like there's a home to it that I feel works so well. It's how I'm able to sing the way I sing, or it's how Andy's able to play the way he plays. There's something to it. We unlock stuff for each other.

Before we close, we must mention the other big live moment you had this year. You had played at Download Festival before but taking the headline slot, especially given the history of Donington, must have felt extra special. 

PETE: It felt insane. We always have a little bit of nerves about Download, wondering are we heavy enough? To the credit of the fans and the other bands playing, we have always felt so welcomed when we're there. There's very few times where you can look back on a time when... so, if I was a professional baseball player, and I'm throwing a ball against the wall in my parents garage as a kid, I could draw a direct link from the feeling of wanting to do that. I remember watching Metallica videos at Donington and thinking 'I want to be in Metallica at Donington'. That's not exactly how it turned out, but in some ways there is that direct link. On just a personal level, my family came over and got to see the festival. They were wearing the boots and we were in the mud. All this stuff that I would describe to them sounds insane when you tell your family in America - 'It's raining, but people love it'. For them to get to experience that was super special for me as well. We played the biggest production we've ever had and to get to do that there, the whole thing really made my summer.

PATRICK: There's not really words for it. It feels so improbable and so unlikely. Something hit me this last year, this last tour, where I would get out on stage and I'd be like, 'Wait, fucking seriously? People still want to see us and want to hear us?' It feels so strange and surreal. I go home and I'm just some schlubby Dad and I have to take out the compost and I have to remember to run the dishwasher. I live this not very exciting life, and then I get out there at Download and it's all these people. Because I'm naturally kind of shy, for years, I would look down when I played because I was so stressed about what was happening. Confidence and all these have given me a different posture so when I go out there, I can really see it, and it really hits you. Download, like you said, we've done before, but there's something very different about where I am now as a person. So I can really be there. And when you walk out on that stage, it is astounding. It forces you to play better and work harder, because these people waited for us. The show is the audience and your interaction with it. In the same way that the band has this alchemy to it, we can't play a show like that without that audience.

[mohammed1089]

Hello, give me a few minutes of your time and read this post. I am your friend Mohammed from Gaza, 16 years old. I had many goals and dreams, and I am a very ambitious person. I was always one of the best in my studies and I always strive to achieve my dreams, but in one moment, dreams turned into pain. Yes, it happened, and the war came and stole my dreams from me. Despite the war, I continued to follow what remained of the dream, but circumstances always prevented me from displacement, which is more like slow death, food, and going very long distances to get drinking water, which is not completely clean, but this is what we found. I lived in tents for 10 months, and also the financial conditions were always in my way, so help me by donating to me to survive, me and my family, and to continue striving towards dreams. Share my posts because my campaign is new, and thank you all for your time.

VITTED BY @90-ghost

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@rickybabyboy

[perksofbeingpoet]

i saw the dps play!! these were the biggest changes:

• neil gets the gun from his father. it's a sort of welcome back to school gift. it's on neil's bedside table throughout the whole play.

• todd is black. he's also the only poc in the whole play - make of that what you will.

• charlie getting spanked. yes they left it in, yes it was extremely uncomfortable to watch. but it was so well written and very effective for the plot: they added the poets not only having to watch charlie(!), but they are the ones who have to count while it happens. also, charlie has to pull down his pants and there's this heartbreaking scene afterwards where he's alone in the spotlight, the poets still all watching him in the background, and charlie clumsily gets dressed again. best scene in the play if you ask me.

• cameron is much more likeable throughout. they made him into a sort of awkward theatre kid? there's a brilliant scene where he reads a poem in the cave but does it so very awkwardly while acting out every word? he's like "we're swimming! (mimes swimming) and sitting down! (sits down) we (sings) sing! we SHOUT!"

• the deleted scene with neil and todd practising lines was back in. they practise in their room instead of at the lake, and neil's father comes in to tell neil to quit the play while todd is still in the room, listening. after mr. perry leaves, todd slowly goes over to neil and hugs him, and neil breaks down crying in his arms.

• the "i'm trapped" scene. neil says he's trapped and then leaves mr. keating's office, and keating is left shouting "no you're not! mr perry, you're not!" after him - but neil is already gone.

• the birthday scene. todd's birthday is on the day that neil gets the role, so he comes into school all excited like "i'm gonna play puck!!!!" and then bumps into todd with his desk set. neil awkwardly sings happy birthday for todd, and there's this bit where todd has gotten the desk set four times already, and they keep being like "funny thing is, i didn't even like it last time" "well, i think-" "or the time before" "todd, it seems to me-" "or the time before" "..." "or the time before THAT"

• there's a point where neil dances the macarena.

• pitts, meeks and chris are nonexistent. the entire knox/chris plot happens only through phone calls which we can hear knox' side of, the radio free america scene was made into all the poets having a dance party? not sure what exactly it was, they all go wild to disco music.

• cameron and charlie have this slapstick bit where they have to rearrange the props and keep arguing about where to put them.

• ALL THE POETS ARE SO SILLY. it's much more lighthearted than the movie.

• the suicide happens in the theatre.

[cobaltperun]

Eternal Flame (10) - In the End

Jenna Ortega x Female Reader

Summary: For her it’s a passion, for you it’s an accident. And as she continues shining brighter and brighter with each role you are left mesmerized, drawn to her flame and cherishing every time she lets herself be vulnerable with you.

Spotify playlist

Masterlist / First Part / Previous part / Next Part

Word Count: 7.3k

-I kept everything inside and even though I tried, it all fell apart-

The first time your and Jenna's photo leaked neither of you really noticed. Too wrapped up in spending time together to check the news. But in the wild lands of social media, the photo of you hugging Jenna from behind as she hugged you back as well as the position allowed back in the coffee shop provoked some thoughts.

Jennaortegafanpage: A relationship?

Jennafan36: Who even is that girl hugging her?

Hastoomuchtime4: On it!

Celebritynews: Probably just friends 🙄

Jennaortegafanpage: I don't know, Jenna looks really happy, and they look cute together 🥰

Hastoomuchtime4: Found her! Y/N L/N, she's Laura from Logan. Jenna follows her, but the account is private

Y/Ncomeback1: Is she finally acting again? 😭 She must be! Please let it be that!

And through it all, you just woke up one morning, confused about the sudden, and extreme, jump in follower requests on Instagram. "Fuck it, I should probably make the account public anyway," you were serious about acting, and some presence on social media probably wouldn't hurt. Right? Wait... why were so many requests from Jenna's fan pages?

It was probably nothing.

~X~

A week after you came back from Jenna’s place you found yourself stretching at the theatre. Hugh had quite a show in mind, and you’ve spent these past few days coming up with it, just the two of you. It was a challenge, but you bounced off each other really well. Today you’d be giving it a try for the first time.

Your phone suddenly rang in your bag and you remembered you didn’t put it on silent and mentally cursed yourself for not doing it, while also being thankful it didn’t interrupt your rehearsal. You strolled over to the bag and picked up your phone, it was just a message, and you unlocked your phone.

“You ready?” Hugh came in, dressed in quite a comfortable looking clothes. You wanted to get everything down perfectly before getting properly dressed for the event.

“Just a moment,” you said and read the message. You didn’t frown, didn’t react, there was no need to, you just read the message detailing the time and place for the next fight. You smiled, walking over to Hugh and putting an arm around his shoulders, confusing him, at least before you showed him the message.

“Y/N,” he began but you just grinned, blocking Davis’s number right in front of Hugh.

“I’m done,” you told him and the grin on his face made it even more worth it as he ruffled your hair and pulled you in for a hug.

“That’s the way! Lunch is on me, we’re going out to treat ourselves, call Barbara and tell her to be ready!” and with your spirits lifted and actual excitement in the air you were ready to begin the rehearsal. “I need to call Deb really quick, she’ll be really happy to hear this!” and she would be. She was a lot more understanding than you probably deserved her to be, and you knew this would mean a lot to her as well.

Sure, you weren’t all that close to her or Hugh’s kids, you knew them well, and you were happy to spend time with them, but the bond between you and the three of them wasn’t as strong as it was between you and Hugh. Still, they cared enough to be genuinely happy over this decision.

~X~

The last thing Jenna expected to happen two weeks after you left her home was to suddenly get a message from an unknown number, and she probably would have ignored it, if the person sending the message didn't also send a photo of you, your best friend, who was taking the photo, and Hugh Jackman sitting at a table having a lunch. “What the hell?” she muttered, more than a little confused. Minutes later a message came through. ‘That was just to get your attention. I'm Barbara, by the way, can I call you?’ The message read and instead of replying Jenna just called the girl herself, even if it was it was a bit nerve wracking to just randomly call someone she didn’t know.

Still, this was your best friend. And Jenna figured she could have that much freedom to just go ahead and call the girl.

“Oh my God, you have no idea the hoops I went through to get your number. It would have been a lot easier if that dumbass who happens to be my best friend just gave me your number,” was the first thing Barbara said and Jenna wasn't sure whether to laugh or just ask what the hoops she had to go through. Either way, she got to the impression that the girl would tell her regardless. “Get this, so, I couldn't crack her password. It really isn’t my birthday. Shame on Y/N,” Jenna already liked the dry sarcasm in Barbara’s tone. “Meaning, I had to make this elaborate plan where I went and began texting anyone who I thought might be able to help me out. So, your stylist, your mother your co-stars from Scream, yeah I went through a lot of proving who I am and finally getting your number, because damn it's difficult to get celebrity numbers,” Barbara concluded her tale with a deep breath, as she somehow managed to say all that without once taking a breath in.

Frankly, it was impressive that she even managed to get Jenna’s number. Jenna knew for a fact that her mother got tons of messages every day, each one asking for the same thing Barbara did. “You could have just asked Y/N you know,” she replied, and it really should have been that easy, or maybe Barbara just loved having a challenge in her life.

“That would have spoiled the surprise,” there was a hints of mischievousness in Barbara’s tone.

Jenna raised an eyebrow at that. Well, she was definitely down for surprising you, especially if it meant she would get to see you. “I'm listening,” Jenna all of a sudden felt like she was a part of some hidden plot, a secret only her and your best friend were in on, related to you and she was quite excited about it.

Barbara cheered, excited and probably very happy that things were going according to her plan. “Hear me out, Y/N and Hugh are participating in this charity event,” of course you were. Her lovely woman. “And I figured you might want to drop by and watch her give her first and potentially only live performance in a theatre?” how was that even a question? It was a chance to watch you perform, there was only one answer to that.

“Are you kidding me? I absolutely am coming! When and where?” that was all Jenna needed to know. Come hell or high water and even if it meant missing out on spending the holidays with her family she would go and watch you.

~X~

The day of the event Jenna took a flight from LA to Denver to meet up with Barbara in secret. Was it kind of weird? Meeting up with the same girl that made her rather jealous when you called her ‘babe’ behind your back? Yes, but she knew it would be worth it. She was in front of the theatre exactly 10 minutes before the event would start. The two of them were supposed to go inside and take their seats, not at the front of the crowd, but a bit further back so you wouldn't notice them right away. The plan was simple, Jenna would watch you in secret, dressed in a bit of a disguise, which was basically just a scarf, and then when you and Hugh finished her and Barbara would come and congratulate you.

Thinking about it now, maybe it wasn’t the smartest idea. Maybe you would look at Barbara if you felt nervous, and then you would recognize Jenna, and the surprise would be ruined. But it was too late to fix things now.

She spotted Barbara waiting for her in front of the theater and she had to admit the girl really was stunningly beautiful. Good thing she was straight, or Jenna would be feeling quite jealous. At that moment Barber noticed her and actually nodded in approval.

“You know, I've seen the pictures, but you look even more beautiful in person. No wonder Y/N is smitten with you,” ah, right, there it was. The teasing. You did mention Barbara was prone to teasing you, so this was what you meant when wasn't it? Not even a ‘hi, nice to meet you.’ No, it was right to teasing.

“She is?” Jenna asked trying to stop her mind from wandering off to all the times you nearly kissed and all the inappropriate thoughts and the dreams she had with you at the center of them. As well as to try and deflect, and maybe try to pretend there wasn’t anything more than friendship between you. She wasn’t blind, she could see you wanted more just as much as she did, but maybe, just maybe, it was still a bit too early.

Who was she kidding? After spending the night with you at her parents’ house she’s been missing you even more. She could deny it all she wanted, but a part of her knew that everything was falling into place for both of you to just take the risk. Spending the night at your place, hopefully alone, after everything, celebrating a successful live performance.

“You're blushing,” Barbara noticed before Jenna even figured it out herself, and it only made her blush more pronounced. “She absolutely is, by the way. She keeps wearing that ring like it's her lucky charm. Hell, she’s wearing it tonight as well,” that made Jenna smile.

The idea that you were wearing her ring around your neck made her heart beat faster. You were wearing it like a badge of honor, and, in another way wearing it as the declaration that there was something going on between you, that she was kind of staking her claim by marking you with her ring. It didn't cross her mind when she gave it to you, but now that she thought about it, it kind of was like that.

Barbara smiled. “Come on let's go inside. I think they are the last ones, but we should still get to our seats in time,” Barbara led her inside knowing the theater a lot better than she did since this was basically her first time in this theater.

From what she found out on the advertisement for the event, the charity was organized for the sake of rebuilding an old children's hospital and of course you, being the softy that you were, accepted. Just another reason to add to the list of reasons why she loved you. That being said, she had no idea what you and Hugh prepared for the night and from the looks of it neither did Barbara. For now, she would have fun with the rest of the event.

And she has fun! For roughly seventy-five minutes the performance was filled with various kinds of entertainment. Some people were singing, some were doing dance routines, some chose to go for usual theatre plays, only fit for the time frame given to them, some were showing impressive gymnastic skills choreographed to look more like a dance. And Jenna quite enjoyed herself, admiring the guts it took to perform live in front of an audience. and then an announcer came out just like he did between every act.

“Give it up for Logan reunion people, Hugh Jackman and Y/N L/N!” he exclaimed, and the crowd cheered as you quickly ran out pulling him aside.

“We're not ready, Hugh's not here,” you whispered but the announcer’s mic was still on, and the entire theater heard you say that. You looked like you were panicking, and it actually took Jenna's mind off of how absolutely stunning that black suit looked on you. You were dressed in all black, down to gloves! Not a hint of color to be seen, and while it was a bit unusual not to break all that black with something it looked really good on you.

“It's a closing act we can't move it! Why isn't he here?” the announcer asked frantically, and you just looked at him apologetically.

“Look there's nothing I can do. The show is already ending, they can just go home,” you suggested completely serious. Jenna glanced at Barbara, only to see she was just as confused as Jenna was.

“This is a serious event, now go out there and improvise something,” the announcer basically ordered you as he pointed toward the center of the stage, and you just sighed, taking the microphone and taking your spot on the stage.

“Right. Mistakes were made tonight, I'm sorry to announce that Hugh’s car got jacked, man. Uf, that was a lame joke. Well, you know what, after that start whatever I say after this will only sound better,” you said, walking along the stage just talking to the crowd and it got them to laugh. It was not the usual Hugh Jackman joke people used so there was a sense of freshness in it. And it was working.

You pulled out one of the chairs that was set up for you and Hugh for what Jenna guessed was a more subdued character-driven driven performance. Perhaps Jenna would never know, unless you began complaining about it later tonight, and you probably would. And you would have every right to complain considering Hugh wasn't here and you were alone on the stage in front of all the people that expected the two of you to show up.

You sat it down on the chair and dramatically hung your head back while tugging at your tie and sighed before bringing the microphone up to your lips. “Mistakes. We've all made them, you know? But this one might just be the biggest one I ever made. Here I am, replacing Hugh Jackman once again, like we all don’t already know how attached people get to their superheroes. I’m telling you, whoever thought there would be an X-23 movie continuing the franchise, better think twice. I have better chances doing that New Zealand movie Hugh gave up on, since there was no need to downsize everything.” you said and got up. “Most of you didn’t get that last one, and that’s perfectly fine. I don’t know what I’m doing either.”

You weren't even angry over this, just resigned to your fate as you got up and walked over to the center of the stage. Apparently, you've taken enough time to think of something. “See, if I could do this day all over again, I would not be wearing this tie. I'm telling you, it's really tight around my neck,” you tucked a finger underneath the tie and pulled, loosening it up a bit. “There’s not even a point, I’m in all black anyway,” you said, exasperated as people laughed, mostly at the way you were delivering the lines. “Other than that, I'd do this all over again. It's for a good cause, granted, it’s sad that we got to that point, but you know how things go. More often than not you don't notice things went wrong until it's too late,” people laughed again. “Yeah! And I’ll prove it to you!” you pointed at a random person in the crowd. “Say, have you ever had your heart broken?” you asked and the woman you pointed at nodded.

And Jenna just watched, mesmerized. You looked like you were comfortable doing this.

“Don’t you hate when that happens? There you are,” you spread your arm and turned slightly away from the crowd. “Thinking you’ve got it all figured out, you’re over it, but then you go into a car with someone, and you just realize you've made a mistake,” where the hell were you going with that one? “Just as you get comfortable for hours long ride, all of a sudden here comes piano followed by: I heard that you're settled down, that you found a girl and you're married now,” you actually sand really well. You weren’t Adele, but damn, Jenna wouldn’t mind listening to you singing more often. “And you’re reminded that the one driving you is that one friend that is obsessed with Adele and that's all you'll be listening to for the rest of the car ride. Love songs! No rock, no metal, no punk, or jazz, and you’re just hoping the shuffle will take some pity on you and you’ll get lucky to get Skyfall more than once!”

The laughter filled the theatre and you paused, letting it pass.

“It's mistakes like that, you know? It's the tiny things like a pebble that got stuck in your shoe and you can't get it out because it's inappropriate. And at that point you just hear alarms going off in your brain. It’s like a scene from an over the top action movie, you know the ones I’m talking about. Alarms blaring, red lights all around the main character, and that one voice going: 1 minute until total annihilation, but you're committed to it. You will make it work, damn it! You will push on with the Pebble in your shoe if that's the last thing you do!” and you were really getting into it, talking like an aggressively motivational coach trying to get people pumped. “It's like getting a role and thinking ‘good I don't have many lines, I can do this!’ and then three days in your voice is gone and your throat hurts because you've been screaming your heart out like it gives you special powers or something. Seriously, was I filming Logan or dubbing Dragon Ball Z?”

You went and sat down at the corner of the stage feet kind of dangling there as the crowd laughed and you nodded a few times. And then it happened, the stage lit up, the curtains moved to the side and in walked Hugh Jackman, dressed all in white as opposed to your all black suit, and it was clear by now that all of this was planned, and Hugh wasn’t late at all.

And the crowd went wild when they saw him. “See, that’s why I told you that X-23 joke would work,” you laughed and walked over to him, your microphone left behind at the edge of the stage, and since they could all still hear you Jenna figured you and Hugh had mics on your collars.

You went and stood slightly further back than Hugh, as only one spotlight remained on, the one on Hugh, and you were strangely standing right where his shadow was.

As Hugh walked closer to the end of the stage you followed him, perfectly replicating his movement, down to the slight sway of his hands. “Hello everyone, it’s wonderful seeing this many people gathering for a cause like this,” he stood there, confident, with his arms spread to greet the crowd, and you were actually moving at the same time as he was.

Hugh turned to look at you, and you looked back. “Y/N?” he sounded confused.

The spotlight on Hugh flickered for a moment and then got turned off entirely, only for one on the opposite side to be turned on, and in the brief moment it took the lights to switch you were on Hugh’s other side. “I’m just a shadow of the man you used to be,” you lamented, shadowing Hugh as he raised turned around to look at you and then scoffed. He raised his hand and snapped his fingers, and the upbeat music started.

He spun around, beginning to dance, and you did it all at the same time, with the same grace and rhythm Hugh had. And Jenna just watched, a smile on her face as the dance got progressively more complicated and even somewhat ridiculous. Hugh abruptly stopped, both of you breathing a bit heavily from the dancing, and looked back at you, frowning when you looked in the same direction he was looking at. “Look at me,” he demanded.

“Not how shadows work,” you corrected him, doing the same movement as he did as he silently directed the people controlling the spotlight to move them. You moved along with the lights, and raised your hand with Hugh when it looked like you were now face to face, with the light on Hugh’s back, but then you just turned your back to Hugh.

“Come on!” he exclaimed.

“I’m a shadow, not a mirror,” you reminded him.

“I see how it is,” the lights moved once more, and he began walking back, but the way light was shining on him made his shadow longer, meaning you were walking forward, following the path of the shadow right to the edge of the stage, and Hugh began taking the next step, thus your foot hovered over the stage.

And the lights went off once more, and when the lights came back you were nowhere to be seen as Hugh leaned against a cardboard wall, light shining on him, and no shadow in sight. “I’m safe,” he let out a sigh of relief and then the wall fell with a loud thud, and you were there, right behind it. Hugh hung his head and just accepted it as the two of you began walking off the stage, and then the lights went off again.

“Come on, man! Let me exist!” you shouted and when the lights came back you and Hugh were back on the stage, no longer performing as you just bowed to the crowd and curtains dropped.

And Jenna? She was astonished, completely swept off her feet by what you and Hugh just did.

“They were amazing,” Barbara said and frankly, Jenna couldn’t agree more, you truly were amazing.

~X~

You and Hugh just finished talking to the even organizers, finalizing your own donations to the cause, all that was left to do was find Barbara and go to your place to celebrate a successful night. You were a bit disappointed Jenna couldn’t make it, but Christmas was yesterday, so you understood. She wanted to spend time with her family, even though she didn’t put it like that, and you were honestly just happy that she was having fun. She did tell you to call her after the performance, so, instead of calling Barbara you went and called Jenna.

Only to hear ringing close to the doors and then saw Jenna reject your call. “What the fuck?” you looked at your phone and then at Hugh, who was equally puzzled.

“How was I supposed to know she’d call me right away?” that sounded like Jenna! You jumped to your feet, happy that you were finally out of that suit, and went to the doors.

“How could you not know?” and that was Barbara. “Why wasn’t your phone on silent?”

“I was excited, okay? I forgot,” that was definitely Jenna’s voice, and you opened the doors, seeing the two of them approaching while almost childishly going back and forth about Jenna not putting her phone on silent.

“If I knew about the surprise I could have stopped that unfortunate timing,” Hugh chimed in and Barbara slapped her forehead.

“I should have thought of that!” she berated herself, but you and Jenna just looked at each other.

Jenna smiled, her gaze dropping down to her ring, hanging around your neck, visible for anyone paying attention to see it. At least for now, while you were in the back room, getting ready to go back home. “Surprise,” Jenna spoke softly and the two of you hugged.

You lifted her up, and she immediately kissed your cheek as she hugged you back and buried her face in your neck. “It’s so good to see you, Jen,” you whispered, now feeling like this might just be one of the best nights in your entire life.

“I missed you,” her voice came out muffled, and you had to hold back so you wouldn’t just kiss her right then and there. You wanted to do it, so much it almost hurt. Not here though, you couldn’t do it here. She deserved a better spot for your first kiss, someplace better than a backroom of a theatre.

Barbara clearing her throat made you roll your eyes as you gently lowered Jenna down. And that was another reason why you had to restrain yourself. Because Barbara would never let you or Jenna hear the end of it. It would haunt you for the rest of your lives that you couldn’t hold back at least until you were alone.

And even if you could somehow ignore both of those reasons, you couldn’t do it until you were completely honest with Jenna. She had to know what you were involved in.

Jenna blushed and looked to the side, before regaining her composure and turning to Hugh. “It’s an honor to meet you, Mr. Jackman,” she said, offering her hand to him, and you had to hold back your laugh, because that might make Jenna uncomfortable.

“Please, Hugh is fine. The honor is mine, Jenna, I’ve heard so much about you,” Hugh assured her as he accepted her hand.

“Mr. Jackman. That’s hilarious,” you patted Jenna on the back and finally burst out laughing at the ridiculousness of that.

“Oh, no, you don’t. You don’t get to divert attention, Y/N,” Barbara said and smirked, and you tried to shake your head, pleading silently for Barbara to have mercy. “Hugh is being gentle. We’ve heard too much about you. At this point we’ve heard so much about you it turned into a parasocial relationship,” someone kill you, right now.

“That’s one way of putting it. You’ve got our Y/N here, quite enamored with you, miss Ortega,” Hugh flung his arm around your shoulders and pulled you closer.

This was your life right now. At least Aliyah and Enrique weren’t here as well. You and Jenna might not survive it.

You noticed Jenna getting more embarrassed by the second. “Okay, okay, you’ve had your fun, let’s get out of here,” you ushered them all to finally leave so you could go back to your apartment.

~X~

Jenna supposed she couldn’t really blame everyone for teasing the two of you. In reality it wasn’t just their way of showing love, it was kind of warranted because, well, if Aliyah was sitting on the sofa, pretty much cuddling with some guy, while claiming he was just a friend, Jenna would probably tease her too. And that was the position Jenna was in. The four of you went to your apartment, and Jenna found herself sitting on the sofa and leaning on your side as you had your arm around her shoulders, and to make things even more obvious, Jenna’s arm was around your waist, up until five minutes ago.

The teasing was put on pause for now, though. As you all focused on eating a somewhat late dinner. You and Hugh didn’t get the chance to eat before the charity event, so you were both hungry. If she wasn’t eating Jenna would still have her arm around you, while you were just eating a burrito, so you could do it with one hand.

It was the first time Jenna was in your apartment, and she was taking it in. It looked kind of empty. No pictures, no decorations, nothing. Just furniture, and even that showed how few people came here. The table in the kitchen? In theory four people could eat there, but it really was only big enough for three people to be comfortable, thus the four of you ate in the living room. You did have an extra bedroom, showing that Barbara and Hugh did sleep over often enough for you to consider that a necessity, but barely anything else in the apartment showed you enjoyed living here. It was like this wasn’t a home, but just a place to live in for you, with no emotional attachment. Sure, you were renting it, but this level of detachment was something she definitely wasn’t used to.

There were some books and movies in the apartment, but that was as far as personal touch went. You didn’t even have something as small as a magnet on the fridge, or some tiny decoration on the table in the living room. Hell, Jenna was willing to swear you didn’t even own a flower vase with how bare everything was.

New Year was right around the corner, and that only made the emptiness of the apartment speak even louder.

She glanced at you, remembering how you forgot about Thanksgiving, it made sense now. Of course you would forget something that you didn’t even consider worth putting effort into celebrating, did you? She leaned a bit closer to you, wondering just how living in a place as empty as this one would affect you. Your inability to open up about what was causing you pain certainly made more sense now that she saw the place you lived in.

“You okay?” you whispered softly and she nodded, smiling slightly. You were this warm and attentive despite living in a place as cold as this one. She missed the smiles, genuine smiles, with no intentions of teasing, on both Hugh and Barbara’s faces.

~X~

Jenna would be spending the night, that much was clear, and you found yourself wondering how exactly to approach this. Was it too bold to assume she’d sleep in your bed? With how many nights you spent together it seemed like a natural conclusion to make, but you also didn’t want to make her potentially uncomfortable.

But would getting the spare bedroom ready make it seem like you didn’t want her to spend the night with you? You’d just ask her when Barbara and Hugh leave. Either way you needed another pillow and another blanket because Jenna spent that night at her parents’ house covered in blankets from head to toe, even with the heating on. You weren’t as bothered by cold and she liked warmth, and you would definitely need to add one more blanket to your bed because of that.

You were just pulling a blanket out when Barbara came in and sat down on your bed. “Something’s on your mind,” you said, noticing she became a bit more silent than she usually was as the night went on. It was almost unnoticeable, but you knew her better than perhaps anyone.

“Jenna doesn’t know yet, does she?” and Barbara didn’t even need to clarify what she meant. You understood.

“No, I haven’t told her yet. I don’t know how,” and it weighed heavily on your mind. For the first time since you started fighting you skipped two fights in a row, while still being in Denver. You blocked Davis, you quit. You were adamant that you weren’t going to go back there. Regardless of that, those fights were a big part of the last four years, so big in fact, that hiding that information from Jenna felt like you were betraying her.

You loved her, so much so that you were well-aware that you quitting fights had a lot to do with her. Was it wrong? To make a decision like that because of someone other than yourself? In a way, but you were so far gone that nothing else could probably push you into that decision.

“I get it, I really do, but she deserves to know. No, it’s not just that, you can’t risk hurting her down the line by hiding that,” Barbara sighed, understanding you, but also pushing you to do what was right. What else could you do? Wait and start a relationship with Jenna. Something both of you clearly wanted. And then what? Have the truth come out weeks, months, or even worse, years later and have her lose all of her trust in you?

You didn’t pay attention to the doors opening behind you, you just scoffed, getting somewhat frustrated by the conversation. “I know, Barb, but I need the right moment, I can’t just sit down next to her and go: Hey, Jen, I’ve been fighting in this underground fight club,” you said and were about to continue, but Barbara suddenly froze. and your eyes widened. Why would she? 'No,' that single word went through your mind as you turned around and saw Jenna standing there. Shocked and confused.

“Shit,” Barbara cursed. This was the worst way for Jenna to find out, well, maybe aside from walking in on you all bruised up after a fight. But seeing as you quit fighting, this really was the worse way for her to find out.

"Jen," you tried to speak, but you could barely say her nickname, let alone form a proper sentence.

The look on her face damn near broke you into millions of pieces. Shattering you beyond repair in an instant. "You fight?" she asked.

You looked at her, at the heart-broken expression on her face, at the silent plea not for you to explain, but to tell her you were lying. And you looked down, recognizing that look. You saw it on Barbara's family, only to a lesser extent. "I do," you replied. "In a fight club, barely any rules, might as well be an organized street fight," you said bitterly.

Jenna looked ready to cry, as if her entire world came crashing down in that instance. "What?" she asked, but as you took a step closer, she took a step back. "Please, no. You're lying," tears freely flowed from her eyes now.

You just shook your head, seeing she wasn't comfortable. There seemed to be a rift between you now. A chasm so deep and wide that your words wouldn't reach her.

"I need to go," Jenna said, and your eyes met once more, a silent acceptance of the end in both her and your own eyes. She turned around and you watched as she left, and you felt pain consuming you, threatening to overwhelm you.

"Go after her!" Barbara tried to push you, and then to pull your hand to get you to move, but she just wasn't strong enough. She cried out in frustration and realized you wouldn't move as hard as she tried. "Wait, Jenna," Barbara went after her as Hugh came into your room, confused.

"Y/N?" he asked, but the look on your face told him everything.

"She knows," you shook, on the verge of crying, and you would have collapsed onto the floor if he didn't catch you in time. “She knows, Hugh,” why couldn’t you just let it all out? Why was it so difficult to just cry your heart out?

“Give her time, okay? You’ll be fine, just let it out,” he tried to encourage you, hugging you tightly and you clung to him as if your life depended on it. In some way, maybe it did.

“I can’t,” you gasped, afraid to fall apart, afraid that you wouldn’t be able to put yourself back together if you let it happen.

You could feel Hugh’s jaw tightening next to you. “Fall apart, I’ll be right here with you to pick up the pieces,” he promised, and you shattered like a broken mirror that could never be mended back together, feeling like all the pieces fell through your hands, only to be caught by the man who’s been treating you like his own child ever since you met him.

~X~

This wasn’t happening. This had to be some nightmare, a horrible dream she was just about to wake up from. Jenna leaned against the wall of your apartment building, right next to the entrance, her face buried in her hands as she grappled with the knowledge she just gained.

You fought. You actively went and sought out fights in underground fight clubs.

It all suddenly made sense. That night when you were about to leave, back while you were still filming Scream, and then your occasional wincing when you visited her. You weren’t humoring her, you were actually in pain.

You were involved in something like that.

Jenna felt sick. She felt like vomiting. She felt nauseous, and then hands grabbed her and she looked up, startled, expecting to see you, only to be met with Barbara instead.

“Hey, look, I’m not Y/N, I don’t know how to deal with a panic attack,” that was reassuring. And it also frightened her. Did she look like she was about to have a panic attack?

“Mentioning her definitely isn’t helping me,” she nearly pushed the girl away, wishing she could just be home right now, wishing she could be with someone she could trust completely, and not… you didn’t lie to her, but this was a huge thing to hide.

Barbara’s eyes softened at that, and she even managed to smile a bit as she removed her hands from Jenna’s arms. “Please, at least let me tell you what I know,” she said, and Jenna had no idea how that would possibly help. What reason could excuse not only putting yourself in harm’s way, but also hurting other people.

“I don’t think anything could excuse choosing violence,” especially as dangerous as the one you were involved in. Martial arts sports had rules, and people still died. She remembered countless times her mother came back home, shaken up by someone as young as one of her children getting into a barfight and losing their life or being seriously injured, and her dad had even more of those stories. She was frightened.

Barbara shook her head. “It’s not as simple as you think,” how? What could possibly make her go from absolutely terrified that participating in that willingly. You were actually willing to travel who knows how far, potentially be absent for several days, just to fight, knowing you could get injured, or worse. Not only was it dangerous, but it was also ridiculously irresponsible toward the rest of the cast, as you may have gotten injured to the point of delaying the filming. “Jenna, please, you love her. At least hear me out if you won’t hear her out,” Barbara pleaded.

Jenna laughed bitterly. “I don’t know her. I fell in love with a strong, yet gentle woman, who I thought could never hurt someone. And now I’m finding out she hurts people for money,” tears streamed down her face freely.

“She needed money, Jenna, come on, there’s a small coffee shop nearby, at least let me tell you the basics,” she was desperate, and sure, why not. Might as well get the full picture, humor the reasons that could never be enough to excuse you.

“Fine, whatever,” she sighed, following Barbara into a small coffee shop that would give them enough privacy. Frankly, Jenna wasn’t in the mood for a coffee, more for something stronger, anything to numb what she was feeling right now. She still ordered whatever Barbara ordered, not even properly paying attention. “Why does she fight?”

“It started four years ago,” Barbara began, and Jenna’s eyes widened for a moment. The remark that it’s been going on for so long and that it was all she needed to hear was silenced by the realization of what happened back then.

“To get over the deaths of her parents?” she asked, still disturbed by the idea of you fighting, but a tiny bit more sympathetic. Why couldn’t you just get a better coping mechanism?

Barbara shook her head. “It happened in early September,” that didn’t match what you told her. You said your parents died in December. “A truck driver drove into a restaurant Y/N was in with her parents, it would have been a mercy for everyone if they died right then and there, but they survived. Only they were comatose, on life support and in need on of several surgeries, and even then, their chances were slim.”

Jenna listened closely, horrified that you had to go through that. She knew there was an accident, she never even imagined the horror you must have went through lasting for months.

“Y/N decided to take them to Mayo Clinic in Rochester, believing that would improve their chances,” Jenna knew well enough what that would mean, her mom was a nurse, after all. You would have to transport them probably from Denver to Rochester, and as far as she was aware you wouldn’t be able to get aid for bills, seeing as most states didn’t have that deal with Mayo Clinic.

“Shit,” she lowered her head, seeing where this was going.

“I don’t know when exactly the fighting began. She used up all the savings, sold her family’s apartment with the help of a family lawyer, though for a lot cheaper in order to get the money quickly, but she had no job. You know how acting works, even if she auditioned a lot of time would pass before she would get paid, money ran out and somehow, she found herself in those fights. To this day I don’t know why she didn’t just borrow money from Hugh, he actually had no idea what was going on until the end of November,” Barbara explained, and Jenna just sank into her seat.

“God, that’s,” she couldn’t even find the right words. She just imagined Aliyah or Markus, who were now about the same age as you were back then, in that same position and she could swear she heard her heart breaking.

“She’s still the same person you got to know. I don’t know why she keeps on fighting, Jenna, I thought she had a debt, or that there was a blackmail involved of some sort, but she’s going back there of her own free will. I don’t know how to reach her and get her to explain that,” by now both of them were crying as Jenna buried her face in her hands.

It was horrible. Everything about this. The circumstances that led you down that path, your inability to stop after there was no purpose behind the fights. She could understand every single fight you went to in order to try and save your parents’ lives. But this? Now? She couldn’t understand that.

“I need time to think,” Jenna eventually said, and Barbara nodded.

“That’s all I’m asking. That you don’t cut her off without at least knowing why she began fighting in the first place,” Barbara said softly, and for a moment Jenna thought Barbara might have been more understanding of her than she deserved. You were Barbara’s best friend after all.

“I’m not,” she almost said she wouldn’t cut you off, but realized it was too soon to promise something like that. “We both need space away from one another,” there was resignation on Barbara’s face when she said that, as if she just accepted it, as if she was no longer going to argue.

“I get it,” she really seemed to get it. For a brief moment Jenna thought that maybe, just maybe, the same thoughts were once upon a time crossing Barbara’s mind as well. “Coffee is on me. Might be our last,” she said with a sense of finality in her tone that Jenna wasn’t ready or willing to argue against.

That was also a possibility. All things considered.

Even if she could excuse you, accept this about you, her parents would never be able to do the same.

And between you and her family… it wasn’t a choice she wanted to make, but it was clear to her what she would choose.

Taglist: @lilbitdepressed27 @freakshow2501 @osnapitzmel1 @belatrixdragon @ijustlovemaths

@niqmandu @justspance @mirage018 @godamnityess

Masterlist / First Part / Previous part / Next Part

[inezrable]

Passing David Tennant Characters The Aux

Campbell- by far the best music taste out of all of them. He plays 50s and 60s rock n roll and explains in great detail how buddy holly was a genius

Crowley - he doesn't have premium so he has to shuffle. Every playlist he puts on only plays Queen. He curses spotify free before he remembers that he invented it. Then it plays Never Gonna Give You Up

The Doctor - plays some traditional Earth ballads such as Stop by the Spice Girls and Hair by Little Mix. Vibes the whole time

Kilgrave - a mix of absolute classics and absolute garbage. No in between. It flicks between a karaoke/theatre song that everyone knows to Grifter's Bone on a whim.

Alec Hardy - his daughter's playlist but no one notices. It's filled with Mitski and Clairo. He doesn't know who these people are but everyone just assumes that he does.

Harry Watling - religious music. Everyone rolls their eyes at him except Chris (Learners) who hums along appreciatively

Chris (Learners) - the same thing as Harry but more upbeat like the kind of stuff that would play on a Christian pop radio station

Doug McLeod - Africa by Toto. Three times. After that the aux is taken off him

Scrooge McDuck - 3 hours of Beethoven played on Bagpipes. He is the only person (duck) who enjoys it and he is oblivious to this fact.

Peter Carlisle - the most depressing 90s stuff ever mixed with 60s music. The Cure and Elvis dominate his playlist

Peter Vincent- metal and pop punk covers of pop songs. He thinks he's so edgy for it even though the singers occasionally censor swear words and change pronouns to make it straight.

Donald Peterson - KidzBop because it's his car and he drives his kid around in it all day. He doesnt want to forget to change it back and have his young one hear curse words. He also secretly likes it.

Roderick Peterson - He rolls his eyes at everyone else's choices then plays his own classical music. However, it rolls into the rest of the playlist which includes Chappel Roan and Beyonce. He pretends it's not his.

Simon Yates- Too tired to go through and choose a song manually so he presses shuffle and gets only the most embarrassing songs on the playlist

Davina - Classic pub rock and Will Wood. In equal measure.

Tony Baddingham- honestly, just the entire soundtrack of Rivals. All the songs fit his vibe.

Phileas Fogg- his playlist is wild. Every song is different but he happily bops along to all of it. There's lots in different languages and he tells people to "really listen to the lyrics" even though they don't understand them.

Casanova - the type of song that you sing along to as a kid and not realise what they're about until you're an adult.

If you have any more you want to see let me know

[shadowmaat]

Jedi Service Corps

The Legends-fueled propaganda of "bad students get sent to the Agricorp/Services" has always bothered me. First of all, forcing kids into a career not of their choosing isn't the best way to encourage them to perform well.

The Services in general seem to get a bad rap, and TBH it's kind of bizarre to assume that every kid who winds up being taken in by the Jedi wants to grow up to be a cop. LOL!

There is so much untapped potential being ignored, and even within the four pseudo-canon branches there's a lot to explore.

Agriculture. Farmers Without Borders. LOL! It isn't just about growing plants, it's about analyzing trends, understanding ecosystems, geology, climatology, politics, etc. There's mechanical engineering so you know how to fix the machines that do the hardest labor (often illegally, given corporate software locks and so forth). Probably a lot of fiddly stuff with plant genetics, too, given similar issues with seed corporations.

Being Jedi, I'm sure they're also aware of the need to include "ornamental" plants to help with the emotional welfare of hurting/devastated populations.

Education. This field must be fucking wild. Sure, you have your future creche masters and archivists, but I imagine there are those who do public outreach, too, and go to schools to teach kids about what the Jedi do beyond waving laser swords. There's probably also a need for teachers in isolated/rural areas to help with basic things like reading, writing, and maths. Ditto areas devastated by wars and natural disasters, where kids need a safe distraction from trauma. I bet Educorp and Agricorp team up more often than people might think.

There's also the sheer variety of topics. Even something basic like history will have a wide net. Galactic history, region-specific, planetary, etc. And then there's the arts. Music, singing, dance, physical media, holo media, theatre, and so much more. There will be differences between species, understanding what they need to know, how they learn best, and what their aging process is like. Teachers to cover the full range of mortal maturity, from teaching toddlers to old-timers. And don't get me started on teaching "forbidden" topics in repressive communities.

Medical. LOL. Every. Single. Species. And often subtypes between them. So many specialists needed. And again, you probably have a number that specialize in helping in disaster areas. Hello, Educorp, let's help teach these people how to best care for themselves. Maybe Agricorp can help with showing folks how to purify their air and water. There must be SO many diseases, some of which have inoculations and so that don't. And again, figuring ways to smuggle medicine and supplies to those who need it despite the extortionist rates corporations charge. Repairing faulty equipment, finding work-arounds when the parts aren't there. Triage. Using the Force to help heal is all well and good, but sometimes they still have to get hands-on.

Even with non-emergency stuff, I imagine they're still kept busy. The idea of a Jedi "country doctor" settled in some remote area sounds delightful. Communities that get "lost" in the shuffle or otherwise overlooked. Veterinary medicine as a sub-specialty.

Jedi having a special "knack" for determining what's wrong with someone, finding early warning signs before it's too late, etc. Comforting the dying. Comforting the survivors. ALL the mental health stuff and neurodivergence.

Exploration. Jedi Starfleet. LOL! It isn't all about discovering new worlds, though. Sometimes it's rediscovering planets and cultures that have been forgotten. Charting new hyperlane routes and hoping the end doesn't pop you out in the middle of a star.

I betcha you could fold so many things into this one. Botany. Archaeology. Xenoanthropology. Medicine, of course, since new worlds/people means new poisons, venoms, and diseases. New or ancient languages? It'd help to have someone around who could work on translating. Diplomats to help you talk to people. Geologists. Zoologists. A bit of everything.

Sure, there'd be room for solo missions, but I imagine there'd be bigger ships that they'd launch from. A place to come back to so the brains can pore over everything you brought back and see what they can determine from it. And big ships (or any ships really) means pilots, engineers, general crew, logistics, and all those fun things.

Anyway, I can see plenty of room for additional corps, too, but of the ones that get mentioned in Legends there's still a huge playing field.

[chaosgremlinmunson]

STWG 08/08/2024

Prompt: theatre

Steve had just wanted to eat his damn ham sandwich in peace. He was over the hushed whispers, the pain in his left eye, and the side-eye he'd been receiving all day. He thought maybe he just wanted to go to the courtyard to eat his lunch, maybe he'd get some peace and quiet, but no, the theatre kids were rehearsing some off the wall bullshit and Munson had seen him and was currently crawling on his knees towards him.

“Heaven Would through the airy region stream so bright That birds would sing and think it were not night. See, how she leans her cheek upon her hand! O, that I were a glove upon that hand, That I might touch that cheek!” Eddie came to a halt in front of him, his knuckles brushing gently against his left cheek as he gazed at Steve. “What villain has tormented you so, my dove. I will make haste and slay that beast, should I get a single kiss from thine lips.”

“Dude, what?” Steve said leaning backwards as Eddie moved closer to him still, “what nerdy bullshit did you blabber?”

“Mine heart!” Eddie clutched his chest as though struck through and fell onto Steve's lunch much to his chagrin. Steve wanted to be annoyed, truly he did, but it was almost endearing and he found himself smiling as he rolled his eyes.

“Look, man, if you want one of my cookies I'll hand you one, but you need to stop smashing my lunch with this theatre stuff.” Eddie popped up with a wild grin on his face.

“Cookies you say?” Eddie pulled his hair in front of his face before turning to his nerd friends, “alright everyone, we'll meet up later to go over our lines again.” He settled beneath the tree close to Steve, their thighs touching.

After they both had been quietly chewing for a few moments Steve decided he needed to ask, “why recite whatever that was to me?”

Eddie choked, then glanced at Steve out of the corner of his eye before swallowing the last bit of his cookie, “You looked lonely, and like you could use the cheering up. But also, you have to know you're the most beautiful man in this school. If people don't want to be with you they want to be you.”

Steve felt himself flush, but he leaned more into Eddie's space before lowering his voice, “and which one are you, my cute little riot?”

Eddie's eyes went huge, and he stared at Steve, eyes darting around his face looking for something, before he leaned in so their lips were almost touching, “I suppose you'll have to figure that out soon, won't you big boy?”

Steve pulled him further into the treeline by the school before pushing him against a tree and lining his body against Eddie's who had gulped at the manhandling, “I think you want to be with me, but you won't make a move.” He whispered as he lifted his thigh between Eddie's legs effectively pinning him in place, he leaned and kissed Eddie until he was writhing gasping mess beneath him, and smiled, “you should come by my place tonight, practice your lines some more.” He winked at Eddie before letting him go. Eddie whimpered, reaching down to fix his now entirely too tight pants and nodded.

[floofiestboy]

Translation of 5 Questions for Aoyama Gosho in anan

In a recent issue of the anan magazine, the idol Kyomoto Taiga had the opportunity to ask Aoyama five questions. I’ve translated them here.

Q1. When did you first decide on the relationship between Kudo Shinichi and Kuroba Kaito that was revealed in Detective Conan: The Million-dollar Pentagram?

The last movie revealed how Shinichi and Kaito were related to each other. I always wanted them to have a special relationship, so I ended up bursting into tears in the theatres from shock and joy. I do personally think that this wasn’t always planned, as Magic Kaito came before Conan… or at least, that’s what I’m imagining. So, how exactly did you end up deciding on their relationship?

A1. The truth is, I decided on it a pretty long time ago.

When Kaito Kid first appeared in the [Conan] manga, Yamaguchi Kappei - who voices Shinichi - asked, “Since Kaito and Shinichi look similar, I’ll be voicing him, right?”

Then I went, “…Ah, you’re right.” (haha)

That’s when I decided to make them cousins (haha). So it was a while ago, a whole 28 years ago. It was around when the anime started. The reason why I chose to reveal it in a movie has no deep meaning, I just thought I wouldn’t have the opportunity to draw it in the manga. So, I was like, “Then I’ll show it in the movies.”

Wait, Kyomoto-kun, you burst into tears watching the reveal? I see, thank you very much (haha).

Q2. Do you have a vision for Movie 30 just yet, and if so how much?

I do love that, well, grand, special, gorgeous feeling that yearly release works give you. That’s why I’m super excited thinking about how amazing the 30th movie might be. So, do you have anything planned out in your mind already?

A2. I do. I have an amazing vision.

I have a vision that you’ve all been waiting for (haha).

I’ll leave things off there (haha).

Q3. Is it possible for any member of the main cast to die?

I would rather they didn’t, but if they can, I want to be prepared… that’s what I’m thinking. I would be very happy if you could even just answer if it’ll happen or if it won’t.

A3. Ahhh, I’m not sure how much of a ‘main cast’ member they are, but…

There is one guy in danger… (haha)

Leaving things off there is better, don’t you think? It helps get people excited.

Q4. Please tell me about the spin-offs you’d like to write.

If there’s any character that makes you think “I want to write a spin-off for them,” or “I want to dig deeper into who they are,” I’d love to know about it. On a side note, I also love carefree stories where nobody is murdered.

A4. There’s tons. I’d love to write a spin-off for each Wild Police Story character one by one, but I don’t have that kind of time…

I see, so you like more carefree stories as well. You’re kind. You’re not the type to go all, “It’s not bloody enough!” (haha) Ah, the case in this month’s Sunday actually doesn’t involve murder, so it might be perfect for you. You should read it!

Q5. Please tell me the inside scoop on how Koumoto Hyouga was created! [T/N: He’s the guy that Hattori pretended to be during that shrine case where he wore a mask with a voice changer to hide his identity from Kazuha.]

I was super happy to hear that you used me as inspiration, but I’ll also be happy to learn how this character was created in the first place.

A5. At that time, I was receiving mountains of fanmail all saying, “Kyomoto Taiga-kun is a huge Conan fan, so please put him in the manga!” So, I thought, “I see, so he’s that much of a fan…” That was the initial trigger (haha).

But I knew that it wouldn’t do to put you in the manga as-is, so I changed your name a bit. I also googled photos of you to see your outfits, and went “So this is the kind of clothing he wears…” while using it as reference.

[hexedwinchester]

Supernatural S05E04 The End

Warning: this is going to be borderline Dean critical

Goshhhh Jared's voice is so soft as Sam. I can't.. his voicemail voice can put me to sleep.. I'm not kidding

It hurts me to see that Sam called Dean with a huge news that he is the Devil's vessel and Dean goes droning on about his idgaf attitude

this is also the second episode where Dean goes time traveling without Sam

when present Dean wakes up in future verse and looks outside the window, the camera pans to scene and you can see a theatre is playing Route 666

In the next scene there's a bar that's missing the letter K so instead of Lucky's bar it reads Luc y's bar! That's clever

another Ben Edlund episode focused on Dean

Future Dean bothers me. He says Sam didn't make it knowing full well Sam was trapped in his body post possession. So he did nothing to save him? And he is just going to off him?

Dean doesn't trust Dean..why am I not surprised

lol Dean is so bossy he is bossing himself 😂

present Dean getting the same treatment from future Dean that he gave to Sam.. how lovely..

Anyone else feel present Dean would love to have a threesome with future Dean and some hippie chick?? 😂😂😂

im actually curious to know under what circumstances Sam said yes to Lucifer in this future verse. It can't be the same as canon. Shame they never answered that..

it's also the second time we see Dean talking to Dean. The first one was in that episode where they get stuck in a dream because of the dream root. The 'you are going to die and this, this is what you're going to become"

omg.. Dean is abusive to himself too..

Did anyone else notice, that future Dean dies in 2014 and if you do the math, Season 9 came out in 2013, add the one year Sam spent as Soulless and guess what? Dean really did die in 2014

enter Lucifer!Sam. And the crowd goes wild! I can't tell you how much I've enjoyed Jared Padalecki in that all white suit! People responsible for his wardrobe and hair and makeup in that scene, I love you guys!!

that head tilt!!!!!!! It does things to me! Y'all don't understand, if I ever get a chance to meet Jared IRL I'd ask him to do the head tilt 😍😍😍

like oh my god Lucifer!Sam doesn't even smile the same as OG Sam..

wait what? How did I not notice this before? In the end when Sam meets up with present Dean, Dean pulls out Ruby's knife and Sam steals himself away! Did he think Dean would kill him now that he knows he is Lucifer's vessel??? Please tell me someone else caught this too!

Does Dean ever tell Sam about his trip to the future? I don't remember it but if he does I'll put it on the review

Can you tell i love Lucifer!Sam?

[mohammed1201]

This is a list of some prices here in Gaza, knowing that my family's monthly income is $200.

We in Gaza eat one meal a day if we have it because of the high prices and the closure of the crossings.

Note: These items are not always available in the market, but are stored by vendors before the border closures that have been ongoing for 3 months.

A liter of sunflower oil: $27

Liter olive oil: $32.5

A kilo of sugar: $43.2

A kilo of flour: $17.6

A kilo of salt: $7.6

A kilo of molokhia: $8.9

Kilo cucumber: $10.3

Kilo watermelon: $4.6

Kilo mascar: $10.8

A kilo of tomatoes: $10.3

A kilo of onions: $54

Kilo potatoes: $10.8

A kilo of eggplant: $7.3

Egg dish: $113.5

Kilo lentils: $7.3

Half a kilo of pasta: $6.8

A quarter of a kilo of coffee: $27

A quarter of a kilo of pepper: $3.2

A quarter of a kilo of red pepper: $4.1

A small tuna box: $4.1

Canned meat box : $10.8

Falafel sandwich: $3.2

3 falafel tablets: $0.5

VITTED BY @90-ghost

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