#which i doubt but ya never know ya know?

[spacefunclubs]

For Good Omens S3 (IF it gets made), can we PLEASE have the type of marketing and interviews with David and Michael that we were robbed of last year for S2 bc of the strikes and let it have the same chaotic energy that Ryan and Hugh had for the Deadpool and Wolverine marketing?

I'm actually fucking DYING to see a lie detector test between David and Michael since the Taika and Rhys one or hell, even a Hot Ones or Chicken Shop Date interview PLEASE @ AMAZON HEAR ME OUT -

[prettyinpwn]

How Gravity Falls Could Have Been Better + Poor Ford and Wendy (GF Writing Analysis Pt. 2)

GF Writing Analysis Series: Pt. 1 - Ford Pines: A Masterclass in Writing a Good Flawed Character Praise the Axolotl, I feel horrible just writing that title. But let me preface this post with three statements:

I've been in this fandom since the first episode aired. I participated in this fandom while it was airing, and I will always cherish this fandom, those memories, and Gravity Falls itself even when I'm a crusty old lady in a rocking chair someday.

Gravity Falls is still my favorite show of all time, even as someone now nearing thirty years old. Nothing's ever topped it since in my mind, and I don't think anything ever will for me.

Writing and making a show is hard. It's easy for me to sit here and smash my little lady hands on a keyboard and criticize the Gravity Falls writing team's decisions. I'm sure if I'd been on that team, I'd have done a lot worse under that burnout and pressure, and I doubt I'll ever write anything anywhere near that critically acclaimed or beloved.

But... every time I've watched Gravity Falls from beginning to end, I've always felt that there was something off. And in recent rewatches, after I'd studied creative writing in college as a part of my minor, plus just having studied and done a lot of writing in my free time for years... I found out finally what it was:

The flaw, in my opinion, is the pacing. Gravity Falls is - and I mean this in the most respectful way to the writers, and I'm saying this as someone who will praise this show to my grave - poorly paced overall.

So what do I mean by that? Each contained episode is tightly written and nearly flawless in the pacing, but the overarching plot? I'll describe it like this: Picture a rollercoaster starting on a very, very slow incline. The scenery on the way up is gorgeous and entertaining to look at, but damn, you want to get to that peak that was teased in the advertisement of the ride. That first tease is what keeps you going on the slow incline. You know you're going to get there, but...

Okay, we're focused on getting accustomed to the seat, the people around us, how this rollercoaster feels, but... you check your watch. Are we there yet? What about that peak that was advertised? No, it's still a glacial incline. You inch upwards. It's godawful slow. You wait - and for those of us who watched when it aired during the hiatuses (which were more Disney's fault than the core team's, to my understanding) - it takes months to years.

Jesus Christ, you think. What about that tease? I want to know what's at that peak! Yes, I get tension and slow buildup, but this is taking FOREVER, and there have been no glimpses of the peak for eons. And then... suddenly, it gets more intriguing. There's a little bump. And another. And finally... there's another hint of the peak that you saw teased all the way back in the Stone Age.

Now, the ride consistently offers you little fun hills after that long, slow first incline. But seconds later BOOM! You skyrocket to that peak so fast your facial skin is flapping behind you. WOO! This is a blast! But holy hell, this is going a little fast compared to what it was like before. The last third of this ride must be MINDBLOWING, with lots of loops and spins and turns and even greater thrills, right?

And then the ride just drops almost face first to a plateau again. There are no more bumps, really. No loops. No twists. Just an almost straight, logical line back to Earth. Half the ride was pretty and made you laugh a lot despite how long it took, but the other half of the ride went so fast in comparison that it was just a blur. You're at the finish line now. Yes, it concluded like it was supposed to, but... is that it?

Rollercoaster metaphor over with, that's the pacing of Gravity Falls. For a more detailed visual example:

(Note - each episode is listed by their overall number. For example, 1 is Tourist Trapped, the peak at 31 is Not What He Seems, and the finale Weirdmageddon episodes are 38-40. Also, this is a rough, subjective view of the pacing tension, but generally... episodes that hinted or contributed to the overarching plot and tension earned higher points, and ones that added almost nothing besides comedy and character development that didn't necessarily add to the overarching plot were lower. The Weirdmageddon episodes are at a plateau since they - as finale episodes - serve to create as much tension as they do resolving it.)

Now, there are no hard and fast rules in writing, and every writer plots differently, but generally, this is the kind of pacing tension that's considered "good" (and that most common outlining techniques follow, just in different forms):

(Credit - please check out this page for a full explanation of each act.)

Generally, the trend is slow buildup. There's no plateau for eons, BOOM, then faceplant, like Gravity Falls. So that gets us to my main thesis of this post, building on what I bolded before:

Gravity Falls was too short because it's a three act story squished into a two act structure; the first season is paced like they were expecting three seasons - a season for each story act - and the second season is paced like they had to quickly fit the last two acts into one.

Why do I say this? Because there's a common writing plot point called the Midpoint / Plot Twist. So for those unfamiliar with writing techniques, let's explore what a Midpoint is:

"The Midpoint occurs at the 50% mark, halfway through the Second Act and (obviously) halfway through the book itself. Although many writers neglect the Midpoint in comparison to more noted moments such as the First Plot Point or Climax, the Midpoint is arguably the most significant beat within the story. It is what director Sam Peckinpah called the “centerpiece” of the entire story. Everything hangs upon it. In many ways, it is the moment that decides the ultimate fate of the story." "The Midpoint will feature at least one, possibly more, momentous revelations. Within the primary character arc and thematic exploration, the protagonist will encounter a Moment of Truth that forever changes his or her view of the story’s central philosophy. This revelation, perhaps in partnership with a further external revelation about the nature of the conflict itself, will forever evolve how the protagonist approaches the conflict—on both a personal and practical level. It signals a thematic shift from Lie to Truth (or vice versa) and an external shift from ineffective “reaction” to increasingly effective “action.” (Credit).

"But PrettyinPwn!", I hear you protest. "Gideon Rises is the episode smack dab halfway through the story and seasons! And that has a big reveal. And we learn a truth about Stan."

Yes, my sweet friends. Gideon Rises - and the reveal of what Stan's hiding in the basement - is a revelation, but the way the first season is paced, in my opinion it's what writers refer to as the First Act climax or Break Into Two. The Break Into Two is:

"Main character makes a choice and to go on the journey, and our adventure begins. We leave the “Thesis” world and enter the upside-down “Anti-thesis” world of Act Two."

(Credit).

Traditionally, this Break Into Two is literally stepping into a new world. Harry Potter getting to Hogwarts. Katniss Everdeen getting to the Capitol. Yadda yadda. But in Gravity Falls, it's more subtle:

We go from the "ordinary" world of Gravity Falls in Season 1 / Act 1 (which is anything but ordinary, but you get the point) where things are bizarre but lighthearted, to the "new" world of Gravity Falls in Season 2A / Act 2 where things are bizarre and definitely not lighthearted anymore. We've started to see the dark underbelly of this strange place and family, the seriousness ramps up, and... lo and behold... a B STORY pops up right at this point in full force, just like B Stories typically do right during or after the Break Into Two point. And that B Story? Is Stan's work on the portal and his search to find Ford, which was teased in the hook, all the way back at Tourist Trapped.

So no, Gideon Rises is not the real story Midpoint. The real story Midpoint is this nerd:

Let's look at those two plotline graphs again; Gravity Falls' and the typical one you see with three act structures:

Yes. Ford's reveal / Not What He Seems should have been smack dab near halfway through the series. But it's not. It marks the 75% point instead. Technically, if we follow the idea that the Midpoint should be roughly around 50% through the story, Not What He Seems should have taken place near where Gideon Rises is in the episode roster, and Gideon Rises should have been halfway through Season 1 (roughly near Fight Fighters).

So what caused this? Oh boy, I'm getting into speculation territory, and I know Hirsch has said it was meant to be this way, but based on the pacing flaws, here's my theory:

Hirsch and team wrote Gravity Falls Season 1 assuming there'd be three seasons; a season for each act of the story. They burned out, so compacted it down to two seasons, and fit all of Act 2 and 3 of the story into Season 2. That's why, at the time the episodes aired, Season 2 was referred to in two halves: Season 2A and Season 2B. Translation? Season 2A is Act 2 and what was supposed to be Season 2 but condensed, Season 2B is Act 3 of the story and what was supposed to be Season 3 but condensed.

TL;DR: In Gravity Falls, Act 1 = 50% of the story, Act 2 = 25% of the story, Act 3 = 25% of the story. AKA poor pacing. The equivalent in, say, Harry Potter and the Sorcerer's Stone, would be if Harry spent 50% of the story at the Dursley's before getting to Hogwarts.

If Gravity Falls had had three seasons total, the slow buildup in Season 1 would be totally justified, as the first act of most stories takes its time to establish the characters and world. But we instead go from slow plateau to BOOM to faceplant, instead of a slow ride up to the top that consistently raises tension with a few peaks here and there, then a fun, bumpy ride of resolving the tension on the way down.

That's why Season 1 has a little hint of the overarching plot in Tourist Trapped with the Stan vending machine tease at the end of the episode - that's known in writer's circles as the "hook" or promise of the premise - and then literally almost nothing until the end.

I will reiterate: Season 1 is written like the writers thought they had enough time to pace Act 2 and 3 out over the same amount of episodes for each Act.

All this, combined with the fact that Season 2 has some very out of place episodes concerning the tension (*cough* Roadside Attraction *cough*, and no, I don't care that it was retconned later to have made sense), well... yeah.

But this didn't just affect the pacing. It also affected the characters' writing. Wendy barely got developed, Stan and Ford's backstory AKA the B plot got squished into two episodes, the government agents as an antagonist were "defeated" too soon to try to quick switch over to Bill Cipher for Season 2B / Act 3, and the most oof-worthy part? Ford got the short end of the writing stick.

I mentioned in another post that I think Ford is a fantastically written character as a concept, but unlike Stan, Dipper, and Mabel, his good writing relies more on subtext, rushed plotlines, and external materials (Journal 3, mainly). Thematically, as the show focuses on twins, parallelisms, juxtapositions, Ford should have had just as much "let's get to know this character!" focus and time to develop to the viewer as Stan did. But no, he got... what, roughly 4-5 episodes, some of them where his story was only the B plot? Literally, let's count:

Episodes with Stan plotlines: Tourist Trapped, Legend of the Gobblewonker, Headhunters, The Hand That Rocks the Mabel, The Inconveniencing, Dipper vs. Manliness, Irrational Treasure, Boss Mabel, Bottomless Pit, Land Before Swine, Dreamscaperers, Gideon Rises, Scaryoke, Soos and the Real Girl, Little Gift Shop of Horrors, The Love God, Not What He Seems, A Tale of Two Stans, DD&MD, The Stanchurian Candidate, Roadside Attraction, Weirdmageddon 1+3.

Episodes with Ford plotlines: A Tale of Two Stans, DD&MD, The Last Mabelcorn, Dipper and Mabel vs The Future, Weirdmageddon 1+3.

Ford feels like an afterthought. Dipper, Mabel, and Stan get 100% of the story to develop, and Ford gets less than 25%. Also factor in how Ford is the peak the viewer is waiting for, the whole mystery that keeps viewers on their toes for most of the story... and he gets ~5 episodes, and none of those are 100% focused on him.

It's like hosting a multiple course meal promising the main course - the steak - is gonna blow your mind. And then you get it 75% of the way through the meal and it's like... dime sized. It's a damn good little nerd steak, but it's so small, and we ate like three hundred Dipper and Wendy crush and Mabel crush and really well written and funny but effectively filler episode salads on the way here, including ones that weren't even canon (Bottomless Pit and Little Gift Shop of Horrors), interspersed with the occasional hint of steak with episodes like Dreamscaperers. Which would have been fine had there been an equal and increasing amount of steak, but no. To ask an age old question... WHERE'S THE BEEF?

A summary of Ford:

Worse yet, let's compare his introduction to Stan's introduction.

Stan (in Tourist Trapped): "Heya, I'm a grumpy old conman runnin' a tourist trap, and all I care about is money, but... hey, you kids want something from the Gift Shop?"

Ford (in A Tale of Two Stans): "Greetings, I just returned from sci-fi sideburn land, I'm just going to punch a character - my brother - beloved by the audience in the face after he did something very nice for me, tell my long backstory that kind of makes me look like a douche in multiple ways, plot convenience the antagonist away, then tell said beloved by the audience character / brother to get off my lawn."

No wonder why - after ATOTS aired - lots of people thought Ford was a Class A, prime US Grade, grass fed dick. And to this day, more people seem to love Stan over Ford in the fandom. We get context for his decisions later in... drumroll please... Journal 3. And subtext. Not even an episode.

We THEN understand that Ford punched Stan because of the thirty years of hell he went through, that he was just about to defeat Bill Cipher when Stan activated the portal therefore interrupting him, and Ford was upset that the Shack had made a mockery of his paranormal studies plus Stan had literally stolen his identity, completely turned his house around, and made him look like a conman... so we then have an 'OH!' moment and realize, "Hey, wait a minute, this guy has reasons for what he did. Maybe he was more justified than we thought, or at least as justified as Stan was.".

But not in the show. In a book released after. He is actually equally as well-written as Stan is, in concept. He's a great protagonist with realistic flaws and reasons. But he got a sad little salad in the writing department compared to Stan, Mabel, and Dipper's whole ten course caloric explosion buffet.

So what would have fixed this? Just like the overarching plot's pacing... another season. Season 1 + the first half of Season 2 could have been solving the mystery of Stan, and the second half of Season 2 and Season 3 could have been solving the mystery of Ford.

And that, my friends, is why Gravity Falls is too short.

~

Where does this leave us? Well, er... my next thought is... how would I have written Gravity Falls using the typical pacing progress?

Well, for starters, let's decide this: how many seasons do we want overall? The two options are...

A. Two seasons like it is now, but shorten each story Act.

B. Three seasons, each season is one Act of the story.

If Gravity Falls were just two seasons long in this hypothetical outline, this is what I'd do:

Take out the Dipper/Wendy love subplot. I'm sorry, we all knew while we were watching it that it would go nowhere. I remember watching it as a teen girl as the show aired and being so damn bored with it as a subplot. Especially because... as it stands, most of Wendy's purpose is as Dipper's crush. She never got her own episode.

Put Gideon Rises as Episode 10 instead of Fight Fighters. Make Not What He Seems as the Season 1 finale.

Take out a lot of the "filler" episodes in Season 1. I hate to say this, because I love a lot of the Season 1 episodes. But to pace it better, I'd say order the episodes in Season 1 like this: Tourist Trapped The Legend of the Gobblewonker The Hand That Rocks the Mabel The Time Traveler's Pig Little Dipper Boss Mabel Carpet Diem Land Before Swine Dreamscaperers Gideon Rises Scary-oke Into the Bunker The Golf War Soos and the Real Girl Sock Opera (Any of the "filler" episodes from Season 1 or 2 here) Blendin's Game Society of the Blind Eye Northwest Mansion Mystery Not What He Seems

And as for season 2:

A Tale of Two Stans Dungeons, Dungeons, and More Dungeons Then... Here we have a big gap, because we put many Season 2 episodes in Season 1. We squished all that plot into Season 1, so what do we fill episodes 3-17 of Season 2 with? I'll tell you what: More Wendy and more Ford. In this version of the outline, Dipper and Mabel are present characters in every episode, with a special focus on Stan and Soos to a smaller extent in Season 1. So to make it even, I'd make this version of Season 2 have a big focus on Ford and then Wendy to a smaller extent, mirroring how Stan and Soos are focused on in Season 1. And just like the antagonist of Season 1 - Gideon - with a little bit of the government agents, have this season have a few more episodes with the government agents and then Bill as the big final bad.

This gap here gives us ~14 episodes to develop these characters. I also think The Last Mabelcorn should be in here somewhere, so make that 13. If we parallel Season 1, then roughly... Bill should get two episodes as a main antagonist like Gideon did before his finale in Gideon Rises. Wendy should get two episodes as a deuteragonist like Soos did in Season 1.

The Bill episodes could hint more at his backstory like Journal 3 did, have him mess with Ford more and tease at Ford's "sing to me O Muse" backstory with him (because more Ford parallels with Odysseus are always welcome).

The Wendy episodes could delve into the same issues Soos' episodes did: Wendy Episode #1: Her dating issues, but instead of finding someone like Soos did, she's happily single at the end. I vote a plot where Wendy is ready to date again after the Robbie fiasco, Mabel tries to set her up with someone new, tied to a B plot with Ford where Mabel digs into his dating life, finds little to none, and then both Ford and Wendy realize at the end that it's okay to be single and not ashamed of it in a romance obsessed society (also Ford on the ace spectrum ftw, personal headcanon though). Better yet, have it have a kid friendly explanation that some people love differently; actually show that Wendy is Bisexual and Ford is - I'd argue - Ace (or straight or gay but just super bad at relationships because of pouring himself into his work and his other flaws, fear of sharing his baggage with others, etc). Not that Disney would have allowed LGBT+ at that time, because, well... Disney.

This would simultaneously make Wendy A. NOT just a crush figure tied to romance, as female characters often get relegated to, and B. help Ford parallel some insecurities about how he compares himself to Stan, just like Stan compares himself to Ford in the episodes that actually aired, especially if we keep The Stanchurian Candidate as one of the episodes but involve Ford more in it. Have Mabel pull a Jane Austen's Emma and learn to stop being a busybody matchmaker. This idea - in my opinion - is way cooler and less ethically ambiguous than The Love God.

Wendy Episode #2: Her family issues, AKA her dead mother. Make it real tearjerky with a B plot tie to how Stan or Ford never got to see their parents again after the portal accident and before their parents died, and parallel it with Wendy regretting something regarding her mother before she died. This would give us a chance to explore more about Wendy as a character, and both Filbrick / Caryn (AKA Stan and Ford's parents) as characters, as well. I would also lean more towards having her bond with Ford over Stan in this episode. Or, alternatively, you could tie this to Dipper and Mabel and their parents. Because you can't tell me that their parents did NOT have questions about what was going on after Mabel sent that letter home about her "two grunkles".

But why so many Ford with Wendy plots? Because Soos is already the Shack employee tied a lot to Stan, so to parallel, you could have Wendy bond more with Ford. At first glance, this seems like it'd be an odd duo, but Wendy probably could relate to Ford's experiences of feeling like the responsible one in the family, hiding how much they care about things under a more calm facade, the fact that Wendy's dad built the Shack for Ford, maybe add Wendy having an underlying interest in science or the paranormal that she deadens down to fit in that Ford finds out about and tries to encourage her to not hide anymore to tie in with his theme of "it's okay to be weird". You could do a million things with Ford and Wendy subplots.

So that leaves us with a total of nine other episodes to devote to Ford here in this season space. I mean, picture it... in my original counts of how many episodes Stan vs. Ford got in the real version of the show that aired, Stan had around 23 episodes that featured him.

In this version of the outline, Stan would get 14-15 episodes featuring him. Ford would get 14 episodes featuring him. CHEF'S KISS; EQUAL TREATMENT BY THE WRITING. But what would these episodes be about?

A. More bonding and arc between Dipper and Ford. Dipper would go from "notice me Ford senpai / hyperventilating" to "holy crap the Author is as awesome as I thought he'd be!" to "wait a minute, this guy's got some flaws" to "maybe this isn't who I want to become?" to make Dipper's rejection of the apprenticeship feel more natural and take the blame heat off of Mabel (as the fandom's been eager to place).

If Dipper's reasoning for rejecting the apprenticeship was not just "Mabel needs me" but a combination of "Mabel needs me, Stan needs Ford more than I do, Mabel was right and I don't need the Journals / the Author / Ford to be a hero, and I don't want to become Ford", it'd make a lot more sense. Because thematically, the plot of Gravity Falls resolves BECAUSE Dipper and Mabel don't become Ford and Stan; they avoid the mistakes they made, and in doing so, heal the literal and metaphorical rift. And it also makes more sense for Dipper's character arc, which was always about self-confidence.

That, and I think it'd have been great for Dipper to have had a trust - distrust - trust again arc with Ford like he did with Stan. "Oh, Ford's so cool" to "Ford lied to me about Bill!" to "Ford is flawed, but he's still the great uncle I love now". Put a Dark Night of the Soul in there, where Dipper literally 'Trusts No One!'. Not even Ford. Have him teeter on the precipice of going down Ford's dark path, but Mabel saves him from fully falling into it. And have Ford have a Dark Night of the Soul, where now even Dipper doesn't trust or like him, and so Ford feels totally outcasted by his family like Stan felt years ago.

B. Slower plot twist revelations about Ford's past with Bill Cipher. Start him out reluctant to talk about it, especially in front of Dipper, who views him as a hero that Ford so desperately wants to be. Explore some of his trauma, what his choices have cost him, etc. Hell, I'm pretty sure Ford's got some form of PTSD, so throw a plotline in there about Ford isolating a lot because of it. Of course, since kids are a primary audience of the show, you can't get too dark, but you can't tell me Ford didn't experience some messed up stuff on the other side of the portal.

C. Goddamn, take some of Ford's multiverse explorations from Journal 3 and make them actual episodes. What a wasted opportunity in the show. And it better have Jheselbraum in it, or I riot.

D. More Ford bonding with Mabel. Please, for the love of God, I know Dipper and Ford are nerdtopia buddies, but Ford and Mabel would get along so well. They're both weirdos at heart, sweater twins, the older twins, and love the odd and the artistic. Make a B plot with Stan and Dipper bonding, maybe even after Dipper's loss of respect for Ford, and have Dipper "side" with Stan while Mabel starts to "side" with Ford more, almost getting lost in Stan and Ford's rift themselves. Because goddammit, we're riding this juxtaposition and parallelism and thematic train into the Sun!

E. GIVE FORD MORE MOMENTS TO LOOK LIKE A CARING, SWEET GRUNKLE. Stan got a truckload of chances to shine and for the twins to bond with him. Can... can Ford have the same thing? Please? Here, elevator pitch: Ford being forced to put science away to watch the twins for a day because Stan's busy, he reluctantly agrees, and by the end he's just as much of a softie for them as Stan is. Or have Dipper and Mabel get in trouble, Stan and Ford have to work together to save them; have them sabotage each other, trying to look like the better Grunkle, but then pulling their heads out of their asses and working together reluctantly and realizing they actually have fun on adventures like they used to (which would foreshadow their choice to go on Stan-O-War II adventures later).

F. By God, I don't care if Gideon's already in jail by this point, plot-wise. This boy spent episodes chasing the Author's journals. I need to see the look on his face when he realizes the Author is his arch-nemeses' twin brother / great uncle. Please. Have him start a rivalry with Ford that goes as horribly as you'd expect because Ford would use 30 years of multiverse experience to punt this kid into the next dimension for multiple reasons, one of them being having summoned Bill Cipher, another being having used his journal for nefarious purposes.

G. Don't make the government agents go away so easily. Foreshadow Stan's return of memory in Weirdmageddon 3 with the agents remembering what happened before the memory gun wipe in Not What He Seems, not only to utilize them better as antagonists, but to increase the stakes, and also to make Stan's memories returning later seem more plausible. Have Ford play a part in getting rid of them as a threat.

Or have them switch from antagonists to allies once they realize Bill Cipher is the real threat, but have them fail to neutralize Bill to make him seem that much more insurmountable and the Pines' defeat of him that much more of a feat. To wrap up them as an obstacle, just have them thank the Pines at the end and then have them put forth the whole "Never Mind All That" act and keep the stories of the weirdness contained to Gravity Falls. Have them try to lock Stan and Ford up still, though, but realize that they're gone on the Stan-O-War II trip (which, if that story's ever made into a show, they could serve as continued antagonists chasing after the Stans).

H. More Pacifica. Make her redemption more believable. Give her another subplot in Season 2, maybe following the plotline she had in the Lost Legends comic side story with Dipper. In fact, give her a B plot episode storyline with Ford; have them bond over having had to be perfect golden children with a parent(s) that care way too much about money, and it gives Dipper and Mabel more context and understanding about Ford's struggles. There. It writes itself.

I. More McGucket. I want to see Ford angst more about what happened between them. Then, finally, after all these episodes with The Last Mabelcorn somewhere amongst them... Dipper and Mabel vs. The Future Weirdmageddon 1 Weirdmageddon 2 Weirdmageddon 3

And ta-da! You'd have a version of Gravity Falls with two seasons with more fair attention to Wendy and Ford, more evenly paced tension and plot twists, and an antagonist cycle that goes from town enemy to world enemy to multidimensional enemy. ~

As for a three season version of this outline, keep Season 1 completely as is, make Not What He Seems episode 10 of Season 2, and... this is a bold suggestion, but turn the Season 2 finale into Dipper and Mabel vs The Future and make the Weirdmageddon episodes into a whole season. Make the failure to stop the rift really hurt, and use the whole of Season 3 to have the Pines figure out how to stop the end of the world. Use some of it to rebuild the portal, explore some of the Multiverse to find a solution, have them try to find Jheselbraum to help discover more about Bill and his weaknesses and his previous attempts on Earth to break reality (like Modoc's story in Journal 3, in fact, have an episode where they time travel back to Modoc which would give him inspiration to have drawn the prophecy wheel on the cave wall that Ford found hundreds of years later), gather the whole gang and build the Shacktron, have it fail and have to use the prophecy wheel... But wait, it fails, too, and Bill scatters everyone involved across the Multiverse instead of making them into banners - while also destroying the portal - to buy himself some time to get Ford to give up the solution to breaking free from Gravity Falls. Explore the Multiverse more to gather everyone again, use each episode to devote yet more time to developing each character, parallel Ford's journey in the Multiverse for 30 years. Maybe even have a bit of a subplot where Ford breaks from Bill and tries to rebuild the portal to get everyone back, paralleling Stan's struggle to get him back for 30 years.

Learn more about who Ford was those thirty years he was gone. Use the Multiverse episodes to make Stan sympathize more with what Ford went through for thirty years. Have Jheselbraum reference the whole "you have the face of the one who will destroy Bill" to Stan instead of Ford like she did in the past, and have Stan be confused at first, thinking Ford will be the hero again. Dark Night of the Soul up in this season, man, and make the prophecy wheel fail again, and Stan realize yep, time to brain zap, Jheselbraum was right, but HE'S the one that has to stop Bill, not Ford. And THEN try Stan's conman trick to trap Bill in his mind.

And that's how I'd rewrite Gravity Falls as three seasons.

~

I'll say this: after all that criticism I just laid out, you might think I hate Gravity Falls as it is now. No. I love this show. It won't leave my brainspace and lives there rent-free, like Bill does in Stan's mind. And I will say, I understand 100% why it was written the way it was. They seemed to have had a plan in Season 1, switched gears between seasons, and tried to wrap up two seasons of plot in one season for Season 2.

And they did it with little to no flaws in terms of the overarching plot. They told the story they wanted to. They pulled a Stan and took some shortcuts, but had good intentions and got the job done. And the show is still like... an A- to solid A grade show even with these flaws.

But it could have been nearly flawless and A++ had they either planned for two seasons from the start, or powered through the burnout to make three whole seasons (which is easy for me to say, as someone that didn't have to live through what must have been hair graying levels of stress).

All in all, I'm curious to hear others' thoughts on my critique, or if anyone would like to add more about what they'd put in this hypothetical Season 2 or 3. Or if you'd prefer the two seasons still as they are, or as I hypothetically rewrote them, or as the three seasons idea I explained above. Or if you think I'm just crazy, and that Gravity Falls is perfect as is.

[dutybcrne]

Thinking abt Kae’s Fatui verse,,,,

[no1ryomafan]

So I finished mazinkaiser awhile ago after months of procrastination on it and for one reason or another I’m not gonna give my solid thoughts on it but there is one specific thing I wanna point out, not as a critique but more so a confusion. That being: I find it weird how Mazinkaiser isn’t the turning point for Mazinger where they finally go “hey the robot is sentient” because it’s not yet near the end literally EVERYONE talks to Venus A as if shes actually a person:

I’m not saying this as a criticism for the reason of my already biased to vaguely sentient robots-because as much as I prefer this angle with mecha, I understand not every and all mecha can approach this because sometimes the robot is JUST a narrative tool and not a character, which is fine-however I’m confused with Mazinger of all things didn’t take this approach when there’s already so much emphasis on Mazinger being tied to gods. I mean, apart from the fact the robots are based off Greek Mythology and there is a constant message of “will it become God or Devil” which feels like it warrants this enough, it would start to make sense if the robot grew sentient because Mazinkaiser is treated as the ULTIMATE Mazinger. (And where have we heard a case where the “ultimate” form of a robot starts to be the one that displays more self awareness *cough* GETTAH🗿)

Especially also within this ova- it seems to do stuff on its own accord to PROTECT Koji, like going on auto pilot as he’s knocked out and somehow keeping him safe from being burned alive in magma, but I cannot tell if this IS a indicator Mazinkaiser is actually sentient or if it’s just all auto pilot. Oh and it’s a more minor thing but also just- the human poses Kaiser and Venus take during the beach episode… I cannot tell if that’s something they wanted or if their pilots just posed them comfortably because lines seem to blur with the robots just being treated as the extensive of the pilots. (Venus is literally based off of Sayakas appearance after all)

It’s just weird Nagai never went this route and just stuck to metaphorical stuff, when it feels like SOMETHING he would do given the nature of his stories and yet the only fully sentient Mazinger media I know is Zero. Of course I still have such a limited window on Mazinger so if this is me actually being wrong please feel free to correct me, but I still will never not find it weird Mazinkaiser lacks this aspect asides from maybe vague allusions to it that may or may not be implying it. Maybe if I ever rewatch it or find more Mazinkaiser content specifically I’ll be able to piece things together a bit more.

[medicinemane]

There's honestly... just so many people, just so so so so so many people in this world where I'm like... aren't you people tired of this fucking... you know, I was going to call them clowns but that's really disrespectful to clowns, these people could never get their face on an egg...

Anyway, aren't you tired of this childish jackass? Don't you just want to ignore them and never have to hear about them again? If we just ignored them they legitimately would go away... don't you want that?

And this applies to... just ungodly amounts of people, from jake paul to even elon musk (just... don't touch his shit, he'll run out of money eventually with how bad he is with it), to just... name an annoying famous person and you'll name someone I've literally forgotten right now that I could never have to hear about again if people would just ignore them (unless they committed crimes, investigators are welcome to pay attention while gathering a case)

Yet the answer's always "no, we're paying so much attention to them!" and I'm just like... why? Why would you watch jake paul box? I heard about that and was like "he's still doing that shit?", and yet I guess it made a lot of money yet again and it's just like... ignore him

These people could go away, and yet

[starkidlabs]

Creepy guy making me rethink my choice of clothes now :)

[theautisticjedi]

Low-key worried that if we do get Mike x Vanessa in the sequel(s), there'll be 10x more bullshit misogyny directed towards Vanessa 🥴

[iero]

Hate to be a pessimist here, but I’m genuinely nervous for these shows this weekend because like... What if that’s it? 

[your-jellyfish-senpai]

Today's gonna SUCK but we're gonna get through it and figure it out.

[be-good-to-bugs]

i FINALLY watched all of lucky star

[bi-writes]

simon being protective of his mail order bride scratches all the right spots in my brain.

mail-order bride

you're almost relieved when you hear the knock at the door. you've been a holding a tree pose for a few minutes too long, and the girl hosting the online yoga class is starting to fry your eardrums with her too-perky voice.

you're sweating bullets, and her hair hasn't moved a fucking inch out of her ponytail.

you mute the television, wiping your forehead before making your way to the front door. you open it with a sigh, not really knowing what you expected to see, but it certainly wasn't the average-dressed man standing on the steps there.

you blink, raising a brow when his eyes roam over you, and you realize suddenly that you're wearing workout clothes, which is showing off a little more than you'd like to some rando standing on your doorstep.

"uh..." you look around a little. "i'm sorry, can i help you?"

he smiles. it's a little unnerving.

"right, yeah, i'm starting a business around here, and i wanted to ask if you've been needing any help with any fixtures around the house. i'm giving a 50% discount if you give me a rating on google."

you open your mouth for a moment, frowning.

"uhm..." you shake your head, "sorry. we don't need any help right now."

"you live here alone? sometimes it's hard to spot when the electric's on the piss, y'know? need a keen eye," he laughs, coming up one of the steps. you shake your head again.

"no, thanks."

he's a wiry man, but he's tall (not taller than your husband, but taller than you). you step back a little and start to close the door. he comes up the steps. out of the corner of your eye, you see the cat slip out between your legs, hissing a little as the distance closes between you and the man.

"wait! can i give you my contact info? i don't have a card, but i can leave you my--"

the sound of simon's truck pulling into the garage gets both of you to look behind. simon doesn't even park all the way inside. he throws the truck door open, stepping out of it, and the man on your steps moves back away from you immediately, making his way off the little porch.

simon looks huge, more so than ever. his steps are heavy, boots hitting the ground like a warning bell, and he's wearing just a short-sleeved shirt that's showing off those glorious fucking arms. you have never doubted simon's strength, but he looks like he could flip a car with the anger that's leaving him in heavy waves. you're surprised that you are not afraid; you just know somehow that simon won't touch you.

"oi!" simon yells, and the man definitely understands he picked the wrong fucking house to be a creepy salesman at when his knees nearly buckle as he tries to walk away. "where the fuck do y'think y'r goin', you twat?"

you sigh deeply, not realizing how much you were shaking until you notice your hands trembling around the doorknob. you watch as simon catches the guy by his dirty jean jacket, nearly lifting him completely off his feet as he drags him towards the fence gate.

"hey! hey! i didn't do anything!"

"i saw ya, ya fuckin' arse, know exactly wot the fuck y'were doin'," simon growls, tossing him onto the sidewalk. he hits the pavement with a cry, holding onto his arm, and simon slams the fence gate closed before pointing at him accusingly. "'f i ever see ya anywhere near m'fuckin' house or even askin' m'wife for so much as fuckin' directions, i'll cut y'r bloody prick off, y'hear?"

you blink as simon comes closer, the cat retreating back into the house once they see him. he keeps walking, crowding you back into the house before he shuts and locks the front door. his chest is heaving, black t-shirt doing nothing to hide the puff of his chest and how large he makes himself when he stands up to other men. he doesn't even need to make himself larger; simon takes up enough space for two men combined.

"he touch you?" simon asks, his voice low. you see his fists clench, and you have no doubt that if you said yes, simon would go outside and paint the pavement a new color with the man's face.

you shake your head frantically, and he lets out a deep breath, reaching up and wrapping a hand around the back of your head and pulling you close.

he bends, pressing his masked forehead against yours, closing his eyes as he breathes in slowly. he rubs at the nape of your neck, soothing you, and you smile when he pulls away, giving him those big eyes that say thank you, thank you, thank you.

simon cocks his head, staring behind you, and you turn with him to see the cat blinking slowly at the two of you from it's place on the windowsill.

"should get you a fucking guard dog instead," simon mutters, pulling his mask off and kicking his boots into the corner. you smile as he walks away, trying to cool your warm cheeks with the backs of your hands.

doesn't he know you already have one?

[lecliss]

Fjdhfjfnfkfnfkfnck AAAAAAAAAAAAA stop breaking my heart!!!!!!! STOP!!!! I get it! They are inseparable! Do not separate them! They need each other!!!!! Stop reminding me! I can't take it anymore! Weiss have mercy!!!!

New lore???? It's been several months so I can't remember the exact details of the Dirge ending, but after defeating Omega that was it, that was the end of the game. Weiss did survive and was carried off by Genesis, but there was no hint of Nero. Either they're not taking the secret ending into consideration, cuz it never led anywhere cuz there was no more story after Dirge chronologically, or Weiss only remembers up to becoming Omega and thinks they succeeded.

[euthymiya]

“What’s got you so grumpy?”

Sukuna dodges your finger. It fails to meet its destination of his cheek as he tilts his head to the side, earning a frown from you before you huff and try again.

He looks up from his phone with an irritated glance when your fingertip digs into his face.

“What are you talking about?” He grunts.

He knows exactly what you’re talking about. Normal Sukuna is irritable enough—grumpy Sukuna is about as bad tempered as a hornet who’s had its nest kicked. (Which is to say: he’s pretty fucking unfriendly at the moment.)

“You’re sulking,” you point out—and that statement earns a sharp glare from him as you seat yourself on his lap. (Still, he makes room easily for you, leaning back on the couch and putting his phone down to the side so his hands can rest on your hips. Grumpy Sukuna is never grumpy enough to push your body away—if anything, it’s the one way to get him less agitated).

“I’m not fucking sulking,” he says. It’s almost petulant, but you have enough grace to spare his dignity and not point it out. “I don’t sulk.”

“Are you sure?” You raise a disbelieving brow—he clicks his teeth at the way you choose to question him, but it softens considerably when your lips peck his jaw delicately. “You look pretty sulky to me.”

“Get your eyes checked.”

“Can’t. Then I might see you for all your ugliness. We wouldn’t want to throw years down the drain once I come to my senses do we?”

It’s his turn to raise a brow, sarcastically snorting as you give him a cheeky wink. “If you wanna try ‘n be a smart ass, at least be realistic about it. Saw you checking me out just this morning through the mirror.”

“Maybe you need your eyes checked,” you huff, “I was not checking you out.”

“Pretty sure you were,” he smirks, lips pulling into a haughty grin. Getting under your skin with his smugness is about the only way to cheer him up, it seems, because he looks rather pleased when he adds, “it’s okay. Don’t blame ya for bein’ possessed by my impressive physique.”

“Too bad your personality isn’t as dazzling,” you quip back easily.

It’s meant to be lighthearted, of course—but it seems to be the wrong thing to say. Quite wrong, in fact, because as soon as the words escape you, he tenses before locking his jaw.

There’s a flash of something in his eyes. Something you don’t think you’ve ever seen in Sukuna’s face—doubt. It’s a little odd, in all realness. Sukuna is not a doubtful person. He’s confident, and he’s confident enough that it’s almost to a fault. He’s cocky and smug and sometimes a little too self-assured for it to be considered good for his health.

It’s a bit unsettling to see his face almost fall at something you say, especially when you just say it for the sake of light banter.

“Yeah?” He chuckles dryly. It sounds dangerously self-deprecating—enough that it makes you frown. “Good thing I have my abs to keep you glued to my side then, huh?”

“Well, it’s not just your abs,” you hum, one hand smoothing over his shirt to feel the ridges of his muscles through the shirt. “Your boobs are pretty great, too.”

To prove your point, you give his left pectoral a gentle squeeze. He scowls before shoving your hand away as blush creeps along the back of his neck.

“You fucking freak,” he mutters.

Something is bothering him. You know you can’t directly ask it out of him, otherwise he’ll deny it left and right, but something is bothering him. Sukuna is not good with words or emotions. In fact, he’s pretty awful at anything that has to do with anyone’s feelings. (He’s better about yours more than other’s, but he’s pretty far from good.)

You don’t mind. There’s something oddly charming about witnessing the way he navigates softening up for you—it’s like watching a baby take their first steps. Wobbly. Slow. Unsure. Pretty badly executed, but endearingly rewarding all at the same.

Except, this time, it’s not your emotions he’s navigating. For some reason, yours are easy than his own. Navigating yours means he doesn’t have to try. He knows you better than he knows himself. Knows when your feelings are hurt by the twitch of your brows alone. Knows you’re sad by the dimness in your eyes. Knows you’re pretending joy when your laugh is quieter than usual. Knows you’re faking it when your smile is a much more tight lipped and a less bright version.

But his own feelings are complicated. A lot more than he cares to try and understand them for. In true Sukuna fashion, he always aims to ignore his problems until they seemingly disappear.

But you’re too difficult to let that slide. He brushes things under the rug, and you pull the rug from under his feet and make him fall face first into his problems.

“Hey,” you nudge him, cupping his face with your hand gently, “what’s gotten into you? It’s weird when you’re not pissing me off a couple of times every hour.”

“And that’s supposed to be a good thing?” He challenges, like your words seem to tick him off more, “what are you sittin’ here for if I’m always pissing you off?”

Oh, you think. So that’s what it is.

You smile, humming before you gently tilt his face up. Something vulnerable is attached to that frown of his. Like he’s waiting for your answer because he needs something to hold onto. Some metaphorical lifeline where your feelings are attached to his own, just to keep you chained together. Where you’re always somewhere that he also is. Where he doesn’t have to care about his emotions because what you feel is what he feels, too, and as long as you’re okay, so is he.

But you care. You seem to care a pretty great deal because you lean in and brush your nose against his as you kiss his lips softly.

“Who cares if you piss me off?” You snort, “I piss you off better. I’m pretty good at it.”

“You are,” he agrees instantly.

You give him a fleeting huff against his mouth as you mumble, “you don’t have to agree so fast.”

It pulls a small laugh from him, making his arms snake around your waist and tug your body closer. Chest to chest, heartbeat thumping in two, synchronized rhythms.

“What happens when I’m all old and expiring and my abs are gone?” He raises a brow. You hum, stroking a thumb along his cheek as you smile and admire him.

“We’ll still be pissing each other off, I bet.”

“That’s supposed to be good?” He repeats, this time much more unsure. Anyone else could hardly catch the air of hesitance in his words, but you catch it instantly.

“Why not?” You shrug, “it always worked for us, hasn’t it?”

“Yeah,” he scoffs, “that’s until it doesn’t.” He spits the words out, not meeting your eyes. It’s like they taste acrid is mouth and he can’t bring himself swallow them down.

You don’t say anything. Instead, you lean in and just press a line of kisses from his chin to the corner of his lips, purposely dodging his mouth and littering small, delicate pecks along his cheek. And then his forehead. And then the bridge of his nose.

Never his lips, though. And he gets increasingly frustrated by it.

“What are you waiting for?” He grumbles, eyeing you with a look that screams: quit fucking around.

You fight back an amused smile. “Does it piss you off?”

“Course it does. Kiss me properly or back off my face—”

“Cause you love me right?” You ask cheekily. He pauses, thinking on it for a moment before slumping wearily.

“And if I do?”

“You piss me off too. Because I love you too,” you whisper, forehead against his as your hands cradle his cheeks. Because you do.

When he texts late, and makes your blood boil, it’s only because you love him. When he’s brutally honest and doesn’t say what you want to hear, you’re only mad because you care what he thinks so much. When he’s stubborn and refuses to meet you halfway, you’re only angry because there’s no one else you’d rather cross the bridge with than him.

He pisses you off. You care enough to be pissed because it’s him. And when you piss him off too, he cares enough to deal with it because it’s you.

It’s a funny, twisted little way to love and be loved, but it works. For some odd reason, it does. It’s a seamless, smooth, crackless road.

You don’t ever fix something that’s not broken.

“That doesn’t make sense,” he sighs, resigning himself to your weird, roundabout explanation. You laugh, pinching his cheek as you grin brightly.

“That’s because you’re a bit dim.”

“Yeah,” he rolls his eyes, “okay. Anything else?”

“Yeah, actually. I love you.”

He pauses. Swallows for a moment before his arms tighten their grip on your hips just a smidge before burying his face into your neck and mumbling, “me too. Love you so much, it pisses me off.”

“I like to get under your skin like that,” you stroke his hair, beaming as you add, “guess you’ll just have to deal with it.”

His lips stretch into a small grin before a low, rumbling chuckle breathes itself against your skin. “Guess so.”

————————

a/n: insecure modern! au sukuna who doesn’t admit it and refuses to acknowledge that he’s aware he’s difficult to love and can’t understand why you love him but he also doesn’t want to question it for fear of scaring you away is very near and dear to me and i’ll be talking about it from my grave still. you’ll just hear my ghostly voice spooking you through the night talking about how he’s a softie deep down under all the layers. like an ogre okay? ogres have LAYERS.

[shotmrmiller]

kinktober: cockwarming (john price x reader x simon in underground fighter au)

You're no fan of real-time violence.

Movies can never replicate its visceral reality— the sharp metallic tang that clings to the air, mingled with salt and the bitter stench of the swill these local colors call beer. Even worse is having to be the one to patch Simon up with trembling, blood-slick fingers and your molars sunk into the thick of your tongue to keep your lunch where it belongs.

So when Simon sends you Price's way with a firm palm on your arse and his spit still warm on your lips, you're grateful. He'll keep ya busy.

You're not counting his blood money, if that's what he was thinking.

"Course not, love," Price says, the rings on his thick fingers glinting under the dim light overhead as he opens the door to his office. It smells of worn leather, polished wood, and layered on top is the heady aroma of tobacco, rich, unmistakable. (You will not stay if he lights one of those puppies up. You like your lungs how they are.)

"Tha's wha' the bill counter is for." You can feel the warmth of his palm seeping through your clothes— a steady presence at the base of your spine, guiding you forward with a subtle push.

You'd expected him to let you pluck a book off the well-stocked shelf that's been beckoning you since you laid eyes on it and curl up on his couch with a blanket draped over your shoulders. Maybe even chat you up with small talk, ask about your week, school/job, and how you were adjusting to this new life.

Not with his broad front curling around your back, breath warming the shell of your ear, while you stare at the smooth, raised skin on his knuckles— which is less furry than the rest of him— in hopes that you don't fall apart around the thick of his cock. He's got a hand flat on the desk, small finger slanting to the side probably from where it healed wrong, and the other's signing off paperwork you couldn't even try to understand with a clear mind, much less one that's spinning from the sheer want for friction, relief.

Your arse pulses hot from where he'd reprimanded you earlier for squirming too much.

"Quite obedient. Simon's taught ya well." He hisses when you tighten up involuntarily, indignation cutting through the sluggish heat you've been burning in at his remark. Obedient. Taught. As if you're some kind of lap dog, yipping and rolling over for a treat. (Or in this case, a cock.)

"Easy, love. Jus' a joke." The hand he'd had on the desk comes to squeeze at the meat of your ribs, a small gesture, before weaving down to your cunt, fingers spreading, feeling how well split you are around his length, lips spread wide. "I'd hate f'you to turn my own guard dog against me, eh?" His apology comes in jerky little circles, smearing slick over your neglected clit, coarse hair of your mons coated milky white.

Each stroke of his fingers only bows your spine, winding it like one would a key on the back of a doll, your muscles coiling with tension, bodily response not your own after being denied release for god knows how long.

The sharp tap on the door goes completely unnoticed by you, but not Price. His pace remains steady, continuous, as Simon walks in through the door with crimson peppered on his cream wifebeater.

"John." Through bleary eyes, you see Simon settle in the chair across from you both, legs long, knuckles angry red and swollen as he palms himself over his denim. "Gaz may or may not 'ave goaded Soap into a fight."

Price's hand stops abruptly, desperation clogging your throat, the coil beneath your navel cranked so tight you might just scream. His voice rattles you from behind. "And?"

Simon's got his jeans bunched to his knees now, cock resting heavy atop his thighs, quads' ridges shifting as he gets comfortable. He might just be a tad bigger than what you've got sitting snugly against the plug of your womb.

"They're tumblin' outside, among civil folk. I doubt gettin' 'em out will be as painless this time 'round."

Price snarls and you find yourself empty, straddling Simon's hips, your inner thighs burning at the width. "Bloody fuckin'��," the sound of his belt buckle peters off soon after he walks out the door.

Your hands can feel Simon's shoulders flexing as he runs a fist up his length, eyes heavy lidded and focused on the creamy slick dampening your curls. His cock sits long on your stomach.

"'ave a seat, then." Amusement curls his lip, usual pink scar on his lip stretched silver. Your knees don't reach the cushion he's on properly, so you place your feet right above his own for leverage, legs folded tight.

His fingers dimple your waist as you lower yourself onto him, breath rushing out of your lungs as he fills you, aching, burning, a stretch you'll never really get used to, the pinch deep in your core causing discomfort to clump your lashes together until you're flush against him.

"Sit real pretty now. Gotta wait f'r Price t'give me my earnin's."

You're gonna rip his ear off with your teeth if you don't get to come soon.

"Claws in," he mutters, thumbing your pebbled nipple through your shirt. "Won't be too long."

(It was too long but worth every bloody second in the end.)

[withahappyrefrain]

https://www.tumblr.com/withahappyrefrain/756666693791760384/yes-tyler-needing-a-handblow-job-before-going-on?source=share

okay listen 👀 tyler dry humping you against the side of his car before getting to work

Hi, can I kiss your brain? It's beautiful. We got some good ole porn without plot smut here folks.

Having no neighbors within a three mile radius has many perks.

Halloween is spent watching movies, not handing out candy at the door. You can host a party but don't have to hear someone else do the same. No HOA means you're free to paint your door whatever color you damn well please.

It also meant you could grind against your husband's denim covered thigh against his truck.

It started out as a kiss. A goodbye kiss, like one you had given Tyler so many times before he headed out to chase a developing storm.

Okay, yes, it was more heated than sweet this time around. More desperate than gentle. Your hands gripping his sun kissed hair instead of resting against his broad chest.

Who could blame you? Prior to getting a call from Boone, you and Tyler were underneath your bedsheets, his talented mouth having just started to unravel you.

Hopes that Boone was calling to fire off a new experiment were quickly dashed when he called a second time, in between Tyler's phone going off with text notifications, no doubt from the rest of the crew.

The cluster of storm cells had the potential to develop into something big, which Tyler swears is the only reason why he got out of bed and began to dress.

You had opted to stay in the baby blue night slip, knowing you weren't the one on the chase and it was Tyler's favorite.

Another perk of having no neighbors meant you didn't need to put on a robe in order to walk Tyler out to his truck.

So yes, if you were in a courtroom, facing trial for trying to tempt Tyler, the evidence would be overwhelmingly against you. But he truly started it, those large hands of his gripping your waist so he could pull you back for another kiss.

You could never leave it at just one kiss. He knows this. All you wanted was to simply be as close as humanly possible. After all, how else would you be able to inhale his captivating scent of oak and sandalwood?

He has your left knee pinned against his hip, allowing you to feel his denim cladded erection against your thigh.

"Fuck," his voice is breathless as his hips jerk upwards. A tornado is nothing, but feeling your soft body in his hands is enough to nearly bring Tyler to his knees.

Your mouth swallows his needy grunts, a hand squeezing his clothed erection, chest pressed against his.

"Ty," your nickname for him comes out in the form of a weak, needy whine, "Want ya s'bad."

"I know, but I gotta-fuck!" He hissed upon feeling his clothed erection against your bare cunt.

That, you absolutely did on purpose.

He abruptly stopped, hastily opening the passenger door. "Bend over," he hissed, pointing to the now available seat.

You quickly oblige, toes curling at the sound of his belt buckle clicking.

Having no neighbors mean you can be as loud as you want. Who could truly care about a noise complaint when the head of his cock was brushing against your clit?

When his cock sinks in, you breathe a sigh of relief, body welcoming the pleasurable stretch. Tyler always makes you feel so full, all you can think about is just him and his ridiculously amazing cock.

Now that should be investigated.

Thanks to your earlier, albeit interrupted, romp in bed, you're ready for him, allowing Tyler to quickly build up a rhythm. It's hurried, his thrusts harsh and sloppy. And yet, you can help but cling to the passenger seat

The sound of his hips slamming into yours can barely be heard over the moans that fall effortlessly from your mouth, along with the grunts Tyler grits out between his pearly white teeth.

"S'fuckin tight f'me," He groans, "Love you s'much. Can't wait t'come home t'you and this ah perfect pussy."

He's addicted to you. Your soft skin, the way your ass jiggles with each thrust, the shameless moans that fall from your kiss bitten lips. How soft you are, how tightly you cling onto him.

Tyler seriously considers calling out, making up some excuse, hell, even just being honest with his crew.

Who could be upset at a man for wanting to spend more time with his wife?

But he also knew you wouldn't let him. Ever since college, you knew of his dreams and how badly he wanted to follow them. You also trusted that he would always find a way back to you.

"Fuck, pretty girl. Need you to cum f'me, think you can do that?" One of his large hands reaches down to where you two connect, long fingers drawing circles on your clit.

You can barely keep your head up, nodding weakly as your walls clench around him. All you can do is take him, all you can do is let yourself go into the pleasure fueled haze you were craving.

He leans over as he feels your release, stubble scratching against your bare shoulder.

"Atta girl, feel s'good," his words are beginning to slur, signaling how close he is. You reach back, hand finding his dark blonde locks and giving the strands a harsh tug.

The whine Tyler lets out is music to your ears. It just takes one, two, three more sharp tugs for his hips to stutter, his release trailing behind yours.

His body covers yours and for a moment you two simply stay like that, breathing heavily.

"Hey, com're," His voice is now soft, gentle, his longer fingers cupping your chin so he could turn your face towards his.

Thin pink lips crash onto yours, the gesture a stark contrast to what occurred several minutes ago.

"Love ya," he confesses between kisses. Despite having heard it multiple times a day, it still makes your heart flutter.

"Love ya too cowboy," you smile against his lips, "But you should get goin'. Don't wanna be late."

Tyler shrugged, "You know how long it takes them to get ready. Besides, what kind of husband would I be if I didn't help my wife clean up?"

If Boone asks if you were the reason Tyler was an hour late, you would happily plead guilty.

[misstycloud]

Yandere cowboy x fem.reader

Yandere! Cowboy who’s the towns sweetheart. How can he not be? He helps every troubled soul he comes across, doesn’t matter who they are. He works hard every day to easy the load of providing for the family, he’s not a child anymore, of course he’ll do anything he can to help out! Besides, who wouldn’t fall for those muscles and pearly smile? You’d be crazy if you didn’t.

Yandere! Cowboy who you meet the first day of your ‘vacation’ to stay at your grandparents. Your parents though you’d been acting up the last weeks so they decided it was best to send you away for the summer, much to your dismay. Now you’d have to text your friends that you can’t hang out at all. Damn it. Being forced to stay in a in-the-middle-of-nowhere town definitely wasn’t your top priority. There was practically no service and nothing to do all summer. You’ll be bored out of your mind unless you manage to find something to entertain you. Luckily, there does appear to be something worthy of your attention- or rather, someone. It’ll certainly make things more interesting.

Yandere! Cowboy who you think is kinda cute, if not a little weird. He’s no doubt very different compared to the boys in the city- speaking in that special accent, wearing worn overalls, sweat at his forehead everytime you meet and practical thinking above all else. Still, you find yourself intrigued by his contrasting personality.

Yandere! Cowboy who is enchanted by you. You’re just so….wonderful. Funny enough, he also thinks you’re different, which interests him. Normally, he isn’t the type to brag and is quite humble, but he isn’t blind. He can see the way the girls in town drool over him. He knows he’s attractive. But you, you don’t fall over your feet whenever you gets a glimpse of him. You don’t stutter over every word while talking to him- in fact, you’re as cool as a cucumber. It almost seems like you’re flirting with him.

Yandere! Cowboy who notices you way your eyes sparkle when you speak of your interests. He starts thinking about the way you sound when laugh, how you pout when you’re frustrated and what you look like when you’re sad. It’s all beautiful. You are beautiful. Soon, it’s not only that he focuses on. Now, every time you’re walking ahead of him, he pays attention to the curve of your ass, how your hips sway when you walk, and suddenly he finds himself having to adjust his pants.

Yandere! Cowboy who you enter a special relationship with. You’re more than friends but less than actual lovers- that’s how you see it at least and you believed that’s what yan! Cowboy wanted, too. You two spend all your free time together in each others arms and going on cute dates around town and in the forest.

Yandere! Cowboy who wishes to marry you. You’re his perfect match! It must be fate that you ended up in their little town. He’d give you a big beautiful ring- he’s saved up quite a bit during his years of working, so he can easily afford it- and let you have whatever wedding you imagine. He’d make sure it’s exactly how you want it. Then, he’ll personally build you a house. Of course, before he starts working on that, he’ll need to know if you want a porch, what kind of shutter you want and what colour should the exterior be, would you like a fireplace?

Yandere! Cowboy who can’t believe it; you’re leaving? You say that summer is over and you don’t have to stay there with your grandparents anymore. You almost seem…relieved. No, that can’t be it. You love him! Right? Or was the connection he felt just one-sided?

“Sorry, you weren’t meant to catch feelings for me or anything. I just wanted to have fun, pass the time y’know.

“So I didn’t meant anything to you? Not even a little bit?…”

“I do like you. But I live in the city and my stay here was never going to be permanent. Like I said, I’m sorry it got a little too serious.”

“…….”

“Yeah, I gotta go now. I wish you well though, see ya.”

Yandere! Cowboy who spiraled after you left. You’ve dug yourself too deep in him. He can’t imagine going on about his life like you never existed. He thought you could be happy there, even if wasn’t like the big city you were used too, but that was clearly not the case.

If he had to uproot his life and move to be with you, then so be it. He wonders if you’ll be happy to see him again.