#and in this mind scene wilson is of course there when is he not

[marc--chilton]

i dont care what anyone says, house saying he loves wilson after wilson ups his pain meds was for real to me. it just slipped out and house's unserious nature is the only thing that let him get away with it

#house md #hilson #love is a doing word but when you're in as state where you can't Do then saying will suffice #thinking about that scene and how we never saw house DIRECTLY after getting shot + recovering #like i for one will pretend that surgery drugs and ketamine means when he first woke up> #house was like uninhibited enough to be a little. ooc. a little goopy perhaps #and in this mind scene wilson is of course there when is he not #not only is he the best house wrangler but he'd be even needier post op #how on earth could wilson resist that it's like catnip to him

[mahuhumaling]

JATP Season 2 Wishlist

that i wrote in my notes app back in:

and realized i never posted it here? tbf i'm rarely on tumblr. but because i really miss them rn i want to share my ✨ brainrot ✨ that i had back when i thought they were getting a renewal.

Carrie Wilson

she was my biggest flaw in Season 1. I wish her "redemption arc" is fleshed out more in Season 2; give her either more context & backstory to validate her reason for unnecessarily antagonizing Julie, or screentime to properly address how she's just projecting an emotion completely different into bitterness and anger into Julie's recovery

show particularly her earlier dynamic w/ Flynn and Julie? Maybe as Flynn calls her out, we'd get flashback glimpses prior to Rose's death (maybe even Double Trouble temporarily being Triple Threat 👉🏽👈🏽)

for some reason i'm picturing a scene where she's in her dance studio (she has one in their mansion, of course) practicing some of her Dirty Candy routine when she keeps messing up and not in the right mindset to keep dancing. i feel like the best (maybe easiest but whatever) way to guide the audience into her artist mind is to make her be a perfectionist. in frustration, she blows up for a minute before slumping onto the ground and reminisces her fun times with Julie & Flynn

also when you have her develop, please don't make her lose her femininity and the bubblegum pop music, it's great

Old Songs Resurfacing

it'll prove how detailed & thorough you are as a screenwriter if you pay off the songs mentioned in Season 1 in passing to be actual songs in Season 2

Unreleased: Get Lost, Long Weekend, Crooked Teeth, My Name is Luke, and if that riff from the scene in EP. 5 that spurred on the Bobby reveal isn't from one of these songs, add that too

Demo Album: Late Last Night, Lakeside Reflection, In Your Starlight

Willex

imagine your queer couple gets to have their first kiss first than your het main couple, not only will that settle Madi & Charlie's statements about being uncomfortable in doing a kissing scene and maintaining the priority of Juke's emotional over physical relationship, it would also make an powerful statement

Reggie's Character Arc

i know that he initially had an arc that involved a romance with Flynn but because of the ages of who they casted, they scrapped it and didn't have time to rewrite the scripts for him as filming neared, so they have time to adapt to how jeremy portrayed him for season 2: a lovable dork who craves familial love

since there's a possibility that lifers can now see the boys, maybe some found family trope for Reggie and Ray Molina?

he has pretty much formed a parasocial relationship with him at this point

so why not instead of a love interest, Reggie can have his character arc develop & we see his family before thru flashbacks and paralleling those in the current times because he sees Ray as a father figure

picture this: it's raining, Bobby opens the garage door to the sound of knocking, the boys find Reggie soaking wet and out of breath when he tries to say he doesn't know where else to go then the boys immediately figure out another fight in the Peters household happened. Reggie tries to talk again when Alex (because even though they're the airhead-sarcastic duo, they know they love each other) runs up to hug him and tells the other he doesn't have to say anything

cut to a freshly showered Reggie, quietly watching tv with Bobby, Luke, and Alex in the garage, eating whatever

also a solo acoustic country song, pls. just to make him happy

The Aftermath of the Deaths

for both the boys and Rose

we get parallels about how Bobby dealt with trauma and grief to Julie

like, the reason why the clothes are still in there (are to have costume changes for the boys) is because Bobby immediately moved out of the house (therefore also the garage) and left the clothes there because he couldn't bear to burn it, or visit the boys' houses to break the news to their families and return the clothes, or donate it somewhere so he just...left it. it would make for a more solid reason (for costume changes) and an emotional context as to how Bobby really tried to forget them because it was "easier."

it would also make sense why Carrie and Julie ended up friends. Rose probably was there for Bobby when they discovered what happened at the alleyway, so they stayed friends over the years and had their respective families but still kept in touch, (bonus points if absolutely nothing romantic happened between them! yay to normalizing platonic male-female relationships) and why Rose would immediately think of Bobby's three late bandmates to send for Julie when she was on her deathbed

Bobby never really "moved on" (because grief is a really complex thing). it's showed that he has a therapist and everything, and this could definitely have some aftereffects on his daughter. Carrie growing up seeing her father be this amazing rockstar but a negligent father and only showing love in ways she doesn't need (like riches and fame and connections to the music industry) because he's actually a really lonely man on the inside and no one can see that except for Bobby's spouse and Carrie. it'd explain why Carrie is spoiled, and other negative character traits that Carrie has on the surface

it's even why Bobby changed his name to Trevor: 1) Bobby is so closely associated to Sunset Curve and it's an absolute pain to be reminded of that every day, 2) it's a stage name and artists really do get that

More Worldbuilding

they already had some pretty creative concepts/ideas in the first season, so why not expand/expound on them a bit more

the instruments are attached to their souls that's why the boys at first can only touch them, like how Willie's skateboard and helmet are attached to him

which is why when they attach themselves to the world of the present, they gather up energy and focus on touching tangible things like the picture frame

this may follow the logic toward the end where they are finally able to touch Julie because she has become attached to their souls. emotionally.

More Creative Collaboration

i believe in the principle that when a story is finally released/published/told to the world, the world shares it. this is also visible in film/tv where when the scripts are finished and actors receive them, the story becomes part of theirs to work on. which means that they have some sort of autonomy over their characters' motivations, a chance to be heard of their ideas and pitches, and why some certain scenes wouldn't work, etc etc. it doesn't just become the director's story nor the screenwriters'.

the actors' ideas such as Perfect Harmony and their solos from Nothing to Lose are great because they let them in. they took risks, and it paid off incredibly well. more of that please. have them be a part of the writing process, (also the story), but never forget what made the music production great in the first place. be coherent and don't be like others that let too many hands work on one piece—it will lose its sound, its identity.

Julie Knowing

that Nick is possessed by Caleb. ohmygOD. hear me out.

the same S1 ending will play somewhere in 2x01, but it will be revealed that Julie was watching through the window the entire time and when she opens the door to receive the flowers, that last look she gives him is actually her scheming.

determined to get Nick back, imagine The Promised Neverland's level of mindgames Julie could play with Caleb because we already know our girl's smart

Free Willie Willie's Freedom

since the boys feel indebted to Willie's help, they insist on helping him too with getting rid of Caleb's stamp

maybe through his connection with Alex? or maybe Willie's family or friends who are still lifers (which is unlikely but either way). he needs to be saved !!

Song Sequences Ideas

juke counter melody duet like Rini's "Even When/The Best Part," Shane & Mitchie's "Wouldn't Change a Thing," or dodie & Jon Cozart's "a love song/a non love song"

emotional carrie ballad paired with lyrical hiphop choreo

willex song - i absolutely have no idea where this could go directionally but maybe alex on an acoustic guitar with a really soft sweet tune

reprises of S1 songs but in the complete opposite of their original style (the fandom's lonelier All Eyes on Me version, i see u)

nick guitar solo - just because Sacha actually plays, idk how it'd fit in to the plot yet but hey

Nothing to Lose (Reprise) - back in the '90s, a producer manipulates Bobby to sign a record deal to become a star but on one condition: disassociate himself with Sunset Curve, to which he first declines until he slowly gets persuaded. (sort of like Todrick Hall's So Lucky to Be You meets Lyn Lapid's Producer Man)

"So how about it, Bobby Shaw? Do we have a deal?"

"Trevor."

"I'm sorry?"

"Call me Trevor Wilson."

i'm pretty sure someone made an animatic with this idea too but i cannot for the life of me find it !!

7. Season 2 starts the same way as Season 1 does before the opening song plays

Black screen that reads a text "Hollywood 1995"

a pan down to the Orpheum's overhead sign that reads "SUNSET CURVE SOLD OUT"

cut to the interior with Rose finishing up her cleaning when a stage manager calls out: "Sunset Curve!" to which Bobby abruptly stops his pacing back and forth to look up. he and Rose look at each other. music swells until...

cut to him running onto the alleyway, "are they still not finished eating? those gluttons are dead to me i swear—" he cuts off his own words when he sees the boys getting dragged onto stretchers. but we, the audience, don't see it. just a close up of bobby as the ambulance lights reflects his face. rose comes up behind him, still clutching their t-shirt.

[i honestly have no idea if Bobby should get on stage because it just proves Luke's theory of The Orpheum's opening bands eventually becoming big & successful so it'll explain the Trevor Wilson fame even though at first he only did it for the boys, or if he shouldn't because according to the article Julie googled he ran away immediately after they were pronounced in the scene] but either way, this is how the opening starts.

then it progresses to Rose and Bobby respectively having children so they could parallel each other blah blah

8. Julie plays a simple song on the piano while the guys watch her in awe

Storytelling through Props

let's dive deep into Rose's luggage/suitcase and use the props to head for Julie's emotional attachment with them

they already did it with the wardrobe: Rose wears the black leather vest in the pilot while Julie wears the same thing in EP 6

add depth to the characters' relationships like us finding out Julie's multilayered necklace is actually a gift from Carrie or something

SOYON ANN YOU'RE A GIFT FROM GOD. Bobby's necklace is present in both young and old!him

**Rose in flashback scenes should be wearing clothes we've already seen Julie in Season 1 just for greater effect.

The Bobby Conflict

definitely needs to be brought up again by Season 2; they only discarded somewhere in the middle because more pressing matters like the boys' existence blipping away was pushed to the forefront of the story

however, The Bobby Conflict changes. it'll be cleared up that he was offered a record deal as a solo artist by a manipulative producer. and given that the poor boy is only 17 (too, maybe), he agrees. what he doesn't know is the contract's fine print: giving up Sunset Curve's royalties

that information clears it up to the audience and the band, so the conflict becomes this: Bobby's Survivor's Guilt. god wouldn't that be so good tackling that in a kids'/family show.

#julie and the phantoms #jatp #julie molina #reggie peters #luke patterson #alex mercer #carrie wilson #bobby wilson #trevor wilson #willie #bobby shaw #ray molina #carlos molina #rose molina #flynn taylor #uranus

[hilsonrecsmd]

say it back 

by Ductie

gen | comp. | 6k

Summary: What if when House tells Wilson he loves him, Wilson says it back?

Well, naturally they turn to humor until “I love you”, “I love you too” becomes the most convoluted, gayest inside joke ever. And then of course they realize they mean it.

"There’s a lot he could say to that, too much, actually. Possibilities spiderweb off in House’s mind, overwhelmingly vast, overwhelmingly vital. There’s no audience, there’s no jokes, there’s no game, there’s no performance, there’s not even a script, not anymore. The curtains are closed, they’re sitting backstage."

reccer's note: the first scene with the afterlife was very interesting and unique. i love gay chicken-esque fics

#house md #hilson #greg house #james wilson #hilson fic recs #hilsonrecsmd recs #general #>5k #Ductie #2023 #ao3 #gay chicken #humor #97 seconds #ft ducklings #ft cuddy #pranks #canon compliant #afterlife glimpse

[mrbensonmum]

TV Show - Dr. House | House M.D. VII

Unstoppably we are approaching the end of the third season (currently at S3E20, House Training), and I'm wondering, as my memory refuses to reveal, what major event occurs that causes House to reform his team or leads to drastic changes. Yes, I admit, I'm really looking forward to seeing Thirteen (Olivia Wilde) and also Martha M. Masters (Amber Tamblyn), although I think Masters might take a little longer to appear.

It's quite exciting when you've seen everything already, can remember a lot, but a rewatch helps to put all the puzzle pieces back in the right order. Yes, one could think about it, but I enjoy the suspense.

One of the scenes that made me laugh a lot back then has already come up, namely when House compares a patient's body to the German railway system. Back then, the comparison might have been somewhat accurate, and yes, even in the original, he makes the same comparison with the same cities (Berlin & Düsseldorf), but unfortunately, the German trains, whether regional or long-distance, are nowhere near as good and punctual anymore. I've been wondering the whole time if it was like that back then, but no, today it's definitely worse. Just thinking about how many times I got stranded at a train station last year, BIG UFF!

Otherwise, after the Tritter thing, things are moving rather slowly, and I don't think that's a bad thing at all. The highlight, of course, is the romance between Chase and Cameron, although it's almost over by now. I vaguely remember a wedding in the future and maybe even a divorce? No, I'm sure about the wedding, but I don't think there was a divorce. Oh, I also remember the big bus accident involving Wilson's girlfriend. There's a lot more to come!

Speaking of which, I think the dynamic between Wilson and House has changed a lot since the incident with the prescription pad. At first, it seemed like everything was over and they had no future, but now the connection seems stronger than ever. We also saw that in the story with Cuddy, when they both tested each other to see how far they would go. And then just saying "Night House!" "Night Wilson!" to each other, that's a true bromance, ladies and gentlemen! (I know, I'm late to that party!)

But now there's a very heavy episode on, as once again, an important topic is being addressed, one that often unfortunately gets overlooked in every society, Alzheimer's & dementia. Foreman's mother suffers from Alzheimer's, and I know, it really affected me back then because my grandmother died of Alzheimer's, and my mother is showing the first signs of it now. This disease steals the mind first, then the body, and we should talk about it much more and do much more against it. I know what it's like to watch a person lose themselves in the darkness of this disease, and believe me, you wouldn't wish it on anyone. Once again, a topic highlighted by the series and one that should continue to be addressed. I'm currently wondering if House is airing anywhere on regular TV in Germany, but I don't think so at the moment. That should change because yes, it can be fun and enjoyable for about 45 minutes, but it's also a topic of conversation that might find resonance in the workplace or similar institutions, and suddenly a disease is lifted from its obscurity and brought into the real world. THAT'S IMPORTANT! However, there is another important aspect in this episode that must not be overlooked. Doctors make mistakes, and these mistakes can end up being deadly! Of course, nobody wants to talk about it in the real world, and doctors usually don't admit to such things. It's another issue that's hushed up, but the series brings it back to light, brilliantly! Also, the fact that House performs an autopsy afterward for research purposes may seem strange and odd at first, but it's also about finding out where things went wrong. Yes, it's also to stroke one's own ego, but it's also to prevent such things from happening again.

I won't manage to finish the end of the third season today, but there was another remarkable appearance. In the last episode (S3E19, Act your Age), part of the supporting cast of Bones made an appearance. We saw Joel David Moore and Carla Gallo. And in the episode before that (S3E18, Airborne), Pej Vahdat was one of the passengers or Foreman's substitute.

A little thank you to everyone who diligently reads and shares my Dr. House posts. I'm just doing this for fun, but it's cool that it's well-received and my little analyses are being shared. Thank you very much!

#tvshow #house #dr. house #dr house #house md #greg house #gregory house #wilson #james wilson #dr. wilson #alzheimers #dementia #important

[jackfrombaskinrobbins]

matt murdock as your legal guardian headcanons :)

type of writing: headcanons / scenario

word count: 1.15k

request: yes / no

dynamic: matt murdock x teen!reader

characters: reader, matt murdock, foggy nelson, karen page

a/n: ik this isn't a request, but it's something i think about a lot!! i had to get it out lol. i was originally gonna use a more aesthetic picture but then i found this & it was too cute not to include lol <3 also requests are still open! just send in an ask :)

taglist: @nutellani (fill out this form if you'd like to be included!)

-----------------------✰----------------------

first i’m gonna explain how matt murdock actually became your legal guardian.

because i just want to establish that lol

so your parents were involved with wilson fisk.

you had no idea about this of course, since you were very young when they were still involved in his business.

and btw when i say business i mean like his shady dealings

you were kind of left on your own a lot as a kid. you didn’t really mind it, and figured out how to entertain yourself.

however, when you were five years old, you returned home to find a truly awful crime scene.

you would learn much later in life that your parents had decided to report fisk, but before they were able to do so, he had them killed.

the perp was still there, and almost got you. however, a man with a black mask over his eyes was able to stop him for a second, yelling at you to run.

so you did. 

you ended up at an orphanage, but one day, a blind man came in looking to adopt.

you felt an immediate connection, and he adopted you when you were six. 

you’ve been inseparable ever since!!!

he told you all about your parents when you were older btw

anyways so now onto the fun stuff!!

one perk of living with matt is that your room is bomb.

bc his apartment is lowkey the coolest

if you like to visualise like i do, i imagine that your room is like next to the closet where he keeps the daredevil stuff

RANDOM LITTLE DETAIL LOL

anyways it’s super cosy

and you also can basically see in the dark because even though it doesn’t matter if the lights are on, matt tells you to keep them off because then the electric bill will stay low 

you called him a cheapskate but he said that was rude :(

you still did it though #rebel 🥶🥶🥶

you guys bully each other all the time

it’s the way you bond :)

you go to the nelson & murdock offices after school or during the summers.

you have your own little desk there!

one time you said it was too distracting and so foggy bought a privacy folder for you LMAO

needless to say it didn’t help at all

most of the clients are really nice and they’ll ask you about school and life and stuff

you kind of put them at ease

you tried to talk to matt about him being kind of intimidating but he didn’t want to hear it.

and then foggy kept asking why you didn’t think HE was intimidating.

“i mean come on y/n! have you SEEN this face? matt has a little baby face compared to mine!!”

you laughed so hard omg

matt calls you if he needs anything or if you need to tell him something, but you mostly just text foggy to keep them both updated

in my mind, foggy texts like five texts for one sentence

he uses every emoji twice

and every time he uses an abbreviation he always capitalizes it and puts the real meaning in parentheses next to it

here is an example

“hi y/n. hope your day is going well 😃😃 matt and i just won our case 😎😎 so we are going to go to josie’s tonight to celebrate!!!!!!! yay!!!!!!!!!!!!!! 🥳🥳 let me know if you need anything from the store 🏬🏬 ok TTYL (TALK TO YOU LATER) OMG (OH MY GOSH) matt just fell LOL (LAUGH OUT LOUD) 😱😱 gotta go ☹️☹️”

he’s so silly i love him

also matt collects records and cds.

he used to go with you to buy them and let you choose whatever you thought looked good

which is why you have everything from no doubt to frank sinatra to obscure french music

you always have music on at the apartment

like all the time

which brings me to my next point

matt never wanted you to have to see him as daredevil

but it wasn’t like the topic could be avoided.

so when he comes home with awful wounds and stuff, you help clean him up, just like he used to do for his father

and you’re damn good at it too. you have a very steady hand and no squeamish attitude at all. 

but similar to how the scotch used to help matt steady himself when he helped his father, music helps you steady yourself.

you’ll listen to soft & acoustic songs, and it helps ease you AND him.

usually you don’t talk about the things he does. but if he mentions something, you will

but usually it goes without any mention

in my mind, you and matt have a tradition of listening to baseball games on the radio together

you don’t really have a team you alaays root for, it changes year to year

but the two of you get really invested.

like you left the office early every time there’s a game so you can listen together.

or one time he and foggy were prepping a case and there was a game on so he wasn’t even focused HAH

i also think that even though josie’s is a bar, you’re allowed in

not only that, josie will let you behind the bar to make yourself a drink.

ok not like an alcoholic one but still

you have this one mixture of cranberry juice and ginger ale with a lime that you call the “y/n special” and foggy tried it and spit it out :(

josie and some of the regulars almost kicked him out LMAO it was so funny

ok also i have this very clear vision of something foggy does

so to preface this

it’s a rainy day

or just a generally gloomy day

and you and matt are home.

karen is over too.

maybe you’re reading a book and matt and karen are prepping a case or something

and then the door suddenly bursts open

matt isn’t surprised because he heard it coming obvi 

but it caught you off guard

you look over to the kitchen, where the perpetrator is completely covered by the GIGANTIC grocery bags he’s holding.

“oh no.” 

you say, and matt shakes his head. karen is already laughing

foggy drops the bags and exhales, a huge grin overtaking his face.

“WHO’S READY FOR FOGGY’S FAMOUS CHICKEN SOUP????!!!”

“we are” you and karen and matt say in unison, trying to hold back laughter

basically every time the littlest bit of winter rolls around, foggy will bring every ingredient known to man over to your and matt’s apartment and make chicken soup

you make fun of this tradition but it’s been going on since foggy and matt were in law school

and the soup is actually so good

you four always eat it together and it makes you so happy

your family, all together at one table :)

-----------------------✰----------------------

#matt murdock #daredevil #matt murdock headcanons #daredevil headcanons #foggy nelson #foggy nelson headcanons #karen page #karen page headcanons #nelson and murdock #nelson murdock and page #nmcu #mcu #marvel #mcu headcanons #nmcu headcanons #marvel headcanons #nmcu daredevil #marvel netflix #matt murdock x teen!reader #foggy nelson x teen!reader #karen page x teen!reader #mae's headcanons

[ankh-morporkianpostalworker]

Fantasy High Sophomore Year and Positive Masculinity

In the Cinema Therapy video "Aragorn vs. TOXIC MASCULINITY", Alan Decker, a licensed therapist, uses Aragorn to give an example of "Positive Masculinity," highlighting traits like providing, protecting, being brave, being determined, being ambitious, being sensitive of others feelings and being supportive, among others. I believe that, if we use these patterns of behavior as indications of Positive Masculinity, then the male characters of the DnD actual play show "Dimension 20: Fantasy High" and especially its sequel show "Sophomore Year" and associated one shots, are amazing examples of Positive Masculinity, especially as the second season draws to a close.

Of course, the most famous example comes from the season two episode "Blast from the Passed," in which Lou Wilson's character Fabian Seacaster yells "TOXIC MASCULINITY IS DEAD! I DANCE NOW!", a moment funny out of context and touching in context, as by that point he truly has overcome his toxic tendencies. The midway point of Sophomore Year is a sort of breaking point for Fabian, as everything he believed about himself comes crashing down around him and he has to pick up the pieces with the help of his friends. His fighting style is emblematic of this - pre-breakdown, Fabian is headstrong, rash and believes he doesn't need anyone to help him while after his breakdown, Fabian's fighting style becomes more dancelike (and, within the mechanics of the game, much more dangerous as Lou Wilson redesigned Fabian to be a College of Swords Bard/Battlemaster Fighter multiclass, a build legendary for its damage output).

The moment he unveils his new fighting style is during a fight he's in as he, Gorgug (played by Zac Oyama) and Riz (played by Brian Murphy) attempt to break their friend out of a magical prison. As Fabian begins to move and fight, he's met not with mockery or derision from his comrades, but with awe at the beauty of his fighting and the grace with which he moves. His father, now a demonic pirate, also reacts positively, tearing up when he sees Fabian dance and then utterly annihilate foes during the fight in which the quote that started this paragraph is uttered.

Fast forward to the Toxic Masculinity is dead moment, and we see how this rejection of Toxic Masculinity is embodied in Ragh (fan favorite NPC and former antagonist). Ragh was a closeted gay member of the equivalent of the football team of the high school that the cast of characters attends. His arc over season one was the rejection of the internalized homophobia he experiences and other toxic traits. These traits are replaced with a desire to protect his friends and be emotionally supportive and open. This, and Fabian's new dance-centric, non-toxic fighting style are contrasted with the toxic masculinity of Coach Daybreak and Dayne, antagonists from season one who come back to torment Fabian and Ragh. Dayne had previously assaulted Ragh when Ragh expressed his affection for him, a moment that happens offscreen in season one and that the Bad Kids pick up on and find grossly unfair in the final battle of season one.

Next are the other two male Bad Kids, Riz and Gorgug. The two of them are consistently positively masculine, sharing moments of emotional vulnerability with their fellow cast members (a particularly touching scene between Gorgug and Kristen comes to mind) and using their abilities to protect and care for their friends, like Riz pushing himself to be the best detective he can be. They also don't mock Fabian when he's dancing in the fight where his new style is debuted, instead repeatedly telling each other "Spring break, I believe in you!", which fittingly becomes not only their motto but the way in which Fabian uses an ability called Bardic Inspiration, oftentimes referred to as "weaponized believing in someone".

Finally, there are the adults, most notably Gilear, Jawbone, and Gorthalax. All three of them act as guiding figures, looking out for the emotional and physical well-being of those in their care. The moment in Sophomore Year that Gilear tells Fig that he had no idea she viewed herself as a manifestation of someone betraying him and that he's going to get his life together is particularly notable, as it shows that he feels like he has been failing her and is ashamed of that failure.

These examples clearly show the series' attitude towards toxic masculinity and the negative impacts it has on men, especially young men while encouraging positive masculinity, a message sorely needed in this day and age.

Link to the video referenced at the start:

#fabian seacaster #riz gukgak #gorgug thistlespring #fantasy high #dimension 20 #ragh barkrock #Youtube

[in-death-we-fall]

Stone Sour

Hot And Bothered

Metal Edge 48-11, March 2003

By Joshua Sindell Photos by Annamaria Disanto

(google drive link) Murderdolls interview here - Slipknot interview here

Stone Sour’s debut album wasn’t what Slipknot fans were expecting. And that pleases Corey Taylor a great deal. Not nearly as outrageously angry as Iowa, the disc blends Taylor’s passionate singing, rock-solid riffing and indelible tunes, creating a record of downbeat songs that rewards comparisons to the sobering sound of the grunge bands a decade ago. With two other musicians of Slipknot getting involved—guitarist Jim Root’s a fully-fledged member of the band, DJ Sid Wilson adds sonic wallpaper to three songs—and now with a huge radio hit in the song, “Bother,” Stone Sour has begun to take on a greater importance than maybe even Taylor had intended. After all, this was a band that played in the Des moines area for years (‘92-’97) without gaining any attention from record labels. Members passed in and out of their ranks like ants through an anthill, and when Taylor finally gave his band notice, that he was joining their hometown rivals Slipknot, Stone Sour seemed to end with quiet finality.

“By ‘97, I’d been doing it for five years straight,” says Corey. Stripped of his Slipknot coveralls and mask, Taylor is a not unhandsome, stockily-built man, standing about 5’7” tall. His brown hair hangs down to his shoulders, and despite his frequent use of the “F” word, it’s clear that he has a large vocabulary and isn’t afraid to use it. “No one comes to Des Moines to see you play,” Corey continues. “Even Slipknot had to go to Chicago to get fucking noticed. I was sick of working my ass off in Stone Sour and seeing nothing on the back end. I knew that I wanted to make it, and I wanted to try something new. So, the guys in Slipknot came and asked me to join.”

His current bandmates—Root, guitarist Josh Rand, bass player Shawn Economaki and drummer Joel Ekman—have all played in Stone Sour at one time or another. Shawn recalls that Stone Sour were almost the “top dogs” in their small scene. “When we first came out, we had our own little reign in Des moines. Then Slipknot came out and just blew the scene to shit!” he laughs.

Were they furious with Taylor when he deserted them? Joel Ekman shrugs. “When he called me to tell me he was joining Slipknot, I told him good luck and wished him the best. Sure, I was mad. It’s hard to find a good singer, especially in Des Moines. Corey’s voice is just awesome and I wondered how we could replace him. When Slipknot needed a singer, of course he was the one to grab.” Corey sat down with Metal Edge to set the record straight…

METAL EDGE: So, you strike out on your own, after all this success with Slipknot, and then you name your new band after a drink? COREY TAYLOR: It just worked out that way. When me and Joel were trying to find a name, we had all kinds of fucking weird shit that we were thinking about calling this band. You have to remember that we were 19 when we started to put this together. You know, we tried names like Freak Show, but we were clearly not a “freak show.” We were just guys that wanted to play fucking music. So one night, Joel’s at a bar, and he’s reading a drink menu, and he starts writing down all this shit from the drink menu. There was a bunch of shit on there like “Hot Saki,” and “Ocean Green,” you know. Stone Sour was the second to last one, and he brought over the list. He asked me if I liked any of them for names. Stone Sour just stuck in my mind, and I decided that was it, it was perfect. It didn’t mean anything to us other than it was the name. It’s like Slipknot… Slipknot doesn’t mean anything either, it’s just a name for the band.

ME: I wanted to ask you about the spoken-word track on the album, “Omega.” Was that inspired by Henry Rollins’ spoken-word stuff? I know that you recently worked with him on his benefit album for the West Memphis three. CT: It was just something that I wrote. I’ve always wanted to get into stuff like that. Obviously, there wasn’t a platform for me to do that with Slipknot, so when we started working on this, I said, “You know what? I’m not holding myself down to anything. I want to explore, I want to do everything.” So, I just wrote this spoken-word piece, I was on an airplane, too, and it happened quickly, in only ten minutes. I knew that we were going in to do demos for what we were calling “Superego” at the time, which later became Stone Sour. It was more inspired by some of what Rolins had done, but also the “Beat” writers, like Kerouac and Burroughs and Ginsberg. That kind of thing. There’s a different rhythm to it. It’s not just somebody sitting down and just talking. There’s a flow to it, and that’s why I wanted to do it in the first place. I’ve always wanted to get into stuff like that, just from a writing point of view, because if you’re just singing all the time, you get bored. If you can branch out and do different things, why not?

ME: Have you ever done a kind of stand-up poetry reading in the past? CT: No, not yet. But I want to. I want to do it all, dude! I don’t give a fuck. I want to go out and do spoken-word shit, I don’t hold myself down to anything.

ME: What have Slipknot fans thought about this departure for you? CT: Well, I just want to prove a point. I want to prove to everybody that, “a,” I’m not just a guy who screams all the time; “b,” I can do other stuff besides Slipknot, and “c,” I want to show everybody that if you put your fucking mind to it, you can do anything. You can accomplish anything in live, and that’s the whole fucking point. If you’re stuck in a band, no matter how popular it is and how unhappy you are, why not branch out and do as much fucking music as much as you can? I got into music to do music, not just to be a member of a band. I love Slipknot, and I love what I do, but at the same time, if I feel like I’m not getting to branch out creatively in other avenues, then I’m going to fucking do something else. Luckily, the response has been really good, the kids have really dug it. But at the same time, if nobody dug it I’d still be doing it. That’s just the way I am. That’s why I joined Slipknot in the first place, because in the original Stone Sour, I was kind of burned out on what we were doing in ‘97. We had been doing it for about five years, and it was time for me to do something new. The guys in Slipknot came to me and asked me to do it. Now, happily, I’ve been able to come back and do this again.

ME: Is it stifling to be in Slipknot? CT: Kind of, yeah.

ME: That’s going to be a hard thing for Slipknot fans to hear you say, won’t it? CT: Well, here’s the thing. You can listen to Slipknot and tell that we’re creative. We don’t really hold ourselves to one “form” of metal, but at the same time, it’s still metal, man. It’s still very brutal and there’s not much stuff that you can do with it. I couldn’t do a song like “Bother” in Slipknot. It just wouldn’t fit in and it wouldn’t be right. So it was important to me to be able to do that, because I write stuff like “Bother” all the time, and what am I supposed to do? Forget about ever singing those songs? Fuck that. It’s either i write and play and sing, or I die. That’s just the way it is.

ME: Your fiancee she says that she’s been listening to “Bother” for almost three years. And all of a sudden, it’s strange for her to have the rest of the world hearing it. CT: It used to be that I wrote stuff like that for myself. I write on an acoustic guitar, not on an electric. I wrote it in ‘95, and it was one of those songs that I’ve always, whenever I had a moment to play my guitar, I would always start to play it. It took a lot… I think I was actually kind of scared to do anything like it before. When we were doing the demos for the Superego stuff, I thought, “You know what? I’m just going to record it and if we don’t use it, then at least I’ve got it for myself. I can listen to it whenever I want.” And, luckily, when people started listening to it, they were like “Holy shit!” I flew out to L.A. to record it for the Spider-Man soundtrack, and people have been really digging it.

ME: Is it a relief to reveal the person you are beneath your Slipknot mask? CT: Yes. It really was starting to feel like I was a character that I was having to play. I wanted to get away from it, I wanted to get back and just do something so that I could come back to Slipknot and feel the same love that I had for the band on the first album.

ME: Were you nervous about going without your mask? CT: I was a little worried about it at first, but then I thought about it and decided, “This is who I am in Stone Sour.” I shouldn’t be worried or ashamed of that. I did Stone Sour for five years without a mask on. It was just “me.” And people liked it then, so why wouldn’t they like it now?

ME: What’s the reaction that you’re getting from Slipknot about the music that you and Jim are doing now? Have you talked to them? CT: I haven’t even talked to them in a whole. They’ve been doing their own thing, I’ve been so busy with this. I’ve talked to Joey [Jordison, Slipknot drummer] a couple of times. Joey’s doing the Murderdolls and he’s having a good time with that. I feel that if they can’t be happy with the fact that I’m happy right now, then why are we doing it in the first place, you know? If anybody wanted (sic) in the band wanted to branch out and do whatever they wanted, I’d be like, “Fuck yeah. Go for it!” I would never try to hold anybody back, and I don’t think that they’re trying to do that with me.

ME: Do you anticipate seven other solo projects from Slipknot? CT: [Laughing] Probably not! I mean, [DJ] Sid [Wilson]’s got his DJ stuff, and [percussionist Shawn] Clown [Crahan]’s got his hand in a bunch of cookie jars, obviously! [Guitarist] Mick [Thomson]’s involved in some shit… It’s just them basically doing what they can’t do in Slipknot, and that’s the whole reason that me and Jim are doing this.

ME: What did Clown say? CT: Clown said some shit about me and Joey and Jim, you know, that “they’d better realize that it’s all fun and good to do this side-project shit,” which pissed me off, because Stone Sour is not a side-project. It’s an actual band. But he said that if our fucking side-projects get in the way of Slipknot, that we’re going to have to answer to him. He’s just talking shit. You know the Clown! He loves to start shit.

ME: Can you still relate to some of the older songs on the album that date back a few years, as if you wrote them last week? CT: Yeah, it’s the same me. Half of the stuff on this album was written prior to us getting back together. It’s just a different perspective. You know, with Slipknot it’s very much about purging the bullshit and everything that I had to go through as a kid. With Stone Sour, it’s much more general, much more accessible and much more confident. These are issues that everybody thinks about. Stuff like relationships, religion, politics… All kinds of things. It goes back to the music question. I’m not going to limit myself just because common popular knowledge has me cast in one fucking role. Fuck that. I want to be the guy who’s known for doing it all and not giving a shit.

ME: There’s a lot of emotions that seem to come out of depression on this record. “Bother” definitely comes out of that dark frame of mind. CT: Yeah. A lot of the stuff, like “Monolith” and “Take A Number”... “Monolith” is a case study of about (sic) what our potential is. All of us are fucking animals, and the people who think that they’re above being animals are the ones who are more susceptible to snapping in a fit of stress and taking a gun and shooting people. And a song like “Take A Number,” back in the scene as popular as we were, there was always the hot new thing that was going on, where people were buying all the bullshit that somebody was saying. That song’s kind of about personality cults and finding out too late that someone’s full of shit. It’s about being burned by somebody that you really believed in. “Bother” is just about people who take and take and take, until you feel like you can’t give anymore, but they still take and keep on taking.

ME: I wanted to talk to you about “Blotter,” as well. Is that about taking acid? CT: No, no… It’s about a chemical imbalance, about obsession. It’s about being that guy that chases a chick all over town and sits outside her house for six hours a night, calls her time after time when he knows she’s not home. About being that guy who scares the fuck out of you, the template for all women who worry about strangers in dark corners.

ME: And that was never you? CT: No. I came really close with my jealousy. I used to be a very jealous person. But I realized how fucking ugly I was with my jealousy, and a lot of my truth wasn’t reality. Every man has been burned by at least one woman in their life, and for a long time after that you really base your opinion of women off of that experience, unfortunately. It’s just about really wanting to be with someone after being in a situation like that. Meeting someone who has the potential of being that “chemical,” very perfect, very forever, and having your own psychosis get in the way of having that, and losing it. It’s kind of about that.

ME: In addition to Jim, Sid plays on this album. CT: Yeah. Sid does some spinning on three songs, yeah. Sid does what he wants. He doesn’t give a fuck. He never has. The only thing he really worries about is whether his coveralls are all intact, and if he’s got a burn on his leg! I asked him to come down, and he was like, “Fuck yeah, man.” He came down and did all his songs in one night. I didn’t want to make what he did integral parts of the songs, I just wanted something for “ear candy,” and that’s what he’s perfect at. A lot of DJs want to remix everything, they want to start everything over again at ground zero. But Sid comes in, asks what you want him to do, and I told him what I was thinking about. He goes into his albums, his bag of tricks, and fucking pulled it off. It was awesome.

ME: This album was done inexpensively? CT: Very inexpensively. We recorded in Catamount studios in Cedar Falls, Iowa with a guy who Shawn and Jim had worked with before on one of their other bands. And we just got along, he knew that we wanted to make something and we knew that we wanted to do it the way we wanted to do it, and not fuck around with a lot of production and a lot of producers. We wanted to produce it ourselves, and it just worked out fucking great. We ended up going in and spending less than $10,000 to record the album. And then we had Toby Wright set up to mix it. I’d wanted Toby Wright to mix it since day one, and it worked out. A lot of things were really smiling on us, you know?

ME: Did Toby Wright’s name come up from your admiration for his work with Alice In Chains? CT: Yeah. Chains, plus I’d also worked with Toby when I did a song with Max Cavalera for the second Soulfly album. We had hit it off really fucking well. He knows what he likes and he loves great vocal performances, and I really wanted to play with that.

ME: How much time have you set aside for Stone Sour? CT: This is something that, depending on how big it gets, I’m going to tour with this up until we get together to do Slipknot. Maybe even past that, because the rest of the guys can work on the music, and me and Jim can come out and we can still be doing this while they’re working.

ME: Things are comfortable? CT: Me and Shawn and Josh have all known each other since we were kids, and I’ve been with Joel since ‘92. Jim we’ve known forever, just because he’s the most popular guitarist in town with all the bands that he was doing. I don’t know what it is, man, we just work really well together. We play off of each other’s ideas, we have carte blanche to do whatever we want musically, and vocally. It’s a good feeling when you’re working towards a goal instead of working for your own means.

ME: So let’s play word association for a second. If Slipknot equals metal, and People equal Shit, Stone Sour equals…? CT: Melody and freedom. It’s everything to me. It’s the first real band I was ever in, it’s the first band I’ve played live with. It’s the first band I ever recorded anything substantial with. It’s the first band I’ve ever felt proud of, where it wasn’t just me and a couple of guys playing what I wrote. It was all of us really working to do something very cool.

ME: This album seemed to come out of nowhere. No one knew you were off the road long enough to make this record. CT: Fuck yeah. This thing was recorded in thirty days, man. I think Stone Sour is different from what’s out there. It’s melodic and catchy, and it’s got soul and life. I think that it’s going to make people re-evaluate how they look at music. I think that this is the needle that gets shoved in the eye of all the corporate bulshit! Everything is cookie-cutter nu-metal crap! Everybody thinks that they have to have the big rap breakdown, and it’s fucking pathetic! What happened to songwriting, what happened to storytelling? Show me something before you ship a million-plus copies! It’s bullshit, man!

#if you want anything else from this scanned just lemme know #corey taylor #stone sour #metal edge 48-11 mar 2003 #jim root #shawn economaki #joel ekman #josh rand #interview

[vendettasfanfictioning]

Can we get more hozier songs x destiel? I've been meaning to listen to him more

YES OF COURSE I HAVE MORE HOZIER SONGS FOR DESTIEL I AM SO GLAD YOU ASKED

I'll expand a little more on the songs I mentioned in my other post before I add to the list

"Angel Of Small Death" is so Castiel neck-deep in love with Dean !!!! He feels alive for the first time because of Dean, he learns the little joys of life because of Dean, and this is barring the time(s) he became human. Dean made him feel !!!!!! (I am not okay)

AND listening to this while thinking of earlier-seasons! Castiel, questioning heaven and all he's ever known, eventually accepting how broken it is, and falling to Dean's side? Just hits different

I'm a bit biased but you have to understand that "Jackie and Wilson" has my whole heart and soul, I just love this song so much.

This reminds me of that bar scene, the one where they get chased out because Castiel did his mind reading angel mojo on Chastity (something something it wasn't her fault her dad left???) and Dean just laughed. Even says he hasn't laughed that hard in years. Castiel did that, and I think this is when Dean started falling for him—and yes, this is the hill I will die on. Gladly.

LIKE !!!! I'm chewing on my pillows as I type this out. I can't stop associating this with s4 (/earlier seasons) destiel. And the fact that Castiel's entrance was literally accompanied by dying lights lmaoo

Of course we can't forget "Francesca"

I haven't even finished watching spn yet but this just SCREAMS the finale to me. This is Castiel, ready to risk everything he has, again and again, for Dean. This is Castiel, who's suffered so much but refuses to change any part of the story because it's theirs.

And this is Dean, mourning and aching and in love. He wouldn't change anything either, but God was it too much to ask for just a little more time?

This song hurts so good, I want whatever Hozier had when he wrote this. "Heaven is not fit to house a love like you and I" are you fucking kidding me.

#I'll reblog with my additions #LMAO I FORGOT ABOUT THE IMAGE LIMIT #ain't no way I was scrapping these sooooo 🫡 onto the next one #song recs #song lyrics #hozier #supernatural #spn #watching spn #spn castiel #spn dean #spn dean winchester #destiel #spn destiel #deancas #castiel #dean winchester #hozier and destiel can actually be SO dear to me #anon asks #SO SORRY ANON i bit off more than i could chew on this one lmao

[1rsoldiersince2012]

Bound by Law (Matt Murdock x Reader)

Words: 1993 (chapter 24)

Summary:

You and Matt met in the courtroom. Now, you may think that Matt was a knight in shining armour and defended you in the name of all United States laws, but that was not the case. Matt was totally destroying your client, and you wanted to tear him into pieces right then and right there, because with Murdock as your rival, your head is on the firm's plate with each case. Did Matt care? No, he only cared about bringing justice, he was a human-machine, driven by the need to bring righteousness no matter the cost. Or was he just that? What happens when you get involved in Fisk's business and Daredevil's lies against your will?

UPDATES: anytime during the weekend

Find my other accounts on ao3 and wattpad!

ao3: https://archiveofourown.org/users/1rSoldierSince2012

wattpad: https://www.wattpad.com/user/1rsoldierSince2012

24. Time is a Fragile Thing

The day was over, but as poets say, the night is still young. And full of surprises. 

Following the last night's ruined plans, the Russians decided to talk to the big guy themselves, instead of poorly cooperating through his puppets like Wesley. And this turned out to be their worst decision yet. 

Fisk shyly looks at Vanessa, and Wesley from the far corner table feels as if someone was twisting his insides. His boss, looking like a weak puppy, begging for attention, was something he had never expected to witness, yet a thing he always suspected to happen. Wesley's been sitting there, spinning a half empty cup of coffee in his hands for a good 40 minutes, from time to time checking up on Fisk. Not his most serious mission so far. Of course, he was used to spending his free time like this, alone with his thoughts, but unfortunately, no thoughts came to his mind now.

Vanessa smiles again, charming Fisk over and over again, until he stumbles on his words once more, "Are you sure about dessert? They have an incredible Zuppa Inglese." He looks down for a second, painfully aware of Wesley's intense stare across the restaurant.

Vanessa slightly furrows her eyebrows, "Don't children have that at birthday parties?" Both chuckle at the same time, and Vanessa studies the sudden wave of seriousness that washes over Fisk.

"Yes. When I was a kid, I loved it. Probably loved it a bit too much." He looks slightly down and Vanessa understands the clue.

"Well, now I have to know what it tastes like. You wanna split one?" She says so nonchalantly, perfectly aware that Fisk was under her spell like a madman. 

"Yes." Fisk immediately gestures for a waiter, making Wesley to look up from his cup, "We'll have a Zuppa."

"Chocolate was always my downfall. Milk chocolate, not the dark stuff they say is better for you." Vanessa smiles slyly, secretly pulling her blouse down, so her��cleavage would be more visible.

"I can order something else." Fisk answers, following the movement of the blouse.

"No, no, it's good to try new things. Get out of the comfort zone." Vanessa protests almost immediately, intently waiting for Fisk's reaction.

"Yes, we get caught up in what we're doing...who we think we are." He finally answers, lifting his eyes to meet Vanessa's, and immediately gets embarrassed. 

"So...who are you, Wilson?" Vanessa leans forward on the table, messing her hair.

"Tonight, I'm just a man... enjoying the company of a captivating woman."

Vanessa doesn't get to ask another question when in behind her, Wesley quickly shoots up from his seat, trying to hold off an angry Anatoly on the stairs of the entrance. "I told you, he's indisposed-" Wesley gets pushed away slightly, but manages to keep his balance.

Half of the people in the restaurant stand up, all men dressed in costumes, and stand around Vanessa and Fisk's table. The other half stare at the scene, hoping that the worst won't happen. 

"Sir, I need to speak with you." Anatoly makes his way towards Fisk, when two men stop him.

Vanessa looks around, feeling overwhelmed and confused, "What is this?"

Fisk grimaces, holding inside another anger episode. "We need to go... now. I'm sorry."

Anatoly continues talking, "I want to tell you, my brother and I, we gratefully accept-"

Fisk makes his way towards the exit, where Wesley was watching the scene unfold, and guides Vanessa outside, "Wesley will take care of you." He tells Anatoly, without turning back to look at the man, and quickly whispers to Wesley, "Put him in a car."

"Understood." Wesley answers briefly, pushing glasses up his nose. 

*** 

Fisk walks with Vanessa, side by side, both silent, until finally they stop in front of the big dark building. Fisk knows that there is a car on the other side of the street with his men, watching the scene unfold. "Will I see you again?" He finally dares to ask a question since they walked half a block from his car.

Vanessa sighs heavily, looking at her shoes, "I don't usually date customers."

"You came out with me tonight." Fisk pushes more, waiting for a different kind of reaction.

Vanessa finally looks up, yet still avoids his eyes, "And here we are, so..."

The moment of silence is interrupted by the slight shuffling of shoes nearby, and from the shadows of the building you emerge, phone on your ear, and a concerned look on your face, "no, I... I don't know why. You might as well ask her" you argue with someone on the phone in a hushed tone, perfectly aware of strangers eavesdropping habits. Focused on your conversation, you never notice the two of them arguing as well. Fisk takes a notice of your unusual attire - jeans, sneakers, warm hoodie and a coat resting on your shoulders like a cherry on top of a cake. So different from the woman he saw in the court, so different from the pictures he has seen on the internet. 

Fisk never loses his next thought and as you disappear inside the building, followed by four sets of eyes, he says, "I can...return the painting, and then I'd no longer be a-"

"I'm not interested in gestures, Wilson, or your money, or...whatever that was all about at the restaurant. I went out with you because...there's something different about you. Not so sure if it's a good thing now." Vanessa finally looks him in the eyes, noticing the confused expression on his face.

"Like you said...I don't do this much. And I'm sorry that our night, it went sideways. But...I enjoyed our time together very much, Vanessa. If you don't feel the same...even a little bit...just tell me, and I promise you won't see me again."

"I...don't know how I feel" Vanessa turns on her heel and walks into the building, where you just went in minutes ago. 

*** 

Wesley finds himself sitting in a backseat of a black SUV, shoulder to shoulder with tonight's start, Anatoly. "And even after all that, you didn't even get a name out of the girl?" Wesley asks annoyed.

"No. The man in black came before our men had finished." Anatoly answers in a thick russian accent, not even imagining how it drives Wesley insane.

"You were right to reach out to us, although...a call would have been more appropriate."

"Look, I...I wanted to speak with him in person. Try to put the past behind us." Anatoly says guiltily, when the car stops abruptly. "Why are we stopping?" 

"They say the past is etched in stone, but it isn't. It's...smoke trapped in a closed room, swirling...changing. Buffeted by the passing of years and wishful thinking. But even though our perception of it changes, one thing remains constant. The past can...never be completely erased. It lingers. Like the scent of burning wood." Wesley says mysteriously, not looking at the man beside him, but somewhere he wishes he could be, until his phone rings, pulling him out of this trance and cutting him off. "Sir? Yes, passenger side." He answers briefly, a shadow of sorrow passes on his face.

Anatoly slightly shuffles in his seat, "Was that him?"

"Hmm." Wesley hums, "He'd like to have a word with you."

Anatoly doesn't get to answer when he gets harshly pulled out of the car and pushed on the ground immediately. Anatoly tries to fight back, pulling out his knife and pushing it into Fisk's stomach, but it does nothing, only making Fisk angrier.

"You embarrassed me. You embarrassed me in front of her!" Fisk pushes Anatoly on the ground and watches how he starts crawling back to the car, begging Wesley for help. Wesley remains in his seat, stone-cold expression on his face, only one thing in his mind - you. Fisk grabs Anatoly's head and starts slamming the car doors repeatedly, until Wesley finally can't take it anymore, the car was shaking too much. James steps out into the cold night and looks at the river for a moment. Such a nice evening for a romantic stroll, unfortunately, there was nothing romantic with the sounds on the other side of the car - grunts of Fisk and Anatoly's blood splashing all over the place. Wesley closes his eyes for a moment, blocking the sounds completely, thinking over his own words that said earlier, the past can never be erased, especially his. Especially yours.

The place becomes silent, and Wesley takes that as a cue that Fisk is done. Turning on his heel, he goes over and offers Fisk a handkerchief, watching how he wipes the blood off of his face. 

"Tell Mr. Potter I'll need a new suit." Fisk rasps out, breathing heavily, noticing a few drops of blood on Wesley's white collared shirt.

Wesley briefly nods, eyes avoiding the horrible sight at his feet, "what about him?"

Fisk takes one last pitiful look at what was left of Anatoly, "Take what's left of him and send it to his brother."

"It'll start a war." Wesley furrows his eyebrows.

Fisk's mouth morphs into a menacing grin, "I'm counting on it."

*** 

The morning traffic held you off a little, but you managed to make it to the office on time, right before Karen came in. Foggy and Matt were already there, chatting over their future plans for the firm.

You purposely sat in Karen's chair, opening the email from the auction again. 

"Sorry, I'm late, the traffic is terrible." Karen bursts inside, a pile of paper in her hands, hair covering her eyes, she notices you comfortably sitting in her chair only after she hangs her coat. 

"I know about the traffic." You simply say, turning your head to the right, as if trying to get a better look at the blonde.

"Oh, what's with the change of seats?" Karen tries to joke, but her smile falls when equally disappointed Foggy emerges from the office. 

"What's with the new inventory?" You raise an eyebrow, watching her panic slightly.

"What?" Karen looks for help at Foggy, but the latter just turns his eyes down.

"Where were you yesterday?" Matt asks, holding his side under his jacket. 

"I... Was at the auction. Bought some supplies for the office." Karen says, finally feeling the pressure from the three lawyers in one room.

"I wouldn't call all that junk supplies, Karen." You cross your arms, intently watching her body language. Like a stray cat, approached at its weakest moments, Karen pulls her shoulders forward, afraid that she'll have to turn her defence system on.

"I'm sorry, I don't know what was I thinking." She starts shaking her head.

"Thankfully they got a nice sum after yesterday's win, but I hope that in the future, you won't make such mistakes." You stand up briefly, watching how Foggy and Matt disappear in their offices, without any comments. You stop in front of Karen, looking her in the eyes, that became wider in a matter of seconds, and sligthly lean forward, "I believe that this was no accident, after all, you did work with finances, Mrs Page." You say in a hushed tone and leave her standing in the middle of the room, going to your and Matt's office, loudly closing the doors.

"Weren't you a little harsh?" Matt asks, earning a low chuckle from you.

"If you think that this is harsh, at HC&B they would eat her alive." You plop down on the chair in front of Matt, pulling out your phone, only for it to start ringing. "Hello?" You turn the volume down, as to not disturb Matt, but little did you know that he can hear everything perfectly fine. "Tonight at 8? Yes, of course I'm free." You smile, "not to take my car? Oh, depends on how I'll be getting home later."  Moment passes by, with Matt intently listening to the person on the other side of the phone, and you writing down the address of the place in your workbook. "Okay, I'll see you then, yeah, bye." The phone call ends, with Matt clenching his fists under the table, not even bothering to ask questions, because after all, he knows all the details. 

#matt murdock #matthew murdock #foggy nelson #karen page #wilson fisk #james wesley #daredevil #daredevil fanfiction #marvel daredevil #netflix daredevil #human disaster matt murdock #matts superhearing complicates things for you #matt murdock fanfic #matt murdock x reader #bound by law #lawyers #marvel

[anawrites3]

Dick halted before passing the living room entrance, taken aback by the scene he witnessed. When he left - and it's worth noting, only for a minute or two - his father and his fiance sat as far away from each other as sofas and armchairs arrangement allowed it. They weren't exactly engaged in even moderately polite conversation but /at least/ they weren't arguing as well. It wasn't that bad. Now although...

To be completely honest, Dick wasn't sure what happened. They were still sitting in the same places, still not talking, and still not even looking at each other. The atmosphere shifted a little, that was one of the signs that he missed something possibly important. There were more signs, probably way more giving, such as frozen meat Bruce held to the left side of his face, or smeared blood under Slade's nose and his beard that looked like he tried to wipe it quickly.

Of course.

"The fuck?" he asked pointedly looking at Alfred, the picture of elegance and composure, standing straight in the corner of the room.

"Master Bruce and Mister Wilson had a...disagreement" butler explained throwing one of his disapproving looks their way.

Of fucking course.

"It was quickly resolved" to that, Dick noted, Alfred seemed to look a little too self-satisfied "and I proposed something cold to cool gentlemen down. And for the damage, obviously. Mister Wilson refused."

Bruce only murmured something unhappily but Slade was rather stubborn about getting on Alfred's bad side, like refusing his polite act of mercy wasn't enough. "I'll heal in an hour, no need for that sh-"

It's going to be a long evening.

Anon this is BRILLIANT!! Amazing writing too!! Ahhh its so good!!

Bruce and Slade are trying their best to not fight each other but only when Dick is in the same room 😂 They don't even mind Alfred there lmao I love it, I wonder what they were thinking when they started that fight - they had to know that Dick will be back soon 🤣 It's "We'll act like nothing happened, maybe he won't notice" kinda thing 😂💕💕 amazing

I love the idea so much, let me add a bit to that 👀

"I swear to God, you are worse than children." Dick let a sigh escape his lips as he sat down on the sofa, right in the middle of the room. That way he was sitting evenly in between both Bruce and Slade, and they both looked conflicted whether to move closer to him or stay where they are, as far away from the other man as possible.

"He started it." Bruce complained under his breath and Dick sent him a pointed look.

"I really don't care who started, Bruce. And it's not like it matters anyway, you both are way too old to act like this."

Slade crossed his arms over his chest with a mumbled complain and leaned back against the armchair he was sitting on. Dick glanced at the blood still smeared over his face and stood up again with another sigh.

"I can't believe you two, I literally left for three minutes!"

"A lot can happen in that time."

"Yeah, I can see that." Dick remarked, bitter. "Fighting, making a mess of yourselves-"

He reached for a tissue to gently clean up Slade's face. The blood stopped running already thanks to the man's healing factor but his nose still was fractured if not broken from the punch. It would take a while to heal and while Slade got way more serious injuries on daily basis, it still must've hurt like hell.

Dick looked down at the button-down shirt Slade was wearing, at a few drops of blood that got on it and let a small pout enter his face.

"My favorite shirt too..." he lamented quietly.

Bruce looked away. Slade shifted a bit in his place, uncomfortable. Good, they should feel bad about it!

"I can wash it out, it's just some blood." Slade assured him with a half-shrug. His rough fingers found Dick's wrist and squeezed gently. "Or I can buy another one like this."

"I don't want you to buy another stupid shirt, I want you both to stop fighting!"

"Dick-"

"Little bird-"

"No! Shut up, I don't want to hear it!" Dick snapped, taking a step back to glare at both of them. "You're both important to me and I'm so fed up with all your stupid fighting! You are going to start acting like adults and learn how to live around each other without trying to kill each other!"

Bruce ran his hand down his face, suddenly looking tired.

"You know it's not that easy, chum."

"It is! You're my dad and Slade is my fiance, I'm not going to give up on either of you because you don't like each other!"

"It's Deathstroke, Dick! This has nothing to do with disliking, this man killed thousands-"

"I love it when you're calling me your fiance." Slade hummed with an easy smirk as if Bruce didn't speak at all. He sent Bruce a look over Dick's shoulder and enjoyed the way Wayne tensed. "Can't wait until we change it to 'husband' though."

Bruce clenched his jaw with so much force that Dick worried about his teeth. He hated being reminded that Deathstroke would soon become a part of his family and Slade knew it far too well.

"You're not helping, Slade!" Dick hissed.

Slade looked back to him and pressed his lips to Dick's wrist before pulling him onto his laps. Bruce leapt up from his place.

"Not really trying to."

Dick screamed.

#anon #sladick #dickstroke #thank you again anon!! #its great #hope you don't mind me adding to it 👉👈 #i never know if its okay but i couldnt stop myself its so good!! #i love it so much #my reply #my writing #dad bruce #slade feels kinda bad but he's too much of an asshole to admit it #and he likes annoying bruce okay #serves him right after messing up his contracts all the time #he'll make it up to dick later #im sure bruce and slade will make up one day #alfred quietly watching the drama to share it later with jason #oh and sorry it took me so long to reply anon!! I'll be better #im just sick rn and had a few things to take care of so didnt have much time earlier #but i got really happy when i got your ask!! #love you #you really made my day!

[eggplant-crusader]

As promised, time for me to go absolutely insane about how good Ruth Wilson and Dafne Keen are at acting, like it's absolutely unbelievable.

First, Marisa Coulter is this weird-ass complex character that has this thing where she is always simultaneously hyper-rational and hyper-emotional. Like whenever she's acting emotional, either that's genuine but she's also very aware of the fact and using it for her advantage, or she's just acting because she's just that good. And whenever she's being cold-blooded and calculating, either she's really that cold about the situation or she's a predator reading to go absolutely feral but acting like she has no feelings one way or another because she knows that's how she gets what she wants.

And Wilson just. Is constantly acting all of that. There's always an undercurrent of boiling emotion to every cold-blooded scene, and there's always a calculating edge to every emotional scene. And everything in between. It's like she's playing multiple characters at the same time, it's incredible. Of course it's not all her, the production of the show is excellent on all sides, and the direction, the costume, the music, it all contributes to crafting the character and what she conveys. But it all hinges on a single person conveying way more than any one human should be able to convey. I never thought anyone would be able to do this walking contradiction justice, yet I am constantly losing my mind about how good Wilson is at it.

Then there's Dafne Keen who is too young to already be the kind of actor who barely needs any lines. Unlike Coulter, Lyra is not the kind of character that is constantly asking the actor to giver everything, few are, but she's still the protagonist so she obviously she has her big moments, and Keen never disappoints. We barely got to see her these two episodes, she mostly did some set up for the land of the dead, and then running away. But the one moment she got, that "let me go, please?", honestly even that line was kind of unnecessary because she had already acted it, but it still was barely a line an yet there was so much to it. Of course it helped that she was acting opposite Wilson who was doing Everything as she always does, and their chemistry is spectacular, but still, Keen earned that reaction from Coulter, she earned it before she even opened her mouth, she told their entire story without saying a word, it was perfect, absolutely perfect. Everything else for her these two episodes was simpler stuff, set up for future episodes and action scenes, and of course she was excellent at it, but not really moments that give an actor a chance to shine. Then there's the quiet moment with Will at the end, which was short and sweet and perfect, and both Keen and Amir Wilson just...they were Lyra and Will. It was like I was being transported to reading the books for the first time and becoming obsessed with them, ugh.

Because surprise bitches, this post is also about Amir Wilson! THAT Will and Coulter scene is one of the most memorable ones from the books, and it's one I've been looking forward to for ages, admittedly mostly because I wanted to see Ruth Wilson doing THAT, playing him like that, but fuck, Amir played off her perfectly, all the inner conflict, him being so full of love and devotion but being torn by it because there's so much he has to protect, it was all perfect on his part, if anything I thought the show didn't do him justice and didn't focus enough on him, but to be fair, the moment when Marisa goes from her pleading manipulation to "you're useless to me" is huge and a joy to watch and show-stopping, but still, let me see Will's heart break for what he's done because his heart was already breaking!

aaaaa sorry I just, I almost never lose it about acting, it's not something I understand that much about, I'm usually all about the writing, but something about them makes me go insane.

#his dark materials #ruth wilson #dafne keen #amir wilson #hdm #hdm season 3 #his dark materials season 3 #marisa coulter #mrs coulter #lyra belaqua #lyra silvertongue #will parry

[kill-your-fics]

"You are... quite beautiful, Miss Willow."

You are quite beautiful Miss Willow???

YouarequitebeautifulMissWillowYouarequitebeautifulMissWillowYouarequitebeautifulMissWillow

He'd said it so matter-of-factly. In the same way he might say...something factual. Real clever analogy there. Her brain was a little preoccupied at the moment. The scene was burned into her mind, so distracting she couldn't even be embarrassed about being this bothered by it.

Wilson had walked by, probably heading towards the collection of Very Scientific Machines he'd built, while she was making herself something to eat in the crock pot, because she liked her food much spicier than most- or so Wilson had told her once. (She suspected he liked his food much more bland than most.) This was all natural. Routine. Normal. But then he'd stopped. And glanced her way, nonchalantly, casually, giving no warning at all, and said that, and that was it. He walked away immediately, as if it was nothing, giving her no time to reply. Not that she had one to give. She still had nothing.

So that was it, then. She was beautiful, in Wilson's very scientific opinion.

-

It was one thing to acknowledge her in the moment, appreciating her knowledge of fire and how it burns when she lights the campfire, or her skill with a spear after a hound attack. It was another to give a compliment just because. And Wilson wanted to give Willow a compliment, just because.

Something simple, but meaningful. Sure, she was... attractive. Her features were pretty, even. But he got the feeling she knew that. For all her faults, Willow never seemed lacking in confidence. It's one of the things he admired about her, actually. But that felt weird to say. But what, then? What, indeed.

Willow was pretty, Willow was fierce, Willow was funny, Willow was inspiring. Willow was a million things, each a single aspect of the whole, all felt strange to say for no reason in particular. Willow was fiery and warm, always a welcome sight, like a sunrise after a long Constant night. Willow was... like a sunrise. Stunning? Beautiful. That's it.

It felt a little cliché, but the word fit- it was broad, encompassing. Mind, body, and soul- if one believed in such a thing. Yes, he had the matter sorted.

-

There were several emotions going through Wilson as he puttered around at the Alchemy Engine, but the primary one was a dizzying giddiness that bubbled up in his chest like a successful chemical reaction. He'd done it! He'd been nervous, of course... and he had practically ran away after catching a glimpse of her surprise... but he'd done it! Did she know? He thought. Did she know she caused him to feel like this? Of course not, how could she, but perhaps... perhaps, if he could tell her she was beautiful... he could tell her other things. Everything. One step at a time.

#willowson #dst willow #dst wilson #willow dst #wilson dst #surprise! its none of the prompts i posted #written on lunch break #not written: willow marches up to him and yells WHAT DID YOU MEAN BY THAT #wilson: i meant exactly what i said #willow: fuckin decks him #jk jk of course #but idk #i wanted to write this purely from Willow's perspective #but i love getting inside Wilson's head too much #yeah banter is one thing but oh my god sincerity??? in my flirting??? SCARY and DANGEROUS #idk

[mehoymalloy]

GHOST FLIGHT; The Memorial Grove

I’ve been thinking about my Horizon Big Bang 2022 piece a lot lately, especially the soldiers of Operation Enduring Victory. Since the larger fic they belong to is a bit of a beast, I thought I’d share the shorts I wrote for each black box in Horizon Forbidden West here on Tumblr.

After all, their stories deserve to be heard (even if I made them up).

The Memorial Grove Black Box Transcript:

AIR CONTROL ROMEO: This is Romeo requesting status update.

Flight 41, you need to adjust your course to avoid the Swarm. Can you respond, over?

Flight 41 - please acknowledge.

AIR CONTROL ROMEO: My sensors are showing their cabin's depressurized, I think the crew's gone and they're on auto-pilot. Flight 41's a ghost flight.

Listen to the audio log on my photomode Twitter account here.

Ashly Wilson's eyes flicked over her display, catching the steady blip of a plane veering off course. Frowning, she watched it for a few seconds, assuming—hoping—that the pilot was merely taking an extra moment to adjust. But no, the craft kept along its wayward path.

Flipping a switch on her comms headset—courtesy of her director, who was paranoid that the Swarm might start hacking their tech at air control—Wilson spoke up. "This is Romeo requesting status update."

Five seconds. Static.

"Flight 41, you need to adjust your course to avoid the Swarm. Can you respond, over?"

Seven seconds. Static.

"Flight 41," Wilson's voice was tight, strained. "Please acknowledge."

She was long past feeling anxious. But despite how numb this past year had left her, the disappointment always stayed. The weight of lives she had to report dead or missing in action at the end of the day would always leave her with a shard of ice slowly melting in her hollowed-out chest.

Three seconds. She had already made up her mind after the second unanswered comms request.

Wilson sighed, bitter edge softening to deadened resignation, far too familiar.

She flicked a switch to report directly to her supervisor. "My sensors are showing their cabin's depressurized, I think the crew's gone and they're on autopilot. Flight 41's a ghost flight."

-

Only a few minutes prior, far away from air control, an aircraft was making a steady descent, preparing to drop its load of soldiers directly into combat.

A FAS-ACA3 Scarab overtook and manually opened Flight 41's rear door, simultaneously disengaging all safety belts and harnesses for the craft's two pilots and twelve passengers. The scene, as viewed from the cockpit, was neat. At first glance, no one would guess that fourteen soldiers had occupied the space only moments ago.

Below, the scene was not neat. With such an abrupt ejection, most soldiers did not have time to even attempt to deploy their parachutes, and so their bodies littered the ground—bones crushed, insides spilled, blood soaking into barren soil. Almost all were killed on impact. But one soldier did manage to deploy his parachute, though far too late. His body barreled through the canopy, steadily slowing as he hit desiccated tree limbs one after another. His descent was further slowed as the parachute, hardly even unfurled, caught on several branches, snapping the withered wood and bringing them along for the ride.

His arm was only the first piece of him to break; it immediately snapped, nearly ripped from its socket. Ribs were shattered, organs bruised, gashes rent deep into skin and muscle. He was not granted the luxury of dying on impact when he met the ground.

In fact, he did not meet the ground at all. The lines of his parachute got caught in a handful of stubbornly-sturdy branches, and he hung thirty feet up, tangled in the cords like a fly trapped in a web. He swayed gently, blood streaming down his mangled limbs and dripping to the ground far below. He could not pinpoint precisely what hurt. Everything hurt. He stared blankly at the ash-swept sky, wet gasps for air soft amid the distant roar of war, as blood pooled into his punctured lungs. He suffered for exactly seven minutes and forty-three seconds before his shuddering gasps finally, blessedly, faded away entirely.

Black Box 1/12

#operation enduring victory #horizon forbidden west #hfw #fanfiction #fanfic #cw blood #black box shorts

[lafiametta]

So I'm taking a little break from writing my fanfic, and in your reply to arcticaid's questions, you said that "it would be important for Ling Yi that her mother understand Olek's worth as a person, rather than something he was born as or had no control over." So I'm sitting here and thinking, was her mother wishing for Ling Yi to find a man in New York?

We know they were going to NYC with Virginia to work in one of her brothels, but I can imagine Yuk Je would be secretly hoping that Ling Yi gets out of that business! Do you think she would start plotting to push her daughter onto her best clients, get close to them, and try and get married to a rich and affluent man and find "salvation and happiness" for them both through marriage? Because man, Ling Yi falling for Olek and following him would make Yuk Je so distraught! Have you ever thought of a scenario where Yuk Je doesn't die but Virginia does, only for them to get to NYC and Ling Yi announce to her mother that she's going with Olek? One hell of a drama, but Ling Yi and Yuk Je were in such a tough spot, and it tugged at my heartstrings to see them be distant with each other! :(

Watching the scenes between Ling Yi and Yuk Je in Episodes 1 and 3, I think it's clear Yuk Je did not want the same life for her daughter that she had. She protected Ling Yi from it by keeping her hidden when men came aboard their boat and even though that life was all around her (in the form of her friend and her mother), Ling Yi hadn't tried to join (or been forced into) it. And on multiple occasions in those episodes, Yuk Je voices her displeasure about how Ling Yi's actions (poisoning Mei Mei and taking her place) have led to the point where they are ("Are you happy now? Is this how you imagined it? Your freedom?").

It begs the question about how willing Yuk Je would actually be in letting her daughter work in Mrs. Wilson's brothel when they finally got to New York. (She had to know it was coming, so why does she still act so opposed to it, is what I'm asking.)

There's a tantalizing moment in their scene in Episode 1 — after they've come back from hearing the captain's announcement about diverting the ship's course — when Yuk Je tells Ling Yi, "Nothing will change. We stick to our plan." And then, after Ling Yi complains about having to wear the geisha clothes and makeup, Yuk Je turns on the gramophone and tells her, "We only have to pretend for a little while longer."

My theory — based on nothing more than these spare bits of dialogue — is that once they got to New York, Yuk Je and Ling Yi planned to escape from Mrs. Wilson and disappear into the vast (metaphorical) wilderness of America. Because if Ling Yi was set to be in Mrs. Wilson's employ for a good long while, she would have to keep pretending to be Japanese, to wear the kimono and practice her geisha dance. But if they vanish, Ling Yi would no longer have to pretend she's a geisha, the two of them would no longer have to pretend to be a girl and her servant. And they could go anywhere: maybe New York's Chinatown, maybe California, a whole new life suddenly opening up for them.

So, yes, Olek would present a massive — and unsolvable — complication to that plan.

(In the chance that my theory is wrong, that they were planning on Ling Yi working for Mrs. Wilson when they got to New York, then I think what you're describing makes sense. In Yuk Je's mind, Ling Yi would have already passed the point of no return ["it's the kind of dirt that never rubs off"], but maybe she could avoid the worst of brothel work by meeting a rich client who would offer her a position as a kept woman. Unfortunately, no man of that kind of wealth or status was going to marry a former brothel worker; the best she could hope for was being given a nice apartment and clothes and maybe an allowance, in return for making herself available to him whenever he wanted. Is this Yuk Je's dream for her daughter? I mean, it's pretty depressing no matter how you look at it, so I'm thinking the immediate escape option was what would be the most appealing.)

In your alternative scenario, where Mrs. Wilson dies and Yuk Je survives, I think they would have just tried to disappear the moment they reached New York. (I mean, Ling Yi also killed someone, so that would also prevent the authorities from ever catching up with them.) Olek, of course, would be headed to Brooklyn to find his brother, so the question is, what path would Ling Yi choose? I suspect it would be very hard for her to leave her mother for a boy she just (theoretically) met and I also suspect that Olek would try to do the decent thing and not ask Ling Yi to come with him, thinking that it would be better for her (although heart-breaking for him) for her to stay with her mother.

But maybe Yuk Je and Ling Yi end up staying in Chinatown? Maybe Olek lives with his brother in Greenpoint, but takes the ferry across the river every week to meet with Ling Yi in secret? A little more of a happy ending, I suppose!

#1899 #1899 netflix #yuk je #ling yi #olek #olek x ling yi #meta #ask and answer #inferubim

[babygirl-diaz]

Never Knew I Could Feel Like This

Based on this prompt by @samwilsonsb4be: "Steve's visit to Sam's VA meeting and them probably going out for coffee and dinner after 😏"

P.S. I suck at writing date scenes because I have no idea what they would talk about

***

As Steve turned around to leave the VA, a voice in his head that suspiciously sounded like Nat told him to stop being a coward and just ask Sam out already. Steve turned around and watched Sam put up something on the notice board and called out to him. “Sam?” 

The counselor looked up with an adorable, confused look on his face. “Yeah? Forget something?” 

Steve buried his hands in his pockets and looked down at his feet as he tried to gather up the courage to ask Sam out. “Are you doing anything later?” 

Sam blinked at him before a small smirk crossed his lips. “Are you trying to ask me out?” 

Steve scratched the back of his head and nodded slowly. “Is it working?” 

“I can’t believe I’m saying this, but yes, it is working.” Sam chuckled. 

“So, does that mean you will go out with me?”

A smirk crossed Sam’s lips, and he nodded. “Lead the way, running man.” 

***

Since it was only 4 PM, Steve took Sam to a quaint coffee shop a few blocks from the VA. 

“How did you know about this place?” Sam asked as he took a seat after ordering his drink. 

“Google,” Steve smirked, putting up his phone. 

Their drinks arrived soon. Sam went with a simple black coffee and filled it up with cream and sugar. Meanwhile, Steve went with some pink drink. He did not know what it was, but the poster promised an out of this world experience and Steve loved experimenting. 

Steve noticed Sam watching him and raised an eyebrow. “Anything on my face?”

“Do you even know what that is?” Sam asked, pointing at Steve’s pink drink. 

“No, but it sure tastes good,” Steve replied happily as he took a long, dramatic sip. 

Sam rolled his eyes and went back to his coffee. 

“So how is a fella as handsome as you still single?” Steve took his chances and asked. 

“Who says I’m single?” 

That startled Steve, and he abandoned his drink, blinking at Sam. 

A smirk crossed Sam’s lips before he chuckled. 

“Almost gave me a heart attack there, Wilson.” Steve let out a breath. 

The laugh slowly died on Sam’s lips, and he sighed. “To answer your question, I guess I just needed time after Riley.” 

“When did he die, if you don’t mind my asking?” 

“Two years ago,” Sam replied, biting his lips. “I know that’s a long time ago bu-”

“Hey, there isn’t an expiration date on how long you’re allowed to grieve,” Steve assured Sam and reached out to touch his hand. He took it as a good sign when Sam didn’t pull his hand back. 

“Do you wanna get out of here?” Sam asked. 

Taken aback by Sam’s sudden question, Steve pulled his hand back and blinked at him. “Uhhh…” 

“Oh, not like that!” Sam quickly assured Steve and laughed. “But the look on your face was priceless,” he teased. “I just meant if you want to go to a nearby park?” 

A smile appeared on Steve’s lips, and he scratched the back of his head. “Yeah, sorry, I mean, yeah, of course, lead the way.” 

Sam got up and took his drink, leading them out of the coffee shop. They went to a small nearby park, where they lingered close to each other and this time it was Sam who took Steve’s hand and intertwined their fingers together. Steve’s heartbeat sped up and felt all giddy inside and hoped that Sam wouldn’t be able to tell. They sat down on a park bench and Sam kept hold of Steve’s hand. Sam’s hand was warm in Steve’s and it felt good.

They were getting some attention and Steve was sure it wouldn’t be long before pictures of him and Sam would end up on the internet. But he didn’t care. He wanted people to know that he was with Sam.

“Is this the first time you’ve been out on a date since coming out of the ice?” Sam asked a few minutes of silence. 

“Yes,” Steve replied. “Nat’s been trying her hardest to set me up with people, but I wasn’t interested.” 

“What changed?” Sam asked, throwing him a glance. His warm brown eyes made Steve’s heart melt. 

“You… you’re just different.” Steve replied honestly. “You made me want to know you better,” he added. 

Sam grinned at him before leaning in and pressing a gentle kiss to Steve’s cheek. Steve felt his whole face warm up‌. 

“Are you blushing?” Sam asked. 

Steve refused to look up at him and kept his whole interest in the grass below them. “No!” He said adamantly. 

“Sure seems like it,” Sam chuckled and leaned in to kiss Steve’s cheek again. 

Steve felt like he was going to die from embarrassment. 

***

After spending what seemed like hours at the park, they went to a nearby restaurant bar, where they found a quiet table in the corner. While they waited for their food, Steve took Sam’s hand and stroked the back of it with his thumb while gazing at him. “Can I kiss you?” He asked. 

Sam bit his lips before nodding at him. “Yeah, go ahead,” he replied. 

Steve leaned in and captured Sam’s soft lips between his own. The kiss was gentle and innocent. Steve let his free hand rest on Sam’s cheek and brought him in closer to continue kissing him. They soon pulled apart when someone cleared their throat and Steve looked up to find the server standing there with their food. He chuckled and moved away, letting the server do his work. 

“Sorry for interrupting,” the server said before walking away. 

“It’s okay!” Steve called out after him. He rubbed the back of his neck while looking at Sam. 

“So… burger and fries, huh?” He asked. 

“It’s a classic,” Sam replied. “I’m surprised you went for fish and chips.” 

Steve shrugged. “I love fish.” 

They went quiet as they dug into their food. 

“So… you kissed me,” Sam broke the silence after a while. 

“Yeah, I kissed you,” Steve replied. “Was it… okay?” 

“Is Captain America having doubts about his kissing abilities?” Sam teased as he popped a fry into his mouth. 

“When your last kiss was in the 1940s, you kind of have to be,” Steve replied. 

“You haven’t kissed since the 40s?” Sam asked. “I wouldn’t have guessed.” 

“You’re just being nice,” Steve huffed. 

“Nah, man, I’m telling you the truth. You’re a great kisser,” Sam tried to assure him. 

“Then maybe I can kiss you again after we’re done eating?” Steve asked, giving Sam a shy smile. 

“How can I say no to that face?” Sam asked and leaned in to kiss Steve on the cheek. “Sorry, couldn’t help myself.” 

Steve touched his cheek where Sam kissed him and smiled all silly. 

***

Sam and Steve shared a cab back. Sam’s place came first and Steve got out of the cab and walked Sam to his door. “So… this is it, huh?” Steve asked awkwardly, burying his hands in his pockets. 

“You could always come inside…” Sam replied. 

“You sure?” Steve perked up. 

“Of course. We can watch a movie.” 

Steve went to the cab and paid the driver before letting Sam take his hand and lead him inside. As soon as they were in the house, Steve pressed Sam against the wall and kissed him deeply. 

#SamSteve #Sam Wilson #Steve Rogers #Captain America #CATWS #fanfic #aashnas drabble

[sterlingarcher23]

ElMax goes Back to the Future 2

The girl on the poster runs towards the clock, not away. That's not Max running away from Vecna in "Dear Billy", that's Max so to speak driving the DeLorean before the lightning bolt hits the clock tower and stops it.

Also read part 1:

- The clock in Mrs Kelly's office -

Poor Mrs Kelly has been accused of being a henchman of Vecna and that the key necklace is the key to open of the Grandfather clock's window ... She never was and the key isn't. The necklace doesn't even have the right color nor shape to fit into the Grandfather clock. (which is why this idea was never convincing)

The clock-key necklace however stands symbolically for "The clocks are the key" - like for example the clock in her office which points to 12 and 1.

121... 1.21

And of course the girl on the poster runs towards the clock. The interpretation that this is forshadowing Max running away from Vecna was never convincing to me. - She runs towards the 1.21. This is Marty who drives before the lightning bolt hits the clock tower to then travel into the future.

- The Starcourt Clock -

The clock in Starcourt has 8 single lines and 8 lines in pairs. Making it 88 - a reference to 88 miles per hour. (There's also an 88 hidden in the promo artwork of the Creel house rose)

And the clock's hands are placed in a specific way, the short hand marks the point and the long hand the end, reading as 1.21

- Vecna's clock -

Vecna's clock that Max sees points to XII and I ; the thin lines of the Xs are very, very thin which highlights the thick lines. So it looks like the long hand points to a \ and the short hand marks the end because it is between 1 and 2 which isn't right (at this position the long hand should be at 6). This reads as \ II I or you translate the Roman numbers into Arabic numbers 12 1. Again a reference to 1.21 Gigawatts.

- The lightning bolt hit at 10:04 -

Lightning struck with 1.21 Gigawatts by 88 mph when the 4th victim of 00I died and El then initiated the time jump, placing Max "Outatime" in a timeless dimension "Like when Eleven sent One into another dimension."

The clock tower stopped at exactly 10:04... Mirrored 4 001

All the clocks are in one specific way pointing to 1.21, A) hinting at a time jump and B) that Max's mind is displaced into a timeless dimension because the lightning stopped the clock which is still held at 10:04 in the future of 2015 in Back to the future 2.

- Skateboard, Snowball, Shades & Eyes -

And don't forget that Marty is a skateboarder.

He has a Madrid brand skateboard. That's very specific. Why not just any skateboard? They chose skateboards on which you can clearly read the brand?

Marty starts to vanish from existence - Max wishes to disappear and her mind does so when she's revived by El (transported into another dimension like Henry and temporally displaced because those dimensions are timeless). The decoration of the Snowball also looks exactly like the backdrop of the stage in Back to the Future.

That's Marty playing incognito in Back to the future 2 like a young teen imagines "That's super inconspicuous:

Right is Max playing incognito in Season 3 (right after this scene she pulls off the sunglasses) , foreshadowing her using sunglasses but not because she's blind but to hide her eyes from others.

Note the sunglasses - Max tries two other ones before picking the one with the red frame. Except for the color, both sunglasses look very identical.

There's an interesting detail in Back to the future 2. Both Marty (Michael J. Fox) and Biff (Thomas F. Wilson) have blue eyes. Both actors also play Marty Jr. and Griff (Biff's grandson) but with brown contact lenses. A tiny forgettable detail we only notice subconsciously that something is different. It's a detail the Duffers used in Season 2 of Stranger Things: while being possessed Will's eyes turn from green to brown.

Usually people who are possessed have a very notable eye change in the horror and Scifi genre, sometimes permanent, sometimes just quick flashes of for example black shadows or something alike, so using this very specific eye color you may not even really notice consciously the first time watching is not just odd but a very deliberate choice by the Duffers.

It's these details that once used makes the audience subconsciously wonder, however used blatantly that's a different thing. So, there is precedence inside of Stranger Things itself. Why use it just once and also in a forgettable way? As so many things, this is placed to be used later again.

Turning Max's eyes brown for example as a sign of being possessed, although by a benevolent force such as El, would also give this line from the song Angel by Madonna a new meaning and that's probably why they chose this song:

"You are an angel in disguise (El inside of Max), I can see it in your eyes.(Max having brown eyes)"

- Mr Fusion -

Anyway, we do have some blatant reference of Back to the Future, not just the clocks, brands, set decorations and scenes but it's mentioned by Steve as well. "The one with the DeLorean and Alex P Keaton."

And likely referred to by Dr Brenner when he says to El: "If you want to stop One... You will need to fly." In terms of Back to the future that's the DeLorean flying powered by: Mr Fusion.

Fusion... time jump. Linking arms, disappearing and reappearing together in front of a JC Penney, fully linked.

Someone really thinking that this is just a huge coincidence?

They technically put in the events of Season 4 into the riddle site Brenner is doing his crosswords, mentioning additionally a birthday and it there was a huge uproar that Will "accidentally" forgot his own birthday. It was not an accident.

They copy the way these franchises work. Back to the future itself made references you don't notice and foreshadowed in smaller and bigger scale certain events. (Pay attention to the shirt Doc Brown is wearing in BttF 2.

Although not made from scratch for the show, the Grandfather clock was according to sources modified by the production team. So, it's very likely that the main dial was altered and only the outer shape was actually used and reproduced

#max mayfield #elmax #elmax nation #elmax supremacy #stranger things #elmax my beloved #el hopper #elmax is real #elumax #lumax