#i don't think anyone has even seen this film

[skrrtscree]

P3M MAKOTO YUKI MISCONCEPTIONS

To be honest, it kind of annoys me when people watch the persona 3 movies and come away with it with the wrong idea of what Makotos character is in them. I don't mean the people who don't like the movies or their portrayal of him. It's fine if you don't, btw. Media is subjective, and different people will take away different things from the same thing, but I feel like some people end up completely missing the mark and mischaractizing that version of him.

For all the odd choices the p3 movies make, I'm adamant that his character and his arc is the best part about them, so it kind of urks me when i see tharpeople take away from it is that 'he's emotionless and devoid of personality' or 'a complete asshole who doesn't care about anything' both of which is untrue in all the films.

CW: blood in one of the images (the car accident scene, it just shows the hand but still)

First of all, the whole him being 'rude and uncaring' thing; To be honest, nothing he says strikes me as rude, it all comes off as blunt and not fitting the situation (him asking if they can leave during the hospital scene, and his answer seemingly having no sympathy when they talk to Natsuki). Of course to those who don't know him that well, he comes off as cold especially since his facial expression or tone barely change.

And the uncaring bit continues to get debunked through every film. Even in the first film, where he's closed himself off and doesn't care about living. He awakens to his persona to protect Yukari, he helps Fuuka collect her stuff twice despite not knowing her and even listens to her talk about Natsuki, he summons a different persona and throws himself at the Priestess to save Junpei. He goes against what he was told to do and goes straight into Tartarus because of the fear that his team will die if he doesn't.

It's made clear in the first movie that despite avoiding connections with people, he still can't let people die, deep down he cares about those around him getting hurt and wants to prevent that. It seems to heavily be rooted by his PTSD of the accident, him getting flashbacks to it in both the second and third full moon at the thought of someone dying. He's willing to throw himself in danger, not giving up even if he gets hurt or could exhaust himself, he has no care about his life, but he still cares about those around him.

The only claim I could see holding weight is the 'no personality' part but that's mainly because he spends half of the first film following orders from other people, but that itself can be seen as part of him, he doesn't have any direction or any care about his life so he follows what everyone tells and wants from him. He fights because he was told hed make a great asset to the team, he stays behind because him going would make Yukari mad, he has no reason not to listen or any argument to refute it, and this is dismantled near the end where he refuses to listen when they tell him to run because he can't let anyone die.

This is all I've gathered from the first movie still, I could carry on for all of them (and there is alot to talk about in each one in regards to his character) but I think I've made my point. Not only does they continue to prove those points incorrect, his character continues to evolve with the events around him.

I don't think there's a right or wrong way to write or portray makoto. The movies are not the be- all-all-end all of his characterization, but when you're talking about or writing that specific version of him, just don't end up writing him in a way that completely contradicts what the film shows.

#makoto yuki #minato arisato #persona 3 #p3 #persona 3 movie #persona 3 protagonist #p3 protagonist #persona #let me state agian this is just referring to his movie counterpart #not peoples personal depiction of him without the adaptations #i dont want ppl to get the wrong idea with this post im not condemning ppl who dont like the movies #i just fele rlly strongly abt ppl who misunderstand what the movies were going for #i rlly hope im not coming off as pretentious srry im just rlly autistic abt him💀💀 #I'd like to hear what other ppl think or explain how they see it #maybe my perception of him is a bit different bc i see alot of my own traits in this version of him (austim and all)

[zivazivc]

mutant mayhem spoilers

i can't believe that the first ever image that surfaced about the movie (I think at the end of 2021!) actually already gave us a hint about how this movie was going to end... I was just so in denial about it that I completely erased those early theories out of my mind. Not to say that I didn't love the movie, I had a blast in the theater, but that ending with everyone learning about and accepting the turtles and them going to school was not for me. Maybe I'll change my mind about it when I see future installments of this new version, but for now I'm being one of those sulking older fans about it.

#just to be clear I'm not hating on the movie #the movie is great and the animation is fantastic #just not a fan of a lot of the choices that were taken in the last 10-15min of the film #tmnt #tmnt spoilers #mutant mayhem spoilers #tmnt mm spoilers #the main reason I don't like the choice is because I feel like they got rid of what made tmnt so unique from the rest of the shows #they have to live in complete secret in a world that's crowded with humans #and they can't rely on anyone but themselves and a few individuals to have their back #while I can think of a bunch of shows that about people going to school and trying to fit in even though they're so different from everyone #this has been a bit of a rant #but I haven't seen anyone else talk about the ending and I wanted to talk about it #answered #mutant mayhem

[roydeezed]

One thing for those who have watched The Boy and The Heron or will watch it. The Japanese title for it is How Do You Live? And Miyazaki stated he was leaving it for his grandson, saying, "Grandpa is moving onto the next world soon but he is leaving behind this film".

The deaths of contemporaries and friends such as Satoshi Kon and Isao Takahata and also the expected successor of Yoshifumi Kondo were things that have always weighed heavily on the back of Miyazaki's mind.

He recognizes the industry and the occupation for how soul crushing it was, grinding up either the spirit or the physical body of those who work in it. He loves and hates the industry he stands on the peak of and fully recognizes how it will probably be the death of him. And he knows it'll leave him unable to say a lot of things to his Grandson.

So How Do You Live? is a lesson. For his grandson. For himself. For his two sons. And probably for anyone else willing to pay attention.

Hayao Miyazaki is a flawed man that makes things so important to so many people. And I think more than any other film of his, in this you get to pull back the curtain a bit and see him at work. And what should be this giant unblemished titan can be seen for what he is, a sad old man who had higher hopes for himself and has even higher hopes for the people he makes his work for.

It's a beautiful thing to see another's humanity in their work. To look past the artifice and glam of commercialized art and find humans behind it. And humans willing to show their humanity and mortality is even rarer. And something to be celebrated. So when you watch it. Or if you've watched it already. Understand that this film is Miyazaki kneeling down, weary after years of weaving dreams and making mistakes, reaching out and saying to you that he hopes you can do better. It's an old man who's made all the mistakes of the world passing it on to you, hoping you do better, and making sure you know it's okay if you don't.

How do you Live? By making mistakes. By messing up. But still moving forward. And still reaching out.

#the boy and the heron #how do you live #hayao miyazaki #i love you old man #i know you'll be back but if we're talking to each other through screens then thanks #if the wind rises was him exposing his mistakes then this is his apology #i really dislike the popularization of ideas like “parasocial relationships” and “seperate the art from the artist” and how it seeps into #the discussion of art. While people should be maintaining a detachment from people they don't know I think blunting arts impact by not #acknowledging the human behind it is a disservice to art. And you lose the beauty behind someone as flawed as you making something beautiful

[headspace-hotel]

My random unsubstantiated hypothesis of the day: the popularity of "stim" videos, fidget toys, and other things like that is a warning sign that something's Deeply Wrong with our world.

Don't freak out. I am autistic. These things are not bad. However, can we just...take a second to notice how weird it is that there are entire social media accounts full of 10-second videos of things making crunching noises, people squishing slime in their hands, and objects clacking together, and that enjoying them is mainstream and normal?

It seems that nowadays, almost everyone exhibits sensory-seeking behavior, when just a decade ago, the idea of anyone having "sensory needs" was mostly obscure. It is a mainstream Thing to "crave" certain textures or repetitive sounds.

What's even weirder, is that it's not just that "stim" content is mainstream; the way everything on the internet is filmed seems to look more like "stim" content. TikToks frequently have a sensory-detail-oriented style that is highly unusual in older online content, honing in on the tactile, visual and auditory characteristics of whatever it's showing, whether that's an eye shadow palette or a cabin in a forest.

When an "influencer" markets their makeup brand, they film videos that almost...highlight that it's a physical substance that can be smudged and smeared around. Online models don't just wear clothes they're advertising, they run their hands over them and make the fabric swish and ripple.

I think this can be seen as a symptom of something wrong with the physical world we live in. I think that almost everyone is chronically understimulated.

Spending time alone in the forest has convinced me of this. The sensory world of a forest is not only much richer than any indoor environment, it is abundant with the sorts of sensations that people seem to "crave" chronically, and the more I've noticed and specifically focused on this, the more I've noticed that the "modern" human's surroundings are incredibly flat in what they offer to the senses.

First of all, forests are constantly permeated with a very soft wash of background noise that is now often absent in the indoor world. The sound of wind through trees has a physiological effect you can FEEL. It's always been a Thing that people are relaxed by white noise, which leads to us being put at ease by the ambient hum of air conditioning units, refrigerators and fans. But now, technology has become much more silent, and it's not at all out of place to hypothesize that environments without "ambient" white noise are detrimental to us.

Furthermore, a forest's ambience is full of rhythmic and melodic elements, whereas "indoor" sounds are often harsh, flat and irregular.

Secondly: the crunch. This is actually one of the most notably missing aspects of the indoor sensory world. Humans, when given access to crunchable things, will crunch them. And in a forest, crunchy things are everywhere. Bark, twigs and dry leaves have crisp and brittle qualities that only a few man-made objects have, and they are different with every type of plant and tree.

Most humans aren't in a lot of contact with things that are "destroyable" either, things you can toy with and tear to little bits in your hands. I think virtually everyone has restlessly torn up a scrap of paper or split a blade of grass with their thumbnail; it's a cliche. And since fidget toys in classrooms are becoming a subject of debate, I think it pays to remember that the vast majority of your ancestors learned everything they knew with a thousand "fidget toys" within arm's reach.

And there is of course mud, and clay, and dirt, and wet sand. I'm 100% serious, squishing mud and clay is vital to the human brain. Why do you think Play-Doh is such a staple elementary school toy. Why do you think mud is the universal cliche thing kids play in for fun. It's such a common "stim" category for a reason.

I could go on and on. It's insane how unstimulating most environments humans spend time in are. And this definitely contributes to ecological illiteracy, because people aren't prepared to comprehend how detailed the natural world is. There are dozens of species of fireflies in the United States, and thousands of species of moths. If you don't put herbicides on your lawn, there are likely at least 20 species of plant in a single square meter of it. I've counted at least 15 species of grass alone in my yard.

Would it be overreach to suggest that some vital perceptive abilities are just not fully developing in today's human? Like. I had to TEACH myself to be able, literally able, to perceive details of living things that were below a certain size, even though my eyes could detect those details, because I just wasn't accustomed to paying attention to things that small. I think something...happens when almost all the objects you interact with daily are human-made.

The people that think ADHD is caused by kids' brains being exposed to "too much stuff" by Electronic Devices...do not go outside, because spending a few minutes in a natural environment has more stimuli in it than a few hours of That Damn Phone.

A patch of tree bark the size of my phone's screen has more going on than my phone can display. When you start photographing lots of living organisms, you run into the strange and brain-shifting reality that your electronic device literally cannot create and store images big enough to show everything you, in real life, may notice about that organism.

#nature #thoughts #random #forest

[neroushalvaus]

Okay I am going to use the Somerton situation to talk about something that is very important to me. Following the discussion I have seen former Somerton fans being disappointed in themselves and questioning how they can ever trust another video essayist again. I have also seen some people being smug because to them Somerton was obviously unreliable from the start. As a person who also saw the "red flags" in Somerton, I would like to skip the smugness and talk a bit about what the red flags were to me.

Someone else has probably posted something similar and Hbomberguy's & Todd in the Shadows's videos touched a few of these points, but they didn't focus on them or how to spot these things. I think it is a good thing: I think it would have reinforced the idea that Somerton's fans were to blame for being lied to, and these youtubers didn't want to pin any blame on the fans. Also, some of the things I'm going to talk about were not by any means proof of him being unreliable, they were common tropes I personally associate with people who are bullshitting on internet. Think of it as something like spotting terfs: If you consider following a tumblr user and find out they have at some point posted "males will always be a danger to females no matter what they say", it is very possible that they are not a terf. Maybe they were having a bad day and were just wording their post badly – But you should probably search "trans" from their blog before following them, just to be sure.

So, the tropes in James Somerton's content that I consider red flags:

Lack of sources. This one may seem obvious and Hbomb talked about this in his video, but the lack of sources in his videos was outrageous. Video essays are called essays for a reason, they are not supposed to be just a guy talking about whatever comes to his mind, they should be well researched essays. Obviously video essays should contain one's own thoughts and interpretations and those do not need citations. But James Somerton didn't come out of the womb knowing everything about LGBT history, Disney and film theory, if he actually knew something about all this stuff, he should have learnt it from somewhere. There should be sources he could point to. It is very common that even when a video essayist doesn't tell you where they got all their information, they open their video by saying stuff like "when I prepared for this video I read the book Also sprach Zarathustra by Friedrich Nietzsche and this one thrilling blog post about lesbian cruising in 1960s Sweden". From what I've seen, James does not really do this. From watching his videos you could arrive to the conclusion that James Somerton does not read any books, he just knows everything. There are situations where people don't feel the need to add sources, like when the information is considered common knowledge or when the topic relates heavily to the essayist's actual academic field or profession. This is okay and very understandable, but can sometimes be dangerous, since if the video essayist markets himself as a marketing specialist, people are more likely to take his word for stuff that has to do with marketing, even without sources. It is understandable that in many situations an essayist may think "why should I cite a source? I know this thing!", but doing your research well is partly about checking if the information you are certain of is actually true. Also, as Hbomb pointed out, if you can cite a source, your audience can go learn more about the subject. It's not about anyone doubting you know your stuff, it's about learning. That's why well-respected video essayists usually cite their sources very clearly.

Lack of pictures and screenshots. This is about different kinds of sources again, many things on this list are kind of about sources. An example: When James Somerton made a video about JKR, he mentioned something about Rowling at one time saying that trans students in 30-50Feralhogs (or whatever the wizard school is called) could use magic to present as their gender. If this was any other video essayist, you'd expect a tweet to pop up, or something else confirming Rowling ever said this. Nothing pops up, obviously because Rowling didn't say this, but you can't see anything fishy in that because things rarely pop up in Somerton's videos. He doesn't show you court documents when speaking about a court case, he doesn't show you the comments apparently mad at him for implying the gay anime is gay when he is complaining about people being mad at him. There is a reason people show screenshots and tweets in video essays. When a good video essayist says JK Rowling has tweeted that all people who menstruate should be referred to as women, the video essayist shows the tweet so people know they are not making it up. If there were hoards of annoying bitc-- I mean, angry white women whining about gay sex in HuffPost articles or Somerton's youtube comments, he should have no trouble showing you those. Remember that you should not trust someone just because they show you pictures or screenshots. Pictures can be photoshopped, screenshots can be doctored. Many youtubers are aware that you listen to their videos while cleaning or while walking your dog and don't actually see the screen all the time, and some may take advantage of that by saying something like "and here she threatened to kill me" while showing a text message where someone said "die mad about it". A screenshot alone isn't much but you should demand to see the screenshot.

Passive voice. I am once again bitching about this. Somerton repeatedly says things like "it's been said that" or "it was common knowledge that" or "a legend says that" or "according to most interpretations". He doesn't say who says it, making it very hard to fact check and that seems to be his goal in some cases.

Relying heavily on anecdotes. Writing a dense, analytical video about film theory or history can be exhausting and you may want to pepper in little fun facts. However Somerton seemed to rely on these heavily; he can't just talk about how he has totally bought every lie told by The Pink Swastika, he also needs to tell a cute little anecdote about SS men forcing sexual favours out of men. He can't just tell a story about a court case, he needs to add in ridiculous stuff about the jury booing. This is what I mean by not all the things on this list being necessarily proof of someone being unreliable. Many people use anecdotes and little stories in their storytelling, it makes the videos flow better and it's hard to decide which anecdotes are valid and which are not. A source obviously makes an anecdote a bit more believable, but here are some things that instantly make me fact check an anecdote:

It's a bit too convenient, poetic or ironic. Sometimes real life is weirder than fiction but if an anecdote is "perfect" and has an amazing punchline and you could write twelve poems about it, there is a possibility it was invented by pop science books.

It assumes your political enemies are stupid. Dunking on conservatives, MRAs and transphobes is always fun and after you've seen a lot of this kind of content it's easy to believe anything about these people. You must resist the impulse to believe everything that may make your opponents look stupid.

The person telling the anecdote implies it is an example of a larger, systemic problem. You know what's worse than taking a random happenstance from human history or internet and basing an entire political theory on it? The said random happenstance being made up. You should in general be wary of people telling one story and explaining why it's an example of everything that's wrong in the world. We live in a huge world. You can always find a white woman who loves cute gays but hates the idea of Nick Heartstopper and Charlie Heartstopper getting nasty but that doesn't mean it's an indicator of a larger issue.

Simplifying complex issues. We all know that "only the boring gays survived the AIDS crisis, and that's why gays started to only care about marriage equality and military" is a horrible, insensitive thing to say, but you also have to think about it for like two seconds to realize that it can't be correct. It kind of reminds me of the "roe v wade caused the crime drop of 1990s" claim in Freakonomics. It sounds logical and simple, like a basic math calculation. Societal issues rarely are like that, though. You should never believe anyone who tells you about a huge societal shift and says it happened because of one thing and one thing only.

These were some of the things I noticed in Somerton's content that caused me to distrust him. I hope these were helpful to you and feel free to add your own "red flags" if you feel like it!

#phew. maybe that's enough salt for one day. #james somerton #hbomberguy #todd in the shadows #edit:// embarrassingly many mistakes in the original post. in my defence i have a fever and english isn't my first language. forgive me #edit2:// made the text bigger!

[the-90s-music-colosseum]

Quarterfinals, Match 2

expand to see all propaganda received! (wall of text warning oh my god this is a severe cautionary message)

Lauryn Hill:

"she paved the way and was hot as fuck the whole time"

"Girl c'mon. Look at her. You're gonna try and tell me that isn't the most beautiful and attractive person alive? Okay. You're lying but okay."

"if u freaks don't give ms. lauryn hill the respect she deserves..."

"actually one of the prettiest women ever I'm such a lesbian for her. like irl I'm already a lesbian but she is helping"

Damon Albarn:

"Don’t think Damon should be here? Why don’t you get your head checked by a jumbo jet? Maybe you’ll feel heavy metal and calm down."

"If Damon is in the “some guy” category, he’s the heavenly and heartbreaking version. Damon is the sort of significant stranger I’d see on the train out of Colchester but could never speak to, just a face seen in passing yet too radiant to be real. I’d fall in love for an hour and carry the ache for a month."

"Damon sets the standard for me. I think he’s the most fascinating man alive. What I find attractive in Damon is not just his gorgeous bone structure and boyish charm, but how wholly he’s committed himself to music. Damon is an artist who walked the walk: in one of his roughest years with some of his rawest songwriting, he said he was no longer excited by anything except the creative process. He was disillusioned with the celebrity of it all, with his relationships suffering for it, and only wanted to make art: nothing more, nothing less. He would go on to compose film scores, write operas and stage musicals, produce other artists’ records, form collectives to fulfill his passion for world music, and create some of the most globally successful music of his career in a completely innovative format that placed him as the phantom behind the characters. Whenever one band takes a break, he makes a solo record or puts together a supergroup to stay busy. He’s uniquely collaborative and still writes personal letters inviting artists to record with him, and yet can function as a one-man show, acting as a multi-instrumentalist, a singer-songwriter and a producer. He’s been a constant voice of bringing British music to the world *and* bringing world music into Britain. Sure, he’s won Brit Awards and a Grammy among others, but he also has a Guinness World Record and was named an Officer of the British Empire for his services to music; his long work with Africa Express earned him respect even from peers who’d previously dismissed him, and his commitment to support his Malian collaborators in the face of violence earned him the title of Local King in Mali. There is so much talent in the world, but there is truly no one else with a career that looks like Damon Albarn’s. Damon is far more than just a prettyboy to look nice on a magazine cover, but looks are the ultimate point of this tournament, so make no mistake: he was terribly, terribly pretty. You watch him performing in the 90s, you sift through photoshoots and interviews and documentaries, and it feels *cruel* how beautiful he was. If his talent was god-given, so was his face. To put a bow on this thesis: I don’t know if Gorillaz and Damon’s musical universe would be the experimental, globe-trotting, boundary-pushing community affair it is if Blur hadn’t become such a central figure in Britpop and if Damon had not been made such a media spectacle, and I don’t know if Damon would have been that spectacle if he wasn’t so ungodly pretty. The domino effect is that Damon’s cherubic face launched a thousand multimedia art school projects for decades to come."

"I wish I was basically any bloke in the 90s so I could tongue Damon Albarn down. Damon will see a man and ask “is anyone gonna kiss that?” and not wait for a response."

"I have a pillow with his face on it. I sleep with it every night 😊"

"“I’m more homosexual than Brett Anderson, always have been. As far as bisexuality goes, I’ve had a taste of that particular fruit, or have been tasted you might say…” is just the rawest most Shakespearean statement ever"

"he is the ultimate Pretty Boy ™. his glorious golden locks, his electric blue eyes. he is if Princess Diana was a Britpop Dude. he is the Regina George of Britpop. he is if Aphrodite took male form. Zeus would come down to earth to fuck him if he knew. he is a caffeinated orange cat let loose. he is deranged. he is unhinged. you never know what will come out of his mouth. he had sexual tension with every single man who knew him. he pulled justine fucking frischmann. his aura knows no bounds. he is a siren. he is a weird guy. but being so gorgeous stunning ethereal didn't stop him from also being one of the most prolific songwriters of his generation"

"THE MAIN BLUR"

"literally where do i even begin. i could write entire essays on this man. a good place to start would be the beetlebum music video, i suppose. i'll never forget the first time i watched that music video. something in me changed, my brain chemistry was altered, my life was never the same, i view the world a lot differently now. and a lot of the viewing i'm doing is of pictures of damon albarn's face because of boy do i have a lot of those saved. every time i try to look for a photo of something on my phone i can't find it because there's so much damon. okay that's maybe an exaggeration but this man has the most unfathomable beauty ever. his eyes? HIS EYES. god dammit i love his eyes i want to stare at them until the end of time like nothing else exists. i'm so normal about this man (lying) and while i'm usually very shameless about my interests i'm actually incredibly glad this propaganda is anonymous because otherwise. yeah. but the world deserves to see damon albarn's beauty and also hear his fantastic voice because what the fuck. his voice is literally the most gorgeous sound ever produced like bro sounds like that and expects me not to fall in love? i want this man to sing his silly songs and talk absolute nonsense to me until the sun eventually blows out and the world ends. cmon damon girlies let's demolish this tournament i know there are a lot of you."

"He’s beautiful. He’s a little rat. He’s a sweetheart. He’s a dickhead. He’s a musical genius. He’s a dumb bitch. He’s a jock. He’s a weirdo. He’s real. He’s an illusion. He’s everything. He’s just Damon."

"DAMON DAMON DAMON where do I begin oh jeez I've hyperfixated on this man for a solid 4 years and still going strong. Damon makes me wish that British people are real. That says A LOT. This man created a whole ass ANIMATED BAND WITH A SHIT TON OF LORE as a SIDE HUSTLE??? Not to mention, what other man has collaborated with Stevie Nicks, MF DOOM, Del the Funky Homosapien, Snoop Dogg, AND Beck?! People, we're literally in the presence of a god. And he's STILL GOING. Anyways, TL;DR, damon is so so so neat and cool and he should definitely win this competition. Thank you."

"Okay 90s Damon is The Perfect Boy yes yes, but the people who parrot the Daily Mail and say "he's ugly now" will never understand. I would still suck every drop from him on his deathbed."

"Vote for whoever you want to. But Damon is so pretty."

"i did not spend hours admiring this beautiful man's face on pinterest just to see him lose."

"Damon Albarn just brings me joy. When I'm watching him perform, following along as the camera lingers on and adores his pretty face, I get butterflies like I'm 15 again. It's nice to still feel that totally unguarded giddiness sometimes."

"God let the intrusive thoughts win making Damon. What if he's a beautiful blond twink with eyes like saucers and dick to his knees, he reads Herman Hesse and plays footie and is insufferable about both, he'll be the most prolific musician of his generation and write operas and seminal albums in 5 different genres and also he's gonna be the dumbest bitch alive? He'll also be kinda bi, but only kinda. And send."

"when i found out about his existence, my life was changed forever. i wish i could use him like the hannah montana boot milk pillow and chuck him at the wall so he makes a loud thud"

"Think of the drama and anon fights it'll cause if Damon wins it all! And think of how quiet it'll get after Damon's out. You'll miss him when he's gone, like memories of a noisy house years after it's grown silent. Choose Damon, and keep the messy train chugging."

"Even the Gallagher brothers have the hots for him."

"Kiss kiss I love him also you can't vote for any of the Seattle men they're literally copy and paste it's not fair. We need Brit representation"

"I want to take care of him, I want to provide for him. I need to gauge his baby blue puppy dog orbs out to I can clean them with wood varnish, paint shades of Pantone 320 C in his eyes, spray eau de parfume by dior in them and sew it back into his eyes like that scene in Toy Story 2."

"Seeing as simply filling the page with ‘Damon’ written 10000000 times isn’t going to cut it 😅 may I admit/submit: I DO have him tattooed on my being (no descriptive, is this anon?); he’s inspired somewhat unhinged late night/early morning fandom conversations in which I’ve served as ‘parish’ priest hearing confessions from all manner of folk about what they’d like to do to him/receive from him; sadly I lost an essay where I detailed why the letters that make up his name suit him so well, and described him as the hot caramel sauce to Graham’s cool vanilla ice cream. He’s a faerie princess with a nose that makes people weep and a voice that feels like the warmest home and he gives amazing hugs. He loves trains and chickens and his tuxedo cat. He’s annoying and sweet and somewhat unhinged and his music saves people and all this is on top of that fantastic dick. He’s a dream yet very real and we’re fucking blessed to be on earth at the same time as him, amen"

"Damon Albarn was a beautiful, beautiful boy. The world saw that, regardless of if every individual reading this has the same taste in men; it felt like a truth of the universe at the time. They don't make celebrities that angelic in face and erratic in personality anymore."

"I need to touch his eyebrows, nose and prostate just one time JUST ONE TIME COME ON"

#most attractive 90s musician #poll #polls #lauryn hill #fugees #damon albarn #blur #90s music #tournament

[astonmartinii]

we don’t play about halloween | max verstappen social media au

pairing: max verstappen x fem reader

max doesn’t play about three things: formula one, his cats and his girlfriend’s love for halloween

MASTERLIST | TIPS

yourusername

liked by oscarpiastri, maxverstappen1 and 607,344 others

tagged: maxverstappen1

yourusername: yes we dress up to carve pumpkins, it’s rude if you don’t.

view all comments

user1: gosh they are so cute

user2: did max just dress as himself whenever he’s within 5ft of y/n?

maxverstappen1: i get why the americans don’t play about the statue of liberty

yourusername: i think they should build one of you in zandvoort

maxverstappen1: and they still wouldn’t worship it as much as i worship you

yourusername: i literally light candles in your name and pray for you with you mum, i think i worship you more sorry

maxverstappen1: the ONLY loss i’ll take

user3: i feel lonely year round because of them but it’s SO much worse during halloween

user4: they are the definition of the couple costume they invented it and they PERFECTED it

landonorris: i thought your apartment was a safe space, why did i get harassed over my costume?

yourusername: it was more of the lack of costume? “streamer” does not count

landonorris: who actually dresses up to carve pumpkins?

maxverstappen1: COOL PEOPLE

yourusername: imagine not dressing up and having an awful pumpkin … could never be me

landonorris: STOP BULLYING ME

maxverstappen1: do better then.

user5: obsessed with how peace and love y/n is for the whole year but as soon as someone doesn’t care about halloween it’s fight time

charles_leclerc: remind me to never accept an invite to a halloween event at the verstappen-l/n household - far TOO much stress

yourusername: but you’re like the only one who deserves an invite to next year because the air max costume slayed

maxverstappen1: i might even let you back on it

charles_leclerc: might???

maxverstappen1: follow me on instagram

yourusername: 2019 was so long ago we really need to move on

danielricciardo: you seriously underestimate just how petty these men are

maxverstappen1

liked by danielricciardo, yourusername and 894,560 others

tagged: yourusername

maxverstappen1: halloween is a full family affair

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user8: JIMMY AND SASSY I CAN'T

user9: yall looking at the croissant and the lobster i'm focusing on AMY AND NICK?

user10: has max even seen this film?

maxverstappen1: nope i just like doing the costumes y/n wants to do

user11: i wish i had enough friends to have like ten billion halloween parties

oscarpiastri: i didn't know what to expect but i did not think i was going to see alex trying to drown george at the apple bobbing station

yourusername: i let them work out their own mess as long as they don't accidentally flood our living room again

oscarpiastri: AGAIN?

maxverstappen1: f1 drivers are just competitive about apple bobbing as they are about driving

alexalbon: in my defence there is a sick trophy for the champ i simply cannot let anyone else win it

user12: they got a trophy made? and girlies are serious about this?

yourusername: custom trophies for apple bobbing, pumpkin carving and best costume

alexalbon: three time apple bobbing champ right here

charles_leclerc: i'm coming for best costume this year

danielricciardo: pumpkin carving was an easy dub last year

maxverstappen1: but no one has out done us for costumes thus far

yourusername: and that's not bias, there is a democratic voting process x

user13: i need to be in this friendship group right now

yourusername

liked by georgerussell63, maxverstappen1 and 723,409 others

tagged: maxverstappen1

yourusername: it's the most wonderful time of the year ! thanks to everyone who came out and making the spooky season special. p.s. shout out to max who found this wig while going through our costume box and insisted on not taking it off the whole set up.

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user16: NOOOOO WHY IS HALLOWEEN OVER ALREADY

user17: rip to all of us who were hoping for a sexy y/n x max costume

user18: they heard we wanted sexy and gave us ratatouille i hate their asses

oscarpiastri: okay so lando wasn't lying when he said you guys go insane for halloween

yourusername: i fear not. i hope you enjoyed your dip in the pool, we found you in a guest room in my bath robe at 3am

oscarpiastri: oops.

maxverstappen1: you fared better than others on their rookie halloween appearance, just ask lando and charles

landonorris: you told me there was no alcohol in the jelly so it's not my fault i ate the whole bowl and threw up in your shower

yourusername: wow way to blame the victims there lando, you literally blocked the drain

landonorris: MAX SAID THERE WAS NO ALCOHOL

yourusername: it was labelled with the ingredients. you just can't read

landonorris: no comment

yourusername: and charles got so drunk that he decided he would sleep on the couch but got 'lonely' and insisted on cuddling with us

charles_leclerc: Y/N!!!! YOU SAID YOU'D KEEP THAT A SECRET

maxverstappen1: don't worry we thought it was cute

carlossainz55: wait is that why you came as a "cuddle bug" this year?

charles_leclerc: NO

alexalbon: and that must be why he got best costume RIGGORY

yourusername: no riggory here, you and lily as mavis and jonathon were a close second

user19: i won't rest until i have an invite next year.

maxverstappen1

liked by charles_leclerc, yourusername and 821,309 others

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maxverstappen1: sorting the recycling with your head barely attached is always the worst part of halloween

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user20: drunk max looks like so much fun

yourusername: i think i might drink my weight in coffee today but i need to see the kitchen floor soon before i lose my mind

user21: ma'am i know you're clinging to life rn but can we know who won what?

alexalbon: ALEX ALBON APPLE BOBBING CHAMP FOUR YEARS IN A ROW

charles_leclerc: i won best costume and it's purely because i'm cute cause NO one there knew about my cuddling escapades last year

landonorris: ugh pretty privilege back at it again

charles_leclerc: jealousy is a disease get well soon

oscarpiastri: my pumpkin ended up winning !! turns out people love a kangaroo in the ghostface mask

maxverstappen1: first rookie to win that title (i am so impressed by the kangaroo)

yourusername: you were actually so good you have to help me with all the decorative ones next year

oscarpiastri: i'm in

user21: but who won the real award - most embarrassing moment?

maxverstappen1: daniel got stuck in the door in his inflatable horse/cowboy costume

danielricciardo: NO esteban dressing as the cheese string man was worse

estebanocon: that's real creativity at least i didn't fall asleep in the bath like carlos

yourusername: not to gang up on carlos but the blanket you took in their is damaged beyond repair and i request a replacement

carlossainz55: fair, but it was me, lando and george in the tub

georgerussell63: fake news @carmenmundt

carmenmundt: i was also at the party babe, it was impressive how you all fit in there

user22: the fact they do all of this and race like two weeks later and the teams just deal with it

maxverstappen1: we've done much worse on race weekends

yourusername: someone didn't have to try and get home after abu dhabi 2021, halloween is nothing compared to that

note: a lil halloween one for you all. i also DO NOT PLAY ABOUT HALLOWEEN. and am currently planning my costume lol. just wanted to get a small one out before all my work comes in tomorrow, much love xx

#f1 imagine #f1 x reader #f1 instagram au #f1 #f1 x you #max verstappen imagine #max verstappen fanfic #max verstappen x you #max verstappen instagram au #max verstappen x reader #max verstappen

[steddieas-shegoes]

Modern AU where Eddie is a tech repair person at an apple store in Chicago while he tries to make it big with his band and Steve is a spoiled rich kid who is trying to cover up that he's been using his macbook to film for his OnlyFans or something similar and he needs that shit wiped.

Eddie is as professional as he can be, but can't help but be amused at Steve being worried that he's gonna see everything.

S: seriously, just wipe everything. nothing has to be saved. don't even look through each file. just start over. E: okay sure. but you know you could just buy a new laptop. S: my dad checks my credit card statements. E: okay, so tell him you bought it for a friend or something. S: just. can you wipe it? E: yeah i can.

Eddie doesn't let him know that he already has seen everything because of course he subscribes to S.H. and often leaves him bigger tips than he can afford. He doesn't even know why Steve does it since he's apparently rich, or his dad is.

It only takes a few hours to wipe it, and Eddie's grateful he managed to help Steve instead of his coworker who is a certified Creep ™️ who absolutely would have made sure to watch as many of the videos as he could first.

He calls Steve and leaves a message for him that it's done, but doesn't hear back and Steve doesn't come by. He does the same thing again the next day, and the day after that, starting to grow concerned.

He goes so far as to check Steve's OF page, just to see if there's an update, but sees it's been shut down, like it never existed.

He finally caves, does the most unprofessional thing he's ever done, and texts Steve's number from his own phone.

This is Eddie from the apple store. Your laptop's ready. Just want you to know after 30 days we usually get rid of unclaimed items.

There's no response.

But two days later, Steve comes into the store wearing sunglasses and a hat, clearly trying to hide.

When he takes off the sunglasses to sign everything, Eddie sees a healing black eye and swollen nose.

He isn't stupid.

And he suddenly feels extremely protective over him.

E: did your dad find out? S: find out what? E: about your online job? S: how do you know? E: I wasn't gonna say anything, and I swear everything got wiped without anyone including myself seeing, but I do subscribe to you and I recognized you when you came in. S, already having a panic attack: shit no. this is bad. okay you can't say anything about this to anyone. please. E: I wouldn't, I won't. but your dad found out didn't he? he did this to you? S: *nods* E: you safe now? S: *shrugs* E: need a place to stay? S: i've been saving. that's why i did this in the first place. so i can pay rent somewhere. E: I have a second bedroom at my place that just opened up. up to you.

And of course Steve takes it because he's desperate, and doesn't have real world experience with a lot of strangers, but has a good feeling about this.

Eddie finds that Steve is a very typical rich kid; ignorant to a lot of the world's struggles, but not an asshole despite his bitchy attitude sometimes coming out, thinks money can fix everything until Eddie shows him that apologies and a cuddle on the couch can be better.

Steve is so touch starved, he doesn't even realize the way he always folds into Eddie's side when they're just relaxing and watching a movie, or how he always lets his hand brush against his side or hand when Eddie gets home from work. Eddie helps him look for a job, and they find that he loves working at a daycare even though the money isn't that great.

They fall in love so easily, neither of them actually realize it happens until Steve comes home after a very long day before the Christmas holidays, covered in paint stains from crafts with the kids, and Eddie just welcomes him home with a kiss.

#steddie #steve harrington #eddie munson #stranger things #headcanon #is this anything #if it is someone should run with it #i have too much to do to add something else

[irndad]

if you’re still doing flower prompts i’d love either Rainflower or Purple Lilac with spencer <3

a/n: heyyyy im alive! writing from my trip, love you guys, don't know the wc! flower prompts

Rainflower - realizing that you/they love them/you back

It comes on all at once. 

Spencer- he’s never been particularly good at knowing when he’s feeling romantic. There wasn’t any experience with it. He knows that he’s hardly anyone’s dream guy- all awkward gangly limbs, too tall and too full of information that no one wanted to hear.

He’s carved out a little corner of the world that he can be seen in, that he can be loved in- but he’s never really been under the notion that someone could want him. Spencer knows that he’s lucky to have even this- to have people that ignite the prickly and irritating parts of himself and love him despite about this. And while he might fantasize, daydream about a life where he can lace his long fingers with those of someone who sees him only in a loving gaze of joy, Spencer knows that he’s not the kind of person that gets that. He’s being rational about it- most days, he’s able to relegate this desire to be filled with fantasy. 

Except- something has been up lately.

His best friend is probably the best person that he’s ever met in his life. She’s a consultant with the BAU, and it’s been nice to know her, in so many ways. She’s funny and kind in a way that never seems to have a victim. Spencer is not the kind of person that particularly values physical beauty, but she possesses it in such a large margin that it is difficult to ignore. He’s actually distracted by it sometimes, having to take extra mental attention to her words when all he is drawn to is the lovely curve of her Cupid’s bow, and the both light and heavy weight of her gaze in him. I like when you look at me, he thinks. She never makes him feel small. 

When they’d met, he was reluctant to her presence in most regards. Spencer knows that when he is focused, he can be a solitary creature, and that he’s an acquired taste. But she never seemed to need time to acclimate to him. From her first day, she listened to him when he spoke, and god, she squeezed his shoulder when she walked past him. 

She never had to try to like him. He was never a concession to her. 

This morning, she is late to work. He tries not to time it, but he enjoys the ritual of his mornings far more when he’s with her. He makes her tea and greets her first thing, and she asks about his evening the day prior. He tells her about whatever foreign film or Russian book he read the night before, a little too earnestly. She listens with her lovely doe eyes, sipping slowly as she transitions into her day. It doesn’t feel like patience with her- it feels like she actually cares what he has to say. Their routine is a warm radio crackle of familiarity, his favorite part of his day.

But she’s late today.

When she walks in, she’s a little frazzled and  so, so, adorable. She’s in a T-shirt that looks so familiar to him, and a pair of jeans that look lovely on her pretty legs. It’s a pleasure, looking at her. He wish he had more time to do it, wants to leisurely drink in the sight of her like he has all the time in the world, it never feels long enough to look.

Her hair’s frazzled and she’s just about 5 minutes late- Hotch hasn’t even come out of his office yet, but she’s clearly nervous.

“You’re okay,” he hears himself say, as she plunks down her bag on the desk, “I have your tea.” 

He doesn’t expect her to look up, but she does. She looks up at him and beams, and Spencer- his heart swells. She grabs the cup, dainty pretty fingers wrapped around the curve of it, and she beams her so-sweet smile at him, and god, his knees might buckle. Has it always been this way? 

He drinks in the sight of her, as she runs a hand through her hair in a worried, incredibly endearing gesture. She’s beautiful, he thinks to himself. He wonders aimlessly, that she might have been meeting with a man this morning. It might be the explanation for the dishevelment. 

The burning bit in his chest this causes is one that lacks explanation. It hurts in a way that he cannot explain- she is not a realistic dream for him to have. It’s not like he’s never thought about the idea of the two of them together. It’s a fleeting thought, like the consideration if your life if you could fly. It’s not a dream that warrants real consideration. 

But when their fingers brush, her light touch on his hand, he can’t help but wonder what it would be like if she wanted him.

“Thank you, Spence,” she says, warm voice dripping with gratitude and something in his heart warms at the nickname, “You’re my hero.”

She takes a sip of it, and closes her eyes in a contemplative, restful moment. It’s unfairly adorable.

He’s never actually thought about it, until this moment. But her beauty transcends just being pure fact, a thing to note about his reality. It would be nice, Spencer thinks. It hits him like a tidal wave, images of her gorgeous laugh washing over him on a Sunday morning, the curve of her cheek, a world where he can hold her by the dip of her waist, where her ever-present kindness meant that she might, could, maybe, love him.

Love him back.

She has whipped cream on her finger. She took the lid of the drink off to have the whipped cream. 

He is so, so fucked. 

“Have I told you that I love you today, boy-genius?” 

Even though she’s kidding, and he stammers out a reply of acknowledgment, it is in this moment he knows, with the certainty of every empirical journal he has ever read. 

Spence Reid is hopelessly in love with his best friend, and there is absolutely nothing he can do about that. 

It’s still nice to want, though. 

#spencer reid #spencer reid fluff #spencer reid x reader #spencer reid imagine #spencer reid x fem!reader #criminal minds #criminal minds x reader #spencer reid x you #spencer reid x y/n

[kidrat]

having feelings about trans Gwen,,, like there's the 'superhero leading a double life' allegory for being closeted, which ppl have noted, but there's plenty I haven't seen anyone mention yet! like, the fact her dad has a trans patch in support of her means she's out.

She's a young trans *girl* (as opposed to a trans woman) living as her authentic gender in a loving home. she went to her school dance in a dress. she did ballet! which of course boys can do too, but often times when people are assigned male they don't get the chance to explore feminine hobbies. It's really lovely that someone, likely Gwen's dad, supported her enough to let her have those girly experiences and memories, whether she was living as a girl when she took dance up or as a gnc boy.

While it's subtle rep, I still think it's awesome to imply a character like Gwen is trans. Trans girls don't always get to have a childhood. Transmisogyny fetishizes transfems and presents them as always victimisers, never victims. They're barred from girlhood and it's connotations of innocence, vulnerability, lovableness.

Not that Gwen isn't a hashtag strong female character! And not that she hasn't had to grow up fast in other ways. She Is Literally Spiderwoman and she plays the drums and has agency and expresses negative emotions. But she's also a teenager, and she gets to be hugged and comforted, and to be set up for a soft friends to lovers relationship with another teenager, a cis boy who respects her and only knows her as a girl and thinks she's amazing and draws her in his sketchbook. That is not a role the media often lets trans girls have!!! It's lovely to think young transfems might be able to see themselves in a character consistently shown as worthy of affection.

Of course, the fact that Gwen is in the closet about being spider-woman is even sadder knowing this is her second rodeo. Lots of us have hesitated to come out a second time because our parents were supportive about the first thing and well, putting something else on them feels like taking the piss or hoping for too much.

Something else I wanted to talk about is how Gwen being trans effects a reading of her Peter's death, especially taking into account the new information this film gave us about this. There's this gendered switch happening, where Peter passes on his usual role to a woman. What's more, he has to die for her story to happen. She loves him, and never wanted him to die, but she's blamed for it anyway. Her father talks affectionately about the dead Peter, calling him his daughter's best friend. He talks about him like a son. He vows revenge on Gwen for killing him. It's a fantastic allegory for how some transphobic parents hate their out trans children for 'killing' the kid they had before.

I think with the above in mind, maybe we can see the subtext of Gwen's arc with her dad in this film as that of a supportive parent who's nevertheless got some biases left that hurt his trans daughter, who doesn't speak up for fear his acceptance is conditional.

I don't think it's a stretch to suggest that protecting a trans daughter is this Captain Stacy's motivation while he's working as a cop. Obviously there's the text that he wants to be a 'good cop' to work against the institution's bigotry, and he displays the trans flag on his work jacket. His quitting the police is a fantastic story beat because it makes a point about the real world while also serving a lot of the analogies going on.

Good cops quit. They realise you can't be a well intentioned cog in a bigoted machine. It doesn't matter if you're a bigot or just taking actions a bigot might because you're working within parameters set by bigots. It's an important message. Within a trans reading of the film, I'd also see this plot moment as Stacy realising he can't protect his trans daughter if he's still playing by the rules of a society that see her as threatening and duplicitous. He's then able to stop seeing her on some level as having killed his son.

They're able to be close again because he has completely rejected the cis culture he was a part of, rather than just decrying the worst parts and slotting Gwen in. She no longer has to worry that he'll rescind his acceptance if she's too trans, and so he gets to know all of her because she can let him into her world without self-editing.

Anyway, those are my thoughts on Gwen after watching Across The Spiderverse two hours ago lmao.

#atsv #atsv spoilers #across the spiderverse spoilers #spiderverse spoilers #spiderverse #spiderverse gwen

[sanguineterrain]

i'll put us back together at heart - s.h.

Summary: It's 1987. You haven't spoken to Steve Harrington in nearly five years. Then Dustin Henderson tells you about a sweet deal he has at Family Video, where he can rent any movie he wants.

Pairing: ex-best friend!Steve Harrington x fem!reader

Word count: 8.8k

Warnings/tags: friends to strangers to lovers. the reader is twenty in 1987 and i technically made steve twenty-one/about to turn twenty-one. s4 happened but eddie's alive and vecna's dead. no earthquakes or anything like that; reader has no idea about what really happened. lots of angst, mentions of billy hargrove (yuck) and steve's s1 asshole friends.

A/N: oh my lord. i don't know where this eighteen-wheeler of a fic came from but here it is. there is a happy ending, not to worry. i'd never do that to y'all &lt;3 feedback and reblogs are always always appreciated!

divider by firefly-graphics

August 1981

"I wish we could stay eighth graders forever."

You lift your head from your orange pool floaty. Steve drifts on the surface of the water. His hair is longer, way longer than you've seen it in the three years you've been friends. He says it's better for styling that way; he's even bought a gel and cream for his hair. You don't understand why he wants to change something that doesn't need changing. 

"Why?" you ask. "I thought you were excited for high school."

He hums. The sound echoes in his backyard. 

"It's bigger than middle school. More kids, more teachers, more work. I like eighth grade."

"I'll help you with your work," you say. 

Steve turns his head and smiles at you. Part of his face is in the water, the image distorted. 

"You'll do great," he replies. "You're so smart."

Steve doesn't say those things to get you to help him like other kids do. Steve means it. 

"You'll do great too," you say. "You're funny and nice and my best friend. People will like you."

"You think?" 

You nod. Steve turns his head and closes his eyes again. 

"We'll stay friends, right?" he asks. 

The floaty squeaks as you move to sit up. You paddle to Steve so you can look at his face. 

"Why wouldn't we?"

"I dunno." His eyes are still closed. "You might make super smart friends. And I'll just be a dumbass holding you back."

You shove Steve's shoulder lightly. 

"You are not dumb, Steve."

One muggy June night had had Steve admit he wasn't thirteen, like you and all the kids in your class, but fourteen. He had been held back in third grade after his parents moved from Illinois. It's why my brain's mush, he'd said. I was born dumb.

He had made you swear not to tell anyone. 

"You're not dumb," you say again. "Say it, Steve. Say you're not dumb."

His frown deepens, but he still won't look at you. 

"Tommy says I am."

"Tommy Hagan is a shithead," you shoot back with so much venom, Steve's eyes fly open. "It's not true, whatever he tells you."

You hate that they've been hanging out more this summer. You can't tell Steve that, because it's not like you own him. He can be friends with whoever he wants. But you can't help that your skin crawls when Tommy and his stupid girlfriend, Carol, drops by and pulls Steve away from you. 

“Promise?” he asks.

“Yes, Steve. I promise.”

“‘Kay.” Steve smiles a little. “Thanks.” 

You nod and lay back on the floaty. 

“Wanna get ice cream after this?” he asks. 

“Just us?” 

“Just us.”

Now. (January, 1987)

You slam the phone back onto the receiver. A girl playing Pac-Man carefully glances at you. 

Whoops. Right. You're still at work. 

You smile and give a thumbs-up. She turns around. You return to your wallowing. 

You’ve called three different video rentals. Jewel Films, which is about to go out of business; More Movies, whose attendant hung up on you before you could say Molly Ringwald; and finally, Blockbuster, which is thirty minutes outside of Hawkins. None of them have a copy of Pretty in Pink. 

And okay. You could just watch another movie. You don't need that specific one. But this year has been shit. You'd thought after starting college, you'd finally break out of the Hawkins forcefield that had limited your social life. You'd thought you'd make friends and not be so terribly lonely. Life is supposed to get better after high school, isn’t it? 

Obviously, whoever said that is a big, fat liar. 

“Dude!” you hear a familiar voice exclaim. “Stop hogging the game!”

Tawny curls peek from under a green and yellow hat. The hat hovers over an older boy who’s glued to the Tempest booth. You go to them. Dustin Henderson lights up when he sees you. You can read his hat now; it says Camp Know Where ‘85.

“Hey, Y/N!” he greets brightly. “This guy has been here for a half hour. I left to get nachos and when I came back, he was still here.”

“I’m this close to beating my score!” the kid insists.

“Come on, guy," you say, one arm on the machine. "You gotta give other people a turn."

The kid, evidently demon incarnate, sneers at you.

“Who’s gonna make me? You?” 

You lean against the side of the game, considering.

“How old are you?”

“Sixteen,” he says.

You snort. 

“Sixteen? And you’re still on Tempest?”

He glances at you. 

“So?”

“Everybody your age is playing Rampage, that’s all.” 

You wink at Dustin. He beams.

“And, uh, I saw a couple girls hanging around Rampage,” you add. 

The kid turns to you. You tilt your head innocently. 

“Seriously?” he asks.

“Seriously. People always flock to the new games.”

Which is true. The girls part is not, but he doesn’t need to know that. With that attitude, he won't be getting many phone numbers anyway. 

You drum your fingers on the game like you have all the time in the world. And sure enough, the kid takes his quarters and heads towards Rampage. Dustin jumps in delight. 

“You’re awesome, Y/N!" 

You grin. “I try. Where are the others?”

Dustin sours.

“They ditched me. To hang out with their girlfriends! Can you believe that shit?” 

“No way!"

He shakes his head.

“I know, right? My friend told me that that’s what happens in high school. People change, y’know? And he’d know, I guess. He’s old like you.”

You scoff. “You make me sound like some kind of ancient. I’m not that old, Henderson.”

“It’s okay, Y/N.” He pats your arm. “In many cultures, the elderly are wise. Now in my experience, this hasn’t been the case. But I think you’re wise.”

“Gee, thanks.”

Dustin smiles like the little shit he is and puts his change in the slot. 

“Well, contrary to what this other friend says, I’m sure it’ll pass,” you say. “You guys will hang out again." 

You swallow your acidic truth. Dustin's a good kid, and so are his friends. You don't want him to turn cynical like you have. He's too young. 

Dustin shrugs, starting the game.

“I guess so. I got a copy of The Lost Boys for us to watch on Friday. They said they’ll be there.”

“Whoa, seriously? That one just came out, how’d you get a copy?”

“My friend,” he says. “The one I mentioned. He works at Family Video and reserves stuff for me.”

“Huh. I thought Family Video was closed."

You'd applied to work there last year and never got a call back. You'd gone by once and it had looked abandoned. Hence why you now work at the arcade across town. 

"It almost did, but Keith took over so now it's barely scraping by."

"Ah. Sweet deal on the movies."

“Yeah,” Dustin agrees, eyes crinkling. “My friend's pretty cool. You'd like him."

"Would I now?"

"Absolutely," he gushes. "He's a total badass too. He won his first fight last year. He used to be a jock but he's recovered." 

"Wow. Impressive."

"Mmhm. I could ask him to hold stuff for you too, if you wanted.”

“You would?”

The game makes a sad game over noise. Dustin sighs and takes a gulp of his slushie.

“Yeah, totally,” he says through a mouthful of blue raspberry ice. “Which one do you want?”

“Pretty in Pink? I missed it in theaters."

“Sure. I’ll tell him to hold it tonight and tomorrow you can pick it up.”

“Cool. Thanks, Dustin.”

Dustin gives you an apple-cheeked grin.

“Gotta stay in good graces with the arcade attendant who lets me play Tempest as long as I want.”

"I don't know what you're talking about," you say, walking away. "Don't get slushie on the game."

"'Kay!"

Dustin only gets a little bit of slushie on the game, but he cleans it up with about a million of the cheap snack bar napkins. When he leaves, he tells you to mention his name at Family. 

"Who do I ask for?" 

"You can talk to either of them," Dustin says. "Doesn't matter. Except Keith. You know Keith, right?"

"Unfortunately.” Keith used to terrorize the arcade before he blessedly moved on. “He works there?"

"Barely." Dustin scoffs. "He's almost never there, so don't worry. And feel free to ask for more movies. They owe me one."

Your sole interactions are with professors and a gaggle of high school freshmen. But now you get to watch any movie you want. Maybe this year won't totally suck. 

The bell rings pleasantly as you step inside. There's a few people on line, so you take your time walking in. There's a movie display with about thirty copies of RoboCop. A cardboard cutout of RoboCop stares back behind his red helmet.

"Can I help who's next?"

You go to the counter. A girl about your age with a choppy haircut smiles at you but it's sort of strained. She has a pin on her green work vest that says Ask me!

"Please don't ask for Adventures in Babysitting," she says. 

"Oh. No, I'm, uh, Dustin's friend?" 

You can't believe you're name-dropping a high schooler. 

She nods in realization. 

"Oh, yeah. God, I keep telling that dweeb not to promise holds."

You wince. 

"Sorry. If it's going to get you in trouble…"

Her brows raise. She smiles a bit. 

"No, it's okay. Usually my coworker deals with it but, well. He's taking an extra long break today. So, what movie was it?"

"Pretty in Pink," you say. 

"Classic," she replies. "John Hughes fan?"

"Somewhat. I didn't get to see it in theaters. I like Molly Ringwald."

She grins.

"Me too. She's pretty."

"Super pretty," you agree. 

The girl considers you, then sticks out her hand. 

"I'm Robin," she says. "Nice to meet you."

You take her hand. "Y/N.”

"Did you go to Hawkins High?"

"I did. Graduated last year."

"Oh, cool. Are you in college?"

You nod. 

"Hawkins State. Twenty minutes from here."

"Sweet! I'm taking a gap year, but afterwards, I’m gonna apply there. It's cheap. College is college, right?"

"College is college," you agree. "But I wish I'd gone away for school."

You don't know why you're telling her this. You've known Robin for all of two minutes. But she seems friendly. And her sense of style is cool. She wears a blue blazer and tie underneath her vest. 

"How come?" she asks. 

"Everybody from Hawkins is there," you say. "And I… I just want a new start."

Robin smiles sympathetically. 

"They're jerks," she says. 

You huff. "Yeah."

You'd turned yourself into a social recluse a million years ago. It's your own damn fault you can't befriend anybody in this town. At least, not anymore. 

Robin types into the computer, then smacks the monitor. She groans. 

"Ugh. Gimme a second," she says. "Stupid technology."

"No problem," you say, smiling. You like her. Maybe you can integrate Family Video into your regular routine, become friends. You can see Robin becoming a good friend. One you wouldn't grow apart from. 

She disappears into the back room. You browse the old releases and stop at Die Hard. This one you saw in theaters. John McClane is a badass. 

You think of Dustin, and his supposedly badass new friend. It's too bad you didn't meet today. Dustin has a good sense about people. If he says so, it's possible you and this friend really would get on. 

The bell rings again. You're slow to look up. The entrance is empty when you do. You keep reading about John McClane's adventures. 

"Have you been waiting long?"

You turn at the new voice. The video slips out of your hand and clatters onto the counter. 

Steve’s hair has grown since you last saw it. He looks different too, though he has yet to break out of his signature church boy polos. There's a smattering of stubble on his jaw. His arms are lean with muscle. He wears a matching work vest like Robin's, name tag printed Steve in blocky font. 

He looks at where you've dropped Die Hard and smiles. 

"This is a good one," he says. "John McClane is a total badass."

You blink.

"Did you want to rent that one?" he continues, meeting your eye. 

"No," you manage. 

"Okay, no problem. Just browsing?" 

He doesn't remember you. 

You stare and stare. Steve leans in, concerned. He's changed, but he hasn't. He's still handsome with his swoopy hair and big, dark eyes, but the Steve you knew wouldn't have been caught dead working at a video store.

And he doesn't remember you. 

"Are you okay?" he asks, sounding genuine.

You take a step back from the counter. The blood roars in your ears. Robin comes back in, Pretty in Pink in hand. She looks at you, then at Steve. 

"Got it!" she tells you. "Computer should work now."

"I have to go," you say. 

You don't look at Steve again, instead focusing on Robin. 

Her brows rise. 

"Oh. Is everything—"

"I forgot my wallet," you blurt. "I can't pay for the movie. Sorry."

"That's okay, we can just—"

You run. The bell chimes over her words. You keep running until you get to the bus stop, three blocks away. 

Only there do you stop to catch your breath. 

And then you cry. 

February 1982

"What do you think about Marie?" 

You look up from your textbook. Steve is doodling in the margins of his notes. You gently prod his arm. He returns to reading but his leg starts to bounce under the table. 

"Marie Iverson?" you ask.

"Yeah." 

Steve glances at you. He pushes his hair back. It had taken him freshman year to get his bearings with all the gels and creams, but now, his hair is a point of pride, always perfectly coiffed. Seniors call him "The Hair" and high-five him in the hallway. You hate it. 

"I don't know. I don't know her that well."

"She's cute." 

"I guess so," you say. 

It's harder to get Steve to focus on homework these days. Last year, he happily made flashcards with you and even bought fancy gel pens to share for your notes. Now, he prefers to talk about girls or—

"I was thinking of asking her out."

The tip of your pencil breaks. You really ought to start using pens, but you don't like being unable to erase. 

"Shit, here. Take mine." 

Steve offers his still perfectly sharpened pencil. You stare at it. 

"Y/N?" 

"Yeah." You take the pencil. "Thanks."

"Sure. So what do you think?" 

"I don't know, Steve. I thought you talked about this stuff with Tommy."

"I would, it's just…" Steve shifts uncomfortably. "He can be rude about it sometimes. He doesn't even get why we're friends, y'know? Doesn't understand why I don't just date you."

Tommy is a moron, but you've said that since last year, and Steve's never listened before. 

"Some people don't get it," you say mildly, because you have an upcoming French test and there's no use in getting upset over Tommy Hagan right now. 

"But you do. And you know about this stuff better than me. Girls and all."

"Just because I'm a girl doesn't mean I know what girls are best for you to date, Steve. It's weird to talk about."

Steve deflates. 

"Oh. Yeah, I guess so. Sorry."

You sigh and rub your temple. 

"I thought you knew all about that," you say, extending an olive branch. "Asking girls out and stuff."

"Well, I mean, I've kissed girls but I've never… you're, like, the only girl I really know."

Something like pride swells in your chest. Selfishly, you want to keep Steve. You don't want to help him if it means losing him. Oh, you're so greedy, aren't you? You watch Steve run off with Tommy and Carol and nameless seniors and seethe, because Steve was yours first. Steve is yours.

"Y/N?"

"Yeah." You give him back his pencil and fish for another one in your bag. "Did you ever think about writing how you feel?" 

"Writing?"

"Yeah, like a poem or a letter."

"I'm terrible at writing," Steve laments. "The letters get all jumbled and I never spell a damn thing right."

He'd told his mom once how letters melt into each other, how b's become d's. She'd taken him to get his eyes checked, and when the doctor said Steve was fine, Deborah Harrington had told her son to stop begging for attention. 

"Someone who really likes you won't care about spelling mistakes, Steve," you tell him. "As long as you write from the heart. Don't do that cheesy shit and quote Romeo and Juliet. They're young, impulsive, and they die at the end, and that's not romantic."

Steve laughs, nose scrunched. 

"What!" you demand. "What's so funny?"

"Nothing, 's just—of course you'd have something to say about quoting Shakespeare."

"It's overdone," you say, crinkling your nose. "And girls would much rather read your own words." 

"So you think I should write Marie a letter?"

"If you really like her," you say. "Only write letters for girls you really like. Otherwise they lose their meaning."

Steve frowns. "I don't know if I should write her a letter, then."

Don't, you want to say. Don't write any of them letters.

You shuffle your papers into a stack. 

"Can we study now?" you ask.

"Oh, sure, yes. Sorry."

"You don't have to keep apologizing, Steve."

He shifts closer to you. His leg has stopped bouncing.

"Lemme take you out," he says. 

You nearly swallow your tongue. 

"Wh–what?"

"For ice cream," Steve clarifies. "Like we used to. Dairy Queen."

"Oh. Okay, sure. But after we study."

Steve beams. "I'll drive you."

Steve's dad had bought him the BMW as a birthday present this year—not that Richard Harrington actually knows when his own son's birthday is, considering the gift was three months early. Still, it's another point of pride for Steve and about all anybody talks about whenever his name comes up. Steve is the only person in your grade with a car. Junior girls hit him up for rides. You make yourself scarce when they do. 

You don't care. You liked Steve before the car. And the clothes. And the hair. 

Your throat feels tight. You want your best friend back. 

"Just us?" you check. 

You can't tell these days. Steve seems to hang out with everybody but you. You're shocked he'd even asked to study together. 

"Oh, sure," Steve says. "I just have to drop off Tommy and Carol first, okay?" 

You check your watch and close your book. 

"I have class," you lie. "I'll see you later." 

Steve catches your wrist. He looks at you and you're struck by how sweet his face is. It's not like you didn't understand why girls want him but it's Steve. Your Steve, who still sleeps with a nightlight and who framed a picture of a sports car he cut out from a magazine because he'd thought it would make him cooler (it didn't. You still tease him about it.) 

"Please," he says. "For helping me."

Your eyes slit. "I didn't help you to get stuff, Steve. I helped you because you're my friend."

Steve blinks like he's forgotten what it's like to be friends with someone just for the sake of being friends. 

"You're right," he agrees. "You're not like that. I'll tell Tommy and Carol to find another ride. It'll be just us. I promise."

You perk up at that. "Really?"

"Really. You can sit in the front with me and we'll play Bruce Springsteen, like we used to. Please?" 

"Okay, Steve." You ache. You’ve never been very good at telling him no. "I'll meet you in the parking lot."

And maybe… maybe your best friend is still in there after all.

Now

You ask your shift manager if you can work at the snack bar today. It's in the back and you won't have to deal with any game hogs. 

"You didn't put enough syrup in my slushie."

You might have overshot the perks, though. 

Slushie Girl's hair is bleach blonde and hairsprayed to God. You want to tell her that all that hairspray doesn't keep friends. Or brain synapses. 

"I don't make the slushie," you say for the third time. "That's how it comes out of the machine."

She shoots you a mean look. 

"I'm complaining to the manager."

You paste on a smile. 

"You do that. Have a nice day."

She finally walks away, probably on the hunt for your manager, who's definitely smoking a joint outside to avoid this exact situation. 

Dustin comes around the corner and this time, he's with the rest of his party. You smile. 

"Hey, Y/N!" Dustin greets.

Lucas waves at you. Max and Mike are arguing and therefore are in their own world. And there's their newest addition, El, whose story you're still not clear on, as well as Will, quiet as always. 

You lean your elbows on the countertop. 

"What'll it be, gang?"

"Six nachos and six slushies, please. One blue raspberry, three cherry, and two Coke."

You fill up the slushies first. Dustin dances on his toes. 

"So did you pick up the movie?" he asks.

"Oh." You try to smile. "I went there but I couldn't. I forgot my money. Pretty dumb of me."

Dustin accepts this with no argument. 

"Well, you can go back. They'll hold it for a few days."

You're never setting foot in there again, but you don't tell Dustin that. 

He takes his slushie and immediately starts drinking. 

"Slow down, dude. You'll get a brain freeze," you say. 

"You sound like Steve," Dustin informs you. "Doesn't Y/N sound like Steve?" 

Lucas nods. 

"Yup. They're both parents."

You feel queasy. You focus on making the nachos, the cheese pouring out thick and gooey. 

"Did you meet Steve?" Dustin asks. "You probably know him from high school, but he's different now."

"Yes," you say quietly. "I knew him."

"I promise he's different. Even Mike likes him, and Mike hated his guts. Right, Mike?"

Mike pauses in his animated discussion with Max and looks at you. 

"What?"

"I'm telling Y/N about how Steve is cool now," Dustin explains. 

"Oh." Mike shrugs. "He's fine. Much better now that he's not dating my sister."

"He's not?" you ask. "But they were in love. I–I mean, that's what I heard, at least."

"She dumped his ass," El says, and it sounds a little ridiculous in her soft monotone. 

Max scoffs, taking her Coke slushie. 

"Did you live under a rock? It was a huge thing."

"Now Steve is lame," Mike says with a snort. 

"Getting dumped doesn't make somebody lame," you say with an old ferocity you'd thought had disappeared. 

"Okay, jeez." Mike holds up his hands. "Steve's alright. He's different, that's for sure."

"He's our paladin," Lucas says. "A protector." 

Dustin nods eagerly.

You blink. "He protects you guys?"

Max elbows Lucas. You have no idea what that's about. El steps forward and smiles softly. 

"Yes," she says. "He's our babysitter."

"Aren't you guys freshmen? I thought you were too old for babysitters."

"Oh no, Steve doesn't get paid for it or anything," says Mike. "He just does it 'cause he has nothing else to do."

"That's not true!" Dustin argues. Then he shrugs. "Well, it's a little true. But he does like us. He's a good guy. He cares about his friends."

You bite your tongue, not wanting to reply to that. 

"That's great, guys. The girl, Robin? She seems pretty cool too."

"That's Steve's best friend," says Dustin. "She's great."

"Oh." You wince. "Best friend?" 

Dustin huffs. “Yeah. They don’t date. He won’t say why."

"Platonic with a capital P," Max confirms. “It’s obviously because he’s in love with somebody else.”

“Not Nancy!” Lucas protests.

“There are other girls besides Nancy, Sinclair.”

You busy yourself with serving the last set of nachos. The kids pull out crumpled bills and coins in return. You count the money and stack it directly into the register; you know there won't be any change. 

When you turn, they're still there. Dustin has his signature grin on, eyes squinty. 

"Yeees," you drag out. "Can I help you?"

"We need a favor," Lucas says. "Please."

"Hmm." You lean over the counter. "What's up?"

"They're showing Prince of Darkness on Friday," Dustin explains. "But it's rated R."

"So just sneak in. Isn't that what you guys did at Starcourt?" you ask.

"We had an inside man then. They're a lot stricter at the new one," Lucas frowns. "They ask for IDs 'cause some mom complained after her kid snuck in to watch Risky Business." 

"And why can't your babysitter take you?"

You sneer at the thought. Steve spending his Friday nights herding a bunch of adolescent teens into a movie theater. There's a reason you consider Dustin affectionately delusional. 

"He has a stupid date," Dustin groans. "He's a serial dater, Y/N. It's terrible. He gets lucky once and totally ditches us."

Now that sounds like the Steve you knew. 

"I see. I don't really like horror stuff."

"You don't have to stay!" Dustin insists. "You can watch whatever you want after we’re in. I'll pay you back for the ticket."

“This would be so much easier if Steve still worked at Scoops,” Mike grumbles.

You blank for a moment, the image of Steve in a sailor’s hat and those ridiculous shorts whiting your brain.

“Um,” you begin. “You know I don’t have a fancy BMW to cart you guys around in, right?”

“It’s cool. We’ll get there,” Max says.

“So?” Dustin bounces on his toes. “Sooo?”

You sigh. It’d been nice of Dustin to get you the movie, even though you’d chickened out and ran. And it’s not like you have anything better to do.

“Okay,” you say. “I’ll get you guys in.”

Dustin pumps his fist. “Thanks, Y/N! You’re my favorite old person.”

You roll your eyes. “Funny. Any funnier, and I might rescind my help, Henderson.”

“Byeeee!”

They all disperse to the arcade. You wonder how on earth Steve got involved with them.

March 1983

“Okay, but if you had to choose.”

“Pass. I would literally rather swallow pennies than kiss Principal Coleman’s bald-ass head, Steve.”

Steve takes a triumphant swig of beer. “So you’re saying you’ve got the hots for Benny the janitor.”

“No!” you insist through giggles. “I don’t. God, you’re gross. Can’t believe I’m being treated like this on your birthday.”

“Exactly! My birthday.”

He rolls onto his side in his deck chair and nearly faceplants on the cement. You reach out, reaction time delayed.

“Steve!” you yell. “Careful.”

“I am, I am,” he mumbles, and rights himself on the chair. “Jus’ wanna see you better.”

“I keep telling you you need glasses.”

“I do not,” he whines. “My vision’s ten outta ten. Could a guy who needs glasses do this?”

He crumples up a Twinkies wrapper and throws it towards the garbage. The wind picks up and sends the wrapped into the pool. 

“Shit,” he says.

You belly laugh in delight.

“Wait, wait, redo. Go fish it outta there.”

“Oh, as if. I’m not going in there. I told you you need glasses. Even Mother Nature agrees.”

"She does not. Mother Nature thinks I'm a doll."

You hum and close your eyes. Alcohol always makes you sleepy. 

The chair scrapes against the concrete. You hear a crinkle of a chip bag. Those are your only warning before you’re crushed by two hundred pounds of drunk boy. 

“Steve!” You wheeze, squirming as his hair tickles your face. “Get off!”

"’M sleepy,” he mumbles.

“Well, don't sleep on me, weirdo.”

“‘S cold.”

“You run, like, a hundred degrees, don’t lie.”

He lifts his head. “So you’re saying I’m hot?”

“I’m saying all that booze cooked your brain,” you reply sweetly.

“I’ve been wounded,” he moans and plops onto your shoulder.

“Ugh.” You resign to your fate and lean back. Steve’s not actually that heavy; even drunk, he has a lot of control over his weight and he’s situated himself so he isn’t crushing anything important. No, you squirm underneath him for a very different reason. 

“Steeeeve,” you whine. “You’re gonna squish me into a pancake.”

“Can’t believe no one else came.”

You still. Steve’s face remains buried in your shoulder. His body is beside yours, and he has an arm slung over your belly.

“I didn’t—didn’t want a party,” he continues. “I always throw parties. I thought I’d do somethin’ different. An’ none of them even wished me a happy birthday. ‘Cept you.”

You rest your hand on the back of his hair. It’s wind-blown and messy from the drinks, free of his heady hair gel. You’ve never loved it more.

“Did you tell them your birthday is today?” you ask gently, even though you know he did.

“Yeah,” he says. “Told all of ‘em. Guess they weren’t listening.”

“I listen.”

Steve looks up at you. His eyes are glassy.

“God, I miss you,” he says.

You feel the wall you’ve built this year crumble, just a little. 

“I’m right here, Steve.”

“I know but—been a jerk lately. I know I have. You’re my best friend, okay? Nothing’ll change that. I–I love you so much.”

Your breath hitches. Steve barrels on, not noticing.

“And I’ll be better. We’ll hang out more. Not–not here, drunk. But for real. We’ll go to the movies. Y’wanna see a movie?”

“Yeah,” you whisper. “I wanna see a movie.”

“‘Kay, what movie? Anything you want. We’ll get popcorn and Raisinets.”

“You hate Raisinets,” you choke through a watery laugh.

“I’d eat Raisinets anytime with you.”

You lay there, in the dark, the only sound being the pool filter.

“Let’s watch the new James Bond.”

“Hmm, okay. But you’ll have to say the name eventually.”

Your nose crinkles. “I am not calling it by its name.”

His laugh is warm in your neck. 

You don’t tell Steve to get up again. He snuggles into you, leg over yours. You fall asleep like that, curled underneath him.

Now

“Wait.” Max stops. “Shouldn’t we have, like, a game plan?”

“Game plan?” El asks quietly.

“Yeah. Some of us aren’t so great at playing it cool.”

She stares at Lucas.

“I play it cool!” he squawks. “I am so cool!”

“Right.”

“Just let Y/N do the talking,” Will says. “She’s technically the adult so she should act like this is a conscious choice.”

You shrug. “Makes sense to me.”

Dustin beams. “This is gonna be great!”

“Or a total disaster,” Max says.

You go to the counter, the kids trailing behind like ducklings.

“Six tickets for Prince of Darkness, please,” you say. “And uh, one for Dirty Dancing.”

The attendant looks at you, then at the kids.

“Don’t you mean seven tickets for Prince of Darkness?” she asks. “It’s rated R.”

Shit. “Right, yes. Sorry. Seven tickets. And one for Dirty Dancing. We have another friend who’s late.”

“Uh-huh.” 

The attendant, whose bored expression you’ve recognized on your own face after long days in the arcade, hands you your tickets without any questioning. 

“I think we’re in the clear,” Lucas whispers when you enter the concession area. 

You wait for them to buy their snacks. Max persuades Lucas to let her mix M&Ms into their bucket of popcorn. He agrees and shuffles closer so they’re pressed shoulder to shoulder while they share. 

“Okay, last stretch,” Mike says, shoveling a frighteningly large handful of sour worms into his mouth. “We just have to get past the ticket guy.”

Said ticket guy is a kid who can’t be much older than you. You think you might’ve gone to school together, but you’ve made it a point to eviscerate everything about high school from your mind.

“Hey,” you say, trying to act cool. Maybe you’re the one Max should’ve been worried about, instead of Lucas. “Uh, here are our tickets.”

He takes the tickets, then looks behind you.

“Prince of Darkness is only for people seventeen and older,” he says.

“I’m an adult, so I’m with them,” you explain. “I’m, like, their guardian?”

“Yeah, uh—” He hands you your tickets. “No can do. There needs to be an adult for each person under seventeen.”

“Come on,” you cajole. “They’re high schoolers. It’s not like they’re gonna be scarred for life watching some zombies, or whatever.”

He shrugs. “Rules are rules.”

“She’s an adult!” Dustin argues.

“Look, if you’re gonna hold up the line, I’m gonna have to—”

“Yo, Gillespie! That you?”

Dustin turns and lights up. The seven of you part for Steve Harrington and his date, a pretty strawberry blonde you think you had biology with.

“Harrington, man, what’s up!” 

Ticket Prick gets up to slam Steve into a bear hug. You barely resist an eye roll.

“Shit, I haven’t seen you in a year! Where’ve you been all this time? Hey, did you hear about that shit with Munson?”

Steve flinches. It’s a tiny movement, indiscernible to the trained eye. But it’s there all the same.

“Gillespie, c’mon. Don’t bring the party down with that,” Steve says, all sweet charm. 

“Sorry, sorry. Daisy,” he greets the girl attached to Steve’s arm.

“Gil,” she replies with a giggle. “You smell like popcorn butter.”

America’s future taxpayers. Terrifying. 

“Are you gonna let us in or not?” Max interrupts, arms folded. 

You feel a burst of pride.

Gil shoots her a dirty glare and puffs up, ready to fight a fourteen year old. Steve cuts in smoothly.

“Gillespie, listen. I know her.” He points to you. You bristle. “I can personally vouch that she’s just trying to do right by these kids. They wanted to see Prince of Darkness, y’know? Get away from the parents.”

“It’s a sick film,” Gil agrees. “You seen it?”

No, of course Steve hadn’t seen it. He hates horror. 

“Planning on it,” Steve says, the ultimate image of playing it cool. “Look, you remember sneaking into the movies. Fast Times? Ring any bells?”

Max rolls her eyes. You’re inclined to do the same.

Gil laughs dopily, and nudges Steve. “Hell yeah, I do. That was a crazy night, Harrington.”

Steve smiles thinly. “Sure was. So whaddya say? For old times’ sake?”

Gil considers your little troupe. Then he shrugs.

“Why not. Manager’s not here anyway.”

He takes the tickets and tears them to stubs, then gives them back.

“Theater six. On your left. Enjoy.”

The kids stampede into the left theater wing. You hang back with your own ticket. 

“Appreciate it, man,” Steve says, all smiles. “Take care, alright?”

“Hey, you too, Harrington! We gotta catch up!”

Steve and Daisy go in. You expect them to walk right past you, and Daisy does, predictably. But Steve stops.

“I’ll catch up, okay?” he tells her. “Find us some good seats?”

She paws at him a little, then goes, sodas in hand. You stiffen as Steve walks and stops three feet away from you. 

“Hey,” he says. “Sorry about that. Gil’s an asshole.”

“I know. He yawned during my poetry reading sophomore year. And then you guys went to the movies together.”

Steve shrinks. “Your poems were great.”

You’re suddenly exhausted.

“What do you want, Steve?”

“I just… I wanted to see you. Say hi.”

“Okay.” You cross your arms. “Hi.”

“You forgot your movie,” he says. “The other day.”

“I didn’t want it that much.”

“Dustin said you looked everywhere for it.”

“Well, in the end, it didn’t really matter,” you say. “Not enough to stay.”

“Y/N—”

“I think your date’s waiting for you,” you interrupt. “Better get back to her. Wouldn’t want to taint your reputation.”

Steve makes a noise like he’s been wounded. You turn on your heel before you can think better of it. 

“Wait.” He catches your wrist. Steve’s grip is light, like you’re something precious to hold. You wrench your arm away. “Y/N, I want to apologize. I’m sorry.”

“For what?” you ask. “For forgetting me? I didn’t expect you to remember, Steve.”

“I didn’t forget you,” he insists. “I could never forget you. I wasn’t—please, can I just explain?”

“I don’t need your explanations,” you snap. The hurt corrodes your tongue like acid. “I know what happened. We were both there. You left.”

Steve’s eyes are huge and dark. He looks like you just stabbed him in the heart, and that makes you feel worse. You’d thought telling him how much it hurts would put you back together, but all it did was break you more.

So you run. Again. 

You slam through a back exit and rip your ticket into a million pieces. The wind is cold and unforgiving. Your eyes sting. 

You call out sick for two days in a row. You kind of expect to get fired, but then again, people have been leaving Hawkins and if you’re not here to serve the masses their slushies, who will be?

So, after lying in bed not thinking about movies and strawberry blonde girls and how sick you are of this town, you get up and put on your arcade vest.

Now it is two in the afternoon. You’d heard it was supposed to snow today.

Robin eyes the snack counter like it holds the next plague outbreak. You don't blame her; you make it a point to wash up to your elbows after work.

"Slushie?"

She looks at you like she’d forgotten you were there. "What?"

You point a thumb at the machine. "Are you here for a slushie?"

"Oh. No, sorry. Red dye makes me insane in the brain. Steve actually—"

Robin stops, grimaces. So he's told her. Probably everything, if the kids had been telling the truth. 

You're honestly surprised she's here. Unless it’s to, like, swirlie you in the vat of artificial cheese. 

"Are you here to drown me in nacho cheese?" you ask.

Robin's eyes go wide as dinner plates. "What? No!"

"Just checking." You lean against the counter. "What can I do for you, Robin?" 

Robin suddenly looks like she's never interacted with a human being before. You like her a lot. Steve probably does too. 

"I came to drop off your movie." She holds the tape over the counter like it's a pool of lava. 

"But I didn't pay for it." You shove your hand in your jean pocket; you only have a couple dollars on you. "I guess I can get you the money tom—"

"It's on the house. For a fellow Molly fan."

Robin wiggles the tape with two fingers. You take it and wait for a catch. There is none. 

"Thank you," you say. "You didn't have to do that."

"Actually, it wasn't me," she confesses. "I'm just the mailman."

You prepare to hand it back but Robin shakes her head. 

"He's not going to pop out of the slushie machine, okay? He's just trying to make it up to you."

"He doesn't need to make it up to me," you bite, except those aren’t the words you mean. "Why does he even care? We're not in high school anymore."

Robin smiles a sad smile. 

"I know," she says. "We’re not. I know he should've known to fix things earlier. He's received a lot of blows to the head, though, so he's still catching up."

The thought turns your stomach. More? More you weren’t there to protect him from?

"He doesn't owe me anything," you say and wave the tape again. "You can take it back and leave it for somebody else."

"Y/N, I know we don't know each other, like, at all. But it's important to me you know that Steve cares about you, because you’re important to him. And you knew him way before I did, and you probably know a lot of stuff I don't, and that's good because he has a friend like me, but he should also have a friend like you too, Y/N."

"I don't want to be his friend," you mumble. 

"Yeah," Robin says. "I figured. But I don't think that's a confession he should hear secondhand."

You look at her, stunned. She's such a clever girl. You hope she treats Steve well.

"If you two are—"

"We're not," she says, like this is a regular explanation she goes through. "Steve and I are friends. Steve has crashed and burned with every single date since his fall from regency. Steve is the best person I've ever met." 

"Yeah, I’ve heard. You and Dustin are his biggest fans."

Robin snorts. "Trust me, I'm not proud of it."

You shake your head. Your eyes feel hot. 

"This town is so shit," you say. 

"Yeah," Robin agrees. "It really fucking is. But I'm not asking you to give this town a second chance. Just him."

"Why are you trying so much?" you ask. "You don't even know me."

Robin shrugs. "No, but you're the one person Steve used to be friends with who's not an asshole, and I think us non-assholes need to band together."

"I can sometimes be an asshole."

"Me too. So are those little dweebs. How about calling ourselves the Semi-Assholes Club?" 

You laugh. "We'll get jackets."

"With partially drawn butts on the backs," Robin says with a giggle. 

You look at the tape in your hand. 

"Does Steve like John Hughes?" 

"He does. He's a total sap for those. He thinks he's in his own coming-of-age movie because he's delusional."

He sounds perfect. He sounds like the friend you loved. 

"I did want to watch this one," you say. 

"It won't hurt you to," Robin promises. 

You suppose not.

December 1984

You don't believe the whispers. All week, the rumor mill spins tales of Billy Hargrove finally pushing the King off his throne. There's no way he'll show his face, a girl at the adjacent lunch table astutes. I sure as fuck wouldn't.

Steve Harrington is a loser. Steve Harrington got dumped for Jonathan Byers. Steve Harrington may as well be dead, and on and on. 

Every line gets you angrier. A boy who sits behind you in chemistry taps his pencil like he always does. Tap, tap, tap. 

Halfway through class, you snap at him to quit it. He does, but not without a tinge of embarrassment. You’re so angry this year. Angry at your loneliness, angry at the unfairness of said loneliness. You might’ve done this to yourself, and that fact only gets you angrier.

You see Nancy Wheeler in the hallways with Jonathan Byers, and the confirmation of that rumor should make you happy. It doesn't. 

A week later, most of the excitement has died down. Everybody’s moved onto the next big thing, which is to deduce who fucked in Vice Principal White's office. One look at V.P. White, and it had been decided that it can't have been White himself. 

You can't care less. Once upon a time you might’ve laughed about it with a friend, but you don't have any more of those, and high school is bullshit with or without them. So.

Steve walks in twenty five minutes into the period. Mrs. Kaplan gives him a downright beastly glare and demands to know where he had been. 

"I'm sorry," is all he says. "If you give me detention, I understand."

There are a few snickers that rub at an old hurt, one that had flared up whenever somebody dared to make fun of your best friend. It doesn't bother me, he'd said, and you'd known it was a lie. 

It bothers me, you’d replied, and Steve had hugged you tight.

Mrs. Kaplan seems more stunned Steve hadn't swaggered past her like a peacock escaped from the zoo and lets him go sit down without a fight. He takes the only empty desk, two rows across from you. You stare. You can't not. 

Half of his face looks like it was mashed in a garbage disposal. It's purple and a sickly yellow. His eye and lip are still swollen. You stare and stare. You feel queasy. 

Billy had done that. You're so angry. You think you might never get past this grief, this loss of a once permanent fixture in your life. 

No one wished Steve a happy birthday this year, you realize out of nowhere.

You stare and stare and stare until Steve looks right back. You're blindsided by thick guilt, like blinking through a milkshake. And then the familiar curl of anger returns because why the fuck should you feel guilty? You aren't the one who fucked everything up, who mascerated this good thing. Steve did this to himself. Steve deserves to walk the halls alone. It's Steve's fault. 

But when you look at him, at his raw wounds, at his bruised knuckles, you know that he already believes he deserves every punch Billy Hargrove gave him. 

You hate Steve Harrington. But you really wish you'd been there to drive him to the hospital. 

Now (And Forever)

The tape sits buried in your drawer for three days. You don’t know what Family Video’s return policy is, but you hope you’re not racking up late fees. You doubt name dropping Dustin will work again.

It’s Saturday when you decide to watch Pretty in Pink. You remove the video from its sleeve. An envelope falls out.

The front has your name printed in squished, loopy script. You remember January at Steve’s house, a stack of thank-you cards courtesy of his mother awaiting the Harringtons’ sign-off. Steve’s hand would cramp and you’d take over while he made grilled cheese for the both of you. Love, The Harringtons, and there was no love in that house, but you think maybe Steve loved enough to make up for it. 

Hi, the letter begins. I hope you’re good. Robin told me you’re going to Hawkins State.

That’s fucking amazing. I’m so proud of you. Are you still writing poetry? I liked that one you wrote about the birds who shared a branch and kept each other warm. I still have it in my notebook in my room.

I’m sorry for the other night. I’m sorry for every night since freshman year, honestly. I’m kind of a dumbass, but you know that, so it doesn’t really excuse anything. I think I’ve actually lost brain cells since we drifted apart.

You crumple the corner, suddenly hot with anger. Who keeps telling him he’s dumb? You want names.

I didn’t forget you, you know. I got scared and I thought maybe I could ease into it, but then you recognized me and… well. I don’t blame you for running.

Anyway. I’m talking too much about myself, when there’s nothing to say. I’m really sorry about what I did, or, actually, what I didn’t do. Somebody told me I was living on autopilot, and that it wasn’t really living at all. I think it was you. 

I’m not living on autopilot anymore. I woke up. And I realized that you’re the best fucking thing that’s ever happened to me. I love Robin and the kids and this little family that has apparently invayd invaded your life too. Sorry about that. They never leave and they eat all your food. Good luck. 

But I miss you. I always have.

Shit happened these last few years that I’ll tell you about one day, if you want. I’d rather not, though, because you’ve always been the paranoiac (like that one? Robin said it’s an SAT word) of the two of us and I feel like this would just make you even more of one. But I will tell you, if you want to hear it. I want to tell you everything. I want you to tell me everything too. Like we used to.

I want you to tell me how college is going. Who the annoying jerks in your classes are so I can go beat them up (kidding). I want you to stop by to rent movies so I can lend them for free and you’ll yell at me about taking advantage of fre friendships. 

Fuck, I miss you. It’s always been there, bubbling below the surface. I never stopped missing you. I never stopped loving you. I’m sorry I didn’t write this sooner. I know you said writing is how we express things we can’t say. You were right. You always are. Can’t believe I forgot that. 

It’s okay if you don’t want to be friends. I mean, it hurts, but I respect it. I understand. Most days, I can’t believe people can bear to be around me. But then I hear your voice in my head, telling me that most people are shitheads and that I’m golden and. Well, I don’t know if I believe that, but you were right that most of the people I surrounded myself with were shitheads. Except you, of course. And then I went ahead and fucked that up.

I’ve been working on finding the non-shitheads of the world. I think I’m doing pretty well. And I wrote this because I realized that while I will probably end up buried in this fucking town, you’re going to do something incredible. And nothing incredible ever happens in Hawkins, so I figure you’ll be far away when you do it. 

I didn’t want to miss this chance to write things I never said. So here they are. And you can do whatever you want with them. You’ve always been the best of the two of us. I trust you.

You should watch Dirty Dancing. You’ll like it. I did. I’ll see it again if you want. I’ll watch anything with you.

Did you know there’s another Bond movie coming out in the summer? We could watch that one together too. If you wanted more time to decide.

Sincer

Lo

Your friend,

Steve

You don’t bother ejecting the tape. You run all the way to the bus stop, Steve’s letter in hand. 

You have to see him. No other thoughts register except that one. You have to know if Steve wrote these words because he can’t say them or because you won’t listen.

It isn’t too late when you get to Loch Nora. The neighborhood is dead, which is weird. Steve’s house looks frozen in time: his parents’ car isn’t in the driveway. You wonder if they’ve ever come back since you’ve been gone. You wouldn't be surprised if the answer is no.

There’s a tarp over the pool. The gate is locked with a chain. You can’t sneak in through the fence like you used to. Not that you would. You don’t think strangers can sneak through pool gates.

You knock on the door three times. And wait.

Steve’s car is in the driveway, a duller burgundy than when he first got it. There are a few scratches in the paint. No longer a prized possession. Maybe well-loved instead.

The door swings open. 

Steve says your name like a prayer. You swallow and steel your spine. 

“I got your letter,” you say.

“Oh.” He rubs the back of his neck. His hair is damp like he’s just showered. It curls around his ears. Waves of want hit you. 

“I don’t want to be friends,” you continue before he can speak. “I don’t—I can’t do that again.”

Steve’s mouth draws into the saddest frown you’ve ever seen.

“Okay,” he says softly. “Thank you for telling me.”

“No.” You shake your head. “No, that’s not—I don’t mean it like that.”

His brows knit. “What?”

“I…” You pull out the letter and wave it. “Did you mean it? Do you love me?”

“Yes,” Steve whispers. It’s like a shout in the quiet street. “I meant it.”

“Like a friend?”

“If that’s what you want.”

“Will you love me like a friend forever?” you ask. 

“Always.” 

You squeeze your eyes shut.

“I love you as something more,” you blurt, watery. “I have for a long time.”

You hear the door shut. This is it: your heart on the line, all for nothing—

“Then I’ll love you as something more back,” Steve says. “I’ll love you any way you want me to.”

And he holds you the way you’d held him so many times. You inhale and wrap your arms around his neck. You’ve got an iron grip around the letter. Tears slip down your cheeks.

“I missed you,” you confess.

Steve nods against your shoulder.

“Yeah,” he says, and it sounds a little wet. “I missed you too.”

“You were wrong,” you say into his neck.

“Hmm?”

You pull back to look at Steve.

“Incredible things do happen in Hawkins.”

“Oh, yeah?” Steve smiles, cheeks blotchy. “Like what?”

“We found each other again.”

#steve harrington x y/n #steve harrington x you #steve harrington x yn #steve harrington x reader #steve harrington fanfiction #steve harrington fanfic #stranger things x reader #stranger things fanfiction #stranger things x you #stranger things imagine #stranger things fic #steve harrington imagine #steve harrington angst #friends to lovers #strangers to lovers #friends to strangers to lovers

[ghouljams]

I just saw a tiktok where the caption was “pov: your situationship just kissed you in the forehead, said ‘I left you a backstrap in the fridge’, and left for work” and the videos is of the woman checking her fridge, seeing a piece of meat, and then looking like she’s reconsidering her whole life. My city slicker suburbs ass didn’t know this but apparently backstrap is the equivalent of beef tenderloin for hunters, each deer/elk has like 1-2 pieces so giving someone a backstrap is downright a marriage proposal.

I have no idea where this would fit into Ghost and Goose's relationship (definitely before they get together officially), or even if it would be (would Ghost hunt?) but all I can think about is Goose staring at the meat on the countertop when Duck walks in and is like "what's wrong?" and Goose just points to the backstrap and goes "Ghost gave me this." And now both of them are staring wordlessly at it when Price comes in and goes "what are you two gawking at?" and they both point at it and say in unison "Ghost left this." and now the whole family is staring at this declaration of undying love on the kitchen counter.

God the backstrap, I've seen that tiktok and that's the most beautiful cut of meat I've ever seen in someone's fridge.

I know I just made a post about Ghost being an animal guy and not hunting like a normal person, but I also think hunting is something he would take a lot of pride in. He likes the survivalist element, but he also likes the feeling of being a provider in a very primitive way. He went out and got food, killed it and butchered it himself, just for his little family. Anyway *throws fic at you*

"Left you somethin' in the fridge," Ghost tells you on his way out for the day. You give him a look of quiet confusion and he tips his hat a little lower over his eyes, not looking at you.

"It's not another frog is it?" You grimace, thinking of the last time you went gigging.

"One frog, one time," He grumbles, not bothering to answer you as he walks towards the stables. You sigh and go to clean up whatever mess he'd left. You wish he'd stop leaving things in the main house's fridge, if he wants to put live animals somewhere he should put them in his own damn house. You shiver remembering the frog you thought was dead leaping at you as soon as you'd opened the fridge door. You're not squeamish with cold blooded critters but that would scare the pants off anyone.

You brace yourself as you tug the communal fridge open. Nothing jumps at you, which is a good sign. You crouch down to sort through the contents for whatever Simon left and freeze. Sitting right in front on the top shelf, neatly covered with cling wrap, and a post it with a hastily scribbled out heart, is the most beautiful cut of meat you've ever seen. Brilliantly red and marbled. You tug it out to inspect, push your finger against the plastic film to check that it's actually meat. There's no fat, and the cut is a lovely sort of tenderloin. Where did Simon...

He went hunting recently. You remember the deer in the back of the truck, the marrow filled bone he'd tossed the dog. Jesus fucking Christ, you know exactly what this is. You quickly stuff it back in the fridge and slam the door to go get your mom.

You both stand in front of the open fridge as she inspects the meat. She stiffens, apparently coming to the same conclusion you did and forces the plate back into your hands.

"What is this boy doin' givin' you the best cuts off his venison?" She asks, crossing her arms over her chest.

"Momma, I swear to you I don't know," You carefully settle the backstrap back in the fridge. If your brain wasn't so stuck on the fact that Simon is the one who gave it to you, you might be cooking up recipes already.

"Where's your daddy, he needs to see this." She looks out the kitchen window, surveying the pasture for your father's horse. The last thing you need is her calling him in to see Simon's... declaration.

"No momma," You pull her back, "Momma please, you're gonna scare him off."

"I'm not scarin' anyone off, he's-" She gives you a look, her smile scrunched to one side and her brows drawn in confusion, "Baby, you think I'm gonna scare off the man giving you prime cuts from his hunt? Please-" She waves your concern off and you groan. It's not like he's proposing, you doubt Simon even- He probably doesn't even know he's giving you something the butcher won't even sell.

Actually how did he wrestle this away from the butcher? Usually the guy in town will pay through the nose for good venison. You've never seen a cut this clean from the usual guy though.

At least Simon has the good sense not to look startled that you're in his house at the end of the day. There is a sort of silent confusion around your cooking in his tiny kitchen, but he's nice enough to stay quiet as he goes to shower off the day's dirt. When he comes back he's smart enough to take a seat at the little round table, but just stupid enough to ask, "What's this?" When you set a plate in front of him.

"Backstrap," You glare at him, "with some veggies and potatoes. Why? What is it to you?"

Simon glances up at you, waiting for you to elaborate on this line of questioning. You know he doesn't like these games. You sigh and drop down into the seat across from him, he crosses his arms and leans back in his chair.

"Why're you giving me the best cut?" You ask, trying not to sound like you're expecting anything.

"What'm I suppose to do with it?" He responds.

"Didn't the butcher offer to buy it off of ya?"

"Didn't go to the butcher," He tells you evenly. You stare at him. This fucking- God you could wring his neck. He killed a deer, went through the trouble of butchering it himself, and he still gave you the best cut. All the work just to- to-

You press your hands against your face with a groan.

"Ghost."

"Princess." His low rumble makes you shiver, how pleased he sounds to have caught you off guard...

"You know my momma thinks we're gonna get married now," You tell him through your fingers. He hums, and you hear the click of his silverware as he starts eating. Done with the conversation apparently. You truly hate how much you love this man. He's going to be the death of you.

God but what a way to go.

#x reader #cod x reader #simon ghost riley #x oc #simon ghost riley x reader #cod x oc #ghost x reader #ghost mw2 #simon riley cod #simon ghost riley x oc #simon riley #simon riley x reader #ghost cod #ghost x oc #oc: goose #cowboy!ghost #oc: duck #hi duck!!! #Ghost you fucking menace of a man #he's gonna marry you Goose watch out #cowboy au

[vidavalor]

The Vavoom: Or, when the show's hinting Crowley & Aziraphale first kissed

It was not in 2.06, if that makes you feel any better?

Meta/theory hybrid stuffity stuff below the cut. As always, all interpretations are valid. This isn't meant to offend anyone who sees things differently. Post contains spoilers for the films 'Kiss Me Deadly' (1955), 'About Time' (2013), 'Love Actually' (2003), and 'Four Weddings and a Funeral' (1994). Apologies that this took a few days. Life's been wild this week. Let's dive in...

Right. So. The Vavoom...

I feel like most of us, by this point, are probably in agreement that Crowley is not talking about something he saw in a Richard Curtis film when he talks about his plan to help The Shop Lesbians to fall in love... and that, if he's not talking about something he saw in a movie, then he's talking about something he experienced... and yes, sure, absolutely Crowley has been on Earth for 6,000 years and could have vavoomed with basically anyone who has ever lived at this point as well as one semi-sentient car and even the world's once only-remaining unicorn but... we all know he's talking about Aziraphale. So this is about unraveling what the show presents as Clues to this end and using those Clues to solve for x and see if we can prove that Crowley is talking about Aziraphale and then figure out when this Vavoom happened with the information the show has given us so far... and the good news is that we can do all of those things so here we go...

The first thing to do is to eliminate the Richard Curtis films. Let's just start with Crowley saying that he saw his whole vavoom moment in "a Richard Curtis film." As someone who has seen a frankly embarrassing number of Richard Curtis films, I can tell you that this is a very amusing misdirect from a writing standpoint. It is amusing because it's a wink of sorts towards the same problem that comes up when you try to find The Vavoom on the GO timeline based on what the show's presented so far. What is that problem? It's that-- at first, cursory glance-- no one GO scene or Curtis film seems to have everything Crowley describes. Don't worry, though, because we actually do have enough information to find the lone caraway seed beneath these three cowrie shells here. You'll be Aziraphale-voicing an "a-HA!" very soon. :)

There are only two Richard Curtis films that feature elements Crowley lists as having occurred during The Vavoom: 'About Time' and 'Four Weddings and a Funeral.' The Awning of a New Age scene in GO actually winds up an homage of sorts to 'About Time', as it is referencing it pretty heavily. However, there is no vavooming in 'About Time'; meaning, there is not this gaze-to-kiss moment that Crowley is talking about. A wedding reception tent collapses under heavy rain and soaks several supporting characters in the film, much like how our supporting characters Nina and Maggie get soaked by too much rain causing the awning to collapse. There is no gaze or almost-kiss or kiss before it. There are other canopies-- umbrellas-- but no one gazes or kisses under one. So, Crowley did not see The Vavoom in 'About Time'-- but that particular Richard Curtis film might have been the one in Crowley's mind when he quickly latched onto Richard Curtis films while speaking with Aziraphale in the pub.

As a result, thinking about his conversation with Aziraphale while trying to craft his Shop Lesbians Vavoom might have actually caused him to over-weather and cause the awning to drench Maggie & Nina. So the joke there is more that The Original Vavoom of which Crowley is speaking in the pub scene is something that really happened and had an element or two in common with a scene in the Richard Curtis film, 'About Time', which also features Bill Nighy (see: 'Love Actually' stuff below), whose mannerisms Crowley seems to like to emulate at times. As a result of seeing the film and thinking about how it *wasn't* like The Vavoom-- the canopy collapsing, the lack of an actual Vavoom in motion prior to this, all of that disappointing Crowley greatly when he saw this film lol-- Crowley ironically then says he got the whole idea of The Vavoom from a Richard Curtis film... when, in fact, *the distinct lack of Vavoom* in the film was what Crowley remembered from it... and then, upon thinking of the pub discussion when trying to start an Awning of a New Age for Maggie & Nina, it accidentally became part of his miracle, causing him to over-Weather and, kind of hilariously, substituted the kiss Crowley was trying to incite with the collapsing awning scene from 'About Time'... the film then disappointing him all over again lol.

The other Richard Curtis film that is relevant is 'Four Weddings and a Funeral.' You might be familiar with the scene-- its ending scene-- just from cultural osmosis as this point, even if you haven't seen the film. Hugh Grant proposes to Andie MacDowell in the pouring rain. So, the big problem with this scene is that there is no canopy. None. Whatsoever. They're soaked through. We never see them go inside. They look into each other's eyes and they kiss but it's raining on them the whole time and Crowley is really specific about his canopy requirements for Vavooming. This scene is also wrong because it's a proposal between characters who have known one another on and off for years and have a more extensive history, whereas Nina and Maggie are much earlier in a potential relationship and The Vavoom Crowley talks about is an intense gaze into a first kiss. That said... just as how 'About Time' ties to Nina & Maggie's story, there are some 'Four Weddings'-y elements to Crowley & Aziraphale's relationship, in that their story also covers them meeting up through different points in time and such. 'Four Weddings' was also the first mainstream, hit rom com to openly feature queer characters in supporting roles so it's a strong one for GO to be referencing... but, ultimately, no Crowley-described Vavoom scene in sight.

Finally, there's 'Love Actually', which doesn't actually have a single element in it that pertains to The Vavoom but I'm throwing it in here because I'm just looking at all GO ties to Richard Curtis films at this point. 'Love Actually' features Nina Sosanya (GO's Nina, of course) as a queer-coded character and, in GO, David Tennant has a few scenes where he seems to be channeling Bill Nighy's Billy Mack from 'Love Actually' in S1. (Tell me Crowley's not doing Billy Mack's walk when they cross the street to the bookshop in Eleven Years Ago in S1 lol.) For those of you who have somehow avoided seeing this movie lol, Billy Mack is an aging rock star who is the best character in the film and heavily queer-coded. In S2, there's also some Big Bill Nighy Energy in the "we'll just to have to make it worthwhile then" bit with Muriel in Heaven and also in the way he chuckles in the "I *was* there, you see" moment with Gabriel. Also probably worth mentioning that, in 'About Time', Bill Nighy plays the dad of one half of the main couple in the movie and his role is to teach him how to live life and this involves pursuing the woman he is trying to marry throughout his ability to fall through time. So, Bill Nighy is basically playing the S2 Crowley of 'About Time' while the main couple of that film parallels Maggie & Nina, in that he's setting up the scenario for the couple involved to get together. Nothing in the film, though, is as overt or contains elements that match The Vavoom, other than the collapsed awning, as we got into above.

So mah point is dolphins that while there are a couple of Richard Curtis films that contain bits and pieces of what Crowley is talking about, there isn't a single one that has anything really remotely close to the, uh, extremely specific scenario he was detailing... so now we have to look at just what the hell Crowley's on about, exactly... and for this, we are, surprisingly, going to wind up looking at a very different film from any by Richard Curtis-- 1955's classic film noir, 'Kiss Me Deadly'. Why this random film, you say? Because it's actually not at all random to GO S2. It's the origins of the phrase "vavoom"... and S2 of GO contains a multi-episode homage to the film.

'Kiss Me Deadly' is, tonally, very different from GO as it's pretty dark film noir but it has a plot you might find a little familiar. One night, driving down a dark road, the main character picks up a hitchhiker who has lost her memory. After she's murdered, the film revolves around the main character-- a private investigator-- and his lover/partner investigating the case to try to solve the mystery. GO's episode "The Hitchhiker" opens with a plot and visual homage to this film when Aziraphale picks up Shax in The Bentley and obviously S2 contains a plot surrounding a mystery related to a character who has lost their memory in Gabriel. I'm going to do a separate thing that is a deeper dive into this with particular emphasis on how the lead characters relate to Crowley and Aziraphale at another point in time because it crosses into too many other things to fit it into this one at the moment but the reason why I bring the film up now is because of its ties to the phrase "vavoom."

"Vavoom", alternatively spoken as "va va voom" and containing the same meaning, is thought to have originated in a cartoon in the late 1940s but its use in "Kiss Me Deadly" in 1955 is what pushed it into popular, cultural use and knowledge. In the film, there's a character named Nick, who is friends with the two leads (the Crowley & Aziraphale-paralleling Hammer and Velda). They have nicknamed him "Va Va Voom" because he says it so often. Nick is an auto mechanic who works on the leads' car-- yes, there's a Bentley parallel lol-- and it is his use of the phrase that made it one we are familiar with today. But what does it really mean exactly in terms of this scene in the pub?

Without going too far down the road that we wind up in another meta about wordplay and symbolism in S2 here, the show is doing things related around the word 'passion' and all of its various meanings. It begins with Aziraphale referring to Maggie's feelings for Nina as "a pash"-- which is British English slang for "a crush" or "an infatuation". It comes from the word "passion"... but the word "passion" actually means something much different. "Passion" is very specifically romantic, erotic love when used to describe a relationship. It means enthusiasm when about a hobby or the like-- Aziraphale will get the neighbors to come to the meeting/ball by negotiating their commitment based on things they're passionate about-- Mr. Arnold and Doctor Who, Mutt and the history of magic. Finally, S2 is tying a lot of this passion-related plot to *The* Passion-- as in, The Passion of the Christ, or the Christian phrase for the death and resurrection of Jesus Christ. Why is it called 'The Passion' anyway? Because the Latin root of 'passion' is 'pati', which actually means 'to suffer.' Looking at all of this and how the show pairs up scenes with different types of passion is a whole other meta. I'm bringing it up here because of the relationship between 'passion' and 'vavoom'...

"Vavoom" means voluptuously sexy. It means passionate. Something having a sense of "vavoom" or "vavavoom" means it is either suggestive of or is sensually pleasing. In GO S2, Maggie & Nina represent the pash use of passion-- the new love, the crush-- while Crowley & Aziraphale are the show's example of passion in its fuller, richer meaning of romantic, erotic love. So now that we eliminated the idea that Crowley is talking about having seen an example of this vavoom he's talking about in a movie-- I mean, 'Kiss Me Deadly' is totally a movie Crowley saw once so he might have first heard the phrase in it, like many people did but there's no vavoom itself the way Crowley describes it in the film, just the phrase-- but yeah, now that we've eliminated the idea that Crowley got his idea from a film, we can say with relative ease that he's talking about something he personally experienced. I think we can all agree that if he did, it was with Aziraphale and the purpose of him bringing it up in the scene is not just as a suggestion to solve the issue of needing to matchmake The Shop Lesbians but as a way of being seductive towards Aziraphale.

This is also part of 'Kiss Me Deadly' in that Crowley here is the Velda to Aziraphale's Hammer. Hammer is preoccupied with the mystery. Velda tries to help him solve it but is also seeking his romantic attention the whole time and being rebuffed in favor of the mystery. It's darker in the film, as you'd probably expect, since it's film noir, and Aziraphale is actually subtly playing back in GO S2. In GO, it's mostly played off as Crowley, kicked out of bed since the religious family are in the guest room lol, continuously making overtures towards Aziraphale to torment him a little for the whole Gabriel situation but also mainly just because he likes to and he misses him. (It has been, like, maybe 18 whole hours lol.) He continues it into later in the day when Muriel is in the bookshop and Aziraphale is a little more overtly playful then but he is in the pub scene as well. All of this also ties into the fact that Aziraphale wants to drive The Bentley but again, that's a whole other meta. Going to stay focused on the kiss here...

So what we're saying is that, in the scene in The Dirty Donkey, Crowley does that whole lean and the sexy hands and that super posh voice he does from time to time to seduce Aziraphale, and describes their first kiss back to Aziraphale when asked to come up with a romantic solution to help their neighbors realize they are in love. Specifically, Crowley says this:

Whew. *fans self* Jesus, Crowley... No wonder why Aziraphale thought you could help The Shop Lesbians. That? Was romantic...

The key thing I love about this is that while everything he says lends itself to the idea of a kiss, he doesn't actually explicitly say that until the later scene in the back room when Muriel is in the bookshop-- the "one fabulous kiss" part. It's evident later on when he explains the plan to Jimbriel and when he puts it into action that his intent is to trigger a scenario that might prompt Maggie and Nina into kissing and when the awning collapses, he feels like he failed at the overall Vavoom. He did, however, see it working from across the street, such were the fireworks, when they looked into each other's eyes and what's sweet and also very hot about this scene in the pub is that the looking into each other's eyes is the key bit of The Vavoom to Crowley. The kiss is what happened as a result of looking into each other's eyes. The romance of the gaze and the passion of the kiss = The Vavoom but the latter without the former isn't the whole rapturous, perfect moment and Crowley is into this moment. He's still weak in the knees over the thought of it.

And what he says happened in it? They looked into each other's eyes and realized they were made for each other? Crowley thinks that. He says that, flat out, to Aziraphale. Crowley. Who was abandoned by the God who was supposed to love him believes that same God created he and Aziraphale for each other. That they're fated, destined soulmates. And that they both knew it, in that moment when they were taking shelter from a sudden rainstorm together, under a canopy, and they gazed into each other's eyes and then

Yes, I am aware that he says "humans" in that bit in the pub scene. He's referring to Nina & Maggie but also he and Aziraphale have a tendency to refer to their love for one another in human terms in different scenes throughout the series, which is probably a whole other meta and *refocuses on finding this damn kiss here*...

So Crowley-- while heavily emphasizing the words "together" and "canopy", both for maximum sexiness and to lead us in the correct direction lol-- tells us what's needed in this scene, right? We need a sudden rainstorm, a canopy, them wet from the rain and taking shelter, Crowley's glasses to be off or he's in a situation to be able to take them off (ironically, unlike he was when he was in the pub while he's talking about all this erotic gazing), and then we have all this gazing into a very vavoom-y, very passionate first kiss.

So, what scenes seem at all remotely tied to things Crowley describes for The Vavoom? There are three scenes that jump out immediately-- and it's none of them lol. They *are not kidding* about quite literally 'three cowrie shells and a lone caraway seed'. There are three scenes that they want you to think could be connected to this and be distracted by to complete their sleight of hand trick. They want you to look towards Aziraphale's hand and not up his sleeve, so to speak.

So the three cowrie shells scenes here are Before the Beginning, Eden, and the Job minisode. Why? They are the scenes that involve Crowley and Aziraphale and some form of a canopy, which is one of the two words in Crowley's whole Vavoom moment that he heavily emphasizes. So it's not Before the Beginning and it's not Eden and why? Because we're missing the other word Crowley heavily emphasizes-- *together.* Crowley and Aziraphale took shelter from a sudden rainstorm *together* under a canopy. That's the set up. But Before the Beginning and Eden-- the first scenes our minds run to-- are not this because they are sheltering *one another* but not sheltering *together*. One of them is exposed to the rain each time.

There's an additional possibility that is thrown into the mix that is tied to these two scenes, which is the S2 announcement poster-- the one that features Crowley and Aziraphale on Whickber Street in the rain. That one is also out because Crowley is being sheltered from the rain by Aziraphale with a tartan umbrella (ridiculously adorable, I agree lol)-- but they're not both sheltering together. That one feels like it was designed just to fuck with us, especially because Crowley's hair in it is, for some reason, at Eleven Years Ago length in it. It's almost like it exists to both be cute and to, after the season is over, make us go wait... was it then? (It was not then.) More distractions. Ok, so, then what about the Job minisode?

Is it ox rib night? This seems to have some elements at play-- there's a roof and a storm and them together and all-around kiss vibes-- but it's actually not this, either. That said? Job is connected to it in a big way and helps prove my theory here so we're going to come back to it. I'll eliminate it here by pointing out that when Crowley defends The Vavoom as a possibility for Maggie & Nina to Aziraphale, he says "get humans wet and staring into each other's eyes" and "humans" in that bit is them, even if they are not fully. This eliminates the Job minisode as The Vavoom because it confirms that Crowley & Aziraphale did get wet as they went to shelter from the storm. In the Job minisode, they never go out in it. So, Job is out, too.

Ok, so then how do we find the one scene that unlocks this and points us towards the answer hidden in plain sight in front of us?

What is the one scene that really should tell us more about The Vavoom? How about the one wherein Crowley partially recreates it?

The Awning of a New Age is the lone carraway seed. Maggie & Nina paralleling Crowley & Aziraphale. What can we learn about what happened with Crowley & Aziraphale from what happened in this Maggie & Nina scene?

We already know that Crowley feels like he partially failed at recreating The Vavoom for them. It was meant to lead into a kiss and then the awning collapsed. That is what is different from Crowley & Aziraphale's first kiss but Crowley was delighted by the gazing, which we already know to be the very important bit of this here. Off of this, we can conclude that there's obviously a parallel of this bit for Crowley & Aziraphale and this is where the parallels in the scene stop. That means that what happens *before* the gazing moment in The Awning of a New Age scene is important because that's the parallel. So, what's happening while Crowley spots them together outside and starts up the rain? They're talking, right? And what are they talking about?

They're talking about one of them-- Nina-- having a partner who is unreasonably upset. Nina is anxious about it. She doesn't blame Maggie for it, as it's not Maggie's fault. It's also not Nina's own fault and what Lindsay wants from Nina is confining and abusive. Lindsay, we learn, is cruel. We decide in this scene really how much we don't like Nina with this woman and that we want her to be with nice Maggie who is sweet and supportive and is over the moon for her.

On the surface, this would seem to be absolutely nothing like any Crowley & Aziraphale scene we've ever seen, right? Fooled by what is on the surface-- modern lesbians in London Soho, one of whom has a romantic partner-- this seems to be a plot Crowley & Aziraphale have never had. Except, that it's not. It's a parallel to one you'll remember.

One, paralleling sentence here for you...

God's a bit tetchy...

Awning of a New Age unlocks that Lindsay being unreasonably angry and dolling out insane punishment for no actual misdeeds is a parallel to God during The Flood. God was Aziraphale's Lindsay-- the unseen, abusive partners, sending down their words and marching orders and causing distress. Crowley approached Aziraphale like how Maggie approaches Nina. Aziraphale half-heartedly tries to defend God the way that Nina half-heartedly tries to defend Lindsay but both pretty much give up in the face of Crowley's and Maggie's sane responses and support. The agreement that the present situation-- Lindsay about to abandon Nina, God about to abandon her creations in The Flood-- is horrible and unjust. They connect over the lack of justice. The Flood scene we saw ends as the rain begins, with Crowley and Aziraphale both looking up as it starts to fall.

Maggie and Nina get further-- they get to the first half of The Vavoom, in parallel. We haven't seen that yet with Crowley & Aziraphale. (Maggie & Nina also didn't have to go stop and save a bunch of people first lol.)

So how do we know that The Flood was the first kiss?

How do we know that Crowley and Aziraphale first kissed in Ancient Mesopotamia in fucking 3004 B.C. and have been vavoom sorted gone on each other ever since?

Because it happening in the aftermath of saving lives in The Flood would then mean it meets every one of the elements Crowley describes. They get wet from the storm. They will work to save everyone, which is evident from Aziraphale being dead fucking certain in the Job minisode that Crowley was a sweetheart who wasn't going to kill any goats or kids. How would he know this for sure? Saying that what God was doing was terrible in The Flood scene isn't enough for Aziraphale's surety by Job. That means that Mesopotamia and The Flood is the first time they teamed up. It means that Crowley saved people and animals during it. It more than likely means that he did so in a way similar to what he does during the Job minisode-- he transformed them into something that could survive the storm, probably rocks or something. (Big Medusa vibes lol.) But what would happen then? Crowley and Aziraphale would have to *stay through the storm to turn the people back*, right?

So, they'd need to seek shelter from the rainstorm. Under a canopy that could survive the storm. One they can both step back under and bump into one another beneath. Most likely, it's an actual canopy in original meaning of the word-- the shelter of trees. I think one of them (Crowley) bolted afterwards, based on the Job minisode, which we'll get to again in a second, and from under a canopy would be the easiest way to just be able to leave during a storm. (They did not spend the Biblical 40 days and 40 nights under that canopy or they almost certainly would have wound up having sex, which the show is suggesting in other scenes didn't happen for awhile after this which is also another meta lol.) But there's also another reason for trees that kind of cracks me up.

Remember when Aziraphale comes back from Edinburgh in S2 and, before he left, they had their whole Our Car/Our Bookshop thing and Crowley's been peeved for a day now over how Aziraphale got to go adventure in The Bentley and he got to wear a cardigan and babysit their former attempted murderer? And about how what he's really playfully irritated over is that he keeps trying to use Operation Shop Lesbians to turn Aziraphale on by mentioning their Vavoomy first kiss and Aziraphale is, kind of hilariously in retrospect, just totally tormenting him by barely indulging him on it? What happens when Aziraphale comes back from his trip?

Crowley-- genuinely-- says "there you are-- I was worried something had happened to you" and he's off-camera for a moment as he does so and the camera is on Aziraphale, who kind of seems like he would like one of Crowley's kisses about now. But what does Aziraphale get in place of where a kiss could have gone?

A face full of plants lol.

In their box, so that when he handed them to Aziraphale, they hung over his head like a canopy.

Don't wanna talk about The Vavoom, angel? Fine. You're just getting the trees. Mwah. *goes to his car and is all did you misssssss me kissy face*

Aziraphale, in old married bitch mode:

Finally, there's that Ancient Mesopotamia is, chronologically, the last scene so far in which Crowley is not seen wearing glasses, which is essential because Crowley-- while wearing his glasses in the pub lol-- describes the key bit of The Vavoom as involving staring into one another's eyes, which Crowley & Aziraphale can't do if Crowley has his glasses on. Since Crowley wears his glasses in approximately 87% of Good Omens, it means that the answer is in a scene where he's either not wearing them at all or could be seen as able to take them off. Mesopotamia meets that criteria. But there's still one more thing that can really hammer home the idea of this The Flood, Part 2 being their first kiss and that's going to be how we end up back at the Job minisode again.

Go back and think of the Job minisode again but now with the idea that the last time they saw one another-- ages before it-- they shared this moment of wildly passionate vavoom and look at how it recontextualizes the entire minisode.

Start with when they first see each other again. Where did *that* Aziraphale come from? He's teasing him.

The Aziraphale in Before the Beginning and in Eden and in the first bit of The Flood that we've seen is more anxious. He's not afraid of Crowley and he's definitely attracted to him but he's distracted by the dangers of what is happening while they're talking. Suddenly, he jumps from the Aziraphale of The Flood to the Aziraphale of the Job minisode. This one is flirtier. This one is literally like all so you never called-ing Bildad the Shuite lol. He's all "last time I saw you was... The Flood?" like he doesn't know and Crowley is all tight nod ohfuckit'shim and also ohfuckit'shimhavemissedhimsomuch and hiding behind his sunglasses-- Bildad is the first appearance of the sunglasses, chronologically, so we go from the Vavoomy gaze to Crowley hiding his eyes... this then all moves into the courtyard scene after a few moments...

Oh, what's this now? The only scene in the whole series in which Aziraphale asks Crowley to take his glasses off? And he does? So quickly-- intentionally-- that his expression from before is still on his face and it's just nothing but naked want like he's saying oh you wondered how I was looking at you from behind these this whole time? yeah, it was like this... Aziraphale is straight up asking for more vavoom. Take the glasses off. Look me in the eye and tell me you want this and yeah, sure, they're talking *on the surface* on *one level* of their conversation about whether or not Crowley is exhibiting serial killer tendencies and wanting to kill small animals and kids but, really, this scene is also the formation of their coded way of speaking to one another. Crowley's "I want to. I long (pause) to kill the blameless kids of Job the way I killed his blameless goats" and then lifting just enough of the magic to let Aziraphale see that he had actually not killed the goats at all but had actually faked their deaths, indicating that that was his plan for saving the kids as well... Well, it also means that *all* of what Crowley just said to him was coded. That's the weird pause after "I long" that breaks it into two sentences. It makes the second level of their conversation that Crowley whipped off his glasses, gazed into Aziraphale's eyes, and said I want to, I long... meaning, I want you, I want to kiss you again, I long for you...

But the bit of the Job episode that sells me on The Flood being The Vavoom is actually the bit just after Crowley miracles himself, Aziraphale, the kids, Jemimah's pot (because he's so not a serial killer, he saved the damn pot lol), the wine (because fuck that little Influencer Brat of Job-- Crowley's not about to kill a kid but he absolutely will drink the last of his wine for treating Aziraphale like a whore lol), and the food down to the cellar and started iguana-ing the kids. Why this bit? Because Aziraphale is fucking giddy and is just tormenting the living fuck out of Crowley.

He's all "I knew it!" and when you first watch the scene, right, you could think he means he knew that Crowley would save the kids. Yet, he already knows that by this point-- that's what the courtyard scene was. That's why he's yelling that he's "QUITE SURE" when Crowley asks him if he is (and calls him "angel" for the first time when doing so) while he's setting everything on fire just a moment before. Obviously, Aziraphale is happy that Crowley didn't kill the kids but what he's all I knew it *smug smile, actually fucking wiggling with flirty joy* about is that Crowley wanted to be alone with him again and would find a way to make it happen because what's the plan? The one that Aziraphale is totally teasing him about?

Aziraphale is going on about how oh, this is *Satan's* big plan, huh? A *big storm*? He loves every minute of it and he also really loves Crowley getting very close to him-- kissable close-- and being all "ooh aren't you brilliant?" when Aziraphale was acting smug. When did Crowley get that comfortable getting that close to him?

But yeah, Aziraphale loving every second of Crowley saving the kids, turning them into sightless/soundless iguanas, and sending a storm over the land for the night while keeping the two of them dry in a little cellar canopy so they can be alone together again-- essentially, repeating a version of The Vavoom scenario, as he'll still be trying to do millennia later... Aziraphale thought that very romantic and had no problem flirtily teasing the hell out of Crowley for it. Crowley's game is as ancient as Bildad the Shuite lol.

So yeah, what we're saying here is that there's a The Flood, Part 2 and that it's likely in S3. I actually wouldn't be surprised if it opened S3, since the first two seasons are opened with the other canopy-themed firsts-- the two first times they met, really, in Before the Beginning and Eden, both with the wing canopy-ing of one another-- so S3 could be the tree canopy and their first kiss. The Flood also seems likely to return because of how it ties thematically to the whole end of the world of S3's Second Coming plot.

One aspect of this theory that I really like is also that it means that Crowley was more female-presenting during their first kiss (which also goes along with the feminine energy sometimes associated with the phrase "vavoom"/"vavavoom") but also that when they next see one another in the Job minisode, Crowley is the more male-presenting Bildad the Shuite... and Aziraphale is really just into all of it. He's just into Crowley, full stop. We already know he is but I like the idea of it tied to their early days and showing it unfold a bit and how it's just all fine by Aziraphale, who just loves this being and is happy to see them and get to be alone with them again. It's very sweet and romantic.

I guess the last thing to say is that if this is true, we're all going to have a field day redoing the psychoanalysis of this bit below, aren't we?

#ineffable husbands #good omens #good omens 2 #good omens meta #aziracrow #crowley #aziraphale #good omens theory #vavoom

[1shirt2shirtredshirtdeadshirt]

Today on popping the corn and feeding the children, what do you folks think of this discussion? :)

I'm always curious to hear what other Trek fans, especially queer Trek fans, think about our place in Trek history and how we fare as the queer participants within our fandom. What have your experiences been like?

Overwhelmingly I've found a great reception and a welcoming attitude, but I admit that has increased considerably since the 90s. However, there are still some Trek fans who seem to be vehemently in denial about queer history in Star Trek, or the fact that anyone who has worked on Trek has pro-LGBT attitudes. This always surprises me considering some of the blatant queer content we have already seen in Star Trek such as the Jadzia Dax and Lenara Kahn kiss.

Anyway, I enjoyed the discussion that followed and seeing the overwhelming outpouring of support coming from Star Trek fans in response to this thread.

Here was my two cents contribution:

"No, what they said was factual.

Have you forgotten Nichelle Nichols was indeed an African American woman in the core seven bridge crew back in 1966?

Or the fact that Gene Roddenberry went out of his way to write The Motion Picture Novel, creating the term "T'hy'la: friend, brother, lover" so that fans could choose which interpretations of Kirk and Spock they saw fit? He also embraced K/S fans and hired a number of them to write the earliest Star Trek novels, including the very first official one (The New Voyages Vol. 1 & 2) which included slash fiction as well as Gene's approval/forward in the books.

In case anyone has forgotten, here's a little bit of background on Gene Roddenberry and his perspectives on queerness in Star Trek.

He admitted that in his early life he was very affected by how society and culture treated the LGBT community, and that he too found himself subjugating and judging others for that lifestyle because it was what people did at that time. As he got older and had more life experience, he began working with a number of queer artists in Hollywood -- and through TOS, a number of queer individuals began asking questions about Kirk and Spock.

Instead of vehemently shutting down this perspective, Roddenberry was intrigued, and saw potential to tap into a large audience (LGBT) that most others didn't want to go near or acknowledge publicity-wise. He saw it as an opportunity to expand the fanbase while also pushing yet another envelope.

But with the heat already on the show for what they'd already pushed, he found he was often stuck between what he'd like to do and what production would let him get away with. There are a number of Kirk and Spock scenes in scripts that got cut out for leaning a little too obviously romantic. Tiny trickles of that content still made it in were infamous moments like the backrub scene in Shore Leave. Even the 2009 movie had a K/S moment while Spock Prime and Kelvin Spock talked that was written and filmed that was cut out of the final product.

Queer subtext and coding has always been relentlessly weeded away at with an excuse ready to go for why they always try to cut us out, but we all know it's because they are scared of the homophobic backlash and ratings hits. Look how violently homophobes went after the gay romance episode of The Last of Us **just this year**. This has always been our reality, so for someone like Roddenberry to make efforts in the 70s? That was massive.

But Gene as well as the queer/slash Trek community managed to accomplish some things in the 70s which I'm surprised more folks don't talk about or give much credit.

In the same TMP novel which features "T'hy'la" and the famous footnote, Gene cleverly wrote Kirk with a bisexual/pansexual lens: Kirk describes himself as *preferring* women but being open to "physical love in **any** of its many Earthly, alien, and mixed forms." (Direct quote from Genes book). Basically, Captain Kirk was DTF with whoever if there was a connection, which was a very progressive take for a character in a novel written in 1979, but made sense for the future which would have a lot less hang ups about sex and love compared to our current rather puritan/conservative society.

I also prefer women, but I married a man. Shout out to Gene Roddenberry for giving us a seat at the table back in the 70's when folks *still* try to insist there is no place for K/S or queer concepts in Trek, because he made efforts -- however small -- to employ queer people and show queer perspectives. According to David Gerrold, LGBT+ representation was a big thing that Gene personally pushed for in TNG and wanted various depictions of love/couples in the Risa scenes, to name one example.

In the 70s, fanzines led to meetings and swapped fanmade magazines, which got so big that they needed hotel centers, then convention centers, then one day the TOS cast came to one and what we know as modern fan conventions were born -- inspiring even George Lucas who attended Trek conventions in the 70s and saw how popular Trek was in syndication; it was a great climate to launch his Space Opera. Star Wars then became so huge that we got TMP.

But none of that would have happened without the level of organization, passion, and creativity that those fans poured into Star Trek and their characters after it got cancelled and went into syndication.

Without queer folks we wouldn't have George Takei, Theodore Sturgeon who gave us Tribbles, Bill Theiss and his amazing TOS costumes, Mike Minor's art direction, Merritt Butrick, David Gerrold (writer for TOS, TAS, TNG) to name a few of many queer contributors to Trek that Roddenberry respected and tried to go to bat for wherever he could in a climate that was absolutely impossible to gain an inch in.

At a time during the 70s and 80s when so many people resented and feared the queer community and wanted us to disappear, especially in the 80s during the AIDS epidemic which many homophobes claimed was "God's punishment to the gay community" or "Gods's answer" to our "hedonism", thinking we'd gotten our just desserts and should just disappear . . .

During that time, Gene Roddenberry gave us queer folks a place to say: "You know what? Sure. Write your stories. TV says you guys shouldn't exist, they pull books with queer people off the shelves and burn them. Laws exist specifically to forbid you guys from loving each other, and call you mentally ill. You can't even hold hands in public. But I'm going to validate you guys and invite you to write novels or work for me, try to see what we can get by production, and allow you to see yourselves in my characters if you want to. There's a place for you in our fandom."

He gave us bi/pan Kirk, he gave us K/S is open to interpretation. In Phase 2 Kirk's surviving nephew Peter, son of his brother Sam from Operation: Annihilate!, was going to be written as gay and living on the Enterprise with his partner -- that also got chopped and reworked into a script that wouldn't get used until decades later. That was huge at a time that being queer was officially listed as a mental illness, and villainized due to the AIDS crisis.

So before you try to dismiss or tell K/S + queer Trek fans whether or not they deserve a seat at the table, remember that Gene Roddenberry was among the **first** to pull that seat out for us in a climate that was ruthlessly against LGBT+ folks." -- 1Shirt2ShirtRedShirtDeadShirt

P.S: Have some cute bisexual/pansexual K/S pride gifs. :) Pride month is a hop, skip and a jump away.

LLAP!🖖💚

#1shirt2shirtredshirtdeadshirt #long ass post #lgbt #lgbt+ #star trek #queer trek #star trek tos #gene roddenberry #lgbtqia #lgbtqia+ #bisexuality #pansexuality #pride month #spirk #tos #spock #kirk/spock #kirkxspock #kirk x spock #queer history #queer art #queer representation #jim kirk #kirk #mr. spock #star trek conventions #trekkies #octrek #octrekmeta #ocspirk

[aclockmaker]

Part 2 now here

Okay to expand on this I just think: Steve who’s been in a couple of tv shows and is having a moment, famous offscreen for his hair and his charm and onscreen for his ability to find chemistry with anyone (and also, again, his hair).

And Eddie who is a complete unknown; he’s been in some stage productions and had the tiniest bit parts on TV but nobody’s ever, like, recognized him on the street.

Eddie auditions for a new HBO show. When his agent tells him that Steve Harrington is already attached Eddie is like cool, I’ll never get this part but the audition will be good practice so why not. They’re never gonna cast him. He’s sure he’s playing it too weird, and he hasn’t cut his hair (but he will when a part needs him to) but then he gets a callback. Twice.

And then he’s getting called in to do a chemistry test with some of the other actors. The show is like a modern Freaks and Geeks but with a slow burn murder mystery, and Eddie’s actually dead in the main timeline but about half the show is told in flashbacks so it’s a big part. When he meets Steve he doesn’t know what he’s expecting from the paparazzi darling but the guy is super genuine, makes Eddie feel way more comfortable than he has so far. They do their read together and Eddie is just thinking to himself like… damn, this guy really is good, because that felt crazy. He’s acted opposite some insanely talented people but it’s never been that easy. That must just be what it’s like working with Steve.

And now it’s dangerous because he really wants the part. He wants to stop bartending to make rent. He wants to be on this show, because the pages he’s seen are good, and he thinks he could really bring something to it. And because he wants to work with Steve. And even the rest of the cast, too, but—

The day Eddie gets the part he gets a text from a number he doesn't know. Hey man, really looking forward to working with you. And then, a few minutes later, It's Steve btw. He's smiling down at his phone so much that his agent, whose office he's in, is like "What, did you just score another life-changing opportunity I don't know about?" And Eddie is like "Nope, just the one, uh—it's just my uncle saying congrats. Anyway—"

They don't make him cut his hair. They don't tell him to stop playing it so weird. Everything goes so well that it feels fucking hard to believe, in fact, like he's just waiting for the other shoe to drop. There's one group of them playing seniors in high school, the main foursome of which is Eddie, Steve, and their two girl costars, Nancy and Robin. And then there's a younger group playing freshmen whose story intersects with theirs.

His and Steve's characters are set up as opposites, almost rivals, and at least at first, you're presumably supposed to wonder if it's Steve's rich, popular guy who's killed Eddie's character. Nobody in the cast knows the truth yet; the scripts get revealed to them as they're shooting them and they've been told the murderer won't even be revealed in the first season (so here's hoping they get renewed, because Eddie would really like to know who killed him—and he'd also like to keep making HBO money).

Their scenes are some of Eddie's favorites to film (although he also has a soft spot for the kids—especially Dustin who plays a hilarious and awesome nerd who does D&D with Eddie's DM). Eddie hopes his and Steve's stuff is working on whatever level they ultimately need it to work on—sometimes they do get notes that tell them to pull back or dig into something, to emphasize something else, so he has to trust that they're doing the right things.

They often film out of order so when they eventually film the scene where Eddie and Steve's characters have their first run-in at school, it's far from the first time they've shot together. They get all up in each other's faces in the scene, and they've run the lines, done a table read, but acting it out at full intensity is. A lot. Steve's character is mad because he thinks Eddie's character is trying to steal his girlfriend (really she was just buying drugs from him). The way Steve plays it is all simmering intensity, the threat of violence just under the surface, and this is where Eddie doesn't know if he's reading something into it that isn't there. Because for him, there's also another kind of tension between them. And he doesn't know if it's his real life bleeding into the character; if it's just how Steve can't help being with everyone; or if it's a legitimate part of the scripts that they're supposed to be picking up on and exploring. He doesn't even know if anybody else sees what he does. But they do their takes; nobody tells him he's doing something wrong. And after the director calls cut the first time, Steve winks at him. Just to cut the tension, Eddie thinks, maybe to make him smile, which it does. It's fun watching Steve work, watching him slip into and out of character. He's really easy to work with.

Sometimes they get together to run lines or talk motivation or whatever. “It's crazy, you know," Eddie tells Steve in his trailer one night. Steve's is bigger so all of them usually hang out here. They've been making each other laugh, shooting the shit about increasingly funny backstories for their characters, and Eddie feels high with it. "I mean, you know this is my first real show. It's like—" he gestures between them, trying to encompass everything that happens on-camera and all the fun of working on that off-camera. "I didn't know it would be like this."

"Oh—yeah, man," Steve says and laughs a little self-deprecatingly, running a hand through his hair. "But, I mean, for me, I've done a couple and, with our stuff—it’s never been like this with anyone else, either.”

It's going to be so hard, Eddie thinks, looking back at him, to not read into that more than he should.

#steddie #steddie ficlet #steddie fic #actors au #if you have a good idea for their names on the show please speak right up i'm not sure what i'm feeling #would love to connect it to st somehow

[rachelzeglertruther]

Why You're Wrong About Rachel Zegler

This is a long post, but there's a lot of context missing from the Rachel Zegler "discourse" that I thought I could add with my history of watching this unfold from the beginning.

The Snow White Thing

You probably know this part. There's a curated video of Rachel going viral, framed to make her seem like she's never seen Snow White, she hates the story, she hates the character, she's ungrateful, and single-handedly ruined Disney's brand. The clips from these videos are not new— they were released nearly a year ago in September 2022 and nobody cared about them at the time. Why? Because all the full interviews she did that day at the Disney Exo in 2022 showed a young, charming woman who was excited and proud to be cast in an iconic role. The interviews were very well received and it was a non story. Now that it's been edited down and cut together in a malicious way, and the people sharing them are purposefully misquoting her, they've twisted the context. Normally, this would be a non controversy. Even if that video wasn't taken out of context and spliced together to make her seem like she hates the film, most people wouldn't care. The issue is the response to the video.

Let's get this out of the way: Rachel Zegler doesn't hate Snow White. She relayed that she was afraid of the forest scene as a child and didn't revisit it again until after she was cast in the role. She has since then watched it several times and has expressed for YEARS before that interview came out that she was incredibly honored and grateful to be playing such an iconic Disney princess. If you watch the full videos that those clips came from, this comes across immediately to anyone with their own mind. If you hate someone for being scared of something as a child, I don't know what to tell you. If the role was being given to the biggest Snow White fan, you would be correct that she doesn't deserve it. Unfortunately for you, this role requires talent and Rachel has the Golden Globe and critical acclaim from people who matter within the industry (her peers and critics).

You know who does hate their beloved characters in beloved franchises but the general public still applauds them? Harrison Ford, Sean Connery, Daniel Craig, and Robert Pattinson. They've all expressed outright contempt for the roles and the films they were part of, but nobody cared. People had fun with their quotes but they still respected them. Rachel said nothing even closely resembling their remarks, but she's being torn to shreds. Are we seeing a pattern here?

Rachel never said a single bad thing about the character or the animated film— she said that it was outdated and that set people over the edge, foaming at the mouth to have her burned at the stake. If you think it would be perfectly fine to have a movie about an abused 14 year old girl run away to play housemaid for a bunch of men, get kissed in her sleep/death by an adult man, and then wake up to fall into his arms in 2024, that's certainly a hot take. If you're against remakes, direct your ire at Disney. But if you truly think that plot would work with young girls today, you're the one who's out of touch. It would do far more harm than good to portray a young woman in that light.

She also never said that there was anything wrong with romance or love. She said that the new Snow White wasn't only dreaming of that. I can't stress enough that this wasn't her decision… she was describing the plot of the new film that was written by Greta Gerwig and approved by Disney. There's a prince in the film and he will also have a more developed personality and storyline. If you have a problem with the writing, wait until it comes out so you can write your strongly worded letter to Greta. If you have a problem with the concept in general, take it up with Disney. There's no need for you to be defensive over hurting the legacy of a multi-billion dollar company or a 87 year old cartoon written by a proud racist antisemite. This is the most confusing part of the hate campaign to me because it wasn't even her opinion— she was literally describing the plot of the film she had nothing to do with. It also isn't a new thing. Disney actors have been promoting their newer films this way for years.

It's perfectly okay to like things that are problematic. It's becoming an issue that we refuse to acknowledge that maybe some things we love are harmful. What we can't do is justify why it's not problematic, and in fact everyone who calls it out is the problem and NOT their precious cartoon. The 1937 Snow White was an amazing feat of animation. It's a classic for a reason. But it was also Hitler's favorite film and was directed by a white supremacist (the one who is "rolling in his grave" due to Rachel's existence, according to his son). Things don't exist in a vacuum and we can't ignore the bad parts.

How We Got Here:

The thing that everyone is missing is the source of this campaign. This started in September of 2020 when transphobic actor Gina Carano made fun of trans people by changing her pronouns to beep/bop.boop. Rachel indirectly called her out by coming to the defense of the trans community.

She never called out Gina by name (though she rightfully could have). Mind you, Rachel's first film hadn't come out yet. Nobody knew who she was outside of those of us who were anticipating West Side Story and were fans of her covers on YouTube. She was a "nobody" in the industry. Take this part with a grain of salt because I can't confirm it, but Gina and her fans directly blame Rachel for her being banned from Twitter. Again, I really don't think that matters as she's harmful to the trans community and shouldn't have a platform. What does matter is that fans of Gina (which, let's be real, are just fans of transphobia) have been stalking Rachel's every move since then. Unfortunately for them, there wasn't much they could use against her other than to call her woke and #snowbrown when she was cast a year later as the Disney princess. The noise has always been there, but unless you were a fan of hers, you probably didn't hear about it. It wasn't until two years after this that they had something else against her.

If you've recently seen a video of Rachel crying circulating that claims to be her reaction to the recent Snow White backlash, it's an old video. It's from a vlog from her youtube channel posted in June 2022. It was in response to these exact same transphobic anti-woke conservatives who thought that they had something when she did an interview on the red carpet of the Shazam premiere. When asked why she joined the DC universe, she responded "I needed a job." It was generally well received by most people who thought it was cute and funny, but those who were waiting in the shadows latched onto it as an excuse to send her death threats.

The video was also about a month after she was invited to present at the 2022 Oscars and was made to seem like she bullied the Academy (as a no name newcomer, mind you) into letting her attend. In reality, a fan left a comment on her Instagram asking what she was wearing to the event. She responded that she wasn't invited but would be rooting for everyone from her couch in her boyfriend's pajamas. It was the public who demanded she get an invite and the Oscar's must have agreed that it was very odd that the lead actress of a film that was nominated for Best Film wouldn't get an invite. Whether it was an oversight on their part or a scheduling issue with Rachel's filming, I truly think there was no malicious intent from either party. Keep in mind, she used to be very active with her fans (she's a huge fangirl of things herself and has always had a strong relationship with her fans) and she wasn't used to her comments becoming articles and national tv segments. This was the first time it happened to her. It appears she learned that she's not just a girl who posts on YouTube anymore and she's going to be put under a microscope for every move she makes. She has since shut down her Instagram comments and rarely interacts with fans outside of liking comments these days because of this.

I know this is long, but I need people to understand where this is all coming from. It didn't just happen out of nowhere. It's an orchestrated campaign built by violent conservatives, and thousands of women who saw Barbie this summer are hopping on the bandwagon to beat another woman into submission because they have a lot of internalized misogyny to deal with. She's not smug, you just hate women. It's okay to find people annoying, but it's valuable to look into why you think that. If you see a confident young woman expressing views that don't actually harm anyone and you think she needs to be "humbled" and "put in her place" by the entire internet dogpiling her, you've lost your mind. Using "body language experts" (fake job) to diagnose her as a psychopath is so vile. Everytime someone mentions her name online, the comments beneath it are full of the most violent, misogynistic, racist things I've ever seen. If you're contributing to that, you've chosen your side. Reevaluate or seek help.

I'm tired of seeing this happen to young women. We let this happen to Jennifer Lawrence, Brie Larson, Millie Bobby Brown, Halle Bailey, and Jenna Ortega. It's one thing to call out celebrities and hold them accountable when they're doing something actively harmful, but that's not what this is about. That's never been what this is about. We pick these girls to pieces and examine them and pull them apart to justify our hatred of young women who rise to success too quickly for our liking. We dogpile and try to stamp out the flame before they burn too bright. Barbie is still in theaters and you all loved it, yet you're demanding that a bright girl with a big future be small and submissive and humbled because you have issues. That's not feminism. You're just the girls who would have bullied Weird Barbie for using her hands too much when she talks.

#rachel zegler #snow white #disney #barbie #rachelzegler #there's also misinformation about her standing up for ansel elgort which isn't true #sorry but she hates that man #you're thinking about ariana debose who defended him #we'll get into that later