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thesherrinfordfacility · 8 months

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so, you know, a couple of things:

s2 is set in 2023 (ie around 4 years after s1)

voluntary uk driving tests were introduced in 1935, so around 90 years ago

bentley in the show is the 1933 model, and crowley has "had [her] from new"

im fairly certain im connecting dots here

this bitch

#this might have been obvious but im slow #i dont even know what to make of this #like bitch you werent even talking in 1935 let alone in a position to stake a claim on his mf car #the audacity is unmatched and you're so valid for it aziraphale keep going baby boo #good omens

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illyrianbitch · 4 months

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Beneath the Ashes of Our Broken Oaths

Pairing: Morrigan's Sister!Reader x Azriel

Summary: After abandoning the refuge of Velaris, you, Morrigan’s twin sister, returned to the forsaken Hewn City fueled by a vision for a better future. Now, your estranged family seeks your help when rumors of rebellion spread at a time of utmost inconvenience. Torn between your anger and a desire to protect the good, you begrudgingly agree and are forced to face memories of a past life and the unsettling presence of Azriel– the first man you ever loved.

Warnings: ANGST, Helion being compassionate and its sexy, Inner Circle slander (sorry feyre baby), Y/N is kind of a bitch (but its warranted and a slay), family trauma.

Word Count: 2.9k

Part Two

✹ ✶ 𖧷 ✶✹

It was Helion, the High Lord of Day, who had seen the flicker of hope in your eyes. A man of discerning wisdom, he recognized your yearnings of a better world. He knew you, he knew your heart, and he trusted your vision— with the promise of your support shall he need it. You knew that your support, in the grand scheme of things, meant nothing to Helion. He had always held a heart of gold, of understanding, and he would have helped you without anything in return. But you had insisted, declared that you needed to give him something to thank him. Your support, he had agreed on. It was all you had left, anyway.

Now, you stood before him, pleading. Your chest was tight and a calm panic filled your veins. You needed to act. You needed to keep things in place.

"Helion, please," your voice, normally composed, now carried a tremor, a plea that hung in the air, reeking of desperation. Low light poured through stained glass windows as the sun slowly set, painting a kaleidoscope of muted colors on the marble floors.

His eyes, usually filled with warmth, held a regretful sympathy.

"Y/N, I wish I could," He replied, his voice caressing the air, "But with the current state of affairs and your father’s growing paranoia, it's too risky. I can't jeopardize my people. My help is needed elsewhere."

Approaching you, he extended a large hand, gently cupping your chin, his touch reassuring and pained. "Give me some time, sweetheart."

Desperation deepened in your eyes, and the intensity of your plea swelled. Aching with fear and worry, your gaze remained locked on his. "I don’t have time. Hewn City corrupts swiftly. You know this.”

Helion sighed, a sound filled with a blend of both compassion and helplessness. "Perhaps you should reach out to Rhysand. His influence might help, now more than ever."

Yor felt a bitterness surface, like bile rising through your throat. A soft scoff left your mouth as you roughly pulled Helion’s hand away from your chin, withdrawing from his touch in offense. "Rhys had a chance to help. He didn’t. He couldn’t care less. I won’t go crawling to him."

Helion's gaze softened, a tender response to your rough tone. He let out a sigh and pulled you close to him once more. His touch sent a wave of comfort through you, something that happened often when you visited him to discuss these things. Helion was a man who loved physical connection— you didn’t mind it. It made you feel seen, understood. Now, you craved that feeling more than ever.

"I don’t understand this contempt you hold. Surely they will want to help you. They miss you."

You rolled your eyes at this. Of course Helion would think so. As much as you trusted him and his admiration for you, he always did love your family. Your sister and your cousin would always be in your life, tied to you in one way or another. Frustration tinged your voice.

"It's too late. Going to Rhysand now would draw unwanted attention or, worse, he’d halt my efforts because of some perceived danger."

There was a moment of silence, and your eyes bounced around the room, searching for somewhere to land that wasn’t Helion's burning gaze. Once more, he moved a hand to gently cradle your face.

"You cannot foresee every outcome. You're not a mind reader, Y/N."

A bitter laugh escaped you, and you looked up at him through your lashes. "I might as well be when it comes to family."

"You've accomplished so much. Allow yourself a reprieve. You can't bear the weight of the innocents lives in Hewn City alone."

You blinked away the tears that welled in your eyes as you admitted, "I can't afford to stop. If I do, they'll think I've given up."

"No," Helion asserted, his voice unwavering. "Your dedication is commendable, but you need to care for yourself. Let me help you."

You bit the inside of your cheek as you stared at him, his brows furrowed slightly and a sad smile on his face. He moved his hand once more, gently tucking stray strands of hair behind your ear. Then, he ran a finger along it, a soft caress carried by a weight of understanding. You shuddered at the lightness of his touch.

"Stay, Y/N,” He suggested, his voice smooth and low, “Let me be a distraction. You take care of others; let someone take care of you."

You leaned slightly into his caress, feeling the warmth radiating from his hand. A fleeting sense of comfort teased at the edges of your weary soul. Yet, reality swiftly reasserted its grasp, and you gently withdrew, a soft sigh escaping your lips.

"I appreciate the offer," you murmured, your voice tinged with regret. Your hand delicately intercepted his, guiding it away from your cheek. "But I can't afford the luxury of distraction right now."

He acknowledged your decision with a small nod.

“I wish I could do more for you."

A tender smile found its way to your lips and you held his gaze for a fleeting moment of gratitude.

“I know.” You replied before you winnowed away, leaving the luminous embrace of the Day Court behind.

✹ ✶ 𖧷 ✶✹

You were on edge. You had been for the last few weeks. Now, after failing to convince Helion, you could feel it catching up to you, a dark hole forming in the pit of your stomach. It felt like you were being swallowed alive, eaten by your own anxieties and fear. But you didn’t have time for this. You couldn’t risk falling apart, becoming vulnerable. No, not at a time like this.

You had mastered the art of drowning your thoughts, of discarding the weight that threatened to pull you under. Tonight would be no different. The impending storm would be weathered, as it always had been. You would begin to drink your worries away, give them time to manifest, and then shove them away into the crawlspace of your mind, free to collect dust and rot away.

You moved toward a small table where a simple platter of dark amber liquid awaited. Your fingers tightened around a small crystal glass as you poured. As the first sip touched your lips, you felt the familiar burn, a welcomed distraction. The amber liquid offered solace, if only for a fleeting moment.

And then, you stilled. The creak of the floorboards behind you announced their presence, and you felt it—a pricking at the base of your neck, the subtle disturbance of the air as someone entered, no, appeared. Your body tensed instinctively, shoulders rigid, as you ceased your movements. You took a moment to compose yourself, closing your eyes and inhaling deeply-- a futile attempt to ground yourself.

You downed the drink, the warmth spreading through your veins, and set your glass down, a definitive thud echoing in the silence as it met the table. You turned around slowly, the ever-present undercurrent of anxiety beneath your skin momentarily masked by a face of composure. The simple décor of your home surrounded you—the tattered tapestries, broken furniture—all a testament to a life you had built in the aftermath of your return. One that lacked the color that you once held.

“To what do I owe the pleasure of your company?” Your voice, laced with both mockery and a hint of something darker, hung in the air.

In front of you, Rhysand stood tall and proud, a figure of authority. His eyes, once familiar and comforting, now held a look determination. His gaze held yours strongly, and for a swift moment, you saw them soften. But the tenderness quickly dissipated, his eyes narrowing with a slight tilt of his head. You ran your eyes along his face, then down his form, taking in the detailed and intricate patterns of his clothing— an embodiment of Night Court royalty. Then, you looked at him again, your jaw clenching. It had been a while since you looked into his eyes, a violet color deeply embedded into your mind. For a moment, his presence consumed your thoughts, distracting you from the other man that you felt in your home.

From the corner of your eyes, you could see the dark figure stepping out from the corners of your room. A darkness licked at your skin.

"Hello, Azriel," you acknowledged him, your eyes remaining fixed on Rhysand.

Azriel's presence was a dark whisper. The edges of your room seemed to blur with shadows as he stood there, a silent observer.

"I’ve come to request your help," Rhysand's voice cut through the stillness, his words carrying the weight of urgency.

Your response was swift, dripping with sarcasm. "Oh, that's rich."

The corners of the room seemed to darken further as Rhysand's frustration manifested in the clenching of his jaw. The subtle play of shadows accentuated the lines on his face, revealing the strain of a desperate plea.

"Please hear me out."

You shook your head. They shouldn’t be here. This was risky, dangerous. You needed them to leave. They needed to disappear, to let you go and never find you again. That was the only way you would be able to survive.

But every fiber in your being was screaming to do the opposite, to embrace your cousin and explain to him, tell him everything. You wanted to get on your knees and beg for the kindness he always showed you, to ask him about your sister. For him to tell you about his life, his love, his child. But you couldn’t. And from inside you, your heart tugged you to Azriel, his stoic form. You couldn’t look at him, couldn’t bear to catch his gaze. It was all so wrong. This disconnect, this anger you felt for them, for your situation, for yourself… it was eating you up. But this wasn't the time. So you pulled your thoughts together and focused on the one thing that had never let you down: your fire.

You reminded yourself of the resentment you held, deep down. Reminded yourself of how they had failed you, separated themselves from you, your vision, and the suffering of the good people here, in Hewn City— your city. Rhysand's city.

Ignoring his original words, you looked at Rhysand with the hint of a wicked grin on your face.

"Where’s your child bride? I heard she’s reading at the same level as your babe. You must be overjoyed."

Rhysand's expression tightened, anger simmering beneath the surface. The mention of his mate touched a clear nerve, and for a brief moment, you reveled in the discomfort you had caused. It was a twisted satisfaction, a way to regain some sliver of control in this unexpected encounter.

His temper flared, a fleeting glimpse of vulnerability replaced by a presence of anger that you knew all too well. He bit down on his frustration, attempting to maintain a semblance of composure. But you pressed on.

“I’m only kidding, take a joke, Rhysand. 500 years and you still have the emotional regulation of a teenager. Nice to see some things don’t change."

Rhysand's eyes flashed with a mixture of anger and confusion, observing you and your wall of icy nonchalance. His name sounded foreign on your lips, spoken with such malice and distaste. Even the last time he had seen you, during a bloody war against Hybern, you had not been so venomous. This was a fact you both thought of as you stood here, now, in front of one another again. You moved gracefully through the room, ignoring their presence, and opened a small box that sat on your table. The delicate aroma of sugar wafted through the air. You took a seat.

Azriel and Rhysand exchanged glances. Your fingers idly played with the box, an ornate creation that held delicate, candied treats. With an almost casual indifference, you brought one of the sweet confections to your mouth, savoring the taste as if the weight of their presence meant nothing to you. You could feel the tension building in the atmosphere, heightened by their growing sense of agitation and frustration. It radiated off of them like heat. You welcomed it with open arms, like a freezing child in the cold.

"These are the loveliest desserts,” You explained, bringing the candy close to your face with an examining eye, “Hard to come across here. But I know a guy.”

“Want one?" you offered, dropping your candy back into the box and extending it toward Azriel, whose stoic expression remained unchanged.

"What? Doggy can’t take a treat?" You taunted with a measured smile. You didn’t miss the slight flare of his nostrils, or the way his shadows began to snake up his arms, angry and riled up.

A tense silence lingered as Azriel remained perfectly unmoving, his eyes holding a depth of attentiveness that made you uncomfortable. But the discomfort within you sought distraction, and you continued with your mockery. You waved your hands in the air as a dismissal.

"Bah, you guys are no fun."

The room felt charged as you baited them, your attempts to deflect the gravity of their visit becoming slowly evident in every casual gesture.

Rhysand's frustration reached a boiling point, and he took a step forward, shifting the conversation.

"We didn't come here for sweets and jests. We came for you."

You chuckled, a sound that held a bitter edge. "Me? You must be desperate, Rhysand."

A flicker of hurt crossed his eyes, swiftly replaced by a steely resolve. "There are rumors of rebellion here,” He took a pause, glancing around the room as if he was contemplating continuing. He spoke again, “But, I'm dealing with a larger threat that has me on the defense. I cannot afford an uprising."

Your laughter cut through the air like a blade. "Is the idea of civil unrest among your people an inconvenience? My, what an issue, must be terrible."

Rhysand's patience waned, his features hardening. "Stop this, Y/N. We need your help to prevent a disaster."

You leaned back against your furniture, your eyes narrowing as you regarded him with a chilling indifference. "I've heard nothing about any unrest. You've wasted a trip."

Rhysand's gaze bore into yours, an unspoken challenge. "Azriel has been in Hewn City, gathering information. He's heard the rumors. I know you're lying."

In that moment, a silent battle waged within you. The desire to help, to make a difference, warred against the fear of exposing yourself to the dangers lurking beyond your sanctuary. The memories of the past, the reasons you returned, echoed in your mind. You wanted to help, but you knew their presence could unravel the delicate life you had crafted.

Rhysand's voice softened, a genuine plea beneath the layers of frustration. "Y/N, I wouldn’t be here if it wasn’t serious. Why do you refuse to acknowledge that?"

Then, his eyes softened, sensing a crack in your facade. Inner turmoil clouded your eyes as you locked gazes with him. The conflict within you played out in the subtle tremor of your fingers, a telltale sign of something bubbling beneath your icy exterior. But as quickly as it manifested, you shut it down, fast enough to resolve Rhys of his attentive eyes. He swallowed and fixed his composure.

"Azriel has gained information that it's not just a rise against me. There are whispers of a rebellion against Keir himself. I need you to listen for information from your father."

Your father. A wave of nausea rippled throughout your body and you clenched your jaw in response. The title sounded strange coming from Rhysand, a stark reminder of your place here, of your place in his family. No, no. You thought. I will not let them see me falter.

Rhysand continued, "Azriel has gathered intelligence, but we need someone on the inside. We need you."

A cynical smile now played on your lips as you taunted them, "Maybe it's time for a change. The mighty High Lord struggling to keep control – how novel."

Azriel, who had maintained a cold silence until now, spoke up for the first time, taking a heavy step forward towards where you sat.

"We both know you do not mean that."

You turned your gaze to him, eyes dark. "And what do you know about what I mean, Azriel? You don't know anything about me."

Rhysand put a hand out in front of Azriel’s form, biting back his retort. The room hung heavy as you finally declared, "You've overstayed your welcome. It's time for you to leave."

Rhysand's eyes met yours with a determined glint.

"I will be back. Family does not give up."

His words pulled out a surge of anger bubbling within you. Family? Without a second thought, you stood up, your chair scraping against the floor. "Family, huh?" Your voice dripped with bitterness, and you moved toward him, anger etched on your face.

But before you could reach him, Rhysand winnowed away with a controlled fury, leaving Azriel lingering.

Azriel stood still, his eyes slightly narrowed, his brows furrowed at you. You met his gaze and felt a wave of guilt through your body, filling the hole where your fury once was a second before. If you didn’t know any better, it seemed as if Azriel was….. Disappointed? Hurt? But you stabilized yourself, pushing the observation away. Your anger, raw and unfiltered, had an intensity that took even him by surprise. He held your gaze. Then, like a wisp of darkness, he too disappeared, leaving you alone with the remnants of unresolved tension and the taste of bittersweet candied treats lingering in the air.

✹ ✶ 𖧷 ✶✹

a/n: hello hello!! welcome to my lil new fic!! im new here and i have no idea what im doing but i hope at least one person enjoys what has become my creative fictional baby. when i tell you this story has a place in my HEART....y/n here is multilayered and complex and flawed but that is why i love her!! serving cunt 24/7!!!

tumblr scares me so any feedback is so very loved and any advice is great too!! mwuah

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fandom-trash-goblin · 27 days

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IN DEFENSE OF ARYA STARK

Jason Schneiderman, "Little Red Riding Wolf," The Account // Italian Girl with Flowers, Spanish artist Joaquin Sorolla, 1886 // Sansa I, A Game of Thrones, GRR Martin.

lyanna stark || elia martell || sansa stark || arya stark || alicent hightower || jaehaera targaryen || cersei lannister || myrcella baratheon || joanna lannister || aemma arryn || catelyn stark || sansa stark (2) || margaery tyrell

#asoiaf #a song of ice and fire #web weave #webweaving #webweave #game of thrones #webweaves: asoiaf #pro arya stark #arya stark #its been a long while since i read the book and still i saw this painting and thought arya+wildflowers.#edit: okay but sansa baby is so jealous there; which; valid as fuck. i love you sansa <3

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essektheylyss · 9 months

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Honestly it's so funny that Caleb told Essek, "Once you're a part of the Mighty Nein, you're in; you of all people should know that by now," and then like a week later Essek tried to give this whole noble speech about "I hope one day our paths may cross again," as if this was some long goodbye, and dip.

Sir, what was the game plan. You couldn't even avoid these assholes when you were desperately, anxiously trying to. Yasha has been attempting to impress upon you that she tried to fuck off on her own to atone for her sins and it didn't work since you all had dinner. Beau actually said you were a good person, which is unheard of. Caleb is only not making out with you right here because he's not going to be that asshole who tries to tempt you into going back to a city where you would be executed on sight. They are sending you to crash on their unhinged friend's couch and they will not take no for an answer. Jester doesn't care if you'd welcome her messages at any point because she will be sending them, and there is literally nothing you can do to stop her.

How else did you think this was gonna go. Boy, I know you have 22 intelligence but by the light you are fucking dense.

#to be clear he's so valid and this was very in character but yeesh the wisdom score does NOT measure up lmfao #I love him. baby. baby boy.#critical role #essek thelyss

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poorlittleyaoyao · 24 days

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I also cannot stress enough that not getting to hold the baby is in fact what makes JGY evil in CQL. Yes, JGY's been framed with some ominous cellos when he is just sitting there, but up till this point it's all been in conjunction with something JGS is sponsoring. He is perfectly happy planning that wedding! No self-generated schemes are afoot! Then JGS doesn't let him hold his nephew and immediately he starts mentally setting up an implausible plot-altering row of murder dominoes.

#what inspires him to ask to hold JL is that LXC and LWJ have arrived and JGS has to greet them #so JGY is so taken with the baby that he is CHOOSING BABY JIN LING TIME OVER TIME WITH ER-GE #yes earlier in the episode they laid the groundwork for JGS not valuing him at all but not holding the baby is what seals it #he's still valid tho #masala necromancy wizard hour

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toniyx · 1 month

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I have some angsty headcanons about Vox. These are relating to his insecurity, mainly.

First of all, I like to imagine he's EXTREMELY clingy, especially to someone who's actually nice to him. But not in an overt way, no—he would never admit it, neither to you nor to himself, but he's deeply, deeply insecure. And so he tracks you around, borderline stalks you everywhere you go, burying it in his head and reinforcing an idea that he's an important part of your life, whether you talk often or not. He's desperate to hold on to any part of you that he can.

Any hint of validation you give to him is taken in ten-fold, and then doubled up against himself later, because, as many times as you say you enjoy his company, he's still going to think you're lying. And so, while you're calmly going about, (somewhat) enjoying your afterlife, he's watching you through the many cameras he has around the ring, snarling to himself any time someone interacts with you. But then, at the end of the day, he lays down to try to rest, and his mind is filled with contrasting thoughts - by all means, he's one of the most powerful overlords in Hell! He could order you to speak to him more! Of course you care about him!

...But... Do you? How could someone like you care about someone like him? And of course he's paranoid, too, wondering if all of this is some big ploy, some attempt to strip him of his power. And so, the next time he looks you in the eyes, he sees a hint of malice—malice that isn't actually there.

I also imagine that Vox would struggle with that with you, regardless. On one hand, it would seem easy to him on the surface, wouldn't it? But he's practiced his ability to feign confidence for decades at this point. He matches your energy perfectly, almost too perfectly, because he knows that the second he slips up and looks away from your eyes, it'll all come crashing down. Internally, he's fighting a battle not to glance aside just to get some relief from the pressure of your attention all on him.

And if you get angry at him, well... this struggle goes up tenfold. Vox deals with fear using anger—you confront him for something he did that both of you know is true, deep down, but he fights it tooth and claw, fully convinced that an argument is supposed to be won, not resolved. His composure slips more and more every second, in a desperate attempt to convince you that you're wrong, but soon you slip from his grasp as well.

He doesn't know how to cope with that. He spends all night at his screens, rage and despair brewing behind the monitor, watching as you spend time with other people, not him. He's desperate, desperate for you to come back and tell him that you love him, but you don't come back. He's hurt you, and now you're gone.

He knows it's his fault, but to others, he pretends it was you all along. He exaggerates how you spoke to him, playing you up as a bad person... but can't defend himself when someone disagrees. And so, on comes the self-destructive cycle again, Vox tearing himself down just as much as he does others, hoping that someday, you'll come back again to fill that empty hole in his heart so that he doesn't have to.

#hazbin hotel vox #vox #vox hazbin hotel #hazbin hotel #headcanons #vox headcanons #vox x reader #sorry if these seem loopy or inconsistent or off in any way. I wrote this because I have a migraine #I'm so down bad for Vox it's not even funny #I was gonna have some happy stuff in here too but oh well #maybe once I feel better lmao #poor baby needs some validation.....

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badnewswhatsleft · 2 months

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2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs). PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.

#the cover is so funny. like theyre cute but that is genuinely bug angle. that is bugs under a rock angle. THEYRE ALREADY SHORT KINGS #fall out boy #pete wentz #patrick stump #andy hurley #joe trohman #time capsule #read the charts #ANYWAY GO HERE. GO READ HERE. BECAUSE I SPENT A LONG TIME TRANSCRIBING EVEN THO TRNASNCRIBING SUCKKSSS #i looped the spell soundtrack like 5 times and got jusmpscared by track9 every time. and then i put on smfs<3 #patrick's comments about the mythologising of fob lore is so interesting #listen baby i know ur fed up and it's not ur fault but u have to understand. the story of ur band is on some genuine fanfic ass other level #the way they talk about neal avron is sooo funny #imagine being producer for this young band. and theyre brilliant but theyre also twentysomethings(derogatory)#also the way pete talks abt swift. lol. also why does he answer the q when patrick was the one in the studio lol???#ALSO also. pete being afraid of british ppl (valid and true)#and patrick pretty much taking to the uk like a duck to water (also valid and tru) is sooo funny #i rlly liked this interview i wiiiiish i got the bundle w the photobook and whatever but i was way too late :(((((((((

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celestial-stoner-baby · 2 years

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My love language is:

"You should smoke, babygirl"

"Wanna smoke?"

"Gonna take a hit for me princess?"

"How about you smoke and chill out"

"That's it take a hit baby, get fucked up for me"

"You gonna take a hit for me, baby?"

"How about you take a hit for me."

"Here lemme light that for you"

#celeste speaks #stoner #stoner baby #I loooveee being encouraged to smoke #not only because it gets me spacy and wet for you #but because it helps my pain so much #and its so nice to have that validated #wlw #wlw blog #nsft #smoking

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tomgrcg · 1 year

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we've learnt for a fact now that tom feels the full range of human emotions towards greg and that he can't let anyone in or he'll die. so how does he express his emotions? the only way he can let himself. he wants to be a specific kind of person, a roy, and how he is feeling and what he wants to do does not fit in with how these people behave. he doesn’t do it because it’s natural. he does it because he has to. he throws insults at it and tries to wrestle it to the ground but it feels weak because his heart isn’t in it.

neither greg or tom are like the roys at their core. they weren’t raised in it. there are moments of real happiness for the two of them when they’re alone and can just be themselves. there's something different in their relationship dynamic here than the relationships the siblings have. it doesn’t feel as bittersweet because they aren’t as fundamentally broken.

tom is more guarded, of course, he’s received some emotional damage from shiv so he always says or does something to keep greg just far enough away. he’s learnt vulnerability is dangerous. every time he tries to show shiv that he loves her she makes him feel like he’s done it wrong. this season he started behaving in a way that would get through to her but that didn’t feel good to him either, didn’t save him from being fired, nothing.

shiv needed the kind of love tom gave her the same way tom needs what greg gives him. but the difference is tom is more capable of accepting love from people he cares about and wouldn’t hurt greg any deeper than a weak insult, even if he could.

tom knows what it’s like to have to beg for someone who is supposed to care about you to do something for you, so when greg asked if he could possibly save him from going to jail he says load me up without a second thought. he cares about greg’s feelings and would sacrifice something of his own for them and it’s this empathy that tom has that the roy family is lacking.

it’s not hard for tom to think to do something for another person for no reason other than it would make that person feel good. no quid pro quo. but even when tom does do something good for greg he 'can’t stand the good feeling he’s engendered' because he feels like he shouldn’t be doing nice things for no reason.

the nero and sporus scene was tom telling greg he cares about him at all and “come with me, sporus?” was the marriage proposal. greg asks what’s in it for him because that’s how greg works and tom has to say “who has ever looked out for you” instead of “i want you with me”. tom cannot let him know the depth of how he feels so he lets greg think he's using him for something and only merely tolerates him, like everyone else does.

and then, because greg still doesn’t get it, or is choosing to ignore it, tom has to yell “not samson! i want you gregging for me!" he still can’t say the real reason why. the only time he’s shown his real emotions to greg is when he’s alone in a room and greg can’t see his face through the phone.

it's not a perfect relationship. it's not supposed to be. that's why it's so compelling. it’s please don't be better than me i can't stand it but i love you. it’s i’m using you to get somewhere in the world but i’ll still look after you even when i don’t need to anymore. (villainfvcker made a great post about this.)

i’m writing this after episode eight, and if they’re going all the way with greg’s transformation into a roy family member and he betrays tom in some way, it will be another case of a succession character destroying the only real connection they have for some kind of power, and regretting it later.

if anything at all, we know tom really does love greg, and that’s a satisfying enough tomgreg endgame for me, personally.

#the show is so ambiguous with people's intentions that it's easy for me to feel validated in this interpretation #tomgreg #tom wambsgans #greg hirsch #i won't be upset if nothing else happens now #my poor stupid babies i love u and am the same as you #i have kind of a neurodivergent read on the both of them so that's where a lot of this behaviour interpretation comes from #they're just trying to fucking fit in dude it's so sad #i had to write all of this down i need it out of my brain so i can think again #succession meta #i love you tom wambsgans

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