#but also because at the time a lot of people suggested i had depression so That was the only disorder i looked into

[delulujuls]

birds of a feather | joost klein

hi, its me again. i know its been a hot minute since i posted here but literally i have no idea when the past month left.

anyway, im alive and i finally got a chance to write something, so here it is. its nothing that i used to post here i guess, but i it means a lot to me. while writing this i remembered all of those dark days that i managed to survive. and i guess, joost himself did too.

please, if you struggle with mental health or you just dont feel good at that moment, i do not recommend to read this. feel free to text me if you need to talk to someone.

remember that you are not alone. you can get trough everything as long as you have you.

je bent sterker dan je denkt

summary: joost is struggling with his mental health, but so do reader. but together its a bit easier to go through storm and its even better to look at the rainbow with someone dear by your side.

warnings: struggling with depression, ed, parents loss

pairing: fem!bff!reader x joost klein

Snow fell throughout the night, so the next morning, all of Leeuwarden woke up under a heavy, white blanket.

However, some didn’t get the chance to wake up because they hadn’t managed to close their eyes at all. One of those people was a girl laying down with open eyes in her dark room.

Despite having no desire, motivation, or strength, after a while she sat up in bed more than an hour before her alarm was set to go off. She wrapped herself in the blanket and closed her aching eyes. It felt as if someone had poured two bags of sand under her eyelids.

Her room was in complete darkness, with only the warm, yellow light from a streetlamp filtering in through the uncovered window. The whole house was silent, and nothing outside suggested that anyone else existed in the world but her. She could hear her tear-stuck eyelashes pulling apart with each blink.

She sighed heavily and rubbed her face with her hands before finally getting out of bed. She couldn’t afford to skip class; she had already accumulated too many absences recently. The last thing she wanted was to deal with her teacher, who kept repeating the same thing over and over— that she should talk to her parents, that she would call in a psychologist. Just let me live, woman, she thought. Or better yet, let me die.

With a soft groan of displeasure, the girl pulled off her warm sweats and quickly put on an uncomfortably cold shirt and hoodie. The jeans she put on were also unpleasantly cold and stiff. The chill around her cut to the bone.

When she went to the bathroom and turned on the light, she squinted with a grimace. She shuffled over to the mirror and looked at her reflection. Nothing surprising stared back at her. Puffy, red eyes from crying, chapped lips, and skin irritated from a runny nose. She sighed and looked down, tying up her hair and turning on the tap, trying to make herself somewhat presentable.

When she finished, she didn’t look much better. The last thing she felt like doing was putting on makeup. A shower from the previous evening was the best she could manage. Before going downstairs, she grabbed her backpack and phone, glancing at the screen. Beside the clock, it was empty. Worried that maybe WhatsApp had failed, she opened the app and clicked on her last conversation. Joost hadn’t replied to her messages since the night before. She sighed and shoved the phone into her pocket. She knew she wouldn’t go straight home after class.

Not feeling like eating breakfast, she simply put on her shoes, jacket, and left the house. It was even colder outside, so she pulled her hood over her head and wrapped herself in a scarf. She couldn’t wear gloves—how else would she change songs, she thought, putting her tangled earphones in.

Even more snow had fallen than it seemed when looking out the window. It was still early, so the streets were covered in snow. The walk to the bus stop was exhausting. When she finally reached it, she realized she still had plenty of time to spare. She reached into her pocket, pulled out a pack of cigarettes, lit one, and took a drag. She pulled out her phone from the other pocket, changed the song, and opened her conversation with Joost again. Nothing had changed.

you could at least read my messages. that way, id know if you were alive 06:50

She typed with frozen fingers, holding the cigarette between her lips. The girl exhaled the smoke and sent the message, glancing at the cracked screen of her phone with faint hope. Nothing.

The phone that received the message vibrated on the bed. Its owner, however, wasn’t there but on the floor. Joost lay on the ground, staring at the ceiling. He tried to focus on breathing. Only on breathing. Only on surviving.

He had no idea what time it was, how long he had been lying there. Had he made it through the night, or was it still yesterday, or maybe already tomorrow? On both sides of his head were small, wet spots from the tears that had spilled from his heavy eyelids. He was like a defeated, fallen Gulliver, his tears carving out lakes.

He didn’t feel the cold, didn’t feel the pain in his back. He didn’t feel how badly his head hurt from crying or the emptiness in his stomach. He couldn’t remember when he last ate something warm, despite his sister and brother's urging, when he last took a shower, or held his phone. When was the last time he actually spoke to someone? A few hours ago? Or last month?

If looks could drill holes, there would already be a small but precise one in his ceiling. Only when he heard a knock on the door did he snap out of it. It was morning, and his room was filled with light. He had survived the night.

“I’m heading to work, want a ride to school?” his sister’s voice came from behind the door.

It took him about five seconds to remember how his vocal cords worked.

“No, I’ll manage.”

“Are you planning to stay home?”

Silence. On both sides of the door.

“I don’t want to have your school on my back, okay? You’ll go back to class after the weekend.”

Joost sighed in relief, closing his eyes.

“Thanks, really.”

“There’s breakfast on the table,” he heard her footsteps fade away. “Eat something!”

At that moment, he regained consciousness. With great effort, he managed to sit up and lean his back against the bed. He rubbed his face with his hands and clenched his fists in his hair. After a moment, he sighed and looked ahead. The clock on the bedside table showed a few minutes before eight. He hadn’t even heard whether his brother had returned from the night shift. It was as if he’d been in a trance all night, focused only on the passing seconds, taking minute by minute, hour by hour.

When he managed to climb back into bed, he pressed his cheek against the cold pillow and instinctively reached for the phone lying nearby. In the flood of notifications, he noticed more than ten messages from his friend. He felt a pang of guilt.

He swiped and entered their conversation.

you know we can always talk. you dont have to deal with this all on your own 00:21

i know. thanks 00:46

That was the last message he had replied to.

apparently you dont know, because youre doing it again 00:54

you always shut yourself off and dont let anyone in. why cant you understand that you matter to someone? 00:55

you act like youre deliberately torturing yourself, like you purposely want to take on all the fucking pain and show that only you are suffering. surprise, youre not the only one 01:00

im sorry. i didnt mean it like that. its just been hard for me too lately, and im worried about you. i didnt want to say that. im sorry.. 01:12

i want to help you, but i dont know how. how am i supposed to do that if you wont let me? 01:18

i cant imagine losing you, do you understand? 01:19

for fucks sake, theyd bury us together. i couldnt make it without you 01:20

let me help you, please. or at least dont shut me out 04:29

im worried, joost. please reply 13:54

Missed calls x7

you could at least read my messages. as it is, i dont even know if youre alive 06:50

im alive. im sorry 08:01

He replied, staring at the screen. He read her messages several times. He knew he could rely on her, that he mattered to her. But on the other hand, he couldn’t accept it. Him? Someone cared about him? Hey, wasn’t he just the funny, slightly chubby kid who always told silly jokes and made everyone laugh? That he had problems? What kind of problems could a teenager like him have?

She, however, knew that Joost had been through a lot. Losing his parents year after year can break anyone, let alone someone like him. Since she had met him in high school, Joost had always seemed like an extrovert, the center of attention, telling the funniest jokes with his booming voice. But beneath the surface, which he had built himself, lay an incredibly sensitive boy with a big heart. He was the kind of person children smiled at, and dogs ran up to for a pet.

Joost was like a gentle giant. He could pretend that nothing bothered him, that dumb jokes or words thrown around in laughter didn’t hurt. But every one of those words or situations lodged itself tightly in his mind like a pack of rats that couldn’t be driven out for anything. It was as if his body lacked the receptors for anger or aggression. He wished everyone he knew well, but the feeling wasn’t always mutual.

When he was younger, not long after his parents died, he was often mocked for being an orphan. The mean comments and jabs were so hurtful that he stopped attending classes. When someone pointed out that he seemed to have put on a bit of weight recently, he went a week eating nothing but apples, drinking water and smoking cigarettes.

Now, even though some time had passed since then, and he had been through several rounds of therapy, he still had periods like this. When all he wanted was to be alone and let the cold embrace of sadness surround him. To rest his head on the bony shoulder of depression and weep bitterly.

But it wasn’t to be, as he suddenly flinched, hearing something hit his bedroom window. He realized he had lost touch with reality again and had been staring at his phone’s dark screen for who knows how long.

Thinking he had misheard, he settled more comfortably on his pillow.

The girl squeezed the snow harder in her hands, forming a snowball. She took aim and threw it at his window again. When Joost replied to her message, she knew she had to seize the moment. She had skipped the last two classes and immediately went to her friend’s house. She wasn’t leaving until she talked to him.

She took aim again and threw another snowball at the window. This time with success, as moments later, she saw Joost looking out.

He wasn’t sure whether to believe his eyes, but his friend tapped her finger on her wrist, signaling that she had been waiting long enough. The corner of Joost’s mouth involuntarily twitched upwards, and he quickly went to open the door. He knew that if he didn’t, this psycho would keep throwing snowballs until the window broke, and she’d climb in through the tree. He preferred to avoid that.

He unlocked and opened the door, but before he could say anything, she threw herself around his neck and hugged him tightly. She was cold, and her hair smelled like frost, but she was so alive, so different from the bony arms of depression.

“Don’t do that again,” she mumbled, holding him close.

Joost felt all the air trapped in his lungs release as he closed his eyes. He wrapped his arms around his friend, resting his cheek on her head.

"You're letting the cold in," he said after a moment, trying to lighten the mood as the wind blew snowflakes inside. "Come on, get inside."

A few moments later, the two friends were in Joost's room. It was clear that cleaning up was the last thing on his mind. The girl glanced around and silently began picking up the scattered clothes from the floor.

"Please, leave it," Joost groaned, collapsing onto the bed. "I'll do it later."

"If you're not going to help, then go take a shower," she replied, putting the relatively clean clothes back into the closet and setting the dirty ones aside near the door.

"I'll do that later too," he mumbled, rubbing his face with his hands. Only now did he start to feel how utterly exhausted he really was.

"We both know how that will go," she said pointedly, casting a glance his way. He sighed, feeling her gaze on him.

"I'm too tired. I just can't."

The girl hung up his coat and sat next to him. Joost looked at her face. Only now did he notice her puffy, swollen eyes, sunken cheeks despite the rosy flush from the cold, and chapped lips. He recognized the look.

He immediately recalled one of the messages she had sent him. You're not the only one suffering.

"What happened?"

He furrowed his brows and sat up, studying her face carefully. She knew exactly what he meant. Joost saw the same exhaustion in her that she often saw in him.

She sighed and lowered her gaze.

"I haven't been feeling great these past few days. But you probably know what I mean."

This time, it was his turn to lower his gaze. He didn't know what to say.

He didn't need to say anything.

She moved closer and hugged him, pulling him into a tight embrace. Joost desperately hugged her back, holding her in a bear-like grip.

"I'm sorry," he muttered after a while, still holding her. His voice trembled. "I should be supporting you, but instead, I'm just a burden. It's the only thing I'm good at."

"You're not a burden, Joost," she protested, pulling back slightly to look at him, emphasizing her words. "We should be supporting each other. No one else will understand us better than we understand each other. We're in this together."

At some point during her words, two large tears rolled down Joost's cheeks. She wiped them away with the back of her hand.

"I'm sorry," he said, burying his face in his hands, knowing that those two tears were just the beginning. On top of feeling miserable, guilt now added to the weight. It's not that he was unaware of his friend's struggles with mental health—he knew, just as she knew what he was going through. On most days, both of them were cheerful and lively, the life of the party. But sometimes, for a few days, a week, or even two, their light would go out. Depression was a grim lighthouse keeper.

She hugged him again, holding him tightly. Joost clung to her as if she were a lifeline.

"Everything will be okay," she whispered, stroking his hair.

"Everything will be okay," he echoed. "We'll get through this."

They sat there in silence for an undefined amount of time, wrapped in each other's arms.

"I'm not joking about that shower," she said after a while. "I guarantee you'll feel better."

Joost sighed and pulled away from her, nodding. He stood up and went to his closet, grabbing some clean clothes.

"You don't have to clean up, really," he said, glancing at her one last time before reaching for the door handle.

"And wash your hair too," she replied, standing up and continuing to organize his clothes. She looked at him and gave him a small smile, nodding her head to tell him to go and not to worry about the rest.

"Thank you," he returned her smile and went to take a shower.

When he came back, he looked much better. He also felt better. His room no longer resembled a battlefield. Clothes and trash no longer littered the floor, dirty dishes were gone, and the bed was made. But his friend was nowhere to be seen.

Joost peeked out of the door and, hearing movement in the kitchen, went downstairs. His friend was putting dishes into the dishwasher.

"This is probably for you," she said, pointing to some sandwiches wrapped up on the counter.

"I doubt I can eat anything," he replied, glancing apologetically at her. After a moment, he wondered if she had eaten. She also had trouble with eating sometimes. "But I'll eat if you eat with me."

"That won't be enough for us."

"I know, but we can make pancakes."

The girl smiled at his suggestion and nodded.

A few moments later, the kitchen filled with the smell of frying pancakes and the sound of easy conversation. The kind of conversation that, after a storm, offers a glimpse of normalcy. Joost flipped the pancakes while his friend sliced fruit they had found in the fridge. The warm atmosphere began to chase away the heavy clouds.

They weren’t alone. Even when they craved solitude, they weren't isolated. They had each other.

The girl unintentionally glanced at her friend, and noticing his damp bangs falling into his eyes, she pushed them back from his forehead with a gentle hand. Joost smiled at her gesture, unable to help it. She smiled too.

Birds of a feather, we should stick together, I said I'd never think I wasn't better alone Can't change the weather, might not be forever But if it's forever, it's even better

Neither of them said it aloud that afternoon, but in the quiet corners of their minds, they both thought how grateful they were to have each other.

[mysteriousauthor448]

What if Class of 09 Flipside was made by a Woman?

I liked Class of 09. I liked it's snappy dialogue, I liked it's social commentary of high school and women's experiences with creepy men and adulthood, I liked how it gave such a compelling main character where you know she's awful yet acknowledge that she has her reasons without justification. I like Class of 09, both the original and re-up. What I don't like though, is Class of 09: The Flipside.

Setting my personal disgust with the feet routes and the 'Palestinian slave trade' comment aside, the writing in Flipside just is completely different from the last 2. Instead of focusing on the biting social commentary of the woman experience, it instead prioritizes shock value with only some form of substance (e.g, jecka seeing nicole's suicide, jeffrey's death, the ending messages apart from the creator) And you know what else sucks? We never actually got to explore Jecka properly of who she is as a character, her relationships with her family, friends, former friends...Sure, we get doses of her life like her dad which does do what the game promised: Change how we saw the Class of 09 story before. We now understand why Jecka was terrified of the cop's yelling, not only because an powerful authority abusing his power but also experienced it before. See, this was the stuff I expected from Flipside. This was what the game should've prioritised in. Instead, it seemed like the creator would rather showcase his fetishes and spite people that don't like him or the game. From that there on, I keep thinking to myself: 'you know, this game would've been better had a woman wrote this.' But can they?

I'm a woman experienced high school before, even tried to fit the class of 09 writing style on my characters in my own personal time. Given how a lot of class of 09 fans are disappointed with the new game and I want to get into writing publically, I figure that I be the one to rewrite Class of 09 The Flipside in hopes of re-capturing the essence of the first two games alongside the game's intentions itself. Even though it's still in development, I've already outlined the routes/endings so far for you all to get a peek:

Route 1/Ending 1 - Invasion of MySpace: The foot route will be replaced by Jecka taking and making videos/pictures in order to make money after being fired from her job. Think of it like a late 2000s or early 2010s version of OnlyFans. This would help remain the social commentaries of men’s creepy behaviour to women alongside how their safety is affected. There’ll be an option of whether to go to the creepy man’s house or go home. If she goes home, she finds Nicole giving her dad a handjob with a dead expression. It ends with Jecka killing herself and implies that Nicole followed her too (not half naked though, just in regular clothes cuz I'm not a freak unlike someone)

Ending 2 - MurderSpace: If Jecka chose to go to the creepy man’s home, she gets murdered and placed like a doll in the man’s basement. 

Route 2/Ending 6 - Breaking the Wounded Heart: Jecka finds herself to work with Karen and Ari at Dominos. Overtime, they start to form a bond and Jecka herself starts to mature and finds Nicole to be unbearable. Jecka finally breaks off her friendship with Nicole and cuts forward to the future where Jecka currently lives a peaceful yet boring life, reflecting on the past with Nicole, wondering if she’s really better off without Nicole because while she’s now in a stable life without the chaos, it's the chaos that entertained her: Nicole entertained her. And now it’s all gone. But in the end, it suggests that things are much better with Nicole gone as it cuts to a phone beeping and Jecka looking down at it with a smile while Ari is by her side. Yes, this is the route where Jeckari is canon. I know this sounds too sweet for Class of 09 but I want it to still match the vibe with it being less shocking but more real in a way. Something too realistically depressing but still mundane. This is what I planned to be the saddest but best outcome of the game. The most real I should say. 

Ending 5 - Was it all worth it?: If Jecka chooses Nicole over her new friends, it ends with her and Nicole being homeless smoking drugs in an abandoned forest with Jecka reflecting on whether or not she made a good choice with Nicole before commenting on needing a Xanax to distract her from the regret and pain. 

Route 3/Ending 3 - Fuck Men!: Jecka gets into a relationship with a presumably kind-hearted gentleman. Nicole tries to warn her but Jecka won’t listen. She then is coerced by the man into doing sexual favours for his economic gain, making her become a sex trafficked victim.

Route 4/Ending 4 - Drunk Drive Delivery: Same route where Ari dies but instead the ending changed to Jecka being arrested for 6 months where the ending monologue would showcase her conflicted in anger and regret. Plus, it plays more to the idea of Jecka ‘dying at 21’ logic with being forced to work: adult party culture: that kind of thing. 

I'd be happy to hear any feedback or/and ideas for this rewrite.

[vidavalor]

The Devil Takes The Hindmost

The Big Damn Post I've promised for ages on all the stuff suggesting that what we're watching in S2 is Aziraphale's mental health crisis leading to his fall...

...with a focus on a religious concept that intersects with secular ideas about mental health-- The Devil Takes The Hindmost-- that was unintentionally mentioned by Mrs. Sandwich and might be what's going on in The Final 15.

Plus, a look at the possible purpose of The Whickber Street Shopkeepers and Traders Association in the story and a dive into the symbolic role in Aziraphale's story played by Muriel... the most adorable Angel of Death anyone's ever seen.

@ao3cassandraic @komorezuki @kayleefansposts @masnadies -- This is basically what I was starting to talk about the other night, if you're interested. @ochre-sunflower -- the meta I mentioned.

TWs: suicide; depression; PTSD; negative self-thoughts... It's optimistic by the end but it's a look at some darker stuff in the story so please take care.

In GO S2, we have a lot of stressors building and overlapping for Aziraphale, with each episode adding new ones, all boiling hotter and hotter until we reach the The Meeting Ball. There, everything stops for the arrival of Shax at the door.

When she turns up, all the other plots cease to be relevant in the moment because the whole story's stakes upon her arrival now come down to a single, pivotal question:

Are these demons going to get into the bookshop?

On the surface, in our plot, Shax, Eric and the smallest number of completely ineffectual demons that a redemptive Furfur could get away with sending without looking like a traitor 😉 are interrupting Aziraphale having turned his first pass at hosting the monthly meeting of The Whickber Street Shopkeepers & Traders Association into a party.

Why is he doing that? For a dizzying number of reasons. So he can try to protect Gabriel by getting Maggie and Nina together and try to be part of his community by using the party to get Maggie and Nina together which is also so he can protect Gabriel... but, let's be real, it's really all so he can dance with Crowley...

Our heads are spinning as much as Aziraphale's is by this point and it's exhausting just to try to recap everything he's dealing with by The Meeting Ball... which is why it probably isn't surprising that all of that story just stops when the brick goes through the window and Shax is at the door. Because, symbolically...

...this is an anxiety attack.

Shax and the demons are Aziraphale's inner demons and they're trying to force their way past the threshold to take control of the bookshop the way that darkness can consume a person...

...as they're trying to take control of the bookshop that is what, symbolically?

Aziraphale, yes.

Aziraphale and Crowley. (And, as we looked at recently, also Maggie, on account of her family's history with it.)

Why this bookshop attack that is a metaphorical anxiety attack at this point in the story?

Because a lot of what Aziraphale wants out of life was happening before the demons that represent his inner demons showed up at the party.

For the first time ever, Aziraphale was no longer compartmentalizing his worlds and hiding parts of his life from people. He had Maggie and Gabriel under the same roof-- his human and angel families together. He had neighbors over and felt brave enough to call himself one of them by hosting the meeting. He was impacting the society around him in a big way by unifying Whickber Street's black market with its "legitimate" front by inviting Mrs. Sandwich to join the group. He was helping Maggie and Nina fall in love.

Most importantly, there was what the whole thing was really for: having all that happen with Crowley there, too, and everyone knowing they are together. Being able to dance with him and be a couple openly like everyone else. This Jane Austen cotillion coming out ball for ladies Maggie and Nina is really a coming out party of sorts for Crowley and Aziraphale. This is like the Christmas party of Aziraphale's dreams here. The one he's never, ever been able to have.

It's a wonderful thing when people who are in a great deal of emotional pain decide they've just had enough and want to break free of their misery and allow themselves to work towards being happier.

It's just a very delicate period because it can go either way, in a hurry. One minute a person can be thinking they're on top of the world and starting to live the life they've been dreaming of but the next minute find themselves freefalling emotionally. This is especially true of people who feel they have to present as cheerful and optimistic for everyone else and who hide their pain behind a smile.

They are some of the most at risk of their lives becoming like the Salinger short story about trauma and suicide referenced in S2-- "A Perfect Day for Bananafish"-- in which a man suffering from PTSD is believed to be fine by himself and those around him, has a nice day at the sea and chats with a symbolic daughter-like character and then, unceremoniously, goes to his hotel room and shoots himself dead.

As Maggie shows us during The Meeting Ball when she parallels Aziraphale's struggle, people get tired of being afraid and want to live-- want Nina, who is coffee, which is freedom-- but they can overdo it, if they're not careful, and wind up taking steps backwards.

Sometimes, the thrill of feeling like they might be on the edge of something good can cause someone to go too far, too fast, and, without the right support, they can find themselves going faster than a rollercoaster-- and right off a cliff as a result.

These people might look at their inner demons and think they're fine, now, actually, and that the darkness doesn't frighten them at all and they're all over their negative stuff-- all good now. No problems here.

Problem is that, sometimes, in the process, they might realize they're lying to themselves when they suddenly tell those inner demons that they can come in and say all that pathetic shit to their face... before they're really ready for that. Maggie, paralleling Aziraphale here, shows that with Shax during the bookshop attack. Not the best way to deal with inner demons, that.

And one person's inner demons can be an unintentional trigger for others, which is one of the things that started off Aziraphale's mental health crisis boiling up into a breakdown earlier in the season.

Aziraphale was already having a terrible week and then he projected his own issues all over his adopted goddaughter when she was having a moment and wound up accidentally saying something about himself that she took to mean about her and that came out sounding incredibly hurtful in a way that Aziraphale didn't mean for it to be. He then sought to make it up to her by finding a way to make her romantic dreams come true but was, all the while, silently berating himself for not having handled it flawlessly in the first place.

And when that got mixed in with trying to *checks Aziraphale's S2 list*... Jesus...

...recover from PTSD, manage all the anxiety and depression that comes along with it, deal with the fallout of his relationships with his abusive family, save his losing it brother from a religious cult/fascist regime trying to kill him and figure out why he's lost his memory, assuage his guilt over the memory-wiped angel that he feels he failed to save that showed up at the door, figure out wtf to do with the bookshop/embassy he's never wanted to run but that has become the M-25 that he's built and is now stuck in and that just reminds him that he hasn't any family to pass it onto, and, most importantly?

Tell his partner that he would like to live openly with him in the a little cottage by the sea in the South Downs...

I mean, by the time Mr. Vacuum showed up and suggested that Aziraphale add to the list that this week also be the first time he's ever hosted the monthly meeting of the business organization of the street he's basically founded but doesn't let himself really feel like he belongs to?

Sure, Mr. Carpet. Sure. Bring it on. Why not, at this point?

But Mr. Vacuum's idea actually caused Aziraphale to think he had the perfect solution-- continue to do what he was doing all week and combine this shit together! Protect Gabriel by tying him to Maggie and Nina and solve Maggie and Nina through the Whickber Street meeting and, well, if he's going to make it romantic for Maggie and Nina, well...

...maybe this is how Aziraphale can solve his biggest problem-- finding more of a way to just be forever near that one, particular person who makes everything okay.

So, by the time we get to The Meeting Ball? Aziraphale is pretty much losing his damn mind.

The heebie jeebies that Crowley gets in the street? It's not the low-rent demons. He knows what they feel like. He can't identify it but the thing that is really, really wrong is Aziraphale himself, in a dark reverse of Aziraphale feeling Crowley's love in S1.

Thousands of years of feeling a lack of enough control over his life have basically led Aziraphale to snap. Parts of it are very funny. Gabriel dressed up as Liberace circling with temptation trays of vol-au-vents is as hilarious as it is loony. Miracling the room so that everyone speaks like it's the 19th century causes a lot of humorous scenes, especially with Mrs. Sandwich... but is also a horror show. Justine loses her ability to speak English well and others have trouble understanding one another. It's like a zanier, more comedic version of Aziraphale's parallel antichrist, Adam, taking over The Them and deciding how, when, and if at all, they could speak.

It's a person in Aziraphale, who is normally very kind to others but not really to themselves, whose pain and anger have built within them to a breaking point and caused them to take that out on others and become, for a moment, almost the exact kind of person from whom he tries to protect others.

During this part of the season, Mrs. Cheng and Mrs. Sandwich have some dialogue that I think might be the whole rest of the season's plot in a nutshell. It happens here:

Mrs. Sandwich being unaware that "seamstress" is a 19th century-era euphemism for a sex worker means that she doesn't realize that she actually is, on one level, telling Mrs. Cheng what she does for a living. Her frustration is coming from the fact that Mrs. Cheng also doesn't know this euphemism and so thinks Mrs. Sandwich is a literal seamstress-- someone who sews and mends clothes-- and not a figurative/euphemistic one. While that and the rest of this scene is worth a whole deep dive in and of itself, it's not the bit I want to focus on here. That bit is what Mrs. Sandwich says as she gets increasingly upset.

Keep in mind as we look at this that the person who is the literal seamstress in this scene is not Mrs. Sandwich. It's the person whose magic is inhibiting her speech-- so, who is speaking, in a roundabout way, through her-- and who is the one changing everyone's outfits as they come through the door.

The seamstress really of note here is Aziraphale.

In the midst of her frustration, Mrs. Sandwich is trying to curse in 2023 terms but they are coming out in 19th century-era equivalents and this means that she says the following things when cursing:

She insists that she's not a godforsaken (abandoned by God; left to Satan) seamstress, that she's not a benighted (taken by darkness) seamstress, and, finally... while probably trying to say "what the hell"... winds up saying the whole season's plot in response to Mrs. Cheng asking her the also rather meta question of "what, in short" the problem is in that moment.

What, in short, is the plot?, asks Mrs. Cheng, on a meta level.

What the fuck is going on in this story?

To which Mrs. Sandwich replies:

"The Devil take it."

The curse "The Devil take it"-- meaning you give so little about something or someone that Satan can have it-- comes from a religious teaching (that works very well from a secular perspective, too) known as "The Devil Takes the Hindmost". It's this teaching that I think is extremely important to S2 and is arguably around what the story is structured.

This teaching argues that people who are excessively self-sacrificing are putting themselves at risk of being taken by darkness/Satan because of the cumulative effects of the anger, anxiety and depression that comes of denying that they are people with wants and needs of their own for too long.

It's about the people who go beyond kindness. It's about those who don't see themselves as part of the pack of people and think that the world isn't for them. They believe that their needs and wants don't matter as much as the need to prove to themselves that they aren't a horrible person-- which they do, in their minds, by denying themselves a full life of their own.

Sound familiar? It should. It's Aziraphale to a T.

Why are these people in "The Hindmost" for Satan to take when they're not terrible people?

Because they fall to the back of the pack of humanity.

Because they are left open to the darkness because they do not allow themselves to have what they work so hard to help others make for themselves.

The pain of that eventually renders them as bad off emotionally as those they counsel, or worse. The more they deny themselves, the more that pain builds and it can push them down dark paths.

They're in "The Hindmost" not because anyone left them behind, exactly, but because they've shut out the people around them.

They aren't letting people in.

It's about here that we can bring up that Good Omens is built around doors and all of S2 is basically about getting in the bookshop that is Aziraphale. It's here that we can mention Shax-- the darkness-- repeating demands to Aziraphale, to Crowley, to Beez to be let in. It's here we can mention The Final 15 and the world's most depressing kiss-- the literal embodiment of "let me in" as a theme-- and the horribleness that followed.

So, if S2 is The Devil Takes the Hindmost and he's headed Aziraphale's way the whole season with a large oat milk latte with a hefty jigger or dash or whatever of almond syrup and the job (the Job...) offer from Hell to tempt him, then we're watching (for now) the last days of the angel Aziraphale because a fall is a form of death.

It doesn't mean it's the end entirely because, as Gabriel discovered, everything goes down but flies? They go up.

Flies are the product of letting someone in and not shutting out the love and care you need. That can only be done through accepting, at least for a little while, that you are allowed to be a person and deserve to be cared for the way you care for others. If a person does that, they can fall but they'll have what they need to get back up and to help them stave off future falls.

Letting people in and talking to people about how you feel-- figuratively: feeding your fellow ducks your frozen peas and listening to theirs--- is how we all defeat the darkness together and make it so that Satan never shows up at any of our doors.

Yes, it is, Crowley. Would have been helpful if you had mentioned any of your own Hell-and-Book-of-Life frozen peas at all to anyone but the audience all S2 but this meta isn't really directly about you so you get a pass for now 😂 Back to your partner...

So, this The Devil Takes The Hindmost stuff? Almost immediately after Mrs. Sandwich says it, the story begins to have the characters literally act it out.

Shax is The Devil in that she's a devout diabolical minister of Satan so she's representing Satan at the door.

First up? Gabriel.

Gabriel mirrors Aziraphale's excessive self-sacrificing. It doesn't matter to him that he just met most of the people in the bookshop an hour or something ago. If that angry mob outside wants him for who fucking knows what reason as this poor bastard can't remember anything 😂 then Gabriel is happy to throw himself on his sword for them.

In reality, no one in the shop should have let Gabriel go out there alone. The whole point of "The Devil Takes The Hindmost" is that if everyone looks after each other the best that they can?

There won't *be* any hindmost.

There will just a pack of people who are all keeping each other safe from the darkness.

Jim is ultimately fine to tussle with Shax, though, because that is the part of the teaching that he exemplifies.

Gabriel has been protected. He's not completely fine-- who ever is, really?-- and he's still not really over this current bout of depression but he's safe from Satan and the darkness.

He's safe because he has Beez, Aziraphale, Crowley, and his new friends on Whickber Street.

Gabriel has a pack and is allowing himself to be part of it. As such?

The Devil can't touch him. Shax can't recognize him and sends him back inside. Gabriel is not in The Hindmost because he's been hidden, safely, by his group.

Gabriel goes back to the middle of the pack where he spends the rest of the attack, helping Aziraphale fight off his metaphorical inner demons by way of aiding Maggie and Nina to save the bookshop.

It's the next to the door, though, who is not so lucky, and gets to be the first example of The Hindmost.

From the way, way back of the pack that has formed of the humans, Gabriel, Crowley and Aziraphale in the middle of the bookshop pushes forward our beloved Mr. Brown of Brown's World of Carpets.

The President of The Whickber Street Shopkeepers and Traders Association-- the Gabriel of the humans-- feels it's his job to sort out this mess... only he has even less clue as to what's going on than Gabriel did... and he's much, much more vulnerable.

Mr. Brown tells Shax that he doesn't know why she is "interfering" with the people in the shop, unknowingly using the word used in religious circles to talk about The Devil coming after people. Mr. Brown is a guy at real risk here. Going into the circle and getting discorporated if you're not prepared? Facing The Devil at the door without preparation is the same, terrible thing. Mr. Carpet has no idea wtf he's up against here and his motivations for going to the door are the heart of The Devil Takes The Hindmost.

What does our lionhearted Mr. Brown do for a living? What is he, symbolically?

He sells carpets, right? What are carpets?

Well, they're rugs, for one thing. They're found in every business and home in existence. They are necessary for living and also an example of having comfort in your life. (They're also walked on and taken for granted, like our Mr. Brown is quite a bit.) You pick out carpets on your own or with the people with whom you are making a life-- and they tend to symbolize that life.

We see, in 2.06, the shot highlighting the lotus flower carpet that Crowley and Aziraphale have in the bookshop, that they use to cover up the Heavenly circle in the floor-- the one they put Gabriel on to do the protection miracle. It symbolizes the life Crowley and Aziraphale have made together to which they've now let Gabriel in.

What else are carpets? In Good Omens' use of language, they're also cars and pets. Rugs, cars and pets... three of the most common things owned by people living a life on Earth, with the word own itself in Mr. Brown's name.

Brown's *World* of *Carpets*... this dude is, symbolically, everyone.

He's life itself.

That's why it's Mr. Brown who gets taken by the demons and, later, saved by Crowley and left in the care of Mutt, who is human magic-- the character who symbolizes the wonder and mystery and joys of being alive.

Mr. Brown-- an extremely common name for a man whose pain is extremely common. He's lonely. He's overlooked. He's the president of this group of apostrophe and Christmas lights-obsessed, irritating and wonderful, typical, human people because he's unflappable and no one else wants to do it. No one else will do all the boring work and hear all the complaints the way he will and he's made that his role and he hates it. In that way, he's the Beez of Whickber Street-- as desperate for appreciation as Aziraphale. He's Burbage and Shakespeare, wanting an audience that isn't sleeping, drunk, or flirting their way through Hamlet. He's Crowley and Aziraphale:

Mmm, good job... Oh, do you really think so?

Mr. Brown of Brown's World of Carpets is a professional carpet salesman. He spends his days selling everyone what they need to make lives of their own but his own life is far lonelier and smaller than he would like it to be. He doesn't have a partner or true friends, just the people of the group into which he's struggled to really fit, despite running it. He's nerdy and awkward. His over-the-top, affected manner of speaking belies the fact that he feels like he's jiggery pokery, through and through. If I took Mr. Brown's name and profession out of this paragraph, I could be describing Aziraphale just as easily, but for the fact that Aziraphale does have Crowley, if not in the open way he wishes for. Because of that, Mr. Brown being taken by The Devil is also foreshadowing the end of S2 for Aziraphale.

Like most, Mr. Vacuum has got some surprising resolve-- some unexpected moxie-- but, fundamentally, this man has spent S2 showing that he is one more papercut away from a nervous breakdown.

So, when he tries to prove his worth to the group by putting himself at risk, it's excessively self-sacrificing. While there are some titters of alarm and warnings to him not to leave the pack, the one who objects the most is Crowley. Mr. Brown, though, doesn't let Crowley in. He doesn't recognize him because it's partially to look good in front of Aziraphale that Mr. Brown has jumped to the front of the pack. It's his loneliness, his lack of his own life, his need to be part of the group and appreciated. His need to be the hero.

Only, Mr. Vacuum is what happens when you aren't prepared for the darkness and you haven't let anyone in to help you. Shax, realizing that Crowley has been lying to her about the threshold by the way that all the humans have been backed into the living room, tests the theory and Mr. Vacuum gets taken by The Devil.

The Devil Takes The Hindmost.

Mr. Brown went from the literal hindmost of the pack inside of the bookshop up to the front to self-sacrifice excessively, got taken by Satan, and then, in a darkly amusing turn, got tossed back through to the hindmost of the pack of demons outside. He's also near the back of the line for coffee the next morning at Nina's.

If The Devil can come for Mr. Carpet, we see, he can come for anybody. Now this lingering and malignant sense of unease we've been feeling throughout The Meeting Ball tips here into real horror.

Crowley is up next to evacuate the rest of the humans in the shop. He's going to walk them all in a pack past The Devil. They go out in mini-groups within a larger pack. He tells them that they need to all stick together and mind each other, not the demons.

If they do that, they live. If they don't, they won't.

It becomes that simple because it is that simple.

Crowley doesn't just tell The Whickbers how to do this, though-- he leads them out. Because he's one of them, too... but really also because this is all a metaphor for Aziraphale's mental health breakdown getting going and what happens when you are having an anxiety attack or a depression episode?

What goes out the door?

The things that keep you alive, right? The good stuff in life. That is defined differently for everyone but a lot of it overlaps for many of us. Many of those things are what The Whickber Street group characters stand for in the story. Aziraphale owns the land for most of Whickber Street so, in addition to being characters in their own right, all of the members of The Whickber Street group represent Aziraphale.

They're all the things he loves the most-- his reasons for living, and what helps keep the darkness away for him. This is really why, symbolically, neither they nor Crowley (symbolically, love) can be present in the shop when Aziraphale is melting down at his worst.

Crowley leads the pack out with Mrs. Sandwich up front. He is allowing himself to be part of the pack here. He might be supernatural and the group human but it doesn't matter. They're all people and there's more to it than miracles. Crowley can't face the darkness on his own-- and neither can Mrs. Sandwich. Neither of them should have to. So, they don't. They choose to be each other's friends and let each other in and they're both better for it and so is the rest of the pack. This is an example of how to deal with darkness in a positive way.

Crowley trusts Mrs. Sandwich in general but for this task, in particular, because who knows best how to deal with the darkness?

Survivors of prior run-ins with darkness, that's who. His fellow "fallen woman", Mrs. Sandwich, has got her hat pin and his back and Crowley has hers.

So, out the door of the bookshop that is Aziraphale goes love, friendship, sex, romance, healthy communication, human magic, community, food, music, and so much more... because not taking care with our mental health issues rob us of what we love.

Left in the shop? Maggie and Gabriel-- Aziraphale's past and his family... and Nina-- the possibility of freedom (her American-themed coffee shop) and what's left of Aziraphale's hope for the future. Nina's decision to stay symbolizes Aziraphale hanging onto some hope.

After Crowley and The Whickbers leave and Maggie accidentally lets in Shax, the demons have gotten in and are advancing. Without those who are no longer in the shop and with Crowley missing, Aziraphale's anxiety ratchets up and the demons-- his inner demons-- gain ground. The goal becomes keeping them from getting into the residence floor upstairs-- to the place to which Aziraphale has let hardly anyone in. The parts of himself that are not public-facing or for acquaintances but only for those he allowed himself to get close to. Maggie and Nina can be on the landing up there. Gabriel can stay in the guest room. They're family. Only Crowley is allowed free reign in the whole of the bookshop.

For the first time, we have an angel not named Aziraphale teaming up with humans to fight for a place on Earth. The start of the 'all of us versus all of them' that Crowley foreshadowed as still to come at the end of S1? It isn't some big battle for the planet. It is a battle for the life of a single person in Aziraphale because every person matters.

It's The Commander of The Heavenly Host rooting around the upstairs rooms of the bookshop collecting all the fire extinguishers bought to help Crowley deal with his trauma that he can find to supply his troops-- the human Maggie and Nina-- on the front lines.

It's Aziraphale's loved ones coming together to fight to save the bookshop that is, symbolically, Aziraphale himself.

Ultimately, though? Crowley, Gabriel, Maggie and Nina can help hold off the demons that are symbolically Aziraphale's inner demons but it's ultimately going to come down to Aziraphale and Aziraphale alone whether or not these demons are going to overrun the bookshop.

We reach the point where Aziraphale has to choose-- is he going to let the demons take him over or is he going to send them back? He decides, in this moment, to blow up his halo.

We learn that Aziraphale's halo isn't divinity floating atop his head-- it's a tight, hard band around his mind. It's mental health issues, in physical form. He is in visible pain and breathing shallowly as he struggles to take it off. If you took away the halo from the picture, it's visually very much like someone having an anxiety attack. He uses it to discorporate the demons-- to send his inner demons packing.

Well, almost all of them...

Shax, the one that voices his darkest inner thoughts, remains. She's unconscious for awhile, lying dormant on Crowley's couch.

Aziraphale tells Maggie and Nina that he thinks blowing up his halo might have "just started a war" and, symbolically, it did.

Because when you blow up your halo, it can work for awhile but if you still aren't able to address the underlying, fundamental issues at the root of why you have a halo in the first place, those dark thoughts will come back.

Those demons are coming back and, sure enough, Aziraphale's bookshop is full of plenty of voices by early the next morning. While he won The Battle of The Bookshop, he loses The Battle of The Bananafish the next morning.

While Aziraphale stopped the attack on the shop-- his anxiety attack-- with the halo, we learn the next morning that then something else happened the prior night that we didn't see that is affecting the rest of 2.06. We hear about it from Aziraphale after Satan shows up in this bit here:

What's this, now? Aziraphale doesn't want to chinwag with The Metatron because they already chatted the night before and our angel doesn't think there's anything left to be said. Our angel says he's made his position quite clear.

So, The Metatron got on the circle thing zoom after Aziraphale discorporated demons with it and blew up his halo and, by that point, Aziraphale had had enough.

Aziraphale told The Metatron, in so many words, to go fuck himself.

This is really what Aziraphale is trying to say when he tells Crowley that he "did the thing with The Halo." Yes, he literally blew up his halo to discorporate the demons and stop the bookshop attack but the halo is his the weight of all of his cumulative trauma from Heaven... which makes it also, symbolically, The Metatron. Aziraphale blew up his ties to Heaven by telling off The Metatron. He told off the floating head hanging over his head as part of blowing up the halo crushing his mind.

So, Aziraphale then spent the whole night assuming correctly that, if you yell at Head Office, he's going to tell Satan that you're fair game.

Aziraphale doesn't want to fall. He doesn't want to be a demon-- not because he thinks of them as lesser beings because he doesn't think of them that way. Because being a demon is a terrible existence and Aziraphale would rather not have his soul be owned for all eternity by his partner's assailant who is also, literally, The Devil. He's a hard pass on that and had a plan to have Crowley help him avoid it.

Satan and other events made sure that he and Crowley couldn't communicate what they were thinking and feeling to one another openly from the time that Crowley left the bookshop with The Whickbers through the end of S2. If they had been able to and if Crowley had any idea what was truly going on, things would have been very different. The story is Aziraphale's fall, though, so it has to be bad for now to improve in S3.

Because it's Satan at the door with the coffee, he uses Crowley to identify him as The Metatron to everyone else and, so, has convinced Crowley that he *is* The Metatron and that Satan is nowhere in sight. Crowley doesn't see Aziraphale's fall coming, as can be the case with many people-- even those who know of the mental health challenges of those close to them.

Crowley thinks that the biggest threat to Aziraphale in The Final 15 is The Book of Life-- and, I suppose, in a symbolic way, it is.

The Book of Life-- in the way that Crowley thinks it exists-- is not real. It's his and Beez's anxieties from when they were angels manifested as a ghost story to tell more impressionable angels. Yet, as a concept? It kind of is sort of exactly what Aziraphale goes through in S2. He feels erased into non-existence by Heaven already and he's fighting for his life.

Right, so, a hundred years ago lol, I mentioned that Muriel is key to this idea. Let's look at how their presence is highlighting Aziraphale's issues and ushering him closer to death/falling.

While two angels with memory issues show up at Aziraphale's door in S2, Gabriel is a tale of hope while Muriel is a cautionary tale.

If your memories are "all your you"-- your sense of self, formed through your history-- then, while Gabriel was preserved in The Fly, the example of what can happen without one?

The horror show of a total and complete, catastrophic loss of a sense of self? So... death?

That's Muriel.

There is an angel named Muriel in some Western Christian traditions who becomes a figure called The Abaddon, which is The Angel of Death. The Abaddon factors into different takes on Revelations and apocryphal Biblical stuff. There are several different ideas on who The Abaddon is, though my understanding is that their role as The Angel of Death who brings souls to their final judgement is pretty universal throughout.

In some traditions, The Abaddon is seen as the antichrist. In others, it's Satan. In S1, Good Omens played around with some characters seeing the role of The Abaddon in these ways during Armageddon: Round One through how the Satanic nuns referred to the antichrist baby and Satan as "The Angel of The Bottomless Pit", which is the descriptive phrase given to The Abaddon in multiple different religious writings.

In other religious traditions, though, The Abaddon is thought to be an angel of Heaven or a trio of angels of Heaven. It's these ideas that I think Good Omens is playing with in S2 with, I feel, the heavier emphasis on the true Abaddon being the one most frequently referred to that way-- Muriel. Also supporting the idea of Muriel as Death is that there is also that a character in Salinger's "A Perfect Day for Bananafish" with that name. Muriel is the one set to inherit the main character's wealth and property after he kills himself at the end of the story.

So, how is our lovebug Muriel The Angel of Death?!

For that, we have to look at what a fall is.

Consider that The Metatron can tell Satan that an angel is fair game but, in order for that angel to actually fall to Hell, they have to fail to resist Satan's temptation. What the show is subtly saying is that every angel who is a demon is not just an angel who got caught out saying or doing something that threatened The Metatron's power but, also, an angel who was also already falling into despair and, so, couldn't resist Satan when he came to claim their soul.

The literal fall that happens-- the "freestyle dive into a pit of boiling sulphur", as Crowley called it-- is a symbolic thing that happens after an angel has been unable to resist Satan and, so, is now considered by Heaven and Hell to be a demon.

If you consider that the way the literal fall has been described-- going off a cliff; the parallels to Gabriel nearly jumping out a window-- all of these are images of ways that people sometimes kill themselves. Heaven and Hell come at angels and demons from a place of abuse that pushes them towards suicide. Even in S1, it wasn't straight out murder that Crowley and Aziraphale faced-- they were both forced into what, to Heaven and Hell, would have seen as committing forms of suicide. Crowley getting into a bath of holy water; Aziraphale stepping into hellfire.

So, we're saying that the physical fall happens after an angel has already fallen, and that, in order to fall to Hell, an angel has to have already first fallen into despair.

If the show wants Aziraphale to fall in the Heaven/Hell sense of it, he has to have a mental health breakdown and I'm reminded that the opening credits of this show are Crowley and Aziraphale walking the Earth with all of their history layering up behind them and following along with them and then they go up and up and up on a track in S2 and stop just prior to?

Falling off the edge. The literal fall is what we've stopped just short of but, all along so far, we've been watching the fall in progress build.

The reason why we've never been "shown a fall" on Good Omens is actually because the whole story to date is Aziraphale's fall. It doesn't even really start with S2-- it started long, long ago. It also, though, really kicked into gear just prior to the start of S2, as is noted a bit in this moment here:

Nina asks if everything being weird started the prior week when the power went out and Aziraphale replies:

Trauma is like that. It can be things that happened in your metaphorical 2500 BC that are coming back to bite you in your 2023 AD. It's cumulative. It builds and pushes. You can go and go and go and then, one day, your power just goes out. Your energy to fight is just gone and a storm is brewing. A series of events can push someone who is in an already vulnerable mental health state towards a full on fall into despair and that is what I think S2 is fundamentally about.

S2 is a suicide narrative. Our Clarence Aziraphale is going a bit George Bailey. Even as, on the one hand, he's taking big steps forward to claim more of the life he wants, it's the underlying trauma that he hasn't yet been able to fully deal with that is making him also, at the same time, begin to quietly wonder if those around him would be better off if he were not in their lives.

This is why the most dangerous character in S2 is not Satan or The Metatron.

It is, quietly, Muriel.

How so?

Because when people begin to have more frequent suicidal thoughts, their reasons for living that usually keep them going begin to change to being more of a list of obstacles that are preventing them from death. As a person falls into depression to a point that they begin to feel like maybe everyone around them would be better off if they weren't there, they begin in their minds to try to "solve" the problems that are keeping them from dying. They try-- not always super-consciously-- to set things up in such a way so as to convince themselves that their ties to the Earth will be neatly resolved with minimal bother for anyone else and, more importantly, that all their loved ones will be set up to be fine without them.

People in despair can-- and will-- come up with what are, objectively, absolutely bonkers rationales because, ultimately, they want coffee but they are in such despair that they thinking about ordering death.

Muriel's arrival means that Aziraphale then basically has a solution to every obstacle in his mind in such a way that he clears a path straight to taking his life. They help solve two of his "obstacles": Crowley and the problem of the bookshop.

Muriel is dangerous because they show up at the door with the same curious, upbeat, enthusiastic personality and sense of wonder at the magic of the world that Crowley both loves in Aziraphale and needs in his life.

Muriel is also who can take the bookshop. They're an angel who needs an escape and who loves books and Earth. They're perfect for it. Aziraphale is also horrified to realize that Muriel doesn't recognize him and what the implications of that are and he feels guilty about not having saved them somehow. They begin to represent his self-determined failures and giving them the shop would be, in his mind, making some of that right.

To Aziraphale, Muriel is the cheer and hope that Crowley needs in his life and they've taken to each other like ducks to water, which is then also coming after Aziraphale has subtly been pairing up his partner with the also-immortal-and-traumatized archangel with whom Crowley has much in common and whom we are told in S2 that Aziraphale knows that Crowley finds attractive.

Shax pops up throughout to help show some of Aziraphale's dark thoughts about himself.

What are you, Aziraphale? Crowley's emotional support angel? The one who went native? Do you need more big, human meals, Aziraphale?

The comments in Edinburgh that are not really about the car. It's really more like Aziraphale calling himself "an old piece of junk" and thinking Crowley deserves the chance to get an upgrade to someone better. Gabriel's good-looking and has been through much of the same as Crowley. Muriel is upbeat and makes Crowley smile. Crowley having friends who are supernatural is a great thing but, under the surface, it's also leading Aziraphale to create an inner narrative where he's telling himself that he's replaceable in parts by Gabriel and Muriel and that he wouldn't be leaving Crowley alone if he were to take his own life.

Aziraphale is telling himself that maybe the best way to love Crowley is to make it so that Crowley doesn't have to deal with him.

What did Crowley say about his stars once? The first time they met?

Six thousand years-- that's nothing.

Engine won't even have properly warmed up by then.

Crowley's borderline-immortal. He'll live forever. Six thousand years is a blink of the eye to them. He'll get over me, Aziraphale is telling himself, and find someone worth spending eternity with.

Aziraphale didn't see a path towards death until Muriel's arrival because he didn't fully have a solution to the bookshop and Crowley. That's what makes that adorable moppet of an angel the deadliest character in S2.

The reason why Muriel leapfrogs over every other character and makes it down to the last, pivotal minutes of Crowley and Aziraphale's story in The Final 15-- in a part of the story where even Gabriel is gone-- is because Muriel is death.

It's because this is all about whether or not Aziraphale is going to take the freedom of coffee from Mr. Six Shots of Espresso and live or whether he's going to take the false freedom of the lies he's telling himself from Satan and die.

Is he going to try to take his own life or is he going to find a way through this time, as he has before?

"It's just you and me, Aziraphale." What a statement that is.

It's both true and a complete lie.

Crowley and Muriel are both still in the room when Satan says that so, objectively, it's not really just him and Aziraphale... except that he is controlling Muriel and Crowley in different ways. In that way, it really is only Satan and Aziraphale left by this point. It's down, by that point, to just whether or not Aziraphale is going to live and since Satan is here for him, it's not looking great.

Satan is the embodiment of Aziraphale's life or death choice here and that choice, in many ways, is the only two other beings left in the shop at that point.

It's Crowley or Muriel. It's life or death.

Satan also as Aziraphale's darkest thoughts, really... as Aziraphale's internal dialogue playing out.

What about my bookshop? he asks himself.

Really: What about my life?

Muriel, replies Satan... replies the darkness... replies Aziraphale to himself.

You could entrust it to Muriel.

They need an escape. You'd be doing them a great favor. You'd be sacrificing yourself for them and redeeming yourself for failing to save them. It'd make what you're thinking of doing noble, actually. It'd make it okay. It'd make you a good person.

Aziraphale struggles, right? He almost doesn't do this. He almost says he thinks he's making a mistake because he knows he is. It's just that his every conflict has come up all at once and overwhelmed him.

Even still, the darkness has him pretty solidly-- but not completely-- until this moment right here:

Aziraphale is no fool and he's questioned the idea that this is The Metatron; he's actually trying to tell Crowley that he thinks it's Satan for much of That Scene in the bookshop and to get Crowley to see it and help him, in case it is. Aziraphale hopes he's wrong, though, because he wants it to be The Metatron because he thinks that is the way to fix things but it's not and he knows it, deep down. He doubles down because he's embarrassed, because he feels foolish and afraid and like he has nothing to offer Crowley without the power he thinks he lacks.

Satan's temptation, though, ultimately works because of the final of the death by a thousand cuts here in the whole "Second Coming" moment.

After Satan gets Aziraphale to leave the shop with him to head to Heaven, he, as The Metatron, flatters Aziraphale a bit. He says the things that Aziraphale has always wanted someone in Heaven to say to him. He tells Aziraphale he's needed and that they specifically need and appreciate who he is-- an angel who knows how things are done on Earth. It's validating who Aziraphale is and who is he proud of being in the way that Aziraphale has always wished would happen.

Aziraphale is hurting so much that he starts to wonder if maybe he was wrong about all of this. He was pretty sure before but, maybe, just maybe, he was wrong and he wants to be wrong because then it means maybe that he'd know who he is. Maybe it would mean he would no longer have to be an angel who goes along with Heaven as far as he can because Heaven would be finally starting to see the light.

Maybe this isn't Satan. Maybe it really is The Metatron. Maybe all of this is real. Maybe he can go to Heaven and take this job and really have the power to protect Crowley and they won't have to be afraid anymore.

Then, Satan drops the bomb. He fires the killshot.

He lets Aziraphale hear him say "we call it 'The Second Coming'" while pretending he didn't mean for Aziraphale to hear it.

This is the moment that Aziraphale knows it was all a lie.

He knows for sure who that is now. He has gone from being 98% sure to a full 100%. He knows that it's not The Metatron but Satan holding open the elevator.

Satan had to tell him, as it's the only thing Satan has to do in some form at the end-- because it has to be Aziraphale's choice. Satan sure as fuck doesn't have to be fair about it-- and he definitely wasn't-- but it's at this moment that Aziraphale knows with absolute certainty that there isn't a job offer.

How could there be if The Second Coming is on the table? They'll never put Aziraphale in charge of Heaven with Armageddon as the agenda. He's the angel who stopped it the last time. It means that Aziraphale knows for sure that, if he gets into the elevator, he's effectively killing himself, because this is all to entrap and kill him, not to promote him.

Satan sets it up so that the final things Aziraphale is thinking about when he makes the choice are that there is no chance that Heaven will ever improve and that they're going to do Armageddon again and just keep doing it until it happens and it's all hopeless and Aziraphale will never have the power to protect Crowley and they're going to just keep living this nightmare forever and he's been doing this for thousands of years and he can't take it anymore.

People who are suicidal are stuck in cycles of their lives they feel they can't get out of and that's exactly what Aziraphale is reminded of in the moment before he gets into the elevator.

He doesn't want death-- he wants coffee.

He wants Crowley, standing appropriately in front of Give Me Coffee or Give Me Death, with the coffee art and the blues and greens of Earth all around him. The canopy plants in the backseat. This is what Aziraphale wants but he just doesn't know how to get there anymore and the darkness wins out. The villains always win a battle at this part of the story or else there's no plot left going forward and there is a forward because it's Aziraphale. There are ways back from this but that's for S3.

Give Me Coffee or Give Me Death, as we know, is substituting the word coffee for the word liberty in the original quote and that's exactly what happens in Aziraphale's decision to get into the elevator. The truth is revealed-- there is no job, which makes him feel like there is no way to ever be free while living. He's exhausted by fighting the same battles, over and over, with no way to escape in sight, and takes what he thinks is the freedom of not suffering anymore.

He chooses the false freedom of death over the true freedom of living-- Satan's coffee over Mr. Six Shots of Espresso in a Big Cup-- because Aziraphale loves that espresso more than anything but he struggles to love himself. He thinks, in that moment of despair, that the best way to love Crowley is to set him free by leaving life.

It's the Job minisode foreshadowing all of it and going back to the start of his story for the end.

It's nothing important, Aziraphale, don't worry...

Just your kids, your house, your businesses, your money, your neighbors, your street, your car, your books, your friends, your community, your Earth and the love of your life.

Just all the love and magic of the world.

Just all your you. Just your life...

When the first shot of the season was the skies sweeping down towards the front of the shop door... and the final shot of the shop in S2 is The Angel of Death-- Muriel-- entering it alone, claiming it and closing the door? When the light goes off in the bookshop window?

When Aziraphale-- after running around with a paralleling clipboard for half an episode-- leaves a note on the dash for his wife, like International Express Delivery Dude did in S1? When his "I love you, Maud" is the car playing Crowley "A Nightingale Sang in Berkeley Square"? That's when we can see why Death appeared to Aziraphale at the end of S1 and has been headed his way since.

Satan's temptation, yes, but executed with the help of The Angel of Death, who helped push Aziraphale into the lift with The Devil and not towards Crowley and The Bentley, where Aziraphale's love has always been willing to give him a lift, anywhere he wants to go.

In a show where people are symbolically what they profess that it is that they do-- midwifery/cobblering, conjuring, "seamstressing" and so on... all of those things are positive. They're about helping others and loving the world. With that in mind?

Go back and look at Muriel's arrival at the bookshop again...

What is adorable is, also, a fucking horror movie of a declaration:

Muriel is a human police officer.

Friends... that's Death.

Muriel is the only one with a horrible self-declared profession. They're not helping birth ideas and babies and art and mending everyone's pain. They're not a working, professional magician helping to develop the street. They're not a healing seamstress. They don't sell old films and records and books. They don't feed anyone at their restaurant or sell musical instruments to nourish their lives. They aren't the best guy on the block-- Mr. Brown and his World of Carpets, giving people what they need to outfit a life of their own. They're the not a member of The Whickber Street Shopkeepers and Traders Association-- like their paralleling Jim becomes as he begins to regain the will to live.

Crowley is worried about caring for Gabriel being too much for Aziraphale but it's really Muriel that is a walking trigger for him.

Gabriel is a character people think is a villain who is really a lovebug; Muriel is a character people think is a lovebug but who is, symbolically, the worst possible thing to ever show up on your doorstep.

Gabriel is saying books are keen and hot chocolate is amazing and live, live, live, live, Aziraphale...

He's the part of Aziraphale's mind that is trying to save himself while Muriel is the part that is luring him towards death.

Muriel is saying the best part of a cupperty is to look at it, Aziraphale.

It's not for you. You're an angel. You aren't supposed to want to live your own life. You aren't supposed to have wants and needs at all. Even if you go into that back room to be with Crowley alone and try to shut me out, I will break down the door and come after both of you before too long is up.

Muriel is cosplaying Earth's most invasive and violent profession and they're so sweet about it that it tends to bury the eeriness of their arrival. In Muriel, Aziraphale is confronted with his paralyzing perfectionism, his negative self-worth, his rampant imposter syndrome, and his excessive self-sacrificing-- all at once.

All his negative feelings are here at the door in the form of this fun house mirror version of himself-- a cheery and also clinically depressed angel, who is actually cosplaying humanity the way Aziraphale always feels like he is, even if he knows at the core that he's every bit as human as the billions on Earth.

The world is for the professional conjurers, for the humans, for everyone but Aziraphale, in his mind. He is supposed to be above needing any of it. He is supposed to never be angry, anxious, tired, depressed, hungry. He isn't supposed to need the home and books and music and food and sex and magic that he lives for. This angel isn't supposed to be a member of The Whickber Street Shopkeepers and Traders Association but he founded the street, let alone the group, and he'll die trying to host a meeting because nothing makes him feel more himself than when he lets himself be a part of the world.

Muriel's presence worsens his depression spiral, which we've seen is what happens when the negative thoughts get to be too much.

In S2, he goes a sherry-and-stomach-settling-drop diet. He doesn't eat the eccles cakes. He doesn't slow down and enjoy much of anything. Part of the joy of the ox rib scene is that Aziraphale isn't really enjoying himself that much in the present in S2 and it's the only thing like it in S2. Aziraphale, in S2, has put himself and his demon on half-rations and talks about his frozen peas to his fellow duck less. He goes back and forth between trying to self-care (Shostakovich and going to the Gabriel statue and brief moments of flirting with Crowley) and self-neglect (the entire rest of the season lol). Mix in too many additional stressors like what S2 had and it goes from the anxious period of fasting in 1967 to the cause for big time alarm that is S2.

Intellectually, Aziraphale knows that mindful human living is prescriptive. He saves Gabriel by starting to teach him what he knows about it. There's always been a little voice whispering at Aziraphale, though, that it might be right for others but that doesn't mean he's supposed to feel or need those things. He should be above it because that, apparently, would make him the good person that he doesn't often believe he is. His feelings aren't even about being an angel in the Heaven sense so much as in the human anxious perfectionist sense, in that he's excessively self-sacrificing because he doesn't fundamentally believe he's a good person.

There's nothing wrong with being as kind and generous to people as you can. It's when you're doing that while also not acknowledging that you are a person with wants and needs at the same time that you can self-sacrifice yourself right off a cliff as a way of trying to convince yourself that you're not a bad person.

You can deny yourself the life you want out of the excuse that it's your purpose only to care for everyone else but it's not really virtuous. It's a form of self-harm.

What hurts so much about S2 is 1941 because the minisode then gives us Crowley and Aziraphale slaying demons left and right. It gives us what a good day looks like in a whole season that is, otherwise, a series of bad days mixed with things that are also not within their control that then lead to the worst, possible ending.

We see, really, how good they are at caring for one another. The kiss scene is made infinitely more painful by us having seen in the 1941 minisode another conversation in the same spot in bookshop when Aziraphale was struggling with these same issues that went so very differently.

Crowley is very good at gently reminding Aziraphale that, not only is he wonderful, but that he's a person, too, and that everyone feels like they are jiggery-pokery sometimes. Everyone struggles with the voices of others and themselves trying to judge them and how that impacts a sense of self. That fighting through that to be able to live and love is, unfortunately, a pretty common experience of being a person.

This is not new for Aziraphale. It's so very old, stirred up hardcore in S2, now that it's been four years since Heaven contacted him. Aziraphale doesn't know that it's because Gabriel is trying to protect him. He thinks he's so inconsequential that Heaven couldn't even be assed to send someone to formally fire him and take the bookshop embassy that, despite being something of an albatross around Aziraphale's neck, he's also really proud of having built.

Aziraphale wants Heaven to fuck off but he also feels embarrassed by the fact that Heaven could fuck off so easily and that he feels like he doesn't have a friend there to speak of after thousands of years. He is ashamed of it needing to be Crowley who gets them a contact for info in Shax because he sees it as more dangerous for Crowley to need to be in contract with the demons and as a failure to protect him-- the thing that's at the core of Satan's temptation at the end of the season. (Also why Crowley is trying not to tell him about Shax taking his job and his conversation with Beez, which is a huge mistake but it's coming from a good place.)

Surely, Aziraphale thinks, if he hasn't fallen and he's still an angel... if he still is one, he's not really sure, as what is a non-working angel?... then, if he were good, there'd be some angel up there who would still be talking to him. He knows Heaven isn't good, exactly, but not all of the angels are terrible. As anyone who has ever had to go no contact with an abusive family knows, the illogical doubts that creep up can make a person think that maybe they're the wrong ones. At your worst, you can wonder: if the whole family thinks you're wrong, are you really right? Aziraphale knows he is right but it gets complicated.

Add to that the stress of worrying that something will happen to Crowley every time he goes out the door (part of Aziraphale's own trauma for millennia, made worse by 1827), and Crowley's PTSD exacerbated by the fire in S1, and Aziraphale's negative self-thoughts are being triggered even worse than usual. He's blaming himself for them not being safe, when that's not fully within his control... which, in Aziraphale's mind, is the whole problem and an example of how he is failing Crowley.

This is all long before Gabriel shows up at the door and the season gets started with a series of events that then worsen Aziraphale's state of mind. By the time Muriel shows up at the door, these negative kinds of thoughts out in full force in Aziraphale and Muriel represents them.

Muriel might be cute as a button and, as a character in their own right, being used left and right by Heaven, but it doesn't change the fact that Muriel is, symbolically, a mashup of the human and supernatural cops trying to kill them that Crowley and Aziraphale have been outrunning their whole lives.

The Angel of Death is a cop because of course they are, right? What other group of people has been existing to entrap, imprison, torture and kill people for eons?

From the book: If you want to imagine the future, imagine a boy and his dog and his friends. And a summer that never ends.

S1 was summer. It was the nightingales.

S2 is the lingering doom of preparations for Christmas lights. It's the days getting shorter and colder. The nightingales have flown to warmer climates. Because this is Good Omens so the season of Aziraphale's fall is set in the season of... well, the fall.

The good news is that, both literally and metaphorically?

Summer is always just around the corner.

[2024skin]

Also in hindsight I think it was fucked up that at my first mental hospital intake I described long lasting emotional reactions to living with a violent man who was no longer in my home and they didn't even suggest screening me for PTSD

[inkskinned]

so one of the things that's so horrifying about birth control is that you have to, like, navigate this incredibly personal choice about your body and yet also face the epitome of misogyny. like, someone in the comments will say it wasn't that bad for me, and you'll be utterly silenced. like, everyone treats birth control like something that's super dirty. like, you have no fucking information or control over this thing because certain powerful people find it icky.

first it was the oral contraceptives. you went on those young, mostly for reasons unrelated to birth control - even your dermatologist suggested them to control your acne. the list of side effects was longer than your arm, and you just stared at it, horrified.

it made you so mentally ill, but you just heard that this was adulthood. that, yes, there are of course side effects, what did you expect. one day you looked up yasmin makes me depressed because surely this was far too intense, and you discovered that over 12,000 lawsuits had been successfully filed against the brand. it remains commonly prescribed on the open market. you switched brands a few times before oral contraceptives stopped being in any way effective. your doctor just, like, shrugged and said you could try a different brand again.

and the thing is that you're a feminist. you know from your own experience that birth control can be lifesaving, and that even when used for birth control - it is necessary healthcare. you have seen it save so many people from such bad situations, yourself included. it is critical that any person has access to birth control, and you would never suggest that we just get rid of all of it.

you were a little skeeved out by the implant (heard too many bad stories about it) and figured - okay, iud. it was some of the worst pain you've ever fucking experienced, and you did it with a small number of tylenol in your system (3), like you were getting your bikini line waxed instead of something practically sewn into your body.

and what's wild is that because sometimes it isn't a painful insertion process, it is vanishingly rare to find a doctor that will actually numb the area. while your doctor was talking to you about which brand to choose, you were thinking about the other ways you've been injured in your life. you thought about how you had a suspicious mole frozen off - something so small and easy - and how they'd numbed a huge area. you thought about when you broke your wrist and didn't actually notice, because you'd thought it was a sprain.

your understanding of pain is that how the human body responds to injury doesn't always relate to the actual pain tolerance of the person - it's more about how lucky that person is physically. maybe they broke it in a perfect way. maybe they happened to get hurt in a place without a lot of nerve endings. some people can handle a broken femur but crumble under a sore tooth. there's no true way to predict how "much" something actually hurts.

in no other situation would it be appropriate for doctors to ignore pain. just because someone can break their wrist and not feel it doesn't mean no one should receive pain meds for a broken wrist. it just means that particular person was lucky about it. it should not define treatment.

in the comments of videos about IUDs, literally thousands of people report agony. blinding, nauseating, soul-crushing agony. they say things like i had 2 kids and this was the worst thing i ever experienced or i literally have a tattoo on my ribs and it felt like a tickle. this thing almost killed me or would rather run into traffic than ever feel that again.

so it's either true that every single person who reports severe pain is exaggerating. or it's true that it's far more likely you will experience pain, rather than "just a pinch." and yet - there's nothing fucking been done about it. it kind of feels like a shrug is layered on top of everything - since technically it's elective, isn't it kind of your fault for agreeing to select it? stop being fearmongering. stop being defensive.

you fucking needed yours. you are almost weirdly protective of it. yours was so important for your physical and mental health. it helped you off hormonal birth control and even started helping some of your symptoms. it still fucking hurt for no fucking reason.

once while recovering from surgery, they offered you like 15 days of vicodin. you only took 2 of them. you've been offered oxy for tonsillitis. you turned down opioids while recovering from your wisdom tooth extraction. everything else has the option. you fucking drove yourself home after it, shocked and quietly weeping, feeling like something very bad had just happened. the nurse that held your hand during the experience looked down at you, tears in her eyes, and said - i know. this is cruelty in action.

and it's fucked up because the conversation is never just "hey, so the way we are doing this is fucking barbaric and doctors should be required to offer serious pain meds" - it's usually something around the lines of "well, it didn't kill you, did it?"

you just found out that removing that little bitch will hurt just as bad. a little pinch like how oral contraceptives have "some" serious symptoms. like your life and pain are expendable or not really important. like maybe we are all hysterical about it?

hysteria comes from the latin word for uterus, which is great!

you stand here at a crossroads. like - this thing is so important. did they really have to make it so fucking dangerous. and why is it that if you make a complaint, you're told - i didn't even want you to have this in the first place. we're told be careful what you wish for. we're told that it's our fault for wanting something so illict; we could simply choose not to need medication. that maybe if we don't like the scraps, we should get ready to starve.

we have been saying for so long - "i'm not asking you to remove the option, i'm asking you to reconsider the risk." this entire time we hear: well, this is what you wanted, isn't it?

[reiderwriter]

I'm Your Fluffer!

Pairing: Spencer Reid x female reader (best friends to lovers)

For @imagining-in-the-margins FWB Challenge!

Prompt: "I'm your boyfriend without the benefits." "Do you want the benefits?" "Yes- No... I'm your fluffer!" (Inspired by New Girl) (yes, I suggested this prompt, bo idc if that's cheating)

Warnings: Mentions of BDSM, unprotected vaginal sex, oral sex (f receiving), fingering, choking, mentions of spanking, and butt worship, slight Dom Spencer, bratty reader, creampie. The classics, yk.

A/N: I'm back!!!! I took a break because I couldn't bring myself to even look at a word document for about a month, but there's nothing like a Pom challenge to get me writing again! I did have a lot planned for my 1 year anniversary, but because I was sick, and then busy, and then work got hectic, I had to put it off. I still am going to try to finish my kink bingo Carr, though, even though its a month late, but I had two fics left iirc, and I have both of them plotted, so I may as well! I will, however, be abandoning the final epilogue of I Can't Help Myself, because I wrote myself into a depressed corner with that one, and honestly, some people were getting very pushy about it, and it wasn't fun anymore. Anyway! This one was fun to write, so I'm going to stick to one shots for the foreseeable future, or incredibly limited series.

Masterlist

Spencer was your friend. A good friend. Your best friend, perhaps. A really good, very best friend.

Obviously, you were good friends because he always knew when you were feeling down. He bought you flowers regularly when he passed by flower shops. He came over to your place and helped you build every piece of flatpack furniture you had, which, as a single woman in your mid-twenties, was every piece of furniture that you owned.

You really looked forward to the movie nights the two of you had weekly. The popcorn, the blankets, the cuddling, his lips by your ear, in-time translating the foreign movies word for word as you watched it, the shivers down your spine as you pressed further into the heat of him.

Spencer was the best best friend you could ask for.

He was also the most frustrated.

“Kid, what are you doing this weekend? I'm thinking of hitting some clubs, you know, getting my groove on, maybe meeting A few ladies,” Morgan smirked, rubbing his hands together as he gently moved side to side, already dancing to himself as he anticipated his big weekend out. “You in, or are you in?”

“I can't. I promised Y/N I'd help her with some document digitalisation. We're going to order pizza and watch Star Trek while backing up her entire paper trail.”

The smile on Spencer's face was so stupid that Morgan had to stop himself from wiping it off of him immediately.

“Man, you are so down bad for that girl,” he mused, shaking his head.

“What? Down bad?”

“You like her. It's okay to admit it.”

“We're friends. I'm happy being friends,” Spencer said, picking up his bag and walking to the elevator desperate to escape a repeat of a conversation he'd already had three times that week.

“You know everyone thinks you're dating.”

“Well aware. Despite the number of times we've both stated to the contrary, people don't seem to accept ‘we're just friends’ when they hear it.”

“That may be because you're doing things that just friends don't do.”

“Everything we do is totally platonic.”

“You buy her flowers-

“I buy my mother flowers,” Spencer said, turning on the man and raising his hands in exasperation.

“You know that's different. Do you buy Emily flowers?”

Silence.

“What about JJ?”

“I bought JJ flowers!” He grinned triumphantly until the other man spoke again.

“When she was in the hospital. Giving birth. Okay, what about the movie nights?”

Rolling his eyes, the younger man walked on, pressing the bell for the elevator and allowing his friend to keep bothering him.

“Friends watch movies together, Morgan. We've watched movies together, are we dating?”

“One, you are not my type, pretty boy, and two, you didn't exactly have your dick pressed against my ass the entire time we watched a film now, did you?”

“Be q- be quiet. I don't have my dick against her ass ever.”

“Oh, I'm sorry, was it pressed against her stomach instead? I know she likes to lie on top of-”

“Derek!”

The elevator arrived, and the two quickly jumped in, to Spencer's relief.

“All I'm saying, kid, is-”

“Hold the elevator!” You shouted, running to it quickly with Penelope Garcia on your heels.

“Thanks, Spence!” You said, smiling at him as you entered the small space.

And continued your not too unsimilar conversation with Penelope.

“So, as I was saying Penelope,” you shot her a look that told her you were finished with the conversation. You were not dating Spencer Reid, and you were unlikely to in the future because of his total and complete lack of interest in you.

“You can set me up this weekend, right? It's been an age since I've been on a date, and I would really like to-” you glanced around the elevator and whispered the end of your sentence, suddenly mindful of your company. “You know.”

“If you're absolutely sure, I have a few men in mind that could throw you about, but-”

You squealed and squeezed the woman as the elevator landed on your floor and jumped out of the elevator quickly, cheeks burning.

“Thanks, Pen, you're the best!”

“Y/N, wait,” Spencer called out behind you, desperately holding the elevator open for a few more seconds.

“I thought we were doing your papers this weekend? Star trek, pizza, remember?”

You stared guiltily at the floor as you forced your voice to sound as casual as possible, not sure you could make any excuse that didn't sound pathetic.

“Oh, sorry, Spencer. I totally forgot. We can rain check, right? I… I really need this.”

Spencer was aware of what disappointment felt like, but it never hollowed out his chest like your lack of eye contact in that moment did.

“Yeah. Sure, of course. We can do that whenever.”

“Yeah. Thanks, Spencer. You're the best… friend.”

He smiled and let the door finally shut, aware of the two sets of eyes now watching him.

It took a surprisingly long time for the ‘I told you so’ to come, but come it did, as if Morgan were unable to help himself.

“You're telling me that you're not into her at all?”

“I'm…not into her like that at all.”

“And you're fine with me setting her up on a date with a man that'll do somewhat empowering, somewhat disgusting things with her?” Penelope piled on.

“What? That's…that's not my business,” he ground out.

“No. Of course it’s not. Because you're not her boyfriend.”

“Exactly, I'm not her boyfriend-”

“You're her fluffer.”

With a pat on the shoulder, the elevator hit its last stop, and Morgan exited, leaving Spencer scrambling after him as Penelope waved the two of them off.

“What? No, what's a fluffer?”

Morgan chuckled and waved him off, walking to his car.

“Come on, what's a fluffer, and why am I hers?”

“You've seen porn before, right?” The older man asked, pausing as he opened his driver side door. “Actually don't answer that. The fluffer is the person who keeps the actors and actresses… ready between takes. Prepares them for the good stuff.”

With a bright flush across his cheeks, Spencer tried his best for an indignant look, landing somewhat closer to a petulant child.

“I am not her fluffer. We have never-”

“I know you've never. If you had, we wouldn't be standing here right now having this conversation. What I'm saying is you should.”

“We're friends!”

Climbing into the car and closing the door, Morgan dismissed the younger man quickly, but he wasn't finished.

Knocking on the door, Spencer waiting a beat, then two for it to open again.

“I'm not her fluffer.”

“You build her furniture and cuddle with her. You're doing everything a boyfriend would do, without any of the boyfriend rewards.”

“What rewards?” he gasped, exasperated.

A single look was all the reply he got before Morgan out his keys into the ignition and started driving.

Spencer never made the decision to turn up at your house later that night. He just found himself all of a sudden at your front door on a Friday night, pulling out the key from the plant pot by the front door and letting himself in. Unlocking his shoes, he called out through the apartment, letting you know he was there as he slipped into the house shoes you'd bought him after the first of many movie nights.

“Spencer? We cancelled earlier, remember?” you said emerging from your bedroom, fitted in the tightest dress he'd ever seen you in. He already had no answer for your question, but seeing you like that, getting ready, he had no answer to any question at all. If you'd have asked him his name, he wouldn't have known it.

Well, he would've, but only because you'd said it only three seconds ago and had reminded him that he was, in fact, standing in your apartment when he should've been literally anywhere else.

“Um. I'm…I'm just-” he scratched the back of his neck, waiting for something to come to him.

“Spencer, I'm leaving in like an hour, so there's no time to watch a movie, and I have to get ready, so-”

“I'm… I'm angry?”

You raised an eyebrow at his questioning tone, unsure where this conversation was going.

“You sure about that?”

“Yeah..yes. I'm sure. I'm angry. We, we had plans, and you gave me like an hours notice and cancelled them to go do something stupid-”

“Spencer! I'm going on a date. That's not stupid.”

“It is when you have me!”

He half shouted, half murmured the words, as if he himself were unsure of how confident he was in making that statement.

“That came out wrong-”

“Yeah, I think it did.”

“What I mean is- I mean…Morgan said that-”

You crossed your arms and sat yourself on the arm of your sofa, looking forward at him and waiting for him to get through whatever this was. You hoped the entire time that he was saying what you'd wanted him to say for the last year and a half.

“Have you ever watched porn?”

Not what you were hoping for, but a start, at least.

“Spencer!”

“That came out wrong, I- don't throw the couch cushions at me. I have a point, I swear!”

You lowered your next projectile and gestured for him to go on, not fully relinquishing it just yet.

“I'm your fluffer! I get you…in the mood for dates, and- and- I do all the boyfriend stuff without any of the boyfriend benefits!”

He stood in front of you, red-faced, and you stared him down a second or two as you collected your thoughts.

“Do you…want the boyfriend benefits?”

“Yes! No, wait - wait a second. I- I- What are the boyfriend benefits exactly?”

You threw the pillow down and turned your back on him, not entirely sure what you were expecting from the most oblivious genius on the planet.

“Y/N, wait. Wait-”

With a hand wrapped around your wrist, Spencer spun you around, and, tripping over your feet, you landed hard on your sofa. Your fall should've been relatively pain-free, but for the 6-foot man that landed directly on top of you.

“Get up.”

“What are the boyfriend benefits?”

“You should know if you're saying you want them! Now, get up!”

“Not until you tell me.”

“Spencer!”

“Y/N!”

You groaned and writhed under him, but he just dropped his weight onto you, unmoving, hands pinning your wrists lazily, leg poking between your two, hips pinning yours.

It certainly wasn't the closest you'd ever been, but in those circumstances, during that conversation, you felt more flustered than you had before.

“What are the benefits.”

“You really want me to say? You're not afraid it's going to throw off our friendship, ruin whatever good thing we have going?”

“I think that if you go out tonight, and enjoy your date, and get a boyfriend, that he's going to feel weird about this good thing we have going and it's going to be over anyway. Tell me.”

You desperately searched for a way out of this situation, but a stronger part of you wanted to simply wrap your legs around him and let him take as much advantage as he could.

You settled for disturbing him.

“Fine. A boyfriend would be able to spank me.”

“Y/N, be serious.”

“I am. I like it. A boyfriend would pull my hair back and make me count as he hit my cute round ass until it turned all red, and I couldn't sit down comfortably anymore. A boyfriend would then kiss it better.”

You'd never spoken about sex with Spencer, and you hoped the vulgarity would force him back to his senses. Instead, he didn't stir, and you had no choice but to continue.

“Another boyfriend benefit would be choking me. I like that, too. Are your hands big enough to wrap around my throat, Spencer?”

“Yes.”

The answer came so quickly and do confidently, you weren't sure you actually heard it outlook until he spoke again.

“What other benefits, Y/N?”

“A… boyfriend would get to cum inside me,” you whispered, suddenly aware of hips rocking into yours slowly as his cock poked up, listening intently to the promises spilling from your lips that you likely should've regretted.

“Okay.”

“Okay?”

“I want the benefits.”

Your body was hot everywhere he touched you, but he didn't move, didn't follow through on anything just yet. But you were aware of his head moving closer and closer to yours and panicked.

“And what have you done? As my fluffer? To deserve those benefits?”

“What have I done?” He asked, pulling back an inch. Even as his chest rested, flush against yours, your breasts pushed up against him as his hands held yours over your head.

“I-I bought you flowers-”

“Emily buys me flowers, too. So does Penelope. Should I let them be my boyfriend?”

With your hands in use, you took advantage of his distraction and wrapped your legs up and around his waist, rolling your hips up into him.

“I suppose I do like flowers, though. What else?”

“I… We're always t-together?”

“We work together.”

Using the leverage of his weight against yours, you rolled up harder into his hips, grinding into him slowly as you watched his resolve melt away.

“The m-movie nights are-”

“The movie nights where you rut your cock into me while we watch a movie? Friends do that all the time. You're just translating the movie for me after all.”

“Y/N, please don't-”

“Don't say that? Okay. I'll just let someone else hump against my thighs to get off because you're too proud to admit you want to sink your dick into me and pound me?”

“Y/N-”

“Maybe that's why you don't have the boyfriend privileges, Spencer. Because I'm waiting for something, you're too much of a prude to try-”

His lips meet yours before you can finish the thought, and you're not sure whether it's a triumph or a defeat.

After precisely five seconds of his lips on yours, though, you no longer cared.

Releasing your hands gently, he lifted his hips an inch, distracting you enough to force his tongue into your mouth as his hand found its way between your legs.

“Did you really mean it?” He asked between kisses as you rake your hands through his hair, getting lost in him. “About the benefits?”

You allowed yourself to imagine it for a second, Spencer's hands on your throat. His hands on your ass. His mouth buried between your legs.

You moaned into his kiss, and he laughed - actually laughed - as he pulled away.

“Spencer!”

“No, no, please, don't let me keep you from your thoughts, I'll just be down here.”

His fingers reached your clit and he wasn't surprised to find you already wet, legs spread. Snaking another hand to your neck though, he wasn't exactly as opposed to the ideas you'd flung at him as he'd acted.

You gasped as his hand closed around your neck, the prettiest necklace you'd ever worn. You grabbed a hold of his hands as he pulled your underwear off, pushing them down your legs as he gently pushed your legs open wider and replaced his fingers with his tongue.

You curled up on yourself, craving your body to watch him devour your pussy as you tried your best to keep your breaths shallow, to keep breathing entirely as he squeezed your throat.

His tongue licked and flattened, his head bobbing up and down and then stilling as your hips began moving by themselves, letting you ride his face as you moaned and whined and desperately ran towards your climax.

You wrapped a leg around his shoulder, pressing down on his back to keep him in position, grabbing a handful of hair as you jerked against his face, fucking it as he looked up at you through hooded eyes, drinking down every drop of you.

His hold on your neck tightened, and you felt your body shudder as you squeaked out his name, not wanting this to end so soon, needing to feel more of this. He let you ride it out until you were whining in frustration again, hips twitching from the friction of his tongue against your cunt.

Then he pushed away.

He wasn't gone long, but you followed him up. You thought about pushing him down to the couch again, thought about sitting on his pretty boy face and doing it all over again. You thought of turning over and presenting your ass to him, letting him punish you like you'd promised. Your thoughts ceased as quickly as they came when he pulled his cock free of his pants, not even bothering to pull them off fully before pulling you into his lap, lining himself up, and pushing you down onto his hot, hard, lengthy cock.

You swear you would've screamed if his to guess hadn't already claimed your mouth. A good scream. A “holy shit holy shit holy shit” scream. Definitely a “I didn't know it was that big, and honestly I'm a little scared” scream. But overall, a “god that feels so good” scream.

From the lack of movement, you were sure that Spencer was giving you a moment to adjust to his intrusion, and you were thankful as you clung to his neck, hands balling in the material of his shirt on his back.

Although he was bigger than expected, he wasn't uncomfortably large, and you calmed quickly, giving him a quick nod as you buried yourself in his neck, hiding your face to stop yourself from drooling, mouth wide as he tipped you back against the couch pillows, lifting your legs slightly and slipping his hands underneath yous thighs, and began his steady pace of thrusts.

You were sure your world was imploding on itself, that all your senses had ceased except that of touch, and his touch was fire. But you heard the wet, slutty sounds of your pussy welcoming him, you smelt the sweat against his skin, and, opening your eyes, you saw the absolute pleasure blasted against his features as he groaned in your ear.

And before you could form another coherent thought, he'd claimed another boyfriend benefit, as, rocking his hips against yours, he slowed to a stutter as he emptied himself inside you.

“Spencer!!” you moaned, but he wasn't done, spitting on his fingers and finding your clit again as you squealed, twitching and turning and milling his cock with your movements as you found your second release.

You moaned his name again, though it sounded less like his name this time, and more like a definite noise complaint from your neighbours in the morning.

“Spencer?” you asked, still trying to regain your breath as he, once again, collapsed on top of you.

“Mhmm,” he said, slowly pulling out of you, watching the mess you'd made together drip out too, and resisting the urge to push right back into you and go again.

“Was that a friendly fuck, or a boyfriend fuck?”

His eyes snapped to yours again as you continued.

“I just want to give Penelope the correct reason for cancelling on her friend when I text her-”

“I came inside you.”

“So you did.”

“Y/N!”

“.... So that wasn't a fluffer thing, but a boyfriend thing, got i-”

With a kiss, he shut you up again, and you realized quickly that you probably wouldn't have the time to send that text anyway.

[letters-to-lgbt-kids]

My dear lgbt+ kids,

Someone requested some advice on whether to openly tell people you are mentally ill/neurodivergent/invisibly disabled or not.

There's some research that suggests that, for example, autistic people are more likely to identify as lgbt+ than their non-autistic peers - so this is absolutely a topic that belongs on a lgbt+ blog and I'm sure there are a lot of you who had to make that decision (and probably keep having to make it as coming-outs of any sort are rarely one-and-done!).

In fact, I had/have to make that decision myself! As an autistic person with depression and anxiety, I could tell you now why I personally decided to be open about all those diagnoses - but the right decision for me isn't necessarily the right decision for you as my life isn't yours.

So, what I'll do instead is to write down a general list with (potential) pros and cons, and I encourage you to nitpick it. Personalize it, take some time to decide how much, if at all, each point weighs in your own decision. There's no right or wrong answer here. It's all about your highly individual situation, about your safety and comfort.

Reasons not to be open about it:

It may put you at risk for various sorts of hate, discrimination, negative stigma and bad treatment

It may put a burden on you to educate others and discuss any misconceptions or myths they believe in, including potentially hurtful or disstressing ones (maybe even fruitlessly so which may cause frustrations or fights)

It may change the way people treat you, even in well-meant ways (babying you, pitying you, trying to "help" against your wishes etc.)

It may feel like a loss of privacy, make you feel "naked" or emotionally vulnerable, make you worry more about the way others perceive you etc.

Reasons to be open about it:

It may help others understand you or your behavior better, which may have positive effects on your relationships

It may allow you to ask for support and help more easily (either from friends and loved ones or in the workplace, school etc.)

It may make you feel empowered and help you accept/love yourself as a disabled person more

It may contribute to making your specific diagnosis more visible in society (which may also make you feel pride in breaking down stereotypes and supporting your community)

It may discourage people from assigning wrong or hurtful labels to you (either armchair-diagnosing you or labeling you as weird, crazy, lazy, gross etc.)

It's important to keep in mind that some people do not have the option to make this decision for themselves, for example because they have highly visible symptoms or they are in a position where their caretakers make the decision for them. This adds another layer to why we can't judge one decision as better or worse than the other - it's not always their own decision.

With all my love,

Your Tumblr Dad

[lesbiansforboromir]

Inspired by the Hunt for Gollum 2 day fiasco (I suppose it wasn't really a fiasco, genuinely happy they came to such a quick resolution, I will give it to them), I noticed a bunch of people said they'd never heard of the Hunt for Gollum fanfilm and was surprised! So here are some more tolkien fan films on youtube that you can watch right now! A friend of mine coalated all of these for our server and we binged them all, which was a really great time and I would heartily recommend.

Obviously, first; The Hunt for Gollum, a 40min shortfilm pretty much entirely about Aragorn, you guessed it, hunting gollum. But there's also a few neat interactions with other characters too and the production is of an extremely good quality for what it is.

Then you have Born of Hope, from the same company as hunt for gollum, this one focuses more on Arathorn and Gilraen's relationship and Aragorn's tumultuous birth. It's very depressing but I also really liked the casting of Arathorn and is worth a watch.

Horn of Gondor is a short 20min fanfilm with a pretty inventive premise, focusing on Borondir's in-universe fabled ride to deliver Steward Cirion's request for an alliance with the ancestral rohirrim to Eorl their king, thereby saving Gondor from defeat. I find it a little lacklustre and it doesnt really measure up to it's concept but the attempt is still admirable and there is some real and clear passion behind it so still worth a watch.

Wings Over Arda is, gonna be honest, my favourite one of the lot. It is an hour long and extremely ambitiously attempts to feature events from Tuor's meeting with Ulmo, to the attack of the Sons of Feanor upon Doriath. It essentially fails to live up to the auspicousness of any of these things, but it is EXTREMELY earnest and the casting for Dior in particular is now just burned into my brain. It feels kind of like it was made in the 1980s too which I just love for a film that came out 2 years ago. It's really fun, give it a go.

One of the Seven is more of a hobbit movie fanfilm, referencing PJ's Thranduil backstory of losing his wife and the hunt for her jewels, but also involving dwarves and elves bickering over unspecified rings. It has the brightest colour pallette of all the films which is a visual relief and all the costumes are really detailed, mainly because I suspect this was made my cosplayers who just had some time on their hands. It's fun and campy and only 25mins so fully digestable, even if it's a little dwarf-ist.

Lastly there's The Peril to the Shire, even though cards on the table I have not watched this one. It is three hours long and was made by a bunch of homeschooled children somewhere, featuring entirely child actors and about Rosie Cotten defending the Shire pre-scouring. From what I've seen, the kids are having a great time doing it, but the audio is also really hard to hear clearly so this is more of a challenge than a suggestion.

[techramonic]

A Comprehensive Analysis on Eric Harris, 3.

Disclaimer: This analysis/psychoanalysis is limited only to analysis as a means to reflect and understand the people involved. It is strictly informative. Just like all of my posts, I am detached from the media I write about and solely focus on the people to understand their psychology, for others to gain insight. There is no room for me to romanticize or glorify anything I write because I am only here to explain. I understand and research, but I do not condone. Thank you.

note: This is all solely based on independent research. If I may be wrong with the medical aspects of this post, please correct me. I would appreciate it a lot.

Fluvoxamine Maleate

Just a few days before the shooting, Eric was promptly rejected from his application to serve in the marines. Despite his desirable qualities, he was rejected for the sole reason of being tested positive for consuming a prescripted drug after rejecting that he was off any medication. With a trace of Luvox in his system, theories speculate that the drug's side effects played a role on the events that have transpired. Luvox is a medication prescription drug that is used to treat mental illnesses such as Obsessive Compulsive Disorder (OCD), anxiety, depression, and others. While there are positive effects, the downside are heightened sensations of dread, irritation, depression, and arising violent behaviors. It also has a chance to increase manic symptoms, especially if taken in particularly large doses.

Anti-depressant usage, effects of overdose, and detoxification

When taken over the prescribed dosage, Luvox can lead to increased agression and suicidal ideation and tendencies. Eric was in anger management therapy after being on probation alongside Dylan for attempting to steal a vehicle containing thousands worth of valuable electronics and tools. After getting caught, Eric openly expressed his difficulties in managing his anxiety and explosive anger issues that his counselor said, "he frequently blew up and often cried." Revealing that this influences his homicidal and suicidal thoughts, so he was prescribed Fluvoxamine, which is a selective serotonin reuptake inhibitor (SSRIs). These drugs increase the capacity of the brain to receive serotonin.

According to an interview with Eric's friends, they speculate that Eric was off his medication completely for sometime. Abruptly stopping medication can lead to the development of a more violent response. For some people, drugs are able to fix their chemical imbalances, but it can also lead to withdrawal symptoms of taken for over the duration of 6 weeks. Abruptly discontinuing anti-depressants can lead ro rebound depression or relapse. Symptoms may return stronger than before. Furthermore, SSRI's such as Luvox and Prozac take about 5 days to linger in one's system before subsequently washing off.

In a period of 11 months, Eric and Dylan have been under a juvenile detention program at Jefferson County district — this was in 1998, just a year before the shooting. They were allowed to leave the program by early February 1999. After finishing, Eric wrote a letter contained in his juvenile diversion program file. He states, "I learned that thousands of suggestions are worthless if you still believe in violence."

After public demands for stricter regulations on SSRIs after the tragic shooting, Luvox was temporarily banned in 2002. By 2008, drug manufacturers had reformulated Luvox to a controlled-release version specifically designed to treat OCD, excluding indications for depression or anxiety. Subsequently, the FDA approved Luvox CR for the treatment of OCD. The label does not explicitly prohibit prescribing it to the pediatric population, it notes that the smallest dose "may not be appropriate" for children, without providing further explanation.

Eric was about 17 at the time of taking the medication, which means he is part of the pediatric population. Though it's still unclear if he was taking normal doses for a long period of time or taken more than what was prescribed, it is clear that there was negligence with prescribing a child a SSRI that has the posibility of worsening their already apparent symptoms.

Columbine was really a case that opened the public's eyes into the dysfunctional aspects of society and institutions, transcending even to the medical field.

[iamnmbr3]

I reached the Snape's Worst Memory chapter. Honestly I find this to be one of the hardest things to read in the whole series. The protracted, wanton cruelty is awful - and especially horrifying is the way most people in the scene look on and do nothing, or laugh.

The fact that Snape can never just relax on a nice day. He has to hide himself in the shadows for fear of being attacked and tormented is so sad.

We know what kind of person Wormtail grew up to be and we see here that he was always attracted to hanging around powerful, cruel people who could provide him with sadistic entertainment. He traded James & Sirius for Voldemort once he got out of school of course. But I think it says a lot about the kind of people they were at the time. This wasn't an isolated incident that went especially far, but a regular type of entertainment.

It's really just sick what happens here. They're basically magically waterboarding him at this point. James is exactly the kind of person Harry would have stood up to if they'd gone to school at the same time. I mean after this memory he is so shaken he falls into a depression and wonders if James and Lily ended up together because he forced himself on her.

And to be clear I actually like the narrative potential of Harry discovering that the father he looked up to so much actually was the type of person he despises. I wish a bit more had been done with this though.

The fact that James takes out his frustration with Lily's rejection by tormenting and humiliating Snape more says a lot about him. I also think it's really interesting Sirius is the one who says "[i]f you want to know what a man's like, take a good look at how he treats his inferiors, not his equals" but he never really connects that sentiment with how he and James treated Snape.

(As an aside I will also never get why JKR thinks James and Sirius are redeemable for this behavior even though we never get to see anything in canon to prove that James or Sirius ever truly acknowledged the depth of how wrong what they did was or regretted it, but somehow she gets all mad at people for suggesting that Draco, who did canonically regret his actions and change his ways and who never did anything like this, was anything other than irredeemable.)

[pedrointofolklore]

This is me trying

pairing: joel miller x f!reader

summary: joel hated you. he hated the risks you took, the danger you put yourself in, the total lack of value you had for your own life. he hated how much he worried about you. click here for part two.

warnings: detailed depictions of depression, heavily implied suicidal ideation, slight violence, angst with a sprinkle of fluff, no explicit smut but it does get very suggestive (minors do not interact), minor character death, enemies to lovers, poor communication, misunderstandings, these fools don’t know how to act, joel is an asshole but then he’s sweet, brief mention of drug use, lots of swearing, age gap (unspecified), no use of y/n, boston era/ellie era.

word count: 2.6k

a/n: hey y’all. i just wanted to thank everyone who supported my last story rosebud (here’s a link if you want to read it). this story is a lot different and a lot sadder. i got the title from my favourite pop girlie taylor alison swift.

Joel hated you. It had to be his worst kept secret.

You hadn’t done anything to him. You used to think about it constantly, desperate to know what his reason was for despising you like he did, but you eventually accepted that he didn’t need a reason. He just didn’t like you. 

Joel wasn’t particularly likeable himself. He was rude and intimidating and one of the most morally bankrupt people you’d ever met, but you didn’t hate him the way he hated you. You were Tess’s lackey—Joel tolerated you, and you supposed he wasn’t obligated to do any more than that. Although, he didn’t do it very well.

You’d existed in each other’s orbit in the QZ for a while, and finally met one night in the boarded-up old mall when you’d gotten to a stash of painkillers just before them. Joel wouldn’t have hesitated to shoot you between the eyes if Tess hadn’t been there.

Tess saw something in you—not a friend, not a life worth sparing by virtue of humanity; a business investment.

And it was a smart investment. You were young, agile and clever, incredible at slipping by unnoticed and gathering information. You knew all the best routes, the best times to take them, and you could swindle anyone out of their rations just by batting your eyelashes. You were willing to take the lead, to be the first one in and out to make sure the coast was clear.

It wasn’t the threat of death or the promise of mercy that made you join them—it was the sense of purpose it gave you.

Joel was adamantly against it. Things worked fine the way they did them, and he saw no reason to add another person into it.

“Don’t need to fix something that ain’t broken,” was how he’d put it.

You didn’t dispute that. Joel and Tess had survived for years, and they were clearly more than capable of getting the job done, but what you lacked in experience, you made up for in stealth and speed—something their aging knees struggled with.

Tess convinced Joel, which you soon found out she was very good at. You also found out that his compliance didn’t mean hiding his resentment.

He thought you were a careless, impulsive loose cannon, and he’d told you so after a particularly dicey deal with a particularly dicey FEDRA agent.

“You’re gonna get yourself killed one of these days.” He followed you into your apartment uninvited. Tess made him walk you home, and you were sure he only did it because he wanted to berate you.

“Why do you care?” you asked, tossing your keys onto the counter. They slid off and hit the floor.

“You’re with us,” Joel replied. “You'll get us killed.”

You scoffed and rolled your eyes—you knew that infuriated him. “Am I on crack or have you not doubled your profits since I showed up?”

“I think you’re dangerous,” Joel said, ignoring you. “Always sneakin’ around, goin’ places you shouldn’t, playin’ mind games with FEDRA. Your luck’s gonna run out sooner or later, and I just hope I’m not around when it does.”

Your face burned with red-hot anger as you tried to fight the stinging in your eyes and the blurring of your vision, but you were too far gone. The tears fell, and they were ceaseless. You felt pathetic, but you knew this would happen. You didn’t often cry from sadness or pain, but anger always managed to bring it out in you.

“Who the fuck are you to tell me that?” you hissed. “You’re saying you don’t sneak around? You’ve never scammed anyone? You’re a smuggler, Joel! Be fucking real with me.”

“It’s different,” he said, clenching his jaw.

“Why, because you’re older? Because you have more experience?”

“‘Cause I don’t think I’m fuckin’ special.”

If his words were the dagger, the pure contempt in his tone was what plunged it into your stomach, twisted it, and left a gaping hole for all of your despair to come pouring out of, leaving behind a puddle of melancholia for him to gaze at in all its miserable glory.

It was the only time you might have hated Joel as much as he hated you. Working with him and Tess wasn’t perfect, but it was all you had, and now he’d managed to make it all meaningless. Your help wasn’t helping.

“Fuck you, Joel,” you spat.

You should have quit then, and you thought about it. After pounding your fists into Joel’s chest and screaming at him to get the fuck out of your apartment, you sunk down onto the floor and cried. You cried until you ran out of tears and were left with a nothing but a throbbing headache. You took a pill, passed out, and woke up to you discover that you’d lost the energy to really care about any of it.

You didn’t quit. If anything, you became even more audacious, but you never confused it with courage or bravery. Bravery was perseverance in the face of terror. Joel and Tess were brave. You weren’t like them.

Joel laid off after that. He wasn’t anything close to nice, but whatever animosity he held towards you was only ever expressed as quiet seething, and you could live with that.

Any fulfilment you got out of working with Joel and Tess dissolved, but for what it was, it still worked.

Until it didn’t.

Tess was dead. The buffer between you and Joel was gone, and you had no choice but to work together and get the immune girl to Wyoming.

You wondered if there was a silver-lining in this wreckage. You thought that circumstance might force Joel to finally get along with you, and so you did the one thing you never did—you tried. You tried to help him, tried to speak to him like he was someone you actually wanted to speak to, tried to rein in some of your more annoying traits so you wouldn’t get on his nerves.

None of it worked. All you could get out of Joel seemed to be irritated mumbles and blank stares, and you couldn’t even blame him after what happened to Tess.

You never really knew if Tess actually gave a shit about you, or if she only ever cared about having an extra pair of hands around. Either way, you cared about her.

So, once again, you tried. When Joel and Ellie were sleeping—or at least pretending to—you walked down to the stream and tried to cry for her, but you couldn’t muster the tears. You even tried to get angry, mentally cuss her out for leaving you behind, but your eyes were dry.

You stared into the water, gazing at the way it sparkled in the starlight, and thought that the world didn’t deserve such a pretty sight. You couldn’t cry, but a deep sadness overtook you, weighing you down like lead.

Joel didn’t hate you.

He just hated how impulsive and reckless you were. He hated that you were smart, intuitive, and so maddeningly beautiful. He hated the risks you took, the danger you put yourself in, the total lack of value you had for your own life. He hated how much he worried about you.

There was a time he had disliked you. He used to think it was arrogance—that you truly believed you were so special that you could get away with anything. It was when he called you out on it that he realised how wrong he was.

Your reaction was frightening. You cried and screamed at him, pushed him out of your space. He didn’t know you were capable of such a strong display of emotion, but he’d struck a nerve, and those were the repercussions.

He recalled how the blows to his chest didn’t hurt, like there was no force behind them. You weren’t weak at all, you just couldn’t find the willpower to really hurt him. He wished you had hurt him. Maybe getting it out of your system would have helped. Maybe he wouldn’t have had to feel so guilty.

It became so obvious to him what was happening, and he felt like an idiot for not understanding it sooner. It wasn’t that you thought you were special, or immune to the consequences—you just didn’t care what happened to you.

Now Tess was gone, and he had this horrible feeling that he was going to lose you too.

His way of dealing with it was to push you away even more. He told himself it would make things easier when you inevitably left him.

Things came to a head one night after the three of you left Lincoln. Joel had been driving all day, and he would be doing it again the next day. He was in desperate need of sleep, but as he stared out into the eerie darkness of the woods, he couldn’t shake the feeling that something terrible would happen if he didn’t stay awake.

He heard the rustling of a sleeping bag sometime after midnight. He thought it was you just rolling over in your sleep—something you often did—but then he heard the faint sound of dead leaves crunching under feet, and you were by his side a moment later.

“What are you doing, Joel?” you asked in a soft, sleepy voice that made his chest ache.

“Keepin’ watch,” he replied bluntly.

“But you’re driving tomorrow,” you said. “You need sleep.”

“I’m fine.”

“I’ve slept, so I can take over,” you offered.

“I just told you I’m fine.”

“I’m just trying to help—”

“I don’t need your fucking help.”

You backed off, hanging your head in shame, and he instantly felt horrible—you were being nice to him and he was still being a complete asshole.

Joel tried to tear his gaze away from you. He wanted to pretend this wasn’t happening, that he hadn’t just done that, but his eyes stayed on you. He watched the shame dissolve and replace itself with indignation. You pulled your head up and glared at him with a fire in your eyes that threatened to burn right through him.

“I get it, okay? I’m sorry.”

“What are you talkin’ about?”

“I never meant for you to get stuck with me. I know it’s your worst fucking nightmare. If I could switch places with Tess—“

“Stop.” He wouldn’t hear that. He couldn’t. It would kill him. “That’s not—I’m not thinkin’ that. I’m glad you’re here, understand? I need you with me.”

You let out a bitter laugh. The sound hit his ears like a gunshot. “You just told me you didn’t. All you’ve done—all you’ve ever done—is act like I’m a fucking waste of space.”

Joel’s mouth when dry, his heart dropped to his stomach, and he thought he might vomit. It shouldn’t have shocked him like it did, but hearing you say it made him sick. He put the gun he’d been clutching down on the ground, disarming himself in more ways than one. “I don’t think that…I’m sorry. I’m so sorry. I just—fuck—I don’t know. I don’t know anything. Are you gonna leave?”

“Leave this mission or this mortal coil?"

“Either, I guess.”

“Do you want me to leave?” Your voice was just a whisper, and it felt like you were ripping Joel’s heart out and crushing it in your hands.

Fuck no, he didn’t want you to leave, and that was what scared him the most; feeling attached to someone so detached (and yes, he was a hypocrite). He wouldn’t be able to take it if he woke up one day and you were gone.

But he couldn’t keep doing this to you. It was selfish and cowardly and it just made everything worse. He made everything worse.

“I can’t do this without you,” he told you. He hadn’t known how true it was until he said it.

“Okay.”

“I’m serious.” He felt suddenly impassioned. “You can’t…if you…just don’t. Promise me you won’t.” He couldn’t say it, couldn’t let the words out of his mouth and into the universe. You both knew what he meant.

“I promise,” you said. You sounded oddly tranquil, but Joel was destroyed, even though he knew he didn’t have the right to be—this was entirely his fault.

“Can you let me keep watch so you can get some sleep?” you asked again.

He shook his head.

“Why not?”

“Just need to know where you are.”

You stared at him, eyes wide and glossy, and for a second he thought you might start crying. Before he could think of something to do or say, your hands were on either side of his face, pulling him down into an urgent kiss.

He didn’t know what was happening, what you were thinking, or what he was thinking, but it didn’t matter, he just knew he needed to kiss you back. One of his hands found your waist while the other splayed out across your back, pulling you flush against him.

It was nowhere near sweet. It was intense and unyielding—a frantic clashing of teeth and bruising of lips. It was intoxicating, earth-shattering, but felt so right, like it was always meant to happen—or needed to happen.

Your arms wrapped around his neck, somehow bringing him impossibly closer to you. You hiked a leg up around his hip and tugged his pelvis forward. He ran a hand down from your waist, brushing it over your ass and gripping your thigh.

You rolled your hips into his, eliciting a deep, involuntary groan from him. He was painfully hard. He knew he would regret this, but he set your leg down and managed to tear his mouth away from yours. 

He missed the feeling immediately, and he didn’t have the self-control to pull away completely. His hands were still on you, pressing you against him. You looked so pretty and ruined gazing back at him; breathless and flustered with pink, swollen lips.

Fuck.

You had just kissed Joel Miller, the man you hated. 

You didn’t hate him.

You kissed the man who hated you.

He didn’t hate you.

You kissed the only person you had left. You kissed him even though it made no sense. You kissed him because you wanted to.

You started it, but then he stopped it. His eyes were dark, his face was flushed, and the bulge in his jeans was not going away. He looked like he was in pain, struggling with his own conscience.

“Sorry,” you whispered.

“Don’t be sorry.” He grinned softly and reached a hand up to tangle in your hair. It was an unexpectedly sweet gesture. “I liked it.”

Your heart melted. He was so lovely, so dear. You never imagined in your wildest dreams that Joel Miller could be like this.

“Just don’t wanna take advantage,” he said.

“You’re not. I kissed you,” you reminded him.

“I know, but you're upset, and you don’t like me much, and you’re tired. Don’t want you doing anything you don’t actually wanna do.”

You did want it, but you were also overwhelmed and exhausted, and more importantly, it would have been a majorly fucked up thing to do with a 14 year old sleeping 20 feet away.

“But if you still want it later”—he gave you another chaste kiss—“you can have it.”

You giggled, kissing him one more time. You didn’t know when you'd be able to again.

His gentle smile faded, and he looked into your eyes with devastating sincerity. “I got you now, okay?”

“I know, Joel.”

“Do you have me?” he asked.

“I’m trying.” You hoped that would be enough, because it was all you had.

“That’s all I need, sweetheart.”

a/n: so i wrote most of this when i was sick with the flu and i fully intended for it to be a one-shot, but i love this dynamic and i’m thinking of exploring it further. let me know if y’all would be interested in seeing more of these two. (edit: this a/n is now redundant bc i did in fact write the sequel).

[reds-skull]

Thank youuu

I love them too, I'm thinking of having them as a big brother/little brother duo maybe?? Anyway here's them buying tea for the base like stereotypical Brits

Ok first time I read this my heart melted because it's so sweet :]

I keep thinking up aus for mw2, but they're all too complicated for a one-off comic, and I just finished a series so I'm not doing another one for the time being. But I had a superpower au for them, that I'm gonna explain under a read more because I know it's gonna be long lmao

But before that thank you for everyone again! I read all your lovely comments and they warm my heart <333

SO in this au, some people gain powers the first time they die. The powers are based on how they died (also when they die they meet these cool eldritch beings called reapers that have a little chat with them to decide if they're worthy of those powers).

Soap died from an explosion. Got blown out of a building. So his powers are explosion resistance and creation. His fingertips are always on fire because he's practically blowing the air around them all the time.

Gaz fell off a helicopter :( so now he can manipulate gravity, either objects around him or himself. He also floats a few inches off the ground most times.

Price was kinda hard for me to decide but I ended up making him die by abandonment. Now he can telepathically communicate with people.

And Ghost... he died in that coffin. Got pulled out by a reaper and received the powers to control limbo, the space between life and death. He's not authorized to use them unless he's alone, so he gets sent on solo missions only, until Price recruits him to the 141.

That is, until he pairs up with Ghost.

Before being recruited to the 141, Soap mainly defused bombs. Since, even if it's too late, he won't die. Thing is, Soap still gets hurt. His bones get crushed, his heart stops, his limbs get torn apart. He does heal, but the worse the injury, the longer it takes.

That made him kinda depressed. Because he felt like a glorified bomb robot. Except he's cheaper, since it doesn't cost the military any money when he fails to defuse on time.

Ghost isn't immune to bombs. He himself doesn't enter limbo, since that traps anything alive.

He and Soap go on a mission where intel suggests the enemy has rigged various explosives around the intel they need. They split up, Soap goes to defuse them and Ghost slowly makes his way through the facility.

And Ghost does help him. But he treats him like he would a regular, non-powered human. Stops when he's in too much pain, encourages him through it. Does his best to stop the bleeding.

Ghost completes his objective, but Soap gets spotted by an enemy and detonates the bomb he's working on to save himself.

Ghost find Soap after he fails to sitrep, impaled by a rebar. He whimpers and begs Ghost to help him off it, since he can't heal.

Because Ghost sees him as human. He watched as Soap kept trying to make jokes with him, but more importantly, how he treated him no differently from anyone else.

Soap, for his side, isn't used to that... gentleness. And that's how his interest in Ghost begins.

They exfil and return to base. A few months pass, and Ghost keeps an eye on one Soap MacTavish. Looks through his medical records, past missions. Finds out just how much he suffers through.

But Ghost isn't his commending officer, so he can't do anything. Until he's approached by his captain, John Price. He brings up the option of adding a new member to the taskforce. He gives Ghost the candidates he considered, Soap was brought up, Ghost stops him and states that he would agree to a new member if it was Soap.

Now if I had like, better writing abilities I would have absolutely written this as a fic. Butttt I don't and even if I did, I don't have confidence in them so I won't. But this idea is now out there and you can do whatever you want with it.

Also I got like a lot more sketches of this au but I only posted the ones I made for the ask.

[bugs1nmybrain]

Shigaraki's Psychological Conditions Headcanons - (a long ass post)

So, I'll preface this by saying I am NOT a psychiatrist and am not qualified to diagnose shit. I do however have a history of personal mental health disorders and am going to school for mental health work. This is mostly just for theory sake. My word is not absolute

Let's begin

warnings: mental illness as title suggests, not proofread and probably has typos

Antisocial Personality Disorder / Conduct Disorder

This one sort of goes without saying cuz duh he's a villain or whatever. I want to specify that in terms of Antisocial Personality, he likely is a sociopath, NOT a psychopath

I hear people call him a psychopath all the time and it's infuriating because people throw around labels without understanding what they mean. Psychopaths are more cunning and charming, and very manipulative. This isn't to say that Tomura is none of those things. Psychopath, however, applies to people like All For One. Almost diplomatic and very persuasive.

Tomura is a sociopath because he's known for recklessness and abrasive behavior. Psychopaths often pretend to have feelings, but for sociopaths aggression is a key emotion that's visibly displayed. They are also able to feel remorse in some cases, and I run this back to Shigaraki because he spent years in what was implied to be repressed guilt regarding the death of his family. Tomura admits it himself in his flashbacks, but ultimately decides to let go of that guilt (that he still fucking feels and is in DENIAL but that's another post). Hence, his forgiving nature toward his mother and sister when he's dreaming during surgery.

Even after Tomura let that burden go, he has no desire to be cool and collected, he just fucks around and finds out. Overall, though, he disregards people's lives and doesn't have remorse for what he's done because he throws his trauma and desires over it as a bandaid. He does show care and consideration to people in the League, though.

The conduct disorder part of it is self-explanatory. He's a violent criminal, lol.

Post Traumatic Stress Disorder (PTSD)

Duh.

Trauma is pretty much all Tomura has known. I won't reiterate his backstory, but being physically abused and rejected as a child, the murder of his family, being blatantly ignored by people on the streets, and AFO's upbringing? That's a lot

His PTSD is so dehibilitating that it took hold of his body language and behavior. Before the end of s5, Tomura was rigid and hunched over. In the MHA video games, he's also seen as very restless and moving his body around (until s4 era in One's Justice 2). I'll attach a video below.

He's also just very irritable and easily set off at the reminders of his trauma and rejection. "I HATE YOU" is a key example, as up to that point Tomura had been improving his rash behavior, but he's very unsettled by his past and continues to be now.

Obsessive Compulsive Disorder

His case of OCD is connected to his trauma and emotions. You'll find that a lot of his conditions feed into one another. For him, he has a variant of dermatillomania (often known as the skin picking disorder). For him, that is in the form of scratching rather than picking. But he does it compulsively and without thought, and he does it in attempts to self soothe. I believe he does it occasionally as a self injurious behavior, resulting in itching himself rather than lashing out. He even just does it when he's only moderately anxious or irritated.

Depression

While we don't see Shigaraki slumped in bed or feeling sad in the ways we see in many cases of depression, his "I hate everything" mentality puts him here. Actually, it's safe to say he experiences anhedonia, which is the lack of enjoyment in anything. He seems to somewhat enjoy video games, but his bio states "nothing" as his likes. I'm inclined to believe he feels no personal joy or happiness, and tries to attain that through murderous rage. Never works tho, does it Tomura?

Bipolar Disorder and Unspecified Psychotic Disorder

This one might stir some debates, but I do genuinely think he has a mood disorder. I don't want to feed into stigma that bipolar and psychotic people are "evil," because I myself have these conditions, so maybe I'm projecting lmao. He's definitely not medicated, and so I'd say his case is Bipolar Type 1. This type is characterized by intense manic symptoms, though depressive symptoms can be severe, too.

Tomura has manic tendencies, and he's impacted by mania in that he seems to get spontaneous motivation, but he also will stay stagnant for some time. I saw this as the case when Spinner literally went at Shiggy for putting the League in a complacent stage, but he's done this before, such as when he was in a slump about Stain. When his motivation surges, though, he goes above and beyond and doesn't put extensive thought into it. He just lunges into his desires in pursuit of satisfaction. He also has delusions of grandoisity to some degree and has a moment where he treats himself as invincible. He fought Gigantomachia for almost two months, and kept fucking going at him. Surely, he could've asked the doctor to call him off, but Tomura wanted that power so bad. Tomura also went into his surgery without asking many questions about it. He makes very impulsive decisions, even after people insist that he "matured." He also gets flicked into motivation like a snap of a finger, and proceeds to be lead mostly by endorphins and gratification.

When Tomura experiences what he perceives as a "positive" emotion, it overtakes him. He becomes pretty much engrossed in his bodily sensations. Through maniacal laughter and taunting language that's charged in a hate induced fuel. When Shigaraki has "voila" moments, he has a surge in neuroactivity and gets into aggressive mood stages, but I guess that could apply to most of the villains. I saw this when Deku told him the difference between him and Stain, and Tomura had a surge in manic-like bliss and drive.

I'm not sure if Tomura hearing the voices of his family before his epiphany was just intrusive thoughts, but I thought they may have been auditory hallucinations. Tomura admits to hearing things that aren't there and seeing visual hallucinations, too. Evidenced by:

I hate how the dub translated this into "when you're this tired" as a broad statement. The manga gives this more personal association to Shigaraki, and he says that it happens when he's sleepy, and doesn't specify if it's only when he's extremely sleep deprived or just tired. Also, him staying up for days on end and smiling his ass off reeks of mania. He has delusional sprinkles in his thinking process, but they're not of bizarre nature, and are usually tied to his trauma. At this point in the manga he's very psychotic, though. That has a lot to do with him being fueled with adrenaline and also just breaking out of AFO's control.

I think he is either bipolar type 1 with psychotic features or has a mild case of schizoaffective disorder. Probably the first one, but I'm not sure.

ADHD (Attention Deficit Hyperactive Disorder)

This one is more of a gut feeling for me, but I see Tomura as being easily distracted and aloof to his surroundings at times. He's fidgety and does shit on whim.

Also, look at his room.

I'm not saying that everyone with ADHD has a messy room, but from what I can see, he goes from one task, drops it entirely without picking up, and goes to the next. Some could argue that Tomura simply doesn't care, and that's true, but he's at least got some decency to put the shit in trash bags. Trash bags that he HASN'T EVEN TAKEN OUT. I think he gets too caught up in the shit he's focused on that it slips his mind to do simple things like that.

He has spontaneous interests from what I can tell from the many books and toys he has that seem to have gone untouched for some time. He also hyperfixates, and I don't mean interest wise. I mean that when he's dwelling on something, it doesn't leave his mind for DAYS, until he gets some gratification. All Might in s1 and Stain s2 for example.

-

In conclusion, this boy has a grocery list of conditions, but I love Tomura. I love my beautiful prince with a disorder, and he is so dear to me.

I'm open to discussions about this, but please keep them respectful.

[nightmareonpeachstreet]

I am a loyal subscriber to the school of “Arlecchino thought Furina was a bad god for throwing her people’s lives away carelessly and lying about how powerful she is until Arle finds out the truth post-4.2, that Furina’s charade was not only vital to saving Fontaine but also something that was put upon her and she managed to endure it for 500 years despite only being human, and then Arelcchino is OBSESSED with Furina and goes from 0 to Doting Husband Who Wakes You Up With Kisses And Makes You Breakfast like, overnight.

“After a VERY confusing encounter where Arlecchino brings cake and makes tea at Furina’s new apartment and apologizes for terrorizing her and thanks her for saving Fontaine, Furina breaks down crying and basically wailing about her problems to Arlecchino, who Furina half expects to just turn her back on her at some point or reveal this was all some elaborate trick, but she doesn’t. She listens and she agrees that it was unfair and when Furina doesn’t move away when she gets closer, Arlecchino hugs her and pets her hair and tells her she did well and when Furina’s fully exhausted herself with crying and her voice is raw, Arlecchino picks her up and carries her to bed and tells her to rest. Furina, tired and so relieved to have someone to talk to after so long and scared to be left alone again, asks Arlecchino to stay. Arlecchino promises that she’ll still be there when Furina wakes up, and she keeps this promise.

“Neuvillette and Clorinde are both HORRIFIED when Furina tells them that Arlecchino has been coming around to her apartment a lot in the past couple months. Furina tries to explain that she wasn’t scared of Arle anymore and that she’s had a change of heart, but neither of them believe her and insist on going with Furina to the lunch date she had with Arlecchino that afternoon to protect her. It’s jarring for them seeing the shift, how Furina is suddenly so comfortable sitting next to Arlecchino, how Arlecchino fusses over Furina like she’s adored her for years, Arlecchino placing her jacket over Furina’s shoulders when a chill makes her shiver, the way Furina melts into Arle’s embrace when Arlecchino wraps an arm around her waist, and the way Arlecchino brushes the hair so gently out of her face and kisses the top of her head like she’s the most precious thing in the world.

“Though Clorinde promises to keep an eye on things and keep Neuvillette updated if she finds any suggestion of ill intent, both of them saw how happy Furina was, and they can’t help being tentatively hopeful that Arlecchino truly does intend only to love her from now on. Furina apologizes for springing those two on Arlecchino as Arle walks her home. Arle gently grills her about them, and is ultimately relieved to find out that they’ve also been keeping in touch with Furina and making sure she’s okay. Arlecchino is a possessive lover that doesn’t like sharing, but she hates it even more when she finds Furina all alone, stuck in a depression she can’t get out of by herself and neither of them know how long she’s been like that because Furina’s lost track of time again.

“Though Arlecchino loves being the center of Furina’s world, she loves Furina even more, so she’ll tolerate everyone else in Furina’s life that makes her happy…and quietly dispose of anyone who threatens her happiness.”

[atleastpleasetelephone]

Gentle On My Mind - Chapter 5

Initially set in 1967 when Elvis is filming Clambake. Feeling miserable and trapped after the Colonel banishes Larry and the spiritual texts, Elvis invites Gloria to keep him company through the last five days of filming. Gloria is an aspiring movie editor and more importantly she's a lot of fun. Will she be what Elvis needs to get him out of the depressive funk he's in?

Catch up with the other parts here.

Many thanks to @sissylittlefeather being my beta reader on this one.

Pairing: Elvis x OC - Gloria, a budding film editor.

Word count: 4.2k ish

TWs: Gloria's filthy mouth, angst, infidelity, blowjob, fingering, p in v sex, possessive kink, size kink, spanking, Elvis is quite dominant, think that's about it.

Elvis spends that afternoon’s filming trying very hard to concentrate on his lines and not daydream back to his lunch break, him almost dragging Gloria back to his trailer, both of them giggling like naughty kids and probably making what they were about to do incredibly obvious to half of the film crew. Going through additional takes of some of the opening scenes in the gas station, he fights the urge to think about the feeling of Gloria’s mouth all around him as he leant breathless up against the wall. Tries to forget for a few minutes the puzzle of what it was she’d done with her mouth and hands that had made him come so quickly right down her throat. Between takes, chatting to Shelley about how hot it is and whether that makes LA seem more like Florida, he repeatedly pushes the thought that this was the second time he’d left Gloria full of his come out of his mind. 

Gloria also finds herself a little distracted, her mind drifting back to the fun they’d had at lunchtime. But, as she walks back to his trailer at the end of the day, a little later than usual because she’d got so stuck into what she was doing, she reflects that maybe she’s actually learning enough to get herself a proper job. Or at the very least, enough to make those stuffy old men think that she knows what she’s doing. She bites the skin beside her thumbnail a little, thinking briefly about going back to San Francisco, and then her mind drifts back to Elvis in the trailer earlier, his hand over his mouth so everyone on the film set wouldn’t hear him moaning as she sucked him off. She’s pretty impressed with herself for somehow stuffing all of that dick into her mouth and down her throat, it’s definitely a record. 

“Where you been, honey?” 

Elvis is sprawled on the couch, taking up the entire thing. She looks down at him. 

“Got sucked into editing. I’m really enjoying it, I can’t believe how interesting it is when people actually let you do things rather than just making you get them coffee.” She picks his feet up just enough to give her space to sit down, replacing them on her lap. “Thanks for making it happen it for me.”

“No problem, Glory.”

She tilts her head to the side. “You okay?”

“Hmmm. You ever been to Hawaii?”

“Family vacation in Honolulu a few years ago.”

“Did ya like it?”

She nods, her hands resting on his shins. “Mmm yeah. Beach life. It’s definitely a nice vacation spot. But there are beaches here!” 

Elvis frowns. “Can’t really go to the beach here. Too busy.”

Gloria doesn’t miss a beat. “Not if you went in disguise,” she suggests. “Why don’t we sneak off now and go to the beach and get dinner there? Instead of just sitting in here and eating burgers again.”

Elvis is briefly completely baffled by this turn of events, and he’s about to say he probably needs to take at least one of the guys with him, and that he doesn’t know if there will be food he wants to eat at the beach, and that he really doesn’t go places that are so busy… and then he just doesn’t say any of those things and instead just says “okay.”

Gloria sits for a few seconds blinking in confusion. She had been expecting a little more resistance, but since she hasn’t got it she just pushes his legs out of the way and leaps up off the sofa. 

“Let’s go!”

***

They take her car, and he hides in the backseat as they drive off the set. Gloria has a hard time keeping a straight face driving through the gates, thinking of him in shorts and a denim jacket she’d somehow found for him to wear, lying down as flat as possible. Once they’ve got far enough up the road she pulls over and he gets out and into the front seat. She can’t help giggling at him. She’d jammed a baseball cap on his head and made him wear his shades too, and he looks successfully nothing like himself. He had complained a lot, looking at his reflection in the long mirror in the trailer, but he relented when she put her arms around him and kissed his neck and told him she thought he looked sexy. She wasn’t lying. Looking at him now, once the giggles have subsided, she thinks he looks really good. More casual than usual, which she likes. And he’s not wearing too many clothes. One of her main gripes with the movie, whenever she stops to watch a take or two, is that they’ve over-dressed him. Since it’s meant to be set in Florida, she’d have expected him in shorts and a t-shirt a bit more often. And more sensible shoes. She does have a soft spot for that all-denim outfit, especially remembering him changing out of it and giving her her first glimpse of the outline of that fucking huge dick, but it still seems an odd choice for the movie. 

“What’re you thinking about, Glory?” 

She shakes her head a little and looks over at him. “Your fantastic outfit.”

“I can’t tell if you’re making fun of me.”

“I like it.”

“Even this?” Indicating the baseball cap.

“Even that. In fact, you can leave that on later if you want, in bed.”

She starts to giggle again. Elvis shakes his head. “You’re unbelievable.”

“I know.”

He smiles as he looks across at her. She’s just put the top down on her car so her golden hair blows gently around her face under her sun hat. Her hazel eyes are shining with amusement and he watches her tanned arms on the steering wheel. She drives comfortably, seat back, keeping her eyes on what she’s doing but never looking remotely bothered by anything that happens. The car never jolts, the whole journey is a very smooth ride and Elvis wonders if he’s ever been driven by a woman who is this good at it. 

“God must’ve sent you to me,” he murmurs, almost to himself. 

“God?” She asks, spinning the steering wheel quickly as she looks for a space to park. “I’m agnostic, I don’t know if he’d have sent me. Probably would’ve wanted you to have a true believer.” 

She sticks her tongue out slightly in concentration as she backs the car up into a space. Elvis frowns slightly. 

“Agnostic?” 

“Hmm yeah. C’mon, we’re good, I’ve just seen a hot dog stand over there too. I bet you like hot dogs.”

“You don’t believe in God?” Elvis asks, following her as she bounds out of the car, barely stopping to lock it before she runs over to get in the line for the stand.

Gloria shrugs her shoulders. “Don’t think we can know so I don’t try. Maybe there is one, maybe there isn’t. Presumably I’ll find out eventually. Two hot dogs please, one with extra mustard.”

Elvis blinks at the heady mix of theology and fast food. He puts his arm around her as they walk down to the beach together. There are a lot of people, but none of them give him a second glance.

“I read the bible every day,” he tells her, somehow becoming deadly serious. “God is an important part of my life.”

She nods. “That’s cool. I wish I could believe in God but I just don’t have it in me. What about here?” She gestures to the bit of sand just in front of them. 

“Sure.” 

They sit down and start to eat. “You just believe in that white bearded guy up in the sky, or anything else?” She asks, with a mouthful of food. 

Elvis laughs and finds himself suddenly less serious again. “I’m interested in a lot of things. I’ve got this book which shows you how to calculate your number, and once you do that you can find out about your destiny and…”

“Numerology!” Gloria declares, completely interrupting him. “I love that shit.”

Elvis is immediately torn between loving her enthusiasm and being embarrassed by how loudly she just cussed.

“I’m a five, look,” she shows him the bracelet on her arm which has the number 5 hanging off it in the form of a golden charm. “What’re you?”

“An eight.”

“Oooooh we’re so compatible!” 

Elvis laughs. He finishes his final bite of hot dog and looks into her eyes. “Well it makes sense that you’re a five. It’s the number of freedom.”

“Yeah and I am still free from my panties, which I have to say is a very dangerous situation on this beach.”

“Oh. You could’ve brought a swimsuit.”

“Well no-one told me that!”

Their eyes sparkle as they tease each other back and forth, getting in a little play fight which ends with Elvis lying on his back in the sand, his cap knocked off, and Gloria half-sprawled on top of him. 

“Okay, so what are eights like then?” She asks, once she’s got her breath back.

“Great leaders,” Elvis replies, then giggles. 

“Oh, great leaders. I see. I’m just a mad impulsive girl who came to the beach with no swimsuit and you’re gonna be the president or something.”

He pulls her closer to him with the arm that’s currently wrapped around her shoulders. 

“It doesn’t look like I’m going to be the president right now, does it? No-one here has recognised me. Not one person.”

She puts her chin on his chest. “You’re in disguise.”

He huffs. “I was wearing a hat.”

They lie there for a while longer, talking about their respective numbers and debating whether Elvis wants to be recognised or not, and then he looks at his watch. 

“Think we should be getting back, Glory. The guys will be wondering where I am.”

***

Gloria notes the look of disappointment on Elvis’ face when he discovers that far from sending out a search party for him, no-one had even realised he hadn’t been in the trailer for the whole evening. 

“Can’t even pay people to give a shit about you,” he mutters, throwing himself melodramatically onto the bed, even though it's still early. 

Gloria kicks off her sandals and tries to dust the sand off her feet before getting onto the bed next to him. “I give a shit about you,” she says quietly, into his neck. 

Elvis is startled into looking down at her. He can’t see her face, buried as it is in the crook of his neck, but she sounds sincere. “I’m sure you do, honey.” He runs his fingers through her hair. 

She doesn't like his tone. It sounds like he’s dismissing her feelings, which had sort of snuck out of her when she wasn’t looking. She does give a shit about him though. It’s hard not to. 

“Well I wouldn’t be here if I didn’t.”

Elvis isn’t sure how to respond. He had thought that she just liked sleeping with him. But she has spent a lot of time listening to him over the past few days. 

“Um, thanks,” he mumbles, awkwardly. 

Gloria sighs quietly. Never mind her feelings then. Back to being her usual fun, sunny self. Only one day of filming left anyway. There’s no point in getting deep. 

***

The final day of filming is a busy one for Elvis, and he barely has a moment to himself. He looks longingly at Gloria from time to time, but there’s no opportunity to talk let alone anything else. He keeps thinking back to what she said about giving a shit about him. Running the conversation over and over again in his mind, he feels like he should’ve said something better than thanks, but once he’d missed his initial opportunity she had just started prattling on about numbers again. And not long after that she’d taken her dress off and he’d forgotten all about anything she might’ve said. 

“That’s a wrap!” 

Elvis sighs with relief at the words. It’s fairly late and he’s desperate to be alone with Gloria, on their final day together. Then he remembers the wrap party. There’s no way he’s going to get away without going, and probably staying for most of it. He doesn’t have any excuses. 

***

Gloria flits about the party, talking to anyone and everyone. She loves an opportunity to socialise, and this is even better because she’s making contacts in the industry too. Contacts outside of her daddy and his friends. And because no-one knows who she is, they treat her differently. With respect. She can see Elvis out of the corner of her eye, his flirting with Shelley getting almost completely out of control. She knows he’s trying to get her attention, but she doesn’t care about him flirting with actresses. After all, it’s not as if they’re going to be together after tonight. He’s going home to marry Priscilla. 

***

Elvis is pulling out all the stops with Shelley. Laughing loudly at everything she says that’s remotely funny, leaning in close to her when she’s talking quietly, carefully brushing a strand of hair from her face. Even going so far as to wrap an arm around her waist. Shelley’s enjoying herself but she’s not daft. She can see Elvis’ eyes flicking across to the pretty blonde on the other side of the room to see if she’s noticed what he’s doing. Shelley is amused that Elvis Presley is trying to get a girl’s attention, and in such a roundabout way. She decides to help him out a little. 

“Do you think it would help her notice if I did this?” She asks, putting both of her arms around his neck and looking up into his slightly surprised face. 

“Ah-I-I… I dunno what you’re uh… talking about,” he replies, stumbling over the words but putting his hands on her hips instinctively. 

“Ah come on, yes you do. You’re flirting with me to get her attention!”

“Oh no, baby, I wouldn’t do that… I-I-” 

“If you wanted to talk to me you just had to come over.”

Elvis looks away from Shelley’s amused face to see Gloria standing next to her. 

“Oh-Ah-I… honey, I jus’...” 

Both women laugh as Shelley removes her arms from around his neck. “See you later. Nice working with you again,” she tells him, giving him a kiss on his now burning cheek. 

“You looked busy,” Elvis tells Gloria, sheepishly. 

“I was networking.”

“Networking?”

“Yeah, you know. Making friends who don’t know who my daddy is.”

He nods. “I’m dying to get out of here.”

“Me too. Think you have to do a bit more though,” she nods at a man with a moustache making a bee-line for them. “Let me know when you’re ready to go. You can just come over and tell me this time.”

***

They finally get back to the trailer in the early hours of the morning. They’re barely through the door before they start pulling at one another’s clothes in an attempt to get them off. 

“I’m disappointed I was too busy filming to do this earlier,” Elvis pants, between frantic kisses. 

“Me too,” Gloria moans as he starts to kiss her neck. “And I hate that the party went on for so long. God, I thought we’d never leave.”

He unclasps her bra now that he’s taken her dress off. “When Bill started that speech…” he groans, then slides his mouth over her nipple. 

“The world’s longest, most boring speech, you mean?” She arches into his mouth as her hands find his belt and undo it. 

“Mmmm. Worst. Speech. Ever.” He punctuates each word with kisses that get lower and lower until his mouth is just above her clit. 

She squirms, her hands in his hair trying to push his head further down. He smirks and kisses his way back up her body again, lips finding hers. Moaning into his mouth, she grabs one of his hands and tries to guide it to where she failed to get his head to go. He chuckles as he pulls away from her again. 

“Needy little girl, aintcha?” He teases. 

She nods. “Been needy for you all day, big boy. Feel.” Finally managing to get his hand between her legs, she directs his fingers to run over her soaking pussy. 

He groans. “Bet ya ruined that skirt you were wearing earlier.”

“Yeah, it’s actually a great way to give yourself extra laundry,” she jokes. “As I’m sure you know, Mr. I Don’t Wear Underpants.” 

“Don’t do my own laundry,” he replies, before picking her up and putting her over his shoulder. “Right, you. Bed.”

Gloria squeals and kicks her legs and he gives her a quick sharp slap on the ass. She squeals again, in surprise and delight. Walking the few steps to the bedroom, he throws her down onto the bed so hard she bounces back up slightly. 

“Oooh Mr Dominant!” 

He shakes his head, trying to look stern but unable to keep himself from smiling. “It’s Mr Presley.”

She throws her head back and laughs uncontrollably. “Oh, is that what you want me to call you?”

Still giggling until she finds him on top of her, pinning her hands above her head, his eyes full of lust. “No, you know what I like you to call me. My needy girl.”

She moans a little at the name, trying to wriggle her hands free but unable to get away from his firm grip. “I want you… so bad… big boy,” she whines, arching towards him, desperate for more contact. 

“Think I might want to tease you a little first.”

She can’t resist trying it, despite what he just said. “Yes, Mr Presley.” 

He feels his dick get immediately harder at her words. He hadn’t thought he’d like it, usually people calling him Mr Presley made him feel old. But her cute west coast accent, her fluttering eyelashes and the slightly desperate tone in her voice have changed his mind. He leans down, kissing the skin just beneath her ear. 

“You can keep doing that.”

She bites her lip and rolls her body into his, now he’s that bit closer. “Yes, Mr Presley.”

He groans. Fuck. It’s going to be more difficult to tease her than he thought, if she keeps saying that. It’s going to be very hard for him to not just come in his pants. He kisses her again and then shifts so he can take the rest of his clothes off. Leaning back over her, he starts kissing gently down her body, enjoying watching her squirm trying to get him to move more quickly, deliberately stopping and peppering her with kisses just below her belly button until she’s groaning in frustration and begging him to move lower. 

“Please. Oh fuck. Please. I’m dripping for you.”

His eyes roll back in his head at the description and he decides to give her what she wants, spreading her legs with his palms and kissing her soaking wet pussy. She moans pornographically, hands grabbing his head as she grinds her hips up into his face, completely ignoring the fact that he’s only gently kissing her. He growls against her, vibrations making her moan even more loudly. Grabbing her hands and pulling them off his head, he looks up at her. 

“Don’t think my girl is doing as she’s told.”

She whines and wriggles. “I just want you to touch me…”

Shaking his head, he suddenly grabs her and wrestles with her until he has her over his knee. He brings his hand back and then slaps her hard on one ass cheek. She squeaks. 

“Feel like my girl needs to learn her lesson.”

Gloria rubs her thighs together, desperate for some friction. She’s so turned on she can barely stand it. She’s starting to wonder if she could just just come from him spanking her and calling her his girl. 

“Yes, Mr Presley,” she breathes. 

He bites his lip and tries really hard not to let on how much he’s enjoying this, though he’s sure she must be able to feel his erection digging into her. Slapping her ass again, he watches it jiggle and get red and listens to her moan and whine. Then he slides two fingers into her pussy. 

“Oh, fuck.”

Her head flops down onto the bed as she feels his fingers slowly thrust in and out, pleasure building inside her. Just as she’s starting to really enjoy herself he removes them and slaps her again. She screws her eyes shut and tries to control the noises that are coming out of her mouth as he continues alternating between touching her and spanking her. Eventually she completely loses control. 

“Oh fuck please Elvis please I want you so bad I’m sorry for being a bad girl.”

He chuckles and gently lifts her head with his other hand. “I better put ya out of your misery, huh?”

Her head flops back down again as he starts rubbing her clit quickly, pushing his thumb inside her, listening to the pleasured noises she makes as her orgasm builds quickly and then completely overpowers her. 

“FUCK.” 

If he thought her cussing on the beach was too loud, this was on a completely different scale. He puts his hand over her mouth as he gently rubs her through her high, shushing her. Her hot breath and mumbled curses against his skin. He doesn’t let her lie there for long though, he’s so desperate to have his fill of her.

“On your knees, baby.”

She gets up slowly until she’s kneeling on the bed, looking up at him expectantly. 

“No, not like that. Hands and knees.” He gestures at her to turn around so she’s facing away from him. 

He strokes her ass with one hand and his dick with the other. “All that looking at your ass made me want you like this.”

Her moans start off soft and soon crescendo again as he starts to push inside her. Groaning as he finally bottoms out, he pushes her head down onto the bed. 

“I need you to be quiet.”

She whimpers a little at the feeling of being so stretched in this position. “Yes, Mr Presley.”

Trying his best to hold it together at those words, his hands grip her hips as he starts to move inside her. She presses her face into the bed to muffle the noises she makes as he pulls almost all the way out and then slides in again, repeatedly. Elvis is driving himself crazy too, the intensity of the feeling of her all around his dick is almost too much. He gives up on moving slowly, his thrusts hard and fast now, making her body rock with each one. Her fingers dig into the mattress, trying to stop herself just collapsing on the bed with the force of his movements. He’s pounding her so hard she can feel tears gathering in the corners of her eyes. But it feels so good too. So good that she can feel her second orgasm building in the pit of her stomach.

Elvis is so close it’s almost killing him but he really wants to feel her walls squeeze him again. “Is my good girl going to come again?” He pants. 

“Y-yes… yes Mr Presley…” she pants back, getting up onto her forearms and pushing back against him with every thrust. 

His eyes roll back in his head and then all of a sudden he feels it, the squeeze of her walls around him as she falls forward onto the bed, only the force of him gripping her hips keeping her from collapsing completely. 

“Oh fuck,” he murmurs, and just like the last time it’s only one or two more thrusts before he’s coming too, deep inside her. Letting go of her hips they both collapse in a heap, breathing hard. 

He rolls off her and then pulls her into his arms, covering her face in kisses. She smiles and wraps her arms around his neck. Breath still uneven, he looks at her with grave seriousness. 

“Are you okay Glory? I don’t know what came over me then…”

Her mouth curls into an even bigger smile. “I’m great, thank you, Mr Presley.”

Wrapping a leg around his waist as she watches him cringe a little and blush.

“Oh God you’re never going to stop with that now, are you?”

“Never. Thought you were enjoying it. I know I was.”

He moves to kiss her neck. “Yeah I was,” he murmurs against her skin. “You sure I didn’t take it too far?” He looks up, his face worried. 

“No way. That was so hot. You can throw me around like that any time you want.”

She watches as his face changes from worry to a look that’s almost pride. Then it changes again to sadness as he remembers that “any time” will be over in a matter of hours. 

“Do you have to go back home tomorrow?” He asks, urgently. 

“I don’t have to do anything,” she replies. “But um, no I can stay, if that’s what you’re asking?”

Is that what he’s asking?

“Yes please. Please stay.”

***

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[firstkanaphans]

if i have permission to be a bit of a bitch in your inbox (feel free to ignore this if not), the dichotomy people build between bl and queer media is sooooo fascinating. and of course by that i mean it gives me hives. the universalizing of 'real queer experiences' is obnoxious as hell, but how its been applied to ofts has really shown me why i find it so obnoxious. most of the people who hold this dichotomy would never classify a bl that ignores homophobia as 'authentically queer' media. but i definitely saw people who hoped that the 'authentically queer' ofts would exist in a bubble without any slutshaming, or that it would be resolutely shut down in show. but in my aroallo experience? that would be as inauthentic as the no homophobia bubble, so where does that leave us?

also the circular logic in the bl vs queer media arguments is mind numbing. 'bl doesnt cover these types of themes' yeah dude because you forcibly remove everything with those themes from the bl category in your head. 'queer media must acknowledge homophobia' the idea that a story by queer people about queer characters isnt really queer because it chooses to focus on joy or discovery or any other facet of queer existence is so fucking depressing. go hug a queer friend and think about why you feel queerness is defined by suffering before anything else.

Oh, hey, you found my soap box, Anon! Let me just step on up there with you for a minute.

So, first off, let me just say how much I hate the term “authentically” queer. It seems to suggest that in order to be queer, you have to be queer a certain way. As an ultra femme lesbian, the queer community often makes me feel like I’m not queer enough. That I don’t understand the hardships that come with being gay because I am “straight-passing.” This is the same thing people do to BLs. News flash: if you’re queer, you’re queer. Period. Congratulations, that’s all it takes to be authentic!

I don’t think it’s a coincidence that a large percentage of the people I see using this designation are straight women who think that queer suffering is a necessary part of the queer experience, but a lot of “authentically queer” people—me included—don’t want to be reminded of our real-life suffering every time we turn on the TV. Heartstopper is triggering for me. Bad Buddy is not. As a queer woman currently living in Ron DeSantis’s Florida,  I deserve to be able to turn on the TV every once in a while and not be reminded that there are people in the world who want me dead.

I’ve learned that when people describe a BL as “authentically queer,” what they actually mean is “This BL feels more Western”—the racist insinuation there being that Western media is inherently better.

I feel like The Eclipse is a good example of this hypocrisy. No one has ever called The Eclipse “authentically queer” despite the fact that it delivers one of the most nuanced takes on the dangers of systemic homophobia that I have seen anywhere. The writers of both the source material and the script are gay men. The director is queer. That seems to meet all of the qualifications these people set for “authentically queer” and yet no one has ever questioned that The Eclipse is a BL. Why? Because it incorporates traditionally Asian/yaoi humor tropes such as the pratfall and the accidental kiss. 

Are you sensing a pattern? It’s not the queer-ness of a piece of media that determines whether it is seen as “authentic.” It is its “Western-ness.”

Let me be very clear: All BLs are “authentically queer” media because the only requirement needed for a piece of media to be “authentically” queer is for the characters to be queer. And if you don’t like that, then maybe stop watching BLs.

If the people who were producing these shows had a problem with the term, that would be another discussion, but they don’t. P’Jojo has never advertised Only Friends as anything other than a BL. The fandom did that for him. And with all due respect, if the people making the fucking thing are calling it a BL, then it’s a fucking BL.

So, yeah. Not liking BLs doesn’t make you cool. It makes you a bigot. The fact that the term has become so derogatory is rooted in both racism and misogyny because this was originally a genre created by women, for women, and the hobbies of women are so often infantilized.

BLs are queer media. Die mad about it.