#corbin b

[bumzbumzbumz]

Corbin Caldwell. Yummy

[joslincox]

Corbin Bleu - Another Side (2007)

Deal With It

Stop (With J-King)

Roll With You

She Could Be

I Get Lonely

We Come To Party

Mixed Up

Still There For Me (With Vanessa Hudgens)

Marchin'

Never Met A Girl Like You

Homework (With J-King)

Push It To The Limit (From "Jump In")

Shake It Off

[clarabowlover]

Virginia Lee Corbin (ca.1924

[movie-titlecards]

Raptor (2001)

My rating: 5/10

Some amusingly cheesy dinosaur effects can't really make up for this movie's many shortcomings - the terrible pace, poor acting, dull characters, and the padding, oh, the padding! There's a sex scene in this so long it probably changes the movie's genre to softcore porn, and so dull and repetitive, I ended up skipping past it. I was hoping for some good solid cheese here, but, alas...

[nofatclips]

Director: John Badham

Wargames (1983)

[trembling-amber]

I don't like using exact dates sometimes because what if I change my mind later on or like what if I did the math wrong but Branson came to the Neath in 1900 1899(specifically in late january. then got thrown into jail and escaped at the start of february), I made Pierce(OC I've yet to introduce)'s account after Branson's but in my OCs lore he came to London before her, in the first 1899 (for Reasons). Flaviu and Cindy(other OCs I've yet to introduce) come to the Neath just a little before the Starved War lol

[bewires]

I know the algorithm is a lie because if it weren't I would have LONG SINCE seen this interview between Lucas Grabeel and Corbin Bleu in which they FULLY ADMIT that a) everyone thinks Ryan and Chad were "secret lovers" and b) that "I don't dance" is full of innuendo

Bleu also says it's his favorite song in all the movies

interview here

[gentlebeardsbarngrill]

05/21-25/2025 Daily OFMD Recap

TLDR; Rhys Darby; Con O'Neill; Nathan Foad; VIco Ortiz; Ruibo Qian; Anapela Polata'ivao; Bronson Pinchot; Andrew DeYoung and Andy Rydzewski; Gypsy Taylor; Cohen Holloway; Articles; TinyCrewBigRaffle2 Winners; Fan Spotlight: BrainBowie/OurFlagMeansFanfiction cast & crew interviews; Love Notes;

Well this is a new one...now I'm hitting the 10 video limit on Tumblr! Crazy! Apologies ahead of time for the buffering!

= Rhys Darby =

Rhys shared a clip of one of his recent performances, gotta love those sound effects!

View this post on Instagram

A post shared by Rhys Darby (@rhysiedarby)

Source: Rhys' IG

He's also reminding us that there's shows coming up in UK and Ireland from May 30-July 3!

Source: Rhys' IG Stories

= Con O'Neill =

Con is going to be joining the Netflix series "Legends!"

Source: Adopt Our Crew's Bsky

= Nathan Foad =

Source: Nathan's IG Stories

= Vico Ortiz =

Our beloved Jim is keeping us fed with more OFMD BTS! This has Joel, Madeleine, Samba, and more! Check it out on their Paid Substack!

Source: Vico's Paid Substack

Vico's also been busy with more Today in Gay News! May 22 / May 21 / May 20

Source: Today In Gay Podcast Substack

= Ruibo Qian =

Ruibo knows that we can't resist cat content, look at that fluffy belly!

Source: Ruibo's IG Stories

= Anapela Polata'ivao =

Guess what? Tinā won BEST FILM at the Seattle International Film Festival this year! CONGRATS AUNTIE!

Source: Tinā The Film IG

In addition, an absolutely stunning new mural was added in Ōtautahi!

And just a little behind the scenes of Anapela <3

Source: Tinā The Film's IG Stories

= Bronson Pinchot =

Our dastardly Ned Low was being Interviewed by Still Here Hollywood Podcast, and he had a pretty fun story regarding the late Space Mom aka Carrie Fisher I thought would be fun to share. I miss you Space Mom! You were one of a kind and everyone remembers you fondly!

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A post shared by Still Here Hollywood (@stillherehwood)

Source: Bronson's IG

= Andrew DeYoung and Andy Rydzewski =

Absolutely amazing reviews have been coming in for Andrew (OFMD Director) and Andy's (OFMD Cinematographer) new movie Friendship! They were kind enough to also share some BTS of the two of them on set!

Source: Andy and Andrew's IG Stories

= Gypsy Taylor =

Gypsy designed a really cute tattoo for a friend!

Source: Gypsy's IG Stories

= Cohen Holloway =

Pop pop has blessed us with a throwback to lock down and more goofy comedy, this time with Sam Neill.

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A post shared by SamNeillTheProp (@samneilltheprop)

Source: Cohen's IG

= Articles =

As always, our dear friends over @adoptourcrew are keeping us up to date with articles that mention OFMD! Thanks Crew!

Source: Adopt Our Crew's Bsky

= Tiny Crew Big Raffle 2 =

The Tiny Crew Big Raffle 2 winners were announced! Check out who won the awesome prizes below!

Baby Monkey Draw from Megan Vertelle!

Ed's Necklace from Harlams Emporium

Gentlebeard Pop Up Zine by @lumiilys!

Fixed up Tiny Boat

Ed v Snake Embroidery by Owl Trousers!

David Jenkins Signature

Also, thank you so much to the wonderful folks behind Tiny Crew Big Raffle @tinycrewbigraffle , I know all that was a lot of work and coordination and you really are stellar keeping up with all of it! Thank you for continuing to let us have a chance at winning wonderful pieces of OFMD History!

== Fan Spotlight ==

So tonight's spotlight is on the wonderful BrainBowie aka Petrichor aka GheyandWoke aka Chloe and the Our Flag Means Fanfiction group! Chloe set out on a mission to get her flagged signed by several of our beloved Cast & Crewmates including Dominic Burgess, Damien Gerard, Samba Schutte, Lindsey Cantrell, and Christopher Corbin! Thank you so much for sharing these with us Chloe, they are amazing!!!

Source: Petrichor's Bsky

Source: Brain Bowie's IG

= Our Flag Means Fanfiction =

During this awesome excursion, Chloe and the OFMDD team asked the cast & crew some very important questions! Thank you so much to the Our Flag Means Fanfiction team for getting these questions answered! So fantastic! First up Samba gave some ideas he'd love to see come to life with Roach!

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A post shared by Our Flag Means Fanfiction (@ourflagmeansfanfiction)

Source: OFMFF IG

Next up was Damien Gerard, aka Father Teach -- with the question: What would you like to see your character do in fanfiction?

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A post shared by Our Flag Means Fanfiction (@ourflagmeansfanfiction)

Source: OFMFF IG

Dominic, Jeffrey Fettering, got the same question!

View this post on Instagram

A post shared by Our Flag Means Fanfiction (@ourflagmeansfanfiction)

Source: OFMFF IG

In addition, Christopher Corbin, aka Magic Man answered "What would you envision your character doing in fanfiction?"

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A post shared by Our Flag Means Fanfiction (@ourflagmeansfanfiction)

Source: OFMFF IG

= Harold's Haunt Calypso's Birthday =

Our friends over at Our Flag Means Fanfiction went live with @ringasunn for Calypso's Birthday over at Harold's Haunt in PA! Did any of you get to go?

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A post shared by Our Flag Means Fanfiction (@ourflagmeansfanfiction)

Source: OFMFF IG

== Love Notes ==

Hey lovelies! Back again tonight. I swear I'm going to at least get caught up to June tonight if I can! There's so much going on right now with the end of May and the start of pride month.

This is a short one, but I did want to share this love note with you because I think it means a lot, especially during pride month. But please remember, if you don't feel safe, do what you need to feel that way okay? We're here celebrating pride with you in, or out of the closet-- but your safety is the absolute most important thing <3 Love you crew!

View this post on Instagram

A post shared by Steph Jones | Self Care Visuals 🌈 (@selfcarevisuals)

Source: SelfCareVisuals

[usafphantom2]

The SR 71 burned fuel fast. 1000 pounds a minute. This was the same rate as the B 58.

It took Butch a while before he knew that answer, as Kelly Johnson was reluctant about the answer. Mission planning in 1965, the very early days of the SR 71 before delivery to Beale Air Force Base, Richard “Butch” Sheffield, Tom Schmittou, and Cosimo “Coz” Mallozzi were asked to do some mission planning. As former B-58 navigators, they were used to doing this, so they asked an important question. “How fast can it go from point to point”? Kelly Johnson, the genius engineer who designed the A-12 and the SR 71, would not tell them how fast the airplane could go. The Air Force officers were the first RSOs picked for the program. Kelly wouldn’t release the information because he had trouble getting it up to 3.2 Mach.

Mission planner for the A-12 Bill Corbin, Seeing their frustration, took a piece of twine, placed the twine on the map, and said it’d go from this point to this point. Dad said in his unpublished book he sure wishes he would’ve kept that piece of twine as a historical relic.

Colonel Richard “Butch” Sheffield.

Linda Sheffield

@Habubrats71 via X

[bumzbumzbumz]

Corbin Caldwell. Yummy

[dxsole]

Corbin always felt that he did his best thinking once he was sated— most times that meant a full belly, stuffed with expensive luxuries...in this case, he meant something slightly more lascivious.

"A nightmare? Darling, that's a little cruel. I think I'm a dream— a vision." A vision of brown leather and expensive shades and a salt and peppered beard.

Thankfully, Isaac does find all that charming. "Best better. You'll be feverish all afternoon if you don't, love." And he's quick to pepper kisses along chubby cheeks, loving how pliable Isaac was once he got his arms around him. Kisses lead to lips that Corbin can't help but hum into, his smile ever-present and obvious.

Flirty Starters // STILL ACCEPTING @dxsole said: "Maybe making out for a few minutes would help us figure things out." // from Corbin, who is incorrigible

No matter how many times he hears it, Corbin's coquetry never fails to make Isaac blush. He'd deny it, of course. If you asked he'd swear to God that he's just a bit hot, maybe even feverish. Don't get too close, he's ill. But, Isaac isn't pushing Corbin away. He's looking off to the side, hoping he doesn't get teased about the pink filling his cheeks and burning his ears, but certainly not putting distance between them.

"You're a nightmare, do you know that?" He can't help but offer a little teasing of his own. "I've got so much work to do, but now all I can think about is you. Best get you out of my system then, hm?"

[clarabowlover]

Virginia Lee Corbin (1920s)

Credit To Silent Film Inc.

[unproduciblesmackdown]

more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

[tulipscomeinallsortsofcolors]

I really don't like Devin's birth parents >:(

do they (or the jerk who cursed a newborn) ever show up in story or get some kind of comeuppance?

i havent really fleshed them out or given them names. basically i crafted a bare bones version of the story than Sloane and Corbin Drake probably would have told Devin as a child, because Corbin strikes me as the kind of person who has a 'if they are old enough to ask they deserve an answer' policy for children

so here is The Gist - A cheated on B with C and C got pregnant, B cursed the subsequent lovechild ie Devin and A and C decided to give him up for adoption. This is an unfortunately not-uncommon kind of dilemma (though by no means are even most of them this callous) and there are special adoption agencies for it. They were coolly polite and accommodating but not friendly to Sloane and Corbin, and requested not to be contacted after Devin was born

the Drakes were called as soon as C went into labor, waited the duration, and A & C immediately signed over custody and sloane and corbin took him home.

so Devin (being. yknow, Janus .) at age... oh he's probably 4-5 i'd assume? when it would occur to him to press for details at least - and he absorbs this information and is like "actually. those people sound really annoying. and i met them really for like ten minutes when you think about it. so i think this is chill."

and thats about when tiny Janus starts referring to his birth parents as "his material components" no matter how much his fathers try to stop him XD

[yallthemwitches]

can we get possessive james too, please?

Sure, anon! Here's some secret relationship possessiveness (for a good cause)! Consider it a precursor to the jealous Lily fic I wrote earlier.

I'll also post this to my AO3 collection if you rather read it there!

“My contract is for a reserve chaser until next Spring, but the coach says I’m good for the official team as soon as I can.”

“Right,” Lily says, taking a big gulp of her butterbeer. From behind the bar, Rosmerta snickers and shoots her a teasing wink. Having fun?

No, not at all.

The boy who had introduced himself as Corbin Landon continues to corner her at the end of the bar, rattling on in some quidditch speak she doesn’t much understand or care for. Beside him, two empty bottles of butterbeer and a tumbler of firewhiskey sit empty, their influence making his eyes glassy and roaming.

“You said you’re in sixth year, right? What does that make you? Sixteen? Seventeen?”

Lily frowns, narrowing her eyes. He couldn’t be much older himself—no, he can’t be because she knows for a fact he graduated two years ago as a Hufflepuff. 

“Seventeen,” Lily says in a clipped voice. 

Corbin smiles, his gaze raking down her body to the muggle jumper and skirt she’d thrown on as a fluke. His eyes stall at the short hemline and he seems to do some serious butterbeer-logged mental maths to measure the exact distance he’d find her knickers if he went looking.

“Y’know. I’m in Hogsmeade for the weekend,” he slurs, stepping forward and placing a hand on the side of her waist. “They put us up in the little inn at the end of High Street. If you were interested in some fun, I’m sure the rest of the team would be willing to make room…we could find a nice bottle of Ogden’s and—”

“Sorry to keep you waiting, darling.”

As soon as Corbin’s hand drops from her waist, a more familiar one replaces it. Her head whips around, heart giving that playful swoop she can’t seem to shake no matter how many broom closets they’ve stuffed themselves in in the past month. 

James Potter smiles down at her, a telling eyebrow arching up into his messy hair. 

“I’m sorry I took so long, Alfred over at Spintwitches loves to faff around showing me all the newest models.” 

As natural as gravity itself, James leans down and ghosts his lips against her hairline. It’s not even close to the kind of intimacy they’ve shared with each other in the past twenty four hours, but the fact that it’s in public makes her whole body rattle. 

“Made a new friend then?” 

James juts out a hand towards Corbin, his smile more hostile than anything else. 

“James Potter.”

Corbin looks at James’ hand and follows the arm to the quidditch jersey and captain's badge that gleams on his chest. He reaches for his butterbeer.

“Corbin Landon.”

Around her waist, James fingers wiggle, finding the edge of her jumper and slipping under to press hot into her skin. It should worry her how much it lights up every part of her nervous system—the classic James Potter balancing act between playful, sensual, and safe. 

“Landon…Landon….” James muses, leaning his cheek against the side of Lily’s head. Suddenly, he perks up, the action pressing Lily even deeper into his chest. 

“Oh, that’s right! Corbin Landon! Hufflepuff! You made that dismal shot in the House Cup final a few years back—must have felt like real shit handing the win to Slytherin like that.”

Corbin stiffens, his cheeks going from ruddy to bright red in a matter of seconds. He darts his eyes from Lily back to James, all the sloppy sleaze now missing.

��Yeah well—“ Corbin stutters, debating his next words. 

“You realize your bird’s tromping around like a bloody prick tease?” Corbin spits, face twisting into anger. On her waist, James’ hand tightens but his face remains calm. 

“Can’t imagine you have much of a prick to tease, mate,” James says cooly. “Obviously, since you’re putting moves on Hogwarts’ students. That Cannon’s contract not working on the ladies then?”

It hits both her and Corbin at the same time. He’d been listening. 

Corbin stares at James open-mouthed. After some consideration and sizing up, he mumbles something under his breath and stocks off with his butterbeer, disappearing into the haze of Hogwarts’ students. 

“Sorry about that,” James says once Corbin’s out of sight,  He gives a sort of bashful smile. “I know it’s none of my business but it seemed like an emergency—you really do seem to attract some knobheads don’t you—me included in that, obviously.”

Lily scowls which makes James’ grin grow wider. It doesn’t go unnoticed that his hand remains firm against her skin. 

“Hey Evans?” 

Lily looks up. For the tough, cool guy act he just put on Corbin, the flush on his cheeks makes him look rather meek. 

“Would you…want to have a butterbeer with me? I know you aren’t very keen to take things between us public but—” James’ eyes drop to the hand still around her waist. 

“It feels kinda nice being with you…here.”

Something warm and precious blooms inside Lily’s chest, the room suddenly so much brighter and spacious. Not letting herself think too hard, she stands on her toes and presses a kiss into his cheek. 

“I’d be glad to,” she says, face hovering close to his. When her lips graze the shell of his ear, the hand against her waist gives a squeeze. 

“But remind me to properly thank you later,” she says, skirting her lips lightly over the side of his neck. She feels him shiver, a soft oh wafting from his open mouth.

“I’m afraid it wouldn’t be appropriate in public no matter the circumstances.”

[trembling-amber]

finally trying to write a coherent timeline for my OCs on OneNote. and I am eventually gonna write introductions for them. eventually.