#elly chandler

[shippingsincebeforeyouwereborn]

My screen has been full of Jemma today, and don't get me wrong, I'm as into Jemma as the next gal. But I thought I'd add a little Catherine, you know, just because.

[batnbreakfast]

Zoom, Booze,  no Doom

Hi everyone,

it’s Saturday tomorrow, so let’s meet at our usual time

Wisconsin 2pm

UK 8pm

Germany 9pm

We’ll continue to watch Chatherine Russell as Elly Chandler. Everyone is welcome, don’t be shy, even if you’ve never took part before.

I’ll post the link to the Zoom as a reblog of this post shortly before we start.

[doctorpunkrock]

LARRY’S KICKING HIMSELF:

“YEAH, SURE” 🙈

[ktlsyrtis]

Ellie Chandler had seen many things through the lens of her camera, but never anything quite as intriguing as this.

When the man from Clifton Fields hired her to investigate who was stalking his co-worker, she assumed it would be a scorned ex-boyfriend, maybe an obsessed patient. Either way, she expected to find the sort of perp she was used to - disgruntled, entitled, and above all male.

What she didn't expect was the slim, attractive blonde in a dark leather jacket currently clambering over the fence of Frankie Maddox's back garden.

Elly knew she should call the police; instead she snapped a few more pictures as the woman jumped down, pausing to tuck an escaped tendril of hair back into its pin.

The woman was definitely a mystery, Elly thought, watching her creep up the back steps. And she'd never been able to resist a mystery.

[send me the first line of a fic and I'll write the next five]

[rollforjackass]

so can i talk my shit again (original template)

[rad-roche]

Nick Valentine, the Detective Archetype, and the Mettle of a Man

If you browse social media, chat to your friends, brave what old-school forums are left or plunge into comments of various subreddits, you will find a fair amount of people who truly, earnestly enjoyed Fallout 4. It has been the subject of numerous (earned) critiques regarding everything from its convoluted story to its oversimplification of once interesting game mechanics. This isn’t an essay that focuses on those elements, numerous though they are, but something I noticed as I did my best to grapple with the unwieldy main plot and the significantly better Far Harbor. 

If you gather a crowd of people who have played the game and ask ‘how many of you had a great time?’ some people, by merit of how taste works, will happily raise their hand. That I’m writing this at all is a sign that, for all the faults I found, I genuinely engaged with it in a way I didn’t expect to as I (apparently a lawyer) slogged through the opening with my assigned soldier husband and Apple-Cheeked Infant You Will Love. In that respect, I suppose, I’m raising my hand.

If you peruse those same places, with the same people, and ask ‘how many of you really liked Nick Valentine?’ 

The number of hands up will be significantly higher. 

In fact, it isn’t uncommon for people who didn’t enjoy any part of Fallout 4 to instinctively throw in a ‘Nick was cool’. But, as somebody who agrees, why is that? He’s got a lot of cool elements, sure. He’s a wisecracking robot detective. He has the most fleshed out backstory of any companion and, come Far Harbor, is the deuteragonist. Stephen Russel delivers an incredible vocal performance. He has a sick-ass fuckin’ detective name. What’s not to like? But he isn’t just a well-liked character in a game with many failings, he’s one of the most beloved characters in the entire franchise. That takes some doing. So how the hell did they do it? 

Valentine is a character defined by contrasts; man to machine, past to future, ‘me’ to ‘not me’ and, less obviously, 'archetype’ to ‘antithesis’. Nick Valentine is both a stereotypical gumshoe, the hardboiled detective of the neo-noir setting of Fallout 4, and every element of what makes up that stereotype turned completely on its head. He is, and is not, what he claims to be. He is noir and neo-noir. He shouldn’t be well-written. But, by accident or miracle, he is.

He is, and is not, Nick Valentine.

Let’s pull back a little and talk about noir, detectives, and detectives in noir:

The role of The Detective isn’t to solve crimes in the seedy underbelly of whatever city he lives in, seducing dames and cracking wise as he goes toe to toe with gangsters. That’s the window dressing. Press your cheek up against the glass and squint a little and you’ll make out a murkier shape, something that wraps around all the others like chiffon. It accentuates, highlights, is easily overpowered by the glitzy parts it surrounds. It is vital to the context of what makes or breaks a noir detective yet makes an effort to avoid your scrutiny. It is, and is not, the point.

The role of a detective is to suffer.

Put on the jazz, grab a scotch and look forlornly out the sharply-lit shutters at your window, this’ll be a long one! So let’s start at the start.

‘Noir’ is something of a fuzzy term. You could ask a few people and get a slightly different answer from each of them and find none are wrong. Often people conflate ‘noir’, a genre with particular themes, motifs and framing with ‘hardboiled’, a genre of crime fiction with often very similar themes, motifs and framing. If it stars a detective battling crime and a corrupt legal system, it’s hardboiled. If he does those things and having three different sorts of Dutch angle breakdowns about the hopeless failings of human nature, it’s probably both.

So what the hell is up with noir, anyway?

It’s a style of filmmaking that spawned in the 40s. The term was coined by critic Nino Frank some time in the late 1940s but didn’t see popular use until the 70s. What we, looking back, would call ‘noir’ would at the time be ‘melodrama’. 

But what is it? 

Well, the world’s on fire, the staff on your movies are refugees fleeing horrific conflict and everything feels hopeless. The good guys you knew aren’t as good as you’d hoped they’d be, and the criminals aren’t bad enough to make hating them an easy job. Circumstances are murky. Everything is terrible, and it might get better, but for now we’re stuck. The systems in place are hopelessly cruel, suffering is as endless as it is needless. And glittering on top there’s the glitz and glamour of celebrity, the nouveau riche, a booming entertainment industry of stars and crooners, fresh paint on an asbestos wall that’s choking out everybody. And when you get down to it, what’s ‘good’ and ‘bad’ in an awful place like this, anyways? Do those distinctions exist? Hell, should those distinctions exist? Those questions, and what transpires as a result of those questions, that’s noir. 

I believe the deliberate push towards neo-noir in Fallout 4 (the gumshoe, the newsie, working cases, the plot focus on a missing person, feelings of loss and paranoia) was a fantastic opportunity, completely keeping within the setting, mostly frittered away by poor writing.

And this hard-boiled gumshoe, this private detective, marooned from every point of contact, is not a mandatory component of a noir. But such a character is a perfect lightning rod through which to conduct these difficult questions. So this Detective character, who the hell is he, anyway? What’s his deal, what’s he about? Note that every instance of ‘Detective’ refers to the specific instance found in American crime fiction from the 20s to 50s. If you can imagine Humphrey Bogart then, yes, it’s that guy.

1) The Detective As The Outcast

The Detective is at odds with the public (who don’t trust him until they need him), the police (who are hopelessly corrupt street gangs with better hats), and the criminal underworld (who at least aren’t cops). The Detective, aside from a few specific touchstones (a distant friend, an ex-colleague, an in with a don), is adrift. He is not liked, even by himself. He knows just enough of these worlds to meddle. He is smart enough to solve problems, but rarely enough to forestall problems.

Nick Valentine has no biological functions. The parts that make up Nick’s body are mass-produced and interchangeable. He can relate to people but only through the memories and experiences of a human being he can’t unshackle himself from. He lives among human beings, dresses like one, but cannot ever be one. He is too obviously mechanical to be confused for a Gen-3 Synth and can find no relief with other mechanical Synths who share his face (bar one, who raises his own set of problems we will return to later.) His memories, personality and speech patterns are based on the brain scan of a clinically depressed pre-war cop utterly ruined by the violent system he upheld. Valentine isn’t just alienated from the people around him, he is alienated from himself in a difference that is, ultimately, irreconcilable. Nick Valentine is Nick Valentine. Nick Valentine is not Nick Valentine. Nick Valentine was not a good guy. Nick Valentine is a good guy. His body is and is not his. His mind is and is not his.

And everybody loves him!

If you walk around Diamond City with Valentine, you can’t go two seconds without some ambient conversation being struck up while you wring Myrna for all the caps she has. Old clients thanking him for help, grateful strangers inviting him to drinks. It’s possible for you to be ambushed by a group of raiders, fend them off and find that they’ve stopped attacking because they recognize Nick. Ellie, his secretary, doesn’t think to mention that he’s a juddering mannequin with peel-away skin and unblinking eyes. He’s just Nick. The most formative event of his life, not the inherited life of a long-dead man, is stumbling into a settlement and being treated like a human being. 

Nick is both utterly divorced from the people around him and a passionate champion of them. He is both the alienated man— the jaded, cynical snoop waxing lyrical about the evils men do— and a beloved friend to the people of Diamond City. He is, and is not, the outcast.

2) The Detective As His Own Man

The Detective is the knightly archetype, iron-wrought principles at his own expense. For all the talk, all the compromises made, he is incorruptible. There is good to be done and, unfortunately, he has to be the one to do it. He cannot be bought, sold, bribed or dismissed. The wheel is in motion and will spin in perpetuity until it stops or is made to stop. He is an anti-hero willing to lie, cheat, steal and resort to violence to get the job done. He is a loner and often hard to get along with. He will butt heads with anybody.

Detectives, often, are products of the anxieties of their time. It’s where the femme fatale comes from, the wily temptress who is getting a lot of strange ideas about ‘having agency’. Nick, in turn, is the anxiety of Fallout 4. He is, and is not, part of the Institute. He is one of the greatest fears of the Commonwealth; the possibility that a human mind, abstracted, can be flattened and transplanted and set loose. That memory, personhood, is constructed of building blocks. They can be rearranged.

Nick is that lawful good, justice-at-any-costs archetype. 

But Nick is a noir detective who is, crucially, not an anti-hero.

His outlook and personality aren’t just unusual for a gumshoe, it’s downright bizarre. In a genre populated almost entirely by moody, snippy alcoholics, Nick is warm, personable, funny and genuinely optimistic. He’s the most do-good do-gooder to ever do good. That’s not to say he can’t be moody or snippy—he’s certainly sarcastic—but his general demeanour is different compared to a Marlowe, or a Spade. Justice must be done, but not at too great an expense. Murder is sometimes necessary but only sometimes. But Nick’s core issues come from his idea of personhood, the grim reality that Nick Valentine is loaning a name and an outlook. His job is to chafe, to make broader points crystalline and easier to pick up and examine. Nick is, and is not, his own man. 

3) The Detective At The End

Noir, traditionally, isn’t the place for happy endings. If you’re watching an old movie and find that the detective has made an honest woman of the femme fatale and they live happily ever after, you are looking at a mandated rewrite. Free of tampering, the best you can hope for is ‘nothing is significantly worse’ and often you won’t even get that. People murder one another for pittances, slights, baubles. A gamble is made. If you win you don’t get anything and if you lose you’ll lose more than you even knew you had. And then you’ll keep losing. And then it’s all over. You sit in a dark room with it, contemplative and miserable and thrilled. Fallout 4 has the much maligned radiant quest system. It doesn’t end until you say it does, for better or for worse. But, working chronologically, there is an end point to Nick’s story in Far Harbor. By merit of it being a video game, you get to pick. Is it tragic in one way or tragic in another? He doesn’t get a happy ending because he’s a noir detective. The confluence of the anxiety of the setting. Incorruptible in a world that can’t allow it. Nick is unusual in that he is nice and sweet and warm. It’s still his job to suffer.

In Far Harbor you meet DiMA, the only person in the world Nick could consider ‘blood’ family. In a moment of vulnerability, Nick leans on the player character for advice and asks them their opinion on what DiMA should be to him. You can push him to accept DiMA as a sibling and initiate a sequence where they begin to forge a fraternal relationship, advise that he doesn’t let DiMA into his life which halts any chance of reconciliation or, crucially, leave Nick to decide for himself. This leads to him accepting DiMA as his brother on his own terms.

DiMA is a complicated, nuanced character in his own right. This is already much too long, so I’ll save the specifics of him for another time. But, in short, he murdered somebody, covered it up and removed his own memories of the murder. He remembers this, is horrified, and prompts you to join him in doing it again. Your player character can refuse to go along with his plan, bully him into confessing to the townspeople and as a result have him executed for the crime he did commit and fully intended on committing again. 

If you encouraged Nick, or let him decide what DiMA means to him by himself, he is distraught. He has gained, and lost, family. One of the last dialogue options you get before heading back to the Commonwealth to wrap up the DLC is Nick resentfully admitting that his life is in ruins. He will never recover from this. The Valentine you meet in the Vault and the Valentine that leaves Mount Desert Island are two slightly different people.

He is an archetypical, by-the-books noir detective. He is a noir detective turned entirely on its head. Fallout 4 fumbles its neo-noir through poor writing, baffling story decisions and often a fundamental misunderstanding of its own premise. Fallout 4 contains incredible neo-noir in what may be one of the most compelling detective characters ever put to paper. In a better game, Valentine would be cool. In Fallout 4—and it could only be in Fallout 4—he is incredible.

Valentine is a character defined by contrasts. And Nick’s character, while complex, is simple. And in a game subject to rewrites—retools, re-re-writes, ‘oh Christ it ships tomorrow!’, re-re-re-re-writes to broaden appeal, nukes are pretty cool, what if we put a kid in that fridge?—simple stands out. The core of Nick Valentine, and what makes him so memorable because of the game he’s in, not in spite of it, is this:

Everything is terrible, and it might get better, but for now we’re stuck. But you can’t wait for it to get better to try and do some good.

“You help who needs help. It doesn’t have to be more than that.”

                                                            —

Boy, did that run long! You can find my fanart here and, if you liked reading this, my fo4 noir pastiche here. Thanks for reading!

[dilfsisko]

Cordelia Chase was THE mean girl, she invented being a mean girl, and she walked so all other mean girls could run.

[pedroramscal]

Lost in the darkness

I always wondered how much of an iconic duo Ellie and Carl Grimes would make (my apocalypse kids <3), so I figured I'd start a fanfic where Carl is part of the journey too.

Not a romantic fic.

Takes place during the first part/season of The Last of Us

Warning: blood, death, swearing, your typical apocalypse things

Wordcount: 2.3k

There were many things Joel Miller hated. And the infamous quote of the Fireflies was on top of his list.

He found it ironic that the Fireflies were encouraging people to step up against FEDRA and look for the light while blowing things up at the QZ.

Living his life as a smuggler, his only goal of his was to find his brother, Tommy, who just stopped answering his calls. He knew that sending a message back was time-consuming but now it has been too long.

He knew how different Tommy was from him. He always wanted to be the savior after all the fucked up things they had done. And Joel understood that even though he barely had feelings left anymore.

The remained ruins of his personality and humanity were usually brought out by certain factors.

Such as the goddamn kid in the sheriff hat who never gave him peace.

Just as he could finally get rid of the FEDRA soldier who gave him a friendly warning to not leave the QZ at the moment, he let out a shaky sigh and weighed the options he got left.

Joel turned around and felt his body freeze when he noticed Carl Grimes sitting in the middle of the staircase that led access to the top floors of a building that’s clearly seen better days.

”How long have you been sitting there?” Joel furrowed his eyebrows, wrinkles deepening on his hard face.

”Long enough.”

Joel glanced to the side before sinking his hands into his pockets.

”Didn’t they tell you to not stick your nose into other people’s business?” Joel asked, his voice confident and dominant.

Carl shrugged before bouncing his knee up and down.

”Your parents didn’t teach you anything?”

Pain shook Carl’s heart but the fourteen years old boy’s face remained expressionless. The days when he’d let Joel Miller out of all people get under his skin were gone.

Despite the old man’s harsh words and bones chilling tone, Carl wasn’t threatened. He wasn’t a little boy anymore. He had seen and been through too many horrific things to get scared just like that.

”No, my dad taught me how to use a gun. That’s more helpful than manners nowadays.”

Joel let out a deep breath while studying the bruise on the boy’s face. It was certainly new, hence as he didn’t see it on him last night.

”And look where did that get you.”

Carl scoffed and pushed himself up, leaning against the rail of the stairs.

”I was already here when you decided to run your drug business here in plain sight while execution is taking place.”

”And why are you here specifically?”

Joel didn’t have to think twice to realize that after everything the Grimes boy had been through, he didn’t want to just stand on the square while they hung those people.

Carl never told him anything about his past or the whereabouts of his family. Not that he ever asked but he would have expected a kid his age to be more communicative.

It didn’t go unnoticed by Joel how uncomfortable Carl has become in only a matter of seconds. He was a tough kid, that was sure and Joel couldn’t help but wonder what kind of inhumane things he had to go through to get to this cold state.

Sometimes Joel felt like he was looking into the mirror whenever he was facing Carl.

The coldness and dark thoughts clouding his eyes, the face of someone who had nobody in this damned world… it was all too familiar to him.

But it wasn’t his business or problem to try to change Carl and remind him that he was only a kid after all.

”Whom did you piss off this time?” Joel asked after a few beats of silence, nodding toward the boy’s bruised face.

”Chris Ledstone.”

Joel sighed and a scoff took over his face.

”So much for your keeping your head low.”

Carl groaned, ”Spare me the lecture, Joel.”

”I would if you’d keep yourself to your word.”

”I didn’t start it.” Carl defended himself in a sharp tone.

Teenagers.

”I don’t care,” Joel glared at him. ”You keep getting into trouble long enough and everyone will hate you.”

”Good,” Carl stormed down the stairs with heavy steps. The metal painfully cracked beneath his shoes. ”I never intended to be everyone’s favorite person anyway. I’m not letting Ledstone or any other asshole walk through other people for their entertainment.”

Joel grabbed Carl’s skinny arm, stopping him from walking away. Carl shot him a deadly glare which he undoubtedly got from his father.

”Is this what the fight was about? Chris screwing around with someone weaker than him?”

Carl didn’t answer, only dropped his gaze to the ground.

Joel let go of his arm, searching for the boy’s eyes, ”I understand your reasons but some people have to learn how to stand up for themselves. You can’t solve other people’s problems all the time."

Carl knew Joel was right but his brain was stormed off with unsaid harsh answers. Just because someone was weak that didn’t give others the right to bully them.

”Now go and put some ice on your face before Tess sees it.”

It’s been a few months since Carl was found outside of the Boston QZ. He had nothing on himself but scars, dirt, ghosts in his eyes, and his Beretta. He never answered any of the questions the guards had asked him while looking for any sight of infection which wasn’t a new thing.

One of the guards suggested that Tess could look after the boy and help him adapt to his new home which was pushing Tess over the edge. Carl saw how much she was trying to get to know him but he never gave too much away about himself.

Considering the fact that Tess had a son whom she couldn’t kill made their situation even more bittersweet. She never talked about her son but the undeniable pain and wonder were always clear in her eyes.

Whenever she looked at Carl, she was wondering what her son would look like if he would still be alive, what would he do, and how different things would be with having two boys under her roof. She had a feeling that her son would have made friends with Carl pretty fast which would have helped the outsider boy warm up much more.

But she was working with what she could get.

Most of the time Carl was always around in the QZ after school, never leaving a message behind and he’d always show up quite late. Tess was worrying every time she went home to the empty apartment but she couldn’t force him to do anything.

Carl nodded and stepped away.

”I suppose you don’t have a pill for that, do you?”

Joel turned after him with an exhausted look on his face.

”You’re pushing your luck, kid.”

Carl gave Joel an empty smile. ”Been pushing it ever since I was born, old man.”

***

The rest of the day was a blur. Joel lost himself in the maze of maps, trying to find the shortest way to Wyoming while nightmares were haunting him from the night Sarah died. Her voice was still echoing in his head while she was bleeding out in his arms, terror filling her eyes that once were happy and bright.

The painful memories and the weight of his broken watch just intrigued him even more to leave the QZ and find Tommy as soon as he could.

He couldn’t lose anyone else.

After taking the sight of Tess’ beaten up face in, he realized that they had to go down the hard way. Not that he minded, he would have been more than happy to beat Robert’s face in. That fucker had it coming. Not only for screwing them over but also to let his men lay their hands on Tess.

When they finally had a lead, they weren’t patient to wait around anymore. They had to step up before it was too late. Navigating their way through the basement of an edifice and Joel giving lectures about the building’s structure, they finally found the right place.

With their guns in their hands and serious look on their faces, they searched the floor full of bodies.

Joel was more than disappointed to find Robert dead as well. But his confusion overwhelmed his frustration when he saw Carl kneeling above Robert’s corpse.

”Carl.” Joel’s voice cut through the silence like a knife, causing the boy to turn around.

Tess sighed and gave Carl a look of anger.

”I thought you were at school.”

Carl stood up, gripping his pistol like his life depended on it.

”I was on my way but then I heard all the shooting and…”

”And you decided to join the party?” Tess finished it for him. She was furious now and her face darkened.

Carl dropped his shoulders, realizing that he could not give any right answers to the adults. He knew he shouldn’t have come here but his curiosity was always bigger than his compromise to do what he was told.

He knew he was too young but he hated when adults only treated him like a kid. He could have been more helpful if they would have trusted him with actual duties like his father had done.

He missed how useful he was in the prison before they were attacked and the place tumbled to the Infected. Now, he was nothing to others but a teen whose only purpose was to sit at school instead of helping defend the QZ and the people in it.

He couldn’t save his mother, father, or sister. So, this was his only chance at redemption.

He had to keep these people safe otherwise he would be nothing and he wanted to be worthy of Rick’s legacy.

”Are you out of your fucking mind, kid?” Joel snapped as he lowered his gun. ”You could have died too!”

”But I didn’t.” Carl fired back with just as much fierce.

”Why don’t you do what you’re told? Why is it so hard to listen to us?”

”Because I’m not a burden!” Carl snapped. ”I know what is beyond these walls and I’ve been through so many things that you couldn’t even imagine. Unlike most of the other kids around here, I actually know the world and who the real monsters are.”

Joel remained silent as he acknowledged the fire of anger filling Carl’s eyes. He knew the boy wasn’t kidding but that didn’t settle his rage one bit. Carl was still reckless and impulsive. And those two things didn’t make a good combo.

He had to learn how to stay behind and help from the other side but Carl didn’t want to sit in the back. Not after what happened at the farm or the prison.

Carl knew that danger could show up any day and he wasn’t allowed to let his guard down. Ever. Just like Rick had told him.

No more kid stuff.

He felt sadness pull him down as he tore his gaze away from Joel’s. They didn’t understand him and that was alright. But that didn’t mean that he was going to let himself be another target ever again.

All the sleepless nights, the nightmares, and the guilt that was eating Carl from the inside were too much for him to comprehend.

”What would have happened if you got a bullet in your head too?” Tess stormed to the boy, her eyes never leaving him.

Carl didn’t answer which made Joel’s stomach turn. He couldn’t have come here hoping that he’d die too, could he?

Carl was afraid of death but lately, he became confident with its thought and presence. If his death would have helped someone then his sacrifice would have been worth it. And he could see his family again.

”I’m all right as you can see,” said Carl in a lower tone.

Tess’ expression dropped as she took a shaky breath. She grew more fond of the boy than she would have expected herself to. Suddenly, she found herself pacing around like a mother who had been told that her child was hurt.

Despite Carl keeping a distance between them, she couldn’t help but care for the lonely and broken boy. She knew he didn’t deserve to live in a world like this and lose his family at such young age, that’s why she was trying so hard to let him know that he wasn’t alone anymore.

An unfamiliar grunt interrupted their argument, causing all three of them to turn toward the voice while raising their guns at the same time.

Joel gave Carl a stern look, ordering him silently to stay behind and Carl obeyed. Joel was first in line while sneaking to the corner with Tess behind him. Carl fell a few feet behind as Joel glanced around the hall.

”Shit… Oh, God.”

Carl didn’t recognize the woman’s voice but from the sounds of her grunts, she was obviously hurt. In spite of hearing that she must have been shot, he still felt threatened by her presence.

Joel was tense as he was taking the sight in front of him in. Two injured women leaning on each other, cursing in pain. Just when he thought that one of them sounded familiar—

The door beside him swung open and someone ran against Joel, letting out a determined scream with a knife raised in the air.

Joel didn’t even realize what was going on, he was acting out of reflex. Before the knife could slice into his flesh, he turned his torso and snuck a hand around her back, pushing her forward, right into the wall.

The girl slammed helplessly against the wall, dropping her knife before collapsing to the ground.

”Fuck…” she stammered in pain and looked up at Joel with fury twisting her face.

Joel stared at the girl with confusion as Tess and Carl walked around the corner, catching up to him. Carl felt surprise wash his confusion away, it was one thing that he snuck in and skipped school for the rest of the day, but what was she doing here?

”Joel?”

Joel’s eyes found Marlene who looked as surprised as he was from the girl’s attempt to stab him on sight. The Firefly was the last person he expected to meet today.

”Marlene?”

[yourlocallygrowngay]

This is a lot more random than I thought lol

[laynemorgan]

OKAY SO @when-sanpape-arts is doing a commission for me for my kids and they just sent me this concept sheet and i’m ABSOLUTELY LOSING IT at how much i love this already. LOOK AT MY CHILDREN. 

[shippingsincebeforeyouwereborn]

Elly in blue

[batnbreakfast]

Zoom, Booze, no Doom

Hi everyone,

look at her lovely face!

It’s Saturday tomorrow, so let’s meet at our usual time:

Wisconsin 2pm

UK 8pm

Germany 9pm

We’ll continue to watch Catherine Russell as Elly Chandler in the last two episodes of Chandler & Co

Everyone is welcome, don’t be shy, even if you’ve never took part before.

I’ll post the link to the Zoom as a reblog of this post shortly before we start.

[doctorpunkrock]

[letterboxd-loggd]

Harold Teen (The Dancing Fool) (1934) Murray Roth

April 14th 2024

[specialagentlokitty]

Who I write for/Rules;

This is a list of fandoms and characters I write for (some may be missing) and some rules, if you’re curious about a fandom or character please message and I’ll let you know if it’s someone I’ll write for or not! If you’re looking for prompts please search the tag Lokittys prompt list

THIS BLOG IS STRICTLY NO SMUT DO NOT REQUEST IT AS THE REQUEST WILL BE DELTED IMMEDIATELY!!

Please if you’re requesting use some manners, say please and thank don’t demand I write something from you

This blog is for all ages, do not be hostile towards any member of this blog as you will be told to remove yourself immediately and if you don’t I will remove you, hate will not be tolerated this is a safe space regardless of age, sexual orientation, gender/pronouns, disability and such

If you’re wondering about a request you have but you’re worried or confused if I’ll write it or not or you’re just curious please reach out through inbox or asks and I’ll let you know! I write both romantic and plutonic requests for a wide range of characters!

Some things I will NOT write include; teenage pregnancy, smut(or related themes), underage!reader x older characters (these will ALWAYS be plutonic either a parental or sibling relationship). If you’re wondering about anything else just message! 💜

Fate the winx saga

- Saul silva

- Farah Dowling

Avatar

- Jake

- Neytiri

- Quaritch/ recom Quaritch

NCIS

- Tony

- Gibbs

- McGee

- Ziva

- Ellie

- Nick

- Jack

Criminal minds

- Hotch

- Rossi

- Derek

- Spencer

- Jj

- Emily

- Garcia

The mentalist

- Patrick Jane

Castle

- Castle

- Beckett

Lucifer (Fox)

- Lucifer

- Maze

- Chloe

- Dan

Chicago med

- Will

- Connor

- Ethan

Greys anatomy

- George

- Alex

- Derek

- Mark

Twilight

- Carlisle

- Esme

Harry Potter

- Sirius

- Remus

- Snape

Marvel

- Tony

- Clint

- Bruce

- Natasha

- Thor

- Steve

- Loki

- Bucky

- Logan

- Wanda

- Pietro

- Maria

- Phil

- Carol Danvers

BBC Merlin

- Merlin

- Arthur

- Gwaine

- Leon

- Percival

- Lancelot

BBC Sherlock

- Sherlock

- John

- Moriarty

- Lestrade

- Mycroft

Black butler

- Sebastian

- William

- Undertaker

- Claude

Supernatural

- Sam

- Dean

- Castiel

- Gabriel

- Balthazar

- Chuck

- Crawley

- Lucifer

- Jack

The witcher

- Geralt

- Jaskier

Brooklyn nine nine

- Rosa

- Jake

- Amy

The good doctor

- Melendez

- Shaun

Friends

- Joey

- Rachel

- Ross

- chandler

- Monica

- Phoebe

Teen wolf

- Derek

- Peter

- Melissa (plutonic only)

- Chris

- Parrish

- Noah (plutonic only)

Doctor who

- 9

- 10

- 11

- 12

- 13

- River

- Clara

- Rose

- Amy

- Rory

- Jack

Lord of the rings/the hobbit

- Bilbo

- Legolas

- Thranduil

- Elrond

- Lindir

- Thorin

- Fili

- Kili

- Aragorn

My hero academia

- Aizawa

- Mic

- Dabi

- Hawks

Blue exorcist

- Mephisto

- Amiamon

Demon slayer

- Rengoku

Tokyo ghoul

- Yomo

- Uta

Durarara!!

- shizuo

Skyrim

- Vilkas

- Farkas

Ackley bridge

- Mr Evershed

- Mrs Carter (plutonic only)

- Mr Bell

The vampire diaries

- Damon

- Klaus

- Elijah

- Finn

the watcher

- Ryan

- Shane

911

- bobby

- Buck

- chim

- hen

- Athena

- Maddie

- Eddie

Downton Abbey

- Thomas Barrow

- Anna

- Tom Branson

- Mary

- Sybil

- Edith

- Mrs Hughes (plutonic only)

Kingsmen

- Merlin

- Eggsy

- Harry

Bones

- Booth

- Brennan (bones)

- Hodgins

- Angela

- Sweets

Buffy the vampire slayer

- Angel

- Giles

The walking dead

- Rick

- Daryl

- Negan

- Glenn

- Rosita

- Carol (plutonic only)

- Gabriel

- Aaron

[hitthebrickspod]

Come Hit the Bricks! You can listen to the entire first act on Nebula or your favorite podcatcher.

Hit the Bricks is a musical audio drama in the style of old radio plays. 100 years after L. Frank Baum's Oz books, a modern girl named Jessi and her cousin Wallace find themselves spirited to Oz after discovering an abandoned farm that once belonged to Dorothy Gale's family. Oz is still a world of magic and wonder, but a little worse for wear. As the ever-encroaching mistakes of the past make the present unlivable, it's up to Jessi and a new generation of heroes to push Oz into the future. Hit the Bricks stars Michelle Agresti (Arden, Wolf358), Keilidh Hamilton-Maureira (WFMU), Jordan Higgs (Tides, Greater Boston) and features performances from beloved audio artists like Lauren Shippen (The Bright Sessions, In Strange Woods), Morgan Givens (Flyest Fables), Jordan Cobb (Janus Descending, Primordial Deep), Briggon Snow (The Bright Sessions, CARAVAN), Christopher Dole (Arden), and many more.

Hit the Bricks also features music by various artists, both new to the scene and established, like Kathryn Hoss, Jeff Ball (Steven Universe, The White Lotus), A.p. Harbor, and David Russell (Project Destati, Kingdom Hearts VR)

Hit the Bricks' art is done by Chandler Candela, it's executive produced and sound designed by Ester Ellis (Station Blue, Dungeons and Daddies) and is written and directed by PJ Scott-Blankenship.

Hit the Brick's new special episode Intermission: I'm Still Here will be hitting public feeds on December 27th and you can listen to it early on Nebula.