#hulu tv

[supersonic11]

“You are my actual rainbow gel pen in a sea of blue and black writing utensils”

[nkatr84]

Only Murders in the Building 4:3 “Two for the Road” Spoiler Warning

Okay so the actors are back! And everyone gets paired up. Yet somehow none of them are as annoying as Amy Schumer’s drive by cameo in season 2. Even after Zack Galifianakis’s mean little rant to his agent. Good for you Howard for standing up for Oliver.

So Mabel and Eva Longoria discover Christmas Guy hates Christmas but is stuck having to keep up appearances because his Christmas themed Tik Tok went viral. First of all thank you Hatter (John Hoffman) for letting us see Kamal’s ABs. 👏👏👏 second why couldn’t this guy do other themed workout videos? Like Halloween or Easter? Or movie themed when it’s not a holiday? Who wants to watch a Christmas themed workout when it’s not Christmas? Guy doesn’t know how to Tik Tok. But thirdly the gun on the mantle is a Red Ryder Bb Gun knockoff and Christmas Guy has no motive for killing Charles. Yet fourthly he has a ham radio and is acting weird about it.

Eugene and Charles make a good team. Both plans are disasters in getting Stink Eye Joe to remove his eyepatch but they discover he too is just as socially awkward as Charles and he doesn’t hate him. But the picture in his Apartment features a group shot of the Westies with someone’s face rubbed out holding the pig. Now by the height and slim figure and the fact we can see a bit of white hair I think that’s Sazz. Was she Dudenoff?

Now while Oliver was too busy trying to impress Zack, he did peace together that the Perfect strangers theme was a call sign on the ham radio and 445 was a channel. The person on the other ends warns them that the last person who asked questions got killed (Sazz).

Now while this suggests the person on the radio was the killer, I think it sounded like Melissa McCarthy’s voice. And we know she’s playing Charles’s sister. So I have a theory. Sazz found out something fishy about the movie deal. Went to Charles sister for help. They discover someone is after Charles. Sazz recruits the Westies to help, employing ham radios to communicate. Even pooling their money to rent the studio apartment and take turns watching the East Tower. Because the killer is actually someone in the East tower? But when Sazz gets killed, the Westies freak out and cover up their investigation. We shall see Arconiacs.

[glasskey]

Nick & Lawrence Mixtape

Ever since June wreaked havoc in Lawrence’s household in season 3, he’s been hanging with our boy Nick. Welcome one and all to the season 4 and 5 Gilead Boss mix

Thank you for your service to Gilead.

Thanks to June’s shenanigans, Lawrence is now due to be executed, Gilead has politely sent Nick Blaine to say “Thanks ever so” before the final curtain call, but unwittingly they’ve also sent Lawrence his exit strategy. Nick may be crafty, but Lawrence is a true strategist. He’s a brilliant psychoanalyst, who took all of 3 seconds to realize Blaine was in love with Osborne and that there was no way on God’s green earth, that baby was Fred’s.

Nick had the audacity to hook up with a Handmaid, is sporting a rebellious streak a mile wide and yet SOMEHOW he’s still alive. It’s obvious to Lawrence that Blaine’s extremely cunning and very, very useful. Lawrence is a cynical and astute political animal, soaked in Teflon, with more lives than a cat. He’s the quick witted, dodgy “friend” who talks you into all manner of shit. While he conceived Gilead he’s not really responsible for the ritualistic bullshit that seems to have been constructed out of his theories. As a result he greets any of it with utter disdain, and it is this same hatred for the religious ceremony of Gilead that Lawrence can sense in Nick Blaine.

At first Nick appears compliant and servile but when nudged in his June Osborne Achilles Heel, Lawrence is surprised to find how malleable and resourceful the young commander can be. Blaine turns up touting not only a free ticket out of death row for Lawrence, but also a chance to regain his previous powers.

Lawrence realizes immediately what June always knew; Blaine is an invaluable ally masquerading as nothing more than the resident “fetch and carry”. These two immediately set up an enchanting marriage of convenience in which much political back scratching may take place. For the next 2 seasons we remained glued to our screens as we watched Lawrence use Blaine’s deadly abilities to precisely maneuver pieces across the board, pulling himself out of the noose and all the way back up to the top.

She is never coming back to you.

“You’re getting very comfortable here” Nick says to Lawrence, it’s not just his house that he’s referring to, it’s also his somewhat apathetic acquiescence with the powers that be. “She changed you, she changed me” Nick says reminding Lawrence of the newfound purpose that June brought them both. Here we see a bit of a battle of wits with Lawrence trying to convince Nick, June has lost her value now and Nick not so subtly threatening to kick Lawrence out of his house and possibly back to the chopping block, if he doesn’t save her life. While Lawrence thinks it’s “nice to want things”, Blaine isn’t playing; he wants what he wants and he fully intends to get it. “You owe me”, Blaine states not once but twice, refusing to be denied.

Here in the dim light, Lawrence and Nick strike a deal that echoes throughout season 4 and 5. Lawrence has already realized he simply needs to push the June Osborne button and the resourceful young commander will do exactly as he’s bid. Conceding to Blaine’s demands to merely keep June alive, is a small price to pay for what he knows is Nicks lasting loyalty.

“She is NEVER coming back to you, why would she?” Lawrence says. There’s a deep connection between Nick and June of liberty and rebellion and here Lawrence tries to convince Nick that freedom has forgotten him and it’ll be better for everyone if he just gets comfy right where he is. Let’s give credit where credit is due, throughout season 4 and 5 Lawrence almost gets away with it. As intelligent as Nick may be, he is consistently emotionally vulnerable and it makes him easy prey. There’s part of me that wants to believe that Lawrence isn’t entirely opportunistic, he’s been uncomfortably close to the noose because of June and there’s no doubting he’s kind of got a soft spot for Nick, at least enough to want better than a sharp drop at the end of a rope for the young commander. As a result Lawrence suggests he move on, and Nick having lost hope, gets married. Lawrence may have the best of intentions, and his observation that June’s love “fucks people up” is not entirely wrong, but let’s face it ultimately he has got to go.

In Fred’s absence Nick is sorely missing the father figure he constantly craves and without June he’s feeling somewhat lost. Conveniently Lawrence has become a tad lonely ever since June departed his gloomy abode, and consequently he takes Nick under his wing like some kind of cuddly Darth Vader. Despite the illusion of a buddy comedy gone Gilead, the reality was that this relationship signified Nick’s deepening commitment to Gilead and the widening chasm between himself and June. Lawrence, the Architect of Gilead encourages Blaine to set up a new life complete with a house in the burbs, a compliant Gilead wifey who lives to knit and make coffee, and a leg up in government. It’s the peaceful home Blaine always wanted, always searched for and yet, there’s something not quite right. It’s nothing but a cheap illusion, a mere shadow at best, and despite his best efforts to assimilate, he aches for his true family.

I’m constantly watching Blaine cling to a compromise, ANY answer no matter how painful, that doesn’t involve inconveniencing June’s life. Here we see him try and inevitably fail once again.

Would your heart glow?

Here they’ve come straight from a meeting where Lawrence did his darndest to secure a cease fire and get some aid to the border, naturally he was shocked to find that Nick didn’t help him out with that one. Lawrence is a touch miffed, and as a consequence it earns Nick a nice dry as fuck pay out to let him know that he’s been a wee bit cold blooded, and maybe, just maybe he’s not as smart as he thinks he is. Lawrence’s cute, cutting quip also made light of Nicks deep affection for June, casting it instead as nothing more than a school boy crush. As usual Laurence is being a bit mouthy here and he definitely knows that’s not the case, but his point is valid: The Eyes don’t see everything.

If Nick thinks that he’s got a beat on June’s whereabouts by simply relying on them as a source, Lawrence is here to tell him he’s sadly mistaken; his devotion to her is not some sort of psychic GPS. “Very funny” Nick replies with some well-earned derision, but as we all know he’s constantly making mental notes and he promptly follows up by checking with his Mayday contacts. She’s in Chicago and he didn’t have a fucking clue, worse still is that in no time at all Lawrence has made a deal that involves Nick having to bomb it, with no guarantees she or ANY of the refugees seeking aid will actually survive. Nick does his best to side step this one but it’s to no avail, and he’s left looking like he’s about to return his breakfast to the desk in front of him. It’s Commander Putnam in particular who sticks the boot in here, forcing him to get a wriggle on and bomb his girlfriend and a bunch of innocent civilians. Blaine’s chillingly precise look and almost audible mental note, made me wonder if it was primarily this that earnt Putnam that bullet in later episodes.

At least part of Nicks journey involves being a military commander and this was done precisely to demonstrate the progression from simple recruit to an aggressive higher power that can be manipulated for the purposes of war and accumulation of power. Throughout the seasons we see Nick fulfill his commitments to Gilead with increasing reluctance, as he begins his journey from Gilead stooge to rebel fighter. It’s an awesome and complex journey that highlights personal growth and the desire to change in the face of great adversity. The bombing of Chicago is one of those moments that’s meant to illustrate Nick’s personal loss amongst the civilian casualties of war. “It’s the cost of doing business” Lawrence says to a sickened and cornered Blaine; the sacrifice of others for the greater good, or at least Lawrence’s version of it….even if it’s June.

I've been grooming Nick.

Technically a Lawrence and June moment but I’d like to take a moment and embellish on exactly what Lawrence had been up to. “I’ve been grooming Nick. Not sexually of course.” Lawrence says to a gob smacked June.

No shit. He’s convinced him to marry a nice girl in the burbs, back up his plot for New Bethlehem and be his personal assassin to get it done. Lawrence is a master manipulator, he wants what he wants, and Nick is simply no match for his human puppetry. As a reward for his continuing compliance, Lawrence assures Nick that he and June will be together again. Lawrence intends to get New Bethlehem completed, he likes to cover his bets and he knows that his best chips in this game are Nick and June. If he can get the young commander to back him he’s sure to have June getting cozy in New Bethlehem in no time. I’m sad to say that in S5 we nearly lost Blaine to the forces of Gilead, he simply lost hope when he “tried to let go” of June. In the dark he clings to the smallest ray of light, Lawrence’s dream for a better version of Gilead, some semblance of freedom.

I was never more conflicted about Lawrence than I was in S5, the moments of sheer manipulation of these two for his ultimate goal made me absolutely livid, but I also applauded his attempts to at least try to improve the cesspool that was Gilead. He was determined to “wrestle a better future from an unchangeable past”, but New Bethlehem wasn’t ENTIRELY just Lawrence attempt to make amends, it was also his best effort to “Kill off America once and for all” as Tuello astutely observed.

Audiences wondered why Nick would ask June to go along with Lawrence’s plan and actually go to New Bethlehem, the truth is he was fucking clueless. By this point he was so far under Lawrence’s sway, he couldn’t see the wood for the trees. He’d managed to convince him that it was some sort of Gilead version 2.0 that the UN would immediately embrace with open arms, in which Blaine could live happily ever after with the love of his life. June was devastated, but let’s face it how could she have known that Lawrence had turned Nick from “a puppy” into his lapdog over the last year. Lawrence had already admitted to June that he’d used religious nut jobs as a delivery system to save humanity, so it should have come as no surprise that he would use the two lovers to bring New Bethlehem to fruition. Many years ago Nick Blaine dug himself a hole and sadly he just kept digging. You want to “stay out of trouble” in Gilead, you’d best pick up a shovel. The way he saw it; June had a family who loved her, a family to return to, so he let her go and got settled in the pit. Nick and June’s meeting in 5 09 was one of those moments that made it painfully clear, not only how much Blaine loves her, but how desperately he needs her.

You could have killed her.

“It wasn’t my decision” Lawrence yelps at Nick as he takes a vicious right hook from the young commander. Personally I’m not sure if I believe him or not, suffice to say he knew about it, he did nothing to stop it, he purposefully hid it from Blaine, and MOST importantly, he should have known better. June has left a trail of dead commanders in her wake and it was only 10 episodes prior that she and Blaine dragged Fred into a forest to die. Usually I’d be giving Lawrence snaps for his intelligence but it was just one episode prior that June had officially “broken up” with Lawrence, with the understanding that they were “Never ever ever, getting back together”. This was a massive blunder. We’re 5 seasons in, because the plot demands it June’s basically unkillable and the word on the street is always, ALWAYS keep your fucking hands off June Osborn. It tends to make Blaine a tad bit grumpy.

Nick Blaine is, for all intents and purposes, a trained assassin obsessively in love with the mother of his child. Lawrence knew this, he’d just spent the better part of the last 2 seasons pushing Nick’s patented Osborne key whenever he wanted him to comply. Why the actual fuck did he think he’d get away with it? At the start of 5 10 we saw a massive red flag, a verbal tussle between the two about Osborne, it was clear; she was the rock that would break them apart. Up until that point he’d been compliant but now Blaine was starting to get that look in his eyes; deadly, detached, focused.

Stupidly Lawrence had recruited a bagman and assumed it would make him immune from getting very, very dead. Lawrence spent the entirety of S4 and 5 trying to set up a cushy life for Blaine, it even looked like he might be able to lure his precious June back for him, but it was all for naught. As Lawrence so eloquently put it “Gilead’s gonna Gilead” and despite his best efforts, ultimately it did. In Ep10 S5, Blaine strides unresponsive past his pregnant wife, striking his mentor on his wedding day in a room full of commanders, protesting June Osborn’s assassination attempt. This singular act is a violent and decisive rejection of Gilead’s guiding hand, its binding social contract, its hierarchy and its influence. It is one massively definitive statement, all condensed into the space of 10 seconds. This scene transported me all the way back to S1 when June cried incredulously to Nick that she couldn’t believe she told the Ambassador she was happy. “You’re being too hard on yourself, you were in a room full of commanders” he replies. June’s first act of rebellion is to share her true name with the other Handmaid’s and it is at that point that she share’s it with Blaine. It is here he takes his first small step as a rebel when he chooses to keep her secret and never use her slave name again.

This blow and his march across the border marks the final step in his journey to true rebellion. Where previously his loyalties had been somewhat divided, he now belongs completely and utterly to June and Mayday. Throughout the seasons Blaine has constantly displayed a need for guidance from a father figure and it’s been interesting to note how the personality of this father figure changes over time as his loyalties shift and he regains his freedom. Waterford is cold and brutal, conditioning Blaine to be servile and militant. Lawrence is a cunning, political animal, who tutors Blaine in the Machiavellian like maneuverings of the Gilead upper echelons. Ultimately though it is Tuello, the gentle diplomat who will teach Nick his individual worth and offer him sanctuary. Season 6, I can guarantee, the Nick / Lawrence bromance will officially be well and truly over.

Next time we'll be looking at our love triangle and character themes. See you then.

[loryevrg]

Sebastian Stan / Jimmy Kimmel Live (2022)

[little-lady-bird]

PSA FOR THE EPILEPTIC

There's a new ad on hulu for a tequila that starts with clapping. Then there is clapping with the scene flashing rapidly. I know you can't really avoid hulu ads unless you pay up.

Try to stay safe everybody. Good luck

[queerism1969]

[nigel-chessum]

THE SCOTT BAKULA LINE???? omg it’s like that one olicharles fic wtf

[alotusinthepond-art]

𝖳𝗁𝖾 𝖠𝗋𝗍𝖿𝗎𝗅 𝖣𝗈𝖽𝗀𝖾𝗋

A spin-off television series featuring characters from the Charles Dickens book Oliver Twist.

[theysteponyou]

"Dana Scully was born on February 23, 1964, to Margaret and William Scully, into a close-knit Catholic family. She has an older brother, William Jr., an older sister, Melissa, and a younger brother, Charles (also know as Charlie). Scully's father was a Captain in the United States Navy, who died of a heart attack in 1994. Dana Scully grew up in Annapolis, Maryland and later in San Diego, California. As a young girl, Scully's favorite book was Moby Dick and she came to nickname her father "Ahab" from the book, and in return, he called her "Starbuck", due to this she named her dog Queequeg.

Scully attended the University of Maryland, and in 1986, received a Bachelor of Science degree in physics. Her undergraduate thesis was titled Einstein's Twin Paradox: A New Interpretation. Just out of medical school at Stanford University, she was recruited by the FBI; she accepted the agency's offer of employment because she felt she could distinguish herself there. After two years in the bureau, Section Chief Scott Blevins assigned her to work with agent Fox Mulder" (Wikipedia)

Happy 59th birthday MD. Dana Scully 🎂🥳

I hope she enjoys this time with Mulder and their 4.5-year-old daughter. William/Jackson, your nearly 21-year-old son is out there, I hope he's safe.

[pbandjklmnop]

Is it time to write the fan fic where Barbara finally gets a $50 Buffalo Wild Wings(BWW) gift card?? And she thinks a student or parent gave it to her and forgot to leave a note, but it was actually Melissa (or another coworker)?? Does anyone want an Abbott Work Wives fic where Barb and Melissa go out to BWW, run into someone they know and have to convince them that it's not a date?? Or just fluff about them drinking wine and eating wings 😆

[nkatr84]

Only Murders in the Building 4:4 The Stunt Man

So much happened yet didn’t happen in this episode. It was mostly about Charles dealing with his grief over Sazz’s death. The trio find out Sazz was on Instagram and her last post was on the day she died. They go to a bar in Hell’s Kitchen frequented by stunt actors. Including Ben Glenroy’s Irish stunt double played delightfully crazy by Paul Rudd. They discover Sazz frequented the chiropractor that has her practice set up in the back to deal with her chronic pain. Coupled with Sazz’s bar buddies being mad they couldn’t hold a traditional wake for Sazz in the bar since she had been cremated and Charles’ guilt ridden dreams about Sazz, it’s all mainly to serve to tell us more about Sazz as a person versus who might have killed her.

Mabel has Howard watching the apartment when she has to leave. Which I have to ask, Howard are you okay? What happened to your cute boyfriend? You’re trying to make your own podcast and hanging out with the trio a lot. Meanwhile Howard gets tricked into leaving the apartment by the Westies to audition to play himself in the movie. Letting us find out Bev melon and the Brothers Sisters are living in the penthouse. And Josh Gad got cast to play Howard. Which yeah I see it, but Howard was disappointed. But the implication is the Hollywood crew are now in the building. Meaning it’s likely the killer is one of them.

Oliver is distracted by stalking Loretta on social media scared of losing her and revealing he was going to propose. Him and his opening scene with the IPad was hilarious.😂

Mabel finds Howard gone but the Westies in her apartment. They tell her Dudenoff is real but he bought all the apartments on that floor and is subletting them for super cheap. $200 bucks a month to live in New York City?! Call me a Westie and deal me in for Oh Hell and give me that bathroom ham. But apparently the woman on the ham radio is Finnish And named Helga. I still think it was Sazz undercover. Maybe she didn’t recruit them but we have yet to see Charles sister. And maybe the Westies kicked her out because they found out she was investigating the movie deal and they didn’t want word to get out about their subletting scam. And now that Bev Melon is in town and has a gun and knows about Sazz’s trampoline park, maybe she’s the connection to the movie deal gone wrong and Sazz was getting information from her? We shall see Arconiacs.

[glasskey]

THT True Love and Double Trouble Remix Part 1.

Over the next few mixes I’m going to talk about the embodiment of themes and concepts in character constructs, in particular for the participants of our infamous Handmaid’s Tale love triangle, Nick, June and Luke. I first wrote about Nick and June’s character concepts in Nick’s Playlist last year, but let’s face it ALL of these characters are intimately bound to one another and it’s finally time to talk about how and why. Welcome to the True Love & Double Trouble Remixes.

JUNE

In general when constructing a character for the purpose of telling a story, they’re written with themes and concepts in mind which form their history, motivation, journey and final destination. In Atwood’s text June is meant to represent the everyday woman, nameless, caught up in the whirlwind that is Gilead. She acts as an unreliable narrator, providing her unique perspective that seems simultaneously fantastical and horrifically true. She is propelled from a life of relative peace and tranquility into one of slavery and subjugation. Gilead’s expectations and restrictions are used throughout to not only contrast against our understanding of basic freedoms, but also highlight an existing undercurrent of societal gender bias in June’s pre Gilead life. She engages in acts of rebellion that give her a sense of freedom and ultimately launch her into unknown territory. In the series June transforms from someone who’s “not that kind of person” into Gilead’s worst nightmare….hope.

Those stolen from a free country and forced to live in slavery, still recall their liberty and therefore relentlessly seek it through constant acts of rebellion. A generation born into it however, may easily be taught to accept it as ordinary, as Aunt Lydia observes in S1; given time the abnormal will become the new normal. When June smuggles out a plane load of children, she steals Gilead’s ability to normalise its fascist ideals in the next generation. It gives those trapped in Gilead hope and in S4 and 5 we see Gilead’s relentless campaign to eliminate her, extinguishing her legend and therefore any ensuing acts of rebellion.

In S4 when Osborne is recaptured as a handmaid her notoriety and subsequent incarceration is used to create a loss of hope amongst the Handmaids. If June Osborne a handmaid of such repute can be bridled by Gilead, their power must be complete. By the same logic, once June Osborn escapes their grasp, her freedom cannot be tolerated. June represents the spirit of rebellion who along with Nick Blaine, gives birth to her countries future liberty; Holly. June reclaims her sexual freedom in the form of her relationship with Nick, but it’s not just sex, it’s the seeds of rebellion, liberty and love that are being sown here. Her bond with his character is a clear statement about her need to journey into deeper personal uncharted territory, in order to achieve freedom. It’s a message about the necessity of love to sustain us as human beings, the need for community and family, and how intimately these are tied to free will. As their relationship crystalizes his sense of freedom and her power grows.

“No one dies from lack of sex, it’s lack of love we die from”, “Grab love wherever you can find it” June states as her relationship with Nick deepens. The tenor of these statements and the recording to Luke “I am ashamed���…..He helped me to survive” speak loudly of a sense of guilt that she has found love somewhere else, painting it as a matter of sheer survival. Despite this when June returns to Canada, Luke becomes increasingly aware that far from being merely a matter of necessity, this bond is actually something much, much more. He grows to understand that his wife’s view of him as a “complete” partner has been permanently changed and that he would actually never be enough for her. Luke epitomizes the country June left behind, a landscape she now finds alien and uncomfortably unfamiliar.

Instead of grieving acceptance, we see June’s growing desperation and distress that the daughter she conceived in a once free country is now slowly being swallowed by Gilead’s maw. In the S4 bridge scene, Nick assures her that Hannah still loves and remembers her but it’s debatable as to whether this is true, or she is much like her country slowly falling under Gilead’s spell. Throughout S4 and 5 there are several moments that Nick and Hannah are mentioned, together they represent the figurative “reward” June will receive once Gilead is defeated. Lawrence flaunts Nick in an attempt to have June submit to Gilead but it’s nothing but Fools gold, for neither of them will be truly free.

June is like a barometer, an indicator of the shifting winds of change. While she stays in Canada with Luke, the spirit of rebellion lies dormant, like the gun she buries in the snow. Lawrence observes that she is “losing her edge”, meanwhile Gilead grows in strength and the people she left behind are bent to its will. We see Hannah begin schooling to be a wife, Janine demonstrating a new level of compliance and Nick is swallowed by his surrounding influences, “groomed” by Lawrence to become a dutiful and brutal fledgling commander. These characters say a great deal about Gilead’s power structures. Hannah represents a new generation of believers, Janine; the walking manifestation of all the horrors Gilead visits on the Handmaids. Nick represents the next generation of the power structure, its ability to exercise will and force, he’s “a puppy” in training.

As June breaks her bond with Luke and Canada, we see these influence of Gilead’s power begin to crumble. Hannah remembers her name and writes it down. Nick rejects his allegiance to Gilead completely, sacrificing everything for those he loves. And Janine refuses to comply with Aunt Lydia’s demands no matter what the cost. June’s relationship with both Luke and Nick are designed to signify two separate states of grace (passivity or rebellion) and as the season’s progress, and she develops her relationship with each counterpart, we see a distinct shift from one state to the other. The nature of the love she has for each is noticeably different too; her love for Nick is romantic, passionate and enduring, while Luke conjures feelings of devotion and commitment. Throughout S5 we watched June attempt to return to her “home” finding instead distant memories and simmering tension, which comes to a boil in ep10 as we hear her say “America wasn’t Gilead until it was. We have to run. Now.”

In Ep 10, Luke bids June farewell, finally acknowledging her autonomy in the form of her maiden name. It signified a breaking of this bond with her former life and a return to her original state of independence. S5 Ep 10 is the metaphorical Tabula Rasa for all of these characters. Everything they have attempted to build is rubble, their homes are gone and they have been scattered to the wind. June tells Holly on the train “we’re going to a beautiful island”, Hawaii the recurring elusive destination of idyllic safety. But she is shortly confronted by Serena, promptly reminding her that the ghost of Gilead will follow her, no matter where she runs to. As Nick so succinctly says “they’ll keep coming for her….”

Back soon with the second installment in our latest remix.

[marilynthornhilllover]

Hii, what about Rebecca Welton x Black!wife!reader based off the song So My Darling (acoustic) by Rachel Chinouriri?

Remember I'll always love you

Rebecca Welton x black!wife!Reader

Warning:fluff, indecent language, kissing, anxiety,

A/n: after I finished writing I realized that I read your ask wrong, but I hope the story line still works for you:) hope you enjoy reading as I did with writing♡♡. I'll probably make a part 2 when I have spare time because this is so cute!

♡●♡●♡●♡●♡●♡●♡●♡●♡●♡●♡●♡●♡●

You knocked softly on the door, and Rebecca opened it, a confused but surprised expression was painted on her face. You smiled softly at her as she returned it.

She was dress in her usual attire. Black pencil cut skirt and a tint blue silk blouse with light pink fluffy house slippers. Her hair in a decent messy bun and light makeup. She looked heavenly.

"Y/n darling, your early" she said a bit nervously, your smile drop alittle thinking you may have came a little to early and maybe she hadn't finished preparing yet.

" Oh I hope that's OK, it's gonna rain soon so I thought I'd come early to beat the rush, you know how Manhatten is" you spoke chuckling slightly.

" ah yes no problem, at all" she spoke placing her hand on her hip, smiling.

It was starting to get awkward between the both of you.

" um can I come in now?" You asked, it was below a whisper but audible enough for her to hear. Your baby voice broke her from her trance.

" Yes of course" she said loudly as she moved for you to come in. As you entered her flat you were immediately hit with the most strong aroma.

Rebecca really went all out to make this first date special. She walked into the kitchen and you followed sitting on a beanch around the island.

" Your gonna have to give me a house tour babe" you said in hope to make small talk. Rebecca turned around surprised at the name you just called her.

" um yeah ok, um sure i- just" Rebecca stumbled on her words you could tell she was nervous. You got up and walked over to her, you smiled at her softly as you held both her hands in yours.

" becaa it's ok, step by step right?" She nodded as a small smile painted her lips.

"You ready to eat, I made Italian pasta, i didn't know what you liked so I tried my best" taking the pasta off the stove she placed it onto the counter.

You could tell she was nervous but you didn't want her to be. She was doing her absolute best.

" would you like wine?" She asked before she walked into the wine pantry.

" sure" you responded taking a look at her apartment again. It was truly beautiful, and it was definitely her aesthetic. Scented candles to her perfume, dim light, big window, grey curtains, it was giving old money vibes.

But most of all it was very Rebecca Welton vibes.

" how long have you lived here" you questioned when she brought back the wine and two wine glasses.

" not long probably a year and a half" she responded pouring the wine into the glass.

" becca" her name on your tongue was like music to her ears. She hummed in response and looked up at you. For a moment you swore the world stopped moving. And it was just the both of you. Her big green eyes staring into your eyes. You were stuck in a trance with her.

" Your doing enough becca, you just being with me in a cave is more than enough for a first date" you spoke as she giggled a little.

" see their's the becca I know, let your hair down" you said smiling from ear to ear, Rebecca sighed, almost like she was holding it in for an eternity.

You both sat down and had dinner. It was absolutely amazing. Great flavor, great seasonings, it was just perfect.

" did you like it?" She asked as she took both plates and proceeded to take them to the sink.

" yeah, you should open your own restaurant" you said and she began laughing like crazy.

" darling I had to watch 10 tiktoks and probably 15 YouTube videos to make that" she said as she started to turn red.

" atleast you tired" you said in between gigles.

" A for fucking effort" she commented. You both were dying of laughter. After you both caught your breaths you looked at eachother again.

" well it was still perfect" you said admiring her facial features. You both leaned in to kiss but you both pulled away.

" Well the night is still young darling, what do you wanna do" she asked drying her hands as she walked into her grand lounge area, you following like the little lost pup you were. Her flat was as big as any mansion.

You gasped as you saw the alluring porcelain and gold piano in the room, she turned around and followed your eye line seeing what made you react the way you did. A soft smile came across her face.

" ah yes, came with the apartment, I used it a couple times but" she stop as she looked at the piano deeply, if you didn't know better you would have thought she was admiring it but you did know better and she was looking at it as if it brought back memories.

" can you play" she asked snapping out of her trance, her gaze meeting yours. you looked down at the floor nervously.

" Oh come on it can't be that bad" she said a flint of sarcasm to it. You looked up to meet her eyes and glared at her.

" come here" she sat on the bench in front of the piano and tapped to spot next to her. You obliged and sat next to her.

" play what you know" she whispered. You sighed as you began to play ocean eyes instrumental, it wasn't perfect nor was it terrible but it could use some work.

" not bad" she said smiling as she began to play a song. You recognized it from the intro beat. It was 'so my darling'. One of your favorite songs.

She slowly began singing it while she was playing and you couldn't help but blush. Her green eyes shimmered in the dimly lit room, the candle on top of the piano was the only source of light.

As she ended the song she couldn't help but smile at you.

" that was perfect" you whispered as you leaned into her. Both your lips met and it was electric. It was soft and slow, so passionate. It felt as if there was no time in the world and you both can kiss forever. Soon it became rough as both your tongues dance like two lover's in the rain.

You both pulled away for air, bursting out laughing again.

" Your perfect" you said, laying your head on her shoulder.

" and darling your magical" she whispered kissing your temple. You soon fell asleep to her playing her song again.

[ellieswr1d]

miss them

[newesthope]

[candiedviolence]

after