#i mean i like some of his standup but

[wozzlehere]

Me @ Darkstone Digital:

[munamania]

had the nerve to say ‘we shared a stage so now we gotta share a picture’ to an snl writer last night. and then we did

[klausinamarink]

based on this hilarious video with Gianmarco Soresi whom I’ve been watching his comedy work for a few months now

read on ao3

“What do you do?” The standup of the hour - the guy had introduced himself as Eddie - points at Steve.

Flustered at the attention directing every eye in the club to his table, Steve tries not to stammer as he answers, “Well, uh, I make movies.”

“Oh!” Eddie genuinely looks interested. “So you’re a director?”

“Yeah, pretty much. At least I started out as an indie, but I have a big project that’s out and a couple more on the way.” One table nearby claps and Steve tries to wave them off to stop.

“So what was that big project? Was it something we would’ve seen?” Eddie repositions himself so he has one leg up on the stool. Steve stares at how lean they seem with the tight black jeans. He’s got them daddy long legs. His brain suddenly burps out and it nearly makes Steve lose his composure.

“Uh, ha, I did The Final Bat. It’s on Shudder.” Steve shrugs nonchalantly, perfectly hiding his internal cringe. The horror genre is way out of his league and Steve’s already seen The Final Bat being on a few critical lists damning the title as another cliche-filled mess. He only did it because he had finally caved to Dustin’s pleading to make at least one horror movie.

Eddie, on the other hand, seems ecstatic by this revelation. “No way! That’s sick, dude! So the next time you make a horror flick, you’re gonna watch Blumhouse and A24 coming in at each other with steel chairs for distribution rights.”

Everyone laughs, including Robin. She smacks on Steve’s bicep with a wide grin. He smacks her back before he turns back to Eddie and clarifies, “I don’t like horror! I’m not doing it again!”

Aghast, Eddie throws an invisible hat to the ground and stamps on his feet. “Come on! Then what’s the point of watching the studios bite each other’s dicks off when you’re slipping out to watch - I don’t know - the Barbie movie! Now they’re just fighting for the next shitty horror movie to exist!”

Steve covers his mouth but fails to hold back in the laughter. Eddie’s infectious energy is starting to get to him. It makes his chest clench with something other than the usual pains.

Eddie patiently waits for the patrons to quiet down before continuing, still attentive to Steve, “I’m just wondering actually if you ever done theater class.”

“Sure did! Two years in high school,” Steve confirms.

“Let me guess, they did Hamlet?” Eddie raises an eyebrow like it’s meant to be accusatory.

“Yep, soon after I joined.” Steve nods, the memory of that production flashing before his eyes. It had its ups and downs but it was one of the most fun things Steve had ever experienced.

“No wonder they started as soon as your handsome ass walked in the club.” Eddie says low and flirtatiously into the microphone, staring directly into Steve’s eyes. It echoes across the room and back, bringing the howling laughter with it.

Heat crawls behind his face. Steve keeps his hands on the table, forcing down the urge to hide behind them. “I-” He stops to cough, “I wasn’t supposed to play Hamlet.”

Eddie’s eyes go wide, “What do you mean?!”

Robin answers loud enough for everyone to hear, “He was the grave robber, but the other guy who did Hamlet got into a coma a week before the show and Steve knew all the lines.”

“W-Woah, woah, woah!” Eddie holds his hands out, looking scandalous. He throws looks around the club. “Everyone, shut the fuck up right now! This is more important than caring about the rest of you!” Eddie drags the stool over and perches on it like a very much invested gargoyle, almost oblivious to the audience’s reaction.

“Okay, let me go through this.” He points at Steve, still holding eye contact as if Steve’s soul would provide the answer. “You weren’t Hamlet. You were meant to be the guy who gives him the skull to monologue. The OG Hamlet got into a coma for some reason-“

“Car accident.” Robin interjects.

“Yeah, no need to elaborate, ma’am. You, Steve-” Eddie breaks off for a second, holding back a laugh of his own. “You somehow knew all the Hamlet lines because you were waiting to skin OG Hamlet’s head and make his skull yours to do the monologue.”

There’s a scandalous outcry from all tables. Even when they mostly calm down, Steve uses the growing anticipation to ‘think’ about what Eddie just said before he casually shrugs and says, “Sounds about right.”

Eddie drops his face into his arm, letting everyone laugh at him. Steve lets himself break, his laughter bubbling out of him in a way that doesn’t sound so self-deprecating or hollow. If he was in a cynical mood, he would’ve thought it was pathetic that the only person who made him laugh so lightly again was some random standup.

After a moment, Eddie finally looks up, his face broken in disbelieving grin. He chuckles into the mic and looks back at Steve, “Sorry, it’s just I hear some wild stories in the crowd some nights and I think yours takes the cake.”

Steve smiles, “Thanks, man.”

Eddie stands up back, half-leaning onto the stool. “Do you still remember those lines? To be or not to be?”

The whole damn thing. “Uh… some of it?”

Eddie’s grin shifts into something more mischievous. “Let’s see who knows more.”

A collective oooh goes around the room, including Robin. She already has her phone out for recording. Steve rolls his eyes at her and takes a quick sip of his water. He clears his throat and starts, “‘To be or not to be, that is the question.’”

“‘Whether 'tis nobler in the mind to suffer, the slings and arrows of outrageous fortune..’” Eddie says without missing a beat.

Oh, he thinks he knows it all. The sense of competition that Steve thought had died out with his future of a sports career reignites in his chest. He sits up even straighter. “‘Or to take arms against a sea of troubles and by opposing end them.’”

“‘To die-to sleep, no more.’” Eddie slowly walks over to the edge of the stage, “‘And by a sleep to say we end the heart-ache and the thousand natural shocks that flesh is heir to.’”

“'tis a consummation devoutly to be wish'd.’” Steve almost shivers as he recites the line, uncertain if it’s from the club’s cooling temperatures or the intense gaze from Eddie’s eyes. “‘To die, to sleep.’”

“‘To sleep, perchance to dream—ay, there's the rub,’” Eddie suggestively rubs a hand on his chest as he squats down. Steve’s eyes flicker to the hand, almost hypnotized by the motion. Nay, he shakes himself out of it. No distractions!

“‘For in that sleep of death what dreams may come, when we have shuffled off this mortal coil.’” It’s getting harder to remember the following lines. That hasn’t happened before. Steve has never forgotten the damn soliloquy in years, even when other people try to challenge him.

Eddie continues, “‘Must give us pause—there's the respect that makes calamity of so long life. For who would bear the whips and scorns of time, the oppressor's wrong, the proud man's contumely.’”

“‘The pangs-’” Steve feels his breath catching in his throat when he realizes, for the first time, what beautiful eyes Eddie has.

Oh. 

Eddie suddenly perks up in excitement. For a second, Steve thinks that Eddie has come to the exact same thoughts for him. But then he remembers that he hasn’t completed his line, so Steve feigns defeat.

“I win!” Eddie stands up with a triumphant cry. He spreads his arms out to embrace the cheering whoops and applause. “And I’ve only got to play Hamlet in-” He spins around and crouches down so he can look Steve in the eye again as Eddie’s voice booms into the mic, “-FOURTH GRADE, MOTHERFUCKER!” 

Steve’s not even mad. He just throws his head back, laughing and clapping along. 

Almost too soon, Eddie moves on to heckle on another table. But he keeps glancing over at Steve, his smile widening every time. And Steve smiles back, feeling a laugh slip out of his slips at every joke. He watches Eddie more closely, feeling his heart pound faster in his chest the more Eddie stays onstage. 

By the time Eddie has to depart and thank everyone for being here, Robin announces her need to go home and snuggle with her girlfriend. 

“Man, that was the most I’ve ever laughed in this place.” Steve stretches his back, groaning at the little pops. God, being in his early thirties can be a bitch sometimes.

Robin only hums, moving her eyebrows up and down suggestively. Steve pointedly makes no further comment as he pays the tab.

Outside, the crisp night air welcomes him. Steve takes in a whiff, staring up at the light-polluted sky as he bids Robin a goodbye. Then he hears his name being called. He turns around and sees Eddie hurrying out the doors.

Steve feels a smile already on his face, “Hey, Hamlet.” 

Eddie grins at him, teeth and all, “Hey, yourself.” 

They stare at each other but it lacks the competitive intensity earlier. Steve likes this. But he already has a feeling that this won’t be the first time either one of them would challenge the other.

“Sooo…” Steve says when the silence stretches a little too long. He gestures between himself and Eddie, “Wanna restart our introductions?”

Eddie’s eyes brighten, “Yeah! Right, sorry.” He clears his throat and thrusts a hand out. “My name is Eddie Munson. Self-proclaimed comedian and musician. You may recognize me as the guy who beat you in Hamlet’s famous speech.”

Steve takes his hand. Eddie feels bony and thin, but large enough to fit perfectly into Steve’s palm. He tries not to sound so eager as he says, “Steve Harrington. Film director who doesn’t like horror. Believe it or not, I actually know the whole stupid thing.”

Eddie tilts his head, narrowing his eyes, “Really? Like, no offense, but even if you remember that much-”

“‘And thus the native hue of resolution is sicklied o'er with the pale cast of thought, and enterprises of great pith and moment with this regard their currents turn awry and lose the name of action.’” Steve winks with the Harrington Charm, smile and all. 

Eddie stares at him for so long that Steve feels his heart racing for a different reason. And then, Eddie turns around and muffles a loud scream into his free hand. When the man turns back to face him, he’s sporting the widest smile Steve has never seen.

“You knew the whole thing!?” Eddie’s eyes sparkle with utter adoration.

“Yep.” Steve pops the ‘p’, grinning like a little shit.

“But why did you forget that line?”

“Let’s just say,” Steve squeezes Eddie’s hand, intertwining their fingers together, “I got distracted by the pangs of love.”

Eddie bites on his lower lip as he swoons his body over so they are pressing against each other. With half-lidded eyes, Eddie whispers, “You know that part is Hamlet referring to missing his dead dad, right?”

Of course Steve couldn’t help but kiss him.

[honnelander]

go fish! part 3

here we are everyone! we made it guys! the much anticipated part 3 of the go fish! mutual pining series!! i cannot express enough how much this series means to me and that i am constantly blown away with how much you all love it too. it amazes me every day. i hope this lives up to the hype and that you all love it. and don't worry, there will be a part 4! disclaimer: i tried tagging everyone that had asked but a few users don't come up when i try tagging them, so i'm sorry :(

WARNINGS: none

word count: 4k

pairing: opla!sanji x jealous!reader

summary: reader sees Sanji get cozy at the bar with someone else and you get jealous as hell. Zoro sees the whole thing.

prequel part 1 part 2 part 4 masterlist

taglist: @mischiefmanaged71 @smolracoon25 @smol-book-nerd @shuujin @amanda08319 @nimtano @your-platonic-gay-lover @lovelymrvl @whiskeypowder @jovialcat123 @xtigerlily @shadowwolf1864 @quixscentsposts @guidingstarsstuff @ateliefloresdaprimavera @chexmixtrys @princettecharlie @amitydoodlez @the-maladaptive-daydreamers @abracarabbit @commanderfreethatdust @lordbugs @sweet-little-nothings @geisterfvhrer @kenkenmaaa @dazaisfavgf @fan-goddess @shadydeanmuffin @cherrypie5 @sauceonmyshorts @hhighkey @gimmebackmyskeeball @he4vens-ang3l @selcouthaesthetics @sapphireonline @dory-98 @redskull199987 @teenyforestfairy @acupnoodle

It really shouldn’t bother you...but it did. You couldn’t help yourself. Sanji wasn’t even yours, he never would be, and yet...you couldn’t help the wave of jealousy and annoyance that crashed over you every time he would be a little too friendly with other women. (At least, too friendly by your standards and, of course, you thought your standards were pretty reasonable.) 

But Sanji wasn’t even yours (he never would be). You weren’t his wife or his girlfriend, hell, you were only just crewmates to each other, so there really should be no reason why you felt as angry and jealous as you did. 

That still didn’t stop you, however. In fact, it just enraged you even more and you didn’t know why. 

It was just a stupid crush you had on him, right? So why did it bother you so much when he would cast that perfect smile of his towards someone else? When he would wink at another woman and say some suave innuendo that he would never say to you? Or even touch their shoulders or give a hug to someone else when he’s never even touched or grazed your arm or shoulder by accident before? 

“If you stare any harder at that glass, it’s going to shatter from all the daggers you’re giving it.” 

You blinked, looking up from the drink in your hand and to the left, only to see an ever calm and nonchalant Zoro take a swing of his beer, keeping his gaze towards the bustling nightclub/bar you all were currently visiting.  

It’d been a couple of weeks of straight sailing on the open ocean and everyone on board was going a little stir crazy, even the ever-happy-go-lucky Luffy. So, when the Going Merry’s captain had smelled a whiff of food in the air midafternoon up on the masthead that wasn’t Sanji’s doing, everyone had collectively decided to follow Luffy’s nose and see what lied ahead.  

After a half hour of sailing, you all had stumbled across another ship-like restaurant that, admittedly, even looked better than the Baratie. So, it was an easy decision for the crew to decide to dock there for a couple of hours and give Sanji the night off from making dinner, much to the chef’s annoyance.  

But it had all turned out to be the right decision in the end, apparently, since Sanji had made a point to visit the kitchen and give his compliments to the chef. 

Now, all of the straw hats had made it to the outdoor bar area to ‘drink the night away’, as Usopp had so jovially put it, and you’ve been here ever since. 

“Ha ha,” you deadpanned, looking back at the nearly full drink you had in your hand. “Very funny Zoro. You know, you should quit piracy and be a standup comedian.” 

Your green-haired crewmate turned his face to you with an unamused expression. “You’ve been nursing that drink all night.” He arched an eyebrow. “You ok?” 

At that question, your eyes immediately went to Sanji, who had been at the bar for a majority of the evening, chatting with the bartender but, of course, as if on cue, another gorgeous girl slinked right up to him, batting her eyelashes and ever so casually rested her hand on his bicep, sliding it all the way down to his forearm as she giggled at something the chef said. 

Sanji, on the other hand, flashed the new woman, the tenth this evening at least, you thought sourly, one of his dazzling white smiles, leaning forward slightly as if he was telling her some sort of inside joke, causing her to laugh louder and place her other hand on top of his. Sanji’s smile only grew wider. 

You couldn’t help the stab of pain your heart felt at the sight. 

“Never better,” you replied to Zoro bitterly as you quickly downed your drink. 

His gaze didn’t budge. “You don’t look fine.” 

“Yeah, thanks for pointing that out Captain Obvious,” you quipped sarcastically under your breath, stealing another glance at the object of your affections. He was still chatting with that other woman, and you couldn’t help letting out a small breath as you felt the familiar sting of jealously deep within your chest.  

God, it hurt. It hurt so goddamn badly, and you didn’t know why. 

Zoro followed your line of sight and when he saw the Going Merry’s cook at the end of it, he hummed to himself, hiding his sly smirk behind his beer as he looked back at you. “Sounds like you need another drink then.” 

“I guess so,” you sighed, sitting up and leaning over to grab the bottle of liquor that sat in the middle of your small table to refill your glass when Zoro stopped you. 

“Nuh-uh,” the green-haired swordsman said as he put the heel of his boot on the table to block off your reaching hand. “If you want a refill, then you have to go to the bar,” he explained, nodding his head towards the bar, and, coincidently, Sanji. “This bottle is mine.” 

“What?? Aw come on Zoro,” you whined. “I don’t want to go over there.” 

“Oh? Any particular reason why not?” 

It must’ve been the liquor, because you could’ve sworn you heard a knowing tone laced in his voice but when you looked at your friend, he looked as nonchalant as ever. Maybe you were imagining things. 

“No,” you lied, your cheeks heating up slightly.  

“Good,” Zoro said, taking a long swing of his beer, finishing it up and slamming the empty bottle on the glass tabletop lightly. “Then when you’re up there, get me another beer.” You opened your mouth to protest again but Zoro spoke before you could. “Since, you said there’s no problem.”��

Shit. You were backed into a corner. And the only way out was to go up to the bar and be face-to-face with Sanji. 

You looked back towards the crowded bar and felt another wave of emotion come over you. But these feelings were hard to discern. The pair was still talking at the bar, the woman still being a little too touchy towards him for your taste. You sighed slightly. Maybe when you got over there, he would just ignore you, since he was so engrossed in conversation it seemed. Part of you didn’t know if you wanted that wish to come true or not. 

“Alright- fuck it, whatever,” you grumbled as you snatched your empty glass and made your way to the bar, leaving a smug Zoro alone. 

As you made your way across the small dance floor and towards the bar, you felt your heart fill with dread with every step you took. You prayed to whatever God was out there that Sanji didn’t notice you but, of course, when you neared the bar, you noticed that the only open spot was behind him. 

How fucking perfect. 

“One beer and a refill please,” you quickly ordered, handing over your empty glass to the bartender.  

 “Y/n?” 

Your heart clenched at hearing Sanji’s voice. Why did you think, for even a moment, that Sanji would ever ignore you? The man seemed to always notice you no matter what, even when no one else did, so why would he ignore you now? 

But you couldn’t look at him. “Oh, hey,” you quickly greeted. 

Sanji, however, didn’t miss a beat. “I didn’t think you were a big drinker,” he commented curiously, turning his body fully to face you, leaning against the bar, and unintentionally removing the woman’s grip on his arm.  

“I’m not,” you answered, casting a quick glance up at him. 

The blonde chef blinked in confusion, his brows pulled together slightly, but before he could question you further, his ‘date’ for the evening quickly made her presence known. 

“Sanji?” the woman called out sweetly, stepping to the cook’s right, placing her hand on his right bicep and the other on his shoulder as she looked up at him with a coy smile. When she looked down at you, however, you could see the look in her eye that was anything but sweet. “Who is this? I didn’t know you had a girlfriend,” she commented, tilting her head in fake misunderstanding.  

Immediately, both you and Sanji straightened up, shaking your heads quickly. 

“No, no, she’s not my girlfriend-” 

“He’s not my boyfriend,” you both denied simultaneously. 

You quickly looked away from them, hoping to hide the rush of embarrassment that crashed over you and, to be honest, the sting of his quick rejection. It was just another reminder, you thought bitterly, that even though Sanji always acted like a complete gentleman towards you, you weren’t his girlfriend. He was just being nice, like always, and he would never like you how you liked him. 

You looked down at your hands, quiet for a moment as you knocked a knuckle against the bar top. “No,” you said after a beat. “We’re not dating.” 

The woman blinked, clearly unfazed by your admission, like she expected nothing less. She still had a fake look of curiosity on her pretty face. “Oh, right! Of course not,” she laughed slightly, in a way that made you feel small. “You must be one of the straw-caps then, right?” 

“It’s straw-hats, actually,” you bit back, straightening up and turning to face this jerk of a woman, chin up high, sending her what you hoped was one of your meanest stares. This girl could be mean to you all day if she wanted to, you didn’t care, but you’d rather drop dead than to ever let her bad mouth Luffy and the wonderful pirate crew he put together. “And yes, I am one of them. I’m a pirate,” you stated proudly.  

Sanji must’ve been drunk or stupid, because he didn’t seem to pick up on this girl’s bad energy. “Don’t you remember, darling,” he started, sending the girl a small smile, “I was telling you about my crewmates?” 

“OH right!” She hit her head in an exaggerated manner. “I remember now, pookie. You said there were two girls on your crew, an orange-haired map girl and another one...” she trailed off, tapping her pointer finger on her chin like she was deep in thought. “Oh!” she exclaimed brightly and looked down at you, her smile sweet as candy but her words as sharp as a razor. “You must be the potato girl!” 

Whatever air of pseudo-confidence you had was immediately snuffed, her words quickly cutting you down to size. “The- the what?” 

“Yeah, don’t you like potatoes or something?” she laughed, acting like it was the stupidest thing she’d ever heard.  

And to her credit? It definitely sounded stupid if you didn’t know the context behind the story. You swallowed the lump in your throat, trying to fight the urge to either cry or deck this girl in the jaw over her making fun of such a special moment between you and Sanji. 

You opened your mouth, ready to shut her shit down when she beat you to it. The next words out of her mouth immediately sucked the air out of your lungs. 

“Or is just because you look like a potato?” she asked, laughing her about ass off as she lightly hit Sanji in the chest, keeping her hand there, expecting him to laugh along with her but Sanji just stiffened at her side. 

You, however, were too busy keeping your breathing under control and trying your hardest not to cry to notice Sanji’s reaction, or lack of. You could feel red hot shame bloom across your chest, the heat crawling up your neck and flushing your face as you looked down at the floor. 

Normally, another girl calling you ugly would sting, sure, but not cause you to literally break down in tears on the spot. So why now? Deep down, though, you knew exactly why. It was because of Sanji. She had literally called you ugly in front of Sanji, the person you had a major forbidden crush on, and what if Sanji just laughed along and agreed with her? You didn’t know if you’d be able to handle it. If he did, you would have to quit the straw hats because there was no way you could ever look at him again. 

Not wanting to wait and see what his reaction would be, you started shaking your head, ready to mutter up some lame excuse to get the hell out of there when you felt an arm snake around your waist and a warm body press against your side, pulling you against them. 

“Now, Madam, I don’t think those are the right words to describe the most beautiful woman in all of the four seas now, is it?” a deep, familiar accented voice asked from above you. 

Your breath hitched in your throat as you whipped your head up towards the voice with wide eyes, only to see the ever-beautiful Sanji look down at you with a small, soft smile, his eyes full of wonder and another emotion you couldn’t decipher, as you felt his thumb rub small, comforting circles on your right hip.  

His look and touch sent shivers down your spine, and you couldn’t tell if he was acting or not. Your heart hammered in your ribcage as you searched his eyes for a lie, but all you could find was the truth, strong and unwavering, staring right back at you. 

“I said: is it?” Sanji repeated himself, tearing his eyes away from you, looking straight on at this awful woman with his eyebrows raised slightly, like he was daring her to say something else. 

Clearly not expecting Sanji to rebuke her as blatantly as he did, the woman started sputtering. “Well, I- I didn’t mean it like that, Sanji-bear, really-” 

The blonde man raised his left hand in the air, immediately silencing her. “Yeah, I gotta be honest- I highly doubt that, sweetheart.” 

At his condescending tone, you saw the woman bristle and nearly foam at the mouth, her eyes nearly popping out of their sockets. She huffed, looking back and forth between you both for a moment before scoffing and shaking her head in disbelief, saying, “I knew it. I fucking knew it.” She looked Sanji dead in the eyes, glancing at you, her eyes filled with hatred, before taking a step closer to Sanji, filling in the gap between them, as she whispered something into his left ear before stalking off and leaving the bar without another glance. 

You quickly looked up at Sanji as she was whispering into his ear, confusion apparent in all of your features. Whatever she said to him, you couldn’t hear since they were both taller than you and the woman wore the highest heels you’ve ever seen, but whatever words she had spoken had left the chef completely stunned because you felt his body become rigid, the comforting circles his thumb was rubbing on your hip stopped, and you saw the muscles on his face freeze as he kept his stare straight ahead.  

“Sanji?” you call hesitantly, instantly forgetting your own muddled emotions as you looked up to your heart’s desire. “Are you ok?” 

At the sound of your voice, you felt him relax. He let out a little laugh (it sounded fake to you), as he looked down at you with a smile that didn’t reach his eyes. “Of, of course. I am.” But as quickly as he looked at you, his attention was stolen by the bartender placing your order on the bar in front of you. “Thanks, man,” he called out, removing his arm from around you and stepping away to grab your drink order.  

Instantly, you missed the warmth he provided. You felt cold all of a sudden.  

You shook your head once, clearing your head of those thoughts. Now wasn’t the time to analyze things like that. “Sanji-” 

“How are you feeling?” he asked with his back facing you, beating you to the punch. When he turned to face you, drinks in hand, any trace of inner turmoil was gone. His eyes, instead, showed concern for you. “You know you’re beautiful, right?” he asked softly, his eyes scanning your face before looking back into your eyes. 

The look in his eyes nearly took your breath away. For a moment, you had completely forgotten what he was referring to. “Uh, w-what?” 

He must’ve mistaken your confusion for disbelief because his next action nearly stopped your heart. “Oh, my love,” he started softly, a small smile tugging on the corner of his lips. He placed the drinks on the bar, freeing up his hands, and placed them on either side of your head, along your jawline, as his thumb rubbed your cheek soothingly, his fingers gently entangled in your hair. Sanji gently tilted your head upwards, so your eyes connected with his, and the look on his face was filled with such tenderness and radiated a warmth that touched your soul. His gorgeous, tanned face filled your entire field of view, and you could feel his minty breath fan your face.  

When the hell did he get so close? 

You felt your cheeks heating up at the proximity, your eyes tried to look at anything but his crystal-clear blue ones. Your brain was sure to short circuit if you didn’t get ahold of yourself. You were going to do something incredibly stupid if you didn’t get space immediately. “San-” 

“Y/n,” he said, his tone soft yet commanding. “Look at me, love.” 

Your heart rate skyrocketed and you felt your breathing quicken. God, you could feel yourself getting a panic attack and you didn’t even understand why. There was nothing more you’d rather do more than look at Sanji but you didn’t know if you had the strength to do it.  

You placed your hands on top of his wrists, fully intending to peel him off and push him away, mumbling, “Sanji, I can’t-” 

“Please.” 

In an instant, you looked into his eyes and what you saw nearly made your heart stop. His gaze was so intense, so piercing, his blue eyes seemed like they were staring directly into your heart and soul. Could he feel your rapid pulse through his fingertips? 

When you locked eyes with him, you saw his soft smile grow. “You, y/n, are the most gorgeous woman to ever sail the four seas. You are the most beautiful woman in the world, I promise you that.”  

With each word out of Sanji’s mouth, you could feel your heart breaking and it was dawning on you as to why. 

But Sanji continued, his eyes sparkling. “And I'll be damned if I’d ever let that horrible woman make you feel otherwise. Alright, Missus?” 

At the nickname, you let out a shaky breath and quickly blinked back tears. It was right then you knew, you knew it from the depth of your soul, just like you knew for certain that the sky was blue and the earth was round: you loved Sanji. You didn’t just have a crush on him anymore, but you were completely head over heels in love with him. 

You swallowed the lump in your throat, which might’ve been your heart, because you realized that even though you loved him, you could never have him. He was your crewmate, your friend, another one of the straw hats. He was someone that you promised yourself you would never cross “the line” for. Who you vowed to yourself that you wouldn’t risk anything for feelings-wise because you didn’t want the rest of the crew to suffer if you both didn’t work out. 

But despite all of that, it didn’t make the truth any easier to swallow because now you were stuck. You were stuck with your stupid feelings and all it did was want to make you cry. You should’ve been happy right now at this sudden realization but no, instead all you wanted to do was go hole up in your room and sob. 

And besides, Sanji would never return your feelings anyway. 

“Y/n?” Sanji repeated, a hint of worry laced in his tone the longer you kept staring at him unblinking. 

You quickly blinked, unable to stop a few tears from escaping your eyes, but managed to hold back the rest. You tried your best to fake a smile for him, but you could feel your lips quivering. “Sanji,” you breathed but quickly cleared your throat. “That, that was beautiful.” You looked at him in the eyes. “Thank you.” 

At your thanks, Sanji’s whole face lit up and he winked. “Ah, anything for the Missus.” 

The blonde cook didn’t make an effort to move, however. He kept his hands on your face and with each stroke of his thumb you felt tingles shoot down into your stomach (and to other inappropriate places), and felt goosebumps erupt across your skin.  

You had to get out of here. 

Carefully, you squeezed his wrists and slid your hands over his, gently prying them away from you, pulling them down and giving them one last quick squeeze in appreciation before dropping them. “Thank you, Sanji,” you repeated softly. You looked towards the bar, at the two forgotten drinks placed there, because you just couldn’t look at Sanji right now. “I, uh, should go bring these over to Zoro.” 

“Of- of course. Right. Mosshead is probably quite pissed off at us but, ah, who cares what he thinks.” Ever the gentleman, Sanji went to reach for them. “Here, let me help you-” 

“No!” you quickly intervened, grabbing them like it was a pot of gold. “No, no. I got it. Don’t worry about it. You should, uh, stay here and keep talking to the bartender. I think he was looking for you,” you lied and without waiting for his response, took the drinks off the bar, leaving a crestfallen Sanji standing there, watching you walk to Zoro and then, promptly, out of the nightclub altogether.  

As you walked over to your green-haired friend, your legs felt like rubber and that you would collapse at a moment’s notice from the sheer weight of your thoughts. You, however, were so far gone that you completely missed Zoro’s Chesire cat grin.  

“You and the waiter seemed pretty cozy over there, huh?” Zoro jabbed, his arms resting on top of the seat cushions and knees spread out like he had no care in the world. “I thought you guys were going to kiss or something for a minute there, but instead-” 

“Shut the fuck up, Zoro,” you practically growled at him as you put his beer and your glass on the glass tabletop with much more force than necessary.  

The swordsman lifted his hands slightly along with his eyebrows. “Whoa, hey now no need to-” 

Instead of taking your seat back and sitting back down, you started walking past him and towards the exit without waiting for his response. “I’m heading back to the ship.” 

As Zoro watched you leave, a clearly drunk Usopp slid in right next to him, gnawing on a toothpick, watching you as well. “Daaamn, Zoro,” the slingshot shooter drawled loudly, leaning against his crewmate and completely disregarding the other man’s personal space. “Did you see Sanji and y/n? I thought they were going to- pft, start making out or something!” Usopp exclaimed as he waved his hands in the air, mimicking an explosion and two people kissing. “Do you think they know they like each other?”  

Zoro hummed, watching your retreating form and then looking towards the dejected waiter, who looked like a kicked puppy. “I don’t know Usopp,” he replied, leaning forward to grab his beer and take a swing. “But if they don’t tell each other soon I’m going to lose my goddamn mind.” 

“Yeahhh,” Usopp agreed, sliding his sunglasses down the bridge of his nose to look at the swordsman better. “You said it- oh! Is this drink taken?” he asked, not waiting for Zoro’s response before taking the beverage and sipping on its straw.  

Zoro shook his head with a small smile. Sometimes his friends were too predictable for their own good. He just hoped that you and Sanji would start being predictable soon so you two could finally be together and put everyone out of their misery.  

[backwzzds]

absolutely need a plug!zoro cheating on his gf with u nsfw …

no bc y’all are on a roll w these plug!zoro requests! position is based off this video btw 😩

ೃ⁀➷ what you want, roronoa zoro

thinking about the way that man would literally hate his girlfriend fr. like, he’s sure he’s only with her because his family loves her, but he just doesn’t. and i mean he proves that when he ends up outside your door in the middle of the rainy night, somewhere around 3 AM.

everyone would always ask him—why not just break up with her? and zoro never had an answer. his girlfriend was too fragile of a person and he hated that crying shit honestly. the only person he ever cared about making cry was ironically you.

his relationship was anything but secure. zoro was chill with whatever his girlfriend did. he trusted her, at first. she wanted to go to a party, he’d let her. she got a ride from some guy friend who was maybe his level of attractive? he didn’t care. but the same rules didn’t apply to him. zoro could be getting ready to go to work and his girlfriend would be up on him with accusations.

“i feel like you’re gonna go and fuck that bitch,” his girlfriend spat with venom, referring to you as he slid on his jeans. the green head couldn’t help but roll his eyes as she rambled on about disliking you. he couldn’t help but chuckle to himself lightly when he realized how crazy she was behind closed doors.

“well now i’mma go do that just cuz’ you said it,” he muttered, just trying to get underneath her skin. his girlfriend thought he was bluffing, but not with the way blood rushed to zoro’s dick at the thought of just being in your arms to cuddle tonight.

zoro doesn’t think twice either when it comes to pulling up to your crib. he parked in front of your cute little car, something he did to express his dominance over you in the way your cars together looked like a ‘his and hers’ pair. he was weird like that, but that’s just how much he felt for you fr.

by the time he gets to your door, his heart is already thumping in his chest. not in fear of getting caught, but instead at the sight of you in your tiny nightdress, two sizes to small to barely contain your wide hips and busty breasts.

you give him a blank look as you leaned against the threshold of the door. “ian call you for no weed.”

zoro gives you his million dollar smirk. “you should know that’s not the only reason i come over anymore.”

“yeah yeah to cheat on your girl, sure zoro,” you roll your eyes.

the green head kisses his teeth, “not cheating if i don’t want her.” with a step to the side, you helplessly let him in, and he wastes no time in kissing your lips. “missed you so damn much.”

“missed you too,” you can’t help but mutter against his lips. zoro wraps his hands around your waist and pulls your smaller frame against this larger own. his hands shamelessly wanter down to the fat of your ass as he grips it, giving it a reddening smack and repeating his actions.

zoro pulls away with one last peck to your lips. “how was your day mama?” he grabs your hand and drags you to the couch.

“fine,” you muttered with a bored expression, grabbing the remote to turn on the tv.

zoro furrows his eyebrow and snatches the remote from your hand. “what’s up wit’ you? you okay? talk to me.”

you shrug your shoulders. “i’m straight,” but your tone wasn’t convincing him otherwise.

zoro gives you a suspicious hum before pulling you into his lap. “what you doing tomorrow night?”

“probably homework,” you admit. “why?”

zoro can’t help but grin at you, flashing his gold canine pieces. “got us tickets to see that standup you been wanting to go to.”

your eyes can’t help but brighten at his words. “you lying.”

“i’m so deadass,” zoro laughed.

you kiss your teeth and slap his chest. “you don’t even like comedy!”

the greenhead gives you a shy shrug with a small blush flaming his tan cheeks. “they have an open bar, free sake so,” with a playful roll of your eyes, you kiss your teeth but smile. “so you gon’ stop giving me this bratty ass silent treatment?”

“whatever. you’re a whore for sake.”

“nah,” zoro shakes his head. “you ain’t hit me all week. you know what i had to go through not talking to you.”

you give him a sarcastic frown before pecking his lips. “aw, poor baby.” you move to pull away but are shocked when zoro grips your face and forces you back into his orbit.

how you found yourself half naked on his lip with your legs spread for him—you don’t know. damn mosshead was just that good.

“i got you,” zoro’s voice is all you hear as he steadies you on top of him with your back facing the tv. his one arm is all he needs to steady your body against his lip while he uses the other to start rubbing at you clit. “just touch me baby.”

a breath escapes from your throat as you find the courage to wrap your hand about his hard cock. his tip is an angry peach color as it oozes out pre cum, already excited from your touch. “like this daddy?”

“fuck, just like that mama,” zoro’s own breath hitches in his throat as he fights not to buck up into your grasp. “love the way you touch me. just like that baby. make me feel so safe.”

you’re almost shocked by the words leaving your mouth as you continue jerking him. the two of you hold an intimate scope of eye contact as you touch each other’s body, nothing being heard but the soft moans and breaths from your arousal.

“make you feel safe?” your voice is soft and sultry as you run your thumb over his tip. zoro can’t help but groan at his sensitivity, too late to even catch himseld. “feel safe when im loving you like this papa? you like that?”

“oh fuck, yes,” zoro whined, fully submitting to you. his girlfriend had never seen this side of him. every time he had sex with her, if he ever did, it was quick and to the point. no one was able to milk out this soft and vulnerable side to him but you. oh how you had his fucking heart and dick in the comfort of your pocket.

your legs are spread in front of zoro, giving him a complete view of what you were working it. somehow wanting to see you spread more, he grabs you by your thighs and opens you up more, practically salivating at the sight of your pretty clit glistening from his touch.

“you make me feel safe too,” you breath out with a blushed smile, trying to keep your pace with jerking zoro off. it was hard to do so when he was rubbing you nice and slow, just the way he knew you liked it.

at this point? it was all more than sex. zoro meant every word he uttered out, especially how you made him feel safe during his most vulnerable moments. only you bought this side out in him.

“fuck i’m almost there, zee.” you throw your head back and grind further into his touch.

“me too baby,” zoro breathed out, watching as cum oozed from his tip by the second. “you fuck me so good, no one does it like you—shit.”

you lick your lips as you lean over and spit on zoro’s cock, adding more lubricant to your already slippery movements. “like it when i stroke your fat cock papa? like this?”

“zoro bites his lip and nods his head. a whine fights to break through from his mouth as he lets out a broken “mhm. fuck, mama. keep going and you’ll make me cum.”

you take this as a challenge and speed up your movements with hopes to overstimulate him. zoro’s mouth falls open, and the tables inevitably turn when he’s shaking beneath you, watching you milk every drop of cum out of him. you hold your tongue out as he shoots his load upwards, droplets of his semen landing on your taste buds.

a greedy smile graces your lips as you continue jerking him off, more and more cum flying out from his sore tip by the second. “fucking hell—just like that just like that, fuck!” zoro moans loudly as he feels himself get drained.

you didn’t mind the fact that he came before you this time. watching this hard man come undone before you was enough to have you creaming all over his fingers right after. you too begin to breathe heavily as zoro maintians his circular movements against your clit.

when you’re both fucked out from your intimate session, zoro slides you onto his lap, your clit begrudgingly grinding against the base of his still hard dick. with his face in your neck, he breathes out, “i’ll break up with her. your eyebrows raise at his words. “if that’s what you want.” you waste no time in giving him a stern response.

“it is what i want.”

[coco-loco-nut]

loml

pairing: max verstappen x reader

summary: a journey through your relationship with max

a/n: so for a little background... my ex (he wasn't an F1 fan, it was never gonna work, let's be real) broke up with me the night before this album was released, so writing this series has been very healing; however, this one was extremely difficult to write bc it's the only song i can't analytically listen to and find the deeper meanings yet, especially after losing your first love. sorry for the rant and making this short🙃

tw: emotional abuse, manipulation

masterlist ttpd masterlist part two

________

You and Max were fan favorites, it was evident to anyone with eyes who had eyes. But they say you never know what happens behind closed doors.

“She’s the love of my life,” Max would always say about you, looking at you like you held the universe in the palm of your hand. His fans could recite your love story by heart from how much he loved to talk about you. It only made sense that he could shatter that public opinion.

“Y/n and I have divorced, I would like to ask for privacy as we navigate the changes,” Max posted one day, his socials wiped of everything. Your accounts remained the same, your last post being from the fateful race months ago. You haven’t posted since. The fans should’ve realized when the WAGs and George unfollowed Max.

Your apartment was full of things that reminded you of Max, every time you walked in it reminded you of every memory. He was embroidered in everything. You look at a printed photo of when you first met him. Despite it being six months later, you couldn’t get rid of him.

~~~

All it took was locking eyes with him across the pier for you to fall in love on that breezy summer day. He walked up to you and asked you to join him, and you did. You kissed him at the top of the ferris wheel later that night, and you didn’t even know he was famous all you knew was that he made you feel safe. The breeze reminded you of the warm ocean breeze from that day, one you called the winds of fate.

Despite being young, you married him after a year of being together. Things weren’t perfect even then, he could be incredibly mean, but he was also a standup guy when it mattered. That erased any wrongdoing of his.

“You have made me a better man, you reformed me, the love of my life,” Max had said that fall evening, repeating the one line that brought you back to him every time.

You believed his words, his lies spun to make you believe the hell you were living in was actually heaven. When he takes his anger out at you, doesn’t defend you against his father, you start to second guess him but he calls you those four words.

“I’ll never leave you, Schatje,” Max holds you in his arms, your back against his chest as you both look at a tv in the Paddock. The fans loved that photo, calling your love legendary. They didn’t know about the growing hole in your heart.

Your marriage was looking like one of those black and white movies you and Max watch on snowy winter afternoons. You and Max had been talking about starting a family, but you couldn’t get pregnant and you were watching everything you loved slip away.

“God, Max, you are like a con-man. I feel like I’ve been sold a get-love-quick scheme. What happened to you?” you ask, voice laced with hurt, during an argument about it. Max just ignored you, pushing past to stream with some friend. He ignored the sobs coming from your bedroom. He told the chat that you are the love of his life when asked about you.

“Y/n, we need to talk,” some of the WAGs pulled you aside during a race. They told you how Max was shit talking you to other drivers, saying you were a waste of a wife for your inability to get pregnant, saying he should’ve never married you, pointing out every flaw he told you was beautiful when he was lying to your face. You stand up and leave, not saying a word even when the girls try to stop you. Max is confused but simply responds to your text saying you were sick with an okay.

You are laying in your bed sobbing when Max gets back from the race. You face the terrace, where you and Max would dance under the stars. You can see the ghosts of it through your tears, and you wished you could un-recall when you thought you had everything.

“Please get out of bed,” Max says, his concerned tone laced with venom. Maybe the ghosts of your relationship are embarrassed by the scene on the other side of the glass.

“No,” you cry, mourning the loss of your counterfeit relationship.

“I’ll be back in a few hours,” Max sighs leaving the room. You sent a text to the WAG group chat who helped you remove all your belongings from Max’s apartment into George’s apartment that he wasn’t using at the moment.

Your phone is flooded with messages from Max, so you turn it off unless you are talking to your lawyer. Max finds a divorce petition and your apartment key on the dining room table when he comes home from training a few days later. The relationship that had such a valiant roar ended with the blandest goodbye.

You sit in George’s apartment with Carmen and Lily drinking wine. You took over George’s lease after they insisted that you did.

“For someone who claims to be a lion, he sure is a manipulative coward,” Carmen says as the three of you comb through the years of lies he spun.

You took the dreams that you thought you and Max wanted and lit the match to destroy them with your divorce papers. Despite your somber eyes, you seem more at peace, even with the sadness you will carry with you until you die.

“He’s the loss of my life.”

part two

[dnp-pet-rectangle]

WAD reflection from the perspective of a theatre director

Inspired by @/calvinahobbes who did an amazing job breaking down the show’s metaphors & using her English degree in this post, I wanted to share my perspective on it (even a month later) & get use out of my theatre degree lol. Also, warning, this will be very much a long, long essay with run-ons. I have ADHD & I love when my frequent hyperfixations intersect 🤪 There are major spoilers.

My Background:

I am a semi-professional theatre director, but more broadly, a theatremaker. I have a theatre degree from New York University’s Tisch School on the Arts (NYU Tisch), where I did a conservatory program with one of their studios which focused basically on those who wanted to do a little bit of everything and create new works & was the only studio training directors & playwrights. I originally went into the program as a performer. I did not mean to end up concentrating on being mainly a producer & a director, but that’s a whole other story. I also through that program had to take theatre/performance studies courses, which I loved for the most part & is an interesting interdisciplinary field. But I will try to define terms just in case since anybody reading this may not know any or all the specific terminology I might use. In short, I have a fancy degree that apparently should cost $300k 🤡 & I’m gonna actually use it with doing this lol

--

Setting the Tone:

While Dan might call this a comedy special or comedy show, and thereby comparing it to other comedians, I actually think he is doing himself and We’re All Doomed (WAD) a disservice. I saw folks compare him a lot to Bo Burnham in the chat (who was actually was accepted and almost went to NYU Tisch for a different studio that focused on solely experimental work), which makes sense considering the theatrical nature of both of them. However, Dan actually goes further into the realm of theatre because of how he utilizes his crowd work (I’ll go into that later). I recognize traditional comedy specials/standup as having jokes or stories, when doing you know like late night talk show interviews, that can be made outside of the context of the show & slip into a conversation. Or with Burnham’s Inside Out, the songs & other parts can be done or understood mainly out of context, as seen through Bo uploading them to his YouTube channel. Comedy specials have the sections of their comedy stand-up thread together, but what Dan has done is weave his sections together. The length along with the intermission/interval being a part of WAD, adds to my point that he is not treating this as different material he tested out at different comedy clubs, but as something cohesive storytelling pieces. I think in terms of testing, Phil was the main sufferer audience member of the initial materials being created.

Anyway, you cannot as easily remove it from the context at certain points, because the transitions & the order of these different sections are treated as equally important, rather than a means to move on to the next section, with some possible space for improv.

Basically, I’m bi. Sorry, my brain started thinking about BIG when I started writing “basically” at the start of that sentence. Actually, what I am trying to say is that I would classify We’re All Doomed as a one-man performance piece/show, so I will be treating it as such in my review/reflection/breakdown. The comedy of it is important and there, but I don’t think it captures what WAD entirely is.

Also, unfortunately due to where I was at mentally at the time & the location it was being performed at, I never saw this live. To be honest, how it got framed marketing-wise did not help me feel connected with the actual purpose of the show, with hope being a key element. So while this was filmed, I am as much as possible trying to remove the cinematography as an element of my analysis. However, some things might be clearer on film, as with theatrical directing, you cannot add a zoom or crop & instead are trying to ensure moments are clear to an audience by what they see and hear through drawing their attention to it. With theatre being mainly about the live output by performers and intake by the audience, at the end of the day, what my job as a director is is to direct not only how the performers share the story, but also direct the audience on what is important to catch for understanding.

--

Breakdown of Thoughts

Originally, I wanted to rewatch the show again, and started to, but considering I ended up writing about a whole page worth of things for each minute of the show & I was sleepy by the time I was like 5-10 minutes in, I decided to be nice to myself & stay up all night in my comfortable bed instead of staying up all night at my desk trying to take in-depth notes 🙃

I’m gonna breakdown this analysis/reflection into further sections, just to give myself some anchors & break up the blocks of text. Also as a way to just be that pretentious, maybe with an academic flair, as is fitting to be for something about Dan Howell (said affectionately 💕)

The Script/Writing

When considering the text of the show itself, two things came to mind for me:

(1) This is definitely what I would call intertext. Intertext is a piece of writing that relates to another or more other writings through allusions. WAD is an intertext which alludes mainly to other works of Dan’s on his YouTube channel. The ability to get the true impact of the show relies on you knowing Dan (as his internet persona) on some level. And as a theatre maker & longtime fan, I love that it is, it’s what the piece needed to be. As a theatre producer, the hiatus from engaging with his audience and the limited runway given to reactivate interest in him and his creative work I think made it difficult to get that audience in some venues, along with some other funkiness (mainly with promo) I am less knowledgeable on. But I think Dan has already learned/continues to learn from that, which I think may have been valuable for him. (sidenote: I need the tea on all that because I love knowing how presenting venues work with performers, as well as the lack of understanding they have of internet culture as it relates to venue leadership.)

(2) This was a work he made for himself. He mentions this both in the show & in reference to WAD multiple times. But I think what truly came to mind for me was that it is still powerful for him to write for himself. He is writing for what he needs to be hearing or wants to be processing creatively.

I think why it is powerful is that Dan has discussed before how much stress he put on himself regarding danisnotonfire, and later Daniel Howell, videos, focusing on the audience, and how he was presenting a specific style/quality of video to them. Add in the layer of being closeted & actively fighting internalized homophobia, and the anxiety he built up makes sense. And I might personally attribute that more to his need to pass as straight & catering I believe at one point to an audience of cishet men, whether actual or perceived by him. Not all videos, especially the most impactful ones in my opinion, rely on this, but it was a key piece of what he made during his rise in popularity on the platform. This catering slowly decreased with the amount of uploads he was doing, along with a more tangible understanding of his audience thanks to the tours he did with Phil. Basically I’m Gay I think was the true shift where he gave himself permission to write work that had a main audience of himself. That’s where his best work has come from, and I think since then, he’s been able to have the space to process things creatively through his writing.

--

The Relationship Between Performer & Audience

When I was in theatre school, my directing teacher would constantly talk about not just considering the relationship of the performers on “stage” (I did a lot of more immersive work & we only had black box theatres, which is literally a room that is floor to ceiling black) but also the relationship of the performers & the story with the audience. By Dan knowing mainly who his audience would be, the show can now play with that understanding in mind.

This leads to my point that, overall, Dan does not use the fourth wall, and I think that is what makes We’re All Doomed work. It may also be why he called it a comedy show, idk.

For those who don’t know what the fourth wall is, it is a term from theatre originally that is about the way in which a traditional theatre stage (called a proscenium) has three physical walls around it, while there is no 4th physical wall, so the audience can see the performance. If does exist physically, it is only the curtain that acts as the 4th “wall”. So, in order to keep it as a separation between the performers and the audience, the actors treat the side where the audience is as a fourth wall. When someone breaks the 4th wall, this is when they speak to audience directly, rather than to another character. Examples from English-speaking pop culture would be the asides from Hamlet or Ferris Bueller in Ferris Bueller’s Day Off. But when you are the only person on stage, the only way to have a fourth wall is when you don’t reference that you know there’s an audience there. Hence, a monologue where the character is talking to themselves or an entity that is not the audience directly (or assigned to be the audience by the director), it is the closest you can have a fourth wall when alone.

Dan in his videos and in his previous tours with Phil never were without direct engagement of the audience (obvious with the naming of Interactive Introverts). It was never not a variation on him speaking with the audience in any type of dialogue, even if done parasocially.

Some of that is not new to theatre, but I would say is that it has become more of a trend within new theatre starting in the early 2010s to have more interactivity and a more authentic, explicit message that no performance will be the exact same. I definitely saw that in the shows I saw both Off-Broadway (which sidenote, all that means is that there’s fewer seats in that theatre, not about quality of the work or how worth it is to engage with) and larger settings like Broadway and the West End. That’s what I love about theatre, and why my own work is more about immersion and direct audience engagement.

Now Dan’s creative works have never been skit only or interested in telling a story outside of the realm of connecting with an audience as a variation of himself, so again, him not using the fourth wall overall is appropriate and fits in with what I mentioned about intertext. The piece does however start with a fourth wall for the music number, which I will walk through fully sharing why I am saying that about the song & dance opening after establishing some other concepts to help build understanding.

--

Design Can Work With You or Against You

I just want to say out the gate that the design was done really well, and I immediately felt a need to emphasize it after watching the first 10 minutes again.

First, let’s talk about the orange & black aesthetic of the show. Dan may have simply said that the orange just looked cool, but I think I would attribute more meaning to that color. Orange brings to my mind at first instance both a bright happiness/warmth and a sense of caution and warning, like road signs (at least those in America). The themes of the show reflect these two ideas and plays with the tension between them. I don’t know if he or the team meant to have that be a conscious choice, but there’s a joke I’ve had with other directors of when they get complimented on something unexpected, they just nod and say “yes, that was a choice”, even though it was just a random thing that happened or was something that you just thought would be cool to do. Orange runs through the show’s designs and it becomes clear that it is a tool for contrast and emphasis for the points Dan & the director want to make.

Now with the design team of costumes, lights, sound, and media, I can see a clear cohesion. Good theatrical design has the designs act as a character or highlighter in the story. Bad theatrical design can take away/distract from the core intensions of the show. It was so clear to me that the design was a character. And seeing that there were two media designers make complete sense considering the labor lift of both creating the projections displayed, but also creating/filming pieces of the media itself. The music/sound and lighting work well to articulate the manic feelings it means to instill in the audience and seeing it as a director, I assume part of the creative discussion was about parts of the media played they wanted to make sure were heard, and the lights help catch attentions in service of those pulled out moments. For costumes, I think Calvina did well in her post at articulating the elements of the costume and the progression it goes throughout the show. I’d rather not take up space to say the same thing truthfully.

With all the design elements, I think three characters could be defined (not including the audience), two as main characters, and one as a supporting character. I would name the main characters as “the Circle” (the looming set piece throughout hosting the projections used throughout) and “Dan On Stage/Dan performing” (the one in the physical space) with the “voiceover Dan/inner voice Dan” as a supporting character. The voiceover only exists in the beginning, and it is only shared with us to demonstrate the way in which the Dan On Stage singing is not really that aggressively optimistic and wholeheartedly believes the words he is singing. He is not the Dan we know from the Internet, so we can cathartically laugh at the attempt to pretend everything is fine. The voiceover only has one role, and it is to force Dan to confront this breakdown has an audience.

--

Staging an Opening Sequence: Our First Stage Character is the Circle

In directing classes, often what you focus on is called stage pictures, which is meant to help you consider what the actual imagery you want to ensure the audience absorbs for their understanding of the piece. The first and last stage moment of each act should tell a basic story of what happened, and therefore, are heavily emphasized as important for directors. The Circle (capitalized for reference purposes) being lit up before the show starts and then again in conjunction with the light flashes and sound establishes the importance of the Circle to the show. When the projection comes into play, showing the speech of a 15-year-old Greta Thunberg before beginning to add more, we are then introduced to the purpose of the Circle to be an output/portal for the overstimulation of messages, in this case, I would claim it being what comes from the Internet.

The music/sound and lighting work well to articulate the manic feelings it means to instill in the audience and seeing it as a director, I assume part of the creative discussion was about parts of the media played they wanted to make sure were heard, and the lights help catch attentions in service of those pulled out moments. The Circle also through some of the lighting moments, mimic that of a clock, which again adds to the doomsday, the "end is near" type energy. To have the end of the opening sequence build to an explosion which then shows solid orange at the end while Dan is in silhouette begins the introduction to the orange emphasis & proposes a sort of prophet-like version of him after the apocalyptic imagery disappears as he rises to be seen. What we have opened with is setting the tone to how we should view these two characters of the Circle & the Dan on Stage.

--

Song Time!

Dan is such a theatre kid & I love that for him. His dramatic side shows through the moment he used a rise to start his show at the top of the stairs, first in a place of seriousness with the sharp lighting and smoke to then bring in a very happy music number. The contrast & switching of expectations is a key of comedic works, and shows through most of the phandom who did not know WAD started with that, as it is indeed funnier if it comes as a shock. The movement & music mimic what folks attribute to as musical theatre, which is campy, happy singing. Knowing he was the one who suggested the song for TATINOF, I am loving Dan clearly wanting to have that opening number of a musical moment, even if it is dripping in irony. The Circle & the lights in this acts as a supporter to the message of it being sunshine and rainbows, with literal rainbow lights included. (Sidenote: I am 99% sure the pigeon coo is Phil, so if anything, I’m disappointed he was not credited as Pigeon sound effect AND remote crisis manager. Idk why I could tell, but both times now, it’s what I immediately thought when hearing that part)

I think of the musical number as the only place where he does have a fourth wall, because the number does not directly reference the audience at the start. It’s a one-man moment and it is about the performance not the audience engagement. It starts falling away when he starts pointing out the “and you”s, but the voiceover is the real break in our understanding of the world. It is emphasized by the color inversion of the sun & sky media of the Circle. The director is saying, this is important to how you now interpret what you’ve seen & will see, this is another shift from what was established of this world.

I should mention “world” is the terminology used to name what the environment the story is being told in with consideration, especially in theatre, of how much of a need there is for suspension of disbelief. I believe this term is also referenced a lot when discussing the fantasy and sci-fi genres, since those also requires some distancing from reality for the audience. This ties into a phrase I will probably end up using a lot of “rules of the space”. When establishing this world for the show you are presenting to an audience, there is a type of logic that must be established in order to understand what is the baseline for what the audience will be engaging with over the span of the show. But the voiceover immediately changes the rules of the space, because it messes with the Dan on stage, and messes with the messaging of the Circle. It adds a new context to the Dan On Stage, as while a fan will know that this song is not in alignment of our knowledge of Dan Howell, we get confirmation that this indeed ironic and outside of the branding that Dan has boxed himself into over his time on YouTube.

But the voiceover is also not in alignment with that “branding”. It expresses concerns related to the Dan On Stage’s mental wellbeing. There is no irony or subtext in that voice, it is the most direct in speaking to Dan On Stage, because it is being said by a variation of Dan in voiceover to himself. These could be seen as questions he knows to ask himself, but as someone who advocates for mental health & shares now about being openly gay, I interpret that he may feel he cannot express that outside of his mind for fear of undermining his advocacy points. The discussion of the “wonders” of the Internet also continue building in the tension that exists throughout WAD of how Dan feels about that space. The voiceover then proposes at first a type of equal extreme, which only sees the Doom, and as someone with clinical Depression myself, I think is only a furtherance of the breakdown, rather than the reality check it started off being. Not that what is listed is wrong by any means, but the barrage of it is meant to expand the drowning feeling, not act as call to action or consideration of the intricacies for engaging in the world. With the Circle’s sun imagery & the music having been inverted and shifted to something more sinister, Dan’s movement up the stairs fits a type of circular moment from the first entry of him, where the image of the prophetic figure is questioned on how he alone will solve the climate emergency. The slap & break of character for the Dan on Stage serves to confirm our understanding of the voiceover as the voice in Dan’s head & indeed there are not two Dans.

Also, the sparklers 🎇 showing up really make the key change for the song, but my producer brain is going, “girl, of course you lost money on this show, was that so VERY NECESSARY?” But the dramatic Gemini theatre bitch in me would 100% want this too. I just don’t have a capita£ester working to get sponsorship money in my life, so I have to be reasonable 😔 Also, the confetti with the high note is peak theatre gay so I again, love that for him. And of course, the confetti is orange.

--

Hints of Orange

When the song reaches its end & the Circle starts showing squares of orange, rather than a full background, this acts as a seed for the breakdown and waterfall of cubes, which Calvina speaks to the orange cube hint at the beginning in her post. The sudden cut-out with Dan simply lit replicates a moment the Circle is not present. The Internet is not present. To crawl to a microphone, the message is not “hey this guy needs two mics”, because we see one on his face, but that the wired mic (which I will now label as “The Microphone”) is a metaphor. It’s a crawl towards sharing out, not suppression. Only when the voiceover of himself points out the audience does he does a full fourth wall break. The suppression did not work, and neither he nor the audience can believe that it was the Truth.

The wire of the Microphone being orange showcases that it was meant to be seen. I don’t think it even in play in terms of the sound, like it might not even be on, considering the feedback nightmare it would likely cause. And no standard microphone used on stages has orange wires, because that would pull the audience’s eyes to it. But that’s the point here.

The rules of the space are now this: the Circle is not always active, the Microphone has significance, the Dan On Stage knows there is an audience. None of these were true before, even the Circle was on before the start. This draws the audience to know there has been a shift & to have the first words said into the Microphone be “We’re All Doomed” solidifies the song moment was a blip, that this is really where we start at. As an example, in the social media section, Dan does a deliberate wrapping of the wire on his hand at the same time the Circle scrolls to the social media icon. It is how the director & Dan are ensuring that we understand “what he is saying and what is been shown on the screen are in tandem”, so if you’re paying attention to that wire, it signals you should look up too.

Every other prop, except I believe the gavel and wig, is also orange. The bubble gun is mainly what comes to mind for me, since the cubes are not as activated as props necessarily. But if an item is to enter the stage, what I interpret it as is that it must be orange, there must be high contrast, nothing in the physical world on the stage can become blurred, only screens have that privilege(?) to have things blend together.

--

The Power Struggle Between Dan & the Circle

Once Dan has begun directly conversing with the audience, the rules of the space are:

(1) Dan On Stage acts, the design elements react (not including the Circle)

(2) The Circle and Dan have a symbiotic relationship, as neither have complete control over the other & react to what each other are doing

(3) The icons are our guides in understanding the sectioning done throughout the show

(4) Having “One Good Night” is the goal to reach at the end of the piece

As a person, as well as discussed throughout the show, we know that Dan has a contentious relationship with the Internet. It is what has given him his living but has also caused some of his worst moments mentally (2012? I don’t know her). It is the space in which lets him have an audience who have mainly showed him support, but also the space that has fed the cynicism that fuels his clinical depression. There lies in the way in which the Circle exists on the stage & looms over Dan in the background. It’s a necessary evil of what appears on the screen.

Why do I then say that the design elements are reacting? Well, if we remove the Circle from the equation, the lights, sounds effects, and props are all cued off of something Dan does like the clown honk. However, the Circle sometimes cues off what Dan does, but sometimes instigates what Dan speaks to. That especially is evident when video clips play that invoke what media Dan has been contending with on the Internet and the consequences of those things.

The Circle exists throughout both Act One & Act Two, but only becomes passive to the piece when Dan directly shows vulnerability & the removal of protective irony. Calvina spoke to this when discussing the costume choice of him opening the jumpsuit in Act Two to show the orange tank underneath.

--

Cubes as Articulators

Oh Creator did I have to dig deep into my brain for this term of articulators. So my directing instructor had some key terms that I think I don’t think are universally used, even by American theatre directors or at least in academic settings. She defined articulators to basically be elements that helped give almost like checkpoints for the progression of a throughline in a show. For WAD, that is easily those orange cubes.

When static is displayed on the Circle’s screen each time we transition to a new section, it is not the typical emulation of TV static, it is that sea of orange squares. It is an articulation of those fear, issues, concerns, all those pinpoints Dan speaks to why he says “We’re All Doomed”.

That’s why there is the culmination of the orange cubes falling on him, when he reaches the top of the stairs at the end of Act One. When he circles back to the same stage picture of him at the top, it can been considered a repetition of the prophetic imagery I pointed out from the opening sequence. What changes is that the orange squares enter the physical world, falling onto Dan. He can no longer say they live in his head. They are here and stay in the space until the end of the show. In Act One, they are the looming issues that signal the Apocalypse. In Act Two, they are the rubble that must be sorted through.

Calvina was the one who named it rubble and the cubes as representations of Dan’s problems. To have the audience actually able to take a cube home, she argued, would be symbolic of the audience helping carry that weight. While I’d love that, I mentioned in my tags on her post that I think mentally, that rubble would still be at his feet, even with taking home that visual metaphor. This is Dan we’re talking about, and with personal responsibility being a topic of the show, while it’s not his burden to bear alone, he does have to recognize it exists.

I think the repetition of the prophetic imagery comes to its climax when in the aftermath found in Act 2, voting who to fire into space can and does end up with him being sent by the audience. It represents an understanding of where he exists now from where he did at 18 in terms of social, political, and economic access and the possibilities of his influence. There is a responsibility there that ties to how he can move in the world now publicly, so why wouldn’t he have an existential crisis?

--

It is a Comedy Though, Right?

This is hundred percent comedy, and obvious dark humor at that. As a director, I love comedy, especially this type, because when an audience gets to laugh, the armor gets stripped away. They have no built-up resistance that let’s any uncomfortable point be heard effectively. It’s why the end’s vulnerability is effective, because we have already joked and laughed about our pains and our desire for escapism. Now we are able to move on into a place of reflection.

To underline why I say this is not stand-up comedy is that Dan has made it a stage show, just one that has comedy as a vehicle for telling this “story”. His interactions with his audience, through both quips based on audience reactions or “heckling” as well as explicitly asking for input into who to shot to space or what to add as a mad lib (generic brand for law purposes), are about being blended into the loose narrative constructed already, not actually to be reactionary like most crowd work I associate with stand-up comedy.

If anything, I could argue that it could be considered a comedy special that “Dan On Stage” is trying to make, but there is actually conflict being introduced that disrupts his set (both the comedy one and the physical one). There is clearly a showing of meta, as Dan makes sure to share thoughts on the creation of the show, the reactions from his overall show branding & imagery, the use of the lift because it was expensive to have. Dan’s comedy style can never be told without reference to behind the scenes, because if this is a creative means to process feelings, there are things about the show & its making that impact what needs to be processed too. It is also related to how his work is strengthened by acknowledging the two-way street of being in a parasocial relationship with his audience.

--

Can We Have One Good Night?

Another term central to what my directing teacher spoke of was the “Core”, usually a question, though not always, that motivated what was being explored over the course of a theatre piece. At the top, as Dan on Stage exaggerates that love doesn’t exist (which Dan refutes as being an actual belief of his during the afterparty) and other sardonic phrases, he also states he wants to give his audience one good night, because he recognizes the escapism his audience finds in his solo and joint content. We’re All Doomed’s Core is “can we just have one good night, even in the midst of the horrors we have outside of these theatre doors?”. But I would also say that in terms of where his writing was at the time of WAD’s inception and the naming of his mental health book as You Will Get Through This Night, it feels more like Dan himself has been grappling with a Core of “can I have one good night? Or a full 24 hours where I feel mainly happy when all I am bombarded with about the world is suffering?” I think night can be both literal, since we know he has had sleep issues, and metaphorical, as the night can represent this depressive episode he was writing himself out of.

When the mood tracker gets discussed in the last portion of WAD, to see a sea of neutral or uninterested emojis demonstrates when he took the time to do it, the answer that night was “no, not really” 😕. The main one mentioned is the ritual of “Fry Day” he has with Phil (sidenote: why are these British men not calling it “Chip Day”, since this ritual falls on a Saturday?), which is a rare smiley face. The question he likely has then is “can I ever have a good night again?”

So for him to then turn to his own videos during one of those nights, to a video where he states his famous “embrace the void and have the courage to exist,” that showcases what I mentioned of his best work being written for himself, in this case, a future version of himself.

--

Ending Sequence: Where Do We Land?

When the Circle does not display any media, it again shows the orange square motif, but after mentioning his own video, he turns to his audience for glimpses of what joy exists even in the face of Doom. The Circle changes into a display of different submitted clips showcasing this joy and hope that Dan was clearly looking for throughout this piece. He walks towards the top of the stairs to witness these clips. I cannot for my life at this point having now been separate from it for about a month, but I believe before the submitted media sequence, he states the famous line again of “Embrace the Void and Have the Courage to Exist”. With this last thing spoken, it gives that emphasis needed to take in the message emotionally and then witness what the Void (in this case the Circle) can offer.

--

A Good Director Should Go Unnoticed

When someone is not versed in theatrical directing, if the audience cannot tell what was a choice by the director or even consider the director themselves, this is weirdly a good sign. It means that it feels natural to what they are witnessing and to the messages that are meant to be communicated to the audience. As someone who also works in government, it feels very similar, as only bad work is evident to the general public. Obviously that is not true for everyone, but is an overall trait I think impacts both an understanding of public service and directing.

I am not familiar with any of the work of Ed Stambollouian, who through research, looks like he has done work with comedians like Joe Lycett (who I am also not familiar with) and directed TATINOF, but also more stripped down, exploratory theatre. Through a quick review of his portfolio, one, I am not shocked that Dan tapped him to assist with directing since there is a familiarity and two, his background tells me he knows how to direct for writer-performers, which is what comedians really are at the end of the day.

To direct for those who are doing one-person shows that they both wrote and performed, it is especially tricky to have the artist hand the reins over to the director. The director in this case acts as the artist’s eyes, because an artist cannot clone themselves. It is impossible for them to wear multiple hats at once, where they can give quality, objective feedback to themselves while also doing a full out performance. For Ed to be someone Dan has worked with before, there is already an established understanding of each other’s work styles, and a trust that otherwise would have to be built up before the work can truly begin to finalize the piece.

In short, Ed Stambollouian and the creative team on We’re All Doomed did an incredible job bringing what I understand Dan intended when he started writing this down in isolation. And @danielhowell you whole-heartedly deserve to call this your magnum opus. What can I say (sorry I can't help lovingly poking fun at you), your artistry shines throughout the show. I hope this too can be something your future self can turn back to.

🧡

(bonus) Thoughts on Orange Carpet & the Phil element

I didn’t fully rewatch the orange carpet, just to keep myself on task & not bring Phil too much into the main reflection without explicit reference in the show, but hearing Dan go “I’m alive in 3, 2…” made me laugh both times. He understands that we just want to know he has a pulse, ya know? Also them pretending it totally was live, when those fools (affectionate) cannot run a real live broadcast from their home for their lives. It just ran too smoothly, esp. in the transitions, for it to be anything but some very, very light editing on one improvised take they did. But I always support them in their acting, no matter how bad, like with DITL Australia’s opener or pretending there were not two apartments or that Google Feud being back was unplanned or Dil being pregnant with a statistically rare alien child or Phil living in a tiled, cramped bedroom or...

Also, Dan’s little laugh at the end of Phil’s sign-off is so fond it hurts. It also hurt that the VOD was hard to scrub through, so another deduction for the Kiswe platform.

Anyway, I’m glad that Dan was able to find space outside of the Dan & Phil branding of the 2010s as well as the image he was forced to manufacture for his YouTube presence, but also realize that with having a core audience that wants him to simply be happy, he can recognize that Phil is part of the things that make him happy. And can do so openly.

He is his own person, but it has been clearly emphasized now that Dan has no interest in not acknowledging that Phil always is and will be part of his present and future. He has made work like WAD & "Gay and Not Proud" to explore his way of thinking without the support of Phil present in the filmed/performed aspect. Dan acknowledges this intention, which is evident with him shooing away Phil at the beginning of “Gay and Not Proud” to process it alone.

It is also evident with the ending of “Daniel & Depression” and the WAD end credit of remote crisis manager showcasing the caretaking role Phil often plays in Dan’s life. But we know that caretaking is reciprocal, considering Phil's tactics with glue as well as his continuing health issues and anxieties. Dan has seen who he is without Phil by his side everyday in the public eye & has no interest in maintaining that Phil is absent for public projections.

I obviously do not know Dan Howell, or anything about him outside what exists on the internet. But in performance studies, there is a foundational understanding that there is no way to not be performing in some way during your day-to-day. Performing is not inherently a bad thing, as there are different roles you take on in your life, where how I engage at work is different from how I am hanging out with friends. This also has basis in gender studies, such as ideas that you can perform your gender "wrong". What has been so interesting to me in this phandom renaissance is the way Dan and Phil each perform as themselves in front of the camera now. What they share out and the layers they include--or choose to not remove--have been stated by them explicitly to be the most authentic they have ever been, without obviously removing their right to privacy. During the height of the glass closet that was their 2018 content, I remember thinking that it was going to be the most they would show us in the vain of "if you know, you know, and we know who will know". After the coming out videos of 2019, obviously that's not true, but the return of dapg has signaled a message of "we know you know, if you've been in the know" while veiled in a way that is not immediately perceivable by those who are casually engaging with their content. It is an authentic portrayal of themselves without filter, while also providing themselves space to not have to announce everything to the world. When you are in the know, it definitely targeted and causes psychic damage, but I am ready for anything and everything they throw our way.

[covid-safer-hotties]

When Comedy Speaks Truth About Covid - Published Sept 4, 2024

As a comedian, it’s been fascinating for me to observe how other comics have incorporated the topic of Covid into their material. Early in the pandemic, there were tons of jokes about our shared experiences with masking, working from home, getting vaccinated – the stuff most everyone could relate to. The punchlines revolved around putting it all behind us and getting back to normal. That's what we all were expecting to happen.

It's what we were promised.

But with the unexpected directions this pandemic has taken, so have the Covid jokes.

Standup comedy is a conversation between the performer and the audience. The comic tells a joke, often discussing a mundane subject, but employing a comedic device like exaggeration, puns, hypberbole, or taboo to make it funny.

The audience responds one of four ways.

Sometimes there is no reaction. It happens whenever a joke isn’t easily understood, isn’t relatable, or simply isn’t funny.

Sometimes there’s a pushback reaction, like groaning, booing, or walking out. It happens when the comedian crosses a line and offends members of the audience.

The most common reaction is a chuckle. A reactionary laugh that follows a joke because it was funny, it made sense, and it resonated with the audience. It’s an affirmation to the comedian, as if to say, “yeah, you got that right. Now tell me more!” Once the chuckle is done, the audience is engaged, attentive, and ready for the next joke. The comedian’s job is to keep the conversation going.

The holy grail of reactions is a belly laugh. Uncontrollable, prolonged, euphoric laughter that you don’t quickly recover from. It’s usually accompanied by applause and some enthusiastic WOOOHOOOOOs from the audience. Belly laugh jokes are usually interspersed throughout a comedian’s set, with the best saved for last.

Using taboo as a comedic device is often one of the best ways to elicit belly laughs. When a comedian says something out loud that audience members have thought about, felt, or experienced – but can’t say out loud because it would be socially unacceptable – uproarious laughter is the reward. It’s an affirmation that “yeah, you REALLY got that right.”

I recently watched the ‘Live from the Mother Ship’ special on Netflix, featuring the talented, hilarious comedian Brian Simpson. Around the 25-minute mark, he begins talking about Covid. I was pleasantly surprised by the direction he took.

“We didn’t cure Covid… we just stopped caring,” is his first Covid joke. It’s met with a chuckle from the audience– and one endorsement of “Yeah!” from a guy in the audience. He talks about how conservatives and liberals both stopped caring about Covid, just on different timelines. The only difference, he points out, “is how long you gave a fuck.” The audience laughs and applauds.

“We all arrived at the same conclusion – grandma needs to stay in the fucking house, so we can go outside.” He acknowledges the return to normal without us having contained Covid means that vulnerable people were left behind. The audience belly laughs and applauds again.

“You’re sitting here, not caring about something we were so serious about… losing friends, you stopped talking to family…” He encourages the audience to not let politicians rile them into hating their neighbors, seeing how we ultimately ended up in the same place. And he’s subtly calling out the absurdity of how we so casually live with a deadly and disabling pathogen that disrupted the entire world in 2020 and still remains a threat, in spite of our collective complacency toward it.

Next, he says the only place where it still feels like we’re in a pandemic is in an Uber. “There’s small part of Americans that didn’t get the memo… like it’s still 2020… masked up, gloved up… and sometimes they’re your Uber driver.” A chuckle follows from the audience.

“They’re not wrong,” Simpson continues, recognizing that those who mask have a valid reason for doing so. Then under his breath adds, “but it’s like… stop that shit… you’re making me feel stupid.” He acknowledges the social discomfort of being unmasked around people who are masking. The audience belly laughs and applauds.

“But if you’re in somebody’s car, you’ve got to be on what they’re on,” he continues. “So I’ve got to keep a mask on me when I go to certain places.” He then mimics the conversation he has with an Uber driver when getting in for a ride, comparing masks to condoms while waving his hand up and down over his nose and mouth. “So… are we…? We can use them if you really want to use them…” His joke acknowledges he’s willing to mask if others around him are masked – even if he doesn’t think it’s helpful or necessary. He’ll do it to avoid social discomfort.

More laughter and applause follow.

There are no awkward silences. There is no booing or heckling or walking out.

Only laughter and clapping. Even a few belly laughs.

And Netflix did not cut those jokes out of the special.

I applaud Simpson for speaking hard truths out loud about Covid and how we’re dealing with it (or not dealing with it) as a society. He’s acknowledging our collective cognitive dissonance. He’s shedding light on how our needs for comfort and conformity in social settings have superseded logical thinking, rational behavior, and concern for others. He’s calling out politicians for dividing us, and ultimately, failing us by forcing us to choose between social safety and physical safety.

And the audience backs him up on every single point he makes.

I find this hopeful and encouraging. It tells me people are aware that Covid remains a threat, our vulnerable loved ones have been left behind, and our country’s response has been a shitshow of epic proportions. It tells me their aversion to standing out in a crowd is more powerful than their aversion to masking. It tells me that people aren’t as deeply entrenched in denial as I previously thought. Their knowledge obviously doesn’t translate to behavior, but it’s a start. It gives me hope there's enough common ground in our beliefs about Covid that there are opportunities for change.

We won't change anything by being silent. We have to keep talking about Covid and the harm it causes so others will feel safe to join in the conversation. I encourage you to watch ‘Live from the Mother Ship' on Netflix starting at the 25-minute mark. The 3 minutes of Covid jokes which follow, and the audience’s reaction to each, speak volumes about what’s really going on inside people’s heads these days. If a comedian like Simpson - whose livelihood hinges on everything being back to normal - has the integrity to speak up and say such uncomfortable shit out loud in a Netflix special, the rest of us can keep speaking up too, anywhere and everywhere we have a voice.

“…Even more than penetrating to a seed of truth, good satire is able to penetrate to an issue’s heart. To its moral core. Through their perfect pitch for irony and their flawless bullshit detectors, comedians confront us not only with lies and hypocrisy, but also with what it means to be human.” – Rob Wijnberg

In good humor and solidarity,

Guiness Pig

[chaifootsteps]

Wanted to introduce you to a minor stolitz rewrite or I guess, interpretation? I came up with that has a blitzfizz angle if you squint, because I think you might like it.

Some time ago there was a deep and vulnerable moment which is rare from Brandon Rogers, when he was being interviewed by Anthony Padilla, he talked about being assaulted by a beating, and then getting up on stage for standup minutes after. But the audience never noticed. He said when performing for audiences it brings him a sense of fulfilment to know that during the few minutes or hours of that show he gets to forget about his pain, and the audience gets to have fun and enjoy the show and forget about theirs. Those moments of escapism were precious, and I wrote that for Blitzø, this was the extent of his affection for stolas. He’s basically an audience member, a loyal fan. This is why when stolas wants real devoted personal love, it ruins it for Blitzø because it feels like a fan who got a backstage pass once, and maybe even an autograph or handshake, but for some reason thinks this makes them real friends/lovers. And he keeps coming backstage without a pass, and doesn’t understand why security stops him, he even shows up to his house after the show ends. With no idea what he’s done wrong when cops turn up (this type of thing happens all the time to lonely people with mental illness, and is the type of moral complexity I think would suit stolas, someone who is dangerous but still sympathetic) And blitzo feels so much guilt and pity at this lonely, socially inept person, and not to mention feels the flattery of having a fan for once, he finds it hard to get really mean about it. But when stolas gets angry he feels genuine fear and does whatever he can to appease him. Which terrifyingly, is interpreted as reciprocation.

For “One Night Only” like his circus poster in his office suggests, they both got to escape and pretend-to be this powerful, seductive sexual being bringing amazement to a Prince who in turn, gets to pretend his true love has arrived to save him. But just like the circus episode, stolas got too obsessive with a parasocial attachment. He wanted to take Blitzø home, to keep him in his bedroom, to take out and play with whenever he needed. Forever. For Blitzø it was like encore after encore, a show that doesn’t end. And he just wants to go home to his partner, the other kid waiting for him at the circus to play horsies again, and the only other imp in the world who truly understands how it feels to be used as a toy (hell, he was turned into one!!)

And I think like the sex toys running out (if I can try to turn even that into a metaphor) he has exhausted all of his tricks and doesn’t have any more material for stolas. But the show must go on, he thinks, that is until stolas finally sees the cracks in him, and against his own wishes for this to be his soulmate, his attraction to Blitzø starts to die. Because it was artificial from the start. And he doesn’t like the real person as much as he thought. They’re just deeply incompatible. Which breaks both of their hearts, for very different reasons.

When stolas asks him why he ever gave him a night at all or showed kindness to him, someone who now has nobody, Blitzø says nothing and just calmly looks at the photo of stolas smiling holding Octavia, then looks back to stolas. As if silently telling him he knows he’s not a complete monster, that it’s not all over, he is capable of finding real connections with others, he has his daughter. His real ‘hero’ and light in the dark. And knowing how much this relationship has hurt and traumatised Octavia, its the nail in the coffin. There is hope for stolas, but not for this relationship.

In the end he gives him back the book, thanks him for their time together, and for loving him, even when stolas is protesting (kinda like Diane to Bojack) his final action to him is a bow, his last words to stolas before leaving his life forever are “You will be okay”

Goddamn, Anon...you owe me a box of kleenex for this one.

Thank you for this. It's gorgeous and perfect and I wish with all my heart that it were canon.

[eretzyisrael]

by Matt Margolis

Jerry Seinfeld is by no means the most political or controversial actor/comedian out there, but when he took the stage at Duke University's commencement ceremony, it ultimately caused a chorus of "boos" and pro-Palestinian chants, as well as a walkout by students.

Seinfeld, who is Jewish, is the parent of two Duke students and an active supporter of the university. He has been vocal in his support for Israel following the Hamas terrorist attacks on Israel on October 7. His wife also funded a pro-Israel protest at UCLA last week. When Seinfeld was announced  as this year's commencement speaker, some students expressed opposition to his appearance over his support of Israel, and warned that there would be a display of opposition at the commencement ceremony.

The 70-year-old comedian also made headlines recently for blaming "the extreme left" for ruining comedy.

"Nothing really affects comedy. People always need it. They need it so badly and they don’t get it. Used to be you would go home at the end of the day, most people would go, "Oh, ‘Cheers’ is on. Oh, ‘M.A.S.H.’ Is on. Oh, ‘Mary Tyler Moore’ is on. Oh, ‘All in the Family’ is on. You just expected there’ll be some funny stuff we can watch on TV tonight. Well, guess what? Where is it?" Seinfeld said last month. "This is the result of the extreme left and PC crap and people worrying so much about offending other people. When you write a script and it goes into four or five different hands, committees, groups: ‘Here’s our thought about this joke.’ Well, that’s the end of your comedy,” he said. "They move the gates, like in skiing. Culture, the gates are moving. Your job is to be agile and clever enough that wherever they put the gates, I’m gonna make the gate."

Vanity Fair has more.

Seinfeld’s introduction by school president Vincent Price was “drowned out” by chants of “free free Palestine.” The rallying cries appeared to come from both the soon-to-be-graduates seated on Brooks Field as well as folks in the surrounding rows at Wallace Wade Stadium. Another video shows be-gowned students standing, unfurling Palestinian flags, and leaving the stadium as Seinfeld prepared to speak. According to The Daily Beast, the livestream of the graduation ceremony cut away from the protest as it occurred. Seinfeld, who also received an honorary doctorate from the school, didn’t allude to the protest in his speech, which focused on general life advice for the graduates. WRAL reports that the still-working standup announced three keys to life: Work hard, pay attention, and fall in love. (All activities, one should note, that seemed to eternally elude his namesake character.) 

“Whatever you’re doing, I don’t care if it’s your job, your hobby, a relationship, getting a reservation at M Sushi, make an effort,” Seinfeld said in his speech, which made no mention of the protesting students. “Just pure, stupid, no-real-idea-what-I’m-doing-here effort. Effort always yields a positive value, even if the outcome of the effort is absolute failure of the desired result. This is a rule of life. Just swing the bat and pray is not a bad approach to a lot of things.”

According to a report from the New York Times, the graduates who walked out chanted “Disclose, divest, we will not stop, we will not rest” from the parking lot.

[tifellatki]

Marking 🐺

.Warning ⚠️

.English isn't my first language and might be a misspellings

. Omegaverse

.Kim Dokja (Dominant Omega), Sung Jinwoo (Dominant Alpha)

.I don't know why i make a whole Fanfic just to explain this one panel drawing

.Cringe and might make no sense in some sense cause I'm stupid

When dokja was walking in the ruined buildings he got suck in by a portal that suddenly appeared and transfer him into another world

*thud* "Ouch!" Said Dokja while he was fall flat on his butt and a hard and solid ground,he look around and saw he was in some backstreet but luckily nobody see him.

He cursed at his terrible luck,he confessed his love to yoo joonghyuk and was rejected cause turn out Yoo Junghyuk known as the supreme king to be an Omega a resessive one which make Kim dokja greatly embarassed

He was confused but then he realised that 'Way of survival' didn't mention Yoo Joonghyuk second gender they only tell them that he had a child with Lee Seolhwa who would ever thought he would be an Omega

When remembering that confession make him flush red again

He standup and pat himself clean after that he start walking towards the street where he find crouded people walking and minding their own business

He start looking around and only able to find out some information about this world such as this world also face an apocalypse and people that have awakened their magic ability are separated into group such as lowest Rank E into highest rank S he wondered

'why there aren't any F rank cause isn't F always the lowest Rank in game and the highest should be L right?'

Lost is thought he almost run into truck-kun but someone pull him back when he look back he met E rank hunter Jinwoo,Dokja got a little heat coming up from his stomach he ask himself 'what is this feelings?' it's like he met his destine person,his soulmate

Dokja thank him for saving him and the boy name sung jinwoo happily told him it was no problem

From then on he and Jinwoo exchange phone number and Dokja live next door to him and he and Jinwoo and jin-ah get along together

4 month's has passed since he got into this world luckily he was able to used his coin and turn it into the money that can be used here, he even got into the association guild

*Beep! Beep! Beep!* Dokja lazily turn off his alarm and get up from his bed he checked the phone and it 7 am he grumble, he suddenly felt a little hot in but he never mind it and he'll take a shower and be fine and go to the bathroom and start showering when he done he came out and he start to heat up the food and after eat and clean he start to get dress and start walking out and he get a called and when he pick up he was shock and in panic

When he reaches the hospital room he find jinwoo sitting and smiling awkwardly "hi..hyung.." he see jinwoo with a bandage in his cheek,arm and chest

Dokja was panting heavily and and rush towards jinwoo pull him by the collar while tear fall from his eyes "how many time i told you..why did you won't listen to me!.." his body felt a rush of hot sensation but he thought it was just because how he run to the hospital

"when will you listen to me?" Said Dokja the romm was silent until Jinwoo said something "Hyung.....please go away how can you come when you're in that state!" Said jinwoo Dokja didn't get what he mean "what do you mean?" He ask as he felt the heat coming again, jinwoo breath heavily as he was out of breath "Jinwoo are you ok?!" Said Dokja while he came closer to jinwoo "I can't take it anymore!" As he said that he push dokja into the bed while press dokja down dokja was shock "Jinwoo what are you doing!?'' as he said that dokja felt a hard thing into his butt '!!!' "J-jinwoo" said Dokja when he tried to escape "Submit omega" dokja couldn't move as if he was paralyzed jinwoo release his pheromones "ngh!"

'shit I can't moved!' "Dokja hyung I can't take it anymore as I have been waiting this for too long and you know how dangerous it is to walk straight into alpha when Omega are in heat you know that right?" Dokja was shock and realised that the symtom he had been and avoiding since this morning without much though he have to face the consequences, Jinwoo start to take off Dokja Clothes and start to kiss and bite dokja back "ack!" Dokja moan unable to move his body he felt his body being burnt into heat , Jinwoo had pinch his nipples and start licking the back of his neck "!! Aah! J-jinwoo!" "Ngh!" His eyes widened as he felt a pain coming from his neck and felt blood comming out from it "J-Jinwoo! aah!"

Jinwoo had marked him as his omega, jinwoo had pull out his mouth from it and they both start to pant heavily

[nexus-my-beloved]

This isn't my usual content but I recently (four days ago) decided to read the actual book for IT so here's a couple of headcanons (specifically centred around 1990 IT, but I'll specify which years just in case):

-1990 Eddie likely had severe anxiety around showers and baths after the time he saw Pennywise in the gym locker room showers. He probably always had a fear of the clown stretching open the drain again and reaching to grab him and drag him into the sewers. Eddie is afraid of disease and germs, though, conditioned to it, so he still took showers and baths- but he probably scrubbed hard enough to make his skin red and raw and he did it fast before rushing out, always racing against an invisible clock that when the timer was up Pennywise would grab him. This fear probably carried over to adulthood, even when he forgot about Derry, and he likely got better with it but probably still was afraid for some unknown reason- he probably took ten minute showers, fifteen at most.

-1990 Reddie headcanon: when they were kids, Richie probably had a small crush on Eddie, but he likely had more feelings for Stanley (1990 Stozier truther here but also universal Reddie enjoyer). When they were adults, though, Richie probably grew out of his feelings for Stanley and I like to think he had more feelings for Eddie that resurfaced the moment he saw him. Eddie probably liked Richie a lot when they were adults, but probably wasn't very big on him when they were kids.

-1990 Stenbrough headcanon: for years after Derry, Bill probably would say random bird species when he was anxious. He wouldn't remember who this was from or realize it was from one of his best friends until he got back to Derry, and that friend was dead. Bill likely held on hope that Stan would come, and probably felt his heart bleed a bit when he realized Stan had killed himself. He never got to fess up to the little crush he used to have.

-2019 Reddie headcanon: based on the fact that Eddie yelled "I knew it! I fucking knew it!" when they were leaving the restaurant after Richie admitted to not writing his own material, I like to think that Eddie probably watched this comedian he recognized but didn't know from where on TV and swore up and down the material was scripted from someone other than him. He didn't recognize the Tozier standup guy until he got the phone call from Mike and realized it was Richie "Trashmouth" Tozier from when he was a kid. Eddie probably kept tabs and watched Richie for years without ever realizing that used to be his best friend.

-2017 Bill Denbrough headcanon: I like to think that Bill particularly stuttered on s-words. Which means he probably stuttered like hell whenever he'd have to say Stan/Stanley sometimes. Imagine how he'd have to use nicknames instead, silly or not, and how much more important it'd be when he said just Stanley, even if it was hard.

-All Media Bill Denbrough: there's no way he could've looked at paper boats without feeling like crying. Even as an adult he probably couldn't explain it. He'd just cry.

I probably have more but I think this is a big enough post for tonight. Have these I found on Pinterest!

The sillies <3

Bowers Gang Slander but it gets progressively worse/better (depends how you see it)

Abso-fuckin-lutely it is them. I can imagine little 2017 Eddie running after Finn Wolfhard Richie with inhaler in hand and trying to keep up while Richie laughs his ass off and promptly smacks his face into an open locker and eats shit

Twink Eddie <3

In all fairness though I love adult 1990 Eddie. He looks like the embodiment of if kindness were a human being and he just makes me so happy I would hug this man and love him forever I want to keep him in my pocket

[amidnight--dreary]

20 Questions for Fic Writers

Thanks so much for the tag @zsparz !!!💖

1. How many works do you have on ao3?

166!

2. What’s your total ao3 word count?

2.013.111. I write when I‘m stressed, can you tell?

3. What fandoms do you write for?

Mostly the MCU. Frostiron my beloved 💕 I recently posted a Huskerdust fic, though, and a couple years ago I posted some Good Omens stuff! I have another Good Omens wip brewing, but I haven‘t worked on it in a while.

4. Top five fics by kudos

First one up would be Your Call, a multi-chaptered ABO Frostiron thing that‘s sadly unfinished because I‘m not happy with where it was going somehow. Then Corners of Reality, my baby, Yes or No, Dereliktion and last but not least Vita Nova!

5. Do you respond to comments?

God I try. I’m so bad at it though. On long fics I always answer comments on the last chapter when I post the new one, but I keep forgetting to reply to comments on older chapters or oneshots😭 They all mean the world to me though.

6. What is the fic you wrote with the angstiest ending?

Ohh I wrote a few angsty oneshots but it‘s been a while. Maybe Here, that‘s the most recent one. Of the older ones I remember all my light most clearly. Tony is dead or dying in both of these lol, poor Loki.

7. What is the fic you wrote with the happiest ending?

I like to think the happiest endings in stories are ones you had to fight for a little bit, so maybe Dereliktion. That was a long ride filled with angst and messed up relationships lol. I think Haywire (my first and so far only Sentinel/Guide fic, I love that trope a lot akfj) also has a pretty fluffy ending, and I have some oneshots that are pretty much all fluff!!

8. Do you get hate on fics?

Occasionally? Just the other day I got another anon ask on here complaining about my recent stories. Makes me extra thankful for everyone who takes the time to tell me they enjoy my stuff!!💖

9. Do you write smut?

I do! Pretty much all the time lol. I love writing Dom/sub relationships!

10. Craziest crossover?

I don‘t think I‘ve ever written one before?

11. Have you ever had a fic stolen?

Yesss. I‘m not sure if they just didn’t know any better though, they deleted the copied parts as soon as I told them.

12. Have you ever had a fic translated?

Yes!! I‘m always so happy when that happens!!

13. Have you ever co-written a fic before?

Also yes. One year I did a whole Frostiron Advent calendar with @rabentochter (do you remember this????? How did we have the time??????? Insane) and we wrote a few more collabs beyond that.

14. All time favorite ship?

Frostiron!!!!!!!!!!!! I love my sassy messed up geniuses lol

15. What’s a wip you want to finish but doubt you ever will?

Uhhh I‘ve got a few. I‘d like to finish/rewrite Your Call. Once I also had the cracky fever dream of Loki doing random standup comedy shows in New York because he‘d KILL that. Can you imagine the sarcasm. The gallow‘s humor. Anyway I started that and then realized I Cannot Write Standup Routines at all. So there‘s that.

16. What are your writing strengths?

What I like to write the most is character and relationship development, so hopefully I‘m decent at that? Also dialogue, I hope, but that kinda comes and goes depending on the conversation.

17. What are your writing weaknesses?

I kinda suck thinking of longish plot that goes beyond “will they kiss?? Will they FUCK???” so I’ve been trying to practice that. Also scenes with lots of action😭

18. Thoughts on dialogue in another language?

I like it. I’ve been wanting to write a fic where Tony can properly show off his language skills but I don’t know enough languages to pull that off lol

19. First fandom you wrote in?

The VERY first was Dracula, back when I was 13 or so. I had a big thing for van Helsing back then. My first fandom on ao3 was Once Upon a Time!!

20. Favorite fic you’ve written?

Ooohhh. That would be Corners of Reality, because I worked on it for years before I even started posting it and I love how it turned out. It’s a slow burn time travel enemies to friends to almost lovers to enemies to friends to lovers to enemies to allies to lovers fic. I had SO much fun writing it I still think about it all the time😭😭

I’m just gonna tag some writers I know are on here: @endlessstairway @xottan @izhunny @arabesqueangel @bouncydragon no pressure though!! And if you see this and you’re a writer please consider yourself tagged!!💖

[manderleyfire]

'panem lost a poet panem lost a standup comedian' lmaoooooooo what are your favorite Coriolanus’ unhinged quotes from tbosas?? I cackled so much during that rather dark book, I feel embarrassed, lol

He had to think of just the right way to break the news. But what would that be? 'I love you deeply, but I love officers’ school more?' That wasn’t going to go over well.

Did you tell your best friend his crush was a cannibal? Never a rule book when you needed one.

AH, TRUST AGAIN. ThE aIr WaS fUlL oF iT.

Coriolanus winced slightly. TWO biking mishaps in the same twelve-hour period seemed more than coincidental.

This entrance was for the poor people, Coriolanus thought. Or perhaps not poor. The word PLEBEIAN came to mind. (those history classes did nothing for him)

PASSING OUT SANDWICHES WAS ONE THING, THROWING THE CHAIR QUITE ANOTHER (sorry, i'm in tears, xDDD)

Snow lands on top and ALL THAT. He knew he should be elated at this turn of events and jumping up and down inside while p r e s e n t i n g a modest, pleased front. But what he really felt was jEaLoUs.

THE HERO OF HER LIFE!!!!!!!!!!

The i m p o s s i b i l i t y of being a Snowflake in this postwar world.

And here he was in his uniform, clutching a rose like some lovestruck schoolboy, hoping she would — what? Like him? Trust him? Not kill him on sight?

Good-bye, Lucy Gray, we hardly knew you (biiiiiiitch 🔪)

So now that loudmouth Arachne was a defender of a righteous and just land. Yes, she laid down her life taunting her tribute with a sandwich, thought Coriolanus. Maybe her gravestone could read, “Casualty of cheap laughs.”

BETTER OFF SAD THAN DEAD

Coriolanus did not want to spend the next twenty years listening to them *mockingjays* serenade the local executions.

What was he doing but dressing her up to be a pretty corpse? Perhaps she could strangle someone with the scarf, or stab them with the pin?

HIS OWN FANS HAD A LITTLE MORE CLASS (rich boy™)

The LAST TIME Sejanus had lost his appetite, he’d lost his sanity as well.

Who were all these PeOpLe hanging around on a weekday at the zoo? Didn’t they have jobs? Shouldn’t the children be in chool? No wonder the country was such a mess.

What an ugly place, he thought dully as the train chugged its way through District 9. It didn’t look fit for human habitation.

Coriolanus gave the camera a thumbs-up when they cut for his reaction. He could not believe THIS was his life.

How much bread had they wasted with this nonsense? Oh, no, he starved to death! Somebody get the bread!

CORIOLANUS SNOW, MORE LONER THAN LOVER (whatta slogan for his presidential campaign)

How awful, Coriolanus thought. To have YOU be the first person in the world a baby sees *about dr. gaul*

Why would evil incarnate help his girlfriend?

In rhetoric class, she’d once attributed his inability to decipher the deeper meaning of a poem to the fact that he was too self-absorbed. The irony, coming from Livia, of all people! But actions spoke louder than words. Coriolanus to the rescue, Livia to the nearest exit.

“Of course I liked it, but I’m more open-minded than most" (hahahaha)

Then came confusion. If she had saved his life, he owed her, what? A sandwich and two cookies? That was how he was repaying her. For his life. Which apparently he held quite cheaply.

Oh, a ghost story. Ugh. Boo. So ridiculous.

Ma? Was Coriolanus’s place about to be uSuRpEd by someone who referred to his mother as “Ma”? The cabbage and posca threatened to make a reappearance.

CANNIBALS OVER CUTTHROATS!

several people took the pained look on Coriolanus’s face as sorrow at Arachne’s death, when ironically he felt like killing her all over again.

“That was some good-bye.” Coriolanus just shrugged. “What can I say? I’m irresistible.”

Poor Sejanus. Poor sensitive, foolish, dead Sejanus. (GUNSHOT 💀💀💀)

[live-laugh-legolas]

members of the fellowship’s sense of humour!!

The fellowship’s sense of humor

Aragorn:

-This guy would find Monty Python so funny

-Idk what kind of humor this is; maybe surreal?

-It isn’t the type of jokes he tells but it makes him laugh the most

-His jokes tend to be subtle jabs; jabs out of love though, he’s never mean

-Side comments and quips

Legolas:

-He has a smug sense of humor if that makes sense

-In the book he says he is going to “find the sun” so he can bring it down to his friends who are freezing in the snow

-Before prancing off on top of the snow like Peter Pan launching himself from a window

-He isn’t particularly easy to make laugh; he will smile along politely but to make him belly laugh is a challenge

-And it would probably be some silly and random situational thing idk

Gimli:

-Teasing; I mean Legolas made him laugh by teasing him for his height

-Like he loves little skits and bits

-Will always play along with any bit someone is doing

-Legolas often doesn’t understand these

-Would love improv and standup shows

Boromir:

-Dad jokes

-Specifically his dad jokes

-He always laughs way to hard at his own jokes

-He is the funniest person he knows

-Doesn’t mind jokes at his expense

Frodo:

-He often makes jokes at his own expense

-A bit self deprecating; often making a joke after he makes a mistake

-He often makes jokes to lighten a situation

-Somewhat unexpected I think but he definitely finds crude humor funny; when done appropriately (like not in excess)

-Kind of like Deadpool/Ryan Reynolds’s type of humor

-He doesn’t tell those types of jokes often but he will laugh at them

-Flirts with his friends as a joke

Sam:

-Similar to Frodo he makes jokes about himself

-Sometimes they are self deprecating but other times he makes jokes of grandiose

-Perhaps is comes from a place of insecurity

-Even if it’s not really a joke; it makes people smile (Samwise the Brave, not a joke really but it’s playful)

Merry:

-Practical jokes

-Loves pranks

-He is very sneaky and will set up elaborate schemes

-Pippin is often his bait

-Sam is a frequent victim

Pippin:

-He has the stupidest sense of humor

-Like those unusual meme compilations

-Also farts

-They will always be funny

Gandalf:

-Very dry humor

-The type of jokes where it could be a joke but also you aren’t sure

-He is funniest when slightly annoyed although he doesn’t really mean to be

-Unintentionally funny but he is also aware that it’s funny after he says it

[destinyc1020]

Dom has rarely attended any movie premiere of Tom, Nikki had been the one that has consistently gone and he has been particularly homebound in the last couple of years, and more so since Tessa got sick. He has shared that on his blog and podcast. It seems that he does have some anxiety issues despite making a living as a standup comedian for most of his life (it's not strange for standup comedians to be a bit neurotic). So him going to 2 big movie premieres in the span of less than 2 months for Z is a huge thing. And for someone as socially conservative as him to go to the premiere of a movie that has so much sexual content starring the long term girlfriend of his oldest son is a big thing. We could understand Dune since many older men like thoughtful and epic sci-fi movies, but a sexual farce that includes a threesome and full frontal male nudity is not something that Dom has ever gravitated to

I also disagree with the view that it doesn't matter if a parent misses a big event of their adult son because they understand the parent loves them anyway. My parents live in another country and I literally cried when they traveled to come to my college graduation. My dad had never been out of the country and it meant to much that he decided to travel to celebrate my achievements

Thanks Anon :) Yea, I'm just noticing that in the years of Tom and Z dating each other, and Z having plenty of films premiere in London, I have never seen Dom at any of them except "Dune Part 2", and "Challengers". Two films that came out this year. Coincidence?? I don't think so. At the very least, he could have just gone to the Challengers premiere since it's her FIRST lead role. But Dom also went to the DUNE Part 2 premiere! Where she's like one in a whole cast-full of A-list actors. Like, c'mon lol.... 😅

That's a sweet story about your parents flying overseas to come see your college graduation. I'm telling you, it's a big deal and it means a lot when someone makes that effort. ❤️