#i'll make a video next time because screen shotting is exhausting

[cavarage]

mobile header tutorial

As requested, here's a tutorial on how I usually make my mobile headers. We will be achieving this type of result:

I'll be showing some variations so you can make diverse headers and have fun while doing so! Of course, this is my way of doing it but I'm certain there are plenty different ways to proceed (I also have a tendency to over-complicate things but anyway)

You will need:

Photoshop (I use CC 2018)

The picture you want to use as your header

One brush preset (more on that later)

(optional) A gif texture/overlay (more on that later too)

First, let's make a new document. Make sure to set the width to 640px and height to 360px (640 x 360).

Now, drag the picture you want to use as your header onto the blank document. Resize it, arrange it until it suits what you're looking for. You can also color the picture now. If you're not familiar with colorizing pictures, there are plenty of great coloring psds available online, on Tumblr, Deviantart, etc. You can also find some on my graphics blog (here).

Here's my document with the picture resized, sharpened and colorized:

Now that's very nice for sure, but how do I make this more interesting? By blending it into the background! There are a few different ways to do that, I'll only be demonstrating the following, which are the three most common ones:

The gradient effect

The brush effet

The geometrical shape

1) THE GRADIENT EFFECT

Go to Layer > New Fill Layer > Gradient.

You can decide the color you want your picture to fade into from here. I like white, so I'll keep it like this. Here's the final picture:

The gradient effect is the easiest, but the others are quite simple too. Moving on to the brush effect!

2) THE BRUSH EFFECT

Using a brush (again, you can find plenty on Deviantart, download the ones you like!) you can get a lot more creative with the shape of your header. I like the "ripped paper" look, so I'll be doing for this here, but you can do the same thing using flower brushes, water color brushes etc.

I'm using a brush I made, you can download the full pack here.

I'm making a new layer (Layer > New > Layer) that I'll set above my background picture. We will be painting on this layer, so make sure it is selected!

Selecting my brush, I'll make sure the angle is at -20, then position it on the canvas and click 3-4 times:

Good! I'm dragging the painted layer down a bit, and now we have this:

We're almost done. You'll notice the layer here is slightly transparent, which we don't want. In my case, I like to use a layer mask, because then you can easily change the color of the layer depending on your mobile blog background color.

First, go on the layer with the brush effect, press Command on Mac or Control on Windows and while pressing, click on the box of the layer:

This will automatically select the brush layer on the document:

Now, without deselecting, create a new layer. Using the Paint bucket tool, fill the selected area with the color you want. You must make sure that it is no longer transparent or semi-transparent, therefore you might have to click 2-3 times! I'm doing this with white, but you can use whatever color you like (it doesn't matter for the rest of the process). Once I'm done, it looks like this:

We're not done yet! If you want to be able to easily change the color in the future, it's time to make a layer mask. Let's select this new, filled layer you made using the keyboard shortcut I gave earlier (Command or Control + click on the layer box). Once you've selected the layer, create a new group by clicking on the little icon at the bottom on the right:

And next, click on the Add layer mask button here:

If you did this right, your layers will look like this:

Now, select Layer > New Fill Layer > Solid Color, and select the color you like. Don't forget to drag this layer into the group, and tadaaa, you can change the color whenever you wish by double clicking on the layer! (don't forget to uncheck the visibility of the two layers marked above as "filled layer" and "semi-transparent layer" by clicking on the little eye icon)

3) THE GEOMETRICAL SHAPE

To make the bottom into a geometrical shape (round, diamond, etc), you can use the shapes available by default in Photoshop. I very rarely use geometrical shapes in my edits, so I'm certain there's a simpler way to go by but this is how I do it. I'll be using a round/elliptical shape.

Select the Ellipse tool. Next, "draw" your ellipse shape on your canvas. I drew it to look like this:

If you're not satisfied with the shape, you can change it by selecting Command + T on Mac or Control + T on Windows and resize it.

Next, we're going to use the same keyboard cut as in the Brush effect one: Command on Mac, or Control on Windows + click on the box of the ellipse layer. This will select the shape:

Now, create a new layer (Layer > New > Layer), untick the visibility of your elliptical layer by clicking on the little eye icon next to the layer and go to Select > Inverse.

Your canvas should look like this:

Next, select a brush tool set to a normal hard round tip. Set the size to something like 70 (it just has to be large enough) and paint the bottom part of your picture as shown below. The select tool is protecting you from painting in areas you want to preserve:

Use Command + D on Mac or Control + D on Windows to deselect the layer. You are left with a nice rounded header!

GIF TEXTURES/OVERLAYS

Now that you know how to make a nice bottom border for your header, you can add a gif overlay just to be extra. First, find the gif texture you like. It's better if it's a white/light motif on a black background! @octomoosey​ has some awesome gif overlays you can use. In my case, I'll be using this one.

I'm adding the gif overlay to this version of the header:

First, open the gif in photoshop. Using the select and crop options, resize the gif so it's the same size as your header: 640 x 360 px.

Next, select all the layers of the gif and group them into a group titled "gif" (or whatever else you like)

Back on your header canvas, if you've followed my tutorial from the beginning, here's a reminder of what your layers should look like:

Select them all and drag them onto the gif. Using Command + T (Mac) or Control + T (Windows), recenter it correctly on the canvas. Once it's done, your layers should look like this:

You're going to drag the "gif" file between "image" and "Group 1":

The image is gone, but don't worry! Let's set the blending mode for the "gif" group:

The current option is Pass Through, but I'll be selecting Lighten. And voilà! Once exported, this is the final result:

And there you go, those were the basics to making mobile headers à ma façon. If you have any questions or encounter issues, feel free to hit me up!

[watching-pictures-move]

Put On Your Raincoats #17 | The Erotic Reveries of Rinse Dream

Cafe Flesh opens with a title card orienting us to its post-apocalyptic setting. After a calamitous apocalyptic event known as the "Nuclear Kiss", the world is made up of 99% "Sex Negatives", and 1% "Sex Positives". The Sex Negatives can't have sex and can only watch. The Sex Positives escaped such a fate, but are instead forced to perform for an audience of Positives for their vicarious enjoyment. There are many such venues but the one we spend the movie in is the Cafe Flesh of the title, a nightclub where the decor and patronage evoke a cross between punk rock and retro-futurist aesthetics and a hint of Rat Pack era cool. A smarmy comedian in a white tuxedo introduces the sex acts, which are elaborately staged performances that play almost as genre parody with their tongue-in-cheek choreography (plenty of costumed grinding, as with a performer in a rat costume early on, and mimed thrusting, as with another performer in a pencil costume in a later scene) until the turn into the real thing with the requisite close-ups. Futuristic jazz reminiscent of Angelo Badalamenti's music plays over the proceedings.

This serves as the background to a story about a woman who may or may not secretly be a Positive (played by scream queen Michelle Bauer and, in certain scenes, a body double) and the impending arrival of a legendary Positive performer known for his virility (a towering, square-jawed Kevin James, introduced in black sunglasses and an oversized blue suit). We also get a sense of the tensions in this nightclub ecosystem, particularly between the heroine and her boyfriend, a new performer, the comedian, the owner (who puts the comedian in his place in one scene by having him cruelly recite "the rhyme"). (The comedian is played by Andy Nichols and the owner by Tantala Ray, both of whom played interview subjects in Gregory Dark's Devil in Miss Jones two-parter, which leads me to believe the latter was influenced by this movie, as Nichols in particular doesn't have many screen credits.)

This movie apparently was a bit of a success in the midnight movie circuit, and it's not hard to see why, based on the strength of the mise en scene and the performances. The cool, smoky backgrounds of the reaction shots provide a nice counterpoint to the avant garde looking performances and give the highly stylized setting a nice evocative quality. There's also a level of genre commentary here, as the story ultimately is about the heroine's agency over her pleasure and the roles sex performers are forced into by greater society, ultimately imprisoned by their own abilities. Truth be told I found the performances got a little less enjoyable when they got down to business with the penetration and whatnot (it gets harder to pull off inspired choreography when one of your appendages is stuck in another person, or vice versa), but I also think it's necessary for those themes to resonate.

Cafe Flesh was directed by Stephen Sayadian, credited as Rinse Dream, and he'd previously used that pseudonym on Nightdreams, for which he co-wrote the screenplay. (The director was Francis Delia, who went on to a career of directing mostly music videos and television, while the other writer was Jerry Stahl, known for his memoir Permanent Midnight, as well as writing for shows such as ALF and movies such as Bad Boys II.) This movie similarly concerns agency over female pleasure and is about two doctors (Andy Nichols and Jennifer West) conducting experiments on a mentally ill young woman by inducing erotic dreams and monitoring her brainwaves. There's a dream involving a giant, monstrous jack-in-the-box. There's one with a pair of cowgirls and something other than a gun stored in a holster, with the cowgirls spouting stilted dialogues in robotic monotones, a Sayadian trademark of sorts. Wall of Voodoo's cover of "Ring of Fire" plays over the action (I'm not sure if they paid for the rights, but Delia and Sayadian did direct videos for the band). There's one with a group of bedouins sharing a hookah and then her. There's a giallo-esque scene involving a masked assailant, but this happens after an aborted nightmare about a shrieking man with a hollow chest from his pants emerges a shrivelled up, monstrous baby. Did David Lynch jack off to this? I wouldn't rule it out, folks.

There's a scene where she blows an anthropomorphic box of Cream of Wheat, while a jaunty cover of "Old Man River" plays on the soundtrack and a man dressed as giant piece of toast dances and plays saxopohone. An IMDb user review cites this scene for its cutting racial commentary, but I found this tonally jarring with the rest of the movie. After this, there's a trip to hell where a demon and his minions subject her to such horrific tortures as prodding her with a giant claw and then an even more fearsome double-pronged contraption. The scientists argue over fears that they gave her too much stimulation. ("This woman's on the brink of an orgasm. Let her enjoy it. She doesn't need interruption from a man." "You call it orgasm. I call it breakdown.") The movie then makes way to its final set piece, involving fog, a background of blue sky and pillars and soft piano music. The cinematography in this scene is in stark contrast to the mostly shadowy, intimate imagery of the previous scenes, with the camera pulled up to admire both their bodies and the scene continuing for some time after the climax. It almost brings to mind a certain scene in Jerry Lewis' The Ladies Man that I found disarming in its stylistic and tonal break from the rest of the movie. Without revealing too much, the film's coda sets the record straight.

It probably doesn't say anything flattering about me that I found most of this pretty hot. The movie has a tinge of horror running through it, giving many of the sex scenes (especially the one in hell) a real tension, while the scientific framing device gives it a cold, calculating quality reminiscent of David Cronenberg. (Alas, this doesn't predate some of his most influential films, but for all we know, David Cronenberg jacked off to it as well.) A few of the character names (Mrs. Van Houten, Mrs. Chalmers) make me suspect that Matt Groening might have seen (and jacked off to) it as well. This is pure speculation on my part, but as far as I'm aware, none of them have denied it either. The movie's distinct tone is grounded in an impressive lead performance by Dorothy LeMay. I wasn't all too impressed with her work in Taboo II, but here I think she skillfully evokes the heroine's derangement and "erotic trauma", in the words of the scientists.

Sayadian and Stahl collaborated again for Dr. Caligari, a relatively mainstream effort that also found some success as a midnight movie. I say "relatively" because it's still pretty fucking weird. The movie positions itself as a loose sequel to Robert Wiene's classic The Cabinet of Dr. Caligari, this time about the granddaughter of the original Caligari conducting illegal experiments in an insane asylum. From the earlier film it pulls a German expressionist influence, but combines it with a campy, MTV-inflected style to present the asylum as a warped funhouse. The dimensions of the architecture are distorted and full of odd angles, decorated in a mixture of pitch black and gaudy day-glo colours (lots of yellow and pink costumes). This is not a pornographic movie, yet it's hardly less obsessed with sex, as the villain's plan concerns the weaponization of female pleasure. There's also the occasional grotesque sexually-charged image to spice things up, like the sight of a woman with giant, phallic-shaped breasts. Some of the imagery also gives it potency as horror, like an oozing sore or a cake full of intestines. There's a lot of strange, stilted dialogue, as in this exchange:

"Describe your life in three words or less."

"Un-ending torment."

"Elaborate, please."

"Blankety blank blank."

"Thank you for being specific."

This is matched by the angular body language of the villain, played by Madeline Reynal in a deadpan yet very physical performance. This movie also brings into focus a voyeuristic theme, which was present in those earlier movies but didn't seem quite as confrontational in its presentation. A character utters, basically to the audience: "I know you're watching me. I feel your eyes like wet fingers touching me in special places." (This is a line of dialogue that appeared in the next few films I'll talk about.) Truth be told, I was a little exhausted by the sensory overload of Sayadian's style here, and in retrospect appreciate the way the sex scenes act as a counterpoint to his more aggressive tendencies in his more explicit films. But at the same time, this is full of memorable imagery and has a weirdly compelling lead performance. I don't know if there's much else quite like it (or at least operating at this force), so it gets a recommendation.

Sayadian followed up Nightdreams with a few shot-on-video sequels. I skipped Nightdreams 2 as I could only find it in a heavily degraded transfer, but I did make time for Nightdreams 3, which has a self contained story that's essentially a more explicit if relaxed version of Dr. Caligari, once again concerning a doctor conducting sinister experiments at an insane asylum. (This time her experiments mostly involve just fucking her patients and other staff.) There's more of the stilted dialogue, even closer to non sequiturs than they were in the earlier film, with the music by Double Vision providing an off-kilter soundscape to match the weirdness of the dialogue. (Highlights include "My pussy's like an erotic assassin" and "I happen to know she has a thing for longshoremen. Just mention On the Waterfront and she gets randy pants.") The video imagery quite frankly is pretty ugly, with the green carpet and purple drapes that decorate the set looking especially ungainly, yet Sayadian seems aware of this, as when he uses video's flattening effect to create a crude facsimile of a split diopter shot. The video collage style he adopts meshes uneasily with the plot, as if to call out its meaninglessness, giving the whole thing a slight MST3K vibe, especially as characters speak directly to the camera.

Some of these tendencies are honed to a more pleasing form in the two-part Party Doll A Go-Go!, where we spend time with a number of attractive, shapely women in bright coloured lingerie as they spout '60s-inspired dialogue at the viewer in between scenes of copulation. (Not all the dialogue is '60s-tinged, however: "They're overcome with retro wordplay...Us modern girls prefer synthetic future".) Like many pornographic films, this is a collection of loosely related sex scenes, but Sayadian's construction turns those genre requirements into parody, having his characters offer colour commentary (albeit channeled through his campy prose) on their own scenes and even getting interrupted by the stars of subsequent and preceding scenes. The number of quotable lines is even greater than those earlier films, and I admit I was scrambling to write down the choicest ones as there were so many. The best lines go to Jeanna Fine, who also has the huskiest voice and the most penetrating stare, so she was easily my favourite. I certainly was not unmoved when she insisted that she's "never run around buck naked and bubbling for man-winky" or "never wrapped[her] lips around a throbbing johnny". (She does not, however, deny having ever interacted with beef bologna.) Or when she asked the audience "Was I a bad girl?" (said three times in rapid succession) or if we've "ever seen a double orgasm on videotape?" (She adds "Watch, pornhound" and "Calling all porndogs, watch me work, uh-huh.") And I definitely wasn't unmoved when she demonstrated her talents on a dildo dangled in front of her (which she refers to as an "artificial man-thing", a "chubby rubber fella" and a "flying princeton"). No, definitely not unmoved.

There isn't much of plot here, except in the latter half when one of the girls can't stop "the wiggle" and needs to be rescued with an emergency injection of "boy jerky". Sayadian, once again bringing voyeuristic concerns into focus (the characters all talk to the camera), seems to be satirizing the very idea of porn having premises and certain their lazy execution. Even the production design is transparent in its chintz (the movie is shot entirely on the same set, with the bare minimum in alterations to the set dressing to make it look even slightly different), while the video images, which feature lots of Dutch angles, zooms and whip pans, match the campiness of the whole affair. This is probably a little long at a combined 2+ hours, but at the same time, it settles into a nice groove and is full of really attractive and reasonably charismatic actresses delivering amusing dialogue and indulging in "girl homo" (sometimes "big time girl homo") or getting "boy jerky". I don't have much interest in delving into '90s pornography and shot-on-video productions strain the dignity one can feel while trying to watch pornographic films as actual movies, but I'm not gonna pretend I didn't have a good time with this.

[finnwolfhard7137]

The Art of Falling in Love-Finn Wolfhard × Reader

Chapter One is here...

Chapter Two: Film Day

Word Count 2.2k

Warnings: fluff

_____________________________________

You wake up to your phone buzzing: you mother texts you Good morning sunshine, I hope you have a great day. You visibly smile and respond: Thank you mom, good morning I love you. 

You look at the top of your phone screen and view the time: 7:02 a.m. You sigh from exhaustion but you know that you can't go back to sleep. You have to get ready for the long day that you are going to have. First thing's first, breakfast. You eat some cereal and watch a YouTube video of your choice. After all of that is done, you get up to brush your teeth and freshen up before your artists come in to do your hair and makeup. 

…

Jamie "Hi, good morning! How did you sleep?"

"Pretty well, how about you?"

Jamie "Oh well I am used to sleeping in trailer's so I slept like a baby." 

Carmen enters the trailer, "Speak for yourself! I barely slept last night."

"Aw I'm sorry!"

Carmen "Don't be, sweetie. Now, let's do your makeup." Her and Jamie spend almost two hours doing your hair and makeup, curling and perfecting you for the camera. You swear to yourself that you have never looked this good before! 

"You guys just did that!? Like...how?"

They giggle, "It's our job sweetie. Do you like it?"

"Of course I do." Your makeup is light but flawless and your hair is shiny and curled to perfection. You almost can't stop looking at yourself in the mirror. 

Jamie "Alright, you are completely done gorgeous! John and the producers will be in soon to go over a few things."

"Okay, thanks so much." You hug them and they walk out of the door. Being able to feel confident makes you even more excited to see Finn today. Maybe John will allow you to film with him..

John "Hi, Y/n. I know that we have met before but this is my producer Nina."

Nina "Hi"

"Hi, it's nice to meet you."

John went over your role with you and the ways you should act and so on. He was so polite and kind, it put your mind at ease a ton. "Okay, so very simple."

"Yes, thank you. That makes me feel less nervous." 

Nina "Don't be nervous at all, I saw your audition Y/n, you are very talented."

"Thank you, Mrs. Nina!" 

Nina "Oh please, just Nina." You offer her a nice smile and they make their way out.

John "See you out there, kid." 

__________________________

When you see Oakes, he gives you a warm hug and compliments your hair and makeup.

"Thanks! They did a good job, didn't they?"

Finn "Oh yeah!" He walks up from behind you, catching you off guard. 

"Hey!" He gives you a tight hug and the biggest smile."

Finn "You look beautiful."

"Thank you. Way better than how you met me last night.."

Finn "No, no! You looked good in your pj's last night too, don't get me wrong."

"Thanks." You try your hardest not to blush but you can't help it.

John "So, I am guessing that you met Finn!"

"Oh yeah, he came to say hi to me last night."

John "Well that is good, you two are going to have to be around each other for a while so get comfortable with each other. We start shooting in five."

Oakes "Okay!" 

Finn "Maybe we will get to film together after all."

"That would be fun. I haven't read it in the script yet though."

Finn "Not everything has to be in the script for it to be in the movie, Y/n."

"Oh!"

Oakes "For example, for my last film my co-star and I were literally just bullshitting and we didn't notice that they were still filming and they kept that little bit in the movie."

"That's awesome." You, Finn and Oakes talked until it was time to start shooting. 

….

Your first scene is with Oakes in a museum. Nothing was said and it was quick because it was literally the first scene for the movie. They took three different shots of the same scene and then they called it for the first scene.

When they call cut, you turn around and see Finn sitting back with a few of the co-stars and smiling at you. Has he been watching you this entire time? If so, that is so adorable! You move a stray piece of hair away from your face and smile back.

Oakes "Oh, I think he likes you."

You joke "Shut up!" You playfully nudge him and he nudges you back. This was going to be one of the funnest times of your entire life.

Finn "You did good!"

"Thanks!"

Ansel "Finn, you haven't introduced us! I'm Ansel, I play older Theo."

"I think I have seen your movies before, hi!"

Ansel "That's awesome! I hope you liked them."

"Of course. Are you filming now?"

Ansel "Oh no, I just wanted to stop by and see old friends. I don't start filming until tomorrow."

"Oh okay." Sarah Paulson comes up behind you.

Sarah "Who is this cutie?!"

"Oh my god!" She laughs and pulls you in for a hug, knowing you were an obvious fan of hers. "I'm Y/n, I play Pippa."

Sarah "Ohh okay! I saw the last bit there, you mastered the facial expressions girl."

"Thank you!"

Oakes "Oh hey, step mom!"

Sarah "Hey kiddo!" They laugh and hug each other. You have to pinch yourself because it does not feel real. You are not only around Finn, now you are around Sarah, one of your idols in this industry. 

Finn "Did you have fun shooting that scene?"

"I guess, yeah. I'm looking forward to doing my lines."

Finn "Yeah, the dramatic scenes aren't as fun."

"Yeah, are you shooting soon?"

Finn "Laster on during the day. I do the school scene today."

"I'm excited to see it!"

He speaks in Russian that you don't understand. He laughs at your reaction.

"Holy shit...you are good at Russian!"

Finn "Practice. I have to say quite a bit in Russian."

"It sounds like you have adapted the language as your own."

Finn "You're too sweet." Oakes starts in the conversation, breaking you out of your little trance that he had you under. 

Oakes "I still can't believe that you have to call me Potter.."

"No way."

Finn "Those glasses do look like Harry Potter's...it only makes sense."

Oakes rolls his eyes and you three laugh. Sarah and Ansel talk to you a bit more and get to know you while Oakes films his second scene with Nicole Kidman among others. Seeing Nicole act in person is astonishing, she is so gifted. You sat next to Finn while you both waited your turn. Every once in a while, he would give you pointers on things that Oakes and Nicole did. He knew that you are fairly new and wanted to help you the best that he could which made you feel so appreciative. 

__________________________

You had to change hair and makeup for your next and last scene for the day. Since your character was in the museum 'bombing', you had to get a prosthetic put on your head, making it look like you had a huge scar. It was so well done and so believable that it left you shaken. 

"You all are so talented.."

Bill "Thank you very much!" 

You change wardrobe and make your way to the next area to film. This time, it is a bedroom where you and Oakes have to shoot. When he sees you, he is taken aback.

Oakes "Woah!"

"I know.."

Oakes "All I gotta say is that I'm glad that it's not real.."

"Yeah, me too."

John "Alright guys, positions!!"

You lay down on the bed and do your lines as well as Oakes. This took way longer than the first shoot, understandably. Luckily, you didn't mess up any of your lines and did them correctly. By the time he called cut, your head was pounding from all of the ups and downs of emotions. One moment, you had to act tired and the next moment you had to be in tears. Oakes noticed and he offered you a warm smile.

Oakes "You are a natural! You had me choken up the whole time!"

"Good, I'm glad! That means that our scenes together will move the audience." 

Oakes "It really will. And here you were, saying that you weren't good. Are you kidding?!"

"You're the best." You give him a hug and go back to your trailer where they undress you and take off your prosthetic and makeup. After most of the day having it all on, it felt wonderful when it all came off. 

Jamie "John and Nina told me how amazing you and Oakes did today.."

"Really?!"

Carmen "And Kiira (the casting director) told me how glad that she was that she casted you for Pippa."

"I might cry! That is so sweet." 

__________________________

You get into your own clothing and get back outside. You want to see Finn's scene and support him like he did for you. You take a seat next to Sarah and Luke (Luke Wilson who plays Theo's father)

The scene is about to start when Sarah leans in and whispers to you, "Ya know, he hasn't stopped talking about you since you got here right?"

"Really?"

Sarah smirks, "mhm. I think he likes you. But hey, that's just me."

You blush and look away. Does he really like you? How could he? You don't look like every other actress, you are just you...nothing special. But maybe he does.

Finn and Oakes scene lasts on and off for three hours. Finn was even better of an actor in person. Seeing the way he poses himself as a totally different person with a totally different language was so interesting to watch.

When he finishes, they make their way back to where you all are at and he sat down next to you. He notices that you are smirking at him and smiles.

"You are too good at this."

He starts laughing which makes you happy, "You're just saying that."

"No I'm not! Finn, you are so talented, it's crazy."

Finn "Thank you so much. So are you, I saw you on your last shoot," he takes in your appearance, "Those crying parts were hard to watch without me crying and I hardly ever cry unless I have to."

"Really? Thank you." 

Finn "Yeah, no problem."

Oakes "Well I don't know about you guys, but I am starving."

"I could eat."

Finn "Let's get out of these clothes and then I'll drive us to get something to eat!" You and Oakes agree and you wait for them to come out of their trailers. 

You are wearing a pair of light blue ripped jeans and a white kind-of-cropped hoodie with converse. Finn comes out wearing jeans and a hoodie, same as Oakes. Sarah notices that we are all wearing hoodies and chuckles.

Finn "What?"

Sarah "I just love how you are all wearing hoodies, I love it."

"Hoodies are so comfy!"

Finn "What she said!" You four laugh and then leave to get some food.

…

Oakes let's you sit in the front with Finn and you all blare good music with the windows down. He decides on getting Chick-fil-a and who could say no to that?! At the restaurant, you all talked about anything and everything: family and friends, music, movies and TV shows, favorites and inspirations. You could talk to them all day long and never get bored. You truly feel like this job is changing your life for the best because you have already gained so much. 

When you get back to the trailer park, Oakes says good night and leaves you and Finn alone.

Finn stops by your trailer and pauses, "You really did good today."

"Thank you Finn, it means a lot coming from you."

Finn "I know, I am really glad that you are here. I don't think that I have ever had such a good time on set before."

"Me neither."

Finn "Hey, I was thinking that if we wake up early enough, I could take you to breakfast if you'd like?"

"Yeah, yeah I'd love to."

Finn smiles, "Alright, awesome. So it's a date." He gives you a warm embrace and then says good night.

You sit down on your bed and call your mother to catch her up on your day.

Mother "I'm so proud of you! I knew that you would do amazing today!"

"Thanks mom."

Mother "And Finn…how is he?"

"Amazing."

Mother "tell me, tell me."

"Mom I'll text you, I love you."

Mother "Oh alright...I love you too. Sleep tight."

You text your mom and tell her how nice Finn has been and how he asked you on a little date tomorrow. She gushes over it and makes you blushy. Everyone tells you that he likes you and you are starting to believe it. You turn off the lights and climb into bed and fall asleep with a smile on your face.

_____________________________________

@moriartysringtone7137 @thethirtysomethingfangirl @coldmuffinpartycloud @spidey-starky @jk97-wolfhard @btsarmygirl417