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thelaurenshippen · 5 months

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finally taking the time to read through the SAG agreement summary and oof, I hope they have an AI town hall soon because...well, there are things to discuss!

so, in case folks are curious, here are my immediate takeaways from the deal as a SAG actor, a SAG producer, and person who is not any kind of expert but spends a lot of time being skeptical of contracts I sign. this is a summation/commentary, not a holistic breakdown of every point, nor even an in-depth discussion of the points I do talk about. and it is, of course, in no way legal advice or voting advice.

this post is already maybe the longest post I've ever written on tumblr (lol) and I feel like I've barely scratched the surface. to be clear, nothing I'm saying here represents how I'm going to vote, how I think other actors should vote, or my be-all-end-all stance on a particular issue. this is me reading through, flagging what concerns me, and asking myself questions. and I'm here to take your questions too! though of course my expertise is limited.

(what?? something I wrote got annoying long?? in my tumblr? it's more likely, etc. huge write-up after the cut)

the good

self-tape stuff: this is one of the more niche/the thing that the general public will find least interesting, but they've put in a lot of provisions to make sure self-tape auditions have limits (# of pages, no stunts, no nudity, doesn't have to be professionally shot, etc.) which is amazing because these types of auditions have gotten out of control since the pandemic. this feels like a great gain

data transparency: in no world did I think the streamers were ever going to agree to any data sharing with either the wga or sag so even though the data is limited, this still feels huge to me.

folks who sing and dance will be paid for both of those things now, which is great

they've added MLK day and Juneteenth as holidays (about time)

a performer cannot be required to translate their own lines

principal performers are required to be given hair and makeup consultation or reimbursed for obtaining their own services - this seems like a small thing, but it's being put in here pretty much entirely because HMU services have generally been appalling when it comes to textured hair/a variety of skin tones. there's also stuff in here about working to hire more diverse HMU artists

it looks like it's going to be easier/provide a path for folks getting IMDb credits even if they're not credited on screen

miscellany: there's a bunch of gains in wage increases, P&H increases, relocation fees, franchise language etc. that all seem good to me, though my limited knowledge on those subjects prevents me from going in depth on them.

this is not important, but it tickled me, there's a term to replace all instances of "telegraph" in the contract with "email & text" which like...why has it taken us thirty years to do that lol.

the "...hm..."

intimacy coordinators: oof. when I watched the press conference SAG gave, I was fucking thrilled when they said that the new agreement required folks to hire intimacy coordinators for nudity and simulated sex scenes. that was almost reason enough for me to vote for it tbh - not requiring it is the exact reason I voted no on our last contract. however, reading the contract summary now, the exact language is: "Producer must use best efforts to engage an Intimacy Coordinator for scenes involving nudity or simulated sex and will consider in good faith any request by a performer to engage an Intimacy Coordinator for other scenes. Producer shall not retaliate against a performer for requesting an Intimacy Coordinator." this....sucks. "best efforts" and "good faith" are not the same as "required". IMO, an intimacy coordinator is the same thing as having a stunt coordinator or, like, any number of health and safety requirements. OSHA doesn't say you must "in good faith" put your "best effort" to providing fire exits. it's great that performers can request coordinators for any kind of scene, and this is still the strongest language we've ever had in a contract but....c'mon guys.

residuals: look, I can't speak to these new terms in any concrete way. there are increases, there are bonuses for streaming success, there's a whole thing about a fund regarding those successes that I need explained to me more in depth, but overall, it looks like we made some in-roads here. as someone who employs actors under digital distribution contracts that has no residuals (podcasts), I know how genuinely cumbersome the unholy trifecta of "views-success-profit" can be (as in views do not equal success, success does not equal profit, etc.). I also have no sympathy when the majority of companies dealing with that cumbersome trifecta are massive media conglomerates. anyway, long story short, idk if this is good enough, I'm hoping to attend the next info meeting sag has.

the bad

the new hair/makeup provisions are explicitly for principal actors. while I hope it leads to better, more inclusive HMU services all around I haaaate that this implies supporting or background actors (who oftentimes also have to sit in HMU) don't deserve the consideration. (then again, background actors are usually required to do their own HMU/bring their own costumes, but for productions where that's not the case, the same HMU provisions should apply IMO)

as with every contract, there's language that could be stronger, clarity that needs to exist, and important things missing - but this isn't the final contract and I'm not a lawyer, so I'm gonna leave that stuff to the experts.

but, "lauren", you say, "what about all the AI stuff? where does that go?" well, reader, I was planning on including that in the above but it's the hot-button issue right now and I think it's wickedly complicated, so I wanted to break it down separately, after I had a chance to point out all the good-bad-in-between stuff that's not getting talked about.

a note: in my career, I've learned there's two big things to keep in mind when reading a contract you might sign:

what is the worst case interpretation of this language (thank you to my lawyer, prince among men, for teaching me how to do this in practice (that said, anything I say here is not legal advice, he'd also want me to say that lol))

what are you willing to lose/compromise on/what are the limits of your pragmatism? contracts are not about a company giving you everything you want out of the goodness of their heart - it is always a compromise. pragmatism has to be a part of the equation.

so, with that said, I'm going to play a little devil's advocate here, and a) try to find the good/the pragmatic and b) catastrophize the worst case scenario. but first, it might be handy to look at this SAG infographic for some basic definitions. let's go.

the AI good

a ton of stuff here requires consent. that is not a small thing, and the consent continues even after your death (whether it was a yes or no; though this can be complicated by your estate/your union)

the language does establish that the consent must be a separate signing from the employment contract, even if its in the contract, which is great (but more on that below - timing matters)

actors often do get paid for use of their digital replicas, though it's different based on the use/type of replica.

the actor must be provided with a "reasonably specific description of the intended use". this language is vaguer than I would like, because it allows producers to decide what "reasonably specific" and "intended" means - there's always going to be some vagueness when it comes to this specific thing, but a good start would be for producers to require not blanket consent, but conditional consent for each significant use of digital replicas.

if the replicas are being used in other mediums, that must also be consented to, thank god.

replicas cannot be used in place of background actor counts on a given day - if I'm understanding this correctly, this means a production can't just have a bunch of fake background actors by themselves, they have to engage real people up to a certain number first (which in this new contract is 25 for TV and 85 for movies). we're already filling in background with digital people or copy-pasting of the same crowd over and over and have been doing so since at least the late 90s, so it's good we're continuing to put up boundaries around that.

the AI "...hm..."

it's unclear (to me) when an actor can be asked to consent. IMO, everything is meaningless if the consent is happening as part of regular contract negotiations. these things have to happen when - and only when - the actor has already been engaged in a role and feels empowered to say no

the use of independently created replicas (replicas pulled from existing footage, not created by the actor) being allowed without consent under first amendment reasoning - this is obviously concerning a lot of people bc first amendment arguments are so broad. that said, there's a pragmatism part of me that understands this is already happening/has been happening for a while and used in ways I think are perfectly fine - I was just watching the new episode of For All Mankind (one of the best TV shows right now!) and it's an alternate history, which meant that in the opening scenes of this season they had some bonkers good deep fakes of Al Gore saying stuff he never said. I think that's okay to do in a fiction show that imagines a different US history! "but Lauren", you might be saying, "Al Gore isn't a member of SAG!" are you sure? are you positive? because I'm pretty certain he is - he was in several episodes of 30 Rock, way more people are in SAG than you think (every NPR reporter for instance), and the two worst presidents we've had in the last 50 years (yes, those ones), are both definitely members of SAG (even if one is dead). now, the other side of this is that public figures like politicians are under a different social contract than actors, and if they wanted to sue, they could, unlike the average SAG actor who might have their image abused. this is why this is in the "hm" column - deep fakes and parody/satire/commentary use of replicas is already here and there's always going to be a 1st amendment argument to make, so we need to figure out how best to limit those and protect the most vulnerable.

alteration: with this language, a project can digitally alter without consent if the script and performance stays "substantially" the same. again, this language is too mealy-mouthed. I don't know that I have a huge problem with a line of dialogue getting replaced with a digital version of that actors voice if, for instance, a word was mispronounced, or wind garbled the sound or whatever - yes, it would eliminate the need for ADR, but if we put some limit on it like..."if there are more than 5 lines in a given episode/movie that require digital alteration in the service of clarity, the actor must be engaged for an ADR session or paid for the digital replacement" then I could see this being workable. I'm also personally okay with things like costumes being digitally altered but, again, we need limitations on that. digital altering cannot replace the art of costuming but, for instance, if a costume needs to be altered to include a hate symbol or something, I think that's fine (example: I have friends who worked at the VFX house for an alternate history TV show that involved a lot of Nazi costuming and set design - a huge part of that VFX house's job was to put swastikas in places, rather than props making nazi flags. I'm okay with that!) but again, these fringe cases do not a compelling arugment make, and this contract language can be interpreted too broadly for my comfort! like everything else in this "hm" category, I need to see the final contract language to decide.

the AI bad

there's a bunch of circumstances in which actors don't get paid for creating their replica/use of it and those circumstances are too broad for my taste.

synthetic performers - this is just awful. no. no, we should not be allowing AI to generate entire actors. just............no. there's some language about the producers having to talk to the union if the synthetic performer is "used in place of a performer who would have been engaged under this Agreement in a human role" but this doesn't apply to non-human characters so....wouldn't that be all roles?? leaving the producers room to be like "this role has to be synthetic, we never would've cast a human!" is bullshit. also, even if we're having AI create a magical talking unicorn whole cloth (which, like, also no, we have artists for this), that unicorn still needs to be voiced by a human person. this whole section is a disaster.

the exceptions to consent for digital alteration are bad-bad. I talked about the potential ADR replacement above and that has a whole host of issues with it that I didn't even get into, but I can see the argument. the rest are very troubling:

there is an exception under "any circumstance when dubbing or use of a double is permitted under the Codified Basic Agreement or Television Agreement" - okay, so does this mean we can replace dubbing artists and stunt performers entirely? this section is about digital alteration, but who's to say alteration couldn't turn an actor broadly miming a fight into an entirely digital, expertly performed fight that usually a stunt double would have done? with AI translation technology, does this mean we're replacing VO artists for dubs entirely? bad!

similarly, "Adjusting lip and/or other facial or body movement and/or the voice of the performer to a foreign language, or for purposes of changes to dialogue or photography necessary for license or sale to a particular market" - Justine Bateman has a great twitter thread on the terrible puppetry potential of this but I want to draw attention to the particular market bit - we all know that selling to china is such a huge part of studios' strategies that they'll remove entire scenes or lines around queer stuff. to me, this clause makes all of that so much easier. I know the argument here is going to be "we can replace swear words and license it for kids!" which.......sure? fine? but, uh, we already have ways to deal with that? and the potential for abuse here is terrifying to me. with all the digital alteration stuff too, there's just so much icky implication for the beauty/body standard to get so much worse.

if a background actor’s digital replica is used in the role of a principal performer, they'll be paid as if they actually performed the days for that role, which, sure, but uhhhh why are we saying it's okay for a digital replica of a background actor to suddenly be a leading role!?!?! I can't think of anything more demoralizing than going to set to act in background (a job I've done! an important job! a fun job a lot of the time! but creatively limited) and then getting a much bigger role (the dream!) and.....not being able to, you know, act that role or be in scenes with other principal actors or do the thing that you've dedicated your life to doing. nightmare stuff.

woof. there's so much more to say but I'm going to leave it there. these are the concerns I'm going to go into SAG's meetings with, and the concerns I'll be considering as I decide how to vote. I know there are things I didn't address and very possibly things I misinterpreted or misrepresented - if you're an actor, I highly recommend a) reading that Justine Bateman thread and b) attending SAG's meetings to ask questions and express your concerns. and I'd love to hear what y'all think! my ask box is open.

#sag aftra #sag #sag strike #AI #me: I'm just gonna look through the terms #me: I'm just gonna do a quick write up before starting my day #clock: it's been almost two hours #not to keep hammering at the 'this is not me saying that I am correct or that I've made up my mind' bit #but this is the piss on the poor reading comprehension website so #I'M NOT SAYING I'M RIGHT #TAKE ALL THIS WITH A GRAIN OF SALT #i mostly have questions and concerns and am pleasantly surprised at some stuff #knowing that there *is* a degree to which we will have to compromise #and I'm WILDLY concerned about other stuff #would love to hear what other SAG members think

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buddie-buddie · 6 days

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you'll find that you were never not mine

5.1k - explicit - buck x tommy - read on ao3

In his thirty two trips around the sun, Buck has done plenty of things he’s proud of. He’s run headfirst into burning buildings. He’s saved lives. He’s reunited with his sister and survived being crushed by a ladder truck and been named the legal guardian of the coolest kid in the world.

He’s felt pride before. But never like this.

This is different. It’s intoxicating and addicting and everything Buck never realized he could have. Everything Buck never realized he deserved. Not until now.

Not until Tommy.

The swell of pride behind his ribs, the warmth flooding his chest and beating through his body, it isn’t foreign, not entirely. But he’s never felt it all quite like this. It’s never consumed him like this. It’s never been so heady, so dizzying, so absolutely electrifying. He wants to bottle it up and carry it around in his pocket and take hits from it when no one is looking.

It’s a high he’d gladly spend the rest of his life chasing, if he could only be so lucky.

Never before has he felt so alive, so proud and worthy and good. There’s a deep, intoxicating pleasure to it, tiny bursts of ecstasy skittering across his skin and dancing up his spine as he looks down at Tommy.

Tommy, who’s lying beneath him, with his eyes sparkling and a wild, sated grin stretching across his face. His chest heaves as he catches his breath, his heart hammering beneath kiss-bitten, come-covered skin. He has one hand still fisted in the sheets, the other splayed across Buck’s chest.

“C’mere,” Tommy says, voice rough and heavy. He sounds absolutely destroyed. And that alone sends sparks flying across Buck’s skin, electricity crackling behind his chest as he realizes it was because of him. He did that.

The pride flares in his chest as he lets Tommy pull him in for a filthy, open-mouthed kiss.

“S’that good?” Buck mumbles against Tommy’s mouth.

Tommy pulls back, just enough to give Buck a look of absolute bewilderment. “Was that good?” he echoes, eyes wide. “I haven’t come that hard in–– I don’t even know. I–Yeah,” he says, huffing out an incredulous laugh. “Yeah, Evan. It was good.”

Buck’s breath catches in his throat, pride swelling in his chest as Tommy’s praise sets him ablaze. As does the way he calls him Evan. A name Buck usually hated now makes warmth bloom behind his ribs when it falls from Tommy’s lips.

Buck can always hear the smile behind it, can feel the fondness as it settles over him, grounding him in a way that still feels just as exciting as the very first time.

Buck just…. well, he never corrected him. He’s usually pretty quick to ask people to call him Buck, but for some reason he never did when it came to Tommy. Buck used to think that his nickname was reserved for the people who know him, but then along came Tommy with his sparkly eyes and his adorable nose scrunches and his kind heart and his fingers beneath Buck’s chin and well– Buck is starting to think maybe Tommy knows him better than he thinks.

It was only a month ago that Tommy had kissed him and his world exploded. Everything was suddenly a little bit brighter, a little bit warmer. Nothing had changed, per se, and yet everything was better. So much better.

It reminds Buck of that part in the Wizard of Oz when Dorothy steps into technicolor. When the sepia tones disappear and there’s nothing but bright, beautiful color. It’s not that Buck’s life before this was bad. It was just… sepia toned. And now that he’s had a taste of technicolor, he can’t believe he ever lived without it.

He’d be lying if he said part of him doesn’t mourn the fact that it took him three decades to get here. But now that he’s arrived? Well, he’s making up for lost time.

Tommy pulls Buck back in for another kiss, this one softer and sweeter than the one before it. And yet, it still sends the same zip of pleasure up Buck’s spine, the same rush of desire thrumming beneath his skin.

Initially, Buck thought that the night Tommy kissed him for the first time was the moment when all the pieces clicked into place. But he was quick to realize that wasn’t the case at all. It wasn’t all the pieces that night, not really. More like it was the edges of the puzzle, the corner pieces that guide the rest of the journey. It was the moment when you press the edges together and have a real perimeter, and for the first time, it all feels possible. It was the realization that something will come of all the jumbled up pieces scattered in front of you. Something real. Something beautiful.

And the more time he spends with Tommy, the more the pieces fall into place.

A few days after their coffee date, Tommy had taken him for a flying lesson– the first of many, he had promised. The flying was fun, not to mention how hot it was having a front-row seat to watch Tommy in his element, this time with permission to stare. But the best part of the day was when they left the airstrip and Tommy reached down and took Buck’s hand in his.

They walked to Tommy’s car hand in hand, and Buck didn’t miss the way his mind quieted the second Tommy’s fingers intertwined with his own. Being with Tommy settled something deep inside of Buck, it eased his mind and quieted the noise he hadn’t realized had once been so loud– not until Tommy smiled at him and suddenly, everything wasn’t so loud anymore. Everything wasn’t so hard anymore.

Buck likes being with Tommy. He likes the weight of Tommy’s hand in his and the brush of his stubble against his chin. He likes the feel of Tommy’s lips on his and the way his skin sparks each time they touch. He likes being on the receiving end of raised eyebrows and nose scrunches and a quiet, fond, “Evan.” He likes it all.

Never before has Buck been in a relationship where he’s felt so good and settled and safe. Which isn’t to say he felt unsafe with any of his exes. It’s just…. it’s different with Tommy. Buck feels safe to explore, safe to not know things, safe to not be the guy with the answers all the time. Safe to figure out who he is, what he wants, what he likes. Safe to just be.

He feels safe with Tommy. Proud, too. God, he’s so fucking proud to be with Tommy.

He still has hard days— occupational hazard, and all. But even when his days are hard, they’re still good. Any day with Tommy is good.

Today, though? Today is the best of them all.

Today, Buck has Tommy in his bed. Laid out beneath him like a fucking god, looking like he’s been cut from marble and sent from the heavens just for Buck. He’s perfect, so perfect, with his kiss-swollen lips and lust-blown eyes and bruises starting to bloom beneath the trail of dark hair leading down his chest.

Buck swears he’s dreaming. It would make it the longest, most vivid dream he’s ever had, but it’s the only explanation. There’s no way a human being can feel this good– there’s just no fucking way. He must have the flu– or maybe that nasty virus Eddie had mentioned was going around Christopher’s class– and his temperature’s climbed so high that he’s started hallucinating. There’s just no way this is real life.

It’s not like Buck is a stranger to sex. Kind of the opposite, actually. He’s had his fair share of it, all of which was blown clear out of the water the first time Tommy got his hands on him. It’s not that it was necessarily bad with any of his exes. Sex with Tommy is just… better. Much like everything else with Tommy is revealing itself to be.

At first, Buck thought it was the newness of it all. Like there was a honeymoon phase of sorts, something that would vanish the next time he found himself lucky enough to be in bed with Tommy. He wondered if it would pop suddenly like a balloon that’s floated too high, or if it would slowly ebb away like the tide from the shore, gone before he realized it was. Or maybe it would melt like the wings of Icarus from flying too close to the bright, dazzling radiance that is Tommy Kinard, and he’d come crashing down, cushioned only by the memories of what they once had.

Except it didn’t. It didn’t pop, didn’t ebb. It hasn’t melted, or vanished, or even dimmed for so much as a fleeting moment. It’s been a month since the first time they got their hands on each other, and it’s still just as electric, just as intoxicating.

In fact, it’s only gotten better.

Granted, the first time was a rush of hungry kisses and frantic grinding and come-stained jeans against the door of Buck’s loft. So really, it was only up from there.

The second time, Tommy got his mouth on Buck and Buck swore he was next in line to meet Jesus. There was the time that Tommy had jerked them off together, both of them in one hand, as if that wasn’t the single hottest thing Buck had ever experienced. And the time Tommy blew him in the shower and then stood up and stripped his own cock until he came on Buck’s abs with a shout. And then there was today. Today happened to be the first time Buck got Tommy off all by himself, and it was… transformative.

Buck has never, in all his life, known pride quite like he has today.

Earlier, they had stumbled into Buck’s loft after dinner at his favorite place around the corner, barely through the door before they were on each other, swapping heavy, frenzied kisses.

“Upstairs,” Buck had breathed, punctuating his request with a kiss. “Please.”

“So polite,” Tommy hummed, and Buck could feel his lips stretching into a grin beneath his. He followed Buck up the stairs, their fingers laced together the entire time. Buck dropped backwards onto the mattress, fisting his hands in the lapels of Tommy’s jacket and pulling him down with him.

They made out for a while, grinding and rutting against each other fully clothed like teenagers, rather than two thirty-something men with all the time and space and freedom to take each other apart properly.

Tommy pulled away just long enough to tug off his jacket and toss it on the floor behind him. Buck whined at the momentary loss of touch, chasing after it with an arch of his back that had Tommy swearing beneath his breath before diving back in and kissing Buck again.

“You need to use your words, baby,” Tommy said between kisses, his voice low and breathy in a way that had heat zipping up Buck’s spine. Tommy’s mouth trailed a line of hot kisses across Buck’s jaw and down his neck, nosing at his pulse point and relishing in the way doing so made Buck’s breath catch in his throat. The pet name lit him up, made him feel warm and sparkly all over, like live wires were crackling beneath his skin and setting him on fire in the very best way.

It was exhilarating and absolutely intoxicating, and Buck wanted to live the rest of his life feeling this happy, this floaty, this good.

“Please,” Buck’s voice was hoarse, thick with lust and desire as he pushed the word out past the arousal climbing up his throat and threatening to consume him.

Tommy’s warm breath ghosted across the shell of Buck’s ear as he all but purred, “That’s it. Tell me what you want.”

“I–” Buck froze for a minute, suddenly unable to form words. He didn’t know where to begin.

He wanted it all, whatever Tommy would give him. Whatever he could be so lucky to have before this beautiful, delicate bubble popped and the magic disappeared and sepia tones began to bleed into technicolor and the jig was up. Because really, it all felt just a little too good to be true.

“A-Anything. Whatever you want.”

Tommy made a tsk sound under his breath, but there was no malice behind it, no shame. Instead, just warmth and patience and a fond, familiar sparkle in his blue eyes that made Buck’s chest ache. “Evan,” he had said, his thumb ghosting over Buck’s birthmark before coming to bracket his temple. It was a gesture so simple yet so intimate, it nearly split Buck in two. “What do you want?”

Buck stopped for a beat, letting Tommy’s words settle over him. He felt the fondness behind them all the way in his bones, and something about that made him feel whole, made him feel seen. The words were out before Buck could stop them. “I want to be good for you.”

“You are,” Tommy assured him without so much as a second’s hesitation. He stole another kiss. “You’re perfect.”

Buck’s instinct was to duck away from the praise that settled over him like a balm, soothing the rapidly-fraying edges of his sanity and warming him from the inside out. But Tommy didn’t let him. His fingers hooked beneath Buck’s chin, tilting it back up until their eyes met and Tommy said, “None of that.” His voice was so warm, so gentle and fond and soft, it made Buck’s chest ache. “You can have what you want,” Tommy told him. “Just gotta ask for it.”

Buck’s breath stuttered, his heart hammering against his chest. “I wanna get you off,” he said, barely recognizing the heady rasp in his voice. “Want to take care of you. Make you feel as good as you make me feel.”

Tommy’s eyes were wild as he bit back a groan, as he closed the distance between their lips and kissed Buck for all he’s worth. Without breaking the kiss, he sat back, pulling Buck with him. He tapped Buck’s thigh, humming in appreciation as Buck got the memo and slung a knee over Tommy’s thighs. He settled in Tommy’s lap with a slow, experimental roll of his hips that had both of them seeing stars and struggling to catch their breath.

Buck loved this, he fucking loved it, being manhandled like this. Tommy’s hands are big and strong and Buck’s never felt better than when they’re on him. He loved that Tommy could take him, that he can hold him and move him however he pleases. It sent a rush of heat dancing across his skin, lust and desire pooling in his belly.

“You’re so good,” Tommy told him, and the words danced up Buck’s spine, heat licking at his skin as he felt a flush creep up his neck. “The best boy.”

Holy fuck. Tommy knew exactly what he needed to hear, exactly what to say to drive Buck past the point of crazy and all the way to borderline hysteria. Buck whined against Tommy’s lips, rocking his hips as his fingers dug into Tommy’s waist.

Tommy’s fingers pushed up beneath the hem of Buck’s shirt, splaying out across the warm skin of his lower back. Buck arched his back in a silent invitation, one Tommy accepted instantly, tugging Buck’s shirt over his head and tossing it onto the floor before doing the same to his own. He dropped back against the pillows, looking up at Buck with a happy, hungry grin. Tommy’s hands settled on Buck’s hips just as Buck rolled them again, grinding down on Tommy’s lap before dropping down to his forearms, bracketed on either side of Tommy’s head as he kissed him again.

“Fuck,” Tommy panted into Buck’s mouth. He rocked up against Buck, his grip on him tightening as his eyes raked over him with a look that could only be described as insatiable. “Look at you.” Tommy’s voice was low, thick with arousal and something that sounded a lot like awe.

Buck blushed, heat rushing up his neck and burning in his cheeks as he dipped his chin, dropping his gaze with a shy smile. “Hey,” Tommy said gently. It was just one word, but it was unmistakably fond, so much so that it left Buck swallowing past a lump in his throat and pushing down a rush of emotion. Tommy’s fingers were beneath Buck’s chin again, tipping it up gently until their eyes met. “No hiding,” Tommy whispered.

Buck found himself relaxing almost instantly, shyness fading away as he held Tommy’s gaze. Buck’s mind instantly quieted as he stared up at bright, piercing blue that was somehow still soft and kind, gentle in a way that made Buck feel warm and safe. Tommy’s eyes are flanked in tiny, nearly invisible tan lines, courtesy of the way his skin crinkles when he smiles. The lines are barely visible, but Buck already knows them by heart. He’s kissed them and traced them and seen them when he closes his own eyes, in those heavy, floaty moments right before he falls asleep.

He sees Tommy’s eyes in his dreams, and in the ones when he’s awake, too. He loves the way they sparkle, the mischievous glint behind them that only Buck seems to earn. He could lose himself in them, could drown in the warm, wild, cerulean seas that set his heart on fire and his mind at ease. What a way to go.

Tommy smiled, leaned in and kissed him. It grew heavy quickly, breaking only when Tommy pulled back to draw in a shaky breath. “How d’you want me?”

Jesus Christ.

Buck’s throat ran dry, clicking as he swallowed and let Tommy’s words hang in the air between them. He placed a hand on Tommy’s broad chest, his fingers splaying out across the smooth skin shrouded in a smattering of dark hair. Tommy’s eyes flitted between Buck’s eyes and his hand, a grin tugging at the corners of his mouth, his eyebrows raising as Buck pushed him back until his head hit the pillows.

“Just like this,” Buck said. He took a deep breath, shaky on the exhale as he looked down at Tommy laid out beneath him, drinking in every inch of him, melting into every point of contact where their skin met. Eagerness and a sudden, unwelcome flare of uncertainty burned in his gut, a killer combination that had Buck’s head swimming and his breath catching as he swallowed nervously. “Tell me if I— if it’s not—”

“I will,” Tommy assured him, his hands skating up and down Buck’s flank reassuringly. “Won’t need to, though, cause you’ve got this.” He tipped his chin up, meeting Buck in a kiss that was slow and gentle and instantly chased away the waves of self-doubt rising in Buck’s throat.

Buck nodded, brushing his thumb over the apple of Tommy’s cheek before trailing his fingers down, his touch ghosting over the heat of his neck and the soft, dark hair on his chest. He got to work on Tommy’s belt, despite the way his hands were trembling with some combination of anticipation and restraint.

Tommy noticed, because of course he did. It’s what he does. He notices things. Because he’s so tuned into everything Buck does, every breath he takes. His hands left the spot where they’d settled on Buck’s shoulders in favor of covering Buck’s own, curling his fingers around Buck’s.

Buck opened his mouth to apologize, but Tommy must’ve picked up on that too, because he was leaning forward and kissing him again before Buck had the chance to get the word out. Buck– though, really, it was the self-doubt monster inside him rearing its ugly head– half expected Tommy to nudge Buck’s hands out of the way and unbutton his pants himself. But he didn’t. He just let their fingers sit tangled together as he kissed Buck for a minute, slow and steady and everything Buck hadn’t realized he needed until it was happening. He didn’t rush him, didn’t brush him off, didn't make him feel anything other than good and safe and perfectly capable.

He doesn't think he’ll ever get over it– how Tommy’s so in tune with him, how he’s able to read Buck so well. Not only does he know what it is Buck needs, but he gives it to him any time he can. Buck’s never felt seen like this before in a romantic relationship, and it’s all so much, so good, but so much. He didn’t know what to do with it other than sigh into Tommy’s kiss and pray he'd never wake up from the dream that his life has become.

They kissed and they kissed and they kissed, and finally, Buck started moving his hands again, this time with a certainty and a deftness that wasn’t there before. He got Tommy’s jeans unbuttoned, and then he was murmuring “Up,” against his lips, urging Tommy to lift his hips enough that Buck could pull the fabric down.

Tommy did as he was told, and Buck tossed his jeans and briefs to the floor before stealing another hungry kiss. He trailed a line of hot kisses along Tommy’s jaw, down his neck, across his chest. He had his hands on Tommy’s hips, holding him down as he licked at his nipples and Tommy all but writhed beneath him. “Evan,” he gasped, wild and desperate in a way that had Buck fucking floating.

He sucked and nipped and kissed his way down Tommy’s chest, leaving small marks and bruises that started blooming as he made his way down, down, down. And then he was face to face with Tommy’s dick– his beautiful dick, flushed red and glistening with precome that had beaded on the tip and was starting to drip down the underside.

The heady rush of pride and delight that came with the realization that Tommy was wet for him nearly knocked Buck over. God knows Buck himself had soaked through his fair share of boxers in the past few weeks thanks to Tommy, but having a front-row seat to the role reversal was almost too much for Buck to handle.

He pressed a hot, wet kiss to the tip, his tongue dragging over the slit. Really, he was helpless to do anything else, having given himself over entirely to the lust simmering his veins and thrumming beneath his skin, chasing after the heady rush that came as the salty, musky, irresistible taste of Tommy exploded on his tongue and lit him up until he felt like he was high on it.

Tommy let out a broken moan, and it was everything. Buck could gladly spend the rest of his life in this bed, coaxing that sound out of him over and over and over again. He wrapped his fingers around Tommy’s cock, relishing in the way Tommy’s breath stuttered and his eyes grew heavy. He gave an experimental stroke, focusing on twisting his wrist in the way he knew feels good when he does it to himself. He was rewarded with a punched-out sound that lay somewhere between a gasp and a groan, and then another as he did it again.

Tommy was leaking steadily now, and Buck gathered more precome and used it to slick him up. “Oh, fuck,” Tommy panted. His voice was raspy and breathless, and it did nothing but spur Buck on even more. “Just like that, yeah, just like that.”

“Yeah?” Buck hummed, confidence building with each passing second, with each delicious sound that fell from Tommy’s lips. “You like that?” Buck asked, pleasantly surprised to hear the rasp in his own voice. He didn’t sound quite as fucked-out as Tommy did– not yet, at least– but his breath was starting to come a little more ragged, his heart starting to hammer a little harder in his chest.

Tommy nodded, teeth digging into his bottom lip as he dropped his head back against the pillows. “Yes, yes," he practically chanted, the word punched out of him as Buck doubled down, wrapping his free hand around the base, twisting it opposite his other hand and earning himself a filthy, drawn-out moan.

Buck’s own dick strained against his jeans, harder than he thought he'd ever been as he watched Tommy fall apart beneath his hands. His hands. He was the one doing this to him, making him feel this good. That alone was enough to have Buck teetering on the edge, his skin hot and his mind hazy.

He dipped his chin down again, pressing another kiss to the head, before running his tongue down the underside as his fingers trailed down to Tommy’s balls.

Tommy jerked beneath him, his back arching and his hands fisting in the sheets so hard it was a miracle they didn't tear.

“Good?” Buck asked, pulling back just enough that Tommy could hear him, but not enough that the vibrations from his voice didn't send a jolt up Tommy’s spine.

Tommy’s toes curled and his breath stuttered as he nodded. “Good, yes, good,” he promised, his breath ragged. “Please,” he begged. For what, Buck wasn’t entirely sure. But he’d be damned if he stopped before he figured it out. “Please, baby.”

Buck loved it, couldn’t get enough of the way Tommy– one of the calmest, coolest people he had the privilege of knowing– lost his composure like this, how he started to babble and beg, his words slurring together as he gave himself over to the ecstasy rushing through his veins and started to come undone.

Buck kept one hand on Tommy’s cock, long languid strokes that were just shy of enough to get him off, but still enough to have him moaning and whining a litany of broken sounds beneath him. Buck took his other hand back, drinking in the strangled gasp that fell from Tommy’s lips as he watched Buck stick two of his fingers in his own mouth, licking and sucking at them as his eyes locked with Tommy’s.

There was fire burning in Tommy’s eyes, an insatiable hunger as he watched Buck, completely transfixed.

Buck released his fingers with a wet, filthy sound and wasted no time before slipping them between Tommy’s ass cheeks, grinning at the way Tommy absolutely whined. One of Tommy’s hands flew to Buck's shoulder in an attempt to anchor himself, the other staying where it was, twisted up in the sheets. Buck shifted his weight, keeping Tommy’s thighs locked between his knees so he didn’t arch off the bed.

It was something Buck never could have done with any of the women he’s ever slept with— he was always very conscious of his own strength, too worried about being too much, too strong, too powerful. But not with Tommy. Tommy’s big and strong, broad and muscular just like Buck is. They’re evenly matched— even if Tommy’s hands are bigger than Buck’s, something that still makes heat pool in Buck’s belly when he thinks about it. Tommy can hold his own, can handle himself. What’s even more, Tommy can handle Buck, too.

So Buck kept Tommy’s thighs in a vice grip, and Tommy’s breath hitched and his cock jumped in Buck’s hand, and Buck had to breathe through the wave of pure, unadulterated pride that swelled in his chest and broke over his skin. He felt like a glow stick, cracked open and glowing from the inside out for anyone to see.

He teased Tommy’s rim with the pads of his fingers, drinking in the tiny punched-out moans and broken gasps that were falling from Tommy’s lips as he did. And then he dropped a kiss to Tommy’s jaw and pushed one finger in, enveloped by warm, slick heat up to the second knuckle. Tommy cursed, spilling over Buck’s fingers and onto his chest as his orgasm rushed over him.

Buck was mesmerized, completely transfixed with the way Tommy’s back arched, the way his lips fell open on a silent sob, his fingers digging into Buck’s skin hard enough Buck found himself hoping they would leave bruises. Tommy’s beautiful always, but especially like that– coming undone beneath Buck’s hands, skin flushed as he rode out his orgasm with ragged breaths and tiny, uncontrollable jerks of his hips.

Tommy blinked slowly, his smile syrupy sweet as he came back to himself and saw Buck leaning over him. He reached up and cupped Buck through his pants, grinding his palm against the bulge where his cock was straining against the front seam of the denim.

“Good boy, let go,” Tommy practically purred, the words shooting straight through him. Buck felt like he was on fire, absolutely glowing as the praise washed over him and his orgasm built. He was helpless to stop the whine that fell from his lips, though he was so far past the point of holding back with Tommy, he didn’t even try. He still had a finger in Tommy’s ass, and when Tommy clenched around him, Buck’s vision whited out as he came with a strangled cry.

It took a minute for Buck’s brain to come back online, for him to relax into the sweet kisses Tommy was peppering across his jaw and his cheeks and his neck, to ease his finger out and take a deep, sated breath.

“Hi,” Buck slurred after a beat, his voice heavy in a post-orgasm haze.

Tommy grinned, tugging him back in as lazy kisses turned hungry, then lazy again. Buck pulled back to catch his breath, warmth exploding behind his chest as he sat back and took in the sight of Tommy before him. And a few minutes later, when he asked, with just a hint of trepidation creeping into the edges of his voice, if it had been good, he was instantly settled by Tommy's immediate and genuine assurance.

And now, as Buck lays on Tommy’s chest, he doesn’t feel the tackiness of the come cooling between them. He doesn’t feel the wet spot in his own pants, or the faint burn in his wrist. He just feels happy. And good. And proud.

And when, a little while later, Tommy will mumble “C’mon,” and ease Buck up to guide him to the shower, Buck will go easily, without hesitation. He’ll go anywhere Tommy asks him to, would follow Tommy anywhere he wants to go. Maybe that's how it was always destined to be. Or maybe not. But it's where they are now.

They're together, and nothing has ever made Buck feel quite as proud as that.

#my writing #this thing had a mind of its own #i blinked and here we are #bucktommy #buckxtommy #tommy kinard #evan buckley #tevan #kinkley #bucktommy fic #smut #minors dni #bucktommy fanfic #one day i will be better at tagging but evidently today is not that day #and a quick heads up to those of you who like to send me mean messages:#this one isn't buddie and that's gonna have to be ok #we're all big kids here i know you can handle it

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qprstobin · 9 months

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Stobin Different First Meeting AU where they go to prom together. This was meant to be an au post and turned into a mini fic oops (written completely within a tumblr post so sorry for the poor quality)

(edit: realized I should link the fic I was inspired by for those who don't follow me and so didn't see me reblog it earlier)

Steve doesn't necessarily want to go to prom, right? Like yeah, he'd been imagining it for a while, but now that he was very, very single it just didn't have the same shine that it used to. And he really wasn't ready to start dating yet. However, he didn't want to just, not go to prom, and also knew it would seem really weird (and pretty fucking sad) if he didn't go.

Which leaves him in a conundrum.

He thought for a while that maybe he would go with one of the junior cheerleaders. While he didn't have any close friends anymore, he was still friendly with plenty of people. There were girls that wouldn't be going to prom unless they had a senior boyfriend - some he had even gone on dates with in the past who wouldn't think a single prom date meant that he wanted a new girlfriend.

However, he is pretty sure most of those girls would have... other expectations for the night. And honestly? He isn't quite sure that he was ready to get back on that horse either.

... Not that he thought women were horses.

He's pretty sure men are normally the ones called horses in riding metaphors.

Anyway.

That left him stuck. He couldn't just not go to prom, but also didn't want to wind up trapped on an actual date with someone. So who could he ask?

His solution ended up coming from an odd place.

Robin Buckley was... quite honestly, kind of a weirdo.

She was cute, in an alternative sort of way. She never took any of his shit (he wasn't completely sure she even liked him) but also reluctantly laughed at the snarky shit he said under his breath during their Film History class. And not in the fake giggly way girls did when they were flirting, but didn't actually care about what he was saying, just the way he said it. She actually seemed to think he was funny. Even if that revelation seemed to piss her off.

The only reason he was even in Film History that semester - and therefore, knew who she was - was for the easy A. He got to watch movies in class, and watch movies for homework. He was willing to plow through a couple of shitty essays in exchange for a class that he didn't feel like a complete idiot in.

(Well, he was pretty sure Robin thought he was an idiot about movies, but just because he had trouble remembering the names and shit of characters, didn't mean he couldn't analyze the themes, fuck you very much, Buckley.)

They had gotten assigned a project together early on, and it hadn't been completely terrible. She had quickly taken over doing most of the writing portions, but hadn't thought all of his ideas were terrible. By the end of the project he thought they were even sort of having fun together.

He'd always been one to try his luck, take a little more than he was given. So, after that assignment was over, he started sitting next to her in class, not wanting that easy, if sharp, camaraderie to end. Robin rolled her eyes at him and asked him what he thought he was doing the first time he did it, but she never sent him away.

They ended up chatting more and more during down times, passing notes to each other and sharing sly comments under their breaths during the movies. Steve often had trouble paying attention at school, his mind easily wandering away, and it was almost as bad during most movies, but Robin helped keep him on track.

The class turned into one that was done for the easy grade, a last ditch effort to improve his already hopeless GPA, and became one he actually enjoyed.

The more he thought about it, the more he liked the idea of going to prom with Robin. It made the night seem a little less unbearable.

He thought about making a big deal out of asking her, because he knows that's what girls (and even Nancy) had enjoyed for past dances. He quickly scrapped that idea, however, because not only did he not want to put pressure on her like that, but also she seemed to hate public spectacles like that.

Or at least when aimed at her, they both enjoyed watching drama unfold in the halls a bit too much to say she hated it completely.

So Steve waits until the end of the day, their film class being their last, to pull her into an empty classroom. She follows him without question in a show of trust he didn't realize she had in him. The notion warms him, and for some reason makes it more difficult to get the question out.

"Why do I feel like you're about to try to sell me drugs or something?" Robin asked, raising an eyebrow at him. He squints at her in offense.

"Why is that your first assumption?!"

"I don't know! Why else are you pulling me out of the hallway all secretive like, making sure no one followed us, into an abandoned classroom," she asks, throwing her arms into the air.

"The classroom isn't abandoned, it's the end of the day! Also, who does drug deals on campus, that's just stupid?" He asks rhetorically, before waving one hand through the air, as if trying to erase the current thread of conversation. "That doesn't matter, you're distracting me."

"Well then, get on with it! Some of us have practice we need to get to."

"It's like talking to the kids," he mutters to himself, "Whatever. I wanted to ask - will you go to prom with me?"

That stops Robin up short. There's panic in her eyes now, though Steve isn't sure what exactly put it there. Was his reputation that bad that even band geeks are terrified of getting asked out by him?

"You want to go on a date? With me?" she asks slowly, disbelief coloring her voice, though it doesn't hide her unease.

"No, I want to go to prom with you," he scoffs, "Not go on a date with you."

"That is a date, dingus! The person you go to prom with is literally called your date!"

"Okay, sure, maybe, but I don't actually want to date you," he said, rolling his eyes at her.

Like, okay, he understood his reputation for being... what did she call him last week? A 'huge effing rake'? But that didn't mean that he was trying to date any girl that looked in his direction. A lot of girls looked in his direction. That was too many women, even for him.

Robin relaxes a little at that.

"Then why are you asking me to prom instead of someone you actually want to date?"

"Because!" he says, resisting the urge to flail his hands back at her. "I don't want to date anyone right now. Most people I ask are going to expect all these things from me - they're going to want dinner, and at the very least a kiss at the end of the night if not more, or another date the very next day. Because Steve Harrington is supposed to want those things!" He takes a deep breath and runs a hand through his hair to calm himself. "But right now? I really don't."

"Well then, what does Steve the Hair Harrington actually want?" She had relaxed fully at this point, a smile playing at the corner of her mouth.

"I want to go to prom with someone I consider a friend, someone who makes me laugh," he says after a moment of silence. "I want to dance badly to really corny pop music and drink just enough spiked punch that I don't remember how much I hate wearing any sort of tie. Then I want to go get milkshakes or go see a really trashy midnight horror flick, just because I'm having so much fun I don't want the night to end."

That small smile has grown into a reluctant grin on Robin's face. It makes her eyes shine and her freckles pop. Steve thought that if he was in a better place, if they had met at a different time, he could have fallen in love with her.

But they had met now instead, in some shitty public school elective course, and she was the closest thing he had to a friend that wasn't a snotty middle schooler.

"That sounds... like a lot of fun, actually," she says, mischief sparking on her face. "Who would've known the hidden depths hidden behind all that hair."

"Hey!" he protests half-heartedly, unable to keep a grin of his own off his face. "So what do you say? Wanna go to prom with me?"

"I guess," she sighs, acting like it was such a trial to go to prom with him. Him! But her next words make up for it. "Since we're friends, and all. However, I still expect you to buy me dinner, though you can keep the kiss goodnight to yourself."

Steve can't help the giddy laugh from spilling out of him. For the first time in weeks, he is actually looking forward to prom.

#stobin #platonic stobin #st fic rec #mini fic #steve #robin #my writing #writing tag #this was got out of hand #all of the stuff about prom is pulled loosely from my own experiences with prom #both from it being seniors only (juniors at my school had their own dance) to what people did after prom #(i went to two proms and one group went and saw a bad horror movie after prom and i went to a diner with the other group)#also this is barely editted so there is some weird tense switches in here im sorry!#this wasnt meant to be an actual fic i had just meant to throw out the idea of steve asking robin to his prom #and steves voice got away from me quick #this was inspired by the fic i reblogged earlier today about steve taking robin to her prom

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overleftdown · 4 months

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this is going to be my somewhat-brief analysis (buckle in, it's not brief at all) of preluding scenes to farleigh and olivers... scene, lmao. because i can't read micro-expressions and social cues IRL, but i can for movies! also, i want to give my understanding of farleigh's character using the most substantial part of his arc. i disagree so much with a lot of people's takes on farleigh. i needed to talk extensively about it.

[0:58:46] farleigh makes eye contact with a footman. this is one of the footmen that farleigh mentions to felix in a later scene, which i'll also go into. what's interesting about this subtle interaction is how wildly differently you could consider it, depending on how you choose to view farleigh as a character. if you go the "mirror of oliver," route, then this eye contact could be the moment farleigh decides the route he's going to take to confront felix.

on the other hand, the hand that i believe makes more sense, farleigh is genuine in his confrontation with felix. the eye contact he shares with the footman is reciprocated; the footman holds it, even as his body pulls back and his head turns. this gives the idea that they are making a connection. the expression farleigh makes afterwards is also an indication that farleigh isn't plotting or scheming to earn pity points; he feels a connection and comradery with the only other black people at saltburn. when the footman turns away, unneeded anymore (this can be a parallel to farleigh), farleigh glances down, back up, then purses his lips. he looks dejected, in my opinion. this is immediately followed by farleigh's dig at oliver; "i think oliver looks like he'd rather throw himself out of a window.

food for thought.

[0:59:9] elsbeth: you can invite all your friends. farleigh: what friends?

this can obviously be a petty dig. and it is, in some ways. but i think a lot of these petty digs are because farleigh has been here before. he has watched his cousin drag home mediocre and tragic (presumably) white boys for perceived self-benefit. whether felix wants entertainment, wants to quell his guilty conscious (both of which are motivations for his mother), felix seems to have these fleeting possessive relationships with the friends he brings back to saltburn. he could also be queer and deeply repressed, lmfao.

i digress; farleigh is sick and tired. the first thing he says to oliver, before oliver even got to felix, was bitchy as all hell. after that, farleigh had more incentive to belittle oliver; yes, his comments about mannerisms, class, and overall character were petty. they were also all of the qualities that farleigh couldn't afford to have. farleigh is pointing out that oliver has no social life, yet still gets a 200-person party full of people that don't even know his name. this is tragically unfair, at least in farleigh's mind.

[1:01:25] felix: and fucking farleigh, what a little shit stirrer. oliver: well, someone has to entertain us all. felix: ...right. oliver: that's why we love him.

there's a clear disregard of humanity and depth, when felix concedes that farleigh is "entertainment." the sheer fact that felix would immediately believe oliver, a "stranger (as venetia so eloquently puts)" over a close family member, is odd on it's own. there are probably more reasons for distrust; everyone in saltburn is a shit stirrer, and farleigh does put on a particularly good show.

that's intentional, though. farleigh is very intentionally entertainment. otherwise, why would the cattons keep him around? they're welcoming people to their house as family, because they want a break from the reality of soul sucking wealth. because they want entertainment. elsbeth with her friend, who's only real personality traits are being pitiful and visibly different. felix, with his summer pet projects like oliver. farleigh can't be a temporary show; he needs to keep coming back. he needs sir james to support his mother.

[1:02:40] farleigh: i'm not saying my mother isn't completely idiotic when it comes to money. felix: you just have to be firm with her. farleigh: well i can't call her and tell her no! felix: i know, i know, you've said that. i know, i understand. farleigh: no, you don't know! you don't, it's humiliating. felix: it's very hard.

felix's approach to discussing other people's issues--that he does not relate to--makes me giggle sometimes. not that he's malicious or a fumbling idiot, but because of this scene specifically. in just this chunk of dialogue, you have the "i understand" and "you don't understand" conflict. an age old one. a common representation of someone who has never lived a specific struggle yet frames themselves as knowledgeable. felix seems to enjoy the "it's very hard" verbiage. the manner in which he speaks to oliver about his supposed impoverishment and struggles is very similar to the way he speaks to farleigh, in this scene.

i don't know what else to say about this. you can make your own inferences on felix's dialogue, i suppose.

[1:02:50] farleigh: i'm sorry, but it's a bit fucking shitty. you're all throwing oliver a party for 200 people while my mother lives in squalor. felix: well, she's hardly living in squalor, mate. farleigh: well she can't pay her bills so she will be! okay? at the rate she's going, she will be.

GAH. again, this dialogue can be considered in two different ways. farleigh could be hyperbolizing in order to play into the catton savior complex. or he could be completely genuine in his anxiety surrounding his mother's finances. it's very important that you recognize the fact that farleigh isn't arguing about himself, in this situation. he's talking about his mother. later in the conversation, he recenters himself as a person of color. but the original conflict is about whether or not his mom is living comfortably. this arguably affects him, but not entirely. he could continue to maintain his oxford-student-and-saltburn-resident character and continue to frolic around while his mom struggles to make responsible decisions.

[1:03:02] felix: right, well that's exactly why dads concerned about helping her. he doesn't want to enable her. he wants her to learn how to stand on her own two feet. farleigh: yeah, like he does?

and farleigh ate.

[1:03:09] farleigh: i mean, you know how this looks, right? making me come to you with a begging bowl. felix: what are you implying? farleigh: i think you know what i'm implying, felix. why don't you ask liam and joshua? felix: who... who the fuck are liam and joshua!? farleigh: ...your footmen.

farleigh's mannerisms in this portion of the scene GAG me. the easy confidence, the self-assured and confrontational attitude. the cocky wave of his shoulders and tilt of his head. he smirks, scoffs, makes and holds eye contact as emphasis to what he is accusing. the way he says "i think you know what i'm implying" even though i'm not quite sure if felix did. this really hammers in the implicit nature of the cattons' treatment of farleigh.

[1:03:33] felix: oh, oh. that is... that is low, farleigh. farleigh: okay. felix: jesus christ, mate! seriously, is that where you wanna take this!? farleigh: right. felix: make it a race thing!? what the fuck! i mean, we're your family, we hardly even notice that you're... different, or anything like that! farleigh: mmm. felix: i never know our footmen's names!

GAGGED. i eat up this scene and lick my fingers. "wohohoho, i don't see color! i can't believe you'd make it a race thing!" i know i should cut felix some slack, but this is just a little too real. although i've cut farleigh some slack for his classism.

the complete change in farleigh's mannerisms from the previous timestamp to this one is EDIBLE. i can't cope with it. his smile as felix says "that is low" is so painfully real. it says "i've been here before and maybe i was expecting this." for a second, felix is almost entertainingly cliche. then the exasperation hits. farleigh just looks tired. he blinks rapidly, smooths over his eyebrow with his hand, vocalizes his disbelief in felix's denial. "we hardly even notice you're different," to which farleigh crosses his arms (defensive), raises his eyebrows, nods along.

i won't include the final few lines of this conversation cuz i'm blabbing FAR too much, but farleigh's expressions of absolutely exhaustion and disappointment as felix says they've "been more generous then most"... i'm so sick. it doesn't matter what other families would do, because this family passes out charity like it's their favorite pastime. farleigh is your best american girl.

oliver, overhearing this conversation, immediately knows what his next plan of action is. compare himself to farleigh. and really, it's funny, because oliver misses the obvious differences between him and farleigh. just like everyone else. he will never feel different, not in the same way farleigh does. not with farleigh's relationship to the cattons, the legacy of his parents, and his blackness.

[1:06:32] (godfather's karaoke scene, AKA apple bottom jeans. he's a disgusting manchild and he throws his jacket at his wife.) is it odd to point out that another one of the only visible black characters is being degraded/mistreated/disregarded? not crazy, right? especially following the conversation about bias two scenes ago.

[1:07:02] farleigh: y'know, i think i'd fuck richard the III. he's so insecure, so you'd know he'd put in the work, right? oliver: or you could just fuck me, right?

here, i think there's a level of projection that farleigh is using in his line about insecurity. not only is it made known that farleigh uses sex as a tool (with teachers, specifically), but it's also made known that farleigh believes/knows that he is treated differently due to his race and/or family history. oliver seems to have clocked this, considering he relates himself to richard the III, then tells farleigh they have similar experiences.

[1:07:34] oliver: y'know, if you ever wanna talk to anyone, you can talk to me, farleigh. farleigh: ...what do you mean? oliver: well, i know you're going through a hard time at home. i know how that feels, when things are so precarious. it's terrifying... and lonely. and it must be so fucking weird, having to ask them for everything. and i know you fucking hate me. farleigh: i... i don't hate you. oliver: but... if you ever wanted me to talk to them, to see if there's... if i can help in any way... just ask. farleigh: ...okay.

i love this movie. have i said that yet? i bet you definitely couldn't tell by this post. this conversation is so... there's so much to talk about.

i'll start with some of my favorite of farleigh's mannerisms/expressions. when oliver first cuts their... tensions with "you can talk to me," farleigh pulls back slightly, sits up slightly, looks across oliver's face. there's a level of shock to it, but. farleigh was comfortable with oliver, his sworn enemy, flirting with him. yet, he pulled back at a genuine offer of support. some see this as farleigh always wanting oliver sexually, but i think it's more nuanced than that. when oliver says "terrifying... and lonely" that's when the camera cuts back to farleigh. he previously wore a half-smile that is now dropping; "lonely" was the hardest word to swallow. his lip is quivering. he looks up in an almost-eye roll when he says, "i don't hate you." he's laughing when oliver finishes, like he finds it all funny, yet the way he says "okay" makes him seem genuine. however... clearly not, considering the next portion of this scene!

even though oliver is lying out of his ass, everything he's saying is a description of farleigh. people grossly misunderstand farleigh's character, even when it's laid onto a banquette sized table through this portion of the movie. he's insecure, desperate, terrified, unsure, and lonely. farleigh, with so many friends and so many scandalous choices, is so fucking lonely. he knows he doesn't belong here, so he jams his ill-fitting puzzle piece into the saltburn jigsaw and crosses his fingers.

he tells oliver he doesn't hate him, and he looks like he's struggling to spit it out. he looks up towards the ceiling, closes his eyes like he's gathering himself. again, people take this as a bonding moment. the next portion of the scene contradicts this. honestly, i'm not completely sure, either. i think he's honest when he says he doesn't hate oliver. so, what? he's jealous, definitely. he wants to hold the same power as oliver, a foreign entity with somehow so much more privilege than farleigh. maybe that bred a certain kind of infatuation; the need to emulate what you'll never be. of course, he sees himself in the boys felix brings home; they, just like farleigh, need or want something from the cattons (although i object to the idea that farleigh is somehow "a mirror" of oliver). do what you will with this word vomit, i don't know where i'm going here.

and OH MY GOD "if you ever wanted me to talk to them, to see if there's... if i can help in any way," is diabolical. so terribly diabolical. the sheer idea that oliver knows, is pummeling it into farleigh's face, that he has authority over farleigh's life like that? that he knew felix for six months and he can somehow "talk to" farleigh's family about treating farleigh better... vomit inducing. farleigh is actually your best american girl.

[1:09:39] (karaoke scene) elsbeth, so uncomfortable with the idea that oliver is using them. i suppose that's the manner of wealthy people; they don't want to believe that they're only good for their money. but... they did that to themselves, in a way. they enjoy the pet projects, the charity work, the ego boost that comes with inviting the "lesser" to saltburn. hanjob on a haybale, golden big boy summer, right? everyone in the room is scandalized. farleigh is having the time of his fucking life. yet, here's the kicker,

[1:10:10] oliver: this is your song too, farleigh. come finish it. farleigh: only if you insist!

and then farleigh gives the performance of his life, by the way. people died. but... nobody is uncomfortable. literally no one. no one shudders or gasps at the scandal of oliver saying "this is your song, too" over the karaoke microphone; everyone heard. nobody cares. they all know. they start clapping farleigh on, cheering. elsbeth relaxes back onto her bed of cushions, because farleigh is entertaining. the change in mood is soooo... interesting.

[1:10:45] curse this scene, i don't even want to talk about it. it was hot, oliver and farleigh are so homoerotic, whatever yadayada. just like every other sexual scene in this movie, it is riddled with a suffocating kind of uncomfortable tension. we are made intimate third-party witnesses to carnal, sinful, emotionally ambiguous scenes. when i pointed out farleigh seemed more comfortable with flirting then comfort, when i said farleigh uses sex as a tool, when i said farleigh was projecting with "he's so insecure, so you know he'd put in the work." i just overthink. but any person that has sexual relationships with teachers needs intensive therapy and that cannot be denied. however, it's oliver, that uses sex as a tool throughout this movie. another uncomfortable parallel between the two characters.

something about farleigh's expression throughout this scene is... kind of hurtful. the way the moonlight just barely illuminates the light in his eyes, whereas any detail of oliver's face is shrouded in darkness. it make's farleigh look young, innocent, real. (sidenote, as i'm watching, i have to mention this. the way farleigh says that second "no" is so funny. "...no...?" LMFAO). man, i don't even know what to say, past this. the whole dominant dynamic, farleigh saying "i'm going to behave" is a little too painful considering the context leading up to this scene. it's freaky. it's so very oliver.

this is way too long but i could make so many more connections with their final confrontation at oliver's birthday party. i'm drowning in thoughts. what i really wanted to highlight was how ambiguous farleigh's character is, and how differently a lot of his scenes can be perceived. i've decided that farleigh is a sympathetic character, similar to oliver but so much less powerful. some people hate farleigh! so. there's that. the end! thanks to anyone who read this whole thing!

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strangersteddierthings · 1 year

Text

Porcelain Steve - Part 6

Part One🦇Part Two🦇Part Three🦇Part Four🦇Part Five🦇Part Six🦇Part Seven🦇Part Eight🦇Part Nine

Even though he's expecting company, Eddie still jumps and yelps when his front door flies open without so much as a knock, revealing Dustin and Will.

"I know I said to let yourselves in, but a warning knock would have been nice," Eddie shoots them a glare, not bothering to stand from the couch where he'd been pretending to watch whatever terrible daytime movie was playing.

"Sorry," Will apologizes sheepishly while Dustin just laughs.

"Which of your moms dropped you off? If it's Claudia, I'm filing a complaint about how you were raised."

"Har har," Dustin says, swinging his backpack off and knelling down to unzip and dig into it. "We biked here."

"Lucky you, then. The complaint will wait."

Dustin wrestles a blanket from his backpack. Unwrapping it reveals Steve, hair rumpled but otherwise unharmed. "Alright. Delivered safely. We gotta go meet El and Mike now but we'll see you on Saturday, right?"

Eddie sets Steve on the couch, angled towards the TV. "Yeah. I get the feeling if I don't show for the barbeque that Joyce will show up here and drag me there by my ear."

"She would," Will confirms with an easy shrug. The boys turn to leave before Will exclaims, "Oh! Almost forgot!" before digging into his pocket for something, turning around to give it to Eddie.

"What?"

"El and Steve spoke again. He had a lot of things to say. I spent a good portion of the last three days writing down everything as El repeated it to me. This is your letter," he says, having successfully pulled out what looked to be a folded piece of paper out of his pocket.

"Oh," Eddie takes it, and realizes it's not just one folded piece of paper, but three. "Wow."

"Seems you are Steve's second favorite," Dustin grins at him from the doorway.

"You are first, I assume?"

"No. Robin is. She got five pages."

That tracks, actually. Eddie's not surprised Robin got the most pages.

Soon enough, the boys are off and Eddie returns to the couch, pulling his legs up to sit crisscross. "Alright, Stevie, let's see what you have to say."

He unfolds the pages completely and is met with Will's now familiar penmanship scrawled across the sheets of wide rule paper that has clearly been ripped from a composition notebook. He's seen Will's handwriting plenty over this last year, quickly scribbling notes during DnD sessions and on the little item cards Will makes himself to hand out when he DMs.

Will's handwriting isn't always the neatest, but this looks like Will took time, wanted his writing to be legible. Flipping through the papers he sees it is two pages, front and back, of a letter, and the third page is a list of questions in a different, neater handwriting. He gets the feeling that Will probably didn't paraphrase anything. How many people got letters? How much of Will and El's time was devoted to doing just this?

Eddie feels emotional over this, misty-eyed and a lump in his throat, and he hasn't even read the damn letter yet.

"Shit, Stevie, do you even realize how loved you are?" Eddie asks out loud, turning to look at Porcelain Steve like he might answer him this time. Blank hazel eyes stare forward. Eddie shakes his head, to clear away his thoughts, and gets to reading. Not out loud, because he doesn't want Steve to hear how wet his voice will sound.

Eddie,

I guess the first thing I want to say is thank you. I was kind of freaking out when I first woke up like this. It was calming, that day on the lawn, after Robin and Nancy found me. You were so chill and just chatted my ear off like you would have if I were, like, there. I mean, there there and not like, doll-there, if you get what I mean.

Shit, man, being stuck like this would have been a hell of a lot worse without you, I'm certain. Everyone's been great, of course, and, like, no offense meant, Will and El, but you act most normal. Helps me feel, well, I don't know how, exactly. Describing emotions is not something I'm like, good at. Robin's great, too, but she catastrophizes, you know? And since I can't speak back, she can get herself pretty worked up about this and I hate that. Hate that I can't do anything to help her.

Shit. This isn't your issue. Don't include that. No, wait, do. Sorry, El. (It is here, off in the margin, that Will has added 'I wrote everything word for word. Enjoy the asides to El and me.) Hanging out with you helps her, I think. She seems less anxious on days we spend with you. So, I guess, I also want to thank you for that. For being there for Robin when I can't.

Eddie has to pause there because he had no idea. Robin has been a grounding force for him this whole time. He had no idea he was doing the same for her. She never said, or let on... well, that was probably her goal and now Steve's spilled the beans.

This is getting easier to say, even if I still don't know how to feel about the other two people who are going to be privy to everything said, or I guess from your end, written here. (Here, Will has transcribed a conversation they seemed to have had in the middle of writing this up.) Oh. He means us. - El Yes. Don't worry Steve, we'll do our best to forget everything you've said once it's written down. - Will Steve laughed and says thanks. - El I appreciate that but- well, being honest there's some things I want to say but I don't want anyone else to hear. Those conversations are better left face to face, anyway. So, uhh, what else did I want to say?

Oh! Yeah, I told Robin she could drive around the Bimmer, so she can have a car while I'm- so she doesn't have to bike everywhere but knowing her she probably won't take me up on that offer. Maybe you can talk her into it? Or, maybe she'll be willing to drive your van around and you can take the bimmer.

"Jesus, Stevie, can't you just be okay with existing?" Eddie says it under his breath and tenses instantly. For a moment, he forgot that Steve was right there on the couch with him, could hear him. Now he has to explain himself because Steve's already heard, and without the context of how Eddie really means those words, they can sound judgmental. "Shit. Sorry. I just read the part about your car and, dude, you just don't know how to not try and be helpful, huh? I bet it's destroying you on the inside that you can't do anything. But Steve, you gotta know, we don't care about you because you're useful."

Steve, of course, can't reply, so Eddie goes back to the letter.

Uh, what else was there? Oh! Yeah! I don't get migraines here. Or, in this body? Or, whatever it is. I haven't had one since this happened. Also, no hearing issues. Though I find myself wishing to be completely deaf sometimes. I get that Max can listen to Kate Bush for a week straight, but I'd like a little variety. God, what I wouldn't give to listen to the Top 40 again. Don't say anything, Munson. I can already see your judgmental face at my music taste. Unlike you, I have the ability to like multiple types of music. The Top 40 AND that one song from, uhh, shit. Might not have migraines or hearing issues at the moment, but the memory is still as it was. Which means it is shit. That one song by that metal band where their name sounds like it's metal? You know who I mean. (In the margin, Will has just written five little question marks in a row ?????)

"The band you were thinking of, it's Metallica," Eddie says.

Not important. But, uh, the reason for telling you this. I was hoping you might smuggle me to a show the next time your band plays at the Hideout? Last time I tried to go it was too loud and gave me a migraine, you remember, but I think that I could listen to your whole show like this. We might as well take advantage of the perks of this shit situation, right? So, uh, I wouldn't mind if you did that. Or, like, had Robin or someone else bring me. Whichever.

Actually, wait, I lied, I do care which way. I've already had them pen down Robin's letter, so you'll have to pass this on, but I want Robin to take me. So, I can also watch the show, not just listen. That was the part I liked most, when I went last time, before I had to leave. Wait. Scratch that. Ask Argyle. Other than you, he seems like the only person willing to be caught holding me in public, mostly because I don't think he even knows how to be embarrassed. Jesus that was such a weird sentence to say. Holding me in public. Such a weird thing to experience, too.

Uh, anyway, I think that's it for now. Thanks for everything, Eddie.

"I think you're handling this loss of bodily autonomy rather well, Steve. This letter is a lot more positive than the one I would have written if our roles were reversed," Eddie says with a sigh. He can't help but wonder what Steve would have said in this letter if it hadn't had to be filtered through two teenagers first.

He looks to the last page, the list of questions, and is surprised to see that, mixed in with questions about which sports team is winning (he is not going to watch Sportsball for Steve. There has to be a line drawn somewhere and this is it. He will ask Wayne about it later and hate the glee he sees in his uncle's eyes because now he's going to have to pretend to like sports for the unforeseeable future) and for honest updates about their friends are questions about Eddie's campaign that he's rambled on about since Steve can't escape. Steve wants spoilers, wants to know what Eddie has planned.

Steve has actually been listening. He'd been operating on the assumption Steve just tunes him out when he gets going, unable to stop his brain to mouth filter when it comes to talking about Dungeons and Dragons and his current campaign.

"I'm at your list of questions now. I can't answer anything about sports, and don't think I'm unaware of how you asked me and not Lucas. I see what you are doing and I'm not going to fall for it. So, your first non-sportsball question here; How is Dustin doing, really? Well, that's a whole thing but overall, okay."

#steddie #my fic #porcelain steve #having steve write letters to everyone was sparked by jonathans even tho the wonder twins dont admit that #it was a passing comment when he walked in on Will explaining the difference between sorcerer and warlock to El and Porcelain Steve #just a quick 'i wonder what steve would have to say about this if he could talk'#and will and el were like! yes! what WOULD he say? El talk to him #and it evolved from there #also its not said because how would Eddie know? but the list of questions in different handwriting is Joyce's #to avoid campaign spoilers for Will‚ el asked joyce to write that part #they go through all the questions but im not writing those #this was mostly to get a little bit of Steve in here #feels weird to write a steddie fic where steve hasnt even spoken until 9k+ words into the fic #especially since i am NOT a slow burn person‚ not that i count this as slow burn #how do you define slow burn? does this count? help a girl out and let me know

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