#palestine in it and said it was a shame i left before getting to fill it out. yeah. i did send all of the MPs emails though. am glad they're

[lesbianjonimitchell]

wow it looks like the leader of my former political party is finally calling for ceasefire! that only took two months and 17.000+ dead civilians. im glad i left them.

[always-andromeda]

𝐝𝐨𝐯𝐞𝐬 𝐢𝐧 𝐭𝐡𝐞 𝐰𝐢𝐧𝐝

𝐩𝐚𝐢𝐫𝐢𝐧𝐠 ⟡ Ellie Williams x F!Reader

𝐰𝐨𝐫𝐝 𝐜𝐨𝐮𝐧𝐭 ⟡ 1232

𝐬𝐮𝐦𝐦𝐚𝐫𝐲 ⟡ You and Ellie enjoy an all-too-rare "quiet" moment with each other.

𝐚𝐮𝐭𝐡𝐨𝐫'𝐬 𝐧𝐨𝐭𝐞 ⟡ soooo...this is my first time writing something for Ellie...please be gentle lmao. I decided to be a little easy on myself and start off with something light with absolutely no plot. Just pure, fluffy porn. That being said, I want to add that from this point onwards, anything I write based in the TLOU universe, I will be including links on what we can do to aid Palestine. From the river to the sea, Palestine will be free.

HOW YOU CAN HELP PALESTINE

𝐰𝐚𝐫𝐧𝐢𝐧𝐠𝐬 ⟡ smut (minors, do not interact, please and thank you), reader has no physical description aside from being afab and able-bodied, fingering (reader receiving), oral (reader receiving), pet names (babe, baby), slight overstimulation, general softness, nothing else I can think of!

Early mornings suit you, Ellie decides. Especially when it's all cold and quiet and blue light as a thin layer of frost covers the outside of the window by her bed. You're both thankful that it obscures the view of any eyes that may have been peeking into Ellie's garage.

They would've seen you sprawled out on her mattress and Ellie slotted firmly between your legs, paying all sorts of attention to your thighs. And thank fucking god, you're the only one who can hear the filthy words that fall from that wonderful mouth of hers.

"You're so fucking soft, babe." Then she chuckles, "And so easy to work up."

Your thighs shiver with anticipation and you're far beyond the point of feeling any kind of shame about it. There's only urgency filling your chest as you hope that Ellie's teasing turns into something. It wouldn't be the first time that she'd spent so long on you that Jesse had to come and "wake her" for patrol.

Now that had been a special kind of torture: Ellie hoisting herself up off of you and yelling to Jesse that she'd be right out as she pulled on her hoodie and gathered her hair into a bun at the nape of her neck. She grabbed her backpack, kissed you on the forehead, and muttered, "See you tonight," with a cocky grin. Then she fucking left.

And you'd have to shake away whatever mounting pressure she'd built up inside of you and uncomfortably shuffle your way home in yesterday's clothes all while trying to avoid the watching eyes of Jackson's population. It felt like every ounce of deprivation was written on your face in those moments and you hated it.

So you thread a hand through her hair, gently urging her towards your cunt.

"Hey, hey, hey, I'm gettin' there," she teases and removes your hand.

“Now, please,” you whine.

But it’s no use. With a little laugh under her breath, she keeps peppering kisses along your bikini line. You know she relishes in it, listening to you gasp as she gets closer and closer to where you need her only to pull back moments before her lips could connect with your center.

She must be feeling nice this morning; she hasn’t admonished you for squirming or whining. Maybe it’s because she doesn’t have patrol today. Or maybe it’s because you spent hours after dinner the night prior relieving her stress as well. Or maybe it’s just the simple fact that quiet moments like these are rare. All you know is that you can handle it; you can handle her.

You ball up the sheets in your fists and adjust your hips ever so slightly, settling in for whatever Ellie has planned for you. She uses a finger to pull the thin cotton crotch of your underwear to the side and groans to herself.

She laughs, “I don’t even have to try and you’re soaked.”

You lift yourself up on your elbows to look down at her. “Imagine what would happen if you did try,” you quip.

“Tough talk for a girl in your position,” she says. Before you can give her another snarky reply, she licks a long stripe up the center of you. The sudden warmth is welcome but it still startles you. 

Ellie adds with a scoff, “Besides, I don’t need to imagine. I am well aware of what happens when I try.” With that, she eases a finger in you.

In and out, she patiently worked you open until asking, “Want another, babe?”

You give a breathy yes. A beat passes where you wait for her to request a please alongside it. But it never comes. She must be feeling really nice.

With a whine, you feel her slip that second finger in. She’s methodic, curling her lithe fingers with each pump and carefully itching an ache inside of you that begs to be scratched. Bit by bit, she only feeds the flame; only makes it climb higher and higher up your belly until it seems to burn at the back of your throat. That wet squelch between your legs intensifies as she fucks you faster. You let out a soft moan and Ellie curses under her breath.

“That’s right, baby. You’ve got it.”

You can’t quite see her expression but you can tell she’s got that smug smirk creeping across her face. It’s the face she makes when she can tell just how well she’s playing you.

Right then she decides to go for the kill. Her tongue flicks over your swollen clit in time with her scissored fingers and before too long, you’re chasing it. Rutting against her mouth, you follow that all consuming fire that burns away each and every one of your better senses. It craves nothing more than pleasure and the praise of the girl you love more than life itself.

Strangely, you don’t mind it. In another world, you could afford to be so needy and so selfish whenever you wanted. Perhaps that’s why you’re so drawn to the feeling now; to the fleetingness of it. It’s lightning in a bottle. And with the heat mounting, you feel ready to burst.

A string of wanton curses falls from your lips. Bones scorched with pleasure, you're quickly approaching the point where you’ll be nothing more than ash.

Ellie groans desperately against your cunt, “C’mon, give it to me. You’re almost there.”

That’s all you need to fall over the edge. You shatter as soon as your climax makes contact. You’re a mess of limbs. Legs wrapping around the woman attached to your cunt. Heels digging into her back, still chasing that endless more until it damn near hurts. Chest heaving as you start to realize that it never will be enough. But somehow, that’s alright. If it was enough, there’d be nothing left for her to give; nothing left to yearn. And you’d rather spend the rest of your life wanting her than wandering in oblivion.

Finally, the pleasure gets to be too much. You’re all but a pile of smoldering cinders, terrifyingly close to blowing away in the wind. You cry out and tap the side of Ellie temple, signaling the end of the

She quickly obliges and switches to pressing gentle kisses to your mound between whispered praises. Hands gripping your thighs, her thumbs swirl soothing circles to your trembling flesh. Her kisses work their way up your belly, between your breasts, across your collar, up to your lips.

“You alright?” she asks softly.

Your head still spins a bit but you manage a nod and a low hum which only makes her chuckle.

A thin layer of sweat on her forehead sheens in the light. The smattering of freckles you adore dance with the flush on her cheeks. Judging by the creases next to her eyes and the smile she wears, she’s languishing in how you look too.

“I sure did a number on you, huh?”

“A little,” you mutter. But you know you’re not fooling her.

Ellie settles at your side and weaves an arm behind your neck, loosely holding you to her. You stay like that for a few seconds; quietly intertwined.

You look up at her through your lashes and break the silence. “Love you, Els.”

She smiles and presses one last kiss to your nose. “Love you too, weirdo.”

[bobdylanrevisited]

Infidels

Released: 27 October 1983

Rating: 8/10

With his reputation as a songwriter and forward thinker in the gutter following years of derision for his Christian albums, Bob released this short record to a collective shrug from critics and audiences alike, however I do think this album is criminally overlooked. Whilst his voice almost sounds like a Dylan parody at times, his songwriting is returning to politics and poetry, and his sound now has a strange Caribbean feel to it. This album is the work of a man both jaded and hopeful, possibly at odds with his own life, and his standing in a zeitgeist that had written him off as a has been. Though religion still features prominently on the album, the edgier songs are a welcome return to form for a man who writes about bitterness and feeling out of place better than anyone else. It is, however, impossible to talk about the songs on this release, without also focussing on what was bafflingly left off it.

1) Jokerman - The opening reggae drum beat is a shock, as is the almost mumbled singing from Dylan to begin with. For years I dismissed this track for some reason, unaware that it is one of his best ever songs. There’s a reason Leonard Cohen said it was his favourite Dylan track, it’s truly breathtaking. It’s filled to the brim with religious and historical reference, spilling over from his previous albums, but it is also beautifully poetic with a stellar chorus. The album version is a brilliantly laid back Caribbean number, but when he played it on David Letterman’s show back by The Plugz, it morphed into a roaring punk song. It’s a timeless classic that proved Bob could still unleash wordy odyssey’s and was still the greatest songwriter around.

2) Sweetheart Like You - This is just a nice love song. I like the way Bob sounds on the track, I like way song builds then relaxes, there wouldn’t be much else to discuss here other than one certain lyric: ‘A woman like you should be at home, that’s where you belong’. Obviously, this line isn’t great. In the context of the song it does stick out in the worst possible way, I understand Bob probably didn’t mean it as a horrendously sexist statement, but regardless it does bring the song down in my eyes. It’s a shame as the song is a sweeter side of Bob, but that line really should have been cut.

3) Neighbourhood Bully - This is a fast paced rock song in defence of Israel, a sore subject given today’s political climate (free Palestine). To judge the song on its own merit, it’s well written, almost sarcastic and humorous about the country’s history. Not the best song on the album and it certainly hasn’t aged well, but it’s a decent enough track and a return to Dylan’s take on political events.

4) License To Kill - I like this track a lot, it talks about political and environmental concerns, with Bob attacking society for taking the world for granted. However, it does also have huge religious connotations and a weird distrust of space travel, likely due to religious fears at the time, but it is still a brilliantly structured song. Bob sounds more relaxed and understated here, and the tune is quite mellow, despite a rather out of place drum beat.

5) Man Of Peace - Another fast rock number, this is easily the most Christian song on the record, which talks about Satan and temptation being everywhere. Despite this, it’s a fun and enjoyable song with the best backing instrumentation on the album, although Bob’s voice does slip back into the nasal whine we previously heard throughout the religious years.

6) Union Sundown - This is a scathing attack on American capitalism, it’s just a shame it’s hidden in a very average song. Bob lists everyday items and the countries in which they are made, backed by a weird country guitar riff, and also mentions America’s greed for wanting to keep costs down and not pay workers a proper wage. He then sings a basic chorus with a distracting back up singer who clashes with Bob’s voice. I like the message, and it’s nice to hear Bob take a stance on a geopolitical issue that is still a problem today, but I’m not a huge fan of this track as a whole.

7) I And I - A much darker song, that talks about loneliness. Bob seems to almost view himself as another person, unable to feel at one with his public persona and his real feelings, and this culminates in a pained sounding chorus which is punctuated by a simple but effectively stark guitar backing and those island drums. The ‘Real Live’ version from 1984 is my favourite rendition of the song, Bob’s in great voice and the band gels together to deliver a brilliant performance.

8) Don’t Fall Apart On Me Tonight - Much like track 2, the album closes with another sweet love song, that features some great harmonica and guitar, and Bob actually sounding romantic. It might not be the most memorable song on the record, but it’s a nice, uplifting note to end on.

Bonus: Blind Willie McTell - Bob Dylan is his own worst editor. I’m sure I’ll talk about this masterpiece at length once I get to the Bootleg Series, but I can’t review this album without also mentioning this outtake. I just think if I’d written and recorded one of the greatest songs of all time during the sessions for the album, a song with perfect vocals and Mark Knopfler on guitar, I’d have probably added it to the track list. I definitely wouldn’t have left it on the cutting room floor and only released it commercially 8 years later. In a decade when people were saying he isn’t as good as he used to be, he chose to leave this song behind. Bob is terrible for leaving great songs off his releases, but to deny listeners this unbelievable tune truly annoys me.

Verdict: This is just a solid album. It’s certainly not his best work, but it is pretty great with a collection of brilliant songs. There’s not much else to say about it, other than I’d urge everyone to find all the outtakes from the recording sessions, as they’re all enjoyable. But especially go and and listen to ‘Blind Willie McTell’ if you haven’t, it’s his best song from this period and it’s not even on the fucking album, if it were I imagine this one would be a 9/10. Following the release, Bob would embark on a fantastic tour throughout 1984 before getting back into the studio, and I’m afraid to say it all goes downhill for the next few years. Music was changing, and a middle aged Bob was struggling to keep afloat in an increasingly young persons industry.