#whether that would her moving on. him moving on. them finding each other again etc etc.

[shellshocklove]

Bruh I will not forget had me SOBBINGGGGG I am heart broken. I need closure or something. Do what you want to do, but I wanted to request post-end blurb where like maybe Y/n actually works towards moving on but with the help of Rhys (having just a slight bit of hope for that relationship kept me from breaking at the end). Maybe Y/n opens up to him about her past with Tom. And he’s like “fuck the monarchy” and she’s like “I did look where it got me?” Idk I want her to have a happy ending even if it’s a bittersweet one. Where she allows herself to find happiness elsewhere, even if it means not forgetting him completely. (But at least put up boundaries so Tom doesn’t just enter her life when he pleases anymore).

OR something related to the flowers where Rhys is staying close to her in the hospital and when they’re delivered (by John), the word travels to Tom that he was there and he takes it as like a final sign to leave the past alone (assuming she’s moved on) and he’s all sad and shit, BUT SHE’S finding the happiness she deserves.

But again it’s your story if it goes against the ending you envisioned totally okay too😭❤️❤️ love the series.

hi! thank you so much for reading! really! thank you so much!! <3

i decided that the last blurb is the ending- so i won't write anymore for them... but your post-blurb thoughts are very much in tow with what i think happened after the last blurb. i really think y/n and rhys will get together at some point. i'm not sure it would happen right away. she's just had the miscarriage and she's grieving that along with the royal baby news. i don't think she'll ever tell anyone about her relationship with tom tho- not even rhys. maybe she has photos and memorabilia of their relationship tucked away in a shoebox in the basement or something, but i don't think anyone will ever know. she has too much respect for tom i think (him as a person, not the monarchy).

i don't think tom will ever know y/n moved on (if she ever really did), or what happened after she disappeared. he was very lost and depressed at the end, and as much as it might hurt i think the baby will give him some purpose. him and gen will never be together together, but at least they have the baby, and he loves his child!

the fic is bittersweet! there will always be a what if with them, but the last song on the fic playlist is no hard feelings by wolf alice for a reason. the songs lyrics reflect how i both envisioned them to feel at the end:

the threads that kept us together, were already wearing thin / would we ever have tied the knot, well how long is a piece of string? / and for everything that ends something else must begin / no hard feelings, honey, and we both will take the win

[graceshouldwrite]

The Most Powerful Hack to Make Your Readers Cry

You’ve seen it all: show, don’t tell, plant a visceral image in the reader’s brain of the environment/character, write a complex character arc with lots of growth and setbacks, establish deep relationships, high stakes, etc. 

All the advice for making readers cry I’ve seen so far is basically that list. But, while those things are absolutely important, I find that the thing that always does the trick, whether as a tipping point or in and of itself, is this: 

THE CALLBACK! 

Before we move on, this is an ANALYSIS heavy post, so all the book + show examples contain spoilers!!

So, what do I mean by a “callback?” Think of Chekhov’s gun, but, here, you use the gun to pierce your reader’s heart. As a refresher for anyone who needs it, Chekhov’s gun is just a rule in writing that anything you introduce in the book should play some role in the plot.

Specifically, the name comes from the example that if a reader introduces a gun in the first act, it MUST go off later, (maybe, say, in the third act). For example, in the TV show Breaking Bad, the protagonist Walter White prepares a vial of poison (ricin) that he wanted to use to eliminate an opponent early on in the series. After the assassination attempt falls through, the ricin makes an appearance again in the very last episode of the show, when Walt finally uses it to kill another opponent. 

Got that? Alright, onto the examples of successful, tearjerking callbacks: 

1. The Last Olympian (Rick Riordan); “Family, Luke, you promised.” 

Context: The character Annabeth says this line. Years ago, Annabeth had run away from home, and Luke had effectively adopted her into a found family with another kid named Thalia. Common reason for leaving home = parental trauma! Yay! He promised Annabeth that they would be each other’s “family” from now on. 

Now: Kronos, the antagonist titan, has possessed the demigod Luke and uses his body to strike Annabeth, injuring her. She’s also holding a dagger that Luke had given her when she joined his “family.”

Significance: her words + the dagger are a mental + physical reminder to Luke of his promise. They force him to recognize the sheer degree of his current betrayal by bringing him back to a different time. The fact that their found family only happened because of parental trauma bringing them together makes it worse—Luke felt abandoned by his Olympian father, Hermes. Now, he realizes that he basically did the equivalent to Annabeth by joining the titans. 

2. Les Miserables (Victor Hugo); Jean Valjean’s death 

Context:  At the beginning of the book, the bishop had caught Valjean trying to steal candlesticks to sell. Instead of handing him over to the police, the bishop told the police that he had given them to Valjean, saving him from arrest and showing him mercy. This changed his life forever, kickstarting his character redemption arc. 

Now: Jean Valjean dies surrounded by his loved ones, remembered as a benevolent man who bettered thousands of lives. He’s surrounded by light from candlesticks that once belonged to a bishop.

Context: Valjean had once taken in an impoverished woman named Fantine, showing her mercy and promising to take care of her daughter, Cosette, after Fantine died. Valjean then rescued Cosette from abusive quasi-foster parents (it’s a long story), raising her as his own daughter. This furthered his arc by allowing him to finally understand how unconditionally loving someone feels. 

Now: Valjean describes Fantine to Cosette, who never knew her mother. 

Significance: Both examples throw readers back to much earlier points in the story before the completion of Valjean’s character arc. In a way, this final scene feels like an external manifestation of his kindness paying off; both he and the reader feels a sense of accomplishment, relief, and just a general “OMG WE MADE IT.” Readers don’t feel cheated, because they were with Valjean every step of his 1,400 page arc. The weight of it all just crashes down on you...

3. Your Lie in April (anime); Kaori’s letter after she dies

Context: Kaori’s entire plot significance is that she helps Kousei, a piano prodigy who can’t play piano anymore due to traumatic parental memories associated with it, play again—but also, just to help him enjoy life again after a turbulent upbringing. She meets him a year before she dies of a medical condition, and her free spirit + confidence influences him to find beauty in life and music again. They basically do a crap ton of crazy funny stuff together lol

Now: Kaori has died, and she leaves a letter to him. Among other general confessions and thoughts, she references things they did and memories they shared: she says, “sorry we couldn’t eat all those canelés,” reminisces about  jumping with him off a small bridge into the stream below, “racing each other alongside the train,” singing Twinkle Twinkle Little Star as they rode the bike together, etc.

Significance: Yes, the nature of the letter is just sad because she’s revealing that she loved him all along, apologizing for not being able to spend more time with him, lying that she didn’t like him (to spare his feelings b/c she knew she would die soon), etc. BUT, these small details highlight exactly how many experiences they shared, and the depth of their relationship. Thus, they emphasize the significance of her death and the emptiness it leaves behind. 

4. Arcane (show); “I thought, maybe you could love me like you used to, even though I’m different.” 

Context: Character Jinx says this in the last episode to her now estranged older sister, Vi. Without going into the crazy complex plot, basically, orphans Vi and Jinx used to care for each other before a bunch of crap went down that got them separated. They then grew up on opposite political sides; Jinx grows up on the side of the underbelly city rebellion, and Vi grows up working on the side of the richer city that essentially oppresses the undercity. Thus begins the development of their opposing viewpoints and work environments, to the point where they always meet on opposite sides of a political battle, never able to come together as a family or understand each other again. 

Now: After a super dramatic confrontation, Jinx reveals that although she wants Vi to love her like she did before their separation, she knows it’s not possible because “[Vi] changed too.” She finishes with, “so, here’s to the new us” before blowing up a political council meeting a few blocks down filled with people Vi sides with. Oops! This cleanly seals the fate of their relationship as something basically irreparable.  

Significance: This callback isn’t through literal flashbacks or items like in the previous examples. Jinx’ lines are enough to bring back images of their childhood to the audience’s mind. Now, the audience subconsciously places this image of: 1) two sisters so different, hurt, and torn apart, right next to 2) the image of two sisters as innocent children who loved each other and would care for each other no matter what. 

Why do callbacks work so well? 

If you’ve noticed something in common with all of them, you’re right: they remind audience of a time BEFORE the characters have come so far on their arcs, developed, and put on so much more emotional baggage. 

Callbacks force the audience to SUDDENLY and IMMEDIATELY feel the weight of everything that’s happened. The character’s anguish and overwhelming emotions become the audience’s in this moment. Callbacks are a vehicle for the juxtaposition of worlds, before and after significant development. 

This works because we, as mortals, fear IMPERMANENCE the most. We fear LOSS. For us, time gone is time we will never get back; callbacks make us face that exact fact through a fictional character. A lost moment, time period, or even part of oneself may hurt as much as losing a loved one, and nothing makes humans grieve more than the realization of a loss. A callback slaps the audience in the face with the fact that something was lost; loss hurts so much because almost 99% of the time, what’s gone is gone forever. 

Of course, a good callback requires good previous character development, stakes, imagery, and all that jazz, but I thought I’d highlight this specifically because of how under covered it is. 

∘₊✧────── ☾☼☽ ──────✧₊∘

instagram: @ grace_should_write

I’ve been binging general media lately: I finished Death Note, Your Lie in April, and Tokyo Ghoul all within like a month (FIRST ANIMES I”VE EVER WATCHED!!), reread lots of Les Miserables, analyzed a bunch of past shows like Breaking Bad, watched a bunch of My Little Pony, worked to fix up my old writing... and that’s not even all! The amount of times I’ve CRIED while enjoying the above media and so much more honestly just inspired this post. 

Like, no joke, my eyes were almost always swollen during this period whenever I hung out with my friends and it was so embarrassing help 

Personally, I just find that this method works super well for me, and I watched a bunch of reaction videos to these above scenes (and read book reviews on the book scenes I mentioned), and it seemed that just about everyone cried during these parts. That’s when I realizes that the callback might also just be a universal thing. 

Anyway, this post is long and dense enough as is. SORRY! As always, hope this was helpful, and let me know if you have any questions by commenting, re-blogging, or DMing me on IG. Any and all engagement is appreciated <3333

Happy writing, and have a great day,

- grace <3

[csuitebitches]

How do you ACTUALLY network? Like the idea of a coffee chat always baffled me. Like a stranger would agree to get coffee with me for me to essentially interview and then what? I guess my bigger question is how do I provide value to them besides buying them coffee? And the whole concept just feels cringe and transactional

I’ll give you two recent examples, one of work and one of a social event.

A friend invited me to a party. I don’t know said friend very well, but we’re on good terms. I said yes cause why not.

I met a girl there who happened to do some very interesting things and had similar interests to me. How did I find that out? I asked her about herself, I found out where she was previously residing, I learned what she did for a living, and I began associating it to the things that I do. She’s from the same city that I want to move to, she now lives 20 minutes from me, and she’s interested in spirituality. My work happened to organise a similar event a week later, which I immediately invited her for. I asked her for her number so that I could send her the invite.

What she immediately liked about me and expressed, was that I don’t use social media, when we agreed to exchange contact info. I explained to her that I’d have to connect her on iMessage/ WhatsApp and not instagram. That allows us to stay in touch much better than on social media.

I left the party earlier than everyone but I looked for her and told her that we should catch up next weekend or whenever she was free. She agreed.

So this is what you learn from example 1:

1. Learn to associate.

When someone tells you that they work in XYZ company, in B city, start by connecting things in your head. Who else do you know works in the same field, could they know each other? What do you know about the work that they do, and if you don’t know much, can you find out more? Most people, including myself, love to talk about what we do at work and what our job entails. Has their work allowed them to travel a lot? If yes, where?

In order to associate, you need to read a lot and learn a lot. You have to understand what’s happening in the world, what the latest news is, because how the hell are you going to continue that conversation?

2. You have to snowball the conversation. The goal is to try and understand WHO this person is. If someone asks you, have you met CSB and you have, you should be able to say yes, this is what she’s interested in, this is what she works in - you should be able to pitch CSB to another person.

Not every single conversation has to be valuable. You also have to decide whether the person in front of you is worth your time.

3. Exchange numbers, not social media. Nothing is going to come out of exchanging instagram or LinkedIn.

4. When you’re leaving the event, look for the person you met and tell them that you’re leaving and that you guys should catch up sometime. If you haven’t exchanged contact info yet, that’s the best way to do it. “Oh let’s catch up again soon! Can I have your number? We can grab a coffee or drink whenever.”

—-

Example 2. I’d gone to a conference a few months ago. I met a young guy, around my age, who works in an accelerator. I’m very interested in the start up world, and he’s working in one of the best ones in the world, at a decent position. He immediately began telling me about recent funding that they did, what sort of start ups they’re looking for, etc. I asked him for more information, which he was super happy to talk to me about.

We’re on very good terms but we live in different cities. I often send him reports because I work in media, and he sends me PDFs and pitch decks. Whenever we’re in each other’s town, we message each other. Otherwise, I make it a point to reach out to him once a month, just casually, to find out what’s happening.

Takeaways from example 2:

5. Scratch each other’s backs. You can’t just get value from the other person, provide them with the same. It doesn’t have to be work related. Let’s say the person you’ve connected with is interested in indie music and you learn that an indie band is playing somewhere - send them a link to the event and tell them that you remembered that they like this genre, and you just wanted to share the info.

6. What’s important to learn is maintaining relationships. I reach out to all my mentors, all my latest connections once a month. That doesn’t mean that I’m necessarily going to meet them face to face, but I just check in and ask how things are going.

So.

Approach. Associate. Snowball. Exchange info. Maintain.

[coff-in]

aaAAAA I've been lurking and um um um I have brainrot from two of the previous asks >_> What if what if

Younger Sister Reader from the I love you more than I should post x Yandere Andrew post Decay route?? And they have the same toxic thing going on from that one post where Andy threatens to off himself if the reader moves an inch from his side. Like all I can think of is Andy having a shit ton of romantic feelings for reader that the reader is just coming into realization about while also reeling from the fact that, yk, Ash is dead? Andy telling his baby sister that he doesn't want to live if he can't have her (romantically, carnally, etc.) I just really want a jealousy scene where reader like...looks at another man and Andy is like "So. You want me to die?" and then reader has to comfort her older brother in a variety of ways that are decidedly not very sibling-like. Andy basically going "date me or I die" and reader is just. panicking.

notes from coff-in: i had trouble writing a ficlet or headcanons for this for some reason so it's just me fucking word vomiting my thoughts directly. also also also, thank you!!! i would've never thought people come to lurk on my blog, GUH IT'S SUCH AN HONOR!!! ur going to make my heart explode

[fem] reader-insert, [reader] is 1 year younger than ashley, incest, NSFW

i think it would mostly play out the same as yandere andrew with the older sibling but with more incestuous overtones. all i can think about is andrew and baby sister [reader] going out shopping or something. baby sis [reader] asks one of the employees where she could find some seasonings or something and the employee points to the aisle and leaves, then andrew comes up behind [reader] saying “did you really need to talk to him? hm? maybe you just wanted to ogle at him up close, huh? is your big brother not handsome enough for you anymore?” [reader]’s like “no no no!! I just needed to find the chili pepper, im sorry :(” and andrew makes her kiss him with tongue in the aisle to calm him down.

they’d have to get a job together, this is non-negotiable to andrew. preferably the same position so they’re close to each other but i think he’d settle on being in the same workplace in general if reasoned with enough. baby sis [reader] hides back into her shell again like she did when nina died but she doesn’t come back out this time. faced with the loss of her big sister ashley and the possible suicide andrew threatens her with, [reader] just deems it safer for her to be as introverted as possible. she’s still has some independence and autonomy but it’s only around andrew if that makes sense. she’ll cook and clean and entertain herself at home with or without andrew but in public she’s very introverted and clingy with andrew. andrew isn’t complaining about any of this though.

andrew’s very happy that he gets his baby sister to himself now! with all the fucked up shit they’ve done together he’s not too conserned with introducing themselves as a couple even if people put two-and-two together that they’re blood related. i can see him being very physically close and intimate with his baby sis [reader]. a hand on her lower back, hand holding, a finger curled in her hair, sleeping in the same bed, and like… a lot of sex. [reader] loves her brother and he’s been respectful when it came to sex. it took her a while to properly figure out how to feel about andrew’s romantic attraction towards her but she does feel the same way too (whether it was natural or something that was fostered while on the run). he likes to leave hickeys on her neck and other obvious places so people know who she belongs to.

every morning they wake up together in the same bed and say “I love you” to each other and they do it again every night before they go to bed.

i also think about semi-public sex with them, too. andrew gets jealous somehow and drags [reader] into an alleyway and forces her on to her knees and flops his cock on her face. “how about you show your big brother how sorry you are, huh?” she tries her best to take him into her mouth but she’s just really bad at it because she’s never done this before. andrew doesn’t mind, though, and praises her for her effort and eagerness because he can’t be mad at his baby sister for that long :) he cums into her mouth and her cheeks get filled up too quickly and some of his semen spills out of her mouth as she tries to swallow it all and andrew’s like “aww, what a good baby sister you are :) it’s ok if can’t swallow it all. i’ll have more for you later.”

i love this idea, thank you ‘nonnie.

----

coff-in

[aardvaark]

having just watched the Rundown Job. that fucked. I feel like this is what it would be like if the Big Bang Job had just an iota more self respect. for some reason BBJ is just toooooo corny I can't take it seriously, smth about eliot trying to have his emo backstory and big gun fight in one episode, but hardison and his magic Hacker Overlay and the trio drift compatible action movie-ing thru without a mastermind had me by the THROAT

the rundown job is THE ot3 episode. whether you prefer parker/hardison/eliot, or parker/hardison & eliot, or any other formation of those three, they certainly undeniably work very well together. they move in sync. they know each other so well that they don't even have to talk half the time. they've developed so much trust for each other when you compare this episode to season 1 jobs, and that mutual trust has brought all of their already-incredible talents to a new level.

you'll find that the leverage producers/writers/etc call it "competence porn", ie having scenes of the characters being extremely competent at what they do. it's fascinating and awesome just to watch them, don't even need much dialogue or plot pressure or anything. and that's really a testament to the actors' acting abilities & the stunt performers' skills.

plus we get all of their paired dynamics too! i love the parker & eliot dynamic where they’re both very task-oriented, logical, dangerous people. in the lost heir job episode commentary, john rogers had this to say...

[from @leverage-commentary]

...which i love. i love that dynamic, and you can see it in the rundown job too. except the lost heir job was season 2, and the rundown job is season 5, and that makes a difference in some respects - they're not so much hiding that from hardison, for one thing. and hardison doesn't need them to hide it, cause he seems to mostly think they're super fucking cool. except for when they're scaring the shit out of him, like parker burning the disease at the last second or eliot getting shot etc etc. mostly he thinks they're super cool though lol.

and while i tend to think that the "seeing math in the air" thing is usually a cheesy trope (like the spencer reid version. why is jesus there), i honestly really liked seeing inside hardison's head for once. it wasn't just random numbers like the confused math lady meme:

no, he's mapping the whole thing out in his head: we see some if-then-else flowcharts, he's picturing the direction the gears will turn, etc etc. he's figuring out how it will logically work and how it will mechanically work. to figure out all these problems in his mind, which he does every episode... well, he really is a genius, never forget it!

plus of course we get parker showing off her skills by jumping on trains + laser gymnastics + upside-down bomb defusing, and we get eliot skills of disturbingly calm negotiations + of course the fight scenes. they've each come such a long way too... eg hardison being way calmer about leaning on a bomb (again!) lol... ugh i could rant forever about how much i love these characters!!

i think the big bang job's gun fight is part of the eliot angsty stuff cause he had to shoot (and therefore likely kill) people for the first time in a long time. for action movie enjoyers, The Implications TM certainly dampen the action fun, so i get what you mean. i don't mind eliot angsty moments though. eliot IS kinda emo deep down sometimes - however, if hardison or someone called him that, there'd be hell to pay lol.

thank you for the ask, i love discussing this show!! :)

[writtenicarus]

AFTG Headcanon Series [2] Neil

part 1, part 2, part 3

So we all know that Neil and Mary would sleep with their backs to one another, right? Well from this I like to interpret as one of the main ways Neil likes to feel safe is by being held

Not because Mary held Neil, because she didn't, but because he was always so close to her every night and after years of pain not once did she turn to face him and hold him, and now he was in a safe environment, he ached to be held

Of course, when Andrew finds out about this, he is more than happy to hold him when he can and feels comfortable to do so

Neil doesn't share Andrew's love for ice cream. However, it's Kevin who introduced him to the world of sorbet. His favourite is raspberry.

Neil likes to play with fashion. Growing up clothes never had any gender, they wore what they found. Imagine Neil in neon tops and long, flowy skirts

HE LOVES TEA. HE CHANNELS HIS INNER BRITISH GENES OKAY? STUART SENDS HIM BOXES OF YORKSHIRE TEABAGS (im projecting again my bad)

Him and Allison go on weekly lunch dates every Saturday to catch up and gossip with one another, at first Neil is reluctant but he eventually loves them

Kevin comes to him whenever he's feeling anxious or upset

Has a really strong relationship with Jean after the Nest, they often call and text each other and love seeing each other at games, banquets etc

I'm sorry but I have always seen his hair as GINGER as in ORANGE not Auburn, he has ORANGE HAIR YOU DON'T UNDERSTAND ITS JUST BRIGHT AND COLOURFUL LIKE HIS EYES

Cannot drink any form of soda/fizzy drinks or juice unless it's HEAVILY DILUTED. He actually recoils and squints. He hates it.

Uses he/him pronouns but doesn't really know what's going on with his gender. He only started thinking about it when he discovered people can identify however they want to. But when he's asked what people should refer to him as, he just says he doesn't care (he would prefer if you didn't refer to him at all)

You may think Neil is the one doing all the rambling? You're wrong. Apart from exy, Neil is a listener. He grew up being quiet all the time and sometimes going days without uttering a word. It's Andrew who rambles to him about his day, his hobbies, a bird he saw on the way home etc. Neil smiles, nods, and tries to remember every word

Ends up having loads of fidgets and little things to play with on a lanyard he uses in class because he just has to be doing something. Whenever he's in an open environment he has to be moving constantly

Jumps when the toaster goes off every fucking time lmao

Does maths for fun?! What a weirdo but he definitely likes how organised and calm writing out all the steps makes him feel

Can do that weird thing where you make your tongue into like a flower shape

Wherever he is his laptop is not far behind. That kid always has it on him and is almost always using it for something whether it be studying or watching exy reruns

Gets lots of piercings!! It's how he starts reclaiming his body whilst also playing it safe with the FBI

Had the softest most beautiful most gorgeous most oh my god did you hear that? Laugh ever.

I'm telling you his laugh is just genuinely so elating that it makes everyone around him feel at ease

Just generally the type of person you can be around and never feel uncomfortable, Neil always likes to make sure people feel safe around him. Not that he tries really hard to find out what people do and don't like, but he's so calm and passive he never does anything to push anyone anyways

ABSOLUTE BADASS some of the things he mutters under his breath are so fucking funny it's shocking sometimes

Overall, just an amazing human.

But he could kill you. Remember that.

[el-moscorrofio-y-el-mercachifle]

I just finished watching Betty and finding your blog is godsend I love love all your Armando character analysis and all the armetty content, not only that but all the insight you have about the rest of the cast. One of the things I noticed while I was watching was that, Marcela and Armando absolutely don't like each other at ALL, even in recent episodes you can see how Marcela just barely tolerates Armando snsjdjfjjdj.

I find this so funny because certain parts of the fandom consider Betty a homewrecker?? There was never a home to wreck?? I mean all characters are morally grey but if we see Marcela in despair in later episodes I don't think it was out of heartbreak like Armando for Betty. I was wondering what you think about what Marcela felt for Armando and their relationship in general.

Once again I love scrolling through your blog and I also think Armando and Betty were the most logical endgame, they made each other worse they made each other better literally soulmates.

[sorry for the long question, I have these two in the brain]

Awww thank you!!! I'm glad you are enjoying my blog🥰

Oh, no, not the homewreaking thing! Even Armando says it once: "no one can steal me if I don't let myself be stolen". The novela made it so clear that it was a choice that ARMANDO made, and somehow my girlie Betty gets all the blame, as if we all didn't see ARMANDO pursuing her and begging her not to leave him all the time. Sure, Betty should have said NO, it IS morally wrong what she did, but Armando himself says that he wanted to leave Marcela for himself, not for Betty. We all know that, if Armando and Marcela had married, regardless of whether Betty or any other woman had appeared in their lives, they would have ended up divorcing. Some people simply have a super skewed perception and think that just because Armando and Marcela had an active sex life at the beginning of the show and that sometimes you got to see them happy, their relationship was fine. It wasn't, it never was. Armando was always cheating and Marcela was always spying and tracking his moves. There was no love, commitment, sincerity, or selflessness. It was all conditional. There was simply no home to wreak, like you say!

I definitely agree that Marcela and Armando don't like each other at all. They aren't compatible in any sense. They had fights for even the most mudane things, like what to do on a friday night or one of Armando's nightmares.

Marcela was not in love with Armando. She never was, or at the very least, not in any moment that we see her onscreen. Perhaps she was in the past, but from all we've seen, Marcela is mostly in love with the idea of Armando and is constantly angry and frustrated because he isn't what she pictures. She is mostly just obsessed with this idea she has of him. She wants to marry Armando but not really marry him like he is. We've seen she doesn't like his temper, his ego, his treatment of her, his interests, the people he gets along with, etc. I can't think of a single thing they like to do together or have in common except their high sex drive. She doesn't like anything about Armando's personality.

Armando and Marcela unfortunately share a very deep and old relationship, and I'm not talking about their romantic one. They're tied like a family. Margarita and Roberto are, in Marcela's eyes, practically her parents. Marcela herself says that all of the Mendoza and Valencia children were raised like siblings. This creates a very unfortunate dynamic in which no one really understands their place. Marcela and Armando are both like step siblings and also a couple, which, honestly, doesn't seem psychologically right. I can't really say, but I'm willing to bet this has to be bad for a person's development and view on relationships.

On top of that, Margarita says that it was Julio and Susana's dream to see Marcela and Armando marry. Both Margarita and Roberto make it very clear that they also want that relationship. Marcela and Armando are constantly encouraged to ignore all the obvious clues that the relationship is disastrous (like how Margarita tells Marcela she needs to be patient and wait for Armando to calm down and stop cheating, or how Roberto says they would never forgive Armando if he were to cancel the wedding). They are practically being encouraged by their parents (Roberto and Margarita, biological parents for Armando and practically adoptive parents for Marcela) to continue their relationship. In Marcela's case, she is unconsciously trying to fulfill her bio parents' last dream and also her new parents' hopes.

((This is speculation, but I'm also willing to bet that Marcela and Armando probably hesrd a lot of insinuations of them eventually becoming a couple since very young. I can't confirm that, but I wouldn't be surprised of this at all.))

So Marcela basically develops an obsession with having Armando. She doesn't love him, because she doesn't like anything that he is. She just has this idea that has probably been ingrained in her head throughout her life that they belong together, and if she clings to that relationship, it will eventually become as beautiful and amazing as her parents (all 4 of them) thought it would.

Additionally, having Armando is a prize. It's, in her eyes, her deserved prize after such a long time "fighting" for him. For having tolerated his lies and cheating, for getting all of his lovers away. Armando is not a partner for her, he's her reward. She sees herself as a martyr who desrves to earn him.

When the relationship breaks she is in dispair because she genuinely wanted a future with him, but not out of love but rather out of ego and obsession. Out of a desire to say "after all of this I finally won", which is why she is willing to take him back all the time even when it's obvious he can't stand her, there is no trust, and there is no love. They just cling to each other because of all the wrong reasons: ego, conformity, their parents, the business, expectations, etc. But not love. We never saw love.

It's an overall sad situation for both of them, which is why I genuinely pity both of them in this aspect even if they were both, objectively speaking, big POS to each other!

Thank you for this lovely ask! Sorry for the long reponse too😂🥰

[thecrenellations]

me running around in circles about the parallels that come together at the end of Checkmate:

(yeah)

what it says on the tin, below. Contains maximum spoilers.

(also contains references to themes of suicide, sexual violence, live chess, etc, because everything is connected.)

and because everything is connected, this is something like how it flows together in my brain. I’m not sure if it makes sense outside of it, and it’s certainly not exhaustive. I was mostly thinking about Marthe and Francis vs Kuzúm and Khaireddin. Bringing Sybilla, for example, more directly into it is a whole other spiral…

anyway:

As Francis decides whether Khaireddin or Kuzúm will die, Jerott asks, Which? The one who had experienced love and a modicum of happiness, or the one who had not.

Lymond said, “Marthe.” Marthe is the piece that takes Khaireddin. I think about Khaireddin as Marthe, sacrificed, while Francis and Kuzúm, loved by Philippa, are saved. Strangers switched as infants; siblings switched at death. In Amiens, Marthe convinces Sybilla to bully her son back to life. In Edinburgh, Philippa convinces Francis to spare Gabriel in order to save the son he has just learned exists. “I will not fail you, ever.”

Which child? The one whose life had been innocent, or the one who had been earliest corrupted and whose first uncertain steps had just been taken towards his birthright of friendship and joy?

Philippa rides to St. Mary’s with information that will destroy Joleta and Gabriel. Francis lets Gabriel kill Joleta when he could have died in her place, and I think about it as a sacrifice of his sixteen-year-old, vilified self. Like how Francis lets Khaireddin die to finally kill Gabriel. Khaireddin is Marthe, but he’s also another version of Francis, whether or not he’s his son. And the knight was the child who had not yet known happiness; the child Lymond had drawn to himself. Who is corrupted, and who is innocent? Who gets to know happiness?

“Then allow me to take the child’s place. I have no objections.” Roxelana and Güzel refuse, Khaireddin dies, and Philippa makes Francis promise to live. Marthe has told her he will not want to and told her brother that Philippa will not be thinking of herself. The marriage holds longer than the promise, but he still lives.

When Güzel is dead and Francis has made a new promise to his mother to live and return home, Marthe rides to Philippa’s home with news that would destroy Richard. Richard tries to save Marthe, but Austin destroys her, and they both do so thinking she is Francis. Depending how you count, there are four Crawford siblings and two of them are bastards. “Your father’s two sons will never meet again.”

“Like your son, I am a bastard.” “No, my dear. Forgive me, but I think you are a bastard like nobody else.” Marthe comes to England and dies before reaching Scotland. Francis tries to leave Scotland forever, to keep his brother safe. He fails. “Richard will be safe.” For the sake of someone he is just beginning to love, he does not let himself drown. The irony of “not yet.” He fails that Richard, too. It is an impossible task. The Crawford brothers take turns riding through the night to find each other alive and fracture again. Richard can never learn why Francis left, because that is the truth that would destroy him. And the sacrifice Francis made was unnecessary.

"Five years—even five such as these—can’t tear me drop by drop from your blood." Francis thinks of 1547-8 as the year he fought his brother. Richard’s sole, desperate purpose is to kill Francis, and he saves him instead. Francis’s purpose is to save Richard, and he tries, so hard, to kill himself. “I’m here to help you. You’re going to be free.” What can ten years tear apart?

Ten years later, Marthe says, “I am going to move the pieces. I am going to direct the end of the game.” Nostradamus tells her her part is still to come. In Constantinople, Francis is king and Marthe is queen. But Roxelana watches, and Güzel watches, making sacrifice necessary. In Dumbarton, the father of one pawn finds the mother of the second in his room. Adam watches, and then Richard finds them both. “So this is the outcome of it all. This is why Tom Erskine preserved you; why Christian Stewart died and Gabriel has worked to redeem you … for this. Francis, I would sooner have discovered you dead.” Richard doesn’t mention what he did that year, himself. The year he saved his brother. “Francis! I can’t let you take your own life.”

Lymond screamed once with agony, and then screamed and screamed again.

Joleta screamed three times, a thin, breathy kind of scream, with her hands spread rigid, like shining, flesh-eating plants before her.

In Volos, Francis will not let himself scream. He recites, and Marthe joins him. “I called you sister. Was I right?” “Yes. What made you sure?” “The luggage of poetry you carry.” In the sweet summer’s dell north of Hexham, Richard tells stories of everything but their father and does not want Francis to explain about Eloise. But, before that, it’s Richard who brings her up minutes before Francis stabs himself with his brother’s knife. God, Francis had screamed.

"My sister … Who will speak for her? ... Are you so short of rods that you must despoil young trees: so short of stones that you need to walk the very graveyards for them...?"

It’s a series bookended by dead sisters, dead by powder. Francis asks those questions when his own trial drags up rumors. If they were about Gabriel’s abuse of Joleta, they would be true. In Moscow, the night Francis comes to her room, Güzel says, “I too have had my Margaret Lennox and my Agha Morat and my child-whore Joleta Reid Malett.” But who is she? I think of Joleta, Míkál, and Philippa in his rooms in Dumbarton, Thessalonika, Constantinople, and Paris. Those are four very different nights. On one, he calls out to Eloise.

“I am going to call on Philippa, when we get to London. What will you do if I take her straight to my lodging and rape her?” Austin was very white. “Kill you,” he said. “If I can.”

Is Joleta innocent or corrupted when her brother kills her on the stairs? How much does it change the meaning of what Francis did to her at Dumbarton? That year, Philippa’s moves in the game are to tell Trotty Luckup’s version of Joleta’s story and to spare Gabriel to save Khaireddin. Which child?

Two great women who play with fate steer Philippa towards Kuzúm and towards Francis. In Algiers, a pawn’s mother dies and Oonagh turns to fire. Lymond was dedicated. And she…she was the sacrifice. He doesn’t know she is alive, and then he doesn’t know that he will find her dead. To Francis Crawford, this unknown son was a tragedy of which he must never learn. But he does learn. He sees her, but she will never see him again.

There were other children, and nothing to tell her whether the bubbling purr she heard at night, of a baby full and content, was his. … She did not know Khaireddin’s scream, or the sound Francis Crawford might have made when once he too was branded for the galleys.

This child; this unknown son of his blood, was worth one life: his own. … This, one felt of one’s son. Was it not also true of Gabriel’s?

In the chess game, who knows whose child is whose? Who makes sure they are there? Kiaya Khátún, with her whims, switches children and lovers. Marthe and Jerott marry each other as substitutes for Güzel and Francis. Philippa marries Francis because he promises to preserve his own one life. Francis believes that to live and return would be to kill his brother. Forced to go home, he believes he will return to Güzel.

Güzel, who was dead.

Francis reminds Archie that Philippa has released him from his promise. Archie has saved him so many times before. So has Jerott, who knocks the opium out of Francis’s hands and turns it to powder. So Francis decides to die joyfully, in fire and flood, ground by a burning mill on a river. Jerott pulls him from the river anyway, and holds him in his arms as he faces his mother and comes back to life, surrounded by love and tapers burning like Oonagh’s. "My life has a rudimentary value in that you were moved to preserve it." In Amboise and Blois, Oonagh leaves his survival to chance, but she also saves him.

“No. Oh Christ, no. It should have happened long ago.” Jerott knows that he has taken away a death Francis wanted. He stops Richard from intervening and lets Austin kill the rider none of them know is Marthe. “Don’t stop it. No one else could do it for him.” Jerott kills Austin without knowing whose death he’s avenging. It is the death of Marthe, who wanted her own life. The words from the garden in Djerba come to Jerott once he knows, as Francis and Philippa embrace. My beloved is dead. 

As he aims, Austin is so sure he’s the only one who sees the real Francis Crawford, rotten and arrogant and undeserving of life. “Is it for this thou wast created?” thinks Philippa, who first saw Marthe as a shadow and a voice and mistook her for Francis. For Marthe, the answer to that question is yes. “Poor sister. A pawn more helpless even than…”

They had used a knife, so the child’s face was not distorted.

He aimed into the fair, weary, rancourless face, and then at the heart, and both balls found their mark and brought death in the end.

“Consider: who — stretching the imagination, of course, to its most grotesque outer limits — might be taken for my younger brother.”

Acting and not acting, Marthe speaks with the voice of the woman who created both of them, a dead chessmaster who won’t be silent. “You will harm her,” Francis warns Camille. Marthe tells Jerott, “I enjoy acting, as he does. The human scene is well rid of us both.” Many agree. Richard says to his brother, “My dear, you are only a boy. You have all your life still before you.”

“God damn you both. You summon and you throw away. You treat love like a bird for the table… Like a pawn, now in frankincense, now discarded and thrown in the dirt. You don’t know what love is, either of you. And God help us and you, if you ever find out.”

“Whatever made you think you were free? But because of you there will be something, I promise you, by which men will know Francis Crawford has been.”

“There’s an unnatural conspiracy to keep me alive, that’s all.”

“How do you take leave, for all time, of a brother?”

They set off that evening to take Marthe Crawford to the home of her fathers, which she had never known.

And they bury her in the dirt of Midculter, which her brother owns and will never own, where Kuzúm knows happiness.

[snowthornes]

A warning: ahead is a very very long essay-slash-ramble about Salyra, a character from Crown of Exile by @ramonag-if . I have a lot of thoughts about her complexities as a character as well as the tragedies of her relationship with the MC, so I figured I should just put them all into words before I explode. If you haven't read CoE yet, please do — you won't regret it!! Especially if you're a huge fan of complicated, "okay wow this hurts" family angst and heart melting romance. 🥹✨✨

Salyra is someone who possesses the self-created tragedy of a hero. When Salyra believes in something, she believes in it with her whole heart, and she'll stop at nothing to fight for it. She's... the hero that many adore, but hurts those closest to her, directly or indirectly. Like her family, who've heard nary a word from her for all those years, not knowing if she was alive or dead. Like the MC.

Salyra's sacrificed countless things for her cause, and those sacrifices sometimes involved the hearts of those who loved her.

She's willful. Willful and determined. Great qualities for a rebellion's leader/figure of inspiration; not so much for when you're trying to patch up a relationship with your child who had long thought you dead, and had suffered for it.

It's like she thinks that if she pushes enough, if she shows MC the depths of her sincerity, it'll make MC accept her after all those years. It doesn't. For certain MCs, anyway. It only serves to push them further away.

Right, this is going to swerve into more specific territory. I'll be going into a little more detail on my MC's relationship with Salyra. The relationship between Salyra and my MC just... fascinates me.

Salyra is the high priestess, adored by the people of Ishari. MC... is MC. They were discriminated, mistreated, and followed with gazes of spite and distrust in Cyre because of their Ishari blood. Once MC returned to Ishari, they were greeted with — surprise, surprise — even more gazes of distrust and suspicion! Partly because of their blood guard parentage, partly because of their loyalty to the exiled prince, etc etc.

You stare at Rana, suddenly conflicted with anger and betrayal. You never wanted a sister, you only wanted a mother. Rana stares at you, suddenly gripping onto Mama's arm and twisting behind her, as if afraid to look up at you. A look of disappointment flashes through Mama's eyes, but it is directed at you, not Rana. It is a look you remembered Mama using when anyone would upset you as a child and now, you find yourself bearing the full force of her frown. You would laugh were it not so painful to think about the life you were robbed while Mama evidently moved on.

"Avriel," Mama murmurs. "You are my son and I know that I have not always been there for you, but I would like to remedy that. We cannot gain back what we have lost, but we have time now to find each other again."

"I need to go," Mama murmurs. "Rana needs me, Avriel. So does Danzor."

For a moment, you catch sight of your mother, but she does not see you. After returning to the temple, she has washed and changed, the priestesses who had been chanting earlier, now crowding around her. Anu called Mama the High Priestess and you cannot help but wonder just how long she has been in Ishari.

It's these. These scenes. Salyra has built a life in Ishari, a life without the MC. A loving family, a figure loved by the people... this is all that MC knows of who Salyra is now. The Salyra presented to him is a hero. A golden existence, a light in the dark, fearless leader of the rebellion.

(They need you? What about me, Mama? Do I not need you as well?)

(Those who had looked at you with suspicion now look at her with respectful, even admiring eyes. Salyra has a life here. But you — you are just the same. You are an outsider still, whether in Cyre or Ishari.)

Avriel is genuine and soft hearted, but he has a spine of unbending steel. He is proud. All those years mourning Salyra, grieving for her, only to find her alive and well in Ishari and with a family that she so clearly (and here we have a peek into Avriel's pain induced bitter thoughts, because honestly, that sad and angry child from so long ago never truly left him) prioritizes over him.

It's like his life has been rendered into a bitter joke.

What does Salyra want from him? Does she expect him to come and go as she pleases, there when she wants him and gone when she doesn't? Is he expected to wait in the wings as Salyra tends to her new family, only playing the part of a loving son when her eyes turn to him once more? Salyra, his mama. Salyra, now the head priestess, looked upon with respect by the very people who had looked at him with such suspicion.

(^ Above is Avriel's current thought process. Yes, he's a real mess. Irus is having a hell of a time soothing him, as the usual gentle-eyed man is currently very much like a wounded cat with its claws out and teeth bared, eyes set in a glacial glint.)

And honestly, those words might be quite unfair to Salyra. We do not know what she's experienced. Not yet. But are the words left spoken and unspoken between mother and child always fair? I think not. Salyra's expectations of MC could be called unfair as well, depending on the MC you're playing.

I just. I just find this so tragic. Salyra is a deeply complex character. Her greatest strengths are also her deepest flaws. Ironic, how the qualities that made her a hero could be the very thing that chills the heart of her child. I remember you said that Salyra will wise up on how to treat the MC in a future chapter, but wow. The tragedy of Salyra being her own undoing and the detoriation of the relationship between lauded mother and outcast child is just. Wow.

Also. leaving this here because Irus + Nearly Feral with Rage MC is everything:

You nearly laugh, the bitter rage that has been festering beneath your skin like a swarm of wasps, threatens to erupt from your skin. Prince Irus settles a hand on your shoulder and instantly, you are looking at him, noting the concern in his gaze. All at once, the rage leaves you, until you can finally breathe once more.

[blackfilmmakers]

Ya know, it's becoming real clear that there are some fans who only value Miles to the extent that he is in service to Gwen and their headcanon(s) of her. Whether its conscious or subconcious, Gwiles' fans dialogue around Miles shows that for them, Miles' existance, his story, etc. is meant to primarily give Gwen her happy ending, to help Gwen have her epiphanies so she can live her best white life. He's only good and uwu to them, to the extent he benefits her. It's partly why the creators making the creative decision to have Miles' be so infatuated with Gwen when, in the comics, Miles is not pressed for Gwen at all, annoys me a lot. They risk perpetuating these fans miguided idea (and reinforcing racist real world views) that Miles exists to affirm Gwen's desirability and she can do with that what she wants, his job is to wait on her and tell him when he can move on with his life. It also ties in with the same fans outright dismissing Margo. To them, there's no way Miles could actually find Margo, a Black female attractive and intriguing - even though Miles loving and strongly desiring woman of color in the comics is absolute canon. To much media has reinforced a false narrative that black men and women loving and desiring each other is rare and not enough. And so, in their eyes, Margo can't be an actual threat for Miles' attention and affection, she also must exist in service to Gwen, to show that Gwen has complex feelings and can get jealous too. Miles feelings, his identity, his desires, his safety, his mental and overall health, his community, his family, his hurt, his trauma, his pain, his full potential, all of it should be pushed aside because to them GWEN's feelings, her angst and struggle should take priority, and he should just understand that his suffering is worth it because she gets to grow.

From what I’ve heard Miles and Gwen in the comics have gotten together a few times, and were even married at one point(somehow across dimensions???) But like you said he mainly dates girls of color, Black girls even, and we don’t usually get that. I was disappointed we didn’t get to see so many Black girl characters in the first movie

I don’t really care for shipping aspects, but all I know is that ITSV showed these two having a slight crush before forgetting about it, because there were more important matters on hand. And yknow, that all felt natural

So seeing Miles go into this crush on Gwen even harder, to the point where he practically forgets about the other Spiderheroes from the first movie until he sees them again? It didn’t seem right. It went from “I want to see my friends who understand me, and also helped me when I needed them” to “I really miss Gwen, sad angst teenage hours”

And yeah I was pretty annoyed how much the movie focused on Gwen, to the point where I questioned if this was her movie or not. There were some aspects I enjoyed, but also stuff that felt unnecessary given how little information we still had. Simple flashbacks would suffice to get the point across that Gwen was in trouble and she was taken in by the other Spiders. The first movie does this

We could’ve spent this time exploring different Spiderverses and the new characters. It just dragged on for so long, that by the time we get to Miles, I nearly forgot he was in this

I’m not so into this fandom that I can say I fully understand the shipping dynamics here. But yknow, if this is literally like every other fandom, then I don’t see why I can’t believe a good amount of Gwen stans make the experience unbearable

[multifandomworldsposts]

We Met in Tampa PT. 3

A/N: The story is the Elvis movie but Y/N version!

Pairing: Austin!elvis x reader

warning: Smut, Oral (M&F), fluff in the beginning

Y/N’s POV

Elvis was getting TV gigs ALL THE TIME! But we would invite me to some of them like his new movie Love Me Tender. The merchandise, some of it looked good but some looked weird. I sit with Elvis while the Colonel is showing us the merchandise that he has already in the room, a bust, pins, games, etc.

“I hate Elvis.” Elvis and I look at Gladys and she’s holding a pin that says what she said. Why would anyone want that?

“Yes. I hate Elvis. In my way of thinking, “I love Elvis,” that’s an easy sell. Those who hate your son will do so whether we profit from it or not. After all, what is hate worth if it’s free?” The colonel said to Gladys grabbing the pin out of her hand. I can tell she looks uncomfortable.

The colonel came up to Elvis and I and gave Elvis the pin, Elvis looks at it and says, “Snowman strikes again.” The men in the room laugh but I look at Gladys including Elvis’s grandma, I can tell they hate that idea, including myself.

Elvis went to the ‘Lansky Bros.’ and I stayed at Graceland to be with his family. He’s getting a new suit that he told about, I can’t wait to see it! He came home with the suit and I fell in love with it! It suits him so much!

Elvis invited me to go to the network at NBC and I obviously want to go. When we got there I was in shock, I’ve never seen anything like this. The producers gave me a special seat so I can see Elvis better. I look around and see his fans and some of them gave me dirty looks, I didn’t care I was seeing the man I’m in love with preforming ‘Hound Dog’ and I remember the moves he’s doing, he did them when I saw in back home.

The newspapers came and they are brutal like, ‘Elvis The Pelvis Belongs In The Jungle’ or ‘Elvis Presley Must Clean Up His Act — Or Go To Jail’, I get uncomfortable when I see these titles, Some articles are about his ‘mystery girl’, which is me but he wants to talk about me but he’s afraid that I might get death threats by them.

Elvis told me about his ‘Steve Allen’ show, he hated it because he couldn’t dance the way he dance and I felt bad for him, I want him to do what he wants to do because it makes me happy.

“It was the most embarrassing performance of my life, daddy.” Elvis says in a upset voice.

I feel bad for him. I get back to reading until I hear Elvis and Gladys start to yell at each other, “I don’t want all this! You’re unhappy!”

“I am not!” Elvis yelled, which made me flinch. Gladys slams her hands on the table.

I get up to see what’s happening, “You’re losing yourself, Booby!” I walk to Elvis to calm him down but he went to Gladys and she whispers something to him that I couldn’t hear.

I hear his friends coming in yelling Elvis’s nickname. “Tramping mud in my house and doing my damn head in. Come on Y/N/N.” He grabs my arm and says, “Where are we going?” “Anywhere but here.” Elvis takes me to his Cadillac and drives off fast, I don’t say anything I just let him drive.

He takes us to town and I see fans running to the car and Elvis finds a parking spot and opens the door and goes to mine and opens my door so I can get out. I hold on to his arm, there’s a lot of people out here, I just didn’t want to lose him from the crowd. “E.P.!” I hear and I turn my head, B.B. King? One of my friends love his music. Elvis takes me to Club Handy and B.B. King took us in the club.

I hear music inside, Elvis telling B.B. about what’s been going on at Graceland, B.B. looks at me and giving me a face like ‘is he serious’ face, I nod. B.B. talks to Elvis but I can’t hear them. B.B. opens the door to the club and this place looks amazing including the the singer, Little Richard? The same friend listens to him as well. We get to a table and I sat down next to Elvis. “Man, he sings the hell out of that song!” I hear E. say.

“Can I steal your girl for a moment?” A woman says to us.

“Uh, sure.” I get up and says.

“I want to show you something, it’s nothing bad I just want to show you something.” She says.

I look at Elvis and he nods, “Yeah of course.” She drags me to a hallway to a fancy clothing store.

“My name is Y/N what’s yours?” She looks at me and says “Anne.”

“This place looks amazing.”

“This is one of my favorite stores to go to. Hey Susie!” Susie looks at us.

“Ms. Y/N here, let’s give her a makeover.” “Why’s that?” I look at Anne.

“That man with you, Elvis Presley, needs to see someone with something new.”

“Okay fine.” Susie and Anne gives me a lot of clothes and one caught my eye, a lingerie set that I think Elvis would like. I try on the clothes but saved the lingerie for last. Anne and Susie complemented me and when I got on the lingerie, they immediately said, “That’s the one you need to wear!”

“You think so?” I look at myself and look back to them.

“Yes honey! He’ll die, not really.” Anne smiles.

“Can I pay you Susie?”

“It’s on the house Y/N.”

“Are you sure? I can pay you if yo-“

“It’s on the house sweetheart.”

“Thank you! I mean really thank you so much!” I walk up to Anne and she give me my coat and says, “He’ll love it!” I chuckle nervously.

We get back to Club Handy and Anne says, “There he is, go show off Y/N.”

“Thank you so much for this.”

“You’re welcome! Now stop stalling and go to your man!”

I walk up to Elvis but I take my coat off, Elvis looks at me and I can see he wants to do something to me but we’re in public.

“Y/N, can I talk to you in private?” Elvis drags me to a private hallway, I look back at Anne, she gives me a wink.

“What are you wearing Doll?” Elvis says trapping me on a wall but puts his left hand on the wall.

“You like it?” I said nervously.

“I love it but we’re in public Honey.”

“We’re in private E.” He stayed silent.

I lean in to kiss him, he kisses me back until it became a make out. I start to moan. He grabs my left leg to his waist and starts to kiss my neck. I can feel his cock getting hard. I start to moan, he takes me to the nearest room and locks it, I feel a table, I sit on the edge, I’m ready for him, so ready for him to do something to me. He comes back to me and lays me down on table and tries to find the zipper to the lingerie. I help him to get the lingerie off and starts to make out with him again, I don’t want this to stop. He gets between my legs and starts to eat me out, I moan again, I tug on his hair, he sucks on my clit and I start to scream, ‘damn he’s good’ I thought.

Elvis helps me get the lingerie back on my body and whispers, “Wait until we get home Darlin’.” I heavily breathe, I’m so glad I met him.

We get back to people still dancing and I see Anne waving her left hand for me to come over to her table. I go to her table and sit down and Anne just says, “That was a long time what did you two do?”

“Well we, made out.” Anne looks at me looking ecstatic.

“The Elvis Presley did that to you?” One of Anne’s friends says.

“Mm-hmm.” I answered.

“And, he did more then made out with me, he.” I look around and whispers in Anne’s ear “He ate me out.” Anne looks at me she looks at me like she won the lottery.

“He what Anne?” One of her friends questions.

“He ate her out Janet.” She gasps and says, “That man can do more then singing.” She says. I giggle.

“I’m so rude this is Janet, this Briana, and this is Gabriella.” Anne introduced me to her friends. “Hi nice to meet you, my name is Y/N.”

“You look so beautiful by the way.” Briana says. “Thank you! So do you!”

It’s closing time at Club Handy but Elvis and I stayed longer. Thorpe starts to sing and I’m in awe, she’s an amazing singer. “I’m goin’ to heaven to get my reward.” I start to clap, she’s amazing, I think amazing as me.

I go up to Anne and she introduced me to Thorpe.

“Rosetta! Meet Y/N, she’s Elvis Presley’s girl.”

“Oh it’s nice to meet you Y/N.” She smiles.

“You we’re amazing.”

“Why thank you darling, you know a lot white trash come here to terrifies us every day.”

“I’m so sorry! My parents never taught me to do that, they taught me to be kind to everyone.”

“You really sweet to all of us by the way.” Anne says.

“And thank you for this outfit.”

“What outfit? Oh come on I want see the little number.” I show Rosetta the lingerie.

“Now that’s you! I bet you’ll wear it all time.”

“Just around Elvis.” I whisper in her ear, Rosetta laughs.

“Speaking of Elvis where is he?” Anne looks around for him.

“Uh, there he is outside with B.B. King.” I turn and see Elvis outside with B.B. A few minutes later a photographer comes in and asks me to pose so Rosetta, Anne, her friends and I pose but Janet says, “Show off your lingerie Y/N!” I giggle and took off my coat and posed with the women.

The photographer took out a few pictures and I said, “I want a copy.”

He gave one of the pictures and I put it in my pocket and he went to Elvis and B.B. “Hey, Elvis, B.B! Give us a smile.” I heard.

Elvis and I had to leave and said goodbye to everyone. We went to his car and he drove off to Graceland.

“Elvis, I never had that much fun since, since uh-“ I take my coat off “Since you met me?” Elvis chuckles and lays on his bed.

“Maybe, I never had that much fun since I went to homecoming two years ago with my sisters.”

I lay next to him. “Well would your parents get mad if they see you in this baby?” He points out my lingerie.

“They’d die if they see me in this.”

“Y/N/N, I love you, you know that?”

“Of course I do E. I love you so much.”

“Let’s do what we did in that room a couple hours ago.” I lean in towards him and start kissing him again, he makes me straddle him and unzips the lingerie, I take it off and kisses him again.

He lays me down on the bed so he could be on top of me and I help him getting his clothes off, he takes his boxers off and gets a condom out of his nightstand drawer. He rips the rapper and get the condom out and puts it on his dick. He looks at me but I stop him, he looks confused.

“What about your family and friends, what if they can hear us?”

“All their rooms are far away from ours honey, it’s okay to scream my name.” He smirks. I kiss him again, I feel him entering in me and I start to moan. I don’t want this to end. “E-E-Elvis. Oh god.” I moan out. He kept on going in and out. I hear him grunting, I start to scream, God this feels good. “How you feeling baby?” “So good E, keep going.” He keeps going, he starts to kiss my neck, I feel him giving me a hickey. I gasp and scratches his back, “Don’t stop Elvis.” He moans and continues to kiss my neck and continues to fuck me. He stops, I whimper. “Remember what I did to you honey?” I know what exactly what he’s talking about. He goes to my clit and eats me out again. I grip on his hair and gasps “E-“ He stops eating me out and starts to nibble and kiss on my inner thigh, I gasp again, I grip on the sheets and looks down at Elvis. “Elvis.” He looks up at me, “I need you.” He smirks and climbs back to my face and kisses me again, but I stop him, “That’s not what I meant Hon.” He gives me a confused look. “I need you.” I grip on his cock, he knows. He fucks me again, but harder. “Ah Elvis!” “Fuck baby.” We continue to do this for longest time until we both go tired. He takes off the condom and throws it in the trash and lays next me. I heavy breath and look at Elvis who’s also heavy breathing. “How’s that Y/N/N?” “I- Oh Elvis, that was so good.” “I’m glad baby. You know I have that concert tomorrow.” “I forgot about that E. I’m sorry.” “Don’t be Y/N, we get there at 8:30 pm tomorrow, don’t worry.” I lay my head on his chest and felt relieved. “Darlin’?” I look up at him and say, “Yes?” “I’m so glad I met you.” He touched my hair. “I’m glad to Elvis.” I give him a peck. I lay next to him and I fell asleep immediately.

[rearranging-deck-chairs]

once again thinking about a version of the story where 13 lands in sheffield three years earlier when ryan and yaz are still sixteen and a whole lot angrier

13 turning out a bit more immature bc she spends her first twenty-four hours after regenerating with these reactive and kinda fucked up kids. ryan dealing with grace and graham recently getting married or getting ready to get married. probably feeling abandoned by his grandmother after his mother and father. feeling alone with his grief. maybe kinda just has tibo to confide in. yaz meanwhile is in hell getting bullied and either recently got driven home from a running away attempt and is now dealing with the familial aftermath of that, or is planning the running away. maybe kiiiiiiinda just has sonya to confide in but probably not really. probably doesnt confide in anyone

13, still malleable and fluid, running into these messed up teenagers who reflect all her own lonely angry betrayed abandoned feelings back to her, shaping herself in response to them. they dont trust her at all to start with, but i think she'd win yaz over in a similar way she does in canon, presenting herself as an authority who listens and understands. perhaps slightly more the understanding than authority part at this point in yaz's life. maybe she lands in front of yaz actually in the hills before anita can get there. yaz is like "where the fuck did you come from" and shes like "um the troposphere i think" and yaz is like "how are you not dead" and shes like "oh i was! but then i decided maybe i shouldnt be. so. now im here :) with you!" and that kinda strikes a chord with yaz. and then the doctor's like "do you happen to have a sandwich in that backpack im starving"

then aliens happen and once they run into ryan, yaz is already won over and she and ryan recognise each other and she convinces him that, like, no shes not nuts, theres definitely aliens shes seen them

11x1 would go entirely differently obviously. maybe grace wouldnt die and graham wouldnt travel. ryan maybe decides to travel a little bit out of spite and home doesnt really feel like home, and yaz isnt having fun at home or at school either and she was running away anyway so this is not a hard decision

the emotional instability and bad decision counter of a team tardis thats just 16-year-old yaz and ryan and 13 is kind of amazing to imagine. it'd be so volatile but they'd love each other so much i think they'd be the best friends bc instead of starting off closing herself off from grief, 13 would start off having her justified and irrational anger sort of validated and coaxed out i think by yaz's and ryan's. in the tardis between the three of them there would be a place to express "nobody cares about me" whether thats true isnt the point, i think theyre all feeling it a little bit. "everyone just moved on like mum didnt matter/'tell an adult' like what are they gonna do?/okay it wasnt all their faults but all my friends are dead" you know? i think they'd be heard with each other and i think there'd be space for the injustice of it all and especially as the doctor is like a children's advocate most of all, she would take ryan and yaz seriously in a way i think they wouldnt have been by any other adult in their lives at that point. and in return they, just by being there as they are, would make room for the hurt child that 13 is and will turn out to be

and i dont have details for this but i think it would be really nice if the way 13 listens and takes seriously yaz and ryan in the first season (not like consciously or deliberately or anything, shes not trying to Do anything, this is just who the doctor is) would be mirrored in the second and/or the third when they have calmed down a bit, dealt with some of their issues at home, talked to some family members, become a little less depressed and angry etc, and they return the way she treated them when she finds out abt the timeless child and tecteun. she took their anger seriously and she took them seriously when they said "this isnt fair" and in return they can take her anger seriously, probably are angry on her behalf, and they can stop her from overcorrecting from like being 10 by pointing out to her that this isnt fair and shes allowed to be angry abt it

and when yaz inevitably gets a crush i think it shows up as a kind of out of character/seemingly regressive prickliness and snappiness toward the doctor getting more intense over the course of s12 that ryan and the doctor first are puzzled by bc like sure in the first half of s11 maybe they were all a bit snappish with each other but theyve been friends for like a year now whats this about all of a sudden? and yaz is like Nothing!!!! it's nothing!!! piss of!!! bc shes having feelings she doesnt know what to do with or how to interpret so theyre just manifesting as Angery. that same need to prove herself + probably worry abt the doctor as in canon except a lot more combative and a lot less inhibited. shes probably picking fights abt everything the doctor tells her to do. trying to provoke the doctor into actually getting mad and yelling at her or, god forbid, grabbing her, shoving her, using her hands bc yaz wont listen to words. sometimes youre 17 and horny and you dont understand you want one of your two friends in the world to kiss you bc it hasnt occurred to you that girls kissing girls is a thing that can happen. ryan figures it out first

in this version ryan probably stays until the end too - or the same as in revolution happens and yaz feels betrayed that he'd give up on the doctor so easily and feels alone in the entire world again - graham and dan wouldnt come into the picture. ryan's and yaz's family would come into the picture a little more actively. theres a lot of plot to figure out that i cant and it would be a very different era in many ways but i think it would be nice

[rockwgooglyeyes]

i already brought this to blue but . . potential tag teaming of aurien and azure again nyx and cas . ? ( i find it a bit funny that they’d both probably have to mimic the same person . . )

( in general of the 2 though, auri would definitely be a bit more hesitant to do something like this . in fact, she more or less would only do this to comfort someone even as wrong at that sounds . .

though if nyx v auri actually happened . . auri would 100 % throw the round at the end . )

Uh. Oh Boy.

The thing is . . . in Oryon's conditioning and experiments, Oryon has used the appearances and memories of Nyx's loved ones against him, basically to see the limits to which he would go to survive, to escape, to obey, etc. Testing whether or not he would kill a loved one if ordered to, with and without conditioning, with incentive and without, etc, etc.

So, Nyx would react similarly to a situation in which he's on stage and someone starts to imitate or purposefully act like someone he cares about (especially if that person is dead.) He would probably either knock that person out until he saw that they weren't moving anymore and bolt, or he might even kill them.

If Aurien started to do it and then stopped, he would probably tear himself away and just straight up bolt. That's his little sister and he hurt her, after all . . . he might not have wanted to hurt her, it was instinct, but he still did. With Azure, he probably would have some regret but not the same degree of remorse.

(though if they go up against each other actually? cue Nyx and Auri fighting tooth and nail to see who can throw the round harder)

[elffees]

(Sorry for not putting this under a ReadMore but entire chunks of the post vanish when I do so. Sorry again!)

Revisiting Little Hope and I find the plot twist MUCH easier to swallow when I choose to interpret the characters as actual ghosts haunting Anthony and not hallucinations.

Interpreting them as hallucinations sours them for me as it removes all agency from them. All of their personality traits are simply the biased view Anthony has of them. Any character arcs they experience are just Anthony imagining his family becomes better people or worse than they ever were.

But interpreting these characters as legit ghosts that are haunting this town and especially Andrew/Anthony makes it much more digestible and interesting (for me personally). The characters keep their agency. The “redemption” arcs they can experience are them finally growing as people capable of moving on. Or, if they refuse to change or even become worse, their inability to improve makes them re-experience their brutal deaths and traumas in a never ending loop.

And Anthony, as their last surviving relative, returning back to the town is the catalyst for their change because, with him back as the only one able, willing, to see them, his affection helps them fulfill these arcs.

Dealing with ghosts and the spiritual world is not meant for humans though, so the only way Anthony’s very-human-and-alive brain can process the supernatural events happening around him (his relatives returning as ghosts, them being chased by personifications of their flaws, etc.), his mind disconnects them as family and instead interprets them as merely acquaintances. And with his occupation as a bus driver, it makes sense his first go-to would be to view them as students with John as their professor.

The finale is him, for sure deciding whether to forgive Megan or blame her, but it is also ghost!Megan begging for guidance from her brother, the only one that was ever kind to her. Asking for clarification whether everything was truly her fault, was it simply a matter of circumstance, or was her misfortunate the fault of her abuser—the priest. It is both the last surviving brother and the hated sister trying to come to terms with what happened to them.

And Anthony’s decision to either shoot himself, go with the cop, or walk off into the sunset is basically the same as most people interpret it. Will he continue to blame himself and, in an attempt to both reunite with his family and punish himself, commit suicide? Will he ambiguously meditate on everything that happened and go off with the police, unsure of his role in his family’s massacre, and leave his fate in the hands of other people? Or will he accept all that’s happened, that it really was just a tragic accident, and finally move forward with his life?

Interpreting LH as a story about actual ghosts instead of people that straight up don’t exist makes the twist much more appealing to me. That this is not just Anthony’s personal hell but all of his family’s, and they each must come to terms with what happened and who they truly are in order to move on. Even if my interpretation is completely wrong and nonsense, it helps me appreciate the story more so I think I will keep it anyways lol

[mausolealdrift]

Do you have a deathgasm notp??? Sincerely, a canon zakk/Medina was a fucking cosmic fuck up incident truther

oh you’re absolutely right i have So many thoughts about this. sorry this took me forever to answer i needed to collect all of my thoughts together and all of that i am Normal about Characters

so like . for obvious reasons the thought of ppl genuinely shipping zakk and medina as in like……… thinking theyd actually be good together or smthn is a fucking insane idea and im So very glad ive only seen maybe one person say some shit like that. (which like. honestly im starting to think i might have imagined the post in my head just to make myself mad bc i havent been able to find it since ??? but i SWEAR i saw someone shipping them once .) the two of em actually being in a relationship would just be. Awful and unhealthy for both of them

(and yeah zakk and brodie arent exactly healthy for each other either . but in the sense that they both make each other Worse yet neither of them can stay away from the other even if they want to etc etc. which is actually sexy and not just . y’know)

but anyway . yeah Definitely a cosmic fuck up. medina deserves better than that :( like she’s been objectified and treated like shit by pretty much every guy who looks her way and then zakk lies to her abt the one guy who actually respects her to manipulate her into hooking up w him. give her a BREAK

but as much as it was The dick move of the century i think zakk had his reasons for it aside from just boredom. Obviously this is all very much my personal and extremely biased interpretation etc. but i think it was out of frustration more than anything else because he just can’t fucking cope with having feelings for brodie. regardless of whether you see those feelings as romantic or not he Cares too much about him. and he doesn’t know how to handle that so he takes his anger and frustration out on medina in such a spiteful and destructive way because it’s all he knows how to do. and whether he knows why or not, the idea of brodie getting closer with medina bothers him so so deeply – enough for him to try and sabotage their relationship at every chance he gets (and then later trying to keep them apart to stop brodie finding out what he did because he doesn’t want to lose him) under the guise of just being bored or only caring about himself.

and i really don’t think there’s much of a possibility that he did it because he was into her, or jealous of brodie, or anything like that. zakk never showed interest in her at all until then (i.e. when she made a move to try and get closer with brodie) and just….. seemed generally pretty indifferent to her otherwise. if he really wanted to then he could’ve made a move before, but he didn’t.

he purposefully did something that he knew would hurt them both if they (inevitably) found out, maybe not because he genuinely wanted to hurt them but because he’s reckless and destructive in nature, (and maybe a little bit stupid sometimes), and just doesn’t know how else to handle or comprehend his feelings other than to take it out on other people.

i think a lot of the dickhead-ish shit zakk does in the movie seems kind of random and thoughtless and it’s difficult to unpick what his motivations are for the things he does aside from just ‘because’, but a lot of it starts to make a lot more sense when you see it as a result of him caring about brodie far more than he wants to, and not knowing how to handle it. he seems so cruel and uncaring, and he definitely wants to be seen that way, but i think he cares deeper than anyone else in his own (kind of incomprehensible) way. and yeah, it’s still shitty and selfish and fucked up, and he still took advantage of medina and used her regardless of why, but i dunno. i think the reasons for it were a lot more complex than he let on.

(again, maybe i’m reading too much into it all and he is just a fucking cunt who just did shitty things for no reason, but the fact that he still came back for brodie after everything, despite how mad he was, even though it led to him dying in the end, is more than enough to show that he really does care too much for his own good.)

so yeah uh. i don’t fucking know how this went from ‘yeah i think zakk/medina sucks’ to a full-on analysis of zakk. But i dont care actually i love being fucking insufferable about this stupid movie <3

sorry for the massive fucking wordvomit im tortured by the curse of Thinking about characters

[izzy-b-hands]

fanfic asks! 5, 8, and 14

Ella!!! Thank you for asking 🫂🫂

Putting this under a cut because I am a wordy motherfucker as ever and This Got Long, I'm So Sorry💖

5. What’s a fic idea you’ve had that you will never write?

Oh god. So Many fkldsjaflkdsjfa. I'll stop at twoish here, but pls know that if y'all want more for other fandoms, I can add to this post with more lmaoo, I love sharing these.

-There was one for LOTR that still sticks in my brain years since first having it: Sam suddenly leaving the Shire and wandering aimlessly, but refusing to settle anywhere.

Over the course of it, he would get help/care/concern from wherever he stopped with whoever remained in each location, but he would refuse to stay for more than a few days or accept more than like. Bare bones food/medical care/etc, leading to literally everyone he meets and of course his family and friends still in the Shire to go to Frodo to beg, plead with him.

One last adventure, because their grand adventure to save the world and destroy the ring changed Sam too, even if he never showed it as much. Don't let him go where no one else can follow, and bring him home.

Whether Frodo would or not was the bit that made me shelve the idea, bc I figured a lot of fans would not enjoy the potential avenue I was leaning towards, that he might hesitate only in that he isn't sure he can handle the journey himself.

That, and realising that the way my brain wanted to write it, it might well end with Frodo and Sam realising neither of them can bare to go back, and deciding to wander together until they'd either die or find elves sailing willing to take them to the Undying Lands.

-There's a whole bundle of Saints Row ideas, mostly Gat/Aisha/Boss and all fairly heavy in being AUs where Aisha lives and things go slightly differently for Gat in SR 3 &4 (I'd keep the aliens tho lmao, I want Aisha to get to go to space too dang it!!)

A lot of Gat realising that he keeps nearly losing the people closest to him that give him reason to live (Aisha and the Boss, tho of course the rest of the Saints as well to a slightly lesser extent), but that he doesn't know how to be anything else for them. He's a living weapon many a time, and is genuinely happy that way, but knows that it puts them in danger because he tends to always escalate things, even when later he can admit maybe shooting a motherfucker in the face over a Costco discount was actually not the best way to solve that issue. However, ultimately, The Boss can't seem to live any other way either, and he's accepted that he's at his happiest when he has both of them in his life, so he can't just up and cut with Aisha to a random suburb and leave the Boss behind. And Aisha, despite her contempt for a lot of it, during one of their Big Talks would admit that even if she dislikes what they do, she does enjoy the lifestyle and knows Boss and Gat would be losing their minds trying to adjust to any other life.

On that note, that's also a fic idea I'll probably never write for them lol, where they go straight and move away to somewhere entirely new with Gat and the Boss having to get actual 8-5 jobs (and maybe something remote for Aisha bc I know it would still be risky for her to ever leave the house but. Goddamn let her do something!! Talk to some other ppl!!!) and just. It's not going to last and they know it won't, all three of them, but they're also three of the stubbornest fucking people alive so. When it ends, it'll go up in flames for everyone around them until they're living in a way they find satisfying again.

8. What project(s) are you currently working on?

Somehow too many and not enough at the same time. That is, I'm having a lot of percolating ideas for new things and ways to continue current drafts for a few different fandoms, but none of it is making it down onto paper (without being deleted two minutes later at least lol.)

That said, a couple draft examples:

-an OFMD S2 fix it gentlebeard POV, Stede specifically, wherein the crew comes to visit and be their first official guests and it's...a lot for them. They both already feel the place isn't fixed up enough and then the crew comes in all jovial and essentially as one big happy polycule w/arms full of loot (actually gifts for Ed & Stede that are indeed looted, but my two lil goofballs gotta have their emotional moments before they get that info and realise that the crew isn't just trying to show off & make them feel shit for staying on land.)

This one is actually done and ends happily w/some actual communication between everyone involved, but it sits unpublished bc I think it might be too saccharine (also every time I dare to write for Ed/Stede I get shouted at even if they claim they liked it so. not exactly eager to court that reaction again even if I have anon off on everything lmao)

-May have already talked abt this in prior days but, a Frenchie/Ed s2 au in which Frenchie convinces Ed to let everyone else go, so long as Frenchie agrees to stay with him as his new first mate (read: his new Izzy bc while Izzy is v alive in this, he's also hidden away until Ed and Frenchie leave the Revenge lol.)

I haven't decided on a final avenue yet for this, but right now have been playing w/: Frenchie & Ed operating as a two man wrecking crew while they gather new crew and a new ship, meanwhile Jim, Archie, Fang, and Izzy are working to find Stede and everyone else to tell them how Frenchie has essentially given himself a suicide mission, and even if they agreed to it so they could initially get away, they sure as fuck aren't going to let him or Ed die as a result of all of this. Cut to them having some silly fumbling reunion (literal list of ideas for this, they're all not great, trust me when I say this bit needs more work yet lol), then following the trail of blood, bodies, and tears to find Frenchie and Ed. Who, during all of this, are actually having some meaningful and approaching healthier conversations abt their traumas and have gotten closer during them. A lot closer. Very close. And it's not an issue of monogamy; they make clear at the start with each other that this might not have any legs outside of their current situation, and they both know that Stede probably won't care, and they've both been fucking Izzy so they know he definitely doesn't care (and has told them as much more than once after noticing them Noticing each other.) Their fear is that it will, and that what they both want isn't compatible (Frenchie knows they can't sail forever, but he'd rather die at sea. Ed, after struggling with it, admits that he's still not entirely sure if land or sea is best for him. But he does feel like he has to choose one over the other.) And what the fuck are they gonna do then? Because if that's the case and it ends what they have on every level, that'll mark yet another failure for them in both of their brains, and they're both entirely too fragile for that to happen, it'll be the crack that shatters Ed and splits the Box of Trauma in Frenchie's brain even wider open. But they do have love for each other, and can't ignore that either.

14. If you could see one of your fics adapted into a visual medium, such as comic or film, which fan fic would you pick?

Oh man. I'm gonna be selfish and give myself two bc I can't decide for sure between them and the first one is entirely too selfish a choice on its own on top of that but

Dancer and/or All For Myself (even tho it isn't finished, I know, I know!!! I always want it badly to be finished. That's still my game plan for this one, I swear!)

Like, Taron probably wants nothing to do with the Kingsman stuff anymore, absolutely valid. But my god seeing Dancer as a full movie or extended series or something would be amazing. It's not everyone's cup of tea for many reasons and I understand why, but I worked so hard on that lil fucker. I'm so proud of it. It's one of the few that I think, if I got the opportunity, I could edit and change up enough to sell as just above direct to dvd level movie script. I can't describe how it felt writing it; it was a particular feeling and magic I have not recaptured since writing this fucking fic lmao (still chasing it tho!)

The second one is just because I like seeing Con and Samba together and they seem to have fun and both enjoy the concept of rizzy so like. If in some universe where incredibly unlikely things actually happen, they came to me and asked for finished script version of AFM, y'all would not see me for ages bc I would lock myself down until I had it done. I'm talking living off of red bull and edibles and whatever snacks I remember to cram in my face-fueled writing, coming out the other end in need of a shower, actual food, sleep, but holding a beautifully shining script. I've done it before, and I would happily do it again for them lol. Plus, it would involve filming locally, and I just think that would be cool to do, to showcase the area. Lots of very cool and pretty filming locations, beach days...idk, I'd be happy to come along for every day of it and just do shit to help out. Pay me if you can/want, but I'm just happy to be there to see the process.

Thank you again for asking, as you can tell I had a good time and it was lovely to get to gush abt all of this for a bit!!!