#which is actually not in the studio version

[tobiasdrake]

Beyond the necessary inclusion of the original 1984-1995 Dragon Ball manga, "canon" is whatever you want. The "whatever Toriyama worked on" criteria doesn't really work, because he's had at least a small hand in the conception and story of basically everything.

Nowadays, people act like Super is somehow the "oNe TrUe CaNoN" continuation and all that matters anymore, even though there's two separate versions of Super that can't even jive with each other. What's more, that same "Super is everything" crowd also can't even decide which of those two versions is the more important or "canon-est" one — a few years back you'd more likely see claims that it's the anime, since it was the original product and the manga simply served to promote it, but now you'll see more claims that it's the manga, just because it's the only version left.

Which should all go to show just how much of a ridiculous and self-contradictory mess this whole topic is, and why any given person is better off just not buying into it. Just take the original manga as your starting point and go in whatever direction you prefer from there.

The concept of canon is actually really important when doing critical analysis, part of which depends on understanding the choices being made, what they represent from a creative perspective, and what they lend to the story. It's important to be able to identify what was part of the creator's original vision, what the creator came up with years later and bolted on after the fact, what was added by other creatives, what was interpreted by other creatives, etc.

To draw a fairly extreme example, let's talk about Bulma's ki-sensing abilities.

In a filler arc of the Z anime, Captain Ginyu takes control of Bulma's body and rides a motorcycle over to spectate on Goku and Frieza's fight - While also seeking to take over a stronger body.

During the American dub, Ginyu's inner monologue celebrates that being in Bulma's body has granted him the ability to sense ki.

Ginyu: This is strange! In this body, I can clearly sense the intensity of each of their power levels!

However, much later in the series, we have Vegeta and Trunks fighting Cell. Bulma needs Piccolo and Tenshinhan to explain to her what's going on.

Well, that's a little strange, isn't it? Why would Bulma need Piccolo to explain what's going on to her? Why can't she just use her own ki-sensing and figure it out for herself?

Is this a plot hole?

Well. No. Obviously not. The reason Bulma can't use her own ki-sensing is because Bulma can't sense ki. That was a line from a localized dub of a filler arc of an adaptation of the original source material. It's three stages removed from original canon. Obviously it has no bearing on the core plot of Dragon Ball, which was written long before it even existed.

With regard to Dragon Ball Super, things are... dicey there. The way Super works is that both and neither are the true canon. Super was created by way of Akira Toriyama writing out a story outline for what he wanted, then separately delivering those notes to Toei Animation and to mangaka Toyotarou, each of whom fleshed out those notes into a complete story by applying their own creative vision.

So it's a weird situation where there isn't really a true canon to Super because both versions of the story are separate creators' adaptational interpretation of the same outline. The Super anime, of course, was made by the studio that made the Z anime so it borrows a lot of elements that Toei created for their version of Dragon Ball. The manga version does not, but it does feel subtly off because Toyotarou's interpretations of the characters don't always mesh well with the original story.

[pebblezone]

🦭

[getawaycar-motelbar]

Cruel summer live is cool and all BUT WHAT ABOUT LOOK WHAT YOU MADE ME DO LIVE?! WHAT ABOUT HER.

[theinfinitedivides]

so The Way U Are (Unplugged) gets a live stage (MNet) and Rebel gets two more stages (SBS One Take at Inkigayo and Mnet) but i see nothing for Rodeo/nothing else for Jungle. aight. ok. guess i'm meant to languish or something

[sevicia]

I wanted to make a cleaner summary of last week's classes and also review the classes I have this week since the material is already uploaded beforehand but I was feeling so horrible throughout the day that when I sat down I was just gonna look at the ones for tomorrow but I think I'm just gonna go to bed because I just gave my little numbers game a few tries and not even the joy of tribial elementary school-level math games is bringing my brain cells and/or full sentience back

[bogunicorn]

i've been quiet here to avoid major spoilers (posting them OR seeing them), but i started act 2 last night and holy shit, oh my god, this game is so good. it feels like a cross between playing dnd with the world's most competent DM and reading a really good fantasy novel.

[timingmatters]

Laughing bc s6 ep 17 of 911 couldn’t afford Justin (Bieber’s) Ghost version so they used a cover. Also crying because they used the song in the first place sjdjdjdj

[apollo-cackling]

why was raincatchers produced like that. why was portraits (album) produced like that.

[punk-raphaelite]

Checking my GPA for grad school applications feels like stepping on a scale

[hispersions]

listening to the full studio versions of glee songs is so wild because sometimes there will be plot-relevant parts that are just entirely absent for no discernible reason

[5sospenguinqueen]

Lullabies | Max Verstappen x Singer! Reader

Summary: Six months ago, Max walked out of your life after a conversation about your future. When you find out he' ended up in a's dating Kelly - who has a child - you work through your emotions in the best way you know how; revenge music.

Warnings: Swearing. Angst. Miscommunication. End of a relationship. Max doesn’t look great in this.

Female reader with various faceclaims. Takes place in 2021 but timelines have been completely altered. Olivia Rodrigo songs.

Main Masterlist

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Feb

YourUserName just posted

liked by georgerussell63, bestfriend and others

YourUserName 'and i fantasise about a time you're a little fucking sorry'

12,326 comments

User 1 mother is in the studio, ya’ll. i'm smelling a new album

User 2 did their breakup destroy my soul? yes. do i believe the revenge album will heal my soul? absolutely

User 3 the working titles are so unhinged and I’m here for it

→ User 4 hit you with a car is so real

→ User 5 love that she called him evil whilst also saying that she wants him to drive off a cliff. we respect it

francisca.cgomes i’m SO ready for this. sure you can’t give me a little preview?

→ YourUserName stop trying to get me fired

User 6 sis disappears from social media for 6 months only to come back serving cunt

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2 months before

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May

redbullracing just posted

liked by YourUserName, maxverstappen1 and others

redbullracing ANOTHER VICTORY FOR MAX VERSTAPPEN 🏆 #AustrianGP tagged: maxverstappen1, kellypiquet

7,445 comments

User 7 omg omg omg y/n liked. this is not a drill

User 8 was that last photo really necessary? she’s just a wag, she’s not actually part of red bull

User 9 not y/n liking 🥺 he broke her heart but she’s still supportive of his career

User 10 that should’ve been Y/N

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June

YourUserName just posted

liked by maxverstappen1, victoriaverstappen and others

YourUserName 'you’re just a stranger i know everything about'

10,102 comments

User 11 not max liking despite not even following

victoriaverstappen so talented

liked by maxverstappen1

→ YourUserName thank you, vic x

→ User 12 not the former SILs interacting on main

alex_albon what's that sound? oh, it's just my tears

→ YourUserName doofus

→ lilymhe can confirm

User 12 and now my heart is breaking all over again. i miss the two of them so bad

kellypiquet just posted

liked by landonorris, redbullracing and others

kellypiquet summer break with my favourites 🤍 tagged: maxverstappen1

4,387 comments

User 13 so pretty

User 14 goals

User 15 anyone notice max hasn’t been commenting since y/n became active again on socials

→ User 16 delusional

→ User 17 clearly they're fine if she's posting vacay pics with him

→ User 18 except these are clearly old pics because max had stubble at the gp like two days ago so...

→ User 15 @ user16 plus he always used to comment and this time he's not even liked the post

→ User 19 not to add fuel to the fire but they were also spotted arguing after his podium

YourUserName posted a new story

Hi, guys. This part of the Baby Fever Angst series, which will include smaus for other drivers.

Daniel’s Version | Lando’s Version | Lance’s Version

Charles’ Version | Oscar’s Version

I have part 2 planned if people want it but also happy to leave it like this if people don't want them to have redemption haha

Tag List (I tried to include all those who asked. Sorry if you only wanted to be tagged in Part 2 to Daniel and not the other drivers, it got a bit confusing haha)

@lav3nder-haze @minkyungseokie @callsignwidow @luvrrish @fall-bambi @evans-dejong @sadsierra2 @justdreamersdream @spookystitchery

[theinfinitedivides]

LAPoem's Mirotic cover................ Cassies wake up this is our Forestella moment

[fuckyeahgoodomens]

Peter Anderson: Hi, my name is Peter Anderson. I'm from Peter Anderson Studio and we created the title sequence to Good Omens Season Two. So this scene is quite literally a continuation from Season One.

An interesting detail with this scene is the fly. The fly is significant because it stores Gabriel's memory.

Gabriel is hidden in every scene. This is the first time we see it.

This goat is half bird, half goat, representing a mistake in a moment of transformation.

In the pickled herring barrel, we have literally red herrings sticking out.

A lot of the gravestones have hidden engravings, easter eggs, all written by Neil.

[This one says: HERE LIES THE FORMER SHELL OF BEELZEBUB referncing Beelzebub having a new face in S2 :), another ones are: EVERYDAY, JANE AUSTEN, Here lies ADAM (the Adam from Adam and Eve is meant)]

Another hidden Gabriel.

Our same character that was trying to escape Hell in Season One titles is also trying to escape here, moving in the opposite direction to the rest of the procession. Except this time he's apprehended and dragged back into the procession.

Our Hell spider from episode four makes a little appearance in the background here.

Can you tell where the bus is going? Director Douglas McKinnon selected Powell and Pressburger's Stairway to Heaven to put on the billboard.

Another thing to note here is the type is all handmade specifically for Good Omens. The Alphabet only exists within the show.

The big floating turnip is a nod to Azirafel's magic tricks.

The Ladies of Camelot poster we pulled from the show.

We added plaques to the back of the chairs and Neil chose who to honour.

[There are: A TALE OF TWO CITIES by CHARLES DICKENS, PRIDE AND PREJUDICE by JANE AUSTEN, THE CROW ROAD by IAIN BANKS (twice!) and GOOD OMENS by TERRY PRATCHETT (Neil missing for some reason :) <3)]

Saraqael made an appearance from Heaven.

Our Space is back from Season One. Aziraphale and Crowley are having a little dance here. A moment of flirtation. There's a tiny planet in the middle that comes into existence at this moment.

Our Scottish tartan hills make an appearance here.

The aeroplane and the airline is a little bit of a clue here.

[THY KINGDOM AIRWAYS 👀]

It's raining love hearts in reference to Aziraphale's attempt at making Maggie and Nina fall in love.

Here are elevators to Heaven and Hell. A wee thing to spot. Here is Gabriel in the lift arriving from Heaven.

We've updated our flags to reference some of the plotlines in Season Two. For example, The Second Coming.

The movie poster artwork changes every week, representing the episode plotlines and the minisodes. We made the posters to look like the time period and in this case we've got a Good Omens version of Buddy Holly.

[The posters are:]

In the snack bar some of our popcorn is actually communion wafers.

There are specific characters from Season One in the boxes watching the movie as the procession goes by. This includes some of our original concept art from Season One.

The duck playing the accordion is from a newspaper headline that someone is reading in The Dirty Donkey from one of the episodes.

[this is also from the Good Omens book :): "Daily Mail. 'Letter From America.' Um, August the third," said Newt. "Just after the story about the woman in Worms, Nebraska, who taught her duck to play the accordion."]

Each episode is showing a new movie on the screen, each one selected by Douglas, and has clues about what's to come.

The season one phone box tumbles in the background.

The big mountain is made of all the ingredients from Season Two and a couple of remnants from Season One. We are heading towards the biggest Easter Egg, which is the lift. We're heading towards the Second Coming..

[neil-gaiman]

Hello!!

First of all, THANK YOU!!! The world has been feeling harder and more hopeless to me in recent years, and individuals like yourself help more than I will ever be able to express to bring light and hope back into my world. Loving and obsessing over gems like Good Omens, and American Gods (the novel at least, I must admit I never saw the show 🙈) have always given me motivation, sparked my creativity, and made me feel so much love for this, often unfortunately cruel, world. I can't express the solace it brings to me when the creators of the things I love are thoughtful and decent human beings. So, again, THANK YOU 🫀🫀🫀

I just finished my second viewing of Season 2 and have a question for you (my apologies if it has already been asked and/or answered and I missed it)!! 

How did you select the song "Everyday" by Buddy Holly? It is absolutely perfect on so many different levels, and for so many different threads and characters, all while still encompassing the perfect feelings of this show. I always include playlists with the stories I write, and often agonize over which song is the best choice for certain moments. You had to pick one song to encompass the entirety of it, and it truly blew me away! 

Thank you this Season and for everything you do; it really does mean the world to so many of us 🫀🫀🫀

In February of 1991 (I think) Terry Pratchett and I were staying in the Chateau Marmont hotel in LA. These days it is a very fancy hotel but back then it was pretty manky and run down. We were being put up by a film company and each morning we would fax over an outline for a new version of Good Omens the Movie and each afternoon we'd go to the studio for a meeting and we would realise that nobody had actually read what we had sent over that morning. Then we would go back to the hotel and work on trying to incorporate the studio notes on the outline they hadn't actually read into what we were doing.

We worked up in Terry's room because it had heating, and it was incredibly cold in LA that February, especially cold because I was in a chalet out in the grounds and there weren't heaters or extra blankets or anything in the chalet.

And at some point in there we were talking about music, and I suggested a few scary and ominous songs that might work to signal the end times. And Terry said "What about Buddy Holly's song Everyday? It sounds so upbeat and cheerful. But what if it was about the end of the world?" And I got all excited at the idea of Everyday being the Good Omens theme song.

So it's really just there to make Terry happy.

[artist-issues]

I Hate How She Talks About Snow White

"People are making these jokes about ours being the PC Snow White, where it's like, yeah, it is − because it needed that. It's an 85-year-old cartoon, and our version is a refreshing story about a young woman who has a function beyond 'Someday My Prince Will Come. "

Let me tell you a little something's about that "85-year-old cartoon," miss Zegler.

It was the first-ever cel-animated feature-length full-color film. Ever. Ever. EVER. I'm worried that you're not hearing me. This movie was Disney inventing the modern animated film. Spirited Away, Into the Spider-Verse, Tangled, you don't get to have any of these without Snow White and the Seven Dwarfs (1937.)

Speaking of what you wouldn't get without this movie, it includes anime as a genre. Not just in technique (because again, nobody animated more than shorts before this movie) but in style and story. Anime, as it is now, wouldn't exist without Osamu Tezuka, "The God of Manga," who wouldn't have pioneered anime storytelling in the 1940s without having watched and learned from Snow White and the Seven Dwarfs in the 1930s. No "weeb" culture, no Princess Mononoke, no DragonBall Z, no My Hero Academia, no Demonslayer, and no Naruto without this "85-year-old cartoon."

It was praised, not just for its technical marvels, not just for its synchronized craft of sound and action, but primarily and enduringly because people felt like the characters were real. They felt more like they were watching something true to life than they did watching silent, live-action films with real actors and actresses. They couldn't believe that an animated character could make kids wet their pants as she flees, frightened, through the forest, or grown adults cry with grieving Dwarves. Consistently.

Walt Disney Studios was built on this movie. No no; you're not understanding me. Literally, the studio in Burbank, out of which has come legends of this craft of animated filmmaking, was literally built on the incredible, odds-defying, record-breaking profits of just Snow White and the Seven Dwarfs, specifically.

Speaking of record-breaking profits, this movie is the highest-grossing animated film in history. Still. TO THIS DAY. And it was made during the Great Depression.

In fact, it made four times as much money than any other film, in any other genre, released during that time period. It was actually THE highest-grossing film of all time, in any genre, until nothing less than Gone With the Wind, herself, came along to take the throne.

It was the first-ever animated movie to be selected for the National Film Registry. Actually, it was one of the first movies, period, to ever go into the registry at all. You know what else is in the NFR? The original West Side Story, the remake of which is responsible for Rachel Ziegler's widespread fame.

Walt Disney sacrificed for this movie to be invented. Literally, he took out a mortgage on his house and screened the movie to banks for loans to finish paying for it, because everyone from the media to his own wife and brother told him he was crazy to make this movie. And you want to tell me it's just an 85-year-old cartoon that needs the most meaningless of updates, with your tender 8 years in the business?

Speaking of sacrifice, this movie employed over 750 people, and they worked immeasurable hours of overtime, and invented--literally invented--so many new techniques that are still used in filmmaking today, that Walt Disney, in a move that NO OTHER STUDIO IN HOLLYWOOD was doing in the 30's, put this in the opening credits: "My sincere appreciation to the members of my staff whose loyalty and creative endeavor made possible this production." Not the end credits, like movies love to do today as a virtue-signal. The opening credits.

It's legacy endures. Your little "85-year-old cartoon" sold more than 1 million DVD copies upon re-release. Just on its first day. The Beatles quoted Snow White in one of their songs. Legacy directors call it "the greatest film ever made." Everything from Rolling Stones to the American Film Institute call this move one of the most influential masterpieces of our culture. This movie doesn't need anything from anybody. This movie is a cultural juggernaut for America. It's a staple in the art of filmmaking--and art, in general. It is the foundation of the Walt Disney Company, of modern children's media in the West, and of modern adaptations of classical fairy tales in the West. When you think only in the base, low, mean terms of "race" and "progressivism" you start taking things that are actually worlds-away from being in your league to judge, and you relegate them to silly ignorant phrases like "85-year-old cartoon" to explain why what you're doing is somehow better.

Sit down and be humble. Who the heck are you?

[avatar-anna]

Moments caught between Harry and Y/n on camera at the Brits

just something fun because harry at the brits was a mess but we love him for it!

Young Dad! Harry Styles x Young Mom! Reader Masterlist

The red carpet is loud and raucous, bright lights flashing as people shout for the attention of celebrities. One couple in particular is the center of attention the second they step on the carpet.

Harry Styles and a woman walk arm-in-arm, a broad grin on his face and a shy smile on hers. Harry seems to be whispering something in the woman's ear, his nose pressed against the crown of her head. It makes her visibly relax, her grin widening and becoming more authentic as they take a couple more steps.

The woman is the recently revealed Y/n Styles, Harry Styles' long-time partner that he'd somehow kept from the rest of the world for over a decade. But she was here tonight, just as she had been at the Grammys a couple weeks ago, and the cameras now track their every move, intrigued by this new-ish couple.

"Harry! Harry! Harry, over here!"

"Y/n!"

"Harry, did you really marry Y/n when you were in One Direction?"

"Y/n, how does it feel to be with the most famous man in music?"

Y/n, who's hard to miss in a red dress that fits like a glove, shrinks almost imperceptibly against Harry's side. Harry looks down at her, and the husband and wife share a look as if they're having an unspoken conversation.

Then he mutters something to her, and Y/n laughs as Harry kisses her cheek, but not before nudging his nose against it. The shouts double, so used to Harry's stoic approach to being out in the public eye, but both of them move steadily down the carpet, not paying the paparazzi and reporters any mind.

*.*

During their walk down the red carpet, Harry and Y/n come across a barricaded section for fans of the artists in attendance. They all cheer as each celebrity walks by, shouting compliments and proclamations of love for their favorite.

Y/n once again hesitates on Harry's arm, wary eyes darting toward the boisterous fans. At the same time, Harry is called to by a reporter asking for an interview. Checking in with his wife, he departs with a kiss to her forehead, murmuring words the cameras can't quite pick up.

Y/n stands on her own, one arm crossed over her stomach as she tries to stay standing tall. Fans call out to her from the barricade in a way that's difficult to ignore. She waves at them with a small smile, but it's clear they want her to come closer.

With one glance at her husband, who's still speaking with the reporter, and another to a security guard close by, she nods to the latter and they step closer to the barricade, just close enough in proximity that she can actually make out distinct voices and words.

"Y/n we love you!"

"Where did you meet Harry?"

"How long have you been together?"

"Ugh, you are so mother in that dress!"

"What's your skincare routine?"

"What's Harry's?"

The tense set of her shoulders eases a bit, no longer apprehensive of the fans and their potential to be cruel.

"I feel like I met him a lifetime ago," she says. "And I just cleanse, moisturize, and use SPF."

"How come we've never seen you at shows?"

"What's your favorite Harry song?"

"Are you friends with One Direction?"

"Where were you last year when Harry got wasted?"

Y/n chuckles at the last question, her eyes lighting up as her hand covers her mouth. "I've always had a soft spot for 'Ever Since New York.'"

"Taste!" a fan yells, decibels louder above the rest, which garners laughter from everyone.

"Can you make Harry release 'Medicine?'" another asks.

Before Y/n answers, Harry appears by her side, an arm snaking around her waist. "There you are. Got sidetracked by your own interview, did you?"

"They were just asking if I'd help them in their quest for a studio version of 'Medicine.' I'm not sure if I can, though. They don't know how stubborn you are."

A chorus of boos went up at Y/n's answer, but not at her. Harry raised his eyebrows at his wife as if in challenge, but her responding gaze is quite mischievous.

Taking everyone, including Y/n, by surprise, he leans in to kiss her cheek, saying, "Have I told you how beautiful you look tonight, darling?"

A chorus of aww's ring through the small crowd of fans as Harry places his hand on Y/n's lower back, ushering her away from the barricade. Y/n raises an eyebrow at her husband, who is conveniently not meeting her eye. "Nice save."

"I don't know what you're talking about."

"You never call me darling."

Harry lets out a snort. "Lies. Lies on the red carpet tonight."

Y/n rolls her eyes but leans in close to her husband, carefully avoiding the fabric flower around his neck. "Mhmm. Let's go, darling."

*.*

An artist is being interviewed inside the O2, and Harry and Y/n are videotaped in the background.

In the very corner, the couple are leaning in close and talking, a drink in each one of their hands. Harry talks animatedly, gesturing with his drink to the point where it nearly spills on Y/n's dress. Y/n doesn't seem to mind and just throws back her head as she laughs. His eyes light up as he watches her, a word that could only be described as love encompassing his face.

*.*

During one of the performances, a camera pans to Harry's table. The house lights are dim, but he's still visible amongst the flashes of color from the stage. Harry sits in his chair, body slumped a little low so he can rest his head on Y/n's shoulder.

Both of their attention is on the performer onstage, not noticing as a few cameras are pointed in their direction as Y/n scratches the back of Harry's neck absentmindedly. He leans into her touch, looking up occasionally to say something to his wife.

*.*

"And the winner is...Harry Styles!"

Cheers erupted throughout the room, the table Harry is at standing up. Harry himself stays seated and curls in on himself, pumping his arms victoriously as he beams. His eyes are a little glassy, his hair unkempt, a sign that the night has progressed with lots of alcohol consumption.

He turns to his sister Gemma first as he stands up, high-fiving her before giving her a hug and fist-bumping someone else. Then he turns to Y/n, who hasn't stopped clapping since his name had been read for the third time from the envelope.

She opens her arms as if to accept a hug, but Harry has other plans. He leans forward and kisses her in a way that's merely pressing his smile against hers until they mold their mouths into a kiss. Then he kisses her cheek repeatedly, making her shoulders bunch as she smiles brightly.

When Harry finally pulls away, Y/n's cheeks are flushed as she tries to wipe at her husband's face with her thumb. With one last kiss, he heads up to the stage to accept his award.

*.*

Another performance, only this time, everyone is on their feet, including Harry and Y/n.

Harry's arms are wrapped around Y/n's shoulders from behind, his chin on her shoulder. Both of them sway from side to side to the rhythm of the song as Harry mouthed the words in Y/n's ear.

Her grin is wide as her eyes stay trained on the performance. Then, she looks back at Harry, who met her gaze as she says something.

Nodding, he kisses her once on the cheek before nodding back to the stage.

*.*

As Kid speaks into the microphone onstage saying his thank yous, Harry is having the time of his life behind his friend as he speaks to Stanley Tucci.

By now it's a little obvious he's had more than a couple drinks. His hair is nothing short of a mess, his dress shirt is a little more unbuttoned than it had been to begin with, and he throws his head back and laughs in a way that is fueled by drunken delight.

Briefly, the camera turns to Harry's wife, who stands beside Gemma. Y/n's hands hold her face as she watches her husband be ushered offstage by the people around him. She giggles a little before leaning over to Gemma and shaking her head. Gemma laughs along with her, covering her mouth as she says something to the woman beside her.

The camera flashes back to Harry, who turns around one last time so he can blow a kiss to the crowd, more specifically, Y/n, who the camera catches covering her face in her hands, cheeks as red as her dress.

*.*

Paparazzi shout at their latest persons of interest as they make the brief walk from the car to the entrance of a club where the after party for the Brits is being held.

Harry's arms are tightly wrapped around Y/n's waist, face set as he ignores the crowd of people shouting for his attention. Y/n, turned slightly inward towards Harry's chest, keeps pace beside him. Most of her body is covered by what can only be her husband's suit jacket, but with the open front, a hint of a sparkly pink dress can be seen, a drastic change from her award show attire.

The only time they separate is when Harry allows Y/n entrance into the club first before following close behind, his hand once again protectively hovering over the small of her back.

*.*

Photos are strictly forbidden inside of the club, so it isn't until the couple emerges from the doors once again that they're spotted.

Neither of them stumble, though paparazzi wouldn't have cared if they were. All eyes are on Harry's disheveled hair, the heels dangling from his fingers, the suit jacket draped over the arm not around his wife. They're on Y/n, whose dress is completely on display, the beading that covers its entirety flashing with every snap of the camera's shutter.

Then the collar of Harry's silk dress shirt shifted, revealing a harsh purple bruise that hadn't been there before. Neither Harry nor Y/n seem to notice, or understand why the cacophony of shouts became louder, they just continue on, Y/n's hand on the nape of her husband's neck idly scratching until he helps her into the car.

Following suit, Harry climbs inside. For a brief moment, Harry sticks his head out the open window of the car and winks and sticks his tongue out at all the photographers. Y/n appears from her side of the car, leaning across her husband to bring the window up. Not an ounce of care in the world, he leans forward to kiss his wife's exposed jaw. With an exasperated expression on her face and a delicate wave of her fingers, the window goes up, and though the windows are tinted, a hand is visible against the glass as the car peeled away from the curb.