Summary: In which Bucky needs a reminder that he’s the only person you want to be with.

Pairing: Bucky x Reader

Word Count: 948

A/N: This one was written for my love, @janelock221. HAPPY BIRTHDAY YOU RADIANT QUEEN. I took the two prompts you sent my way and threw them in here - it’s my small way of letting you know that your friendship means everything to me.

Originally posted by coporolight

“I can’t believe you’re making me do this,” you complain, staring at your reflection in the bathroom mirror. You don’t know how you got here. This wasn’t what you had in mind after returning home after a long day of work.

I don’t call you my partner in crime for no reason,” Bucky calls out, voice carrying through the wooden door that’s acting as the only barrier between the two of you. “Now c’mon, doll. I wanna see how you look.”

Keep reading

Drew a Future!Rhett and Link based on today’s GMM (and GMMore), except for Link, I used the outfit he aspires to wear in today’s Ear Biscuits  (Something about… Willie Nelson braids, coveralls, a see-through shirt, and big ‘ol boots; I hope I got all of that right. xD) 

Anyway, I hope everybody’s having a great day, mythical beast or otherwise <3  

Neal Cassady/Dean Moriarty/Dean Winchester - The similarities between the ‘On The Road’ protagonist and Dean Winchester

Jack Kerouac’s ‘On The Road’ and a general introduction to The Beats

Jack Kerouac travelled across the USA with his friend Neal Cassady in the 1950s, and wrote about his travels in the book ‘On The Road’. Along with his friends William Burroughs, Allen Ginsberg, and others, this group of friends (all of which were writers) declared themselves as The Beats – a play on words of both to be ‘beat down’ and also the more positive ‘beatific’. Along with Allen Ginsberg’s most known poem ‘Howl’, this work and ‘On the Road’ cemented this small group of writers in the American literary canon.

The Beats were inspired by Modernist poets such as William Carlos Williams, as well as the booming jazz musicians of the 1940s and 1950s, and Transcendentalist writers such as Thoreau, Whitman, and Emerson. ‘On the Road’ combines the sounds of scat singing in jazz, with transcendentalist philosophies, and tropes of American road literature. ‘On the Road’ is cool, in tune with nature, and details the philosophical and literal freedom of speeding down the highway across American.

Both Sal Paradise (Jack Kerouac) and Dean Moriarty (Neal Cassady) in On The Road travel across the states in search of something, whether that is something physical like human connection, or more importantly something spiritual.

Neal Cassady

In the winter of 1946 Neal Cassady drove into New York and met Jack Kerouac and his friends.

Cassady was born in Salt Lake City in 1926 and spent his childhood travelling around the western states with his father who was a chronic alcoholic which resulted in him being unemployed for long periods and thus hoboing around the States. This resulted in Cassady being both independent and irresponsible. Although he was very intelligent, he never stayed in one place long enough to attend school regularly and spent much of his time in Denver pool halls, stealing cars for fun, and going to reform school. He was good looking and a highly sexual person with a huge sexual appetite which he tried to satiate at every opportunity. When he arrived in New York he was married to LuAnne Henderson (with whom he cheated on continuously). In the late 1940s he started sleeping with Allen Ginsberg, who wrote Howl in which Neal is written in as the hero of the poem. In 1966 he died by the side of a railroad track after walking home drunk after a wedding. (The Beat Generation, Christopher Gair)

Cassady was energetic, drove fast (some friends of his were scared to be in the same car as him), stole cars, hustled people at pool, drank to excess, got into trouble with the police, and had a lot of sex with both genders. Whilst Kerouac was more bookish and quiet, Neal was an energetic and outgoing character who was ‘sharp, witty, gregarious, and lived for excitement and sexual conquests.’ (I Celebrate Myself, 81).

(Neal Cassady)

Neal Cassady and Allen Ginsberg

In 1947, Allen reveled in a wild sexual weekend with Neal. Allen hoped that he could teach Neal about literature, and Neal could teach him about sex. Whilst other people simply saw Neal as a con man, Allen knew there was more to him. Allen fell in love with him instantly but Neal quickly got bored and always needed to be on the move as he could never stay in one place for too long. They continuously wrote to each other, however whilst Allen poured his heart out to Neal and in the early years hoped to be his partner, Neal tried to impress upon Allen that he was not interested in a long term homosexual affair. They both slept together in 1947, and certainly until 1955 (possibly later) they continued to sleep together sporadically.

Supernatural and On The Road

Eric Kripke has stated that Sam and Dean are based off the characters from On The Road (Sal and Dean). In the episode in S4 where Chuck is introduced and they go into a comic book store where the owner asks if they are larping, at one point asking if their names are ‘Sal and Dane’. So, it is quite clear that their names are based off On The Road.

Also, On the Road is a semi-fictional/semi-autobiographical work. The characters in the book are based off real life people, much like how the Supernatural books are based off the lives of Sam and Dean.

On The Road is a foremost example of American Road fiction – two guys driving across the states in a car searching for something – sounds pretty much the same as the premise for Supernatural. Take away the ghosts and hunting and Supernatural is about two guys driving across the states, with no place they’re really heading, meeting people, listening to music, hustling pool, and getting into trouble with the police. That could also be a great summary of On The Road.

Specifically in the early seasons, Supernatural sets itself up as a Road movie, but on TV. It is cool, the guys are cool, the music used is cool, they drink, steal cars, and live a free life on the road.

On the Road has two main protagonists; Sal and Dean. Sal is more bookish and quiet, slightly in awe of Dean’s wild ways. Whilst in Supernatural Sam is more bookish and quiet, both in awe and disgruntled about Dean’s wilder ways.

I mean….. come ON

Neal Cassady and Dean Winchester

Lets go over again what Neal Cassady (who Dean Moriarty was based on) was like;

- He spent his childhood travelling around the western states with his father.

- His father was a chronic alcoholic which resulted in him being unemployed for long periods and thus hoboing around the States.

- Cassady (due to his upbringing) was both independent and irresponsible.

- Although he was very intelligent, he never stayed in one place long enough    to attend school regularly.

- Although he never had a formal education, in his 20s he started reading a great deal.

- He could never stay in one place for too long, both as a child, teen, and adult.

- He spent much of his time in Denver pool halls

- He stole cars, loved cars, was good at fixing cars. 

- He went to reform school.

- He was good looking in a jock kind of way.

- He was a highly sexual person with a huge sexual appetite which he tried to satiate at every opportunity.

- He drank a lot and took drugs, but mainly drank.

- He slept with both men and women, notably Allen Ginsberg who was friends with both Cassady and Kerouac.

- Although he slept with both men and women, he presented himself to most people as heterosexual. It is worth noting that he was alive during the 1940s, 50s, and 60s, and being bisexual or gay was incredibly difficult during those years. Neal was somewhat of a celebrity and it is understandable that Neal denied his attraction to men.

- He was energetic.

- He loved cars and drove incredibly fast

- He hustled pool.

- He got in trouble with the police.

- He was sharp, witty, and funny.

- He was likened to a James Dean kind of person.

I don’t think there is any need for me to go through each of these points and give evidence as to how Dean Winchester fits every single one of these character traits as well. I would expect any viewer of the show to look at that list and assume that one is describing Dean Winchester. From the alcoholic father who drove with him round the States, to his own excessive drinking, need for sex, intelligence yet lack of education, hustling of pool, stealing cars….. you get the idea. They are highly highly highly similar.

The bisexuality question

It is common knowledge that Neal Cassady slept with both men and women, and the similarities between Neal and Dean Winchester are so strong that it would be easy to argue that because Neal Cassady sleeps with men and women, so does Dean Winchester. Every single description of Cassady could apply to Dean Winchester, so it doesn’t make sense to say ‘every single one applies apart from the bisexuality.’ Of course, there are aspects of both Cassady and Dean Winchester which don’t match up, however the core information about Cassady which readers and scholars know about does match up.

I hope this has been a good introduction to Neal Cassady and Dean Winchester. This is my basic summary of this discussion, however if you have more questions then don’t hesitate to send in an ask! My undergraduate and postgraduate research focuses were the Beats and American Road Narratives so if you want to know more about any of this let me know :) 

I’m also thinking of writing a bit about Allen Ginsberg and Cas, as well as some stuff on SPN and spirituality in particular transcendentalism and Buddhism, so I’ll try and get that done at some point. Any general questions about the Beats, especially Ginsberg I am more than happy to answer :)

If the writers are using Hook’s disappearance to tackle (again) Emma’s abandonment issues, then let’s hope that is what Girls Night Out is about. And rather than making it about Hook abandoning her, let’s go back to where those abandonment issues started - with the two women at the bar with her. 

Emma’s issues start with the decisions they made - to cast the dark curse and to send Emma through the wardrobe, so maybe it’s about time these two women are confronted with the lasting consequences of their decisions.

Snow and Regina try to pretend the past is the past and everything worked out, but one consequence of their decisions is sitting there in the bar miserable because of the damage that started with them.

So if this is going to be about Emma’s abandonment issues, let’s hope Regina and Snow are finally confronted with their role in them.

Bonus points if Snow finally finds out that the toddler she’s trying to avoid is named after the ass that compounded to Emma’s issues by sending her to jail for a crime she didn’t commit.

Triple bonus points if Emma realizes Hook would never just leave her and runs out of the bar dropping the parting line of “not like you and Neal did” on Snow. Cause while I like Snow, she has got to remember who her daughter is (and that it isn’t Regina.)

I have zero expectations of Regina taking any responsibility for her actions. I’m betting she blames the EQ - even thought their the same damn person.


White Collar Tropes | Peter Burke


That’s not the way you walk in real life, is it? Neal Caffrey is one of the few characters on television where you would remark on the way he walks.

No, my god. I wish I was that kind of peacock. Yeah, I locked myself in our guest room for about – I would say like 2 or 3 weeks working on that. And then I would walk around my block and the house. I only had one suit to my name when I got this job – maybe two. And I would put it on and walk around my block. I’m sure I looked like a complete loon in L.A. But I would walk around just figuring out how he moved through the world. We hadn’t even filmed the pilot, but I knew a lot of it was going to play in masters and us walking around together, so I figured I should figure out that part of his physicality. - Matt Bomer [13:00]