Summary: Bucky has moved into a new apartment, not knowing that its previous tenant thinks they still live there. And he’s the only one that can see them.
Word Count: 1,673
Warnings: Talk of a car accident. Coma.
A/N: This fic has been in my documents, outlined, for the past year and a half. I hope you all enjoy it. It’s one of my favorite plot-lines EVER.
The white-washed walls are the only
barriers to muffle the woman’s sobs. She folds herself over the body of a young
woman, barely in her early twenties and already battling to keep herself alive.
The only sign of life in her is the ventilator, pumping artificial breath into
her lungs, and the stable beeping of the heart monitor. The doctors hold hope
in that she’ll wake up, there seems to be no brain damage, nothing seems to be
halting her from waking up. Yet she does not. And the wails continue day in and
This one has some moving parts, and plays out over a year or so.
At one point, I was managing a small team of business development reps at a small software company. These are the recent grads that would be phone monkeys, making cold calls trying to set-up appointments for the real sales people.
I had two reps at the time: Amy and Paul. They were young, but hungry. They listened to training, and were generally great employees. At one point, Paul and I realized that we had some mutual friends, and that helped our relationship.
Fast forward a few months from their hiring, and my boss grabs me one morning for a meeting with HR. Apparently, Amy had filed a harassment complaint against me, alleging some crazy things. She reported that my single goal was to ruin her career, and that I would make sure she was fired.
The HR meeting was a formality, as no one believed it, but they had to do the investigation. Nothing came from it, but I would never be alone in a room with Amy again. If she came to talk to me with no one around, I would go to a common area of the office or invite someone into the discussion.
A few more months, and Paul asked me to be a reference. The company was a mess, and the CEO was running it into the ground. I was more than happy to do it, as I was job hunting myself. I just asked that he keep me in the loop about interviews and offers, and I would cover his time out of the office.
Not surprisingly, he landed a job pretty quick and gave his notice to me. Also at this time, IT was doing hardware upgrades to laptops adding more RAM, allowing us to run the latest version of our product for demos.
I coordinated with IT to have both their machines done one day, and told them to take a long lunch.
Well, a little over a year before this happened, one VP had been fired. After he left, I learned it was common practice for IT to review all the Skype chat logs from the machine. Luckily, it meant me getting a small bonus because the VP was trashing the company to me, but I wasn’t, and I was vaguely praising the CEO (I’m no dummy, and don’t have those conversations over channels that can be reviewed.)
With Paul out the door, and Amy being a lying cunt, I asked IT to review their Skype logs during the upgrade, because “something seemed fishy”.
I was right. Even though Amy deleted her chat logs, Paul didn’t. There were chats in there about how they were both job searching, and Amy had gotten an admin password for our CRM. She had been pulling customer lists to take with her.
Furthermore, she had been bragging about receiving a $1,500 bonus to drop the harassment complaint against me, as the CEO was worried that any complaints or lawsuits would scare away the investors needed to keep the company going. Oh, and she chatted that “They made me sign a non-disclosure about it, but they won’t find out.”
Oh, she was toast. Director of IT and I went straight to HR and the CEO with the print outs. The decision was quick: both were to be terminated immediately. Amy for unauthorized access of data and breach of her non-disclosure, and Paul for some bullshit reason of not reporting her.
They got back from their lunch, and I immediately called them into HR. Paul was given a 2-weeks severance, but Amy needed to pay back her $1,500 “hush” bonus. Because of her gross misconduct, she wasn’t eligible for severance or unemployment, and the re-payment was deducted from her final check and quarterly bonus. Her exit check was for less than $10.
Paul had two weeks off, with the severance. We remain connected, but I love seeing Amy changing jobs on LinkedIn every 6-9 months.
I really love their designs and think they fit really well with their characters and in the show. And for those complaining about the neon colour palette it’s always been like that for most of the gems just eyedrop any gem in a day scene and you’ll find they like to use very saturated colours and it works really well for separating the characters and the backgrounds.
Man I also just found out the “SU critical” tag exists and it’s pretty much 99% people complaining about any little thing they can reach for and 1% actual valid criticism. I guess i see where the toxic part of the fandom on here has move to now - _ -
I think people are forgetting how well Silver played everyone in 405
Even though we knew he would never betray Flint we were actually convinced that he was going to. Why? Because Silver can act. Better than we ever thought he could. Yet Hands, Billy, the crew AND the audience are still underestimating him in this situation now
Silver told Billy to kill Flint in 405
Now he’s telling 6 men to go kill him in 408
Events are being repeated like they have been throughout this season yet people are STILL believing what is being fed to them
And look.. we know there is going to be some sort of twist. It’s what will make it, as Luke said, his ‘favourite written episode’. We’ve always been right about how important Flint and Silver are to each other. Don’t let this fool you. Don’t be like Billy and fall into the trap of thinking it was that easy to turn them against each other. He has underestimated their relationship again. Just like he underestimated it before.
And just like that, your fate was sealed - because Min Yoongi was absolutely going to destroy you. But hell, if you weren’t going to let him, or bask happily in the flames as he did so.
And sadly, at the time, you didn’t think that your thoughts would become so literal.
◇ Pairing: Min Yoongi x Reader ◇ Word Count: 12,039 yikes! ◇ Chapter Index ◇ Soulmate!Au, Slowburn, Angst
the short magnitude of time that Min Yoongi has been a part of your
ever moving life – his decision or not, you have come to discover
one thing about his complex character, and that is: when you think
you have him figured out, he does something to throw your entire
thought base off balance and send it spiraling into the depths of
is what happens the following Monday when he ventures into your
shared English Literature class.
when you had told Jungkook to pass along your reply to Yoongi, you
weren’t sure he had received it. Because you had yet to acquire a
text message from him. That’s right, not a letter, word, sentence, or
paragraph had you received. In fact, you were starting to wonder if
Yoongi had indeed changed his mind regarding the friendship or not.
be honest, it wouldn’t surprise you.
after all, trying to guess when it came to Min Yoongi was trying to
guess the weather. There was a fifteen percent chance that the New’s
was correct and a seventy five percent chance that something
irrational could happen and everything would change.
After an exciting adventure out on the Outer Rim, Ahsoka Tano and Obi-Wan Kenobi return to the Jedi Temple on Coruscant with Master Sifo Dyas. Master Dyas believes the two have some kind of connection to the strange Force event that Ahsoka is convinced is related to Anakin Skywalker’s birth. Back at the Temple, life continued on for our duo but Tano and Kenobi are soon called back into action by the Jedi Council and receive a new mission: Protect the Duchess of Mandalore, Satine Kryze.Previously on Tano and Kenobi…
Ahsoka felt her mind go blank and the world around her fall away for one brief and blinding moment of panic.
They couldn’t go to Mandalore now! Anakin was out there, somewhere. He needed to be found! He and his mother needed to be freed from slavery and he needed to be brought to the Temple where she and Obi-Wan could protect him from Palpatine and whatever other Sith Lords were running around the galaxy at the moment.
A brief memory flashed through Ahsoka’s mind, one where she, Rex, and Anakin were in a cantina waiting for an informant to make contact, back before the Battle of Mandalore.
“So who are we waiting for, Skyguy?” Ahsoka asked as she sipped at her Tarisian latte. “And when are they getting here?”
“I don’t know,” Anakin shrugged, finishing off his shot of Gingensu cactus liquor. “Obi-Wan just said that they would help us and to treat them as you would have the Duchess.”
“The Duchess?” Ahsoka frowned at that, exchanging a look with Rex. She glanced down at her hands, remembering how distraught Master Obi-Wan had been when he returned to the Temple. “Is he doing all right? I know he and the Duchess were very close.”
Anakin shrugged, his own gaze fixed on a distant point, his brows furrowed and eyes dark. “You know Obi-Wan. He could be bleeding to death and missing a limb and he would still insist that he was fine.”
Rex nodded, tossing back the last of his Dantooine beer. “Cody said the same thing. Said the General hasn’t mentioned it but he’s keeping a close eye on him all the same.”
Ahsoka sighed softly. “This must be so hard for him. To come back to Mandalore to face Maul? After everything that’s happened?”
There was silence between the three of them before Ahsoka spoke up. “How did Obi-Wan meet the Duchess? I don’t think I ever asked before. Do you know, Skyguy?”
“I don’t know much other than what Obi-Wan told me,” Anakin said, ordering a mug of caf. “He and Master Qui-Gon were assigned to protect the Duchess when Obi-Wan was a padawan and it was a year-long mission.”
“Wow!” Ahsoka murmured, almost unable to imagine being in one place for more than six weeks, let alone a year. “So what happened?”
Anakin thanked the bartender and paid for his caf before turning back to Ahsoka and Rex. “The Mandalorian Civil War ended and they went their separate ways.”
A year? We don’t have a year to spend on Mandalore! We have to find Anakin now!
You’re sat in a meeting room with a bunch of other game developers; key representatives from every department that might be affected by animation. There are people from the design team, the engine team, gameplay programmers, AI programmers, the tools team, technical animators, animation programming, the animation director, and a producer. The meeting is about the future of your animation technology.
It’s relatively early in your project; the third game in a successful series, and the animation department wants to do a major upgrade to the core animation technology. Their argument is simple: The animation team has been using the same tools and tech for the last two games, and they’re concerned that if the animation technology isn’t improved, the animation will start to look bad compared to your competitors. There have been some minor improvements since the first game in the series, but no real major steps forward. Since the original tech was created, the rest of the industry has made some pretty major breakthroughs in animation technology; breakthroughs that this team would like to try and implement.
The big problem: The new technology is a paradigm shift. There’s no easy way to convert all the old animations and game code over to the new system, so doing this big upgrade to the animation tech, means pushing the reset button on all the gameplay and AI systems that were built for the last two games. Everything will have to be built up again from scratch.
It’s your job to decide whether or not they should do it.
The producer is the first to chime in…
“How long do you think it’s going to take to get the gameplay and AI back into a state where we can start playtesting and building levels?”
“I’m pretty confident that in 6 months we’ll be good to go”, says the animation programmer.
“Well… 6 months to do the tech and tools… it’ll be maybe another 6 months on top of that to rebuild each of the game systems to get things back to where they were”, offers up one of the technical animators. “I still think it’s worth it though. Once we have the new tech, it’s going to make producing new features way faster than before.”
“You have to bear in mind”,
says the Animation Director, “What we did on the last game is pretty much hitting the ceiling of our current technology. It was a real strain on the team. I really don’t want to go through that again on this one.”
“I’ll be honest, I have some concerns”.
Everyone looks towards the lead engine programmer.
“I thought the whole point of this next game was to try and push the cooperative experience. That’s what the directors said was their number one priority”, he nods towards the game director, “And I thought the publisher had already signed off on that. Weren’t they saying that’s what they were most excited about?”
“We can’t do both?”, says the game director.
“We’re probably going to have to rework a whole lot of the systems anyway if we’re going to make them replicate properly over the network,” says the lead gameplay programmer. “The first two games weren’t really built with that in mind. It could be a good time to do this as well since we’ll be rewriting a bunch of the systems anyway. That said, it does add to our workload.”
“And for you guys?”, the producer asks the lead AI programmer.
“It’s pretty much the same situation as gameplay”, she replies, “It’s a lot to take on. I have to say, I think 12 months is optimistic. Things always come up that we don’t expect. I’d say closer to 18 months. I mean… remind me, when are we supposed to be shipping again?”
“We’re aiming for 2 years from now”, says the producer.
“Well if it ends up being 18 months, there’s no way my team can work with that”, adds the lead level designer. “We can rough some things out, but gameplay needs to be solidified a lot earlier than that.”
“Well we could build the new system in parallel with the old system, and let people switch between the two”, says the animation programmer. “That way you can start building levels with the old systems, and we’ll switch it over further down the line when the new systems are in a better shape. It’s a bit more challenging to do it that way, but it’s doable. Honestly though, when I say 6 months for my stuff, I mean 6 months. I can get most of it up and running in 3, but I’m saying 6 to give us a buffer.”
“And how confident are you about the extra 6 months for building out the game systems”, the producer asks the technical animator.
“Reasonably… I mean it’s tough to say… it’s new technology. I’ve got nothing to refer to cause we’ve never done this approach before”, they reply, “6 months is my ballpark estimate, it could be 4, it could be 12. We’ll have a much better idea once the core tech is done and we start working on the first systems. Bear in mind, it’s not like we’d have nothing until that 12 months is up. Systems will be gradually coming online as we go. We’ll get core movement done in the first few weeks.”
“I’d feel much more confident about it if we had another technical animator on the team”, says the animation director.
“I’ll ask if that’s possible but we’re close to our headcount limit, and tech animators aren’t the easiest to hire, so I wouldn’t count on it”, says the producer. “Remind me again, what we’ll be gaining for all this work?”
“It’ll be much faster for us to put animations into the game, and then easier for us to tweak and bug fix them”, says the technical animator. “In general, faster iteration time should also mean the quality of the animation will go up. Basically, it’ll be easier for everyone to do their best work.”
“I think we all want that, but it’s a lot of risk to take on with only a 2 year timeline”, says the lead engine programmer, “there are other teams besides animation who are also proposing some pretty ambitious tech goals as well. We’d maybe have to make some concessions there if we want to go with this”.
“Does anyone really think that it’s going to be 2 years though?” says the animation programmer. “Looking at the scope of this game, it’s probably going to end up closer to 3, with or without the animation system”.
“I can only tell you what I’m being told now, but the publisher seems pretty adamant about it being a 2 year project”, says the producer.
“So what are we going to do about this? Are we going to push ahead with this or not? What’s the call?”
Should the team go with the new animation system? Everyone makes good points. It’s a tough call. You have to think about the people in the room: How confident are you in the projections of each person? Are some people known for being overly ambitious? Are others known for being too conservative? How much is the value of the new animation system versus the cost of building it? How many extra-people will you be able to get to work on it? Will other departments suffer if you put development effort here? Will the game really come out in two years, or is it more?
In one potential future, you decide to go ahead with the new animation system. Things are rocky at the beginning, but with a some hard work and late nights, the animation programmer and technical animators manage to hit their estimates without too much disruption to other teams. The game scores highly, and is praised in particular for it’s strong animation.
In another potential future, you go ahead with the new animation system and it’s a train wreck. The animation programmer was low-balling their estimates because they were excited about working on the new system, and expected the release date to be knocked back a year (it wasn’t). The technical animators were genuine when they gave their estimates but didn’t account for the complexity of making the same systems work in an online cooperative game; something they’d never done before. The difficulties with the animation system caused problems for other teams, especially for the designers, who had a tough time making fun systems and levels, as bugs in the animation system made it difficult for them to play the game throughout development.
Another potential future has the team saying no to the new animation system. It ends up that even without the new animation system, the scope really was too big in other areas, and the game ends up being released after 3 years instead of 2. By the time the game is released, the animation does look horribly outdated, despite the best efforts of the animation team. The issue is specifically called out in reviews.
Then there’s the future where the team says no to the new system, making it much easier for the team to hit the 2 year deadline. It’s a struggle, but the animation team is still able to produce some decent results, and it turns out gamers were more interested in the new cooperative features anyway, leading to great reviews and great sales.
On any game there are a thousand calls like this. Some are big, some are small, and many can lead to the success or failure of your game.
The process of making a game has so many moving parts it’s incredibly difficult to to account for every eventuality. It’s about the technology you’re working with, it’s about your ideas and your ability to execute on them, it’s about what the rest of the market is doing, and most of all it’s about the people on your team: Who they are, how they work, and what else might be going on in their lives.
The point here, and stop me if you’ve heard this one before, is that making games is really fucking hard. You’re faced with so many of these kinds of decisions, the answers to which are highly subjective. It’s likely not every person in the meeting room comes to a consensus, and when a game comes out with some aspect that players don’t enjoy, more often than not there were a whole lot of people on the dev team that argued for the exact same thing that the players are arguing for.
It’s been said many a time before, but it’s true nonetheless: No-one sets out to make a bad game. In the cases where someone on your team was faced with one of these difficult subjective decisions, and made a bad call, they agonize over it. If you have empathy, you look at that decision and say, “That’s not necessarily a bad developer. It was a tough call. It could have gone either way, and it could have just as easily have been me”.
Of course, this doesn’t mean that gamers shouldn’t still be free to critique the games they spent their hard-earned money on. At the end of the day, it’s our job to entertain. Just please, remember that games are made by real people who are running a gauntlet of very challenging problems.
The answer to “why did this game suck?” isn’t always as simple as “because the developer sucks”, or the even more cringe-worthy “they were just lazy”: It’s because making games is really fucking hard.
Glass cockpit avionics are a class of avionics, which uses light indications and/or screens to indicate all the parameters and indications needed for the operation of the aircraft. There are numerous aircraft types today flying with glass cockpit configurations, due to the simplicity and user friendlier interfaces.
In early days, glass cockpit use was limited to PFD (Primary Functions Displays), MFD (Multi Function Displays) or a PFD that incorporated MFD functionality. Those early glass cockpits paved the way for ever more complex and advanced avionics driving us now to an almost paperless cockpit. The main reason that such avionics were invented was that the limited space in the cockpit of an aircraft, could not fit all the needed avionics that the pilots needed to have direct access. The typical avionics of the pre-glass cockpit era were bulky heavy and made a total mess with their wires and tubes, practically making the back of the panel/firewall a total jungle of tangled wiry things and labels
In commercial aviation simple glass cockpits, were firstly introduced in medium Jets(B734,MD-80,A310,), then fund implications in heavier jets(A300,B744,B672) and business jets. These early glass cockpits were mostly limited in indicating the flight crew with all the vital indications that conventional instruments would do, but in a more suitable way. For example in the case of the air speed indicator in glass cockpits there were now automated needles that moves, let’s say when the pilot retracted the flaps or extended the landing gear to clearly indicate the new operation speed limits of the aircraft in that configuration. Also all autopilot indications and bags were incorporated in the glass cockpit for greater easiness. But the most crucial change was the HSI (The main navigation instrument up to that day), had a meeting with the garbage can. It was totally replaced with an all new design that gave the pilot all the indications that he wanted. Incorporated moving maps with live route-distance-time indications, weather radars, combined HIS and RMI functionality it was the Christmas present that any pilot of that era could have wished.
Hello EICAS, Goodbye flight engineer.
Later came the EICAS system(Engine Indicating and Crew Alerting System), which was very bad news for one particular airman in the cockpit. The flight engineer now could retire or get his hands dirty again in the hangar, since he had no job in the cockpit. EICAS is an integrated system used to provide aircraft crew with aircraft engines and other systems instrumentation and crew annunciations. This system incorporated also annunciator panel with prioritized colored indications and advised solutions, some came with even intergraded checklists. This system clearly offered the aircrew with a powerful toll to cope with any improper indications, simply scanning 1 or 2 screens instead of 1 great and complex flight engineer panel, which needed an independent controller to supervise. The difference can be clearly seen in the case of the Douglas DC10 and the Douglas MD11, which was the first jumbo jet to do without flight engineer.
Everyday pilot get a new file saving tool.
The next step was to find their way to a wider market, and in the crammed cockpits of GA(General Aviation) aircraft. These implications came with many challenges, first and foremost how to fit the computer banks needed in bigger commercial aircraft (We are talking for a whole room) in a very very small panel. Garmin took the challenge and came up with the striking G1000, which is an all round full panel substitute. If you want to retrofit your Cessna 172 to Garmin G1000 you will have to wave goodbye to all your existing instruments, radios, receivers, indicators and the stupid vacuum pump ware. The G1000 has almost no moving parts to have mechanical wear, so no more inop labels on the panelJ. After Garmin came many other companies like Dynon and MGL avionics that are mainly targeting experimental and ULM markets. These days you can buy and have a full glass cockpit panel for your ULM ultralight aircraft with full autopilot and altitude hold, moving maps and synthetic vision for as much as 6000$.
When you picture a test pilot or astronaut wearing a pressure suit and strutting to their sleek ship, the mental image is not complete without them toting along a little metal briefcase connected to their suits via hoses. This yellow box is a portable liquid oxygen converter and serves the all important function of cooling the human inside the suit. Without cooling, the heavy layers of a pressure suit would cause the crew member to overheat within a matter of minutes.
The simple device has no moving parts or electronics. It contains a small tank full of super cold liquid oxygen, constantly heating up and boiling away into a gas. The cold gas expands through the coil of tubing surrounding the tank, then travels through a hose into the suit where it’s distributed through the crew member’s cooling garment throughout the suit. Some of the oxygen is directed to the crew member’s helmet, allowing them to breathe 100% pure oxygen prior to the flight, purging their blood of nitrogen, thus avoiding decompression sickness, otherwise known as the bends.
When the pressure suited individual sits in the cockpit, a supporting crew member will disconnect the portable system and connect the ship’s integral oxygen system which serves the same purposes during flight. Equipment identical to this was used during the Blackbird program. This interesting little artifact lies on display at Blackbird Airpark in Palmdale, California.
You know what I love about Mordo? You know, besides his wonderful arc in Doctor Strange, besides the fact that Chiwetel Ejiofor played him wonderfully. Besides the fact that I now have another black character to stan for.
It’s the fact that Mordo, by simply existing as a black man within this new narrative, pretty much destroys the MCU’s favorite excuse for not giving love to Black characters (and really, every fandom is guilty of this).
How many times have people said, “Well, I don’t look at the main characters because the villains are SO much more interesting”? Even though the “heroes” are given plenty of love in fandom spaces…but only if they’re white. People love Thor, and Captain America and Iron Man, but that same love is NEVER extended towards Falcon, or Heimdall, or War Machine. And when these characters (specifically black characters) are brought up, people always have the SAME excuses.
“They’re just not that interesting”
Despite Phil Coulson and Clint Barton (two characters who had very little to do in their respective roles besides dying/being mind controlled) having a huge fandom following post-Avengers.
We’ve had black villains/antagonists in the MCU (see Raina, Mike Peterson, and Korath the accuser) but those characters NEVER get the same love as Killgrave, or Loki. And when this issue is brought up people always have the same excuses:
“Korath was a one and done villain, no need to invest in him.”
“Mike and Raina were on TV shows, if they were on big budget films then it would be different” (despite Killgrave being on Netflix, and still receiving more love than either of them).
But now, we have Mordo. A black character/antagonist who is not only well acted, well-written, and interesting, but he’s also poised to be an important part of the MCU mythos moving forward. He has all the makings of a three-dimensional character (his views are well defined, and he has a code that he sticks to.)
And people are straight up ignoring him. He’s essesntially become the fandom’s new Rhodey (a wonderful black character who is ignored in favor of everything else…in the case of Doctor Strange, that “everything else” would be a sentient piece of cloth.
And no, the excuse of Mordo being “badly written” (which I disagree with wholeheartedly) is not a sufficient excuse either. Not when fandom goes out of its way to assign intricate backstories to random characters (take Darcy Lewis, for example)
So, thank you Mordo. Thank you for providing another wonderful example of the MCU fandom’s fuckery, and providing a perfect retort to their tired old “Villains are just more interesting.”
Well, if that were true, why am I not swimming in Mordo love?
Why is Mordo either ignored within fan spaces, OR completely stripped of his nuance and character traits in order to easily vilify him?
This is a Taylor & Joe fanfic. FYI this chapter is long (8800 words), basically two chapters in one.
Need to catch up? Read the prologue here and Chapter 1 here.
The next week was a busy one for Taylor.
She’d flown back to Nashville to rehearse for her upcoming concert, taking time
to check in with her mom and dad. Every time she went home to Tennessee, it was
her tradition to go to her mom’s house for a long, relaxing dinner. Taylor
loved to cook, but, she also appreciated the opportunity to go home, sink into her
mom’s huge couch with a glass of wine and just… be. Let her mom take care of
And Andrea, she wasn’t quiet about the
chance to have either or both of her kids back in the house, pamper them, dote
on them, make their favorite foods, and just … be their mom. It just wasn’t the same having adult children. ‘Mom’
takes on a whole new meaning when the kids are grown and out of the house, and she
enjoys the chance to be ‘Mom’ again just as much as her kids enjoy the chance
to just be (sort of) kids again.
This time around, Andrea provided a little
extra pampering, because as the first half-day of rehearsals wrapped up, Taylor
found herself knocked to the ground with a staggering cold virus. She tried
Echinacea tea, honey tea, cayenne pepper tea, both a nebulizer and an inhaler,
hot steam, drank two gallons of water a day and slept ten hours at night. She
spent the whole day on the couch tucked under a giant blanket, Netflix quietly
playing from the tv while she dozed on and off. But this cold was relentless.
She had the chills, runny nose, fever, headache, body ache, … basically the
whole nine yards.
And with the concert just days away, she
was slightly freaking out about the fact that her voice sounded like a frog.
This is part one of a new series of Seventeen imagines. Feel free to message me and say who you want to see confessing next.
Hoshi is never quiet.
Well, hardly ever. But today he sits silently in the corner of the practice room while you mess around trying to dance to the rhythm of the music playing in the background. His lack of chatter is more deafening that his usual talking. His arms are folded over the back of his seat, which he’s sitting on the wrong way round, and his chin is resting against them, his eyes a little unfocused, vaguely directed toward you.
I’m just finishing my meal as they come in, dropping the tea they were carrying and staring open-mouthed at my gently wriggling belly.
But instead of running away like I expected, instead they hesitantly cross the room to sit cautiously on the couch next to me, gingerly prodding my midsection, producing more squirming and several loud gurgles.
They tremulously ask me if that’s a person in there. Yes, I tell them, yes it is. They ask me if I’m going to eat them. I snort in amusement, shaking my head. They look relieved.
I glance down at their hands on my gut and raise an eyebrow, looking at them. They quickly withdraw their touch, flustered and blushing furiously.
I tell them they can keep touching if they want and they do, kneading the bulging gut and wondering at the sensation of the person under their hands - not me, but my unfortunate dinner - who, by this point, has stopped moving for the most part, the outline of their form softening.
They’re fascinated - gradually inching closer to me until, tired of their shy nonsense, I just pick them up and set them on top of me. This only flusters them further, stammering apologies I don’t listen to.
They fall asleep before I do, curled up on top of me. Amused, I wrap my arms around them and turn on my side before going to sleep myself.
Welcome to one of the main umbrella events we will be hosting as part of our hiatus activities:
This event will focus on exploring Fitzsimmons in Seasons 1-3. As Season 4 has been the latest season, there has been a lot of focus on it (which will continue in our other activities!). So, we wanted there to be a special event dedicated to some of our favorite FS moments of the past.
There are two parts to this event, so be sure to read carefully!
I. Work submissions/Queue
*If you are member of TFSN*, you can now SUBMIT old works you created in the past to be reblogged by the network during the course of the hiatus.
It can be anything related to S1-S3 Fitzsimmons, so long as you created it. It doesn’t matter if we’ve already reblogged it or not, whether you were a member when you made it—it’s just about going back and revisiting works you might be proud of, works you wanted to bring attention to again, etc. (It doesn’t need to have been created at that time, so long as those moments are the focus.)
It can be AUs and similar works, as long as they are exploring FS’ dynamic at the time!
Please limit your submissions to 10 works a week.
In addition to your submissions, TFSN will be looking back and reblogging older fandom content as well, so we can all revisit some of the wonderful FS works we’ve had over the years
*New works you create related to S1-3 Fitzsimmons moments will simply be reblogged as part of the regular TFSN queue, so don’t worry about them!
II. Challenges and Events
Throughout the hiatus, we will be putting out various challenges and events related to past Fitzsimmons moments/episodes. Examples of things to look forward to include (but are not limited to):
asking you to fill up missing moments in an episode or between them
revisiting old headcanons or theories you had
exploring what happened during season time jumps
resolving old arcs that you may have felt weren’t addressed
creating AUs related to S1/2/3 Fitzsimmons dynamics
community rewatches of favorite episodes
polls to determine favorite moments (along with activities related to the determined favorite moments)
taking the show in a different direction at different canon points
…and many more! All of this is geared towards giving you the chance to revisit things you love(d) about FS, that simply might not be getting as much attention as canon has moved on.
This part of the event is open to everyone!
Once EvB begins (if you are participating), you will be getting points for these events!
We will be reblogging all of this material with the tag #fitzsimmons flashback, in case you’re not interested in seeing older works! We’ll also tag all replies to questions/new activities for this event with this tag as well, so you can easily find everything.
We hope you’ll enjoy this events, amongst the many others we plan to host during the hiatus ♥♥ We’re very excited to brave it with you. As always, please message us with any comments, questions or concerns.