but i've been talking to alex about doing this for a while now

anonymous asked:

Hey! Hope you are having a lovely day... I know you are not taking any prompts but I've been having a really bad week and well.. I don't know why but the thought of max lord coming back at the DEO as a consultant has been haunting me for a while .. I mean max flirting with Alex, he doesn't know she is dating Maggie and she is there ...

“I told you, we don’t need his help – “

“But we do, Alex. I don’t like the man any more than you do, but he is the foremost expert on this kind of technology, whether we approve of him as a person or – “

“Aw, Director Henshaw, it’s always good to hear a compliment from a man of your disposition.”

Alex tenses at the sound of his voice – but slightly, slightly, so that only J’onn and Maggie notice – and J’onn just rolls his eyes.

“Your expertise doesn’t make it worth my time or energy to go so far as to compliment you, Mr. Lord,” J’onn deadpans, and Alex smirks and turns around, just as Maxwell Lord is stepping into her space.

Close into her space.

“Agent Danvers. As mysteriously beautiful as ever. I like what you’re doing with your hair; it’s less straight now, are you using new products?”

Winn snorts without turning from his computer console and Maggie shares a silent smirk with him.

“The only new product I’m interested in discussing with you is this weapon. That’s all, Max.”

“You mean to tell me you didn’t call me here because you missed me? Shame, Agent Danvers. Shame. But we’ll get there.”

J’onn glances at Maggie and her eyes are tense, her eyes are alert, but this is Alex Danvers, and Alex Danvers can take care of herself, and she swears to herself that she’ll respect that.

But that doesn’t mean she can’t put her body between his and Alex’s, because she knows Alex, and she knows her face is blank and her eyes are sarcasm and wit, but she knows her skin is crawling.

“Maggie Sawyer, NCPD Science Division,” she steps forward and puts out her hand.

Max’s eyes sweep her body briefly, and Alex can’t tell whether he’s checking her out sexually or cataloguing all her body language for a psychological profile. She hates it either way.

“I see I’m not the only local assistance you’re bringing in. Good for you, Director Henshaw: pride costs us more than hunger, or in this case, annihilation.”

Alex rolls her eyes and strides abruptly toward the lab.

“This way.”

He follows, and Maggie watches, Maggie helps, Maggie observes, as – when he actually focuses on the science – Alex and Max work well together.

Maxwell Lord is a world-renowned genius: a stirring of pride swells in Maggie’s chest that her girlfriend not only keeps up with him easily, but outpaces him, surprises him, comes up with things that make his eyebrows rise in surprised delight.

But anger also boils in her blood, because in the moments when Alex is bent over a microscope and he moves to see next, he stands way too close to her body. His eyes trickle down her neckline, and Maggie sees Alex tense in a way the supposed genius doesn’t notice, or doesn’t care about.

His off-handed comments about her missing him, about her missing them, even though Maggie knows – and Alex knows, and hell, even Max knows – there was never a them, build and build and build.

And Maggie swore she wouldn’t be possessive; swore she would let Alex fight her own battles; but as the afternoon draws on, Alex is looking more and more exhausted, more and more frustrated, more and more resigned to having to put up with his incessant flirting until they’re through with his knowledge.

But those days – the days of Alex having to push down her feelings – are over.

So Maggie takes a deep breath and Maggie passes behind Alex and slips her hand from her waist across the small of her back. Alex knows her touch, knows her hands, knows her gentleness, even while staring hard into a microscope lens, and she smiles.

It’s that smile that lets Maggie know that Alex is comfortable, that Alex is ready, that Alex has nothing to hide.

“Babe, have you thought about asking Supergirl to call Star Labs? Because we were talking about it, just randomly, and I think I remember her saying something about a cold gun, and I’m thinking we could adapt some of the principles to – “

“Oh my god, Mags, you’re a genius,” Alex splutters, and blows past Max to get to Maggie, to frame her face with her hands, and kiss her full on the mouth.

Max blinks and he stares and he grimaces.

“So that’s why we never got anywhere, Agent Danvers: you – “

“No. No no no, stop right there, Max. We never got anywhere because you’re a pretentious, selfish asshole. Also, I’m a lesbian. The things are completely unrelated.”

Maggie smirks and Max blinks rapidly and Alex nearly pats her own self on the back.

One of the agents assigned to keeping an eye on Max smirks while the other lets out a soft sigh as he passes his grinning colleague a crisp fifty dollar bill.

“Told you Agent Danvers would snap first. You owe Director Henshaw a twenty, too.”

i’ve been thinking about the psychic thing/knowing alex was gay thing and i have thoughts

and wow this ended up more undeveloped story like and also near to 1000 words i hate myself i’m so sorry and it is under the cut sorry mobile users, if you see this

Keep reading

I don’t have many notes today, apart from my James notes from earlier, and the following observations:

-When the boys are on top of the train, the lights in the strip across the back of the stage illuminate to follow the visible width of the train. Basically, when you can see the whole length of the train, the whole strip of lights is lit up, and when you can only see the end of the train, only the centre of the strip is lit up.

-James L did the back drumming on the second hug as well as the first (when Albus hugs Scorpius, Scorpius pats Albus’s back with his hands). Also, Scorpius made the most delighted noise when that hug happened.

-I loved Draco’s office today. It was really simple, just the two of them standing and looking at each other, but there was so much strength and determination in the two of them just facing each other and talking. Lovely.

-The end of the Owlery scene was incredible. Delphi grabbed Scorpius’s hand at one point, and held onto it while he was beginning to distrust her, presumably to stop him going for his wand. And Albus was just glaring at Scorpius the whole time. It was one of Sam’s best moments of the whole day.

-The scene in Harry’s office was devastating. Jamie broke so much earlier on than he has been recently, even before the second bit of Dumbledore’s speech. And Draco had a really long pause before saying that the day Scorpius was born was the happiest day of both his and Astoria’s lives. Also, he had to stop to wipe his eyes and gather himself together before he even reached ‘Astoria always knew she wasn’t destined for old age’. I’ve never seen him get so emotional so early on. It rivalled the very best Harry’s office scene I’ve ever seen I think. Both Harry and Draco spurring each other on to greater heights of emotion.

-In Godric’s Hollow, when Scorpius did his 'help, help, help!’ routine, instead of going across the stage on his knees, miming asking Harry for help, he took Albus’s face in both his hands and looked into Albus’s eyes, and did the 'help!’ bits to him. Albus was slightly bemused. (And James L told us at stage door that she wished she’d had that idea sooner, so she totally knows what she’s doing to use all.)

-After the battle, when Delphi was falling to the ground, the last thing I saw before the lights dimmed apart from the spotlight on Delphi, was Draco reaching out to Scorpius to protect him and check he was alright. <3

-The penultimate scene was really something. Scorbus shippers look away now. So basically Rose arrived and kind of planted herself in the middle of the stage, and she beckoned to Scorpius and he just went to her like he couldn’t help it. Then she adjusted his robes for him, and grabbed him by the jumper and reeled him in when she said 'okay, Scorpion King’, and it actually looked like she was going to kiss him. But at the last minute she let go and he went sprawling back and ended up in a grinning, dazed heap at the bottom of the stairs. He was delighted. And if anything could ever make me ship Scorose it was that. Such an electric moment.

-Pro-tip: when you next see the show, don’t think about how it’s the last/nearly the last time you’ll see Sam and Jamie do the last scene. I made that mistake and ended up crying. It’s just a bad idea.

I was lucky enough to go see @hamiltonthemusical at the end of December. I don’t normally recommend selling body parts for cash in order to see a Broadway show, but in this case, hey……..you technically only need one kidney to survive. Seeing this show live is indescribable; it truly is a religious experience. 

I, like most people at this point, have listened to the OBCR on repeat for months. I tend to be a very visual person and went into the show having mentally pictured how things would play out before my eyes as much as I could. I wanted to write down the specifics of what stood out to me, of what my mind now recalls when listening despite having well-left the theatre, little details included. Mostly so that I don’t forget, but also in case anyone else was interested as well. (Apologies for the length & gifs taken from all over; none are mine, I’m merely using to demonstrate what I’m talking about.)

1. “Alexander Hamilton”

     The show starts and you can immediately see the brilliance of the set.

     Look at that: that’s it; that’s your scenery for the whole show. No set changes, just the addition of props like tables or chairs or candles. And it works beautifully. The staircases allow for movement and the balcony allows for split-level action. The framework has intricacies and alcoves all over that the ensemble can easily slide into/against, letting them sing harmonies from the sidelines while not being a part of the action until needed. Plus, the “viewers of history” can literally look down upon it as it plays out. Also, the brick and woodwork really lend to the period visual. It is unbelievably effective in its seeming simplicity.

2. “Aaron Burr, Sir”

      The guys literally carry the table in. Like, Laurens starts shouting, “Showtime! Showtime!” AS they’re carrying it in; it’s cute. 

     Oak’s the one drumming the beat on the table when the trio starts their self-intros. And Lafayette stands up from the table to do his and it’s fucking ADORABLE.

3. “My Shot”

      Lin being Lin; Lin just doing what Lin was BORN to do: cause your soul to soar and take your breath away.

      When Alex starts his, “oh, am I talking to loud?” bit, everything stops, the color of the light on him changes, as if a frozen aside, but really just a reflection of the last smidge of reserved doubt he exhibits; everything resumes as soon as Laurens’ “let’s get this guy in front of a crowd!

     And the dancing! As if the beat wasn’t infectious enough, the dancing somehow makes it more so.

     The entire ensemble singing the last few verses together is just so powerful that the energy sweeps the room. Especially when Alex steps off his (actual soap) box and takes a few steps forward with the rest of the ensemble to the beat.

     Lin…I don’t have words to describe Lin so I’m not even going to try. He’s just chock-full of such infectious energy and raw brilliance that’s it’s BLINDING to witness.

4. “The Story Of Tonight”

     I’m gonna be the merciless asshole to point out that Laurens is the very 1st to “raise a glass to freedom”…and the only one to give his life for it of the four. HAHAHA, BYE, GUYS; IT’S BEEN REAL.

5. “The Schuyler Sisters”

     Burr sidles into Eliza with his “I’m a trust fund, baby,” absolutely violating her space as he hits on her. She doesn’t back down when she fires back at him, instead stepping right into his space and shoving against his chest.

6. “Farmer Refuted”

    I love, love, love Lafayette during this. Mulligan wraps an arm around Alex’s shoulder, “tear this dude apart;” Lafayette says nothing, just silently pushes Alex forward a bit towards Seabury to spur him on. Burr then stops him, “let him be,” and Alex listens. So Lafayette, still seemingly innocent and quiet as a mouse, comes up behind Alex against and just gently pushes him forward by, like, the small of his back. SUCH AN INSTIGATOR.  (God, I love Lafayette.)

    Seabury is giving his speech off a paper from atop a box. With, “if you repeat yourself again,” Alex has stepped ONTO the box with him and is behind his shoulder saying this IN HIS EAR.

7. “You’ll Be Back”

    Yes, that walk is everything they say it is. You know WHY it’s so funny? It’s not intrinsically in the walk itself; it’s because the walk is so damn slow. The King enters from the back wall of the stage and walks all the way across it to the front. His pace never hastens, never changes, never wavers. You initially laugh from the absurdity and then the laughter grows and grows the longer it takes. The song doesn’t start until he’s in place and you bet your ASS that bastard makes you wait for it. It’s hilarious.


8. “Right Hand Man”

    I know I read somewhere Daveed saying that it’s amazing, he no longer pictures Washington as the ‘normal’ image of Washington: an older man in that damn white wig. That Chris Jackson now IS his Washington and Godddddd, do those words ring true. Common pictures of Washington now just throw me off because I EXPECT Chris!Jackson!Washington.

    It’s funny because I think the recording comes off easier on Burr during this song. Just listening to voices, I took it as Washington was eager and grateful for Burr’s possible advice. Yet seeing it play out, it’s not that way at all. Burr just lets himself in to Washington’s quarters and starts yammering. Washington seems far more irritated and disinterested than anything else. It was clear that his “close the door on your way out” was purposely cutting Burr off and kicking him out.

    “I need someone like you to lighten the load. So?” Washington just holds out a quill to Alex; the ensemble starts the “My Shot” refrain as Alex just stares at it before making his choice. I really like that because as much as he wanted to fight, that writing implement really WAS his weapon of choice…and that was when he chose it above all else.

9. “A Winter’s Ball”

    Just as amazing as one would hope. Ridiculous frat-boy dancing while talking about women. Lol.

    “Martha Washington named her feral tomcat after him.” Now, you gotta imagine that Narrator!Burr is at the front of the stage, singing to the audience. Alex comes running up behind him, half leans over Burr’s side, with his pointer finger out, to go, “that’s true!

    The sidestep-crabwalk-playa’ walk they do to “hey, hey, hey, hey” is absolutely amazing.

10. “Helpless”

    Really cool to watch the staging of this because they have to pretend to go from the dance, to the Schuyler house, to their wedding; it’s all done seamlessly. Don’t forget, there are no set changes, merely additions to set dressings. All the lit candles for the wedding were beautiful. And yes, Hercules still comes out and throws his THREE flower petals and it’s fantastic.

      Also, PIPPA. Sweetness and light personified. I cannot express how perfectly cast she is. What a voice, what a talent.

11. “Satisfied”

    I’m the type of person that has to imagine everything out whenever reading or listening to something, so I already had most of the show mapped out in my head, as I said above; obviously, sometimes I was right & sometimes I was wrong and pleasantly surprised. But there were some moments that I sincerely had no idea how they were going to stage, and the “rewind” portion of this song is one of them.

    It was sincerely, unbelievably incredible. They, quite literally, rewind. The second that beat starts, they all move backwards slowly, then with increasing speed, from the wedding reception, through the wedding, to their positions at the start of the dance. The show LITERALLY hitting a rewind button. Spectacular.

    Alex, in his first words to Angelica, is EXTREMELY flirtatious. It was very clear that he had definitely set out to win over the elder sister.

    Angelica’s last verse before her wedding reception speech starts up again (“To the groom!”) is set up so beautifully.

     She’s singing from the middle of the stage, Alex is in the background, Eliza in the foreground, cornered into a diagonal. I can’t remember if both are looking away from her, but I believe Alex has his back towards as she sings (”at least I’ll keep his eyes in my life”). It’s haunting.

    From there, they “fast-forward” back to their original positions at the wedding reception at the start of the song. After Angelica’s speech, the bride & groom walk off and she’s left there all alone singing that she’ll never be satisfied. *SNIFF*

     Also, Renee’s PIPES in this song, good GOD. She’s just SO fantastic: she can break your heart with the pain and longing gripping her face, yet belt your soul into Heaven.

12. “The Story of Tonight (Reprise)”


    “You are the worst, Burr” is just as wonderful, even more so, in person, and remains one of the greatest things of all time.

    When Laurens starts ribbing Burr, he flings an arm around Burr’s shoulder as he’s taunting him. LOL.

13. “Wait For It”

    Just Leslie being Leslie, aka psychotically brilliant. The calm, the slow build, the crescendos, the fade out… Amazing. The ensemble hangs out in the shadows of the set and sing the background harmonies; it’s fantastic.

14. “Stay Alive”

    Lee flaps his wings like an over-excited bird when he sings “wee!” LOL. Like…Good LORD, Lee.

15. “Ten Duel Commandments”

    Guuuuuh, you can really see why they use a turntable on stage for the duels. It’s just amazing, the stage easily revolving them around each other and keeping the song’s pace going.

    Laurens DOES physically hand Alex a letter during “leave a note for your next of kin” and it makes the line very real.

   Leslie changed his intonation on “ok, so we’re doing this” from the recording; his voice went up a little on the “doing.” You could practically hear his eyes widen just in his tone of voice and the crazy-eyed, exasperated stare he’d be giving the camera if this were The Office instead of a stage musical. I loved it SO much.

16. “Meet Me Inside”

    I had expected, for whatever reason, Washington to be behind his desk and Alex to be pitching a very gestural fit in front of him; I was pleasantly surprised to find that I was wrong. Instead, Alex stands straight at attention, giving his General the respect he deserves, as Washington circles Alex and berates him. Alex answers, eyes ahead the entire time, never moving until “call me son ONE MORE TIME,” which is when he finally loses his cool, breaks his stance and gets in Washington’s face.

17. “That Would Be Enough”

    I was curious, since Eliza never specifically states she’s pregnant until after it’s clear Alex knows in the song, how they were going to show it. When he walks in, she’s holding her stomach and I want you to know, it’s STILL bothering me that I can’t figure out if they stuck something under her dress to pad her belly or if it’s just the bustle of the dress. LOL. WHY this is weighing on my mind, I have no idea.

    It’s all very sweetly done though; they sit together on a bench as Eliza sings to him. *more sniffling*

18. “Guns and Ships”

    Or as I generally refer to it, “Daveed Makes Me Want To Shoot Myself In The Face Because He’s Just So Fucking GOOD, GOD, WHY is he so GOOD?!”

    Full disclosure: I couldn’t even tell you anything about Leslie’s intro even if I wanted to because I was too busy trying to figure out where the hell Lafayette was on stage. Spoiler: he’s hunched over the table with all the soldiers, who are also hunched over around him (as if going over battle strategies on a map). He then jumps on top of table at the start of his part and then, yes, leaps from the table during “watch me engagin’ them,” just like in that damn picture that kills me.

   In which I am Laurens in the background. Jaw meet floor. It’s so good. It’s all just so good I could cry.

19. “History Has Its Eyes On You”

     It’s been too long that I can’t remember anything of note; go me.

20. “Yorktown (The World Turned Upside Down)”

     Hands down the line that gets the biggest reaction; audience went NUTS. And I can’t tell you how much I love that little floppy high-five that they do.

     LOOK at that entrance! And Herc comes out BOUNCING. This whole song is SO energetic that it SURGES through the entire theatre, especially right here at Mulligan’s reemergence. And then the interlude after that with the dancing? GOD, SO infectious; it’s insane. I can’t even begin to describe it.

     And then at the end, half the company standing on boxes or chairs declaring they won. GUH.

     What’s funny is that this song is just as dramatically sung and staged as you would expect; it truly comes across as if it’s the closing of Act I. I was with 3 friends when I saw it and one had purposely stayed away from the music so that she could experience it for the first time live; even she expressed that she was surprised when Act I continued on past this. I love that it does though. We are subject to SO many giant and dramatic songs in this show; why stop now? ;)

21. “What Comes Next”

     “I’m so blue.” *DRAMATIC FOOT STOMP*

     And hearing the inflection on “awesome; wow” is just as fantastic live. My best friend next to me happy-clapped in her seat.

22. “Dear Theodosia”

     I LOVE the staging for this song. Burr comes out all alone on stage with a single high-backed chair. He places is off-center stage right and instead of sitting down, stands behind it. Spotlight on him, he begins singing, forearms leaning against the top of the chair-back. Nearing the end of his verse, he circles the chair & sits down.

     That’s when Alex comes out, carrying his own chair, setting it down off-center stage left just in the nick of time to start his own verse. Single spotlight now on each, Alex continues to sing in the same position Burr did. And exactly the same, near the end of his solo verse, he circles his chair & sits down.

     They then join their voices and sing together about their respective children, sitting side-by-side, but just far enough apart, both in his own spotlight, facing the audience. It’s just…it’s a lovely metaphor. Their stories so similar, yet so different; so close, yet just far enough off that they wind up becoming adversaries. And the simple staging also makes you focus on the emotion behind their words.

22 ½. “Tomorrow There’ll Be More Of Us”

      Oh HEY. Here’s the only full song not included on the recording, so therefore, I was not prepared for it: letter Alex gets from John’s father saying that he was killed in battle. Alex is at the front of the stage with Eliza when he reads it and you can also see Lafayette and Mulligan on the second tier getting a similar letter at the same time. Laurens comes out and just STANDS at the front of the stage in the spotlight as it’s read. No one takes it well; I still remember Lafayette needing to sit down while reading it as the shock knocks him off his feet. But when Eliza tries to comfort Alex, he walks away and says he needs to get back to work, refusing to deal with it, and it jumps right into “Non-Stop.”

     So thanks for ONE last emotional gut-punch I wasn’t expecting, Lin! *shakes fist*

23. “Non-Stop”

     I was chosen for the Constitutional Convention!” Alex literally side-skips to the front of the stage, giddy like a school-girl.

      “Who’s your client?” “The new U.S. Constitution…” The latter said with a sheepish flourish of the hand in the air, like mapping out the words on a banner. LOL.

     “I am sailing off to London…” Angelica comes walking down center-stage, arm hooked in Alex’s as she sings. When she leaves (”don’t forget to write”), she & Alex continue to hold hands as she walks away, their arms stretching out across the stage.

     They utilize every aspect of the stage during this song and it’s great. Hamilton is generally center-stage for most of it, with people singing to him from various corners: Washington questions him from the upper right parapet, Eliza sings down to him from the farther left, the ensemble with Burr circle Alex in the middle as he writes & they question him, etc. It ends with Alex finally ascending the middle stairs, spotlight on him. (”I am not throwing away my shot!”)

1. “What’d I Miss”

     Funny thing about the beginning of the second Act is that, like some other shows, there is no curtain and no Overture. They start the second the break is over; your only warning is the first beat before they break into song. So you’d best be in your SEAT cause they’ll just perform over you.

     Daveed makes his second entrance with a flourish; he comes out at the top of the stairs on the second level, to thunderous applause, I might add. He immediately motions for people to hold their applause; the second it starts to die down, he makes a face, takes back his request, and starts motioning for more and people just go WILD. It’s fucking fantastic.

     It’s ok, TJ; the slaves will just handle those stairs for your Purple Rain’ed behind. ;) Also, I will never be over the dance he does in this. Ever. It’s just not possible; I love it.

     Let me just say, everyone in this show is phenomenal, but I’ll never get over how much pure, unadulterated talent Daveed brings to the stage. Whether Lafayette or Jefferson, the man is an undeniable force; he has an unequivocal presence that draws your eye, a gravitas that you can’t possibly deny. You immediately know you’re getting to witness something extremely special and very rare when watching him perform; it’s like magic.

     “Mr. Jefferson, welcome home.” “Mr. Jefferson, Alexander Hamilton.” THIS. When Washington sings his line, he steps forward with a smile on his face to embrace Jefferson. Alex DARTS in front of him, singing his line, and shoves his hand out to Jefferson first, who, of course, just looks him up and down like, “who the actual fuck are you?” Oh, Alex…. 

2. “Cabinet Battle #1”

     Chris trades his general uniform for his suave black Presidential duds and they’re just PERFECT for him to MC this song; I can’t express that enough.

     Yes, Jefferson has as much conceited swagger on stage as he does in his voice. Lol. At the end of his bit, he LITERALLY mic drops. Holds his arm out dramatically and lets the mic fall; Madison catches it so it doesn’t land on the stage. It’s just SO over-dramatic, it’s FANTASTIC.

     I know people are used to the clips we got of Alex doing the below line, but that was not the “dance”(ish) move I saw. He pretended to fluff his hair up real big like Jefferson’s. It makes me wonder if Lin does something different every night a la Rent’s “to every passing fad.” Anyone?

     At the end of Alex’s bit (”I’ll show you where my shoe fits”), Jefferson is so pissed off and riled up that he angrily rushes towards Alex like he’s going to start a physical Cabinet brawl. It’s Washington who jumps up from his chair and separates the two.

3. “Take A Break”

     It’s funny cause I wondered how they were going to make Philip a child. Do they have Anthony on his knees? No, they just doofy-up his clothes so that he “looks” dressed like a kid. Lol. It’s great because he’s practically the same height as Phillipa. But again, as Hamilton loves to prove to us, it just doesn’t. frickin. matter. People WILL suspend reality and use their imaginations.

     Angelica starts her part on the second tier and descends the stairs slowly as she sings her letter back to him.

     When the sisters start begging him to join them Upstate, they each take a hold of one of his hands while singing to him. At “I have to get my plan through Congress,” I forcefully shakes one off, then “I can’t stop til I get my plan through Congress,” he shakes the other off and walks away. I think, I THINK, he shakes Eliza off first.

4. “Say No To This”

     Another song that I was really curious of the staging. I sincerely expected a bed to appear at some point, but no. Very minimal stage dressing; they keep Alex on the move instead. That is, until the end of the song, where he sits on a chair and she sits on his lap, facing the audience and he sings into her neck. It’s actually rather intimate.

     Also, the song REALLY showcases Jasmine’s talent and that makes me so happy. She’s especially wonderful in this. Her voice is naturally just so silky and sultry and it lends to this song perfectly. But not just the temptress, she’s emits a vulnerability that makes you empathize with her. Sidenote: I’ll never be over how phenomenally gorgeous she looks in that red dress.

5. “The Room Where It Happens”


     The deal silently plays out at the table behind Burr as he sings. Which is great because it allows the audience to see, it allows Jefferson, Madison, and Hamilton to get up and sing at their respective parts, and it allows Burr “into” the room afterwards. 

     At the start of “what did they say you to get you to sell New York City down the river,” the three at still at the table and Burr comes running up around Hamilton to sing to him. Hamilton gets up those and is standing at the front of stage right by “and we got the banks; we’re in the same spot.” It’s truly amazing to me how much they utilize movement to push the story forward.

     Alex imitates Burr’s dramatic hand-flail during, “you get nothing if you *wait for it; wait for it*.”

     That part in the above gif? It is PERFECTLY timed. I sincerely didn’t think he was going to make it to the table in time to have his feet up as he sung that line, but that’s EXACTLY how it plays out. It’s timed down to the MILLISECOND. 

     I love this. Burr leaps up and they rip the tablecloth out from under him. From the mezzanine, it looked like the actual tabletop was a reflective surface which caught the light. Therefore, *illuminating* Burr at “but we dream in the dark for the most part.” I’m honestly not sure if that is the case or not, cause it certainly doesn’t look like it in this gif, but if it is, it works well: this is HIS lightbulb moment.

      The crescendo of the music and the build of the dancing just…you want to FLY from your seat and dance in the aisle; everything is SO electric that you can practically feel the air buzzing with it. The audience is soaring WITH Burr.

      At that final “Click! Boom!,” Burr is back-lit in spotlight, except now, they don’t let the light fade. They keep his lighted silhouette on the stage because they’re prepared for it now. The audience LOSES it. Everyone means it when they say this song is a showstopper; it quite literally STOPS the entire show. People start screaming and cheering and clapping and just won’t STOP. So now, they just run with it; they let the show stop, they keep Burr lit in his moment, and allow the audience to deafeningly scream their support for at least a good 30 seconds before they forcefully move on. It’s a phenomenal feeling to be a part of.

6. “Schuyler Defeated”

      I’m sure he already knows” will never fail to make me laugh but sadly, Hamilton is not in the background shattering things in anger. Lol.

7. “Cabinet Battle #2”

  “Uh, who provided those funds?” Jefferson literally holds the mic out to Madison who’s behind him so that he can haughtily answer “France.” HA. 

  “Daddy’s calling.” Never over it.

8. “Washington On Your Side”

     Burr literally comes out of NOWHERE. Just comes STROLLING across the stage to stare at Hamilton as he walks away before he starts the song. It was HILARIOUS. Like, busy-body Burr is so obsessed with Alex that he’s just ALWAYS there ready to DRAG him to whoever’s around.

     “I’m in the Cabinet”… That whole bit? Still fucking amazing. That is all.

     I wanna mention Oak at this point, because people don’t talk about him enough. I think he tends to get a little overshadowed because of everyone else and he doesn’t get his own solo song but guh, he’s so good. His voice is just this low, gorgeous rumble. There’s a post going around that describes his voice as “a gentle earthquake feeding you chocolate.” Which is actually really descriptive and sincerely perfect. And he’s such a strong figure in both roles, even just in presence, and it’s fantastic cause he even brings a different ENERGY to each. I just really love everyone in this cast, ok?

     Ah, now’s a good time to mention the letters. I LOVE what they do with the staging any time there’s a letter in the show. Think about it; it’d be hard to show how those letters are always being written and then delivered and THEN read. So everything happens quickly and almost simultaneously. The action never stops, the singing never stops; someone will lift a quill quickly, then hand a letter off to an ensemble member, never stopping, and the ensemble will literally *dance* it over to the recipient. The letter generally passes through multiple hands first before arriving at its intended destination, perfectly showcasing the passage of geography and time, while never taking you out of the moment.

     I mention this hear because near the end of the song, Jefferson “writes” his resignation letter, which is then handed off and subsequently delivered to Washington. Washington has just opened and is reading it in semi-surprise as the trio sings their last line. It’s a great detail you obviously don’t get when just listening and leads perfectly into the next song, showing the audience how Washington knows before calling Alex in.

9. “One Last Time”

         “I don’t know about God, but I believe in Chris Jackson.” - LMM’s Tony speech for In The Heights. 7 years later and you can see why it still rings true. Chris MURDERS this song; he just SLAYS it. GOD.

     I just really, really love how they do the end, with Alex “writing” Washington’s words as George slowly and softly begins to sing along, then overtake Alex as he steps forward for his last spotlight moment. 

     After the show, the friend I was with that went into the show blind perfectly encompassed this song by wailing that she was not expecting this to be so emotional. “I’m crying because Washington is stepping down; WHAT’S WRONG WITH ME?!” It’s part of Lin’s gift: he makes us CARE about these people; he makes us identify with figureheads we learned about years ago with disinterest; he makes us LOVE them.

10. “I Know Him”

     Groff does the EXACT condescending, dismissive hand wave at “little guy who spoke to me” that I was imagining and for that, I BLESS HIM.

     Now, the King walks to the edge of stage right as he finishes this song. What I did NOT expect was for him to FORGO leaving, instead taking a seat at the edge of the stage to watch Burr sing his monologue at the beginning of the next song. He’s simply there to gleefully watch shit go down in America.

11. “The Adams Administration”

     The King fucking happily WAVES at Burr at some point during the beginning and I almost peed my pants laughing. 

     Hamilton drops a giant book (probably the entirety of his writings dragging Adams) from the second tier with a giant slam on “motherfucker.” I believe that’s when the King leaves the stage.

12. “We Know”

     I also wondered how this was done considering Hamilton addresses them all slowly by name. The way it’s staged is as if they’re gradually walking into Alex’s house/study one by one to confront him. This also makes sense for later on when Alex takes out the letter to show them; he pulls it out from a drawer behind his desk.

13. “Hurricane”

     Once again, gorgeous lighting. The different colored, shadow-detailed spotlight makes it look like Alex is sincerely standing in the eye of a proverbial hurricane.

14. “The Reynolds Pamphlet”

     I swear to God, they must have so much fun during this song. It’s literally the Let’s-Throw-Shit-At-Lin song. LOL. And yet another song where I’ll NEVER be over Daveed’s dancing.

     What I was NOT expecting? When they’re singing the contents of the pamphlet at the beginning, they’re huddled around Philip, that poor kid, who’s reading it. Singing it pretty much TO him as he’s reading, just rubbing it in that poor child’s face. It’s watching Alex’s son read about his father’s affair that hurts the most.

    And yes, King George is just there to dance across the stage, enjoying the shitshow that’s going down over there in the States. Lol. Also, the ensemble dancing in this is, as usual, phenomenal.

15. “Burn”

     Once again, my brain was preoccupied with silly things, like the burning of the letters. Clearly real fire. Definitely actually burning. Still burning when dropped into the bucket below.

     Continues to burn for a bit, then, at least from my seat in the mezz, looked like it just randomly faded out. Is there water in the bucket? Does it have a false bottom? Is it put out from below the stage? Is there perhaps a mist-er that sprays the flame out? I NEED TO KNOW.

16. “Blow Us All Away”

     I gotta say, Anthony is really, really good; there’s definitely distinct differences, not only between his two separate characters, but between Kid!Philip and Teen!Philip. He gives off a completely different aura; there’s confidence there, a swagger to his step in the beginning. Then when it comes time to duel, his trepidation and fear are blatant, written all over his body language; he’s scared and it reduces him to a child again. It’s played beautifully.

     When Philip interrupts Eacker at the play, I assumed he kind of sneaks up into his box to challenge him. But no, no; he interrupts the entire play, stands where the orchestra seating would be located, and starts shouting up towards Eacker’s box. HE IS NOTHING IF NOT HIS FATHER’S SON. 

     “Everything is legal in New Jersey” is the second biggest laugh of the show.

     Sam, the friend that went in blind…the poor girl literally wailed, “NOOOoo!” when Philip was shot (in the pin-drop silence of the theatre, lol).

17. “Stay Alive (Reprise)”

     Sam then proceeded to sob noisily on my other friend’s shoulder all through this song and the next. It made everything hit just as hard as the first time listening, getting her 1st time reactions in real time.

     Worst part…worst DAMN part about this song? The fact that Pippa lets out a horrible, grief-wracked WAIL after Philip dies in their arms. I…I have had the unfortunate experience of hearing that first awful scream of undiluted pain and shock upon losing a loved one, a child, no less. It’s something that unfortunately etches itself upon your consciousness, a chill you can never get rid of. Pippa…hit it remarkably well; it hurt real bad and the sobbing was instant. Phillipa Soo: ripping your soul out one song at a time.

18. “It’s Quiet Uptown”

     As much as Renee slaaaaaaaays “Satisfied,” it’s this song that kills me. She appears in a black dress and sings this song with such quiet, pent-up emotion. It’s beautiful and heartbreaking all at once; I’ll never be over how perfect everyone in this cast is.

     The song is staged and lit so that Eliza grabbing Alex’s hand cannot be missed, even though you’re blearily attempting to peer at the stage through a DELUGE OF TEARS. They stand side by side, grieving and staring silently out at the audience, just far enough apart that they can throw a spotlight on their hands when clasped between them. (It just makes you cry harder.)

19. “Election of 1800”

     BLESS Madison for walking out wiping his eyes; WE ARE ALL JAMES MADISON.

     The cute part of this song is that as the voters are gabbing about the candidates, Burr is peeking his head around each of them as they talk, gleefully listening in and looking pretty darn happy with what he hears.

     The NOT-cute part of this song? The part ripped me in two? Is when Hamilton chooses. Alex is up on the second tier, speaking to the voters down on the stage as they look up at him; Burr is on one side of the stage, Jefferson on the other, both looking out at the audience so that you can see their reactions.

     Considering Burr’s reaction, I expected anger. I expected rage. I expected him to fume or throw a fit or look like his head was going to explode off his body from sheer frustration. But no.

     Instead, Alex names Jefferson and you see Burr’s entire world come crashing down written upon his face. One moment, he’s standing there, utterly cheerful, his chest puffed out in confidence, 100% believing that Alex is going to side with him. It’s not the smug contentedness of a cat that’s eaten a canary: it’s pure happiness that he’s finally witnessing his moment. When Hamilton throws his hat into the ring in Jefferson’s favor, Burr looks like he got hit by a freight train. Pure shock, utter betrayal, and unadulterated PAIN grip his face.

     In my opinion, THIS is what’s going to win Leslie that Tony. This moment. I could see that from the MEZZANINE. Even far away, that expression hit me like a ton of bricks and has stayed with me since then. It HURT and it STILL hurts. You feel Burr’s heartache in a way that I never quite expected. It’s unbelievably powerful and suddenly you know damn well why Burr’s led to his next action. It’s not him being petty: it’s a necessary reaction to that heartache. Leslie…is just astounding.

20. “Your Obedient Servant”

     I still really frickin’ love what sounds like a door closing at the top of the song. The proverbial slamming shut on their futures: no way out, no escape; they’ve chosen their paths in this one action.

     This is where the show really shows off the genius of the letter delivery choreography. It’s phenomenal; the back and forth writing, receiving, and reading just works so so well.

     “Here’s an itemized list of 30 years of disagreements / Sweet Jesus.” One ensemble member after another after another come up to Burr and hand him letter after letter after letter, piling I’d say probably 8 pages or so into his hands. It’s hilarious.

21. “Best of Wives and Best of Women”

     Again, for some reason I expected a bed. I’m glad there wasn’t because it allowed for Eliza to wander up to Alexander in his chair, writing, to plead for him to come back to bed. When he says “hey” before his last line, he grabs her hand as she turns around to walk away and lovingly pulls her back towards him: “best of wives and best of women.” (And then your heart breaks. [And then you realize what he was writing was his death letter to her…and your heart breaks more.])

22. “The World Was Wide Enough”

     Philip comes back out on stage next to Alex just to sing that one line in the spotlight, then leaves. Thanks, Lin; thanks for all the pain. *salutes*

     Hamilton’s soliloquy in the middle of this song is a phenomenal work of art. Once again, lit in that different colored, detailed spotlight. Everyone around Alex freezes and then the ensemble begins to move in slow motion in what may be the most ingenious use of blocking that I’ve ever seen.

     One ensemble member is the designated bullet that is shot from Burr’s gun; the rest are used as vehicles to support her movement. She makes her way slowly across the stage: tip-toeing, being lifted and passed over others, etc, in a perfectly timed choreographed dance that give Lin just enough time to deliver the monologue. He even moves around the stage, sometimes putting himself dangerously close to the moving “bullet” as if dancing with death; it’s absolutely memorizing and utterly astonishing.

     Eliza comes out onto the stage when he says her name during it. *sigh*

     When Alex is shot, Lin bends at the waist, folding his upper half over in front of him. They move him like this into the “boat” as two people pretend to row him back, then he leaves the stage for the rest of it. Angelica & Eliza come out at the back in spotlight when Burr sings their names. 

     And then you just sob as Leslie pours his heart out.

23. “Who Lives, Who Dies, Who Tells Your Story”

     To sum up: weep, weep, weep, weepity weep weep, gurgling choked sob. Did I miss anything?

     In all sincerity though, regardless of the fact that I knew Eliza’s gasp was coming, it still positively ruined me. As if I wasn’t crying my face off before that… Alex leads her to the very front of the stage and, for the first time in his life, steps OUT of the spotlight. Eliza finally gets her own moment to shine as she looks out and sees the fruit of her life’s efforts for the first time. And it DESTROYED me.

    Pippa. I just… Eliza’s the glue that holds Alex together. When she sings that she carried Alexander’s legacy for the next 50 years, there’s no doubt in your mind that this is the one woman, the only woman, that could’ve possibly pulled that off. Pippa’s Eliza perfectly blends kindness and caring with strength and resolve. She’s magnificent.

     Also, I love love love that they decided to go with an ensemble bow. No one person gets singled out for their performance; they bow as a unit. This show is a brilliant work of art due to every single one of them; they all take the credit together.

     Whew. That’s a lot of words. And yet still, only the small things that caught my attention. There are not enough words in the English language to describe the insane genius of this entire show. We’re just truly blessed to be seeing this within our lifetime. Thank you, @linmanuel; thank you from the bottom of my heart for everything you continue to give us.

anonymous asked:

emotional-ish prompt: I've got a few weeks sober and a couple weeks in the program. I like how you write newly sober alex. Could you maybe write maggie going to an open meeting with her. or just like generally just alex doing pretty well in recovery and maggie being her usual supportive self? Thanks!

Alex still hates the whole meeting thing.

She doesn’t talk on the way, and she doesn’t talk there, and she doesn’t say much on the way back, either.

But every single day – sometimes twice a day, those days when J’onn practically forces her downstairs to one of the agent meetings because Jeremiah, because Eliza, because Kara got hurt, because Maggie got hurt, because Winn got hurt, because James got hurt, because J’onn himself got hurt – she makes herself go.

Every single day, sometimes twice a day, Kara drops her off. And every single day, sometimes twice a day, Kara picks her up.

And every single day, sometimes twice a day, Maggie’s waiting there with Kara after.

It becomes a routine.

“How was it?” Kara will ask.

“I want a drink,” is all Alex will say, and Kara will pale as she holds her hand, but Maggie will grin softly, sadly, knowingly.

“You gonna have one, Danvers?” she’ll ask, and Kara will always be awestruck at how gentle, at how loving, at how adoring, the steel-edged detective’s voice gets around Alex.

And that’s where the response varies, and that’s where sister and girlfriend can gauge how Alex is doing.

On the nights that are going to be full of raging and full of misdirected anger and full of begging, she’ll start by answering Maggie with a, “why not, it’s all I’ve been doing for the past few years anyway,” and Kara and Maggie will exchange a soft glance and Kara will take one side and Maggie will take the other and they’ll take her home and they’ll listen and they’ll validate and they’ll hold her when she breaks and they’ll soothe her while she drifts into restless sleep.

On the nights that are going to be full of Kara going home alone because Alex is going to fuck Maggie senseless, is going to fuck Maggie hard, is going to fuck Maggie rough, is going to fill Maggie up with her fingers, fill her own lips with Maggie’s wetness so she doesn’t fill them with bourbon, she’ll start by answering Maggie with a, “not if I can have you instead,” and Maggie will gulp and blush and lick her lips and Kara will groan and adjust her glasses and speed away muttering about some emergency or other.

And on the nights that are going to be full of soft touches and easy laughter and old musicals and prank calling Winn as he’s out on a date with Lyra, she’ll start by answering Maggie with a, “no. No, I’m not. You can be proud of me now,” and Maggie will kiss her softly and Kara will blush and Alex will swoon and they’ll debate which movie to start the evening with the entire way home.

She doesn’t slip up, even though she wants to.

She doesn’t give in, even though she’s burning for it.

She doesn’t let go, except when she’s in Maggie’s arms and nothing can hurt her.

“You know I’m proud of you, Ally,” Maggie whispers one night, a few weeks into Alex’s sobriety, a couple weeks into her program; a couple weeks into what makes DEO training seem easy in retrospect.

“For making you cum five times in as many minutes?” Alex counters, her voice thick with sex and her own orgasms, thick with love and her own release.

Maggie chuckles and splutters, and decides not to point out – not right now, anyway – that Alex is the only woman who’s ever made her splutter. “I didn’t – it wasn’t five min – “

“It kinda was, Sawyer.”

“You timing me, Danvers?”

“I mean – “

“Alex. Seriously. I’m proud of you.”

Alex sighs and turns – Maggie had been holding her, had been kissing the nape of her neck, but she wants to see her eyes, now, wants to watch her face, now – and waits for Maggie to elaborate.

“You’re so gorgeous, Alex,” she whispers, and Alex’s entire being melts. “I…” She strokes Alex’s hair and she kisses her nose and she surprises herself to realize she’s almost crying. “You know, everyone thinks you’re tough because you scare the shit out of Winn and can defeat a team of hit men with a pool stick, and they think you’re strong because you single-handedly blew up an entire Cadmus facility and all that. And they’re right. But you… to me? Those aren’t the reasons you’re strong, Alex. Not the only ones, anyway.”

Alex nearly chokes on her own breath and her eyes widen and her pulse quickens.

“What are the reasons? To you?” she asks, and Maggie hasn’t heard her voice this small since Jeremiah, since ‘babe ride or die includes AA meetings, okay, it’s okay, I’m not going anywhere, you’re perfect, it’s okay.’

Maggie kisses her nose and she kisses her eyes and she stares at her like she’s never seen anything quite as beautiful, because she hasn’t.

“You didn’t have a drink today. And you didn’t have one yesterday, or the day before that, or the day before that. And you’re not going to have one tomorrow, or the day after that, or the day after that. But you know what, Alex? If you did? You’d just fight harder, because that’s how strong you are, and you’d get back here all over again. Because you’re that powerful. Because you let Kara take care of you. Because you let me take care of you, and J’onn and James and Winn. Those things are the strong ones, Alex. Not just you being what everyone else needs. You letting people be what you need. That’s… you’re amazing, Alex. You’re amazing, and I’m so proud of you, I… I’m so proud to be yours.”

Alex blinks out tears and quirks out a soft grin and kisses Maggie’s still slightly swollen lips gently.

“Mine, huh?”

“It’s called being cherished, get used to it, Danvers.”

and i’ve been waiting for the sun



There is something to be said for whenever Kara is nervous around her.

(It always is accompanied by a very sound reason to be nervous.

Like when Kara said she got a cheaper rent on the apartment but purposely left out that it was because Mrs. Needleberg knew she was an alien.

She found out, because instead of being in her apartment waiting for food, she found Kara next door.

Holding up a fridge while the older woman vacuumed under it.)

Keep reading

lucky number thirteen (black tapes podcast fic)

quick fic written in accordance to all the Black Tapes Podcast canon I know, so the first ten episodes listened to with great passion over the last 48 hours 

In Strand’s life, he’s been punched thirteen times to the face (nine solidly connecting), seven of which were unpleasant but understandable. If you are compiling an account of more general attacks upon his body, the number would be closer to fifty, which sounds more dramatic than it is. Most people don’t know how to fight. Strand, by necessity, does—at least more than the average charlatan outraged at being debunked. As to how many attacks Strand deserved, it would depend on your metric. Without condoning violence as a response to indisputable science, some aggressions certainly more prompted than others. Strand understands human psychology, and the corollary to that is that he should act with some consideration of human psychology in mind. It’s small minds that believe in baseless superstition, and small minds get frightened when confronted with evidence that contradicts their beliefs. Humans on the whole prefer anger to terror, and so fear gets sublimated into aggression which in turn gets sublimated into a fist aimed at Strand’s nose. As he said—unpleasant but understandable.

“Wow,” says Alex. “If this is you being gracious, I get why people punch you so much.”

Keep reading

anonymous asked:

Hi, I know you're drowning in prompts and stuff, and I really don't want to pressure you with another one... But I've been struggling with eating disorders for most of my life, and I'd love if you could write about Alex or Maggie dealing with one. I'm sorry, this is quite a stupid prompt... But I've never had anyone who really understood what I'm going through and supported me, so it'd be nice if one of them had the other to love her no matter what. Thanks for your stories, they're amazing! <3

Eliza keeps trying to tell her she’s beautiful, keeps trying to tell her that her body is perfect just as it is, but Eliza doesn’t understand.

Because she can train – and god, does she train – and she can prepare and she can strap herself into armor and she can strut into a war zone with a kind of calm composure no human being should ever have to possess.

But she can’t control what happens, then.

It doesn’t matter how much she trains – though she keeps training harder, of course – her body still has been out of her control. Her body has still not been hers.

Has never been hers, really, not since she was a girl, because her body was Kara’s, her body was Eliza’s, her body was Jeremiah’s; her body was to protect one and make the other, for once, proud, and honor the other’s memory, which she couldn’t even do, now, because he was alive, alive, alive, but she can’t find him and she can’t do anything right because Eliza says she’s beautiful, but she doesn’t mean it, not really, because that pinching behind Eliza’s eyes means she’s frustrated and that slight strain underneath her voice means she wants to call her Alexandra and that small twitch of her left ring finger means that she wishes Jeremiah were here because he was the only one who could stand a chance at talking some sense into the headstrong girl but he isn’t, he isn’t, he isn’t, and before, it was out of Alex’s control, but now it’s just Alex’s fault.

And it hurts, but it feels good, because Kara can remind her that she forgets to eat when she’s stressed and she can tempt her with all the Chicago food truck goodies in the world, but no one – not Kara, not Eliza, not Jeremiah’s not-quite-dead ghost, not the DEO, not Cadmus, hell, not Maggie – can make her open her lips.

Feels good because she can pass it off as being busy, as being stressed, and she’ll force down what she needs, once in a while, Winn’s trying-to-be-subtle concerned squint and J’onn’s furrowed brow can’t make her not bring it back up, because this? This she can be perfect at. This? This she can control.

Until she can’t.

Until her knees buckle on a mission and her world goes black and she wakes up back at the DEO with an IV in her arm that she immediately tries to tear out, because how dare they, how dare they, how dare they, but Maggie’s hand is soft and Maggie’s lips are soft and Maggie’s eyes are wet but they’re not angry, and Kara’s smiling is trembling and Kara’s voice is shaking but her eyes are clear and her body holds no anger, no frustration, no irritation, no sign that she thinks Alex has failed.

And Alex looks for the signs, she searches for them, because she knows, she knows, that she has failed.

But when Maggie asks how she’s feeling, she can’t detect a lecture on the horizon, and when Kara says how scared she was when Alex collapsed, she can’t detect a hint of accusation, a hint of blame.

She doesn’t want to ask because she doesn’t want to concede that anything’s wrong, but she needs to ask like she needs oxygen because if she can’t have the control she needs all alone, maybe she can get it by surrendering some of it – gifting some of it – to the people who hold her like this, who love her like this.


“Got nowhere better to be, Danvers,” Maggie kisses her forehead, and her broken, relieved eyes swivel to Kara.

“Always,” her sister tells her, and Alex knows – for reasons she can’t understand, not now, not yet, but she thinks maybe she will someday – that she means it.

Maybe I've Always Been More Comfortable in Chaos (3/3)

A gift for Alex @speedforcelesbian from @inksmudge.

The walk to their apartment is silent, but how she and Barry refuse to let go of each other the entire way speaks volumes.

At home, she lays down on their bed in her nightclothes, vacantly staring up at the ceiling, contemplating how almost twenty-four hours ago, she had been laden with worry over Barry’s nightmares, oblivious to his reliving her ruthless murder every time he closed his eyes.

The mattress caves in slightly as Barry sits beside her, clad in sweats and a T-shirt, still cautiously observing her like he had ever since the revelation. She doesn’t take her eyes off the ceiling when she queries for the third time that night:

“How long until it happens?”

She feels his fingers intertwine with hers.

“Five months,” is his calm reply. He squeezes her palm for added measure.

She closes her eyes. At least she’d make it to twenty-eight.

Barry lets go temporarily to circle the back of her hand with his thumb, clearing his throat.

“You know, a wise journalist once told me to stop beating myself up about my previous mistakes,” he initiates.

Her eyes flutter open. As much as Iris thinks she doesn’t want to listen to a pep-talk right now, no matter how well-intentioned she knows it is, her chest constricts at this small touch of lightheartedness, and she finds herself wanting him to continue. Of course Barry would know how to capture her attention in the most Barry-like way possible.

“She told me I couldn’t keep constantly going over the what-ifs and the why-nots,” he continues, recalling what she told him weeks ago in the Speed Lab.

“I would take that a step further, and apply it to the future.” It’s evident that he’s choosing his words thoughtfully. “If guilt isn’t going to change the past, then fear isn’t going to change the future.”

Iris turns to him reproachfully. “You aren’t afraid?”

His eyes shine faintly. “I’m terrified, Iris,” he admits. “And if I’m scared, I can only imagine what you’re going through. What I’m trying to say is that it’s okay to be afraid, but I don’t want you to surrender. I don’t want you to let this dictate your life. The future isn’t permanent, what I saw isn’t guaranteed to happen…”

“You seemed to think it was,” she counters. “Otherwise you wouldn’t have been haunted by it in your sleep. Otherwise you would have told me about it earlier. Even in the Time Vault just now, the way you were looking at me-I could tell you believed I’m really going to be killed.”

She studies his face. “So what changed?”

He’s still surveying her during his swift intake of breath.

“What changed,” his speech is throaty, but resolute, “is that I saw you in distress. I saw you in tears. I saw you hurting.

“And that…that tore me apart Iris.” He looks away briefly, quivering quietly, as though suppressing a sob, before facing her again.

“I can’t stand to see you like that. I won’t see you like that. I’ll be damned if you’re reduced to that, moving forward in fear, and tiptoeing your way through life. Nobody deserves that, especially not you.”

He grows louder and more steadfast with every sentence. He’s speaking rapidly and vehemently, as though his mind is moving a mile a minute, which Iris sometimes believes to be true, while his mouth struggles to keep up.

“I swear on my life, as both The Flash and as Barry Allen, that anything or anyone, any meta, any Speed God,” he practically spits the words, “that thinks they can do that to you, thinks they can hurt you, thinks they can scare you away from reaching your full potential, from living your life, from being yourself, that thinks they can rid this world of Iris West, will be proven wrong.

“I won’t let you die, Iris,” he declares, with a hint of finality that she detects is more for him than for her. “But if I let you give up, I will be letting you die.”

That hint she can tell is for her.  

She isn’t stunned after such a statement from Barry, but his fortitude and fierce defense of her is promising. She isn’t sure if she’ll survive five months from now, but she is sure that Barry would sooner give up his own life than let anything touch her or taint her sense of wellbeing. Of this she’s certain because she would readily do the same for him

She still can’t promise definitively that his words alleviate all her worries. It’s a foreign feeling, to be at this level of unease, even with Barry right next to her, uttering words of solace, holding her hand.

Iris isn’t used to it. Barry was her comfort, her safety, her light. If Savitar took that from her without actually killing her, what did she have left? She might as well already be dead.

Her eyes well at this realization, and though her vision is hazy, she can still make out the moment his features flood with sympathy.

“Iris…” he breathes.

“Can you hold me?” she sobs, echoing his request from last night. “Now that everything’s changed.”

She understands now what his grim words to her yesterday meant. Everything had changed. Henceforth, nothing would be the same. She would be conscious of every move she made, every word she spoke, every path she took, wondering if it would lead her away or closer to death. Perhaps there was some benefit in Barry keeping this from her, but her journalistic integrity calls for truth, no matter what the stakes, no matter the torment they might indue.

Barry reaches across her to turn the bedside lamp off. Consistent with her appeal, and with every night since his nightmares emerged again, his arms encircle her, only this time, there are no secrets between them, there is no pretending, only the two of them basking in each other and in whatever time they might have left together, starting with tonight.

She isn’t sure whether minutes or hours pass, is only cognizant that she doesn’t slip into slumber, despite glaring at the white of Barry’s T-shirt as he holds her close. She resolves herself to a restless night, hoping this is only a one-time occurrence and not something she should come to expect until she dies. She’d like to rest peacefully before she’s forced to rest permanently at Savitar’s hands.  

“Mhmm,” she chuckles lightly to herself at her dark humor, briefly glancing up from her focus on Barry’s shirt to his face. To her surprise, she discovers that he’s just as awake as she is.

His gaze is too intent while he searches her face. In the black of the room, his eyes shine distinctly, two fallen stars that landed in her bed. She’s trying to read him, but figures he’s attempting to do the same to her. Maybe he was confused by her unexpected snicker, or perhaps heartened by it.  

They appear to be competing in a staring contest until Barry’s lashes flutter.

“Ha,” Iris points out, her voice subdued after a period of silence. “You blinked.”

Barry doesn’t laugh or even crack a smile, instead leans forward, catching her tongue between his lips, sucking gently.

The quiet is deafening other than the wet sound of his mouth moving against hers. Iris opens her lips hungrily, welcomes the desire for him, welcomes the opportunity to prove Savitar wrong, to show that she could still revel in Barry and find amenity with him, in spite of what was coming or what wasn’t.

She supposes Barry might be contemplating what she is as he moves from her lips, to her neck, to her navel, until he’s finally baring her thighs.  

He spreads her wide and she closes her eyes at the move, grateful for darkness, but also desperate for enlightenment at his touch.

“Are you still afraid, Iris?” he murmurs from beneath her. She shivers at the feel of his warm breath, like tangible evidence of his compassion.

She shakes her head, her hands searching for him until they find the tousle of his hair.

“Not of Savitar.”

He hesitates, and she can discern that he’s not sure if he believes her. Her fingers curl against his head, assuring him.

“It’s true,” she insists, shifting slightly in anticipation of what was to come. “I’m not afraid of him anymore, but…”

He blows softly on her exposed center, and Iris shudders again.

“But?” he whispers.

She inhales, her breath shaky and tattered, and even though he’s the one bowing, she’s the one confessing.

“I’m afraid of not being with you.”

He rewards her honesty with his mouth, which consumes her flesh like luxury.

As she lifts her hips to meet his strokes, she figures if she gets to experience this type of bliss with him every night until her assumed death, let Savitar come for her. She’s already felt heaven and it’s under his tongue, although this confirms that hell would be anywhere without him.

He licks her soothingly while she floats, and as her euphoria gradually wanes, he doesn’t break contact without pressing a final kiss between her legs. He slowly eases back up her body to draw her nearer, until they’re practically lined, rib-to-rib.

 “Then you’ll never have to be afraid,” he swears. And finally, for the first time that night, his words fully console her.

Author’s note: Like I said, you were one of the first fanfic writers I came across for The Flash/WestAllen fandom, so it’s really rewarding for me to do this. I love your stories and I only hope you love this one too!

secondaryrealm  asked:

okay so 1) I've been going through your blog for like an hour and gotta say, you're pretty amazing! 2) I totally ship you with Warren, you seem like the type who could bring out his better side and tame the anger and hate. 3) if it's not too much to ask could we get some preferences on how/when everyone would tell their S/O they love them? Have a lovely day~~


Charles: You had been dating for nearly a year and on a normal day you were playing the piano for him in his office. You started playing “You are my Sunshine”. He couldn’t get the smile off his face so he sang along. That’s when he said it.

Erik: You met Erik one night in Mexico after the whole thing with Apocalypse. You knew who he was and thought it would be fun and dangerous to sleep with the guy who saved the world and almost destroyed it. Six months of dating and travelling together, he said it one night while after a fight. You didn’t stay mad long.

Raven: You two were lost in the middle of Austria? Hungary? Romania? One of those countries. You two had been holding tightly to each other and trying to locate a place to sleep for the night when it started raining. You both eventually managed to find a place for the night. Then the fight came. “How do you manage to get us into these situations?” you had yelled. Then, it came tumbling off her lips. You couldn’t help it. You kissed her.

Hank: Hank had been tiptoeing around you for a while now. Over a year of sneaky touches and subtle glances was killing you. You finally confronted him in his room and he just blurted it out. You were so shocked you couldn’t say anything but eventually you did. “I love you too.”

Jean: You two had been having a girls’ day at the mall and decided to stick closer together after a group of guys had been harassing you. You held onto Jean’s hand and you two walked around keeping to yourself. It wasn’t until one of the guys tried to get grabby did you get mad. Jean on the other hand waved her hand and the guys fell all over themselves. You looked at her and said with the biggest smile “I love you.” She stopped dead in her tracks before saying it back.

Scott: You and Scott had been together for four months. It had been hard for him to open up to you after he lost Alex but slowly, he did. When he said it, he did it so you didn’t expect it. You two were having a competition in the danger room to see who could kill more bots when he said it. “20!” “21!” “I love you!” “Wait, what?”

Storm: You two had been relaxing and reading comics for the day. Six months together and it was bliss. You two were laying on her bedroom floor when she looked over at you, kissed your cheek, and said “I love you.”

Kurt: You and Kurt had been out on a long walk when he said it, well, not so much a walk. One of your favorite games was for you both to jump off the roof, teleport to different places and go higher until you let yourselves nearly hit the ground. You called it Teleporter’s Chicken. You two had just done your fifth round and Kurt had landed you guys softly on the grass. You two laid next to each other laughing when he looked at you and said it. “I love you.”

Peter: He had just told Erik he was his son and had come running back to your room. You knew after only five months together how much this killed him. He had argued with Erik. He was recounting the whole thing when he turned to you “I never want to do this to our kids!” You stopped. “You want to have kids?” “Well of course I do! I love you!”

Warren: He had been strangely quiet, even for him, lately. It bothered you but you were afraid to push it. You two were laying on his bed, you were laying on his arm,He had been distant lately and you were worried he wanted to end things. Ten months of being together, you were getting paranoid. Finally, you turned to him. “Are you okay?” “Yeah, just been thinking.” “About what?” “Us.” “What about us?” “I love you.” And then he kissed you. 

Jubilee: You two were cuddling in your bed when she simply looked over and said “Can I just say one thing?” “Sure.” “I think I love you.”

Alex: You two were playing a game. You were witting across the room playing with markers. No talking, music blaring, writing on notepads with sharpees. This was a common game with you two. You both looked at each other with equally naughty looks and then held up your signs.

anonymous asked:

you always talk about books that i've never heard of but end up adoring when i read them. do you have a list of the most-loved books you'd recommend to someone?

alRIGHT i’ve been saving up for a while cuz i havent read a lot of books during this sem. but here’s the previous Book Rec i made and here’s some new ones:


  • Incarcerado Trilogy by John Hornor Jacobs – G OD I love this trilogy. Read the first and second book in a matter of hours. Devoured it. It covers some dark stuff (rape, abuse, dark morality and so on) but dang was it all worth it. It also includes queer themes in some instances (the main chara is possibly bi?) although more so in the 2nd book than the first. I’m willing to buy the third soon
  • The Fire Sermon by Francesca Haig
  • Pantomime (Micah Grey Series) by Laura Lam - ok so I haven’t finished this book cuz the sem got too busy and I had to return it to the lib before I got past chapter 3, B UT I SWEAR ITS GOOD. Curse the long library hold list that is keeping me away from this book #lgbqt themes that idk if i should spoil?
  • The Culling (The Torch Keeper Series) by Steven dos Santos – Same as Pantomime in that I couldn’t read it, but I’ve had such good recommendations for it, and the summary is something I’m a sucker for #lgbqt themes (the main chara is gay for some one im p sure)
  • Proxy Series by Alex London– It was a bit hard to get a grasp on this one but I think its p good. With a queer poc main chara that isn’t pushed to romance in every corner, it’s kind of hard to not like.
  • The Wolves of Mercy Falls Series by Maggie Stiefvater – I know I’ve been very open with my love of the Raven Cycle series, but The Wolves of Mercy Falls, starting with Shiver was where I fell in love with Stiefvater’s voice. Its got wolves and that was enough for middle school me back then. It’s a hit-and-miss series for people; they easily compare it to twilight and I’m not gonna rebuke that. It is. I see that now. The love angle sure reminds me of it, especially the way the characters put themselves in dangerous situations. So take this recommendation with a grain of salt.
  • The Chronicles of Faerie by O.R. Mellings – TBH I’ve only ever read the first book, The Hunter’s Moon and I loved it. But I never got in touch with the later parts of the series, so I’m iffy about it. Goodreads gives them good ratings tho.
  • The 39 Clues series (and every freakin sequel series they make after that I guess) by Various Artists/Scholastic Inc – One expensive series for me, because theres shit ton of books under this series now, and I wanted to buy every one of them for the cards and clues each book provided. But expenses aside, I’ve read (and painfully collected) the first series. Its written for a middle-school audience so some parts are predictable but I liked the foundation of the story: Siblings faced against their family members of the Cahills, the world’s most powerful family. It’s a good and fast read, got a good mix of history and mystery. And their website was the source of many hours spent during my middle school years.
  • The School of Good and Evil Series by Somani Chainani – So good. Listen, I judge a book by its cover, it’s the truth. And when I saw the cover, I scoffed at it. But when I actually read it? I would smack past-me for making fun of it. I have a good list of songs from both Wicked and the Phantom of the Opera that would work wonders for these characters in this series and I think that describes it well.
  • EDIT: The Leviathan Series by Scott Westerfield – HOW COULD I FORGET THIS BEAUTIFUL SERIES. Listen, if ur any steampunk fan then this is a must-read series. It follows 2 povs: a runaway prince and a girl in disguise. They’re brilliant brats the 2 of them and i love them dearly. Also the ship, the floating beasty in the skies. U gotta love that. 


  • Out of the Easy by Ruta Sepetys
  • Eleanor and Park by Rainbow Rowell – my bff was persistent about getting me into this book and I’m glad she did. It’s…poignant in some parts but god it’s good.
  • The Replacement by Brenna Yovanoff – I don’t remember much since I read it so long ago but I remember there was such great voice that brought me back to my love for fairy tales and such
  • Paper Valentine by Brenna Yovanoff – As I’m typing this up I never noticed they were the same author of the Replacement, but holy cow it would explain the voice dragged me in when I read the first pages of the book.
  • The Song of Achilles by Madeline Miller.
Gravity Falls

Is a show I regret not getting into til very late in its run, I’ve only been active in the fandom since late July, but what a few short months this has been, and will continue to be for who knows how long! I’m going to miss all the hype leading up to new episodes, the feeling of togetherness from everyone screaming their heads off in anticipation, all the theories of what will happen next, and I can’t wait to see what will happen leading up to the finale!

I don’t intend to just drop everything and leave once the final episode airs, but I worry that one day I’ll eventually slow down here, as I’m sure other people will too, but that won’t happen for a while! We still got Journal 3 coming out next year, that still gives us all time to think of new theories and scream even more!

And even if I do slow down one day, you can bet I’ll still have this show and its fandom in my heart, it’s brought me so much joy and inspiration in these last few months, and has helped me meet new people and make friends when before I had none, heck, I hope I still make new friends even after all this!

Alex and the GF crew have created a show so special and great that I know it will last for a very, VERY, long time, and continue to give people joy and inspiration for years to come. I’m going to love this show for the rest of my existence, loving all the fun silly moments, all the dark scary moments, the moments that have made me tear up and cry, everything about it and the fact I can watch it all again, maybe even get new people introduced to it after the fact!

This show has just inspired me so much, and has helped me decide on a career,  if and when the day comes and I get the chance to create my own work, I know this will be the first thing that comes to mind on what gave me the drive to do it in the first place. And I hope that I can make something even HALF as great as this show has been.

The future is scary. And I know i’m not the only one afraid of growing up/growing older/having to take on more responsibilities, but Gravity Falls has helped me realize that even though I can’t say for sure all of us will be fine, I feel like if we stay together through this and keep our heads up, we can do our best to make things better, we can push through cause this ride hasn’t ended yet.

To my friends- I hope we can stay close after the show ends, I love and appreciate all of you, you guys are the best!

To my mutuals-I hope we can become friends! I’d love to know you guys better.

To my followers-I love all of you too, and I appreciate you for sticking with me through silly rambles and whatever else, I hope you’ll continue to stick with me as well. And I’d love to talk to you guys!

And finally, to Alex Hirsch and the whole Gravity Falls crew,

I hope you all go on to do something that makes you happy, to even bigger and better things if that is the plan, know I’ll be following you no matter what!

And for creating this wonderful show,

Thank you.

anonymous asked:

What's your view on the yogdrama happening at the moment (mainly involving Sjin)? I think the Yogscast are being the worst they've ever been (and I've been a fan since early 2009, so I would know) and are ignoring an extremely serious matter, which is quite frankly disgusting. They can't insult their fanbase and then be surprised when the fans start to disappear. I'd love to hear your view on this! I hope you have a good day :) x

I agree they’re addressing this in a really disgusting way. When I heard what they were saying on that stream yesterday, it was absolutely abhorrent!! They say this is a ‘private matter’ but when the allegation involves your creator pursuing fans, of some which have been under 18, turning a blind eye and saying it’s none of their business shows a great lack of care to their fans. The fan-creator dynamic is one incredibly imbalanced and incredibly easily abused, as we have seen countless times already on YouTube. This stuff can, does, has, and will happen time and time again. I have heard many of the stories of the victims, and I have had girls message me privately, girls whom I really do trust, tell me the things that he has done. That include the very least asking underage girls for nudes. The AOC in the uk is 16 sure but photos of people under 18 is 1000000000% illegal to request, create, own. I reblogged a post the other day about how older guys talk to younger girls, they try and make the younger person feel bad about being young and in turn makes the younger person prove their maturity in a way, so the older person is eased. This is exactly what he does, you can see it in all the screenshots, he says 'I shouldn’t like you as much as I do’, 'you’re bad for making me want you’ (not direct quotes I’m on mobile so I can’t find them, just the vibe). He is manipulative and egotistical- I have it on good authority that when the initial accusations came out in 2012 on the whysjinwhy blog, Lewis and co 'had a word’ with him and he supposedly said he would stop. Yet the girl who I trust told me he was pursuing her well into 2014. He clearly thinks he can keep on getting away with this.

Anyway the yogscast statement also says that people should go to the police if something serious has happened. I have heard that people have been in contact with the police now but there are so many reasons why a victim would not want to go to the police. Some examples: the jurisdictions, they are young and scared of their parents response, they are not mentally able to endure a probing investigation, literally thousands. Plus- even if it is not technically illegal to flirt with a girl under 18 in the uk, which is probably the most easily provable incident he has done- it is still fucked up to do so especially from the fan creator dynamic! Are they endorsing this behaviour? Do they not care about protecting their fans, especially the young and easily manipulated? Is this a safe person to have a platform?

the bottom line is what they care about. Sjins channel makes money. It was the same if you remember the t*m m*lsom - al*x d*y incidents- tom was immediately excommunicated from the DFT*BA record store while it took days for them to eventually remove alex’s stuff even when they’re were many more allegations against him than Tom. Alex was the better selling artist 👀

Sorry if this is poorly constructed again it’s from my phone and I’m just really upset about the whole thing. This is a complete and utter disappointment.

Hawks Nest My Chemical Romance interview SEPT 20TH 2002
  • This was done on September 20, 2002 outside of the Hawk's Nest. It was a full moon.
  • Josh: This has nothing to do with anything, but what if vampires really do hurt me?
  • Gerard: Umm...
  • Mikey: Ut-oh.
  • Gerard: No, I promise you, they will never. Umm... Yeah. I don’t have an answer for that.
  • Frank: And you don’t get a refund on the CD.
  • Ray: Then you get to live for a really long time.
  • Gerard: Yeah, exactly. It’s kind of cool actually.
  • (silence)
  • Frank: I think he’s waiting for a better answer.
  • Gerard: Ok, let’s introduce ourselves.
  • Mikey: Ok, I’m Mikey and I play bass.
  • Gerard: I’m Gerard, I sing.
  • Frank: I’m Frank, I play guitar and scream.
  • Matt: I’m Matt, I play drums.
  • Ray: I’m Ray, I play guitar.
  • Josh: And what if vampires really do hurt me?
  • Gerard: Oh, come on. With the vampires again... You’re not getting your money back.
  • Ray: Call our entertainment lawyer.
  • Josh: Ok, this is a serious question now. You guys are from New Jersey, so, given that, what if vampires really do hurt me?
  • (everyone laughs)
  • Gerard: You know what we’re gonna do? We’re gonna tie you up, take you in our van to downtown Newark...
  • Matt: You might not meet your first vampire, but you’ll meet something else.
  • Gerard: That’s what happens if we get that question again.
  • (I whisper to Clair to get her to ask it)
  • Ray: Is he gonna ask it one more time?
  • Gerard: I can see you, dude.
  • Josh: I know.
  • Gerard: He’s asking her right in front of us.
  • (everyone has a good laugh)
  • Josh: Ok, this seriously has nothing to do with vampires anymore.
  • Frank: What if vampires really do hurt me? I hope they hurt you.
  • Josh: Werewolves... No, I’m kidding.
  • (everyone laughs)
  • Gerard: That’s so weird, we were talking about that today. We have a side project called Wolfen and we were going to play because we only play during full moons.
  • Mikey: Yeah, only during full moon cycles.
  • Josh: Is it full right now?
  • Ray: Yeah.
  • Gerard: That’s why we were going to play as Wolfen tonight.
  • (Mikey is drinking an entire bottle of Pepto Bismol and everyone makes reference to it)
  • (There are two breaks here- the tape recorder gets paused twice- and I remember why the second time but not the first)
  • Josh: When I first heard the name My Chemical Romance, I thought it was going to be techno. Do you get that a lot?
  • Mikey: We played Philadelphia once, and they called us the Chemical Brothers. And we didn’t even draw as the Chemical Brothers.
  • (everyone laughs)
  • Mikey: It was one of our first shows, and I’m sure people knew that the Chemical Brothers weren’t playing the Fire.
  • Gerard: We really just wanted a name that wouldn’t sound like any other. There are a lot of trends in names right now. We tried to stay away from that. We went through five or six different names, a couple of them are actually band names now with different bands.
  • Frank: One is a song title for Thursday.
  • Gerard: Yeah, a Thursday song title is very close to one of the original names we were going to use. But... Yeah, we get a lot of Brit-pop. People think that we’re Brit-pop. That’s kind of cool.
  • Josh: But you are Brit-pop.
  • Gerard: Yeah, basically.
  • Josh: I want to go back to New Jersey, but I’m not going to bring up vampires again.
  • Gerard: Ok, good. ‘Cause you know what happens to you if you bring that up again.
  • Frank: You’re gonna go to Jersey.
  • (everyone laughs)
  • Gerard: Yeah, the seedy side... Where we’re from.
  • Josh: It seems like there was a time when every band was coming out of New Jersey, and that may still be happening now but people stopped paying so much attention now. At one time, it seemed like everything was coming out of Jersey and now it’s kind of died down. Like it’s ok to be from Jersey again or something.
  • Gerard: Yeah, I think that what happened was Thursday and Saves the Day broke, and they’re Jersey bands. Then there was a shitload of Jersey bands coming out at the time, and the ones doing really well were opening a lot of doors.
  • Josh: And Midtown.
  • Gerard: And Midtown. So I think people took their attention away from the emerging New Jersey bands for a while, and concentrated more on the bands that were doing well. And I think that since those bands have kind of been doing well for a while now, they’re kind of focusing back on Jersey again and what’s coming from New Jersey next. So I definitely see excitement building on Jersey again.
  • Frank: There are a lot of good bands in New Jersey.
  • Gerard: There are a lot of good bands coming out.
  • Josh: Like the Break.
  • Gerard: the Break.
  • Frank: the Break. December.
  • Gerard: Prevent Falls. the Banner. the June Spirit. Sense Failed- they just got signed to Drive Thru, we’re really happy for them. I’m sure there are more, we’ll think of them later on.
  • Frank: E-Town Concrete.
  • Josh: I heard about this singer/song writer from Jersey called Bruce Springsteen.
  • Frank: He sucks.
  • Gerard: I heard a demo and I think if maybe they put in some studio money, he’d be better.
  • Josh: So now, aside from being from Jersey, you’re on Eyeball Records. Which is the “birthplace of Thursday”. And then Geoff actually produced your CD too. Are you concerned that being from Jersey and on Eyeball, then on top of it to have Geoff in there, that people will just pass you off as like, “Oh, this band is like Thursday”? I honestly don’t think you sound like Thursday at all.
  • Gerard: That’s the thing. I think he wanted to be involved because it didn’t sound like them. The cool thing about Eyeball is they don’t sign bands that sound like Thursday. We work pretty close at their office, we’ll do our mail order sometimes, and we just try to help them. There are only two guys- Mark and Alex- who run it. They do a ton of fucking work. They get a ton of demos all the time. Everyone of them sounds exactly like Thursday. And they sign none of them.
  • Frank: Yeah, if you sound like Thursday, don’t send your demo to us.
  • Gerard: Because he won’t sign you. There are a lot of bands I’m not going to mention that got signed, but they’re not signed by Eyeball.
  • Frank: Yeah, since we don’t really sound like Thursday, we haven’t really gotten any of that backlash.
  • Gerard: I think we only get compared to them very rarely and when people do it without actually listening to our record.
  • (a little pause)
  • Gerard: You got this smile on your face like you’re going to ask about vampires again.
  • (Mikey continues to drink Pepto)
  • Josh: I was going to go into vampires next, but now you blew it...
  • Gerard: You know what’s gonna happen so you gotta think of something else. We don’t have much room in that van, but it doesn’t matter, we’ll shove you in.
  • Josh: Do you guys wanna be goth?
  • Gerard: Umm... No, no we don’t.
  • Ray: We just wanna be dark.
  • Gerard: I know it’s gonna happen, but we haven’t gotten any goth comparisons yet. But we’re basically like the Misfits...
  • Frank: We have been called fags though.
  • Gerard: Yes.
  • Mikey: Speak for yourself, g.
  • Frank: Just because you don’t hear it doesn’t mean it doesn’t happen.
  • Gerard: And I’m a big fan of the Damned, so I guess I’m as goth as the Damned. The Damned is not a goth band, they’re a punk rock band. They just like dark shit. We like bats, they like dracula. Some people might be assuming that we might be, but we’re obviously not. We tried to play a goth club once though, just for fun, and because we have that whole vampire thing.
  • Josh: Were there vampires there?
  • Frank: Yeah.
  • Gerard: There’s this place in Newark that’s full of vampires. Jersey is full of vampires. They get together and play those roleplaying games, and then they think they’re really vampires so they sit around and drink each others’ blood.
  • Frank: I saw that shit on Ricki Lake, dude.
  • Josh: Do they come to your shows?
  • Gerard: Umm, no.
  • Frank: A couple. A couple goth kids started coming to our shows.
  • (an im received noise is heard)
  • Josh: That was an im!
  • (everyone laughs)
  • Gerard: Someone is fucking popular up there. But we don’t really get any goth crowds at our shows. We get a few here and there, but they probably get turned off by the sound.
  • Josh: There has actually been a lot of talk surrounding you lately, and hopefully around this time next year you’re going to be a lot bigger.
  • Gerard: But we’re staying indie. Just for the record, there’s been a lot of talk around our label and about us, but we’re staying on Eyeball and we’re staying indie. I just wanted to say that.
  • Josh: I think people are going to start buying your music and know it.
  • Frank: If they can get a fucking copy.
  • Josh: Now, you guys are probably going to be big soon- going back to that- and I've been working on some music of my own and I was wondering if I could sample some on you accapella.
  • Gerard: Ok.
  • Josh: (singing) It's getting hot in here, so take off all your clothes.
  • (everyone kind of looks around, not sure what to say)
  • Mikey: Do some Jay Z.
  • Josh: Well, will Eyeball sign me?
  • Frank: No, you sound too much like Thursday.
OTRA - Vienna, 10.06.15

I didn’t have a chance to check Tumblr since the day of the concert, so I may be repeating some things said numerous times already, or get something wrong, I was in the first row next to the part of the catwalk, where boys sit during DFWYB, so it’s perfect to see them up close (some videos are being uploaded on YouTube right now), but really easy to miss out on what is happening when they are on the main stage, or, especially, the end of the catwalk, so feel free to correct me :)

Keep reading

anonymous asked:

Hello I'm relatively new to the merlin/methur/brolin fandoms and I've seen your post where you say that you're pretty sure Bradley and Colin were together at some point in time. I was just wondering if there's actually solid evidence out there that they dated, because a lot of people in the fandom seem certain that they did. Since I'm so late to the party I'd like to know what evidence, if any, exists. Thanks!

First of all, welcome to the fandom! There isn’t solid proof out there that Colin and Bradley dated, but there is enough evidence for people to suspect or even assume. Here’s what I got.

Eoin Macken (Gwaine) referred to Bradley and Colin’s relationship a couple times in interviews. I’m too tired to search for the links now, but in one interview he said, “It’s a gay relationship between Colin and Bradley, Merlin and Arthur. You have to ask Colin and Bradley about that. What Merlin and Arthur do in their spare time is fine by me.” (That’s as close to the actual quote as I can remember.) And in another interview Eoin shared with Colin, Eoin said, “Homoerotic subtext…you and Bradley kind of do that, don’t you, Colin?” To which Colin replied, “Cheers, Eoin.”

Katie McGrath (Morgana) totally ships Merthur. While the finale was being filmed, she suggested to the director that it ended with Merlin and Arthur kissing. While this isn’t a direct reference to Colin and Bradley specifically, I thought I’d mention it anyway. Alex Vlahos (Mordred) referred to Merlin and Arthur as a love story. There’s a post floating around somewhere of the number of times Merlin and Arthur were referred to as a love story (I think 4 or 5).

My main point here is, there was a lot of homoeroticism in Merlin, and while some of it was intentional (“Do you know how to walk on your knees?” etc. etc. etc.) there were some moments between Colin and Bradley that were literally just them openly staring at each other. And in the beginning of series 5, there was a moment where Colin and Bradley are lying on the forest floor after having been released from the net, and Colin’s leg is between Bradley’s legs, positioned right above his crotch. And get this: he pushed his leg down. Properly rubs his leg against Bradley’s crotch.

People can argue that yes, the show writers intended Merlin and Arthur to be gay for each other, but I highly doubt the script actually had stage directions like Long pause. Merlin and Arthur stare at each other, looking as if they want to rip each other’s clothes off. Leon looks on, amused.

Humour aside, there’s also the body language Colin and Bradley exhibit when they’re together. I’m not just referring to them acting. I’m talking about interviews, behind the scenes material, the way they interacted in the documentary The Real Merlin and Arthur. Back when Merlin was still airing, there was someone who analysed and interpreted Bradley and Colin’s body language, and they came to the conclusion that they were hiding a secret, and were in a very close relationship. Studies have shown that men aren’t usually very affectionate, physically, but Bradley and Colin touch each other all the time. I’m sure brolinskeep or other Brolin blogs out there have gifs and stuff to support this. In fact, I think brolinskeep has a masterpost proving that Brolin is real (or at least someone does, I’ve forgotten which blog), and it’s very convincing, albeit speculative.

I’ve ranted long enough, and I probably sound like a hopeless fangirl, but I do want to end on a very important note. Though I believe Bradley and Colin dated at one point, I keep this belief in fandom, and strictly in fandom, where there are other people to freak out about it and discuss theories with me. Also, I would never assume the sexuality of anyone, famous or not, so whether they’re straight, or gay, or bi, or whatever else, I think is for them to decide and for them to choose to say, if they ever disclose this info in the first place. I would never harass any of the Merlin stars in real life, interrogating them about the nature of Bradley and Colin’s relationship like some awful people have on Twitter (not naming names). And even if they were together, they never confirmed it explicitly, so none of us have a right to force them to, or make them feel uncomfortable in any way.

I hope Bradley and Colin are happy, and even if they’re not together, I hope they’re still in touch.