gold ropes

Patti Smith, 1976, by Lynn Goldsmith. 

“I don’t consider writing a quiet, closet act: I consider it a real physical act. When I’m home writing on a typewriter, I go crazy. I move like a monkey. I’ve wet myself. I’ve come in my pants writing….Instead of shooting smack, I masturbate – fourteen times in a row…I start seeing Aztec mountains…I see weird things. I see temples, underground temples, with the doors opening, sliding door after sliding door, Pharaoh revealed – this bound-up Pharaoh with ropes of gold. That’s how I write a lot of my poetry.”

~ Patti Smith in 1971, from Patti Smith: An Unauthorized Biography, by Victor Bockris and Roberta Bayley 

Natasha is Young: Costuming Denée Benton in “The Great Comet”

I had a special request in the Ask box for another entry in my The Great Comet series, and I am happy to oblige. This time, I’m turning my attention to something I’m typically more comfortable reviewing, namely women’s costuming. Having covered the male lead last time, I want to take a look at the costumes of Denée Benton this time, because they really show off Paloma Young’s skills as a costumer. I’ve picked a couple of Natasha’s (Ms Benton) outfits from The Great Comet to focus on, but I really do think you should check out all the costumes from this production; it’s definitely one of the most sumptuous musicals currently running on Broadway.

I’ve talked a lot about theming in costuming, and this is a good place to reiterate those points. Costume designers use color to make a statement, and this production is no exception. Costuming the character of Natasha in white for virtually the whole of the musical imbues the character with a kind of purity that none of the other characters possess to the same degree (with the possible exception of Sonya…but then again, “Sonya is good”). I think that’s important in the context of the musical, but there’s another reason that I think the white coloring of Natasha’s costumes is so important, and it goes to the heart of what makes The Great Comet such a unique theatrical experience: the staging and lighting.

Anyone who has seen the staging for The Great Comet knows that it is an interactive performance, one where the audience is very much brought into the heart of the action. As a result, the lighting design is more complicated than in your average production. That means your costumes need to be able to catch the light, and it makes the detail work you put into a costume all the more important. After all, members of the audience will be seeing the actress and character from every angle, as opposed to just a handful. Let’s take a look first at The Coat that is featured prominently in many of the promotional images and in the musical itself:

I want to start off by saying how in love I am with this coat. It’s regal and rich, and it hangs beautifully on Ms Benton (I haven’t had the chance to view anything from the understudies, so I’m focusing on the actress who originated the role). This is a posed shot, but it gives us a view of just how gorgeous this piece is. As I mentioned in my 9 to 5 review, outerwear is not something that is commonly featured on Broadway, and so costumers tend to take their cues more from history or current trends rather than other productions. But Paloma Young has come up with something beautiful and original here.

It’s floor-length, which has the effect of adding to Ms Benton’s height (something costumes can do, as I have noted in other reviews) and giving her more of a stage presence. The white is almost creamy in color in every photo I have seen, which is a good choice, I believe; pure, stark white can look artificial to the eye when it is overused, and a formal coat like this in the era (remember we are dealing with the 1810s) would almost certainly not have been in pure white. But this comes close, and onstage, it has the effect of being almost blindingly brilliant–which has to be intentional. Take a look at this shot where Ms Benton is lit from behind; the coat almost seems to glow as it catches the light, but you can still see the creaminess of the color where there is shadow:

Just take a moment to drink that in. Part of it is the effect of the spotlight, but it is not easy to get this kind of effect in a stage production, and Ms Young deserves a huge amount of credit for her fabric choice and the cuts of the cloth here. There’s an angelic feel here that gives me all the good feelings, and it really forces you to pay attention.

Onto the details of the coat itself! As can be seen in the first still, the coat is relatively simple in design, but that adds to its elegance in my book. Floor-length, it closes through the addition of four silver buttons on the bust and chest, which manage to stand out without being distracting. Ms Young has added a false belt around the high waist, using gold embroidery to add a splash of color to the cream of the coat itself. The embroidery takes the form of gold roping, which I think ties it nicely to Pierre’s waistcoat, which was the subject of my first Great Comet review. It flows nicely while still being a tiny bit abstract, and I think helps to make the coat more impressive.

The collar and cuffs of the coat match (which is important, I think, when one wants a classical look) through the addition of white fur. That’s a nice hat-tip to Russian styling of the Romanov era (1613-1918), which often emphasizes fur elements both for functionality and for design. Earlier on, functionality would have been more important–a Russian winter is brutally cold and fur is naturally warming–before eventually giving way to being a design element; given the setting of The Great Comet, I think it’s fair to say we’re more into the design era. 

What I like about the addition of the fur is that it adds another texture to the coat itself; while not apparent in the stills here, under magnification the coat is a rough, almost leathery fabric that would help to keep the wearer warm while still looking elegant and graceful to an outside observer, as it does to the audience in this production, whether in the orchestra or onstage in the special seating. Texture is important, I think, even when it isn’t directly observed, because the eye is capable of picking up tiny, minute details even without us being conscious of it. It’s apparent that this isn’t a completely smooth fabric, but the addition of the fur adds a softness to the coat that it might otherwise lack.

The other amazing costume that is worn by Ms Denton in her role as Natasha is the White Dress. I think when most people hear that there is a ball scene in this musical, they conjure up images of voluminous dresses with yards of silks and chiffons, but I think that’s because most of us have been spoiled by Victorian or 18th century costume dramas rather than those set in the era of The Great Comet. Regency-era attire, both in the West and in Russia, was a little bit more simple. Crinolines (the wooden or wire skeleton of a ball gown) had yet to come into fashion in Russia as they had (to some extent) in France, and instead, a lot of emphasis was given to relatively straight cuts of fabric. The idea was that a woman’s figure could be hinted at, but not excessively revealed, leaving a slight air of mystery that would change over time.

Taking a look at the White Dress, the 1810s fashion leaps right out:

The dress is a patterned white fabric, where the pattern is a series of circular elements that are a part of the dress rather than being adornments added later on. There is a very high waist, which is a classic hallmark of this era of fashion in both the West and in Russia, and the bust and chest are richly adorned with detail work I’ll take a look at in a moment. 

But look at the overall effect of the dress first. The fabric flows down to floor-length, is capable of floating when Ms Benton is in motion (as this shot shows), and has a regal look without being too imposing or intimidating. Compare that to, say, some of the dresses that Helene wears in the production, and the effect is even more important. Natasha is evolving slowly throughout this musical, and the dress is a point of transition. She’s allowing herself to be absolutely gorgeous in the context of a grand ball, and the dress is made to show off her ability to revel in the moment.

The overall effect is only enhanced by taking a closer look at some of the detail from the top portion of the dress. Here, we see Natasha being aided in getting ready by the aforementioned Helene (who may very well be the subject of her own review in this series), offering us not only a view of the detail but a chance for a little bit of compare-and-contrast:

First off, wow. I know I have a tendency to gush over design elements that I find attractive, but I can absolutely see why the Anon who asked about reviewing this dress cited it as their favorite-ever piece of costuming. The white, patterned fabric gives way to a saltire (an x-shaped) of fringed beadwork that sticks out from the dress and really gives it an effect that pops. It would have been easy to go over the top here, but in my opinion, Ms Young struck the perfect balance of small, delicate beadwork attached to the dress, and the pattern she chose for it adds a bit of a whimsical look to the dress that I don’t think we would see with a more flat or one-dimensional strand of beads.

But the beadwork, while impressive, is not my favorite feature of this dress–it’s the lacework! Take a look more closely at Ms Denton’s chest and shoulders. There is some really beautiful, delicate, elaborate lacework that has been added to take the dress from amazing to spectacular. Lace is very difficult to work with, and even more difficult to incorporate into a costume because it is by nature delicate. One wrong move, and it will just absolutely shred. Using it in this dress was a little risky, given the intense movement that goes on throughout this production, but in my considered opinion, it’s a risk that absolutely paid off. The addition of the lace really takes this dress to another level, and even without the other costumes in this production, Ms Young’s nomination for a Tony was well-deserved (and, again, there is a very good case for a win there).

I’ve had a chance now to look at a few of Paloma Young’s designs, and I am absolutely in love with them. Being able to look in depth at a few of her designs both in The Great Comet and Bandstand, I am a real admirer of how she uses fabrics and cuts to tell a story. The story I see here, in both the coat and the White Dress, is one of evolution. This young, innocent character is finally starting to come into her own as a result of the events in the musical, and her costuming reflects that. There is an innocence and purity to the dress, yes, but there are also design elements that hint to the audience that change is coming for Natasha. The country girl has gone city, and with that she’s starting to become someone else–someone, perhaps, she was always meant to be. That’s not an easy effect to have through costuming, and it’s one that I think deserves to be appreciated and admired.

Once again, thank you to Paloma Young for these visually stunning and meaningful costumes!


That wraps up today’s review of Natasha’s costumes in The Great Comet. Given the reception the last piece got, I’ll mix a couple more reviews of Paloma Young’s designs into my rota for the blog, with Helene and Anatole both high on my list as deserving some analysis.

As always, dear readers, if you have thoughts, comments, or feedback, please do not hesitate to drop me an Ask or send me a message on here or my main blog. Stay tuned for more from the beautiful world of Broadway costumes!

a sight for sore eyes (un veux pour les yeux douloureux)

Originally posted by lj-todd


prompt: So um i have this Stanfou idea where stanley is nervous the first time he wears a dress in front of lefou because the last person he ‘loved’ was gaston who was a ‘manly man’ so one day he’s in his house standing in a dress kinda just twirling in front of a mirror or something and lefou has just gotten in the habit of just walking in so he does and Stanley like freaks out and LeFou is confused and he just wraps his arms around him and is like you look amazing love and you know fluff i guess.

yeyeyeyeye this was really fun to write, i even did a little doodle of the dress ;)

warnings: nothing for once

hella gay on the way

sophie xx


When Madame Garderobe saw Stanley at the first celebratory ball which Adam and Belle hosted, she didn’t recognise him due to the lack of the dress, yet decided to still make conversation with the well dressed gentleman whom had danced with the man that Mrs Potts had taken a liking to.

Eventually, when she did recognise him, she dragged him off to her working room, where she had sewn many of the dresses and suits that the staff were wearing at the time, including Belle’s gorgeous white gown, then begged him to take his measurements, which didn’t take very much convincing.

For the next few weeks, he would head up to the castle on a saturday morning to meet with Madame Garderobe, both of them comparing colour palettes and which one’s would be suited more to each other, eventually creating small portfolio’s of vibrance to match and compliment.

Stanley’s profile was mainly a mix of what Madame Garderobe were called sunset colours, from the most rich of reds, to the subtlest lilacs, with small tinges of orange and blush, pink and lemon, each of them as captivating as the next, all layered out on a sliver of wood,  small ribbons secured with pins, trying to outdo each other.

When she offered to make him a dress, he almost didn’t believe it. He still had the one which she created from the battle (which he found very flattering to his body shape) and of course he didn’t expect her to do it for free, offering her money in exchange for her craftsmanship, yet she simply laughed, waving him off.

“Mon ami, I do this for you, not for the money.”

The next saturday that he came, she ushered him into the now familiar and comforting room which he had grown used to after so many days in it.

Inside looked far more hectic than usual, with scraps of material littering the floor and pins laying haywire, whilst not the safest option, it was simply the way that the artist worked on her pieces.

In the centre of the messy room, was a mannequin, and laid upon it was a gorgeous gown, like Stanley had never seen.

The top section of the dress was mainly white down the centre, with slivers of red framing it at the side, the white however had small golden patterns weaving through it, leaves and flowers blooming on the material, each stitch meticulously done and redone for the best outcome. The trimming of the white was more gold, a silky rope which seemed to fall elegantly yet which Stanley knew was perfectly placed to achieve the best outcome.

The rope kept falling, past the waistline which was marked with a golden bow, and down the skirt which fanned out, the red becoming more than a sliver, and taking up two thirds of it, both on the side of the continuing white.

The simple leaves and swirls had thickened into vines, with what seemed to be, was that leaf gold? Stanley could barely contain his excitement as he slowly walked forwards, and delicately held the soft fabric of the dress between his forefinger and thumb, simply in awe of the craftsmanship it must have taken to achieve such a beautiful result. It seemed to be far too luxurious for him yet, it was there, in such stunning creativity that it simply blew him away.

———————–

Every time that Stanley was home alone, he would now bring out the dress from its box, it was too beautiful to keep hidden, and put it on, carefully working the laces and bows, worried that he might damage it in one way or another, yet every time, he managed.

Parading around the house for an imaginary audience, he would twirl and twist, shifting the fabric from one way or another, flouncing and flaunting as if someone were watching him, ready to ask him to an imaginary dance to an imaginary song. Practicing steps and movements as if he had some sort of a partner with him, a specific partner that he did have in mind, but for the time being, an imaginary dance would have to do.

He let the light shining through his window hit the gold flakes and reflect onto the walls, making his small home seem like a grand ballroom. His hair wasn’t done up in his usual style, but scraped back by a small piece of cloth which held it together, except for a few stray hairs which fell to the side of his face, and tickled him as he gave another twirl.

He caught sight of himself in a mirror, seeing the way that the dress rested on his hips and slid along his waist, and he let himself laugh.

Laugh at the ridicule which he might face, laughed at the idea of a man in a dress, laughed at the idea that he was enjoying himself, and laughed at the imaginary dance which he just had with a partner whom knew nothing about what he did when the doors were shut, yet he didn’t seem to care, letting a melodious laugh carry from one end of his small house to the other, from the bedroom, to the bathroom, to the ballroom which he had created for himself.

LeFou heard that very same laugh just as he was about to enter the house, a laugh of pure joy which made his heart hammer in his chest. Damnit, why did one person leave such an effect on him?

He quietly pushed open the door, unsure of what to expect, yet when he finally slipped through, he was greeted by what some people would call ‘un veux pour les yeux douloureux.’

Stanley was stood in the middle of the room, wearing a dress.

Yet it didn’t seem to be any dress, this was a dress of pure luxury, with trimmings, and bows, and gold and velvet, with silk and chiffon, and so much more. The sheer complexity of it was beyond him, and the fact that it fitted him perfectly, accenting the way his body curved and his gorgeous figure, taking LeFou’s breath away.

Simply, Stanley was beautiful.

Sensing a pair of eyes on his back, Stanley turned to be greeted by the sight of Lefou frozen in his place, mouth agape and staring at the cloth which had been draped on him. He had a baguette in his hand and some pate in the other, scanning Stanley’s body whilst blushing profusely.

Stanley began to stutter, his hands starting to fidget with the small stray hairs which had come undone from the material, his cheeks going bright red and almost matching the satin which hung off his hips.

“I- you see, LeFou, its not what it looks like,” he choked out, making a small step forwards.

“I mean, maybe it is what it looks like I can’t really tell but i don’t think it is, is it? Perhaps if-”

“I think it looks beautiful,” LeFou said, cutting Stanley’s ramblings short and walking to meet him at the centre of the room.

“I, what?”

LeFou smiled, his eyes meeting Stanley’s, which were filled with confusion and tinged slightly with fear.

“Its beautiful, you’re beautiful,” he whispered, holding Stanley’s hands tenderly.

Stanley frowned in confusion.

“But I thought you were into more, you know,” he raised his arms to flex, puffed out his chest and had a look on his face which was somewhat mocking of the one Gaston used to pull when looking at Belle.

LeFou simply laughed in response and shook his head, a grin engulfing him ear to ear.

“Mon amour, I’m into you.”

Kookie Crumbs (M)

Jungkook pulled at the gold silken ropes suspended from the ceiling.  His arms pulled tight, a delicious fire burning through his shoulders.  Beads of sweat trailed a cooling path over his flushed bronze skin.  His chest rose with each breath, only his moans and grunts leaving his muffled mouth.  

Keep reading

The Day and Night AU reference compilation

To be updated as I find fabrics and with my outfit breakdowns, etc. 

Debut: Otakon 2017 or Winter 2017 (tentative)

So I fell in love with @beanpots Viktuuri Au where they’re Day and Night and I asked if I could take their art and make it. I just checked and saw that a few days ago? they gave me permission (and posted outfit designs for Otabek, Yuri, and Pichit!) I’m really excited for this, like it’s ridiculous how excited I am. But this will be my run of references, notes and thoughts as I start planning the outfit. So feel free to skip, I’ll be posting WIPs as soon as I start making the outfits.


VIKTOR:

Gold/bronze braid -  appears military grade. study dad’s old uniform, see where it can be purchased, find design and braid self? Think more on this.

Cape - learn how to ombre dye fabric, pale blue to royal blue/pale yellow to orange. Soft fabric, fleece or fur?

Crown - seven (7) points, same gold/bronze as braiding/metal detailing. further detailing to be decided

Man dress - either find a matrix pattern or cut at knee length and pair with boots and pants? lined in white. turned up cuffs? Cuff edged in gold braid, white lining visible. Buttons for ease. 

Detailing -  cape chain is darker metal, standing collar. Peacoat type closure? Shoulder boards need some thought. Is a nod to the British royal family military uniforms. Braid does NOT go behind shoulder


YUURI:

Cape - lined in pale gray. high collar, should be freestanding. Slight ombre from top to bottom. Hand paint stars, constellations and galaxies?

Bottom - empire/high waisted, tied with cord. Navy/midnight colored fabric under mesh with stars. Hand paint stars for ombre, add crystals for extra glam. Decorative tie in back?

Top - Leotard base, covers back of hand, middle finger loops to keep this length in place. Wide neck overlayer. Long kimono sleeves.

Crown - constellations or random stars. wire and light string (more thought needed)

Detailing - choker out of velvet with interchangeable moon focal pieces (references somewhere on hard drive)

YURI(O):

Cape - ombre, mix of Viktor’s colors to Yuuri’s lighter blue. Attached at shoulderboards (more thought needed for this). Lined int pale pink to orange ombre. 

Dress - Simple floor length design, bishop sleeves with simple cuff (buttoned on side for ease). fitted through torso. simple round neck or collared v neck? Where skirt starts at waist slight ombre from orange color of inner cape to pale pink. Midweight cotton?

Vest/waist coat - Same color as the bottom of his outer cape, simple closure along front. v neck. cape part of vest? collar attached for structural support?

Detailing - shoulder boards are done in the same color as Viktor’s metal detailing. Pin appears polished and brighter, gold braided rope. through shoulder board fixment. Navy/midnight blue of  Yuuri’s top as sash.


** Keep undergarments light as possible to avoid overheating with the layers.

** Capes should be midweight

** Look into fabric detailing and keep it natural, vines/leaves for Viktor and Yuri. Dark on dark detailing on Yuuri but still natural motifs. 

Dressing (Drabble)

“Right over left, right?”

“No, left over right. The other way is for the dead.”

You grumbled and redid the juban you were wearing. Hanzo had to adjust the back again so the seam lined up with the middle of your bared neck, hair twisted into an elaborate fashion. The jade beads from the kanzashi sticking out of your hair swung minutely as you reached for the next layer.

Hanzo beat you to the punch and gathered the folded nagajuban carefully into his hands and unraveled it. He draped the stark white fabric over your shoulders, adjusting the fabric until the middle was lined up just right. He held out both sleeves in a silent bid for you to put your arms through them. You do so with minimal trouble.

“What’s this one for?” You wrapped the front together (right side first, then left side over it) and hold it there.

“Protecting the kimono from your body’s oils,” he said as he wrapped a string–more of a thin sash– around your middle. You bristle a bit. You weren’t dirty–you took a proper bath, washed your hair, face, and washed your hand again for good measure. “The kimono is thick. You will sweat,” he added as he felt you tense underneath his hands. A thick cloth wrapped around your middle, hiding the string.

“So? We can just wash it right?”

The archer made a sound that sound like a mix between an exaggerated sigh and an indignant grunt. “Kimono are silk. They stain easily, and are not…simple to clean.”

He pulled the collar of your nagajuban back gently but firmly into a standing position, continued until the was enough space to expose the nature of your neck and the edge of the juban underneath. There seemed to be more he wanted to say, but either because he couldn’t find the words for his thoughts or he’s too busy trying to dress you, he just fell silent. You let it be, and just let your eyes wander as Hanzo worked.

The room was small, a dresser with ornaments and cloths of all shapes on your left. It took a long time to determine which would be suitable for you. Genji was here up until moment you had to put on the juban. Prior to that, he was arguing about color and pattern coordination with his brother. Attempts to interject were shot down with the reasoning that they knew what they were talking about.

“Mint green leaves with red and orange carnations?”

“It’s contemporary, brother! Pink with ivory–are you marrying her off?”

It was hectic, you thought with a fond smile.

The feeling of even heavier fabric upon your back snapped you out of your thoughts. You turned and spied beautiful light pink with patches of ivory and small motifs of green leaves toward the edges of the entire thing. If you looked closer, you could spy specks of gold embroidery hidden in the lively, but modest foliage. Again, Hanzo carefully aligns the middle with the center of your entire being. The man held out the sleeves, and again you slipped your arms through it, albeit with a little trouble as the nagajuban’s sleeves got caught. Hanzo seemed to have already anticipated this, already helping you get your sleeves to behave in the kimono’s even bigger sleeves. You note with a bit of curiosity that the kimono seemed too long for you–the excess was pooling around the swath of cloth you stood atop of.

Hanzo slipped around to your front, a bundle of silk in his teeth. He knelt before you and pinched the edges of the two halves of the kimono. Before you could even ask why he was doing, he pulled the fabric toward him and with ease, folds the excess fabric in on itself so that the end of the kimono no longer touched the floor, but just barely covered your ankles. He brought the folded halves one over the other, left over right, and held it there with one massive hand. Your pulse quickened as he took the ribbon of silk from his mouth and wrapped it around you, once, twice, before tying it into a tight knot around the front. 

It was rare to see his look of concentration this close. Usually, you’d see if when he was about to fire an arrow or doing maintenance on his equipment. He’d exude an aura that kept everyone away just so he could complete his task. But to be so close to such intensity, it would’ve been hard to deny that you were even a little enamored by the look. 

He stood and made his way behind you again, pulling the collar of the nagajuban and kimono, making minor adjustments until the white of the nagajuban was shyly peeking out of the pink, ivory, and green of your kimono from all sides of your collar.

There was another rustle of cloth before he draped part of a folded fabric, this time much thicker than the kimono, over your left shoulder from your back.

“Hold this.” 

You complied almost automatically, admiring the red and gold threads that wove itself into cranes and flowers that adorned it. He wrapped this around your waist several times, before pulling away the fabric you held. You huffed when the fabric around your waist–“Hey, what’s this called?” “Obi.”–the obi tightened several times in succession, and something was formed at your back. Before you knew it, more silken rope had made its way around you, except this was much thicker and nicer than the two underneath your layers.

Something was shoved around you and into the obi, barely showing it colors.

With these layers wound so tightly around you, it was difficult to breath, and with an experimental shift of your legs–“Stop moving,”–only granted you half a steps’ breadth.

A few more well placed tugs and knots, another binding of silken rope, and when Hanzo stood in front of you to look you up and down with a curt nod, you knew his work was done.

“This is the minimum you should be wearing,” he said as he gave you another once over. The downward curve at the edge of his lips showed that he was not fully satisfied with his work, but due to the limited resources on hand, it would have to do.

You ignored this and slowly made your way to the full length mirror with timid steps. The outfit was incredibly difficult to move in, you didn’t know how those shows that portrayed assassins in this get-up managed to do anything. The layers were nothing by themselves, but all together, wrapped so tightly and bundled with so much string, it was neigh impossible to bend or even take a breath.

Not that you could, after seeing yourself in the mirror. You weren’t even sure if the person in the reflection was even you. Gentle green leaves were woven into your ivory sleeves, small pink flowers peeked out from underneath them and scattered themselves all across the edges of your collar and bottom of your kimono. The kanzashi in your hair matched it–green beads draped from it like a waterfall, the flowers were the ones on the kimono come to life. 

Most striking was the obi–a fierce red and white crane adorned the folded back, half hidden in the equally intense chrysanthemum flowers that bloomed all around.  The finish was a rope of gold and white that held it all together. You couldn’t suppress the grin that threatened to split your face. 

You were…beautiful

Hanzo watched you observe yourself in the mirror some more, turning this way and that to capture every single detail. He curled a hand over his mouth to hide his smile. 

Trust

@samwinchester-rp

Gabriel had been back from the dead for close to a year now. The how’s & the why’s of it unclear, but the little Archangel was never one to turn down a gift resurrection. He managed to lure the Winchester Boys to some small podunk town & the look of utter shock on their faces was worth the punch he received.

After that, he started popping up every now & again. Sometimes helping with a bit of information or a snack break. He pulled their asses out of a couple of tight situations, but they still refused to let him have an FBI badge of his own (despite the fact that he could create an authentic one at the snap of his fingers).

After being back for seven months he was now an ‘unofficial’ member of Team Free Will. More often then not he slept at the Bunker, his room was surprisingly spartan, but a large bed took up a good portion of the floor, & it was full of pillows & blankets.

He had been flirting with Sam ever since Sam punched him in the face upon his return. In fact, he’d probably been making a smart-assed comment about how Sammy had aged like a fine wine when Sam’s fist connected with his face. Adding insult to injury, Gabriel had laughed at Sam’s reaction. But ever since, he had taken that as permission to flirt. And flirt he did.

Sam had blushed & stammered & occasionally snarked back in the beginning. But eventually he’d gotten used to it, & once in a while he actually got the drop on Gabriel. Those were Gabriel’s proudest moments.

But he was careful. Careful to do his best to not let his true heart to show too much. Because he cared for Sam Winchester very much. He had from the day he’d first met him. The young Hunter had been so adorably ernest, so eager to save people. The Trickster had been charmed. After the Mystery Spot, the Archangel had to admit if only to himself, he’d fallen. He’d fallen for the Hunter, the Boy King of Hell, Samuel William Winchester.

Being an older brother himself, he suspected Dean knew how he really felt about Sam. Just as Gabriel knew how Dean truly felt about his little brother, Castiel. And that was one thing Gabriel & Sam enjoyed doing together; trying to get Dean & Cassie to admit to each other they they loved each other.

Finally after getting thoroughly annoyed by their constant doe-eyes & 'come-fuck-me’ glances Gabriel made up a case for them & simply tricked them. They were now on their second week away, & actually working a real case that they’d found, but it was clear that there was more action between the sheets then on the actual case.

Sam had been amused at first, but his annoyance had been rising as another person had been attacked by whatever creature was lurking in the warehouse district of the rust belt city they were staying in.

Sam was in the library, laptop open & screen bright; lore books were scattered on the other tables, open to various pages. A large nearly-empty bowl held the last of his dinner, a salad that Gabriel had brought him some time ago, if it wasn’t for the Angel he wouldn’t have eaten at all.

From his vantage point across from the open doorway into the library, Gabriel swallowed hard. He was nervous, scared shitless really. He didn’t know how much longer Dean & Cassie would be gone, but he knew he was running out of time. He had to let Sam know how he felt…& he was about to put it all out there, in a big way.

Still out of Sam’s line of sight he snapped his fingers (& he knew Sam could hear), vanishing his clothes. He was completely naked & closing his eyes, he manifested his wings. Another snap, & a gold, silk rope was in his hands. He put it in his mouth & fell to his hands & knees.

Slowly he crawled into the library & he felt the instant Sam saw him. He crawled slowly towards Sam, he actually managed to look good while doing it. He was more muscular & toned then he had been previously. His wings swayed, the feathers making a soft swishing sound. He made it to the chair Sam was sitting in, & he stretched up & placed the rope on Sam’s lap before resting his cheek on the Hunter’s thigh. He was looking away from Sam, his eyes closed, partially in shame, but also fear. He didn’t want to see the look of horror that was likely on his face, or worse, Sam thinking this was a joke of some kind. He actually trembled, his wings shivering & fluffing.

“On a hot summer’s day in 1986 I was taking photos of a new group called Salt n Pepa for a British magazine called Sky. Salt n Pepa were like sisters, funny, cool girls from Queens wearing big gold earrings, chains and fake Louis Vuitton bags. It was their first ever photo shoot and we spent the day hanging out on Avenue C, on the Lower East Side. After that I met Hurby ‘Love Bug’ Azor, their manager, he asked me to shoot their album cover. A year later they had a new look and were the first girls to sport kente cloth hats, leather baseball jackets, spandex and gold dookie rope chains.” - Janette Beckman.

The Days That’ll Never Come (1/7?)

Note: I thought of this a week ago while I was washing dishes. Hahaha this is my first time writing DC universe fanfic though I’ve been reading these for months now. I just wanted to share this thought to all. I got a help from my ever so loyal and amazing beautiful friend, who is also my beta reader. She helps me with my series most of the time. I hope you all enjoy it! I’m thinking of writing this with 7 parts??? We’ll see.

Y/N L/N - your first name and last name

S/N - your superhero name


A black Mercedes Benz car pulled over the new Grand Westward Hotel that recently opened a few months ago. Thousands of people crowded along the sidewalk behind the gold velvet ropes, in hopes to get a glance of the rich and the famous. The crowd was ecstatic and full of energy. People talked amongst themselves to guess who’s who were on the list. Some people even brought sharpies and papers just in case there’s a slight chance someone important comes there way and gives an autograph. Security kept a close eye of the crowd, standing by the ropes while wearing black suit and ties. Photographers stepped foot on the sides of the red carpet with their camera’s flash on, ready to take a shot of a publish-worthy picture. The driver opened the door, gasps and whispers ensued.

“Isn’t that Y/N L/N?”

“OMG, is that her?!”

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fouroct  asked:

oooh how about killervibe + hold on by nano

The song! https://www.youtube.com/watch?v=jwGIUSiX8X0

Send me a ship and a song and I’ll write you a fic from one of the lyrics

I Know You’re Tired of Surviving (but you gotta keep on trying)

They raced down the hall to the speed lab, Caitlin keeping up even though she was wearing her favorite high heels. “Crisis mode again,” he said, hitting the lights.

“Wouldn’t be Tuesday night without it,” she joked feebly, heading straight for the second bank of monitors.

Cisco worked on automatic, hands flying over all the equipment, waking everything up, brain churning through theories and solutions and -

He realized that everything was on, ready to go, and all they needed was Barry down here so they could run their tests, find out what was wrong this time. Wally had been recruited to find him and bring him back.

He looked around. Caitlin stood, steadying herself on a monitor. Her eyes met his.

The next second, she was in his arms. He buried his face in her hair and pulled her so close that her necklace dug into his sternum. It was a pretty, jingling rope of gold chain and charms, and it pressed right through to the bone. He didn’t loosen his hold.

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