love em leave em

Hookup

Pairing: Sam x Reader

Word Count: 5,531

Warnings: smut, oral (female receiving) fingering, this is PWP

Prompt: Sam meets up with the reader at a bar, and neither of them want to go home alone. Both their jobs require them to move around a lot, and sometimes, they get a little antsy and crave the affection of another person. That leads them to Sam’s motel room for one night of pure fun.

You didn’t want, or even need a partner to settle down with. You had grown used to being alone and working alone and doing just about everything alone. But, a girl gets antsy from time to time.

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A Little Pathetic

Peter Quill x Reader, fluff.

My first Peter fic ever, so be nice.

Fooled Around & Fell in Love by Elvin Bishop

Drax’s words ran miles in Peter’s head as he nursed a cold drink in a sleazy bar, on some planet they decided to take a break on.

There are two types of beings in the universe: those who dance, and those who do not.

Peter groaned into his drink, annoyed at the pulling in his stomach.

You need to find a woman who’s pathetic, like you.

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Why Taylor Swift Is The Greatest Living Songwriter (Under 60) Taylor

I recently found myself at a BMI Awards dinner where the song publishing rights organization was handing out some career achievement awards, the first of which went to the classic ‘60s team of Barry Mann and Cynthia Weil. And then they gave one to Taylor Swift, in one of those cases where they have to name the award to the person it’s being given to because it feels a little too uncomfortable to give the standard “lifetime” award to someone in her 20s. In her speech, Swift gave props to her elders: “I first wanted to say to Cynthia Weil, to Barry Mann, and to Carole King, you, the Brill Building, your legacy, are the reason we do what we do. Many of us in this room can’t dream of accomplishing what you guys have accomplished.”

Except she already has. And (heresy alert!) more. Swift is a rightful heir to the Brill Building tradition, with all the mastery of pop craftsmanship that entails, but she’s also the finest contemporary inheritor we have to the confessional singer/songwriter throne. She’s Barry Mann and Bruce Springsteen, together in one silver metallic mini dress-wearing package. That’s why I say Taylor Swift is our greatest living songwriter—under-60 division, just to be safe. But I digress.

I am glad I’m alive in the prime era of Taylor Swift the same way I felt glad to be alive in the half-century of Dylan and Springsteen and The Beatles and Costello. I’ve leaned forward into my first listens to 1989 and Red the same way I thirsted for the on-sale moments of The River and Nebraska and Imperial Bedroom and Time Out of Mind. These are the moments — all too infrequent in the 2010s, if you’re a recovering rock snob — that you live for as a music fan and especially singer/songwriter aficionado: the opening of a magazine you subscribe to, in which the editor-publisher has promised to bleed onto every page in some fashion. You look forward to admiring the craft and you want to know that you’ve been handed the next six months’ or year’s worth of earworms all at once. But most of all you want to feel you’re about to make that passionate connection with a deep-feeler who knows you better than your own best excuse for a best friend.

Where Swift is most like the great confessional rock writers, and least like the Brill Building set, is in her propensity to fill her songs with seemingly stray details. If you’re writing by the books, you learn early on not to include random asides that throw listeners out of the commonality of the lyric. But Springsteen, Dylan, Costello, et al. have faith that, whatever is lost in relatability by including something specifically autobiographical is a gain for fans who know that that weird minutiae confirms the rest of the emotions as authentic. When Swift interrupts Out of the Woods to mention “Twenty stitches in a hospital room/Remember when you hit the brakes too soon,” that’s about as un-Brill as Bruce talking about Crazy Janey and Greaser Lake. But the specificity of the bridge makes the universality of chorus more meaningful, even if the unstable relationship you’re being reminded of by the song didn’t involve a visit to the ER. It may seem peculiar to the 21st century that we can confirm who the significant others in Swift’s songs are by picking out lyrical details about eye colors or fire signs or scarves and checking them against her exes. But is finding out whether All Too Well was about Jake or Harry that terribly different than the thrill of figuring out whether Dylan’s It Ain’t Me, Babe was about Suzi or Joan, but with Google taking the place of waiting years for a biography?

The position that Swift is Actually Quite Awesome is not nearly as controversial among the older white guy set than it would have been a few years ago. You only get a B for courage now, not the former A, if you speak up at a cocktail party and say, “No, I don’t mean it’s good for what it is, or she’s a positive role model for my daughter or a gateway drug to Courtney Barnett, I mean she is truly the shit.” (Crickets may still ensue, mind you, if no longer outright shaming.) You can attribute this in part to Ryan Adams, whose album-length cover version of '1989’ did a fairly excellent job of indie-splaining Swift to people who only needed to hear that her songs could be rearranged in the styles of The Smiths and Elliott Smith to sign off on her. As much as I enjoy Adams’ '1989’, it falls just a little short as reinvention, or revelation: You kind of sense him wanting to get credit for being the first to discover that Swift’s frothiest sounding songs all have minor chords and melancholy under the Max Martin-ization. The real problem with Adams’ interpretations—which is not a fatal problem, given how good Wildest Dreams sounds as an R.E.M. song—is that he doesn’t really have that much use for the words, given how uninterested he is in emphasizing particular words or phrases and how he throws away some of the best lines. (To be fair, this is pretty much Adams’ approach toward his own lyrics, too.) Not that with Swift the lyrics are everything, when she has such a gift for melodic delights and surprises… but, yeah, the words are kind of everything.

Going back to Swift’s 2006 self-titled debut now, it sounds a little primitive, in retrospect. Which is fine: “primitivist” is exactly what you’d expect or hope for from a girl who released at 16 an album of songs she’d mostly written at 14 and 15. No one should sound 30 as a teenager, unless she’s Fiona Apple. (Hearing Apple’s eloquent teen jadedness when she was a freshman artist felt as impressive and spooky as Captain Howdy’s voice coming out of Regan MacNeil’s mouth.) At the time, it was a widely held assumption that co-writer Liz Rose was the brains of the operation. But you couldn’t help but notice that the best song on the album, Our Song, was a solo Swift composition, penned before she had access to the best song editors Music Row could offer. It sounded utterly conversational , establishing Swift’s knack for writing in complete sentences in a way that sounds completely diaristic and completely musical. It embraced both metaphor (“Our song is the slamming screen door”) and the meta (being one of those songs that is self-conscious about how it is, in fact, a song). It was winsome, guileless, and juvenile—in the best way—on top of being freakily expert for a song written by an underclassman for a school talent show.


Two years later (Swift’s follow-up albums have always been two years later, up until now), she came up with Fearless, which was so much more accomplished that it won her the Grammy for Album of Year, the first time that’d been accomplished by a record made by a teenager. But looking back at it now, you can see it was the only time she ever really marked time, stylistically, as a record-maker. The breakthrough that mattered was 2010’s Speak Now, which was her first real “pop album” (at least for those of us who pay attention to content and not the officially mandated tropes that insisted that honor belongs to '1989’). Just this once, she wrote the entire album by herself, in a rather deliberate F-you to everyone who figured she’d been propped up by Nashville pros. Similar auteurist turns by pop and country artists with points to prove have not always gone so spectacularly but Swift used the opportunity not just to defend but to diversify, as great writers and investors will. This DIY show of tour-de-force ran the gauntlet of effervescent girl-group pop (the title song), Evanescence goth-rock (Haunted), cheerful neo-bluegrass (Mean), girl-on-mean-girl pop-punk (Better Than Revenge), and even a token transitional single in the country-folk style of the first two albums (Mine).

'1989’ is the masterpiece of her career so far
'Speak Now’ also incidentally included the most searing, stark, boldly confessional song by a major artist since John Lennon’s Cold Turkey. (Hyperbole intended.) This was Dear John, a slow, epic-length missive to a love-'em-young-and-leave-'em type that was jaw-dropping in its vulnerability and rage. Never mind the lucky stroke that apparently had the rock star who used and discarded Swift being a guy really named John; Swift does like her literalism, so she probably wouldn’t written a public dear-John letter to a Tom, Dick, or (even) Harry. It’s a ballad that creates the illusion of the artist having vomited onto the page—for those of us who like that sort of thing—but actually belies a severe level of craft beneath the bile. The song rises to an emotional victory, as Swift goes from paying witness to “all the girls that you’ve run dry (that) have tired, lifeless eyes 'cause you’ve burned them out” to being the one who “took your matches before fire could catch me, so don’t look now: I’m shining like fireworks over your sad, empty town.” Compare this to the other great fireworks song of 2010, Katy Perry’s, and there is simply no pyromaniacal contest.


With 'Red’ another couple of years later, she bid a fond F-you to her own previous F-you and reintroduced co-writers to her stable, now adding Max Martin and Shellback as collaborators on a choice trio of songs, as if to say: I dare you to knock this block off. Aside from the handful of tracks with those guys, though, 'Red’ felt more like a classic singer/songwriter album than anything she’d done before or certainly since. It was all about lost love, and hardly for the first time, but now Swift was jettisoning her “better than revenge” approach to achieving payback in song and taking equal responsibility for relational failures, and it was all very sensitive and self-examining and enlightened. So when I got my first listen to the determinedly frothier '1989’ a couple of years still later, I lamented the loss of the previous album’s hard-fought breakthroughs in songwriting maturity.

Lamented it for about two minutes, that is. '1989’ is the masterpiece of her career, so far, and that’s not withstanding the thick gloss of candy coating that covered the whole endeavor now that Martin was fully on board as guiding executive producer as well as hands-on guy on about half the tracks. The meme favored by some critics, that Swift had sold out on us with all this interference by the reigning kings of the pop machinery—and after all we’d done to defend her as an artiste!—was misguided even by the usual standards of stick-up-one’s-ass bias and entitlement. It may seem counter-intuitive, for those of us who usually live and die by singer/songwriter yardsticks, to say that '1989’ is Swift’s most mature album, when there is barely a guitar anywhere in earshot for the singer’s tears to fall upon. But as it turns out, it is possible to talk intelligently, walk in rhythm, and chew bubblegum at the same time.

Yes, '1989’ is a less outrightly emotional album than any of its predecessors. Swift herself has said it’s the first time she wasn’t writing in the wake of a heartache. And that’s part of what makes the album so seasoned and smart. If all the previous albums were her “breakup album,” '1989’ is her maybe-we-are-ever-getting-back-together album. It’s about being just a little bit rueful about past relationships—in a less world-ending, drama queen-y fashion than the take-no-prisoners approach that admittedly made a lot of us fall for her in the first place – and largely about that impulse to reconnect, even as you sit by the phone and consider what a terrible idea that would be. She’s thinking back on a breakup that wasn’t that traumatic (possibly one with Harry Styles, if we’re to take the cheeky title of Style literally), and considering every negative and possible angle to rekindling an old flame. As a result, a lot of the songs on '1989’ are about mixed emotions, which are by and large the hardest kind to write.

She understands more brilliantly the power of dynamics — that even the most grandiose song can benefit by suddenly getting completely naked for 40 seconds.

And here is where we quote another great pop writer, F. Scott Fitzgerald, who famously said: “The test of a first-rate intelligence is the ability to hold two opposed ideas in mind at the same time and still retain the ability to function.” Swift is showing us that first-rate intelligence when she encapsulates the divisions we all experience as we find the good and bad in people, lovers and otherwise: “You always knew how to push my buttons/You give me everything and nothing.” “Ten months sober, I must admit/Just because you’re clean don’t mean you don’t miss it.” “This love is good, this love is bad/This love is alive, back from the dead.” As the CEO of her own corporation, Swift has had a lot of time to think about risk/reward ratios. Grappling with that in matters of love is part of her giftedness and increasing talent as a writer.

I think again of the congratulations Ryan Adams got for bringing out the sadder emotional undercurrents in '1989’’s material. He deserves some of it, but it’s not as if Swift didn’t make that a fairly easy discovery. Bad Blood is the most blatantly confectionary song on '1989,’ with a sing-song-y quality of the chorus makes you think Avril Lavigne, if you’re making comparisons. But would Avril, or any other pop star you can bring to mind, have interrupted the beats and chants for a lengthy, virtually a cappella bridge that brings the mood down with its warnings about bullet holes and living with ghosts? It’s akin to the hyper-produced song on her previous album, I Knew You Were Trouble, where Swift puts an end to all the dubstep to very quietly wonder, almost sotto voce, whether the object of her affections ever loved her, the other girl, “or anyone.” In the big beat era, she understands more brilliantly the power of dynamics—that even the most grandiose song can benefit by suddenly getting completely naked for 40 seconds.

Blank Space, meanwhile, shows Swift to have under-heralded skills as maybe the greatest comedy writer since Eminem. As probably everyone who wasn’t completely divorced from pop culture in 2015 knows, Swift wrote it as a sort of spoof of her own image as a serial romancer (which is to say, a girl known for dating about half as many partners as a typical guy her age). When she says she’s got a blank space “and I’ll write your name,” it’s understood that she means she’ll write an excoriating song about the dude later on—she’s in on that joke. But amid the nearly Randy Newman-esque humor and exaggeration, there’s a real undercurrent of pain and possible self-knowledge. The time limits that come up in lines like “I can make the bad guys good for a weekend” and “Find out what you want/Be that girl for a month” don’t sound like they’re being played strictly for ironic laughs.

She is maybe the greatest comedy writer since Eminem.

Is she a spokeswoman for a generation? You might be on thin ice using that kind of phraseology for someone who spends so little time writing outside of the relational realm. But Swift does have an understanding of impermanence that seems uniquely millennial. She’s talked about how she looks at the length of her parents’ marriage and no longer takes it as a given she’ll find a lifetime partnership, which would probably come as a surprise to the younger Swift who wrote Love Story. But she finds a haunting beauty in what we might call planned obsolescence. “Wildest Dreams” pulls off the particularly tricky time-traveling feat of looking ahead to a future in which you’re looking back to the past… and of being intensely sexy and rueful at the same time. “You’ll see me in hindsight, tangled up with you all night, burning it down,” she sings. “Someday when you leave me, I bet these memories follow you around.” That moment when you’re in the heat of passion, leaving your body just long enough to realize you’ll be nostalgic for it someday? If you’ve ever experienced it, you probably never thought somebody would nail it in a song.

Not that you have to be a millennial to be capable of considering how things are likely to end even in the midst of everything going right. I was trying to remember what song the future-nostalgia of “Wildest Dreams” reminded me of, in some weird, roundabout way, and then it came to me: Dylan’s You’re Gonna Make Me Lonesome When You Go. It’s maybe heretical to compare the bard with this girl from the north country, but not so heretical to say: Great minds wistfully think alike. And we should all feel a little lonely if either of them ditched us.

Mistaken Identity

Originally posted by highwaytosupernatural

Summary: Mistaking Dean for your blind date saves your life… literally

Pairing: Dean x Reader

Word Count: 2,500

Warnings: making out? Home invasion/being attacked in your own home. 

A/N: This is for @deansdirtylittlesecretsblog trope challenge! My prompt was #22: mistaken identity leads to a relationship. Considering doing a part 2, but unsure at the moment. Enjoy!

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Yuri on Ice ep 10 thoughts!!

i already thought Yuri on Ice was incredibly well structured, but ep 10 has BLOWN MY FUCKIN MIND omfg. now we know about yuuri’s ~drunken escapades~ we can view the entire damn show in a different light. like:

  • yuuri literally IS the love-’em-and-leave-em playboy in the Eros story?? HE AND VICTOR ARE EVEN POSING TOGETHER IN THE SAME WAY IN THE CREDITS PHOTOS.
  • yuuri was subconsciously dancing his own damn love story.
  • so… when victor was all, “i know you can do this Eros programme, yuuri,” HE KNEW FROM PERSONAL EXPERIENCE because they’d already ~danced the night away~ together.
  • can u? even? imagine? victor’s internal monologue? every time yuuri nervously said he couldn’t portray Eros and had to imagine a pork cutlet bowl for inspiration??
  • victor! didn’t know!! that yuuri couldn’t remember that night!! LOOK AT HIS DAMN FACE WHEN YUURI SAID HE COULDN’T REMEMBER:
  • so victor has spent almost an ENTIRE YEAR wondering if yuuri is being standoffish or embarrassed or what? which paints the beach scene in an entirely new light.
  • AND ALSO it totally changes the tone of victor’s arrival in Hatetsu! like, his ~flirty behavior originally felt comedic but quite silly and OTT, whereas now… we know he actually arrived on yuuri’s invitation, thanks to a combination of Drunk Dancing Eros Yuuri and the more ~serious and meaningful~ epistolary invitation of the Stay Close To Me video.
  • victor literally came to hatetsu BECAUSE YUURI ASKED HIM TO, effectively leaving his own figure skating career in the dust
  • when victor offered yuuri a commemorative photo, he definitely meant “commemorative” omfg but yuuri assumed victor thought he was a fan… while victor thought he was blanking him. WHAT MIXED SIGNALS!!! i die.
  • also this whole ep is a great depiction of how yuuri is totally convinced that he’s socially isolated, meanwhile the rest of the skating community is like, “let’s have dinner together! remember last year when all of us saw you get drunk and dance in ur underwear?”
  • like, seriously yuuri. you thought victor wouldn’t know who you were, when you were literally in the Grand Prix Final, a competition with only six people in it?
  • victor was jaded and alone at the peak of his career, looking for a new direction in life, when yuuri appeared and turned the formal Grand Prix banquet into a hella fun party and dipped Victor in a ballroom dancing move and then asked for him to be his coach, AND THEN delivered a perfect rendition of victor’s gold medal-winning program… and then proceeded to spend the next 11 months acting like it’s no big deal.

in conclusion: Yuri on Ice is the Pride & Prejudice of our era.

Love ‘Em and Leave ‘Em:Part 1

Originally posted by whovian182

Tagged peeps: @sallyp-53 @december-sunrise @beaconhills17 @winchesterreid @helvonasche@fly-f0rever @kaitlynnlovegood

Characters: Y/n, Derek, Lydia, The Pack(mentioned)

Pairing: Derek x Y/n (Female Reader)

Word count:2314

Warning: Swearing, SMUT, not too long but it’s there. Angst-abandonment.  

Summary: Y/n and Derek have a night together resulting in life changing consequences. 

A/N: This is based on a request i got from an @sallyp-53 - Could you write about a vampire female reader being a part of the pack in teen wolf, where instead of Derek ending the party thrown at his loft he ends up hanging out with her at the party, I know they can’t get drunk but for stories sake it happens and they end up sleeping together. They are still good friends after but the reader later finds out she’s with child and keeps trying to figure out the right time and way to tell Derek Sorry if this is way to long or not to your liking ❤️ ur writing!

Ok so once u read this, you will realise the request has been changed a bit. I was initially going to do a fluffy oneshot, but it ended up becoming an angsty 2 parter. Sorry

Also read my other series The Beginning Of The End- Part 1 link. other parts found in the masterlist below.

Masterlist


The music was blaring and the all the teens were dancing. Y/n didn’t think it would be good idea to do this. Not in Derek’s loft. But they went ahead and did it anyways.

So y/n was stood there, watching basically the entire high school dancing, paint on their bodies as their nasty hormonal asses grinded on each other.

It was sickening to her. Not because she was grossed out by the grinding. But the hormones. They smelt putrid.

You see, y/n was a vampire. She was born one. She’d always had a heightened sense of sound, smell and sight. Also super strength, speed, night vision. On top of that she was a special kind of vampire. Rare. Only a few ever to have been known to exist. So she had the power of telekinesis along with a strange telepathy. Not reading minds, but more sensing an emotion. An empath you could say.

She had her powers trained. But the number of teenagers giving off the hormones made it difficult to block out the stench.

Leaving the loft to get some air, she heard the elevator come up. ‘Great more teenagers’ she thought.

Except the person to come out of the elevator was the one person she so didn’t want returning.

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Fooled Around and Fell In Love

Summary: The reader is hopelessly involve with Dean, but too scared to do anything about it. She has to deal with Dean bringing home countless girls, and she reaches her breaking point. With the help of Sammy some sense is knocked into Dean. 

Song Pairing: https://www.youtube.com/watch?v=DyMMEmwFQUE

Word Count: 2342

Author’s note: This is 100% inspired by Guardians Of The Galaxy…but it came out so awesome! Let it be known this is the first fluff I’ve ever written…I know I’m just as shocked. I really love this one guys, I hope you do too!


There was no denying it, you were head over heals for Dean Winchester. You’d been hunting with him and his brother for the past year, and ever since that first hunt you’d fallen for him. There was something about how those green eyes of his light up that just made a thousand butterflies in your stomach take flight.

The one thing you couldn’t get over was seeing him with other girls. You always compared yourself to them, and in your own head came up short. Convincing yourself you weren’t enough for Dean was something you constantly did.

You knew Dean’s type, and you always told yourself you weren’t it. Sure the girls would only stay the night and Dean wouldn’t remember their names, but at least they knew him intimately. You wanted so badly to feel his lips on yours, his hands run down your body, and him whisper little things into your ear.

Dean often consumed your thoughts, and that was happening right now. Sam was snapping his fingers, “Hello earth to (y/n), stop thinking about Dean”. You were pulled from your thoughts, remembering you were sitting across the kitchen table from Sam.

Throwing a napkin at him you rolled your eyes, “Sam shut up before Dean hears you”. As you spoke Dean was dealing with one of his one night stands, and you knew his routine to a t. Dean would explain he wasn’t much of a breakfast guy and would offer to make coffee, which was a flat out lie and he just wanted to politely make his guest leave.

He would sit down and have a cup of coffee with the woman and once they were done remind the girl that he really needed to start his day, lie number two. The girl would get the hint and call a cab, and pretty soon she’d be on her way.

This certain girl had perfect red hair, a toned body, and beautiful face. Taking her in your self hatred started to eat away at your mind. Sam threw the napkin back, “She’s not that pretty you know (y/n), to Dean she’s just another girl”.

Sam of course knew your feelings for his brother and always insisted that Dean would return them. That didn’t give you the confidence you needed to actually make a move, but it did warm your heart how deeply Sam cared.

He would always insist that Dean was just scared because when he loved people, it meant he could lose them. The voice within your head told you it was because Dean didn’t feel the same way. Thus, your current state was created.

You sighed, “Sure Sammy, then why did he have sex with her?”. Your anger bubbled as you watched Dean flirting with the girl. She was reaching for the sugar and Dean came up behind her to also grab a packet, and he pinched her side. She laughed while Dean pressed his body even closer to her.

Picking up on your apparent anger Sam called for Dean, “You know Dean we really should be starting our case”. You found yourself smiling, it was good for Sam to have your back. Dean didn’t want this girl to go yet, “You know Sammy I think we have time for one more cup”.

The anger easily found it’s way back to you, why was he fighting to keep this one. You’d finished what you’d been eating, which meant there was no real reason for you to be subjected to this.

Getting up you put your dish in the sink, unfortunately bringing you closer to the love birds.  While putting your dish down the girl gave you a dirty look, intensifying your anger. The random girl shot daggers at you before pulling Dean in for a kiss.

You didn’t want to give her the satisfaction so you just gave her a glare before returning to your room. While walking to your room you thought about how much better it would’ve felt if you’d just shot the girl. She was acting like a monster so the action would be justified.

After you left Sam was left in the kitchen with his brother and his random one night stand. Sam was just as angry as you were, if not angrier. You were Sam’s best friend and it pained him to see the way Dean played with your heart.

He knew that Dean was too scared to act on his feelings, and he wished he could get you to believe it too. Every time either of them loved a girl, that girl was immediately put in danger. You meant a lot to Dean, which meant you’re be put in even more danger. So Dean pushed down what he felt and tried to fill the void with meaningless girls.

The girl came to sit down where you’d previously sat, across from Sam. She made herself comfortable, which annoyed him. Sam called to Dean again, “You know Dean I think (y/n) had the right idea by going to her room to get ready”.

At the mention of your name the girl rolled her eyes, obviously feeling territorial. Sam heard the girl scoffed under her breath, “…that girl really needs a lot of getting ready”. By this time Dean had joined them at the table, and he also vaguely heard what the girl said.

Dean was annoyed, “What did you say?”. The girl placed down her cup and laughed, “Well the girl that was in here two seconds ago obviously needs a lot of time to get ready..did you see her?”. Suddenly Dean felt incredibly regretful that he’d even kissed this girl, she was a clear waste of time.

Sam smiled seeing the anger bubble up in his brother, maybe he’d finally act on his feelings. Dean’s brows furrowed, “Sorry not everyone can be as quick to get ready as you sweetheart, I guess it’s so easy because you barely wear anything in the first place…easy access huh?”. Sam couldn’t help but laugh, he wished you were in the room to hear Dean’s remark.

The girl got up from the table, “Excuse me?”. Dean didn’t hesitate, “You heard me, you’re the type that has to put others down to feel remotely good about yourself. That girl is beautiful, inside and out which is something you’ll never be”.

The girl flipped both brothers off and then stormed out of the bunker. Neither Sam nor Dean cared how she left, they were just glad she had. Even though she’d left Dean was still fuming, he threw his coffee cup into the sink causing it to smash into pieces. Sam got up, “Woah Dean calm down”.

Dean angrily ran a fist through his hair, “Sammy who do I do this?! Why do I waste my time on meaningless girls when I know I’m in love with (y/n)! Why am I so scared!”. Dean was so confused, his feelings overwhelming him.

Sam got up and calmly spoke, “You’re scared you’ll lose her Dean, and that’s understandable”. Dean’s anger soon turned to pain the more he thought about everything. He sighed, “Why can I wipe out an entire vamp nest but can’t tell her how I feel?”.

Sam laughed, “Because love is a lot more difficult Dean, it’s unpredictable..which makes it scary”. Dean knew that when it came to matters of life or death he could always make the right decision, but with his feelings it was more difficult.

Dean laughed too before getting serious, “How do I fix this Sammy?”. He realized how many times you’d had to deal with him bringing home girls, and he felt awful. Sure, when he was with the girls he couldn’t help but think about you but that wasn’t an excuse.

Sam smiled, “ Go talk to her Dean, or at least try too. She’s probably going crazy with her thoughts, I mean we both know her..”. Dean shook his head finishing his brothers sentence, “She always overthinks….I guess like me”.

With his new found confidence Dean headed towards your room. He wanted to finally set things right, because he couldn’t do this anymore. He couldn’t try to distract himself with meaningless girls because it made him feel emptier. Dean needed to grow a pair, and go for what he wanted you.

In order to distract yourself from how you’d felt you decided to nerd out to one of your favorite movies, Guardians of the Galaxy. It was a feel good movie, and you had to admit Peter Quill made it all a lot more enjoyable.

Peter Quill was a lot like Dean; daddy issues, girl crazy, incredibly sexy, and overall good hearted. The whole thing about Guardians of the Galaxy was the soundtrack, it was all oldies. At one moment in the movie Peter dances with another character to the song, “Fooled Around and Fell in Love”.

Peter let’s his dancing speak for him, and you imagined Dean did the same with his body. Whenever that particular scene came on you dreamed it would be you and Dean. Trying to truly distract yourself you hooked up your speaker to play the song.

You blared the song, hoping it would drown out your feelings. The music was so loud that you didn’t hear the knocking on the door, and Dean call your name. Getting up from your bed you started to sing the lyrics while dancing around.

I must have been through about a million girls

I’d love ‘em then I’d leave ‘em alone

The lyrics just screamed Dean, they were totally him. Dean stood there leaning against your doorframe, watching you. He couldn’t even see your face, but you still looked incredibly beautiful. He found his mind drifting as he watched your hips sway slowly to the beat.

He found himself subconsciously walking towards you, just wanting to be with you. Before he could make it fully towards you, you had turned around. You both stood there for a moment, unsure of what to do next.

It used to be when I’d see a girl that I liked, I’d get out my book and write down her name , Ah, but when the, the grass got a little greener over on the other side, I’d just tear out that page

Without speaking he placed his hands on your hips, and then looked up with concern in his eyes afraid that he’d overstepped. You looked down at where his hands were, butterflies taking flight in your stomach. Dean took this as apprehension, “I’m sorry I-”.

Dean went to pull his hands away but you reached out and held them. You smiled, “Dean I didn’t mind”. There was about a thousand words that came to mind, but they got all jumbled in your head.

Dean seemed like he didn’t know what to say quite yet either. Moving closer to you he put his hands back where they’d been, and you felt so hot under his touch. You both started to move slowly to the beat, his huge hands guiding you.

I fooled around and fell in love,

I fooled around and fell in love, since I met you baby

The lyrics getting to him, Dean realized how badly he needed you. He pulled you closer to his chest, resting one hand on the small of your back. Turning your head to the side you pressed your ear against his heart, listening to his heartbeat.

Closing your eyes you took in his smell; a mixture of whiskey and aftershave. Listening to his heartbeat while swaying to the music you finally started to relax. You smiled to yourself, because Dean’s heartbeat suggested otherwise.

His heart was beating fast, and you wanted to calm him. Dean brought his chin to rest on your head as you moved to the slow beat. For once you felt so safe in his arms, all you concerns melting away.

Free, on my own is the way I used to be,  Ah, but since I met you baby, love’s got a hold on me

It’s got a hold on me now, I can’t let go of you baby

Turning your head back you looked up at him, resting your hands on his chest. Dean looked down at you, his green eyes full of light. You noticed all the freckles on his face, each one like a snowflake.

Dean bit his lip, still contemplating something. You wondered if he was thinking about what you were thinking about. Soon enough you got your answer as he cupped your cheek in one hand, bringing his face towards you.

Dean lightly placed his lips on yours, and you felt months of doubt melt away. His other hand still rested on your back, as his thumb traced little circles. The kiss got hungrier as both of your desires grew.

When the kiss ended you both were left breathless, caught up in the moment. Dean scanned your eyes, “Listen (y/n) there’s no excuse for how I’ve acted…I was scared and I let that control me”. He held you tighter as he spoke.

Dean continued, “I…I love you (y/n) and I’m sorry for treating you how I did because you deserve so much better”. You smiled, happiness radiating throughout your entire body. Looking up at him you answered, “I love you too Dean you’re all-”.

He cut you off by placing his lips on yours again, so completely lost in the moment. When the kiss was over he held you tight again, loving how perfectly your body fit with his. Again you rested your head against his chest, and this time his heart beat was calm.

You both started moving to the beat of the song again, wanting to preserve the moment. Dean rested his chin on your head once again as he wrapped his arms around you. He finally had you, and he never wanted to let you go again.

I fooled around, fell in love
I fell in love, I fell in love, yes I did

What the hell is wrong with that anon. Like, if you at least knows a bit Hetalia (not saying I ever watched it) you should know that is based on a lot of things like history and stuff. But these of Countrytale are based on the flags design, and have nothing to do with the anime. They are just a mix up of artist ideas inspired by Trashy’s Philippines and decided that would be cool make one basing their personality on the country you live, AND integrate with it, making a interactive thing, where people would be happy asking and stuff, but that anon just ruined it. COUNTRYTALE HAS NOTHING TO DO WITH HETALIA, OKAY? Just because the plot are countries doesn’t make em the same thing. So, leave Trashy have fun with her and other artists characters, and go watch Hetalia so you can know the differences between them. Sorry butt in but that left me really disappointed. Don’t end Countrytale just because of that coward, ok? Have a good day/night.

submitted by @biacrazy67

👆👆👆👆👆👆👆👆👆👆👆

Color Club Love Em Leave Em. HOLY SHIT THIS COLOR COMPLETES MY LIFE. Nude. Holographic.

HOMG.

I can’t stop staring at my nails. Totally wearing this to work this week. In indirect/natural overcast light it’s merely a very pretty nude with subtle rainbow shimmer. I haven’t seen it in sunlight in person but I have seen photos and WOW the holo is so gorgeous. This is my first holographic polish, I just got some in the mail yesterday and I have a couple of holographic polishes now. New polish addiction. Hooray!

The Contest-Part 15

To celebrate Supernatural’s 15th season, the producers have decided to hold a contest to cast an unknown in a recurring role as Sam’s rumored love interest.  They are doing open casting calls all over the country.  Your best friend Nikki wants to go and she drags you along.

A/N: My inspiration for Nikki is the one and only red, @oriona75.  So I am actually telling two stories here, Jared and Readers, and Sam and Gemini’s.  It flips back and forth, so try and keep up! :)

Characters: Jared Padalecki, Reader, Best friend Nikki(OC) Jensen Ackles, Misha Collins, Mark Sheppard, PA Emily (OC) Cliff, Other Supernatural cast and crew

Master List

Part 1 (all parts are linked)

I had tried calling Nikki several times, but she wasn’t picking up.  Jared and Jensen had both tried Misha, and he wasn’t picking up either.  

“What should we do?” Jared asked me.

“Nikki just texted me an address.” I commented, peering at my phone in the dim light of the bar.

“Misha just texted me one too.” Jensen said, looking at his phone.  He showed it to me.  It was the same address that Nikki had sent me.

I let out a groan of frustration.  “I guess we had better find a cab.  This had better all be a big, fucking joke.  They are probably both drunk off their asses. I swear, I am going to wring her neck!”

“What if they are serious?” Jensen asked, rubbing his hand across his face tiredly.  “Those two idiots deserve each other.”

“No…this is so not happening.” I snapped.

Jared threw some money on the table to settle our bill as we hurried out to find a cab.  “You know Y/N, they are consenting adults, so if they really want to do this we can”t stop them.”

I took a deep, calming breath before speaking.  “Jared Padalecki, there is only one person on this planet I am afraid of….one.  If I don’t stop this, she will come here, and destroy us all.”

Jared and Jensen both looked confused.  I smiled ruefully.  “You two think Nikki is a handful?  You haven’t met her mother.”

Keep reading

anonymous asked:

Sorry to bother but it happens that I have a friend who sees Supernatural an he says that Destiel will never be canon because Dean is too male chauvinist (this friend is not homophobic, he'd be okay with a gay couple) and that the whole show is male chauvinist too but I don't know how to argue it with him. I mean, I think that about the show too, but not so much about Dean Winchester. Maybe you could explain what you think about it?

Whoa, no bother at all - what are tumblr friends for if not proving RL friends wrong?

So, first - this has nothing to do with anything, but you woke my inner language monster, and now you’re going to suffer a paragraph of consequences, because chauvinism - now, that’s a word I haven’t heard in a long time. It’s a ‘70s thing, ins’t it? Male chauvinist pigs and all that. I know we used it back when I was desperate to be a Communist, and we comrade’d one another in a laudable effort to pretend the Berlin wall was still up and everyone was into LSD and free love and we actually had something to be angry about.

(Turns out the word comes from Chauvin, some officer guy in Napoleon’s army who was extremely patriotic, and that’s mostly what it means - how it came to mean “an attitude that the members of your own sex are always better than those of the opposite sex”, that’s something I wish I had the time to investigate.)

My second point is, why couldn’t someone be gay and chauvinist? Gay people are people, which means some of them are complete and utter dicks. I personally know at least two gay men who have horrific political opinions and are complete mcp despite being out and proud and sharing an apartment with a (male) partner and an assortment of cats, pianos and art books. I mean, in an ideal world, people who belong to a minority group should, like, avoid sympathizing for a majority group who’d have then hanged and quartered if at all possible, but sadly, this isn’t always the case. I still remember a thing that happened in Italy a few years back - a black guy who tried like nothing else to become a member of a Nazi ‘party’ and went all the way to court because they wouldn’t let him join. And he wasn’t doing it out of some cunning political design or anything - he actually held Nazi beliefs, but he’d apparently forgotten that, in the eyes of European Nazis, he was the ‘undesirable’ one. Whoops.

That said, I don’t see how the term applies to Dean at all. I mean, again - the definition of ‘male chauvinist’ goes as follow: “a male who patronizes, disparages, or otherwise denigrates females in the belief that they are inferior to males and thus deserving of less than equal treatment or benefit”. Now, I think I said before that when I started to watch the show, I didn’t particularly like Dean. He had this fuckboy aura, you know? The love ‘em and leave ‘em personality I just can’t stand in real men - and, well, I like to think even fictional men have to work very hard to be likeable when they’re like that. But even back then, I never thought of him as a male chauvinist. Sure, he was a bit of an idiot, but nothing more than that. Like, when he’s short and dismissive with women, that generally comes from a place of genuine concern - for instance, he didn’t want Haley to come with them to hunt the wendigo back in S02E01 because he knew she would get hurt, or worse, not because she was a girl. 

His default functioning mode is to lie to everybody, and his tactics involve, first and foremost, to maintain a safe distance from others. This normally translates into flirting and smiling, which come off as a bit assholish when he’s in a position of power, and as downright irritating when he’s not (for instance, think about how he is around police officers - the textbook definition of ‘little shit’). So there’s that, and okay. But when he’s around women who can take care of themselves, like Ellen or Jody, he never treats them any differently than he would men. I think he even discussed the thing out loud, maybe with Jo? How his main categorization there was hunter vs civilian, and not men vs women? I’m slightly feverish and out of focus right now, so I’d rather not check, but I’m sure there was something like that. And also: one of the things I like about him, and, incidentally, another argument to use against your friend, is that Dean never thinks less of a woman just because he’s slept with her. This, in my book, is the mark of a true misogynist - how they tend to divide the world between ‘bitches who won’t sleep with me’ and ‘sluts who’ll sleep with anybody, including me’. I’m currently locked in a vicious fight with a colleague of mine who’s exactly like that, and it’s truly amazing how he can both be pathetically grateful to this woman he’s seeing because, yay!, sex and companionship, while disparaging her every chance he’s got because, you know, that’s not how proper women should behave. And Dean - Dean’s not like that. The most glaring example is perhaps Lisa - how they had a weekend of dirty, dirty, dirty sex and yet when they see each other again, Dean’s not dismissive of her in any way. Just like he never says a word against Cassie, or those two hunters we know he’s slept with, because that’s just not who he is.

(This goes both ways, of course: when faced with a female opponent, Dean never underestimates her and never holds back.)

The thing is, I think your friend may be referring to performing!Dean, because, even though Dean’s not like that, the world he lives in - that’s a different story. Or, well, that’s what we believed until S11 went and shit rainbows all over our screens, because, man - turns out hunters just don’t care? That there are women who hunt alone and gay hunters who’re well-known and respected in the community and whoa, Dean got it so wrong all these years. And this, as many discussions here on tumblr have been pointing out for months, is the real game changer: not Dean’s feelings, per se, but what happens around him. Because if Dean had grown up in this world, and not his father’s - well, we don’t even have to imagine what kind of person he’d be today. We know.

2

Just finished my second run in ff type-0, had to bawl my eyes out from the ending again *sobs*

also, featuring my fave boy ace both in his original and l’cie outfit

anonymous asked:

Is it normal for an INFP to be a virgin in their 20's? Do they get partners at all?

Hello Fellow INFP. 

And here is where I am totally honest and I have no shame it admitting it. Yes and Yes. I have run into many INFPs that are virgins. Just because everyone else out there is having sex doesn’t mean you have to. Honestly I have seen so many Love Em’ and Leave Em’s that I get sick and tired of it. I am not going to just go off and have a fling for the heck of it. Plus as you age you only find what you want more and more into life as you get to know yourself. Yet we do get partners. I know 3 just off the top of my head that are married. It’s not wrong in the least to just find someone that is really compatible. I sure am because when I marry I’m planning on it for life. So NO, do not feel that it is weird, because it isn’t and you are far from alone :)

Much love from a Mid 20′s INFP

-Best Love <3