real world back to new york

The Final Proof

*A lot of people have come up with this theory, but it’s so perfect I had to write it down.

They say you learn the most from your mistakes. Mine came as I was watching “Murder Most Foul” and Charming said this:

I hadn’t really been paying enough attention to realize that he was talking about the sleeping curse that the Evil Queen had placed on him and Snow, so my mind immediately went to: What other curse needs to be broken? Luckily for me there is another curse that needs to be broken. Many of you know this, but it’s the curse that is keeping everyone in Storybrooke.

What we don’t realize is which part of the curse is still active. It’s not the dark aspects of the Dark Curse - that was broken by Emma as was prophesied/dictated by Rumpelstiltskin. No, it’s the other part that the pesky imp created that is trapping everyone here still.

The Savior curse. Think about it. The only reason Emma Swan is the Savior is because Rumplestiltskin made it so. In theory, Emma was no longer supposed to be the Savior after she broke the Dark Curse. Everyone was supposed to go back to where they were from, but that didn’t happen. Which means what? That portion of the curse, that tiny little drop, is a curse all in itself, and it too needs to be broken. When it is, Emma’s fate as the Savior will be broken; she will live.

Now you ask: But Emma was given the Shears of Destiny or whatever to cut herself from her fate and no longer be the Savior and she didn’t take it!

Well, we know how Rumple’s curse works right? A pair of pretty scissors wouldn’t break this curse because only one person has that power: Emma herself.

We’ve come full circle. Once upon a time Adam and Eddy pitched the idea that the curse would take seven years to fully break. Now we’ve reached that point. Once Emma breaks the Savior curse, Rumple’s spell that he placed on her life will break. Her Hero’s Journey will be complete, and she will return to her life in the real world, where no one needs her to protect them.

(I’ll come back to this in a minute)

So we know what needs to happen. Here I take it a step further and answer:


It turns out that we have that answer too:

Ah yes. True Love. Here’s where I know I’ll lose half of you because “Once Upon a Time is obsessed with Captain Swan. Why can’t you see that, you’re blinding yourself, stop perpetuating nonsense, wake up blah blah blah blah.”

Well, I’m going to counter that with: Why is Emma still the Savior then? If Once Upon a Captain Swan is genuinely the entire point of this show, why is Emma still fated to die?

Answer: You can’t break a curse where you’re the Savior of the fairytale characters with one of the said fairytale characters.

Here you respond again with: “Well, Smartypants, you call yourself a Swan Queen shipper, but you’ve just contradicted yourself. You think the Evil Queen can break the curse with Emma? She’s a fairytale character too!”

Well, reader, you are very clever indeed. But shall I provide you with my next exhibit:

While it was super fun to watch, Split Queen was not just done for the optics. It was a setup for endgame. The Evil Queen may be a fairytale character, but Mayor Regina Mills (like Emma and Henry) is a completely original creation of our world. Which means, like Emma, the daughter of Prince Charming and Snow White, she can live a completely normal life outside of the Enchanted Forest.

I was trying to figure out the purpose behind bringing Wish Robin Hood back, and this line really explains it:

The writers are priming us for a much bigger version of this concept. Robin is the first test of the portal system. Will it allow someone who isn’t supposed to be “real” stay in the “real world”? We know Storybrooke, by our standards, isn’t a real place, it’s a refuge for fairytale characters from many realms, so it makes sense that he passes the test in this case, but what about Regina? Will she, a person who isn’t supposed to be real, be allowed to live somewhere like Boston or New York if Storybrooke doesn’t exist. This first trial proves that yes, she will be able to because something about her is connected to our world (that thing is literally the writers themselves). They have Regina grapple with this issue- Why was wish Robin able to come here?- because she’s next, and she needs to know that she’ll be okay when she tries to stay in this world.

If Regina remains unconnected to the Evil Queen, she should be able to help Emma break the curse and remain in this reality. Will it really be True Love’s Kiss that frees Emma from the Savior Curse and sends everyone to where they belong?

I would hope.

I also hope that I’ll find $2000 on the street tomorrow, but that doesn’t mean it’ll happen.

But it’s certainly the most reasonable solution since literally every curse is broken with True Love’s Kiss…

Have you ever wondered why there’s never been a True Love’s Kiss with Emma & her parents or Emma with Hook? Perhaps part of that is because True Love’s Kiss can only work with people who are from the same reality. Since Regina had True Love’s Kiss with Henry, that means she’s a part of his reality. Part of her belongs in our world. Emma has never shared True Love’s Kiss with Hook because he isn’t a part of her reality. He’s still a fairytale character. They can get married, she can choose that life, but that means she will remain tied to her fate as the Savior. She will always be connected to the Fairytale world. She will eventually die for them.

But if somehow, Regina Mills is Emma’s true True Love; if two “real people” who were created in this world- Emma Swan the bail bonds person, and Regina Mills the Mayor- shared True Love’s Kiss (not saying they’ll make it gay like they should) then the entire curse could be broken.

I just don’t see any other way they could go with this. The show has always foreshadowed that Storybrooke isn’t supposed to last.

We know there’s going to be a “reset” for the show…

And we know that Regina is no longer connected to the Evil Queen. Everything is setting up for the fairytale characters to return to their world.

But what happens next?

A good story always comes full circle, but the hero returns home with more knowledge and is in a better place. Odysseus goes on a crazy journey with a bunch of messed up shit but eventually makes it back home. Dorothy wishes she could experience life over the rainbow, but when she does, she learns that there’s no place like home. Harry Potter steps onto Platform 9 ¾ for the first time alone, and in the last book he steps on with a family. So if in the Pilot we see Emma in her lonely Boston apartment, wishing on a star to no longer be alone, it only makes sense that the last time we see her, she’s in her Boston apartment but she isn’t alone- she has a family.

We know Henry will be a part of that family, but it’s safe to assume that Regina will be there too, because of this promise:

Unfortunately all magic comes with a price, and my prediction is that price will be that everyone forgets that any of this ever happened.

I’m grounding this theory in the fact that the last time there was a reset, that happened to half of the parties involved: Emma and Henry 

In that scenario, the Dark Curse was destroyed. The Dark Curse’s purpose was to create Storybrooke, so once it was gone, Emma and Henry forgot that Storybrooke ever existed… But everyone in the Enchanted Forest still remembered Emma and Henry because the Savior Curse still existed- they all remembered the Savior. They were able to go back and get her and recreate the bridge between our worlds because Emma was still the Savior. Once the Savior Curse is gone, everything will be wiped out. Everyone will forget that the Savior existed, and why she existed. All the fairytale characters will return to their world where their stories will play out, and all the characters from our world will begin to lead a normal life.

That life for Emma and Regina could very well be together. It’s not guaranteed, but it would certainly explain why the writers have made an effort to keep Emma and Regina apart in Storybrooke while maintaining a certain amount of tension between them- because their story isn’t meant to play out in Storybrooke. It would also explain why it’s not a topic of conversation for any of the writers or actors- it’s a major plot point,  and talking about it would be a spoiler. Lastly, Adam Horowitz said himself that they weren’t queerbaiting:

If they’re planning on having Regina be a part of Emma’s new life free from the Savior curse, then technically this isn’t a lie.

But could they make it so that Emma and Regina’s relationship is merely as platonic co-parents in the real world? Of course. But at the end of the day we would still be right: Swan Queen would still technically be endgame, and it’s still a hell of a lot better than Captain Swan.

Sit down buckaroos because I’m gonna share some historical insight with you because of ignorant people who are trying to discard the most badass character in all of feminist characters in musical theatre history and I won’t take that.
Katherine Ethel Pulitzer was a real person - daughter of Joseph and Kate Pulitzer. So there’s fact number 1 to prove she was an actual living person in the 1800’s. Fact 2. When you say women weren’t journalists back then well you obviously have never heard nor read about Elizabeth Jane Cochran also known by her pen name “Nellie Bly”. She was the inspiration behind Katherine’s character in the first place. They basically merged the real Katherine with Nellie and created this character. Nellie Bly began writing for “The Pittsburg Dispatch” in 1885 and moved to New York City two years later to begin working at “New York World”. She was known for her investigative and undercover reporting, including posing as a sweatshop worker to expose poor working conditions faced by women. She earned her acclaim in 1887 when she went undercover at an asylum on Blackwell’s Island and posed as one of the patients to get the story and in turn had launched a full on investigation on the treatment of the institution and the well being of patients (which wasn’t a well being at all with neglect and physical abuse) in said facility. In 1889 she went around the world in a record-setting 72 days, 6 hours, 11 minutes and 14 seconds in attempt to break the faux record of Phileas Fogg, the fictional title character in Jules Verne’s novel “Around the World in 80 Days”. At the age of 18 (my age) she submitted a racy response to an editorial piece that had been published in The Pittsburgh Dispatch that made sexist statements towards women. The writer was Erasmus Wilson (known as the Quiet Observer or Q.O.) Nellie’s letter grabbed the attention of the paper’s managing editor, George Madden, who then offered her a position. She later published a book about the experience titled: “Around the World in 72 Days” in 1890.
So don’t you DARE tell me Katherine Plumber wasn’t a vital asset to these boy’s story. She’s more of an inspiration to me than ANY character I’ve read about. Nellie Bly is an inspiration who makes me want a writing career. I am very much like Katherine (in more ways than just having power bangs) and because of her I’ve learned to love myself. Because of her I can get through days when I’ve got a shit ton of Senior year homework knocking me down. Because of her I’m happier. Katherine and Nellie are huge inspirations to me and if you hate either one of them just unfollow me now. Because these two are my role models and always will be❤

theories about The OA:

1. Elias (The FBI therapist):
//He planted those books under Prairie’s bed AND the violin in her closet. First of all, before Prairie went blind, she was russian, so she knew how to read in russian. Those books were english. So she knew how to read in russian (i’m assuming) and braille, and its not likely that she learned how to read that quickly after being found again. Also, she was playing her violin in New York when she met Hap. How did she bring it back home? So what was Elias doing at her house in the middle of the night? Some people think he’s working with the government to cover up stories about NDE’s, and some think he’s working with Hap to discredit her story.

2. Her real world friends are different versions or her captive friends:
// In the final episode, there is a scene where French looks at himself in the mirror and sees Homer looking back at him. They both have a cut on their forehead, along with the fact that they’re both athletes. In another scene Buck is walking to the house when he passes red flares in the road, along with a red backpack. Rachel describes her NDE being in a car accident, with a red backpack nearby. Could it be possible they’re versions of each other in different dimensions?

3. Rachel AND Hap are FBI agents:
// Something is off about her. At one point, all the plants in only her cell were dead. That has to be some kind of clue, but to what? Also, she is the only one unable to receive a movement. Hap doesn’t seem concerned about this, maybe because they both are conducting the experiment together. Maybe Rachel never even had an NDE, and is just gathering intel. The biggest piece of evidence for this is a scene in an office, where Prairie’s parent’s are talking to Elias (episode 7). On the wall, written in braille, its says RACHEL. It proves nothing honestly, but why would it say Rachel on the wall? It certainly means something. For this one, there’s barely evidence but it’s cool to think about.

These are just 3 of my favorites. I stole them from this website oops, but it gets me thinking and I thought I should share. If you haven’t watched The OA yet, go watch it. And feel free to write your own theories on this.

anonymous asked:

I saw a post a while back where Graves did die but hung around as a ghost. Would be curious to hear your take on it!

There’s something wrong with MACUSA. Something out of sync, something that little bit on edge, something… wrong.

Newt walks through the vaulted halls with Tina tugging impatiently on his elbow and it brushes icy fingers down his cheek. Tangles in his hair, catching his head and making him turn to look. Slips around his ankles and pulls at his feet as though it could carry him away.

Tina looks back at him, mouth set in a hard line and eyebrow raised, and he hurries to catch up. Something winds through the fingers she’s gripped around Newt’s arm, cold and sharp and insistent and -

There’s something wrong with MACUSA, but no one’s noticed. Newt hesitates a second too long, gaze flicking that little bit too far to the left where no one’s waiting to catch his eye, shoulders twitching in an involuntary shiver when it hovers curiously around his neck. He notices. He schools his expression to hide it, but. He notices. And it notices him.

He keeps his attention locked on Tina, his hands clutching tightly at his case but not tightly enough to be suspicious, and pretends he doesn’t see it. It floods over his eyes and fills his mouth, stoppers his nose and suffocates him, but in reality there’s nothing there and Newt keeps his breathing steady. He nods in appropriate places and signs on the dotted lines so Tina can process his wand permit, stands awkwardly to one side when she tries to hide from Abernathy, allows the rush of actions and conversations flow over him, and pretends he can’t feel the air scraping against his frozen lungs as it coils in his chest and waits.

Tina presents his case to Director Graves. The man flicks him a dismissive look and Newt’s heart stutters as something seethes with rage. He hunches in on himself and remembers to breath.

Then Graves opens the case and inside are pastries, the muggle’s pastries, and Tina drags him out to find the muggle that took his case and Newt smiles winningly at her and admits that it may have been open, just a smidge, and everything happens too fast to think about MACUSA’s something wrong.

In the court room, Graves holds out his hand and Newt’s case flies into it and something rises black and ugly in his thoughts and snarls at the thief for daring to take –

“Tina,” he says carefully, leaning against the walls of the holding cell and trying not to acknowledge it. “Have you noticed something different in MACUSA recently?”

She throws him an aggravated look and thinks he’s talking about something else. It curls around his wrists and tries to pull on his hands, straightens the fingers out to bend them into shapes. Newt slides balled fists into his pocket and thinks, as loudly as he dares, that it should leave him alone because there’s nothing he can do to help. It shushes him soothingly and rests on his knuckles like a lover’s kiss.

It winds around his neck when he sits across the table from Graves, curling up into the bone of his jaw, teases out the jagged edges of his teeth. He tilts his head down to hide their sharp points and mumbles, but he’s not even sure if the others could see the change either way. Graves brings the obscurus in with a wave of his hand and there’s a moment of puzzled confusion, then memories, pictures, knowledge flying through his mind. He relives four months spent promising a child he could help and failing to deliver; they flick past in lightning seconds.

And… there is sympathy, perhaps. A faded echo of his own grief, a malevolent watchfulness as it coils around him and snarls in his mind at the witches who lead him away. It reaches for his hands again, lengthening his fingernails to claws, and sinks into the bones as though it could lift his hands up for him and strike –

Newt keeps his fists clenched until blood runs down his wrists from the claws that don’t exist. Pickett frees him and he frees Tina and they run through the halls to where Queenie has freed Jacob, and the swooping evil takes down one of the aurors chasing them but two more stumble and fall and no one notices.

No one notices.

Queenie asks him about Leta and Newt screams his thoughts about something wrong in MACUSA and Queenie tells him he needs a giver, not a taker, and no one notices. It settles in his mind and curls around his fear and cradles it, hushes it, smothers it, until Newt’s hands shake and he buries his fingers in Frank’s feathers as though clinging on for his life and begs it to stop but it won’t.

Any icy touch runs over the scars on his back and promises him retribution, promises him he doesn’t have to be afraid again, promises him no one will hurt him again, and Newt hides under Frank’s wings and tells himself like a mantra that there’s something wrong with him, even if no one has noticed.

It drips down his spine in patient indulgence and traces the arch of his hips beneath his coat, and not even Frank’s Arizonan sun is enough to keep Newt warm.

Then - the obscurus, tearing through the city; the rush of apparition, of running, of chasing and finding and helping. It simmers, watchful and suspicious while he tries to talk Credence down; it rises in a vengeful wave when Graves holds his wand on Newt and makes him writhe; it floods into the floor and the ceiling and the walls and vines grow from every surface with poison dripping from their flailing thorns –

Newt screams –

The tendrils hover over Graves, spit and call him thief and murderer, and in the corner Credence backs away and dissolves in fear and there’s something wrong with MACUSA

Newt opens his magic to it and it solidifies into existence. For a long, drawn out moment there are two Graves. The one in his sharp suit steps back in horror, the other grins through the blood running down his face, and the shadows swarm with gaping maws behind him.

When Newt wakes, he is carried in someone’s arms. His magic is a pitiful wisp at the bottom of his reserves, flickering out as soon as it regenerates, and the hands that hold him are cold like carved marble. He can see the rain hitting the pavement and the headlights of the cars driving past, but he doesn’t know where he is. He can’t see the man that carries him.

“Shh,” the man whispers to him, brushing his hair out of his face with a tendril of inky shadow. It leaves a tacky smear, something cloying and sweet, and when Newt gasps for air nothing rattles through his hollow chest. He’s cold. The world fades in and out and his magic is draining into the dead man that carries him, there’s rain hitting the pavement but Newt feels nothing against his skin, the muggles drive past in their cars and hurry past in their coats and Graves - the real Graves - carries Newt through the crowds with darkness swirling around his feet.

There’s something wrong in New York city, and it cradles Newt against its chest like a precious thing and coaxes him back to sleep.

No one notices.

anonymous asked:

Hello! So I was scouring the Internet for advice today but I couldn't find any on this topic. My problem isn't that I don't have any ideas (I probably have too many) but the problem is that I don't LOVE any of my ideas. I like them. I think they're all fine ideas. But liking them isn't going to motivate me long enough to finish a novel. How can I give my ideas that extra uumph to make me love them? How can I figure out what's missing or why I don't feel this way about any of my ideas?

Hello, nonny!  What a challenging question…  This one’s been in my inbox a couple days, just because it’s such a big question.  But I’ve thought it over and I think I have some ideas for you :)

The Thrill Is Gone – How to Find It Again

So generally, there’s no one answer or cure-all to this problem.  I’ve had this issue multiple times, with different causes.  My first novel didn’t have enough meat to the plot; my second novel had been over-planned in my head to the point that it no longer excited me.  My third novel had way too much plot, so that by the time I got ¾ the way through, I’d written over 200K words and felt sick of the idea.  I started my fourth novel way too soon, and am now going back and planning it more!  So there are obviously many different reasons that a story doesn’t take off (or dries up eventually).

The first step is to figure out what’s missing, like you said.  There are a few aspects of your story to assess…

1. Plot

I’m discussing plot first because, to me, it’s the most important part of fiction.  Plot, conflict, and stakes are foremost to my stories.  You could have the most complex and sympathetic characters, but without plot, they’re static and become boring.  But for some reason, this is the part of story ideas that new authors neglect most!

So if your story has great characters and an immersive setting, but you can’t get into it, try asking a few questions about your plot:

  • What is the point of the plot?  What’s the message you’re conveying in the story?  Even if your story isn’t an allegory or a metaphor or the next Chronicles of Narnia, there should always be a conclusion to which all plots arrive – otherwise, the story can feel aimless.  The best way to find your message is to look at the conflicts involved (e.g. Man vs. Man, Man vs. Nature, etc.) and find the “winner”.  What worldview, belief, or concept “defeats” the other concepts?  It can be as simple as Good vs. Evil, or more complex, like Loving the Sincere Drug Addict vs. Settling for the Selfish Dentist (provokes the question “Is love worth danger in relationships?”).
  • Does the plot have ups and downs?  And really consider both ends of the spectrum here.  Stories become dull if they are made up of victory after victory – or if they’re made up of nothing but loss and tragedy.  No matter the genre, you have to strike some sort of balance, lest the story become predictable and emotionally non-engaging.  Find victories and failures, even in unassuming places, to keep readers invested and hopeful.
  • Do you have a satisfactory ending?  Or do you have the ending     planned yet?  I’ve found that I can’t really commit to an idea unless I see a resolution – otherwise I feel too nervous to start.  If you do have an ending planned, make sure it’s the right ending.  It can feel like there’s one possible conclusion, and once you’ve found it, you stick to it – but question it, brainstorm it.  It may not be a happy ending every time, but when you find the right one, you’ll know it.
  • Do you have the right plot at all?  Look at your story as a whole.  Does it start too early or too late, relative to the real meat,     the real action?  Is it told from the most impactful POV?  Does the plot cover too much ground for one book, or is it not enough to fill the pages?  Consider all the characters, backstories, and subplots you have, and ask yourself if any of them are more interesting than the main plot.  If so, shift your focus.  Use them instead.

2. Characters

Maybe it’s not your plot that’s going sideways.  Maybe you have it all worked out – the head, the tail, the whole damn thing – but it still doesn’t feel right.  It doesn’t feel like it’s coming to life, somehow.  It feels flat.

That can be a character problem.  It would be like sitting by the campfire and hearing the most fascinating, horrifying story, except it’s told by a man with The Most Boring Voice Who Talks So Incredibly Slowly and Takes All the Fun Out of Everything.  An example: The Hunger Games.  Those books bored the crap out of me.  Unless someone was being killed or Haymitch and Effie were interacting, I just didn’t care.  And those books had a great plot behind them!

So here’s what you need for a good cast of characters:

  • A solid protagonist.  Solid = three-dimensional, empathetic, and relatable; having a goal, an internal conflict, a self-image, and fears or shame.  They should have different facets of themselves – their head and their heart, their desires and doubts, and that little voice in their head that says, “Give up on that.  Be realistic.”  Give them strengths, weaknesses, and a couple of bad habits, for kicks.
  • A variety of supporting characters.  You don’t have to have thirty characters + six secret characters stuffed under your trench coat; but with however many characters you have, make them as different from each other as possible.  Give them some similarities, of course, so that they can relate to each other – but never make them so close together that you have to decide, “Who should say this line?  Character A or Character B?”  Make them unique enough that the words come out of their mouths, instead of you having to decide where to put the words, yourself.
  • Relationships, relationships, relationships.  And I’m not talking about romantic relationships.  I mean, sure, those too – but there are many different kinds of relationships to explore.  Friendships, enemy-ships (?), parent relationships, sibling-ships, silent alliances, “annoying friend-of-a-friend”-ships, “my-ex’s-little-sister”-ships, “you’re-the-ruler-of-the-galaxy-and-a-Sith-lord-but-also-my-dad-please-stop-being-evil”-ships…  You get the idea.  Make them unique, make them strong, and allow them to evolve over the course of the story.
  • Diverse morals, interests, and personalities.  My first short stories focused on white middle-class people who were culturally and politically identical.  They lived in one house, usually, and watched the same TV shows and made the same references.  They had the same sense of humor.  They rarely disagreed on anything that wasn’t clear-cut (e.g. “You drank the last Pepsi!”  “I was thirsty!”).  So do yourself a favor and don’t make my mistakes.  Give your characters unique ethics, cultures, backgrounds, personalities, goals, appearances, and conflicts.  You’ll be more invested by then, I’m sure.

3. Setting

Lastly, I’d like to add that while your characters and plot could be well-developed, there’s always a chance that they’re placed in the wrong setting.  This is why many story ideas can seem great, but won’t get off the ground – maybe they’re set in a pre-made universe like Middle Earth or Panem when they could be their own story.  Maybe your tragic romance is set in the middle of apocalyptic war, when instead, it should be drained down to a period piece.  Maybe your story is perfect, except you’re writing it too close to home – in the real world, in the present year.  There are a million factors to picking the right setting, including:

  • Applicable history and culture.  If you’re writing a story about someone who’s oppressed, or someone who’s a politician, or someone who’s a witch, you’re going to need to back that up with history.  Develop a history for the oppression or politics or witchcraft – where these things began, how they developed over time – and a culture for them now – how oppressed people survive and how witches in your world interact, etc.
  • Imaginative scenery, influenced by the characters.  Even if your story takes place in New York City in 2017, allow your characters’ living spaces and workplaces to have a unique touch – colors and quirks that your readers can see in their mind.  If even you can’t see what you’re writing, inspiration is going to be difficult to find.
  • A lifelike background.  Just because the plot focuses on your characters does not mean everything going on behind it should be quiet and dead.  Anyone who looks out a window in a city building can see other people living – people on the highway will see other cars taking other people other places.  Everyone who has a friend will hear a little something about their friend’s siblings, their friend’s friends, their friend’s neighbors.  Life and stories exist outside of your plot; make sure you’re not writing about a ship in a bottle.
  • An aesthetic.  That sounds gross and teen-tumblr-y, but let me tell you personally: I don’t feel truly ready to write (and love) my story until I can hear the music for the future movie adaptation – until I can see the kind of clothes the people wear, the games they play, the places they eat and shop.  I think of the colors and themes in my scenes (e.g. my first novel was set primarily at night in a grunge/city setting; my current novel is very green and outdoorsy and gives me that feeling of bonfires just after sunset).  Once you get that “feeling” from your story, you’ll know it.

Anyway, this reply took me like three days to write because I really wanted to get into it.  I hope some of this helps you to fall in love with one of your ideas, so you can get started :)  If you have any more questions, be sure to send them in!

(I have 26 questions in the inbox, though, so be patient with me…)

If you need advice on writing, fanfiction, or NaNoWriMo, you should maybe ask me!

How we actually met (1/1)

Summary: Two ladies develops love online. They both travel around the world separately as their jobs. They only knows each others first names. Now they describe how they meet in person.

AN: Non Power Rangers AU. Modern AU.

So this is based off of a short film called Modern/Love starring Naomi Scott. You can choose to either read the story first or watch the video first. If you choose to read first, it will be spoilers for the video and vice versa so yeah… You choose.
It’s a great 10 minute short film and I highly recommend it.

Read on FF Ao3

They met online accidentally.

Trini was suppose to message a partner from work when she mistyped the username and started chatting with Kxmberly, a woman named Kimberly who had an icon picture of an aesthetic pink background and a silhouette of a women (Trini presumed it was Kimberly).

Meanwhile, Trini had the username TriniBee with the icon of a selfie, one hand covering half of her face.

It’s been 6 months since the two have been chatting online, they were confident with each other that the person on the other side of the screen was not a troll or some creep on the internet. At the same time, they also made a mutual agreement to no pictures and no last names until they meet personally just to make it more intimate between the two of them.

Keep reading

She’s a No-Maj? (Newt x Reader)

Originally posted by hardyness

Request:   Could you do one with muggle!reader that lives inside Newts case and helps him with the creatures but the gang hadnt met her yet so theyre really curious about her but Tina’s apprehensive cuz of her being a muggle? Even more cuz they’re together?  - Anon

I actually really liked this one

ALSO we are going to pretend in this imagine that Jacob somehow got out of being obliviated

ALSO the ending might have been a bit abrupt but that’s what you’re getting this time sorry lol

One thing was vastly different about you.  Something MACUSA would not allow, but of course something Queenie would love and support.

You were a muggle.  (Or, No-Maj in American terms).

You were indeed from Britain, so you and Newt’s relationship was legal there.  But Newt decided he absolutely couldn’t survive in America without knowing you were with him, and your relationship became illegal as soon as Newt stepped off the boat with you in his case.

Yes, once Newt knew about the law in America that says a wizard cannot be in a romantic relationship with a No-Maj, he knew it was not safe for you to be seen with him; and told you it was best to stay in the case for now.  You knew it was for the best too, so you did so without protest.

When Graves confiscated Newt’s case at MACUSA, he became a nervous wreck.  When Tina thought Newt was quietly weeping in the corner of the cell because of his creatures, it was actually (mostly, anyway.  We all know  Noot loves his creatures too, but not as much as you) because he was terrified of the thought of you getting discovered and obliviated so you would not remember him.  

Newt couldn’t picture a world without you.

After that whole messy situation, and Newt saw the love Jacob and Queenie shared, he realized there was no reason to keep you hidden from them anymore.  He carefully explained it to Tina, Queenie, and Jacob.  Queenie and Jacob were very excited to meet you, but law-abiding Tina was a tad hesitant.

As Newt was about to climb down into his case to bring you up, Tina began to speak.  “Newt, you’ve been keeping a No-Maj girl in your case?  And you brought her to America?  And, even worse, you’re a couple!?”

Newt looked up at her.  “Yes.  I love her.  Her name’s Y/N,  by the way.  Her and I both knew the risk we were taking when we came to America, but that didn’t prevent us from coming, did it?”

Tina nodded and sighed.  “Newt.  It’s illegal.”

Newt looked at Tina with a ‘seriously’ face.  “Tina.  Look behind you.”

Tina looked behind her and saw Queenie standing with Jacob.  Oh, right.  Her sister fell in love with a No-Maj.  “I know…” but she had clearly forgotten.  “But, that doesn’t give you an excuse to why you have kept her hidden from us this entire time.”

“I’m sorry, Tina, but after you turned me and my creatures and Jacob into MACUSA where my creatures could have been killed and Y/N could have been obliviated, you didn’t seem like someone I trust and could show my muggle girlfriend too.” (I had to throw some sassy™ Newt in there)

Tina’s eyes widened and she frowned.

“I’m afraid he’s got you there, Teenie.  Now come on Newt!  I want to meet your lovely Y/N,”  Queenie said excitedly.

Newt smiled and went down into his case.

**A few minutes later**

Newt got back out of the case, and stuck down a hand to help you up.  “Everyone, this is Y/N.  My love.”

You stepped out of the case and observed your surroundings.  You haven’t seen the real world since you had arrived in New York.  

You grinned at everyone.  “Hello, everyone.”  You walked over to Queenie and stuck out a hand.  “You must be Queenie.  Just as gorgeous as Newt has described.”  

She giggled and shook your hand.  “Aw, thanks sweetie.  Newt’s quite the lucky man to have a girl such as you.”

You went to Jacob.  “Ah, and your my fellow muggle.  Or, No-Maj.  Jacob, isn’t it?  I remember hearing you with Newt in the case.”

He smiled and also shook your hand.  “Yeah, I am.  It’s nice to meet you, Y/N.”

You approached Tina.  “And you’re Tina, if I’m not mistaken.”

She shook your hand with less enthusiasm as Queenie or Jacob.  “Yes.  I must ask, why did you come with Newt all the way to America when you knew the risk you were taking?”

You glanced back at Newt.

“She asked me the same thing, love.”

You turned back to Tina as Newt came up behind you and placed an arm around your waist.  “Because we love each other.  More than anything.  Newt here can hardly stand being apart from me for a day, and the same goes for me.  I was willing to come to America because he needs more help with his creatures than you might think.  We prefer to be only a moment away from each other. Not an ocean.” (Hamilton reference  *wink*)

Tina’s stern look softened when she saw the way Newt looked at you as you spoke.  She realized you and Newt truly loved each other and needed each other.  “I guess if my sister can have a No-Maj boyfriend, I suppose Newt can have a No-Maj girlfriend.  I’m sorry if I seemed rude at first…”

You smiled sympathetically.  “It’s fine.”

Newt suddenly pulled you in for a kiss, which you gladly responded to but pulled away rather quickly.

They all laughed.

“Newt!  Don’t start snogging with me in front of them!  I thought you had manners,” you joked and kissed his nose.

Please let me know what you thought of it and what I could do better next time!

Mark Ruffalo Honored at The Turtle Conservancy's Ball

Activists, artists and celebrities graced the green carpet at New York City’s Bowery Hotel on Monday night for this year’s Turtle Ball, where Mark Ruffalo was honored. 

“The Turtle Conservancy is such a well-known and respected organization that does real work and puts so much money into its work. It’s not about self-aggrandizement, making money or building a career - it’s simply about returning some of the greatness you’ve been given back to the world,” Ruffalo told The Hollywood Reporter.

With Sarah Silverman as master of ceremonies and event hosts Edward Norton, Drew Barrymore, Rashida Jones and Fisher Stevens, as well as Eric Goode, resident and CEO of the Turtle Conservancy, and Brian Sheth, chairman of Global Wildlife Conservation, the gala was packed with stars who strive to make the world a better (read: more turtle-friendly) place.

And if you’re wondering why Ruffalo has a soft spot for turtles along with all the other areas of activism he’s involved in, there’s a simple explanation for that: “It’s funny that I’m getting the turtle award, but I relate deeply to a turtle,” he said. “I’m really an introvert even though I’m an actor - I’m a bit of a loner, I’m deliberate, I stick with one mate, and I’m in for the long haul.”

Read more: The Philanthropy Issue: The Industry’s Protectors of the Environment, Arts and Education

lozenger8  asked:

What kind of nerdy interests do you think Sam and Bucky would be surprised to find they share?

For Sam, it starts with an elementary class trip to a planetarium.

The lights dim and the dome above them glitters with stars and even though everyone else is still giggling, Marisol poking him in the ribs to get his attention and Ben trying to tell him about the math quiz he’s sure he’d bombed, that’s it. Sam is sold.

“Did you know,” he says that night, hopping from foot to foot with excitement, “the Milky Way, it’s got four hundred billion stars.” It’s a number so big he can’t even hold it in his head. Just squints out the window as if he’ll be able to see any one of those four hundred billion through the dull glow of the city sky. His mom smiles.

“I didn’t know,” she says. Kisses his forehead. “Guessing I’ll be hearing a lot more of those facts real soon, huh.”

He gets a book about the universe for his birthday. A star map for Christmas. They stick plastic glow-in-the-dark stars onto his bedroom ceiling, all his favorite constellations. Orion and Pegasus and the Lyre, Vega bright enough he can spot it even in the Harlem night sky.

They don’t fade. Still there when he and Ben get a little drunk on the beer Ben’s cousin buys him. Still there when Marisol (and Kate, and Arthur, later,) kiss him cautious and a little daring, his bedroom door still open just like the house rules say it’s gotta be.

Still there when his dad isn’t, and that’s wrong, that’s not how it should be, his dad’s supposed to be here forever, isn’t he? That’s what dads do. That’s where Sam’s dad should be.

When Sam flies, it’s like he’s up in the sky right there with the stars. Like he could just reach out and touch.

“Man, watch this,” Riley says, and loops tight and twisting, wings flaring out, and his laughter is as bright as the stars are in this sky where the stars are unfamiliar and there’s no light pollution to dim them at all.

(The stars are still there when Riley’s gone, too, and Sam stares up at them dully for hours. Days. Weeks and months. They’re nothing but shitty yellow plastic, and he’d hate them if he had the energy to hate anything.)

The back door is open, and Sam can’t sleep, and he steps outside just to take a breath, that’s all. Except someone’s already on the deck, stretched out on their back like they’re taking a nap, and Bucky’s arm glints in the moonlight.

“Sorry,” Sam says. “I just-”

“Couldn’t sleep?” Bucky asks. “Yeah, that’s familiar.”

“So, what, you thought you’d try it out here?” Sam says, can’t help but be curious, and Bucky tilts his head back to look at Sam leaning in the back doorway. Huffs a little.

“Nah,” he says, “it’s just-” Goes silent, and looks up at the sky for a long time. “Did you know,” he says, when he’s been quiet for long enough Sam thinks the conversation is over already. “Our galaxy. It’s got four hundred billion stars in.”

“Yeah,” Sam says, blinking in surprise. “Yeah, I did- I did know.” It’s enough that he sits his ass down next to Bucky, wraps his arms around his knees, tilts his own face up to the sky. Their safehouse is far out, away from any cities. The sky is brighter than anything he’s seen in years.

“Wish I had a telescope,” Bucky murmurs. “You know, when I was real little, they thought the Milky Way was the only galaxy in the universe? Then that Hubble guy showed up. I used to read a lot. Expanding universe and all that. Entire galaxies outside our own. Worlds and worlds, receding off into infinity.”

It’s more than Bucky’s ever said to him in one go. Sam takes a breath, feeling the cool night air fill his lungs right up, and exhales. Lies down, and stares up at the stars, carefully not looking at Bucky.

“New York sky bug you back then, too?” he asks, very casually, and Bucky laughs.

“Oh my god, the smog, it was fuckin’ awful,” he agrees. “Light pollution’s worse nowadays, but at least we don’t burn as much coal for heat, Jesus.”

“That one there,” Sam says, reaching up to point, “it’s Vega,” and he knows Bucky must know, but he’s leaning over a little closer. Drops his arm back down, closer still, and thinks about the distance between galaxies.

“Yeah,” Bucky says, very softly, “yeah, I know, it’s beautiful,” and links his little finger with Sam’s. The universe expanding, and Sam feels it all in that one small touch.

Drabble Challenge 5

Anonymous said: Hiii can i request a one shot with 14&30&29 with Steve x Reader :) 💖 

14. “They’re so cute when they’re asleep.” 29. “How is my wife more badass than me?” 30. “Be you. No one else can.”
Prompts here

Characters: Steve x Reader, Bucky, Sam
Word Count: ~600
Genres: fluff

Originally posted by marvxl-trash

Masterlist here

“Hey! Bucky just kicked my seat.” You glanced at Sam, hands still on the wheel.

“No I didn’t.”

“He’s just mad I called shotgun.”

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Sometimes, I really do wish there were a delete button for conversations. I’m sure I’m not the only one who would love to have the option to take back what’s been said, to nullify the hurt we’ve caused, to turn back time and destroy every last bit of regret tormenting our hearts. Sadly, we live in the real world, where even emails and texts, snapchats and instagram posts can’t just disappear and be forgotten. At least we can all suffer the torment of our choices together, whilst melting into the sweet aching bliss that is Teflon Sega’s new song Deleted Conversations. The enigmatic New York crooner first caught our attention a few months ago with Beretta Lake. He’s now back with a new collaboration with co-producer WAJU to send us to gooey nebulous, creamy levitating electro R&B heaven. There’s no doubt you’ll be pining over someone by the end of this song. Perhaps it’s a ghost from the past. Perhaps it’s someone new you’re wild about.

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Imagine being Sonny’s sister and Jamie’s girlfriend and worrying about how the Reagans will react to you when you first meet them

(A/N: For @xcastawayherosx who requested this. Hopefully, I got all the details right and you and everyone else enjoys it!) 

Imagine being Sonny’s sister and Jamie’s girlfriend and worrying about how the Reagans will react to you when you first meet them

“Well, do you think that’s reasonable?” She asked, raising her eyes up to look straight at you.

“Of course not,” You sighed, digging the back of your head into the cushion you were resting on, “But I never claimed that my thoughts were rational.”

“I know you didn’t,” She chuckled, “But you’re the one says that in your job you need to be rational in my job. So perhaps next time you feel like everyone is staring at you why don’t you use that rational side and rationalise the situation. Is anyone really looking at you or they really looking at their phones or the person they are with instead, How about you just think about that next time?”

“I could try that.” You nodded, “I don’t think Jamie will appreciate another anniversary dinner at my apartment.”

“I think our time is up.” She announced after gaining at the clock on the wall and standing up, “Same time next week?”

“Uh huh,” You agreed, “I have feeling it will be very eventful, especially after this weekend.”

“I think it will be fine,” She smiled as you both headed for the door of her office.

“Let’s hope you are right.” You commented.

“Don’t you usually find that I am?” She countered, opening the door to reveal the little hallway before the waiting room.

“That’s a lot of cheek for someone I pay.” You joked dryly in mock offence.

“I’ll see you next week, Y/N.” She waved off.

“Seeya,” You replied,before walking down the corridor through to the reception and the waiting area.

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Fantastic Beasts Character Review

Because, as stated before, the characters alone make me prefer the Fantastic Beasts series to the originals.

Spoiler Alert!

Newt Scamander: Starting out strong here. God bless this small awkward bean. I’m such a sucker for cute fictional boys that have a hard time interacting with humans and are full of a lot of sadness but still want to see the best in the world and Newt is no exception. I fell in love with him within ten minutes of the film, and I remember seeing the previews and thinking, “oh no, not another cute fictional boy for me to obsess over.” The way he sort of latches onto people that he has a good feeling about is adorable (ie. Jacob), and I love how trusting he is as soon as he realizes that the Goldsteins and Jacob are on his side. The Hufflepuff Newt is made very clear, as he is extremely loyal and hardworking with his passions. And his awkwardness is conveyed very well and realistically – not like teen comedies where an obviously social and gorgeous teen is all, “lol look at me i’m so awkward and relatable :3″. Newt obviously CAN talk to people, and he knows how to, but he doesn’t have the charm or way with words that Queenie or Jacob have. He’s an introvert who interacts better with creatures than humans, and I think that’s how a lot of “awkward” people feel. Altogether, Eddie Redmayne (god i love him) did a FANTASTIC job portraying Newt’s big heart and reclusive tendencies and I am beyond excited to learn more about Newt (and his brother !!) in coming films.

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Little Wonder

Request: This is kinda sad but could you write a reader x bucky where the reader drowns on a mission and he is the one to find her? Maybe she comes back, maybe she doesn’t? Your writing is fanfreakingtastic

“Y/N!” Bucky shouted as he leaned over the railing of the boat, looking down at the water as he tried to find you.

“Y/N!” He kept shouting, leaning further over before Steve came up behind him and pulled him down.

“Bucky! She’s gone!” Steve yelled at his friend who couldn’t take his eyes off the water.

“No! She’s out there! She’s gotta be!” Bucky yelled, pulling himself out of Steve’s grip and leaned over the railing again.

At first you were scared. The coldness of the water made you want to fight for you life, it made you want to claw your way to the surface. The coldness reminded you that you wanted to live, but when the cold subsided and water filled your lungs, all you could feel was peace. You watched as your hand drifted further away from the surface, you watched as the sun’s reflection danced across the top as if it was taunting you but you didn’t mind. The current and lack of effort of trying to stay alive dragged you closer to the ocean floor. You had always thought that you might have some sort of epiphany when you’re about to die, like maybe you would understand the meaning of life or you would find the will to live, but as you sunk further all you could think about was how right everything felt. There were no flashes of images from your past that flew before your eyes, there were no coherent thoughts or voices telling you not to give up; just complete and utter silence. Your bottom was the first thing to hit the hard sandy floor, then your back and then your head, hands and legs. You laid on the ocean floor like a battered, fallen star and you felt like one too. The last thing you saw was the sun shining on the surface, glimmering on the water as it waved goodbye to you. Once you closed your eyes you felt at peace, like you were home.

“I got a visual!” Tony exclaimed as his suit relayed an image of you on the bottom of the ocean.

“Y/N,” Bucky breathed out as a hand covered his mouth. He was unable to move, too stunned to comprehend what had happened.

“We gotta get her,” Bucky could hear Steve say in the background, but all he could focus on was the monitor that showed your lifeless body. Your arms were limp, moving with the ocean currents, your head turned to the side as a particularly hard current moved throughout the floor. Bucky could see the peacefulness that covered your face, there was no agony, no horror, and no look of being scared on your face and that worried him the most. Did you purposefully not fight your way to live? Is this what you wanted? No! It couldn’t be. You and Bucky were destined to be together, he thought you were happy with him, with the team.

“I got her!” Tony exclaimed as he guided his suit to pick you up and slowly pull you towards the surface. It didn’t take long before your body made a small splash as it reached the top with the suit. Bucky stepped away from the railing to give Tony extra room to put you down.

“Someone do something!” Natasha screamed as she kneeled beside you, cradling your face in her hands as she whispered Russian words of comfort. Bucky immediately crouched on your other side and placed his hands on your chest, pressing down and releasing before counting to three. He’d stop and then breathe into your mouth. This process happened for what felt like forever and even though the others had lost faith, he still kept on going.

“Bucky,” Natasha whispered under her breath, “she’s gone,” she said as she stroked your cheek with her index finger.

“No!” Bucky huffed as he continued to give you CPR.

“Bucky. She hasn’t had oxygen for over three minutes, she’s dead. And if there was the slightest possibility that she returns, her brain damage could be extensive,” Bruce spoke up, looking over Bucky’s shoulder.

“I have to try!” Bucky shouted as he continued his compressions on your chest.

“Buck,” Steve said as he placed a hand on his shoulder, “it’s over.” Bucky slowly stopped the CPR and soon he draped his body over yours, crying into your shoulder as he sat down and picked your limp body up. He held on to you with everything he had, after all, you were his world.

Suddenly, your hand twitched and Natasha gasped.

“Did- did you see that?” She quickly asked as she looked around the group, pointing to your hand.

“See what?” Clint asked as Bucky pushed you away from him a little.

“Her hand! It moved!” Natasha screamed. Everyone’s attention went to your left hand as it hung in the air, resting partially on Bucky’s arm. It took a few seconds, but it twitched ever so slightly again.

“Y/N!” Bucky said loudly as he carefully placed your body down on the deck and started CPR again. Natasha held onto your twitching hand, squeezing it softly as she spoke to you, asking you to wake up.

“C’mon Y/N,” Steve muttered from behind Bucky.

“C’mon little wonder,” Tony mumbled as he moved away from the crowd, running his hands through his hair as he took a deep breath in.

“Y/N! C’mon baby!” Bucky shouted and soon enough you were coughing up water. You turned to your side and tried to lift yourself up as you continued to spit up the water that had once filled your lungs.

“Buc-bucky,” you said in a strained voice.

“Shh, baby girl, shh. I’m right here,” Bucky responded. He lifted you up on to his lap and hugged you, whispering sweet nothings into your hair as he rocked you back and forth. Natasha gently patted your back as if to help the water escape your body. Tears had started to form in her eyes as she watched her best friend come back to life.

“Bucky,” you said in a whisper, “I love you.” Bucky took your face in his hands and pulled you back from him. He looked at you with nothing but love and admiration. He quickly glanced up towards the sky and muttered a thanks to whoever was listening before crashing his lips onto yours.

“I love you Y/N. I love you so much,” Bucky mumbled as he hovered over your lips.

“I’m sorry,” you cried out. You knew it was your fault. You remembered how you made the decision to stop trying to reach the surface, you remembered how you enjoyed the feeling of peace as it washed over you as you plummeted towards the floor.

“Shh, baby, shh,” Bucky kept repeating.

“It’s my fault. I’m sorry,” you kept saying, as if it was the only thing you knew how to say.

“It’s gonna be alright. I love you, we love you,” Bucky responded as he rocked you back and forth in his lap.

“Welcome back kiddo,” Tony said as he walked back over to you.

“I’m sorry,” you mumbled into Bucky’s soaking wet shirt.

“Kid, you’re not a real superhero unless you’ve sacrificed your life to save millions. Look at Rogers, the guy who froze himself to save the world. Barnes, the man who’d rather die than live with his mind. Me, the man who shot himself into the wormhole in New York. You’re a real superhero little wonder,” Tony explained as he kissed you on the forehead.

“Little wonder, the superhero,” you chuckled, “I like the sound of that,” you said as the team laughed.

“And she’s back,” Clint said as he gave a small pat on the top of your head before heading back to the boat’s control room.

“Little wonder. You truly are a wonder,” Bucky murmured before giving you another kiss.

tags: @maligayax @writingruna @kuroko-no-lover @lets-imagine-fanfics @adelinepop @james-babechanan-barnes @no-not-without-you @justareader @gwinryelle @petlaufeyson @buckysmotorbike @danleto97 @re2d2 @sarcastiel-assbutt @sinnamon-barnes @redroomproperty @svpergvnn @themisavengersofme @fangirlwithasweettooth @catsoftheapocalypse @pottersassy

My Fair Warrior: Part 11

Setting: New York City, New York, USA, 2021

Summary: When Feyre’s past comes back to haunt her, she decides it’s time to move forward. And that it’s finally time Rhysand has the date she promised him.

Ship: Feysand

Rating: T

Word Count: 4,827

A/N: Part 11 of my Modern AU. We’ve moved on to ACOMAF now. As before, some lines come directly from ACOMAF and belong to Sarah J. Maas. Also, yes, there’s some bending of the timeline thanks to human healing times and real-world logistics.

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kisseshannibalanddraco  asked:

Please can we talk about CREEDENCE BAREBONE and PERCIVAL GRAVES?????

So after seeing the movie and reading the script (it was on sale and I’m a weak, weak person) I am in love with Credence (and I want Graves to do filthy horrible things to him).

I’m not sure what specifically you would like me to talk about, but I did just think of a fun alternate ending where Credence does attack and kill Graves/Grindelwald while in his Obscurus form, which reveals Graves is actually Grindelwald post mortem.

  • Credence lives in the end. He’s taken in by Tina and Queenie because they’re good witches, but mainly because their home is near the MACUSA headquarters (where he would be staying if not for Tina and Newt persuading President Picquery and also for the fact that Credence did technically kill the most wanted/dangerous dark wizard, so she can give him a bit of wiggle room).
  • Tina is in charge of looking after him while they figure out what to do with him and they look for the original Graves.
  • Who they find a week later because Graves, without Grindelwald holding him captive with his magic, has escaped and managed to travel back to New York via no-maj transportation (Graves is so gaunt and looks beat up as hell, but so happy too, he’s a tough son of a bitch). Graves gets the story of what happened from Picquery. Is pretty insulted that no one noticed (he’s reevaluating some things about himself now). 
  • Learning about Credence he goes to meet the no-maj turned squib turned Obscurus turned world famous wizard overnight (because even the real Graves, who is admittedly a bit of an asshole, thinks he should congratulate the kid and apologize for the person who wore his face and the fact that if he had been stronger/quicker/better they could have all avoided this mess in the first place).
  • (Self esteem issues are dangerously high at the moment)
  • He doesn’t say any of that though (so much pride, just so goddamn much okay).
  • When Credence and the real Graves come face to face Credence, who has been on edge this whole time (everything is happening too much) breaks down and cries and Graves not used to having to deal with emotions, his or other people’s, does what his mother would have done and hugs the poor guy, patting his back in the most awkward way a wizard ever has.
  • Tina and Queenie are watching from inside, eyes huge because THE Graves is being a human being and it’s a once in a lifetime moment.
  • Credence gets tears and snot all over Graves (Graves doesn’t really mind he totally does and magics it all away with the obligatory flick of his fingers and tells Credence ‘You’re all right’, which then makes Credence cry even more, the exact opposite of what Graves was aiming for).
  • At some point Tina and Queenie finally manage to persuade Credence to move back inside (he won’t let go of Graves and Graves is kind of okay with it he’s loving it after months holed up alone and it doesn’t hurt that Credence is pretty goddamn adorable)
  • Queenie makes them lunch, Tina has to bite her cheek to not ask the millions of questions building up in her head, Credence has finally unclung himself from Graves and is now hunched over the table, blushing so hard he might burn a hole straight through the foundation of the building and avoiding all eye contact while making himself as small as possible, and Graves is balancing eating literally everything and trying to subtly look at Credence (he is starving, hungry for steak and making out with cute men and he’s already got a plate full of steak)
  • By the time Graves leaves to head back for MACUSA, Credence manages to get his tongue under control and holds his hand out, “Nice to meet you, Mister Graves.” And maybe it’s because he’s had lots of time on his own and he’s got a belly full of good food and the sky is blue and he can actually see the sky after so long without, Graves shakes Credence’s hand with both of his and tells him to “Call me Percy.”
  • Credence is blushing so hard Tina is actually worried and is tempted to pick him up and lay him on the sofa
  • Graves is on the street and half way to MACUSA when he lets himself grin, so light on his feet he might fly away, and thinks, ‘oh yeah, I’ve still got it’.
Thinking About Travel

Last year in mid-November, I took my first ever real vacation. For my 38th birthday, I got on a plane, and went across the other side of the continent to see the ocean and eat the foot and get a sense for the lay of the land. I went to New York City, and I’ve dreamed about going back ever since.

But I’ve never been anywhere else, not really. Never been to London, or Hong Kong, or Jamaica… I’d like to travel more. I’d like to see things and eat things and just be out in the world.

What I can’t decide on, is where to go next. My 39th birthday is gonna happen soon enough and I’d sort of like to do another bit of travelling for it. But where would I go?

Honestly, I feel like I could just go straight back to NYC, no regrets. Every moment of being there was so rich and fulfilling, I can’t imagine a better place to ever be. But I’ve never been anywhere else, so my options to imagine are rather limited. 

I don’t really want to go anywhere rural, because I grew up rural, and I hated it. I love being in cities, in big cities, and just walking around and looking at things, feeling emotions and taking in all the people and smells and the sights and the sounds. 

So where should I go next? A different country? More of my own? I’ve never been to Toronto. Or anywhere, really. Pick a place on a map; if it’s outside of BC, I haven’t been there. Mexico. Brazil. Anywhere. 

I could go anywhere. I could see and do almost anything.

But I might just go back to New York City. I’m not sure. But it’s like a song I can’t stop singing under my breath. I dream of it, of being there, of being back, of seeing it all, of eating their pizza and burgers and falling in love with every side-street.

What do you think? Where would you go?