A meet cute is a fictional scene, typically in film or television, in which a future romantic couple meets for the first time in a way that is considered adorable, entertaining, or amusing.
A) At a weekend barbecue of a mutual friend, Muse A and Muse B touch hands as they both reach for the last drink in the cooler.
B) At the beach, a particularly strong wave knocks the swimsuit right off of Muse A; Muse B is the first person to wander near enough for Muse A to discreetly ask to borrow their beach towel.
C) Coming home to a broken A.C. yet again, Muse A strips down to their underwear to stave off heatstroke and calls their friend to bring over a spare fan; Muse B (any relation to the friend) shows up with the delivery instead and is unexpectedly greeted by a half-naked Muse A.
D) Muse A is desperate to find relief from the summer heat and decides to sneak in to the local country club’s private pool. Muse B is an employee of the country club and spots Muse A just as they pop through the just-big-enough hole in the fence near the edge of the property.
E) While on a camping trip with a small group of friends, Muse A wanders off to use the bathroom; they get turned around somehow on the way back and end up at Muse B’s tent.
F) Rained in for the night, Muse A orders food for delivery; Muse B arrives with Muse A’s order but gets caught out in the terrible storm when their car refuses to start. Muse B turns to Muse A for temporary refuge.
G) Muse A notices Muse B in line behind them when they purchase an ice cream cone from the vendor at the park. When it’s Muse B’s turn to order, the vendor announces that they’re sold out, so Muse A offers to share theirs with Muse B.
H) On a scorching day, Muse A comes across an open fire hydrant in their neighborhood and joins the group of people enjoying the cool spray of water; among them is Muse B whom Muse A has often seen around but has never spoken to because they’ve always seemed intimidating–but they don’t seem very intimidating after getting a bucket of water dumped on their head and laughing about it.
pride and prejudice wasn't written as a resistance to the patriarchy djdjfhdhsj what
i mean i’ve been staring at this message for a solid minute now pondering how to reply, trying to figure out how ro reply, but honestly it boils down to one question: have you read it?
because literally the prevalent theme of pride & prejudice as well as other works of Austen—perhaps most visibly, sense & sensibility—is the ironic social commentary on the degraded role of women, as subjected and dependent on the way of whether they would marry well as they used to be?
like, honestly, what did you think it was about? sure it has a romance in it, but it’s probably one of the the most politically designed and carried out romantical arcs in literature, as it relies not so much on mutual affection, but rather darcy aknowledging his fault of diminishing elizabeth as an intelligent human being. at first, we see him as quite obviously set upon taking her for granted and applying stereotypes; startled with her outspoken attitude and clueless as to why she would reject him. because it IS surprising, that’s the point, given the context of Austen’s novel, the commonly praised choice would be to accept not only darcy, but mr collins without another thought. what do you think is the reason mrs bennet was so distraught all the time? there was no way of securing the future of her daughters other than marriage, we hear it being repeated over and over again—they cannot inherit their father’s fortune.
and—good grief. that’s the romantic ‘main plot’ concerning darcy and elizabeth alone, because the whole point is that he changes his beliefs and acknowledges elizabeth as an equal in the end. darcy isn’t exceptional for being surly and broody, he’s exceptional because he listens and learns.
but all the rest? the whole arc of charlotte, and her unhappy and dull marriage to mr collins, and the stark contrast with elizabeth. charlotte is not WRONG, she does the only thing she knows for certain will allow her to live in a respectful way without becoming ‘a burden to her parents’. the arc of lydia, basing off her portrayal against wickham? even with all his debt, infamy and faults, wickham’s opinion is at no point more blemished than lydia’s. that’s the point, that’s reiteraring the original notion of the disparity between men and women in regency England. the radiating, stinging paternalistic attitude of mr collins towards elizabeth when he marries charlotte and TELLS her that she would probably get no better chance. his absolute belief—corresponding with darcy’s, and contrasted with the latter’s rehabilitation later on—that elizabeth has no choice but accept him.
and elizabeth herself—for all the composition and impeccable manners, she IS a controversial figure in the novel. take the scene when she’s bashed by lady catherine de bourgh, the ongoing commentary on her being too forward with her opinions, the continuous bashing coming from her mother—the lingering threat that lizzy’s ‘stubbornness’ will cause her much trouble and, above all, prevent her from securing both her and the other sisters from absolute poverty when their father dies.
and, just … of course it’s written subtly, it’s conveyed in elizabeth’s wit, in austen’s slightly ironic narrative. the problem with the situation of women is not EXPLICITLY named and stated. it’s not modern times where we’re accustomed to forward addressing of feminist issues. no: it’s shown. it is not only the consistent theme in her works, it’s the prevalent theme of them. i mean, come on, there’s tonnes and tonnes of books that were NOT written with a purpose of targeting partiarchy. fuck, there are much MORE of such books than there is of the latter kind. But to choose Pride & Prejudice specifically, a novel which became one of the most famous books in the world, renowned for e x a c t l y t h i s … i cannot comprehend. please, at least consider this: do you really think the purpose of austen writing p&p was writing a romance? really? why would it become so much of a literature landmark, then?
i don’t mean to be nasty and honestly, go and have your opinion, you’re perfectly entitled to it, but it does make me sad that a novel that is a witty, outsanding and one of a kind social commentary on the plight of women in a specific time period written by a woman IN the time period is turned into something as common as a novel with a romantic plot. that’s all.
Someone please give me an after-prom au where everyone got hotel rooms and “oh hey.. Yeah. My date is currently hooking up with someone in our hotel room so here I am sitting on the ground in the hallway and wow you’re pretty/handsome.” And cute chats and laughs and “let’s go to that diner next door until three in the morning and fall asleep in the back of my car.”
What she means:
In the original plan for the live action Scooby Doo movie, Velma and Daphne were going to have a romantic side plot. The movie itself was originally intended for an adult audience, but then Warner Bros decided that it should be more accessible to a “family” audience, so part of their editing involved getting rid of that romance. But in the final production of the film you can still see little bits that could have led up to a romance between the two. For example, at one point Velma tickles Daphne, and Velma also refers to Daphne dreamily as “the coolest girl at Coolsville high”. However at the end of the film Fred and Daphne kiss, and that relationship is so out of nowhere. It is built from nothing. If anything, the most developed heterosexual relationship was that between Fred and Velma because of the scenes where Velma shows jealousy of Fred choosing Daphne and of being overshadowed by Fred. But no, they choose to put Fred and Daphne together. We could have had canonically gay Velma and Daphne, but instead they give us another heterosexual relationship, and they don't even do that right.
Please please share your thoughts on Wonder Woman? Thank you! :)
ANYONE WHO WATCHED WONDER WOMAN (2017) DIR. PATTY JENKINS AND WASN’T COMPLETELY IN LOVE IS NOT TO BE TRUSTED
So we all knew it was going to be emotional to FINALLY have a female superhero movie, but the movie exceeded those expectations. The fight scenes were incredible and so focused on Diana and what she was capable of – the men basically weren’t even there. The fuckin no man’s land scene SAVED MY LIFE. Superhero movies are known for being heavy handed and this one didn’t escape that for sure (the love speech at the end was….a lot), but that scene was so well done…they didn’t have to stoop to some Éowyn knock off line of “I am no man,” we were allowed to just see her do what real women do - step up and do it. Even though that wasn’t the first time we’ve seen her in full Wonder Woman costume on screen, it felt like it was, like it was the first time I’d EVER seen ANY hero before and it took my breath away. By far the best Superhero Reveal Moment I’ve ever seen. My girl taking out bullets right and left, drawing fire from the entire German army!! Fuck me up!!!
You can’t talk about this film without talking about gender role reversals. Chris Pine was So Perfect and I think they really couldn’t have pulled the movie off if they’d cast any other white boy in the role. He was funny but genuine, capable but never arrogant, charming but not entitled about it. He learned quickly what Diana was capable of and respected her for it, always moving to the sideline during the fight scenes (the shield moment with the bell tower comes to mind - who needs a sniper when you can fuckin launch a god at the shooter??), knowing that these were her fights and never trying to mansplain her out of them. He wanted to protect her, but didn’t underestimate her - all the things that a typical female romantic interest does in these kind of movies. It was amazingly well balanced, so much so that I didn’t even mind the romantic sub plot. Plus he was almost entirely naked there, way to play to the audience my dudes!!!!
The historical context did the movie such a great service. The outward displays of sexism became so ridiculous when faced with Diana, who genuinely had never had to deal with the patriarchy’s bullshit before. It didn’t just make the men in London look pathetic and mean, it cast a large shadow over the way that women are treated today.
The Dark DC Gradient™ on all the shots isn’t my favorite but it did Chris Pine’s fuckin bright blue eyes a huge favor
Gal Gadot was so fuckin good??? Not only was she beautiful, like really really distractingly beautiful, like I kept having to force myself to pay attention to the dialogue cause I, like Steve Trevor, could not stop looking at her (and she’s standing next to Genuine Stud Chris Pine and still?? SHE’S SO BEAUTIFUL). But she was way more then that, her performance was spot on. Diana was naive, commanding, strong, compassionate - while never being reduced down to just a one note version of these things. She felt so real to me, in a genre that spends very little time on character development. Even in the sappiest parts of the script, she sold it. She absolutely sparkled.
Some of the best dialogue was the back and forth between Diana and Steve when she’s asking questions about mankind/London - it was cute and funny without being too overdone or obvious, which it easily could have been
The villains weren’t much to write home about, but they didn’t need to be. The movie was so laser focused on Diana and Steve that they really didn’t matter, you could self insert whatever you wanted to there
Themyscira is the ideal for I too want to hang out on the beach and never see a man again
Also that lesbian line, and how stupid male reviewers blindly did not understand it!!! Fuckin drag em
But also the fight scenes on Themyscira were INCREDIBLE. I wish that first section had been a bit longer just because I was enjoying it so much, but it was so refreshing to see all women on screen - women who fought and loved and supported each other. Incredible.
I haven’t enjoyed, really enjoyed, to the point of not having to think about the message or the structure or how much fuckin time I’ve wasted listening to some male superhero talk about honor or some equally boring garbage, since The Avengers came out in 2012. Even then, Wonder Woman felt like something else entirely. It leaned on many of the same tropes and sequences, but there was enough reinvention in between (particularly the characters, who I felt were much more fleshed out then any superhero movie I’ve seen before) to make it feel fresh and exciting. This so easily could have been a throw away movie, a chance for movie execs to point and say, hey we tried with women that one time!! But Patty Jenkins, and Gal Gadot, and all the other women who worked on this incredible production, knew what was at stake, and weren’t going to let that happen. Every time I see a little girl dressed up as Diana Prince, on her way to the theater, my heart fills more and more. During the film, I found myself on the verge of tears five or six times - sometimes because it was so beautiful, to see a woman who felt so real being strong and vulnerable and saving the damn world, but other times because the plot itself genuinely moved me. Wonder Woman is revolutionary for the industry, sure, but more importantly, it’s just a damn good movie.
i kno im repeating myself when i say this but why does every movie - that isn’t a romance movie - still have romance at the very center of it? kids movies? hetero romance. action movies? heteros probably banging in 40-60% of it. comedy? god forbid there isn’t at least two couples in the movie. thriller? probably white people being murdered while banging in the woods somewhere.
like, literally i cannot watch a single movie on this entire planet that doesn’t have romance in the centre of it and im? tired. miss me with that cheesy shit.
(I plan to do more of these as time goes on and things occur to me. They will be collected in the things I want to see tag.)
Things I Want To See More Of: Part One
Siblings: I want siblings who grew up depending on each other–who are still great friends but are also their own persons. They love each others’ passions even though they may not be passionate about it themselves. I want to see siblings who still get along, who defend each other without sacrificing themselves. Siblings who don’t blame each other when they can’t help. Siblings who understand when the other has to take care of themself first. Siblings who commiserate with each other, even if one isn’t suffering the same annoyance as the other. Siblings who sing to each other through texts and send other silly little nothings without expecting something back but knowing the other would enjoy seeing/hearing it. Siblings who know each others’ schedules and run interference for them on things that they know the other won’t enjoy. Siblings who take care of each other, no matter the distance between.
Plots: I want plots that have over-arching, world-impacting plots but those plots are secondary to more intimate, character-related plots. Plots where a character’s development is a greater focus than the implications of the plot point that just went poorly. Plots where character development and plot progression don’t hinge on romantic relationships. Plots that keep friendship in the forefront. Plots that let characters do silly things, bad things, amazing things, and those things hold meaning to the character as well as the world-plot revolving around them. I want to see plots where the “big bad” is just another person; they don’t care or even know of the protag, they’re just trying to achieve their goal, which happens to get in the way of the protag achieving their goal. Plots with lower stakes where the world definitely isn’t going to end, but what turns out certainly isn’t ideal for the protag. Plots that aren’t black-and-white, right-and-wrong, perpendicular goals, end-of-the-word, but more along the lines of acute angles, purple-and-blue. Plots that take the focus off the world and put it back on people.
Magic Systems: I want any magic system, all of them, the ones based on old ideas, the new ones sprung from the garden of individual idea. I want the fire-benders and the wind-bottlers, those with spectral wings to summon and those blessed by gods. Magic systems with everyday uses and magic systems with tolls so high it only gets used once a year, or with a group, or for special circumstances. Magic systems that use the force of the world to power it, or require the use of a substance to jumpstart it. Magic systems with summoning and creatures of tiny power, great power, creatures from everywhere and nowhere and all the stops in between. Magic systems with blood, and those that fail if blood is applied; ones with material requirements and ones with spoken spell-work. I want magic systems that do what I expect them to do, but also ones that do things I’ve never heard of or never considered. Magic systems. Period.
“We deserve it” rubs me the wrong way, sends chills up my spine, makes my skin crawl in the same way as chalk screeching on a chalkboard does.
As a consumer of art, television, literature, music, film, etc., enjoy it, love it, revel in it, relate to it, dislike it, critique it, but make no mistake, you do not deserve it. None of us do.
Artists, writers, musicians, filmmakers, producers, creators do NOT owe you a specific storyline, lyric, romantic pairing, or plot.
They’re creators. They create. They imagine worlds that we get to enjoy or dislike. Places we can escape to, have opinions about, but still DO NOT DESERVE.
How entitled and selfish is that? To think you’re deserving of a creator, fanfic writer, producer, or actor to cater to your desires and will.
Reality check… disagree with something, like it, dislike it all you want, consume as much of whatever form of media is your vice, but your specific wants and desires–even if more than one person shares your viewpoint–still doesn’t DESERVE to be catered to.
You’re a consumer. We are consumers. We consume.
Unless you’re paying for a commission or signing paychecks every month as a patron of the arts, you don’t get to dictate what someone else creates. And even then you’re still not deserving of it, you’re a patron.
when connie was first introduced i couldn’t believe how many features i shared with her and how i could relate to her a lot.
she was a lonely kid with peculiar hobbies and knowledge!! and she was cute and pretty as i wanted to be!! and then they “fixed” her eyesight so she didn’t need glasses anymore. and then her head got bigger and her torso shorter and less skinny. and now it seems her nose is smaller for unproffesional artistic liberties.
her individuality was also taken away from her slowly. steven was light at this but then pearl came into the formula. all her life now is steven. she isn’t pasionate about books anymore. she stills seems to have just steven and that jeff kid as friends. we don’t know nothing else about her. it’s just sad
Where’s the movie in which two girls do everything together until one of them gets a boyfriend and everything changes. Except, no one gets a boyfriend and instead of everything changing, nothing changes and they move in together and decide two beds are too expensive and ten years down the line realise they’ve pretty much been dating since they were fifteen and get married and have the Disney themed wedding they had been planning together since they were five. Bonus points if they have their own dance routine.
According to sailor legends, merpeople are beautiful and benevolent beings who guide lost ships to harbor and bring great fortune to kind fishermen who empty their nets for a chance to hear a merperson’s song. The song of a merperson is an ethereal treat that few people at sea (and even fewer on land) have the privilege of hearing, but those who do are said to be blessed for the rest of their days.
Muse A is a merperson, born to a merman and a sea witch. Cursed by wicked blood, Muse A’s song is doomed to bring misery and death to anyone who hears it. Though it is not their fault, Muse A has been forbidden from singing to anyone (human or merperson) for as long as they live. Unable to sing freely like their seafaring kin, Muse A is an outcast and believes they will never know the joy of changing a human’s life for the better. Always lonely underwater,Muse A secretly travels to the surface in the hopes of finding companionship. Merely speaking to a human couldn’t hurt, they suppose. One afternoon, Muse A encounters Muse B strolling along the shoreline, pitching small pebbles into the surf. Fearing rejection from the first human they’ve ever seen, Muse Athinks to swim away but Muse B spots their shimmering tail and calls out to them. They keep their distance from one another as they speak, one on land and one at sea, but are too intrigued to part ways. As it gets dark and the air becomes cold, both must take their leave of the beach. Uncertain if Muse Awill ever see another human, Muse A hastily promises Muse B that they will bring them treasures if they come back. Muse B is uncertain if its wise, but they agree to return. True to their word, Muse A brings a valuable trinket from a shipwreck far below in simple exchange for Muse B’s company. As the days pass and Muse B continues to return, it seems that Muse A has finally found a friend. All will be well, as long as they don’t ever sing to Muse B.
We have now had at least one episode dedicated to developing the relationships between each duo combination of Team Phantom, and I think this is as good a time as any to gush about why this is one of my favorite trios in anything.
I’ll just cover each combination in order and then talk about all three of them, because I love these kids and could talk about them all day.
I know that a bunch of people have written posts like this, but here’s my iteration, which comes from a place of: 1. Love, 2. being the exact target audience, and 3. watching too many TV shows that don’t give me what I want. The Bold Type, as it turns out, is all about going after what you want. It is about rejecting the societal standard that tells women to become meek in the workplace and, instead, use that standard as a bar over which you can raise yourself and become even better. The Bold Type is along the same vein as the short-lived MTV show Sweet/Vicious— feminism for women, to entertain women, to show women in lights that we are interested in seeing. I think that the success of this show could cause a boom of similar shows— sleek, modern, female-centric. Watching The Bold Type isn’t just about The Bold Type. It’s about supporting the content that we want to see.
There are three main characters— Jane, Kat, and Sutton. All are best friends. All are in different places in their careers. All are successful in their own right. And all work at the fabled Scarlet Magazine, a magazine written by women for women to be their saucy older sister, guiding them through life. Instead of 50 Ways To Please Your Man, it’s 50 Ways To Please Yourself. Instead of Lipsmackers That Will Stay On While You’re Lipsmacking it’s Lipsmackers That Will Stay On While You Take On The World. Their boss, Jacqueline (we’ll get to her later; she’s my favorite character) refers to this as “self-feminism.” Other people are important, absolutely, but make sure you’re taking care of yourself and your needs too when it comes to work, relationships, and sex. Scarlet Magazine is about real women who are motivated, who are struggling, who are successful, who are scared, who are human. It’s a publication that I, personally, would love to read.
Jane works for the writing department. She is a young writer who is thirsty to prove herself, but is also conscious of the fact that she’s low on the totem pole. The pilot begins on her first day as a writer, when you find out that Jane is a smart, capable, confident young woman who was raised on Scarlet Magazine. This is her dream job. She’s organized, thoughtful, and resilient. Although she tends to complain about her assignments, she always comes through and makes them her own.
Kat works in social media— in fact, she’s the head of her department. She tends to see the world through the lens of her camera even when she isn’t working. Kat, by nature of her position, is always on-call. She sees what is beautiful about the world and what is beautiful about people. She also knows, with great clarity, what is important to her, and always fights for these issues— perhaps a little relentlessly. Kat excels at her job, but she doesn’t excel at relationships. She likes “casual,” preferring to have flings. When she meets Adena, a beautiful Muslim lesbian, her idea of relationships and her sexual identity goes out the window. I am looking forward to seeing Kat and Adena’s relationship evolve just as any ol’ heterosexual relationship on television would— full of ups and downs, but also full of love, sex, and moments that just make you hold your breath. Luckily, these two ladies already serving a full course meal.
Sutton is the final female in our group of girls. Undoubtedly the lowest of the three girls on the corporate ladder, Sutton’s reason for that is simple: she didn’t have the socioeconomic privilege that Kat and Jane had been lucky to have, and got off to a more disadvantaged start. Sutton had fought her way to her position tooth-and-nail. And, better yet, she’s damn good at her job. Sutton is the most tenacious character on the show. She’s spent years fighting for herself, and she isn’t about to stop now. The romantic plot-line revolving around Sutton involves her dating a superior in the company, which is normally a story arc that might make me cringe, but Sutton is 25 and Richard is probably in his late-20s, early-30s. There’s lots of respect between the two of them, and their relationship isn’t a conflict of interest because Richard works for the legal department for the company that owns Scarlet. This relationship is adorable, sexy, and Sutton absolutely holds the power in it, meaning that we, as audience members, can root for these two.
The Bold Type shows female friendships exactly the way I know them to be. They love and support each other. They overshare. They talk over each other. They play and tease. They make cultural references in a speedy fashion that temporarily makes you think you’re watching Gilmore Girls. They get selfish. They apologize for being selfish. They fight and make up. They change the direction of their conversations constantly, flashing from topic to topic like strobe lights, showcasing how incredible women are at multi-tasking. It’s the dream female friendship that all of us are desperate for on TV, and no romantic sub-plot is going to tear that down. It’s like Friends without the guys, and as much as I love Chandler, with a show like The Bold Type, I think we can live without him.
Perhaps the best character on The Bold Type is the girls’ boss, Jacqueline. She is the head of Scarlet Magazine; the leader who knows what she wants and knows how to get it. As fearless as she is, she is not to be feared. Jacqueline may be respected, admired, and adhered to by her staff, but if you’re looking for Miranda Priestly, you won’t find her here. Jacqueline cares about facilitating the careers of her employees. She rules her disciples with a firm but fair hand, often giving them more than they deserve. Life is hard, especially for women in the corporate world, and Jacqueline understands that. Her character’s scenes are always an absolute treat— the ones I look forward to the most when I sit down on the couch to watch The Bold Type with a glass of red wine and a feeling of safety on the side. Because I, as a viewer, have learned in just a few episodes (five, to be exact) that these writers are ones that I can trust. They’re speaking using my voice, the voice of my friends, the voice of my peers, the voice of my generation.
Turning your television on to The Bold Type means hearing women discussing issues that are relevant to you. It means being inspired by their tenacity and individual power. It means enjoying an episode full of sumptuous fashion, invigorating music, and a bustling city life. The Bold Type is a show that you can turn on and see yourself reflected in your TV screen— whether it’s your sexual identity, your racial identity, or the personality traits that make you who you are. It’s not that The Bold Type never utilizes tropes, cliches, or predictability. It’s that they do it differently, they do it better, they do it while conscious of what it is and what their show is.
The Bold Type doesn’t necessarily preach that you a required to live your life boldly. The lesson to learn here is much simpler than that: live. Simply go out and live your life, get what you want, make yourself happy. Stay safe, stay kind, stay supportive, stay healthy, stay loving each other. Perhaps Jacqueline describes this mentality best in her speech in the pilot episode of the show. She says, “I expect you to have adventures. I expect you to fall in love. To get your hearts broken. I expect you to have sex with the wrong people; have sex with the right people. To make mistakes and make amends, take a leap and make a splash. And I expect you to unleash holy hell on anybody who tries to hold you back.”
So you heard her. Let’s go unleash holy hell, ladies.
50 plot ideas for conflicts in romantic relationships !
Conflicts in relationships is common in real relationship and is important to make a romantic couple in roleplay to be realistic. I cooked up this masterlist of conflicts that can come up in a romantic relationship. If you want more ideas with plots and ideas around these feel free to message. Please like or reblog if this helped.
a) Muse A and friends rent a room at a beachfront hotel. It’s super convenient that said room is on the first floor because they can simply toss the beach umbrellas and chairs over the balcony rail after a long day of baking in the sun and sand. Muse A gets back to the room first and plays catcher as friends toss up items over the balcony rail, but they can’t account for their friends’ poor aim. When a frisbee sails over to the neighbor’s balcony, Muse A decides to climb over and retrieve it before anyone notices. Of course, as Muse A gets halfway over the rail, Muse B, the hottie next door, steps out onto their balcony and catches Muse A trespassing.
b) Muse A finally cashed in their adventure fund for the road trip they’ve been dying to take. After a few hours of cruising, they stop at the last gas station for several miles. As they’re heading to the register to pay for the fuel and snacks, they realize that they forgot the pump number and head to the glass door to peek outside. To Muse A’s shock, someone is stealing their car. Muse A runs out of the convenience store, but it’s too late to stop the thief from getting away. Muse A calls the police to make a report, but the nearest station is 3 hours away; there’s no telling how long it will take for an officer to arrive. Muse B, a truck driver, overhears Muse A’s story and kindly offers to give them a lift. Muse A isn’t sure about accepting a ride from a stranger, but Muse B seems nice and they really don’t want to hang around the gas station til nightfall.
c) Muse A and Muse B are best friends on a road trip for several weeks. The pair are faithfully following their favorite band on an 8 city tour culminating in an epic music festival at the end of the summer. Muse A, exhausted from a long leg of night driving takes a nap once Muse B gets behind the wheel. Unfortunately, out of the two, Muse A is the better navigator. Even with GPS, Muse B manages to miss a crucial exit. Rather than confess their mistake to Muse A right away, Muse B keeps driving, hoping the GPS will lead them back to the right path soon enough. With every mile Muse B drives, they get further and further away from the tour route and further out of range of the GPS satellite. By the time Muse A wakes from their nap, they’re pretty lost.
d) While on a trip overseas, Muse A can’t help but act like a typical tourist. They sign up for a sight seeing tour and whip out the fancy camera they brought along for this special occasion to take dozens of hi-res photos they can share on their blog later. Muse A accidentally bumps into Muse B, a fellow photographer, as they’re getting off the tour bus and their cameras mistakenly get swapped as they part ways. Muse A doesn’t notice that they have the wrong camera until they develop the film/check the thumbnails on computer. Muse A is appalled by what they see in the pictures– graphic evidence of brutal crimes– and starts to fear what will happen when Muse B realizes that they have their camera along with the incriminating photos on it; Muse B must get those photos back at any cost.
e) When Muse A is dared by a friend to dine and dash at a five-star restaurant while on vacation, risk-taking Muse A accepts. After ordering the most expensive dishes on the menu, including a thousand-dollar desert plate, Muse A smiles and politely collects the check when the waiter leaves it on the table. The bill is astronomical– more than Muse A could afford even if they scrape 3 paychecks together. At this point, they really have no choice but to dine and dash even if they’re having second thoughts. Muse A heads to the bathroom as their friend casually exits through the main doors. It takes some cat-like maneuvering, but Muse A slips out through the bathroom window and reunites with their friend to escape and bask in the incredible high of their wrongdoing. The following evening, Muse A is mingling with attractive Muse B at a bar near their hotel. Muse B offers to take Muse A to dinner the next night and to Muse A’s surprise, it’s the same restaurant that they dine and dashed .. and to make matters worse, Muse B is related to the restaurant’s owner.
f) While vacationing in the Caribbean, newlyweds Muse A and Muse B sign up to take a half-day boat excursion to a private island with several other tourists. Being so in love and unable to keep their hands off one another, the amorous couple hatch a plan to sneak away from the group when the opportunity arises to do their own “sight-seeing”. They discover a romantic, little cove about 2 miles from the shoreline and indulge, losing track of time. When Muse A and Muse B return to the coast, the tour boat is gone. Thinking they simply got turned around somewhere, the hopeful couple treks to the other end of the island in search of their tour boat but they can’t find it or any sign of their fellow tourists or guide. They’re stranded with nothing but the clothes on their back and the contents of their pockets until the next tour boat comes around.
g) In the year 2080, people are finally able to travel through space and time rather than just being limited to travel to a geographical location. Time travel is the best vacation money can buy and it’s surprisingly inexpensive. There are restrictions, of course, that must be followed to ensure the integrity of the space-time continuum. A time traveler must learn the historical background, customs, manner of speaking and dress of the era before booking a trip; there is an exam to ensure such conditions are met. Most importantly, they must not interfere in the events of an era native’s life in any significant way. Muse A time travels for the first time after passing their exam and is ready to explore. They meet Muse B, an era-native, almost right away, encountering them in trouble. Muse A knows that they aren’t allowed to interfere, but they can’t in good conscience turn a blind eye to someone in trouble.. because Muse A interferes, they are barred from returning to their present day. It’s in the fine print of their time travel itinerary, which they failed to read.
h) Muse A and a handful of friends take a much-needed trip down to a popular beach destination once school is out for the summer. With stressful finals and assorted messy breakups to recover from, several days of partying on the resort grounds is just what the doctor ordered. Muse A and pals make a concerted effort to dedicate their vacation to the fine arts of drinking and debauchery. Muse A gets off to an early start of it when they meet Muse B on the beach. Since both parties are looking for a no-strings good time, no one bats an eye when the acquaintances head back to the hotel together. In the morning, Muse B quietly slips out to avoid any awkward lingering and Muse A is content with that minus the fact that they don’t know how to contact Muse B to hang out again. Not too bummed about it however, Muse A moves on with their day and goes out with friends later on. Muse A’s pleasantly surprised to encounter Muse B as they’re walking to dinner and Muse A figures it’s their chance to ask for a number. Muse B seems a little confused by Muse A’s approach at first, but after several minutes of flirtatious banter, they give up the digits. When Muse A shows up at Muse B’s hotel room door that night for drinks, Muse A is shocked to learn that Muse B has an identical twin (Muse C). Muse A isn’t sure which twin they hooked up with, but they are sure that things have just gotten more interesting.