A/N: This was supposed to be a drabble for my lovely friend @arryn-nyxx but Sam decided to take his time. I love you Arryn!
This is unbeta’d all mistakes are mine alone.
You slip into the bunker, hoping that Sam and Dean are
otherwise occupied and you’ll be able to make it to your room unnoticed. Unfortunately this night is determined to
fuck you and Sam is sitting in the library, head buried in a book, when you
“Hey, Y/N.” He looks
up, dimples popping out as he smiles.
“How’d the date go?”
Stupid, handsome jerk,
you think to yourself. Why does he have to be so handsome and happy
to see me? He should only be this happy
to see me if he thought of me as a woman and not a sister. Ok, my mood is definitely in the bad
territory, better get to my room before I say something I’ll regret.
“Fine,” you mumble, quickly continuing down the hall.
You’re praying he’ll go back to whatever he was reading, but
his footsteps sound behind you as he calls for you.
“Hey, Y/N, wait up.”
“I’m really tired, Sam,” you say, keeping your head down.
He reaches you then, the scent of sandalwood and mint
filling your nose. You sigh inwardly, if
only you could find someone like him, but there is no one like him.
He crooks his finger under your chin so you have to look at
him and when your eyes meet his, his face falls. His smile is gone, replaced by a furrowed
brow, concern darkening his hazel eyes.
“Nothing.” You try to
look down, but his finger keeps your chin up.
“Red-rimmed eyes isn’t nothing, Y/N. What happened?”
You spin, crossing the doorway to your room with Sam at your
heels. He closes the door behind him as
you sink down onto your bed.
“Can we talk about this later? I just want to curl up and go to sleep.”
“Did the date go that badly?
I thought you were thinking about breaking up with him?”
“I was. But he broke
up with me,” you sniff.
“Then…” The bed sinks
as he sits next to you.
“The rejection still hurts, Sam. Even if I didn’t want to be with him.”
“I’m sorry, Y/N.”
“Why can’t I just find someone already? What’s wrong with me? Either I like them and they don’t like me or
they like me and I don’t like them. I
give up!” You throw your hands up in exasperation;
you’re nothing if not dramatic. Why can’t I find someone like you? And you really want to say it out loud. You’d jump at the chance to be with him. You know he doesn’t feel that way about you,
but it doesn’t stop a little piece of you from hoping.
“Maybe you just need to look at people you haven’t thought
“*yn* and Bellamy may have finally resolved their own issues - but now they have to help Octavia save the love of her life. *yn* finally comes face to face with the commander of the grounders and unsurprisingly doesn’t bother to keep her mouth shout.”
Warnings: Swearing, violence
Notes: Based on 2x07 ‘Long Into An Abyss’ of The 100.
Summary: You and Negan are mad at each other after your trip to Alexandria. You drive back to Sanctuary only to…resolve it.
Word Count: 1,826
Warning(s): Smut (finally!), unprotected sex (as will most sex scenes…I don’t think birth control is readily available in the apocalypse!), Language
A/N: Happy (belated) Valentine’s Day, lovelies! Finally there is some smut in this chapter!(Apologies if the smut isn’t that great. I’ve written smut before but I’m quite out of practice and I’ve never posted it online before…so I’m a little nervous!) Masterlist is here. Enjoy!
“Day’s over, everyone pack the fuck up!”
You jumped, almost dropping the box you were loading onto the truck. Damn, he was mad. And frankly, you were mad at him too. Seeing how he treated these people made you sick. Not to mention- you had been apart of this group. It made you wonder that if you had never left Rick if you would have to be apart of this mess.
Negan stomped over to you and growled in your ear.
Scenario: It has been some time since you have
broken up but sometimes they remember something and miss you.
looking through his clothes when he found a shirt you had left behind. Not
knowing what to do with it he just stared at it for a long time. It was one of
your favorites and he remembered just how much it meant to him that it was that shirt
the one you had decided to leave on the his apartment in case you ever needed a
change of clothes. It has been months since the last time he had touched the
fabric yet he could describe the exact way the cool material felt when it was
against your skin.
Namjoon / Rap Moster
He is a very open person, especially with the guys, but that day he
couldn’t wait until he was home alone to let out the sigh he had been retaining
on his chest for the whole day. Earlier while looking for a picture to show
Jimin he had come across a picture of the both of you. He had deleted all
your pictures but that one had somehow escaped his attention until that day.
The height difference had made it perfect for him to rest his chin on the top
of your head for the picture; it had made you giggle at the time. The sound of
your giggle was what had haunted him that day.
Hoseok / J-Hope
He would have
been fine that day if it weren’t for one of the guys playing that song
during practice. He remembered how much you liked it and asked for him to dance
it for you. When he saw how much you enjoyed seeing him dance he had offered to
teach you the routine. That night the studio had been filled with the
sound of his laugh and yours, yet all he could do now was stare at his
reflection in the mirror while the others danced to the song, trying hard to
keep his emotions from showing.
He’s had you in his mind since the morning. It
might have been how that day it had rained nonstop. It was your favorite kind
weather, when it looked gloomy and mysterious. On those days he came to your
apartment and the hours were spent between fuzzy blankets, watching videos
while drinking hot beverages. He had always thought those days were fun but it
wasn’t until he didn’t have you with him anymore that he realized just how
special loosing time with you was.
Yoongi / Suga
Someone during the shoot had mentioned your name.
They didn’t make it to sound rude or put him on a bad mood, they were just
curious since you were usually around for photoshoots because you usually made
him smile by doing silly faces with Tae or practicing your jokes with Jin.
Yoongi’s face had changed instantly the moment he heard your name. On the
outside he looked as if it had affected him by making him angry or annoyed, yet
on the inside he was being teared apart.
Taehyung / V
He is a very melancholic person which is why that
day when he found a video of you he had on his phone he decided to go to the
exact place the video was taken in. That day was one of your first official
dates and had decided to eat dinner and then walk around. Taehuyng had started
recording your face once he saw just how excited you were over the view on that
bridge. At the time he had made a joke about how he was capturing the view with
his camera while it was pointed at you. As he stared at the buildings, the
actual scenery from the bridge, he couldn’t help but think something was not
right, like an unfinished picture.
He had a dream about you and couldn’t take you out
of his mind. That day it would have been your second anniversary after all. A
series of memories and emotions have had him bothered for the whole day. Trying
to distract his mind he had decided to walk around. After an hour of walking
without any success he stopped to lay against a wall.
“Snap out if it! It’s been months, why can’t I
The words rang as hollow in the clearing as they rang in her heart. It almost surprised her that spoken out loud, they did not seem any different than in her mind. They were haunting, hurting, hollow things threatening to tear her apart if she lowered her shields even for one second. So she didn’t. Not even for him. Especially not for him.
Feyre raised her eyes from her knotted hands, trying to untangle her fingers and stop her nails from digging into her skin and drawing blood. Instead, she looked at the male she’d thrown those cruel words at, like knives and claws and teeth she had no control over. She’d thought longer how to tell him than about her decision. But no matter how long she fretted, she couldn’t find a way not to hurt him and time was running out. Their time. Her time. So she’d decided to call on him, meet him, hurt him. With words that should be joyful instead of cruel. Words that should mark a new beginning instead of an end.
College wasn’t nearly as terrifying as people made it seem.
It wasn’t much of a change. At least not for Will. Being independent wasn’t
that different from how it was back home. His mom worked all day and he watched
his sister while she did, which meant he had to learn to cook and clean and
help her with homework while managing his own.
He’d looked forward to college. To being able to be his age
instead of a fatherly brother. What he hadn’t looked forward to were the
awkward friendless days and lack of transportation or money. He would forget to
eat sometimes, but he didn’t want to make food in bulk like he always did
because he was on his own. He had no one to share with.
It wasn’t too bad. He was good at socializing, at talking to
people he met in the café or on his way to class or in class. They were just
never official friends. They weren’t people Will saw himself hanging out with
off campus, or people he found himself taking up to his dorm to watch a movie
or play a game.
His campus was relatively small. A college that was hard to
get into but not very well known. He saw a lot of familiar faces, but none of
them had names in his mind.
As he walked with his head bent over his phone, someone
rammed into him at a corner. “Oh s-” He stopped when a pair of hands pushed him
back and looked up to see a dark haired guy scowling at him through a grunt of
annoyance. “S-sorry,” Will muttered.
The guy gave him half an eyeroll and walked away. Will felt
his cheeks flare with embarrassment and anger. He shut his eyes and took a
breath and kept walking. As he walked into class, a guy he usually sat beside
turned to him excitedly.
“Dude!” he exclaimed, taking Will by surprise because he
hardly ever initiated conversation if not for a partner discussion. “Listen,
the café is having an open mic night and me and buddy are performing. I wanted
to know if you’d come to, you know show support.”
“Oh. Sure what time?” he answered.
“Seven. It goes on until nine, but you don’t have to stay
the whole time.” Will nodded and jotted it down on his hand. “Thanks, man.”
“Yeah, no problem.” He smiled and turned his attention to
the professor as class started.
Will figured it’d be fun to hear people sing and play their
instruments at this thing, so he was actually looking forward to it. He was
looking forward to it so much, he got there half an hour early and found
himself seated near the front, reading a book as he waited.
Prompt: “Scotty/Reader. Fluff. Getting stuck together in a Jefferies tube!”- @vintagevalentinexx
Word Count: 1,529
Warning: Being stuck in a tight space.
Author’s Note: This was actually so hard to write! They just kept arguing with each other and making each other angry. IDK, I had to sit ‘em down and have a chat about their motivations. Anyway, I think we came to a good conclusion. Enjoy!
“Ye’ve gottae be joking!” Scotty cried when the access hatch denied his passcode for the third time in a row.
“I don’t know why you’re so shocked, this happens to me at least once a week,” you quipped, securing your feet in the rungs of the ladder and leaning back against the opposite wall.
“You’re gonna fall an’ kill yourself, you stand li’ tha’,” Scotty grouched as he pulled his comm from his pocket. “Scott to Ratchkov.”
oily massage turns in to an oily dickin’ (what a plot twist amirite?) ft. brotherly teasing
~1600 words (and minimal editing)
admires his brother from behind as they dry themselves off after
their bath. A smirk graces his face as Loki grimaces and hisses
softly, his movements awkward and stiff after a long overdue bout in
the sparring ring. He admires the bruises left scattered over his
brother’s creamy skin, taking them in shamelessly and greedily,
knowing that the potion Loki had put in their bath would make
disappear within hours. The medicinal scent of it lingers in the
muggy air, sitting in the back of his throat.
Loki bends forward to pat the water off his bruised shins, Thor finds
himself unable to resist the temptation his brother’s ass presents.
He pulls his towel from where it’s wrapped low around his hips,
sneaks up closer without a sound as he twirls the fabric between his
snap echos off the tiled walls. As does Loki’s high-pitched yelp
and Thor raucous laughter.
As his visual album, Endless, dropped in dissonance
to Channel Orange, fans scratched their heads, asking themselves, “Is
this our Frank?” The angelic voice seemed to be directing his art away from the
groovy, hip-hop timbre of the first album, toward a more cathartic R&B
tonality. Three days later, what seemed to be a sonic transformation proved to
be only an addition to Ocean’s skill set, when a second album broke through the
surface. Blond was released on an independent label and is anything but
a carbon copy of Endless. Stylistically, it’s more similar to Frank’s
flair on Channel Orange, which
brought him into the spotlight.
Blond’s first song, “Nikes,” begins with an
organ-like synth and Ocean’s voice comes in a few octaves higher than normal. For
me, the “little” voice appears as Ocean’s conscience and it wanders from heavier
content, like police brutality and materialism, to more whimsical lines about
little mermaids by the pool and b***** wanting Nike. The stream of consciousness
is a more fluid approach that almost says, “These are my thoughts, but it’s
just me.” Ocean does this to recognize himself as part of the movement, but
reinforces his role as a storyteller who starts conversation. In times like
today, being queer, Afro-American, and in the spotlight is difficult because
people look to you to be the leader. Instead, Ocean chooses to provide his
thoughts, but doesn’t lay them down as the law. The song tells the story of
glittery fame, juxtaposing the realities behind that fame with an obvious
distaste for materialism in our modern world. Three minutes into the song, the
register drops and Ocean begins addressing the audience. The message remains
similar, preaching to live in the moment (“living so that last night feels like
a past life”) but tends toward personal experience as opposed to a comment on
our world. Lyrics in the bridge lament having something special with someone
that isn’t love, or what they have with someone else, but still is something
meaningful, setting the tone for the next song and the content of the album as
“Ivy” chronicles “the start of nothing new” with an old
lover and the problems that arise due to confusion of emotions and changes that
happen with time spent away from that person. The manifestation of confusing
emotions, as the feeling deep down is “still good,” but “it’s not the same,” is
a motif carried throughout the album. There are a lot of songs out there about
breakups and new love, but on this album, Frank does a marvelous job of telling
the stories behind those imperfect, undefined relationships: the ones that
aren’t right out of a fairytale. When I started this review, I asked many of my
friends what their favorite songs on the album were, and I was confused when
each person came at me with a different song. Usually, there is some sort of
consensus, or a song that comes up a few times (probably the banger off of the
album), but pretty much every song on the album got a shout out from my pals.
This is most likely because each song talks about a very specific sort of
relationship or situation, rather than finding a unique way to talk about the
same cliché set of love stories. Channel Orange had a similar approach
to discussing love, which is partially why I thought it was such innovative
songwriting. This quality also contributes to the album’s ability to grow on
you, because the complexity of the lyrics and the situations discussed takes a
few listens to fully capture. There also may be a situation described that is
too specific for someone to relate to currently, but they can come back to it
in a year with greater sympathy. The reverb on the guitars is reminiscent of a
slow-moving, California beach rock love song. By the end of the track, Ocean’s
voice has been transformed via production to an aggressive, pseudo-robotic cry,
as the anger and frustration in the lyrics grows. Then, cut music and just the
echo of the last word, “dreaming,” resonates in the space left by the
instruments. This is killer, as it generates the feeling of trying to grasp
something that can really only be a dream, being left emptyhanded instead and
the frustration that comes along with that.
“Pink + White” follows this song, setting the pace for the
ebb and flow of the album. The triplet feel in the base line with the
minimalistic piano counterpart creates a groove similar to that set by older
songs like “Sweet Life,” which makes sense because both songs were produced by
Pharrell. I am mentally taken to lazy walks that I like to take when the sun is
setting in summertime because everything is brilliantly-colored and sits still
for a moment before the craziness of the evening picks up. Frank paints a
picture of the rosy haze surrounding experiencing a new kind of love, wherein
instead of walking grounded, you waltz (¾ time) through the clouds. This is
definitely one of those songs you should play for your s.o. when you’re
lounging around in bed, with the shimmers of light coming through the shades of
your window. The cloudscape is completed with the glittering voice of Beyoncé,
the sunshine, who is also included on backing vocals.
Following, “Pink + White” is a female voice sample whose
monologue sharply contrasts the lazy summer vibe of the previous track, warning
whomever she is addressing to not use drugs and alcohol. Repetitively, the
voice tells her audience to be themselves and continues preaching regarding
typical temptations of a young adult. By the end of it, I was definitely
thinking about my mom, and my feelings were validated when the voice signs off,
“This is mom, Call me.” Ryan Ocean, Frank’s brother, later confirmed on Twitter
that the sample was Auntie Rosie, who was also featured on the song “Not Just
Money” from Channel Orange. A good family friend, the recording is an
actual voicemail that one of Ocean’s friends received. The sample balances the
copious drug references used in other songs and seamlessly introduces “Solo,”
the next song. The primary instrument in “Solo” is an organ synth, thus the
succession of tracks mimics a sermon followed by the church music, but of
course, the lyrical content is far from the typical church experience. The
track talks about being alone, getting high, and essentially coping with loneliness.
Instead of the strong psalm of solitude one might expect from the title,
Ocean’s melancholy melodies soar over the organ in a ballad, discussing the little
things that are okay when you are alone; the heaven that exists within the hell
that is separation.
“Skyline To” follows the night of ridin’ “Solo” with a story
of summer love. Homoerotic musings brush the audience in Biblical references
like, “Makin’ sweet love, takin’ time, ‘til god strikes us,” which I love. I
love that he slips in his sexuality in such a normalized fashion, with pride,
but just going on with his day-to-day life. This is how it should be. The song
rolls through a druggy haze with a psychedelic synth accompaniment. Kendrick
Lamar lends his vocals and none other than Tyler the Creator is the producer – guess
it’s OFWGKTA for the win. The end result, tonally, is of a similar leaf to “Pink
+ White” with images of sun slipping through the window, turning into beams of
moonlight. Finally, the mention of what no one wants to think about: the end of
summer. Somehow, I don’t care that he made me think about starting school,
though, because the melody and lyricism in this song slay me.
The whimsical voice of Frank’s conscience returns for the
hook of “Self-Control” as he recalls a pool-side conversation, questioning
whether he and the person he’s with and he can “make it shine.” The hook lets
way to an acoustic guitar and Ocean croons, spilling his heart out over a past
lover. This song digs into the stereotypical situation that starts over lust,
but the flame within one of the people dies, causing disproportionate interest
and eventually an end. Swedish rapper Yung Lean is featured on the chorus with
Austin Feinstein of Slow Hollows, saying, “Keep a place for me, for me I’ll
sleep between y'all, it’s nothing, It’s nothing, it’s nothing.” The repetition
of “It’s nothing” mimics the repression of the other thoughts in one’s head;
trying to play it cool. This lyric also pays a small amount of homage to
Prince’s lyric “…I didn’t care…when he was there, sleeping in between the two
of us” from “When U Were Mine,” which Frank covered on his last tour. The
perspective is different because Prince talks about the person coming between
he and his lover, whereas Frank wishes to be the one coming between his
significant other and the person with whom they’re sleeping.
After pouring his heart out, Frank recounts a blind date he
had in New York city, set up by one of his mutual friends, on the track “Good
Guy.” This mini-track is cut from the same emotional cloth as “Self-Control;”
Ocean ripples from emotionless hookup to emotionless hookup. It’s nice to know
that even superstars have problems with finding someone who wants something
real. Then, at the end of the song, there is a clip of two men in a car,
talking about girls wrecking their hearts, but it cuts midline to my new cruisin’
anthem, “Nights.” It’s as if the Frank, whose feelings weren’t returned, hits
that “snap out of it” wall, vibin’ onto a more up-tempo track.
Although “Nights” dissertates the hustle, it also references
other parts of Ocean’s “everyday shit,” including the people he’s seeing on the
side of his work. He reminisces on days where he had less money and worked
night shifts. Manifested is the feeling of wanting to have someone there to
come home to, but also being married to the grind and not being able to keep up
something more serious. The cyclical thoughts build to waterfalls of notes
echoing into a phone ringing, then silence. This felt like when I lie in bed at
night and thoughts bounce around until finally I go to sleep, but in a tempo
change that screams Frank Ocean. The change signals the entry into dreamland: deep
bass kicks in and the mix feels like bubbles of rolling piano chords, slowly
finding their way to the surface – perfect for a final verse about memories
deeper in Ocean’s past. The hook returns over the same production, cessation echoing
into a “Solo Reprise” by André 3000.
The halfway point in the album coincides with the tempo
change so it makes sense that the reprise comes after, returning to themes from
the beginning of the album. André’s rapid flow blew my mind the first time I
heard the track, accompanied by just piano for most of the song. He bemoans
police brutality and materialism, touching on his unhappiness with the music
industry, asking at the end, “Was I working just way too hard?” Cut immediately
to “Pretty Sweet,” which has an intro that’s anything but sweet. More of an auricular
experiment, what starts as complete chaos and dissonance within the synth
chords turns into less dissonant guitar, but there remains a lack of structure.
Ocean’s flow is at times melodic, but the phrasing of the verse is syncopated
and some lines remain unfinished. A chorus of children at the end turn the
sonic trip into a shimmer of major chords, sunshine, and happiness: disharmony
The next voice on the album has much too thick of a French
accent to be Frank Ocean, and that’s because it’s French DJ and producer
SebastiAn. He actually “programmed” several of the tracks on Endless,
including one of my favorites, “Rushes.” He spoke about Frank recording the
story when they were just hanging out in an interview
with Pitchfork, confirming the skit
to be a true story. “Facebook Story” echoes previous mentions of technology
bending what people consider to be reality, making them “crazy.” After all, the
relationship ended when the DJ wouldn’t immediately accept an official request
on Facebook when he was with the friend. A similar message rests in the lyrics
of Wolfgang Tillman’s track, “Device Control,” that premiered at the beginning
and end of the visual album: people are unable to live their reality without
their technology intertwined.
Next is a cover of what originally was “(They Long To Be)
Close to You” by The Carpenters. It truly sounds more similar to a live Talkbox cover of
the Carpenters song done by Stevie Wonder due to the production of Ocean’s
voice. A talkbox is one of the original tools used by musicians for vocal
modification, so covering a cover, adding even more technology and production,
is playing even further into the picture of virtual reality that Ocean
continues to paint. It is a nice compliment to the last skit, as Ocean sings of
longing to be close to an anonymous lover in this lyric collage cover.
Remember a year ago when A-Trak
hinted that in a few weeks we would hear a song called “White Ferrari” that
would be the best thing we would hear that year? Then how it really stunk when
it didn’t come? Well, ladies and gents, here it is, THE “White Ferrari,” track
14 on the album. Lennon/McCartney are credited on this track for a similarity
in lyrics to the song “Here, There, and Everywhere.” The tone is nostalgic, the
content being an old relationship and the purity of the love he found. The
melody stands strong in front of major synth chords that eventually change to
guitar while still remaining predominantly low texture. The last lines of the
outro are sung by James Blake until breaking through to the clarity of
“Seigfried” is obviously a break-up song, but it dives into
the world of Ocean’s other life experiences and musings on the nature of his
mind. He pays homage to Elliott Smith’s haunting song regarding substance
abuse, “A Fond Farewell,” in saying a “fond farewell to a friend,” and through
the lo-fi quality of the guitars. The repeated references to bravery make me
think that the title refers to the warrior Siegfried (slightly different
spelling) of Norse mythology who often symbolizes bravery, and his story ends
in the perfect fairytale with a princess. Ocean believes that the suburban,
settled life is not for him and that he’s not brave. Additionally, the warrior could
be representative of Ocean’s ex-boyfriend, Willy Cartier, who looks similar to
depictions of Siegfried with long, flowing locks and a “speckled face” that
Ocean mentions in the first verse. There is also the possibility of the title
instead referencing Siegfried Sassoon, a British poet and soldier, who is
actually more similar to Ocean in his bisexual experiences. Sassoon also had a
romance with Wilfred Owen, who fell madly in love with him, but the love was
not returned. The conclusion of thought is that Frank Ocean would do anything
for whomever he’s talking to, in a desperate final cry for the lost
“Godspeed” has a fitting ecclesiastic organ accompaniment
and Kim Burrell, who many consider to be one of the greatest gospel singers of
all time, sings the outro. The song matches titles with a story that Frank
wrote in the Boys Don’t Cry magazine,
and I think that the following quote he shared with fans speaks for itself:
basically a reimagined part of my boyhood. Boys do cry, but I don’t think I
shed a tear for a good chunk of my teenage years. It’s surprisingly my favorite
part of life so far. Surprising, to me, because the current phase is what I was
asking the cosmos for when I was a kid. Maybe that part had its rough stretches
too, but in my rearview mirror it’s getting small enough to convince myself it
was all good. And really though… It’s still all good.”
He shared this as a note, reminiscing about the making of
the album in two Tumblr posts that you can read here. The note containing the quote is
shared in the form of a collage with an image of a gold BMW. “Futuara Free,”
the final song on the album, has a title reference to Stanely Kubrick’s
favorite typeface and is divided into two parts by a silent interlude. If you
thought there was a problem with the audio, you better go back and listen
again. The beautiful melody recounts all of Ocean’s accomplishments and from where
he came. The verse moves in a stream of consciousness, free-falling through pop
culture references and lamenting the stress that comes with being famous. The
second part, post silence, is a clip of an interview with Illegal Civilization,
a skater gang that hangs with Odd Future in LA. The interview was conducted by
Ryan Breaux, Ocean’s brother, years ago and includes silly interview questions,
lots of background noise and interview clips
with Mikey Alfred, Sage Elsesser and Na-kel Smith. The video ends the album,
fading into a lighthearted rosy haze, in the hands of the youth. It also works
well with the large amounts of sampling and collaboration that Ocean uses on
the album, truly showcasing that an artist pulls influence from everywhere.
Overall, it was worth the wait. Each track stands as artwork
and they are sewn together with the motion of the Ocean, into a masterpiece.
Not a request, but just something that had been floating around in my head for a few days.
PETE DUNNE X READER + FRIENDSHIP WITH TRENT SEVEN AND TYLER BATE.
You’re best friends with British Strong Style (Trent Seven, Tyler Bates, and Pete Dunne). You met on the UK independent scene years ago, you all had similar in-ring styles, you were even known as the Bitch of Strong Style (which you secretly loved) and now the four of you are now signed to NXT. The only downside? You now have to work for your father, William Regal. Things get a little difficult between you and your father and you’re surprised by which of your friends sticks up for you… and why.