#billy's first line is from fox
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Steve sees that Billy is freezing. He's only wearing his denim jacket, his lips are pale and his teeth are actually chattering.
"Here, have my scarf." Steve wraps his black cashmere scarf around him. His jacket is warm enough, he doesn't need it.
"It‘s ph-phine, Stebe."
He can barely make out Billy's words, because he's shaking so much. That man would never admit to needing anything, even if he is bleeding and dying. Or freezing to death.
"That's enough, we're going home," Steve decides.
"I‘m not c-c-cold," Billy insists. A few snowflakes fall on his mullet.
Steve groans and wants to stomp his feet like a toddler. "Then I am cold. Let's go."
"You are s-s-uch a p-p-pussy."
"Yeah, yeah." Steve grabs Billy's ice cold hands and drags him towards his car. Walking through winter wonderland with a freezing Californian is a pain in the ass.
At home he makes them hot chocolate with marshmallows, drags Billy to the couch and wraps three of the biggest, softest blankets he can find around them.
"I don't need that," Billy tells him when Steve gives him the steaming mug. He scowls at the drink until he takes a sip from it. Chocolate sticks to his thin mustache. He hides his grin when Steve turns around, but Steve saw it.
"Do you wanna watch a movie?" Steve asks when Billy finally sinks a bit further into their nests of blankets. Steve has won this round.
Billy shrugs, leans over and rubs his cold nose against Steve's neck. His icy hand slips Steve's sweater. Steve tries not to squirm at the cold.
"We can warm each other's dicks," Billy suggests. He sounds tired and not up for it at all.
"Sure," Steve humours him, rubbing Billy's back. That's the trick. Agreement with Billy's denial on the outside, working against it on the inside. Billy doesn't move.
It only takes seconds. Steve manages to grab Billy's chocolate before it slips out of his hand.
Billy is snoring against his skin, nose still cold. Steve wraps the blankets tighter around them.
_____
Majorly inspired by @wrecked-fuse
#have some fluff for once#they'll warm each other’s dicks after the nap#billy's first line is from fox#based on rambling in the comments on wrecked-fuse's patreon#harringrove#billy x steve#harringrove ficlet
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An intro at last :,) Other stuff under the cut
last updated : 03/04/2024
Hi I’m Crow ^^
Pronouns : Yours 🫵 (I basically use your pronouns when I talk to you because I’m Mirror Gender, but I’ll gladly explain in better detail if needed!) {When I’m not reflecting off ppl’s pronouns I prefer Xe/Xem! Only use She/Her if I say u can or your a friend/moot}
I’m Bi-Oriented Aegosexual Aro/Ace
Im from South Dakota
I’m a Proud Furry
Very Proud Therian (Salt Water Crocodile, Snow leopard, Crow, Fox, German shepherd, and also Fictionkin (Dragon & Griffin) (I am completely aware that I’m human and have no problem with that, so don’t even try that “Your human deal with it” Crap)
My B-Day is August 23rd
Oldest of 8 Siblings
I speak German and English (tad Spanish as well)
favorite animals are Crows, Crocodiles, and Owls
favorite song atm is Milk carton by Madilyn Mei, and Das Lied by Julia Engelman
Favorite colors Mint Green and Navy Blue
stuff I like : Drawing, Birds, Reading, Gaming, Athro animals, Rp, Cosplay, Skateboarding, silliness, Skeletons, doing quads, Ink sans!, Errink!, My Moots and friends!!, My Flock and Pack <3, and more stuff I can’t remember to put :,)
If you are rude to Furries, Therians, or Lgbtq+ people then fuck off. And if you harass people over fiction, then get away from me.
some fandoms I’m interested in : WoF, Fundamental Paper Education, Horrid Henry, Fe, Wc, Undertale/Utmv, Deltarune, Lackadaisy, Tmnt/Rottmnt, Ramshackle, Billie Bust Up, Legend of the Guardians, HH & HB, Pokemon, Murder Drones, Tadac, Monkey Wrench, Bluey, Spooky month, Fnaf, LMK, Animaniacs, Etc.
Stuff you’ll find on my blog :
Utmv art
Occasional Oc art
Ship art
Ink sans fanart
Random Stuff and occasional rambling
Sometimes bird art (depending on my mood)
Other fandom art (occasional/Rarely)
I can be a little awkward when it comes to interaction but I try not to, as I genuinely do wanna have conversations with people and make friends I’m just too scared to start the conversations so you might have to start them first :”)
Sometimes I might say cringe things but I’m not too ashamed as I’m just having fun being me ^u^
Do NOT repost my art without my permission or I’ll feed you a chainsaw.
I have a separate blog where all I do is reblog my art so it’s seen easier! @theforgottencorvid
My 1st Rp account is @the-one-and-only-ink
My 2nd Rp account is @the-radio-demon--alastor
I’ll ship and draw what I want if you don’t like it just scroll past it/block the tag. Don’t harass me. (I’ll ship what I want and if u don’t like that ship cool, fiction is fiction sorry if it upsets you. But feel free to scroll past.)
I’m neither pro nor anti, I couldn't care less. I honestly don't care if a creator is Proship, because if I like their stuff then I’ll keep interacting/liking the stuff they make. Fiction is Fiction, if they condone that stuff irl then that’s where I draw the line. Do not go harass ANYONE. over fiction.
Requests are open! Don’t be shy I absolutely love getting asks/requests from people! They make me happy :>
Drawing requests are Open
Well, I’m not so sure what else to put sooo ima just put these lil things here :>
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Masterlist
Fandom works! So much here...
All reader inserts are female.
Marvel
Bucky Barnes
T.L.C.
Girl Dad
Reds and Whites
Not Even a Candle
Reparations - 18+
Prologue One Two Three Four
Snow & Ice - 18+
One Two Three Four Five Six Seven Eight Nine Ten Eleven Twelve Thirteen
Frank Castle
Kiss Cam
A Touch of Crazy
Brothers In Arms
Frank Castle x Family headcanons
Nobody Puts Baby in a Corner
Time and Time and Time Again - 18+
A Baby Shower for Frankie
Two Pink Lines
Two to Tango - 18+
Baby Talk
Paper Ring
Blooded
The Opposite of Soft - 18+
Gone Off Half Cocked - 18+
Butterflies On Fire
A Stitch in Time
Look Where You’re Going
I Do
Matt Murdock
On Blind Faith - 18+
ONE TWO THREE FOUR FIVE SIX SEVEN EIGHT NINE TEN
Headcanons
Steve Rogers
I Love You, But... - 18+
Shadow and Bone
Jesper Fahey
A Better Distraction - 18+ - Completed
One Two Three Four Five Six Seven Eight Nine Ten Eleven Twelve
Kiss & Tell
A Good Shot
Ruse
Little Lantsov
An Unexpected Prince - sequel to Little Lantsov
Tender
Trigger
Swap With Me - 18+
He’s A Criminal and He’s Mine
Safe Inside, Out of the Rain
Laundry Day
The Law of Loss
You’re The Reason I Hate Champagne
There Goes My Life - An Assortment
One Two Three Four Five Six
Mal Oretsev
Twice Wounded - sorta 18+
Nikolai Lantsov
Patched - 18+
All Patched Up - 18+ - sequel to Patched
Monkey in the Air
Daddy and The Fox
To Be His Queen - 18+
Kaz Brekker
Stray - request prompt
A Murder of Crows - Miniseries
Part One Part Two
Memento Mori - request prompt
Green - request prompt
Love is a Battlefield
Set, Charge, Boom
The Magpie Verses - Completed
Take Off The Mask , Caught , The Crow and The Magpie , Unmasked
Aleksander Morozova
Trouble Just Walked In - sorta 18+
Matthias Helvar
Scrubbed Clean
Tolya Yul-Bataar
Awoken
Top Gun: Maverick
Bob Floyd
A Soft Landing - 18+
Red Flag Week
Baby. On. Board.
Jake Seresin
Out of Bounds I, II, III, IV, V, VI - 18+
Bradley Bradshaw
Jukebox Jive
Lockwood and Co.
George Karim
Death and Doughnuts
A Personal Experiment - 18+
Stuck in the Middle With You - 18+ - requested
Oh Dear Baby - fic idea from @the-biscuit-agreement
Oh How Time Flies - sequel to Oh Dear Baby
Ghosts I Get, People Are Crazy
Anthony Lockwood
Between a Tree and a Lockwood - sorta 18+
Honey, I’m Home - 18+
Delirium
His Mistake
The Invitation
Walt de Ville
The Flower and The Serpent - 18+
one two three four five six seven eight nine ten
Little Women (2019)
Laurie
Sugar & Spice - 18+
one
two
Zombies (Disney)
Zed Necrodopolis
Awkward Question
Betwixt
Midnight Resolution - 18+
Leo Grande
Three Day Hire - 18+
One Two Three Four Five Six Seven
A Very Grande Christmas
Austin!Elvis
Sky High
The School for Good and Evil
Rafal Mistral
The Sky Is Falling
Mirror, Mirror, On The Wall
Under The Blood Moon - 18+
The Heirloom and The Heir
Evil, Be Mine
You Shall Be Loved
Rhian Mistral
The Storian’s Favour
Back from the Brink
Bubbles
To Sleep and Not To Wake
Ben Hardy Characters
Billy / Four
Hold Me Close, Don’t Let Go - 18+
The Witcher
Istredd
Chasing Fire - 18+
One Piece Live Action
Roronoa Zoro
Buoyant
A Book and A Nap
Starless - 18+
First Kiss, Last Kiss
Keeping Watch - 18+
Double The Bounty - 18+ - Part One Part Two
Sanji
Tall Blond Pacifier
Sand and Stars
Wind and Rain - 18+
Monkey D. Luffy
First Blushes
Usopp
In The Moment
OPLA Men
Dance With Me
Christmas Drabbles 2023
Scent of Pine - Shanks
Neatly Tied With A Bow - Mihawk
Sugar, Spice and Everything Nice - Sanji
The Perfect Excuse - Zoro
Fullmetal Alchemist
Edward Elric
Happy Birthday To You
Rest and Recuperation - 18+
Tale of the Nine Tailed
Lee Yeon
Need - 18+
Sweet Home
Cha Hyun-su
Sunshine Part One - 17+
Let Me Do It
A Shop For Killers
Jeong Jin-man
Breathing
Time - 18+
Misc.
Ready or Not - 18+
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𝐖𝐈𝐏 𝐌𝐎𝐍𝐃𝐀𝐘.
tagged by @swifty-fox who shared some of little beasts and kingdom for a kiss, which both currently live in my head rent free 😍
just sharing my masters of the air wips because if i shared any more than that my tumblr might implode on itself.
───── ⋆⋅☆⋅⋆ ─────
𝐦𝐞𝐞𝐭 𝐦𝐞 𝐨𝐮𝐭 𝐛𝐲 𝐭𝐡𝐞 𝐨𝐥𝐝 𝐡𝐢𝐠𝐡𝐰𝐚𝐲
The door to the diner opened and Gale looked up from his pile of discarded single serve creamers, stacked inelegantly on top of one another, some nested in others like a haphazard and poorly made nesting doll. It was a younger couple, Gale tracked them as perhaps being on their first date. They both look nervous, but for different reasons. The boy, hoping that he was making a good first impression, the girl, fussing with her hair which Gale could only assume was done in a style that she wasn’t accustomed to.
So intent was he on paying attention to the teenage couple on their first date, navigating all the unwritten rules and social mores of courting, that he didn’t notice John slip into the booth across from him.
Gale didn’t give him the satisfaction of being startled.
𝐮𝐧𝐭𝐢𝐭𝐥𝐞𝐝
John moved toward the bathroom, and stood in the doorway for a moment, letting out an appreciative sigh. In the large, claw-foot bathtub was Gale, submerged in the water and naked with the exception of his tags resting against his chest, book in one hand and a bottle of Coca Cola in the other. His blonde hair was damp, loose, not carefully styled as it normally was, pieces of it stuck to his damp forehead. His skin was almost red from how hot the water was, steam rising in tendrils from the bathtub, the steady rise and fall of his chest betraying the thundering of his heart behind his rib cage that John knew was there.
Though he had clearly taken the time to paint the image of a man nonchalant and spontaneous, John had no doubt in his mind that this was carefully crafted, specifically for him to walk in on.
𝐚𝐭 𝐞𝐚𝐬𝐞, 𝐬𝐨𝐥𝐝𝐢𝐞𝐫 𝐡𝐞𝐚𝐫𝐭 (soulmate au)
John learned of soulmates from his mama when he was young. He straddled that line between boyhood and manhood, thinking that love was gross, but also desperately infatuated with Dottie Clements at school. He sat at the dinner table, helping her peel potatoes, asking questions about her and his dad growing up as a thinly veiled way to learn more about love. Mama Egan was no fool, she knew her boy had a schoolyard crush.
“There’s something bigger than all of us out there, Johnny,” she murmured, peeling her sixth potato while John was still only his second. “One great love for every person on earth.”
“So Daddy is your great love, Mama?”
Mama Egan was silent.
John learned of soulmates from his mama when he was a boy. He learned from living life that not everyone was lucky enough to meet theirs.
𝐛𝐥𝐮𝐞 𝐚𝐛𝐨𝐯𝐞 𝐭𝐡𝐞 𝐠𝐫𝐞𝐞𝐧 (1980s summer au)
“Johnny!”
John Egan had ignored the shouts from his mother to come inside for the last time evidently. Her voice turned into something shrill that he could hear even down by the lake, where he could normally escape all manner of ruckus that came from the cottage. It wasn’t that noisy, he supposed. But it was difficult to get a moment of peace and quiet when his whole family - his ma and dad, his sister, and himself - were all crammed into the small two bedroom space.
When they were kids, John and his sister, Billie, would bunk together in one room, at first sharing the one bed, John then eventually sleeping on the floor when he “got too long,” as his dad put it. But when one is suddenly seventeen, and the other is fourteen, bunking together isn’t on the table anymore, no matter what Ma said. John would just as soon take the couch, which he was too long to fit on comfortably anymore, in the living room, or grab a tent and camp out under the stars if the weather was nice enough.
“Johnny Egan!”
The last name was included now, it was getting serious.
───── ⋆⋅☆⋅⋆ ─────
no pressure tags: @hederasgarden, @imjess-themess, @wildbornsiren, @magneticghouls, and anyone else who would like to share!
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random haru & fuyu headcanons
hello blush blush fandom (again). this is my first time writing anything remotely fanfiction-y since like 7th grade so,,, yeah. also these are my personal headcanons and how i interpret their character so if you dont agree then pls scroll tysm 🙏 anyway onto the headcanons (buckle up)
okay so first
I think they would both be kpop fans (starting off very strong ☠️)
(obviously not the crazy ones who attack you for not liking a group)
haru is definitely more open about it though
fuyu heard some kpop but didnt really stan any groups
however,
when feel my rhythm by red velvet came out…
…
lives were changed
(including fuyu’s)
i think he would like the more classical(?? if thats how one would describe it??) concept of kpop
(ex. feel my rhythm, etc etc.)
i feel like haru would gravitate more towards boy groups
or 2nd gen girl group party music
(ex. i am the best - 2ne1, the boys - girls generation, etc.)
for boy groups i feel like he would like ateez, seventeen (me projecting), and perhaps stray kids
OKAY OKAY ENOUGH ABOUT KPOP
haru for sure had an emo phase at some point in his lifetime
play cemetery drive by mcr in front of him and he will get war flashbacks LMFAO
also aki has a line about haru possibly having a (probably human) child?? ((yt link))
erm hello????
who is bro getting freaky deaky with in fox form…
better yet WHO IS BRO RAW DOGGING IN FOX FORM??????
HELLO??
anywho.
fuyu has tried to play roblox and got scammed repeatedly in royale high and adopt me
(it was haru and aki scamming him)
“back in my day we didn’t have these little screen bricks” ahh ☠️
haru has probably tried to play roblox a few times
i know for sure aki plays roblox and is constantly trying to scam little 10 year olds
after you broke their curses and (somewhat?) restored peace between them,
aki would try to get everyone (fuyu, haru, and you) to play a roblox horror game with him
fuyu would have no idea how to play
“how do i turn around?” “how do i jump again?”
☠️☠️
(this next bit is for the theater kids)
after you broke fuyu’s curse and he talked about broadway and such
he found out (or you told him) about slime tutorials
and he was surprised how different theater was from what he knew theater as
if that makes sense??
when he heard taylor louderman as regina in mean girls the musical
ESPECIALLY IN WORLD BURN
jaw on the floor
(me too)
ANYWAYS ANYWAYS
haru unironically likes chick-flicks (ex. legally blonde, mean girls, miss congeniality, bring it on, clueless, etc)
(projecting again)
erm
yeah
i can't think of any more general hc's
lalalalalalalalalalaal
okay bye
i just realized there are like 5 actual headcanons and the rest is just me blabbering ☠️☠️
thank you for reading my rambles about these little silly billies and sorry for all the parenthesis
GAH okay bye for reals
#blush blush game#blush blush#blush blush haru#blush blush shitpost#blush blush fuyu#blush blush aki#headcanons#im crying myself to sleep tonight why is writing fanfics so embarrassing#im going insane#almost all of this is just me projecting LMFAO#i AM insane#someone kill me already#im not posting again for another like 4 months#i love them#i also love parenthesis
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Hello, I am asking about GSR because I love your thorough and thoughtful answers. I'm rewatching early CSI, and I know that the opinions of the producers towards GSR were not always favorable early on - they'd planned to can the whole relationship after S3, if I recall correctly, but WP & JF campaigned to keep them going. So I'm wondering, for early GSR, do you think that some of the claim that Grissom always loved Sara is retconned to fit the later plot? Or do you think that Grissom was written/acted to have been in love with her the whole series, and just keeping it under wraps, as the character later claims? Can we canonically read S1, S2 & S3 William Petersen acting a Grissom who doesn't know what to do with his feelings of love for Sara, or is it more likely that he was at the time meant to be acting as not sure how to handle her being so interested in him while his interest was not as strong? It seems like by S4 Butterflied that the writers & WP had decided Grissom was currently and had been in love with Sara. Would appreciate your thoughts!
hi, @nostromosigningoff!
thank you for your kind words! i'm glad you like my answers.
in response to your question:
up front, i will say i do not believe that the idea grissom expresses in episode 04x12 "butterflied" (and also at later points, such as in "immortality") that he has always been in love with sara represents a retcon.
for something to be a retcon, it has to contradict a previously established canonical plot point, thereby breaking the continuity.
for example, in s1, catherine is established to have a sister (who often helps to care for lindsey), but in later seasons, she is depicted as an only child; her sister being written out of existence is therefore a retcon.
so since it is never established that grissom definitely is not in love with sara pre-s4, then it can't be a retcon to have him say (or at least imply) in episode 04x12 "butterflied" that he has been in love with her the whole time he's known her.
it's not a rewriting of explicit history.
there is room within the narrative for what he says to be true and (within the universe of the show) to have always been true.
and, ultimately, i think the show makes it pretty clear that grissom does in fact have feelings for sara from the start, not only through explicit textual acknowledgment but also through certain acting choices billy makes, staging decisions, overarching themes, etc.
that said, the question of "was he (outside of the universe of the show) always intended to have been in love with her and only her from the beginning?" is, admittedly, a little more complicated, the answer running along the lines of "yes and no."
more discussion after the "keep reading," if you're interested.
__
first, some clarification: despite the fact that the showrunners eventually questioned the viability of gsr at the end of s3 (after grissom had declined sara's dinner invitation in episode 03x22 "play with fire"), they were not (in general) unfavorable to romantic gsr prior to that point.
while anthony zuiker had never intended for csi to be a show that focused primarily on the characters' home and love lives (and instead wanted to keep the drama firmly situated in their work), gsr had indeed been conceptualized of as a romance—and a mutual romance, at that—from day 1*.
* or technically "day 2," since jorja fox was only hired and the character of sara sidle only created after they had already filmed the pilot.
jorja fox was cast as sara with the understanding that her character would be "the love interest for gil grissom"—and note the wording she was supplied, which suggests that grissom has an interest in sara (and not that sara has unrequited feelings for him). she knew going into the job that her character was meant to match up with the show's leading man and be the object of his attraction.
to that end, many scenes throughout csi s1, s2, and s3 were written and/or directed and acted with the gsr romantic angle explicitly in mind—with the feelings evident on both sides.
multiple episodes of the early seasons heavily feature and develop the notion that grissom does have both a sexual attraction and an emotional connection to sara, beyond anyone else, and only really make sense within that context (e.g., episodes 01x03 "crate n' burial," 01x10 "sex, lies, & larvae," 01x23 "the strip strangler," 02x16 "primum non nocere," the entire grissom jealousy arc of early s3, etc.).
moreover, within these episodes, sara is not always shown as being the "pursuer." there are plenty of times when grissom expresses his attraction to, feelings for, and devotion to her unprompted, such as, for example, in episode 02x16 "primum non nocere."
this example is especially relevant to our question, as grissom's "since i met you" quip not only establishes his attraction and emotional connection to sara but also specifies that it has been a "from the moment he met her" deal. since when does he care about beauty? literally from the moment he met her and realized how beautiful she is.
the fact that he does so proves: he's not just a boss stuck in the awkward position of having a subordinate with unrequited feelings for him; he has feelings of his own, which he often expresses independent of her saying or doing anything to provoke him to.
while he is undeniably conflicted about his feelings and unsure of what to do about them, the fact is that he does have them.
and much of the tension between grissom and sara in the early seasons is based on that reality—both explicit narrative cues (such as catherine bringing the issue up to grissom in episode 02x15 "burden of proof," prodding him to deal with whatever lingering romantic feelings exist between him and sara so they can effectively work together) and billy's acting choices make that point clear.
the problem is that neither grissom nor sara can ever just fully walk away from their connection; that deep down, neither one of them wants to.
so.
outside of the universe of the show, the situation was that the showrunners had this ship that had been written as being romantic from the beginning, with mutual feelings on both sides, which they had then teased for so long and complicated in so many ways that after three seasons—which is the traditional point at which most tv "will they or won't they?" couples have their slow-burn arcs resolved—they were questioning if it was still viable (and particularly as the ship was polarizing and not universally popular with the fans).
after all, by this time, they had already had grissom and sara acknowledge the attraction head-on (see episodes 03x02 "the accused is entitled" and 03x22 "play with fire") and had had grissom turn down sara's direct romantic overture toward him, so it was time to either "drive or get out of the car," so to speak.
it was never the case that the showrunners (as a collective) had hated gsr or been against it as a romance from the get-go. it had also never been the case that they viewed it as a one-sided, "sara is in love with him but he is indifferent to her" thing, either.
whatever else may be true, grissom was consistently shown to have feelings for sara (which oftentimes complicated their interactions).
it's just that after the rigmarole of s3, there was some question of "now that we've gotten grissom and sara to this (fraught) point, should we bother to continue their romantic relationship? or is our audience burnt out on all this angst? do people actually still want to see them together?"
the writers were inclined to think no, especially because (as stated) gsr as a concept had always been divisive among fans.
however, both billy and jorja understood gsr to be so central to their characters that they advocated for the romantic storyline to continue (and eventually see some consummation).
over the course of the hiatus between s3 and s4, they lobbied to maintain the ship (or, in other words, to go with the original plan), and eventually, they persuaded the showrunners to stick with it, which meant that s4 began with romantic gsr "still on the table."
as talked about in this excerpt from the csi: crime scene investigation companion book,
because billy and jorja were successful in their campaign, there was essentially no gap in coverage with gsr being written as romantic throughout the series; that throughline persisted from episode 01x02 "cool change" on, even after the events of episode 03x22 "play with fire."
now.
all of the above said, a couple of things should be noted:
first, csi was always a show with multiple writers who, though they functioned as a team, were nevertheless not a monolith in terms of how they conceptualized of the show, its characters, their storylines, etc.
that so, mileage would often vary with csi storytelling depending on which particular writer was the primary one for a particular script or even longer story arc.
though gsr was conceived of as a romance from the beginning of the series, prior to them "going canon" with the big reveal at the end of s6, there were various writers who put their own spins on the ship. some of them applied little effort to developing the romance angle as main text on the show, adhering to the zuiker "focus on the criminalistics" mandate to the letter and leaving it mostly to billy and jorja to inflect their performances with attraction/interest "between the lines" as they would in the absence of more explicit treatment in their scripts. however, others would alternate based on their own whims or what the story of the day called for, sometimes teasing the romance explicitly and other times downplaying it and/or leaving it understated (especially in favor of other potential grissom ships, like kessom). still others consistently played to and developed the romance, pushing that overarching story along and establishing it as a series mainline (the most reliable captains of this last camp, for my money, being david rambo and sarah goldfinger).
there was also variation, even among those writers who did place gsr romance on the center stage, in terms of how they portrayed the dynamic, and particularly with regards to the question of grissom's characterization within it. some wrote more toward grissom being confused, others toward grissom being repressed and afraid, others toward him being manipulative of sara's feelings, others toward him being conscientious of power structures and professional considerations, etc. they also had multifarious interpretations of the exact nature of the romance itself, especially in terms of what grissom and sara's pre-vegas history might be, the type(s) of attraction at play and how that might manifest, what exactly the characters' hang-ups and motivations with regards to each other were, the level of intimacy between them, etc.
that being the case, we can't really speak of all of the writers and showrunners sharing a common attitude toward or understanding of gsr without oversimplifying the matter.
the truth is, views among the writing and production staff on the show toward gsr were as various as they were/are within the fandom.
carol mendelsohn, for example, has spoken of the fact that there was never a consensus in the writers' room about whether or not grissom and sara had slept together prior to sara moving to las vegas. she personally felt that they had, though other writers/producers felt they hadn't.
while there was a baseline understanding across the production that sara was meant to be grissom's love interest and that there was some kind of nebulous ~history between them, there were lots of different ways members of the production team interpreted and depicted that relationship beat (which is why the gsr storyline sometimes feels so inconsistent, even within the course of a single season).
another thing we have to keep in mind when talking about intentionality re: gsr romance is that while we as fans often talk of ships "always being endgame," more often than not, showrunners and writers don't operate with that kind of certainty in place.
with the exceptions of shows where the main romance is the be-all, end-all central plot point, with the whole story revolving around particular characters getting together/staying together/having an eventual happy ending, in most cases, most tv romances do not come with a guarantee of endgame status. writers prefer to keep their options open, writing toward what is most interesting and playing on chemistry wherever they may happen upon it.
they also sometimes are constrained by production realities (such as studio mandates, shifting actor availabilities, cast dynamics issues, etc.), which make it so they can't necessarily just "write what they want."
that so, while it is accurate to say that the writers always conceived of gsr as being mutually romantic in nature—as per the character notes jorja was given by the production team and the fact that when billy and jorja first met, they did so with the understanding that they were going to be scene partners/playing love interests going forward—it is not accurate to say that they always believed (much less knew for a fact) that grissom and sara would wind up together in the end/become the flagship of the show, spanning all fifteen seasons and a movie/get married and live happily ever after, and particularly not from the beginning of the show.
sara was meant to be grissom's primary love interest from the beginning, yes—and certainly their dynamic was written with mutual feelings/interest on both sides.
however, "primary" does no mean "only," and neither does it necessarily mean "forever."
that so, before the character was really solidified, particularly in early s1, the writers had occasionally fitted grissom into some interim romances and tried to present him more as the archetypal "cad about town" than would later be the case.
they also, as the show progressed, sometimes teased and explored other romantic options for him than sara, mainly with heather kessler, writing those interactions in such a way that (had they wanted to, and particularly had the audience reacted favorably) they could have slotted heather in as grissom's "primary romantic option" rather than sara instead.
so for as much as sara was created to be grissom's love interest from the beginning and for as much as gsr was written as a romance (with feelings on both sides) from sara's first appearance on the show, gsr was not necessarily intended from the beginning to be endgame.
in the writers' views, it was one option of many potential ones—a main option, a consistent option, an option they poured a lot of narrative time and attention into developing over the course of the show's first three seasons, yes, but an option all the same; one possible choice among many.
it wasn't until s4, after billy and jorja's intercession, that they really decided to make gsr endgame, knocking all other possibilities off the table.
that choice on their parts was, of course, cemented in episode 04x12 "butterflied."
so.
getting back to your original question of "was grissom always written/acted as being in love with sara from the get-go or was he originally meant (prior to s4) to have been more uncertain?" here are my thoughts:
as established, both billy petersen and jorja fox knew from the beginning that their characters were meant to have some kind of romantic connection, and the writers were definitely conceiving of gsr that way.
it is also true that gsr was not intended to be one-sided; grissom was written and depicted as being an active participant from the beginning, just as sara was.
but as also established, the particulars of the connection between grissom and sara were very much "not pinned down."
it wasn't as if the writers wrote up a "gsr dossier" and handed it over to billy and jorja and said, "here is the entire history your characters share together, complete with notes about how exactly they feel about each other and what beats and nuances you should play with them going forward. also, you should know that we intend for them to eventually get married and be together forever, so make sure to foreshadow that as much as you can."
to the contrary: both billy and jorja have often spoken of the fact that given the preponderance of "blanks" in their character histories and how little information the writers gave them to go on regarding grissom and sara's past dynamic, they often consulted with each other to come up with what we fans might refer to as "headcanons" about what they believed had happened between grissom and sara in san francisco, as well as to make sense of what was currently going on between them at any given point during the early seasons of the show. they relied on each other to "get on the same page" and to create internal cohesion in their performances.
it wasn't something that was just handed to them.
they were also in the same boat as members of the audience when it came to wondering what the future held for grissom and sara as a couple while the show was still running.
while they knew their characters were romantically entangled, they didn't know to what end.
at the beginning, there was so much ship teasing.
but would grissom and sara ever get together? if they did, would the relationship be long-term?
they didn't know.
they were just going along with the story as it was being written.
and, as discussed above, the writers themselves didn't have some huge, overarching plan to start out with. they knew from the onset that sara was an emotional touchstone for grissom and someone he was deeply connected and attracted to, but they weren't necessarily married to the idea that grissom and sara would themselves get married.
as stated, "endgame gsr" was one possibility among many, and, particularly at the show's onset, when there were no guarantees of how long csi would even be on the air, it was a long-shot, far-off-into-the-future, we'll-get-there-if-we-get-there possibility at that.
there were a lot of moving parts in play and nothing was set in stone.
so.
all of the above being the case, can we say definitively that every second billy played grissom on screen, his intention as an actor was to depict grissom as being deeply in love with sara? can we say that he always fully understood grissom's motivations and knew that grissom was scared of the depths of his feelings for sara (as opposed to just being unsure of how to deal with her intensity)?
no.
while it's a safe bet to say billy was always aware that grissom and sara had history and that there was a possibility that they would eventually become a couple from the start, we can't say that he always knew exactly what was going on with them. there might very well have been times when he felt like the attraction was more one-sided or when he doubted anything would ever transpire between them; even when he perhaps thought that the writers might take grissom down other roads for romance instead (i.e., pair grissom with heather).
that said, did he, as an actor, nevertheless always seem to keep those initial notes on grissom and sara's connection "in his back pocket" so that grissom's emotional attachment to sara and attraction to sara played a consistent role in his characterization?
yes.
and did he regularly depict grissom emotionally reacting to sara (even if the nature of his reactions was more ambiguous), such that we as viewers can easily believe grissom's later claims that he has always been in love with sara when we view them from an in-universe perspective?
absolutely.
the facts that billy and jorja did come up with their own takes on gsr and talk through that "secret history" together and that billy so often ad-libbed some of the most romantic gsr lines ("since i met you," anyone?) and that billy did imbue grissom's reactions to sara with such emotion all strongly suggest that even if he didn't know for sure—based on a "word of god" dictum from the showrunners—what the exact nature of grissom and sara's relationship was or that they would for sure end up together, he was playing romance between them, and it was a consistent, deliberate acting decision on his part.
see, for example, his comments about his ad-lib of grissom calling sara "honey" in episode 03x22 "play with fire": "[the producers] said, ‘he can’t call her honey.’ but that’s exactly what would happen. he’s afraid for her—he’s afraid for everybody—but it is specifically for sara. he knows the stress she’s been under with him. with her shock, she doesn’t even know until later on that he called her honey. he doesn’t know that he called her honey. only the audience knows."
he may not have been able to say for sure, "i know sara is the love of grissom's life and that he's going to marry her someday, so i'm gonna play him that way in every episode." but he knew enough to recognize the importance of that connection and to consistently depict it, leaving the door for development open.
he also knew enough (along with jorja) to advocate for the continuance of the gsr romantic storyline at a time when the showrunners were doubtful of it.
and because he did, grissom's later in-universe claims that he's been in love with sara the whole time are emminently believable, regardless of what kinds of questions were being asked behind the scenes regarding the viability of gsr from a production standpoint.
so that's the thing: when i look at grissom and sara's story, i see nothing in it that contradicts the idea that they've been madly and mutually in love with each other since 1998—and, in fact, i think their story only really makes sense when viewed through that lens.
even for as indecisive and tempestuous as grissom can be about his relationship with sara in the early seasons, never for one second do i doubt that he has feelings for her.
there is no episode i can look at and go, "yeah, at this point, gsr was completely off the table. they just added it in later."
if grissom was just wholesale uncomfortable with sara's romantic attentions on him and not sure how to deal with them, then episodes like 01x10 "sex, lies, & larvae," 01x16 "too tough to die," 01x23 "the strip strangler," 02x05 "scuba doobie-doo," 02x15 "burden of proof," 02x16 "primum non nocere," 02x23 "the hunger artist" (which, lest we forget, explicitly features grissom seeking out sara while a love song plays), 03x02 "the accused is entitled," 03x09 "blood lust," 03x22 "play with fire," 04x03 "homebodies," and 04x07 "invisible evidence" would never have happened—or at least wouldn't have played out the way that they in canon do.
and mind you: all of those episodes take place before episode 04x12 "butterflied" stakes its claims to the longevity, singularity, and depths of grissom's love for sara.
in those episodes, grissom's romantic feelings for sara are all made main text—acknowledged not only through william petersen's acting choices but in dialogue, staging, and even through the show's soundtrack.
they are deliberately shown.
and what's more: nowhere in the show is grissom depicted as having that same sort of consistent, almost unavoidable emotional connection with anyone else, either.
though of course fans can and do argue about what he may feel for heather or even other potential love interests besides sara, the fact is that just by sheer volume and duration, his connection with sara is his longest, most intense relationship on the show by far.
even if one does believe he may at some point have feelings for heather (which, of course, i don't), it would always be a situation of "and" not "instead of" where sara in concerned.
his love for sara is a thread that runs through the whole tapestry of the show.
it's never the case that he stops having feelings for her in favor of having feelings for anyone else. he also never really moves on from her, even when he declines her romantic overtures at the end of s3.
so at the end of the day, though neither the showrunners nor the writers nor the actors may have known with surety from the beginning that sara would end up being grissom's one true love and the only woman he ever had any real feelings for, and while at various points during the production there definitely were other options they considered, what the show ends up actually depicting (all doylist intentions aside) is that sara is the object of grissom's heart from day 1.
it's not a retcon for the writers or grissom himself to say he has always been in love with sara, because there is consistent evidence of it, both internal and external to the show, from the start.
it's not something that was shoehorned in or decided upon long after the fact.
the option was there from the day jorja fox signed her contract.
and it was given consistent enough narrative attention, both by the writers and by the actors, that by the time it is explicitly stated, it doesn't at all "come out of nowhere" or contradict anything already established in the show. rather, it confirms what has already been implied for a very long time prior.
so tl;dr? while the showrunners may not necessarily have been sold on a gsr endgame from the start, that also isn't to say that they were against it, either, or that eventually "going there" went against their original intentions.
gsr had always been on the table, and billy, for his part, consummate knower of his character that he is, was always, from the beginning aware of that possibility and depicted grissom accordingly, leaving that door for a gsr romance open, so that now it seems very clear looking back that the love was there all along.
thanks for the question! please feel welcome to send another any time.
#answered#nostromosigningoff#asks: csi#**#my meta#meta: csi#meta: gsr#meta: production#let's talk shop#csiverse
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TWD OC U3U
"I am Eddie Delkins. The Theatre Kid and Carl's awesome boyfriend....NOW EAT THIS SUCKA!"
Full Name:
Edward "Eddie" Delkins
Preferred name:
Eddie
Age:
10 (season 1)
12 (season 2-3)
13 (season 4-5)
14 (season 6-8)
15 (season 9)
Date of Birth:
Unknown
Place of Birth:
Utah
Gender:
Male
Birth gender:
Female
Titles:
-The Theatre Kid
-The Class Clown
Nickname:
Eddie (various people)
Eds (close friends)
Eddie Spaghetti (best friends)
Stupid nutbrain (sister)
Sexuality:
Panromantic, Demisexual
Weapon:
A baseball bat with needles
Personality:
Kind
Honest
Brave
Bold
Adventurous
Funny
Loyal
Caring
Independent
Stubborn
Impatient
Sarcastic
Kind of innocent?
Cocky
"You hurt them, you die"
Tries to make people feel better about the currant situation-
Hobbies:
Playing on piano
Solving puzzles
Playing with his pet fox
Reading
Playing on the drums
Drawing
Magic tricks
Best Friends:
Carl Grimes
Friends:
Judith Grimes
Your OC
Daryl Dixon
Hershal Greene
Beth Greene
Mikey
Lori Grimes
Maggie Rhee
Glenn Rhee
e.t.c
Enemies:
The bad guys pfff
Family:
Cole Moncreo (adopted father), 31, deceased, got beaten by Negan's bat
Actor: Pedro Pascal
Elle Delkins (twin sister) alive
Actress: Bella Ramsey
Crush: Enid Rhee (soon becomes her girlfriend)
Terrence Delkins (brother) 15, deceased, got shot by Eddie after getting bitten by a walker in season 3
Actor: Tom Holland
Millie (mother) 41, deceased, eaten by walkers
-Picture: Unknown-
Jacob (father) 41, deceased, got shot by Rick in season 5 because he was an enemy working for an enemy group, The Fireflies (yes I made it up).
Firestar (pet fox) deceased, suffered from starvation in season 9
Rofee (pet dog), deceased, got stabbed by Elle after getting bitten by a walker in season 9
Cottontail (sister's pet rabbit) alive
"Terry, why doesn't mommy and daddy love me?...."
Actors:
Kid:
Jackson Robert Scott
Teenager:
Cameron Boyce (RIP our favorite Carlos De Vil <//3)
-------------------------------------------------------------------------------------------------------------------------------
"I'm so glad my awesome boyfriend is okay!"
Love Interest:
Carl Grimes
Ship Name:
Ceddie
Edarl
Carlddie
Music in Me- HSM
Never Enough- The Greatest Showman
A Million Dreams- The Greatest Showman
Heather- Conan Gray
Teenage Dream- Katy Perry
Heat Waves- Glass Animals
Rewrite the Stars- The Greatest Show(edit version)
Cheerleader- OMI
Love is Love- Trey Pearson
A Thousand Years- Christina Perri
Bad Romance- Lady Gaga
Dandelions- Ruth B.
Love languages:
Physical affection
Quality touch
Relationship tropes:
sun + moon
Energetic x Tired
Endgame
Right person, wrong time
Relationship Status:
Season 1-2: Friends
Season 3-4: Crushes
Season 5-8: Dating
Relationship Variants:
Robin x Finney (TBP)
Shinsou x Denki (MHA)
Kai x Adam (The Hollow)
Amity x Luz (TOH)
Kirishima x Bakugou (MHA)
Character variants:
Sammy (JWCC)
Hawks (MHA)
Izuku (MHA)
Squirrelflight (Warriors)
Michael Afton (FNAF)
Luz (TOH)
Rodrick (Diary of a Wimpy Kid)
Richie (IT)
Boris (The Goldfinch)
Hiccup (HTTYD)
Jack Frost (ROTG)
Dead or Alive:
Dead
Cause of Death:
Influenza
First Appearance: 1x2, Guts
First Line: "For a kid my age, you're kinda short, short-stack"--- to Carl Grimes when they meet
Last Appearance: 8x2, The Bridge
Last Line: "Meet ya'll on the other side..."---- to Elle and the group before succumbing to the illness
Theme songs:
Mary on a Cross- Ghost
Ghost- Justin Bieber
Lovely- Billie Ellish
Its Been So Long- The Living Tombstone
Waiting on a Miricle- Encanto
Requiem- Dear Evan Hanson
Walking the Wire- Imagine Dragons
Enemy- Imagine Dragons
Believer- Imagine Dragons
Changes- Hayd
Daddy Issues- The Neighborhood
Home- Nick Jonas
Family- Mother Mother
See you Again- Wiz Khalifa
Poker Face- Lady Gaga
Boys don't Cry- The Cure
For the Delkins family:
Its been so long- The Living Tombstone
Afton Family- KryFuze
"I should be dead...but I'm not...."
"Hurt my friends and I will kill you..."
-------------------------------------------------------------------------------------------------------------------------------
Backstory:
Edward "Eddie" Delkins was born to a "happy" married couple named Millie and Jacob Delkins. He had two siblings. An older brother named Terrance and a two-year younger sister named Elle. His parents always expected a lot from him but hey, he still loved them. He revealed he was trans when he was 6 but of course his parents didn't like that, but his siblings accepted him and helped him go through treatment. When the outbreak happened, he was in his room, reading until he heard his older brother yelling. When he went to check what was going on, he saw two zombies eating his mom. He lets out a horrific scream as his brother practically threw him, his sister's bunny Fluffball, the family dog Rofee and his sister into the van and drove off. They soon find Pedro who raises them like his own children. In season 5, the Delkins siblings and their dad were reunited. Elle and Eddie had their suspicions and didn't trust him but Eddie pretended to so he could get the truth from him. Once Eddie and his dad were alone, Eddie's dad told him about his plan to wipe out the survivors and demanded him to join them, even guiltripping him but Eddie refused, causing his dad to go off the edge. He soon went to the survivors and attacked them with the Fireflies. But the fight stopped when Eddie shot his dad. And the rest is history :D
𝐹𝒶𝓋𝑜𝓇𝒾𝓉𝑒𝓈;
Spicy Food:
Butter Chicken
Sweet:
Candy
Book:
Warriors
TV show:
Stranger Things
Movie:
IT
Anime:
My Hero Academia
Manga:
MHA and Assassination Classroom
Animal:
Foxes and Wolves. Can't forget bunnies or dogs
Song:
Running up that Hill by Kate Bush
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sneak peak of LA guard dog pt. 2 because i find it amusing that Coco reliably hits on milfs:
“Sure thing.” The Corinthian hands her the car keys while she jams her feet into sneakers. “Don’t worry, Rosebud, we can hold down the fort.”
She laughs, bounces on her toes to kiss his cheek.
Then she’s gone, and the house is quiet.
Well, except for the dog.
It scratches at the front door and looks up at him hopefully. Corinthian curls his lip at it, but the dog is too far removed from its more capable ancestors to read that as a threat, and it waggles its hips in response. Play? Out? It gives a thready whine. Need.
He snags the leash from its hook by the door.
The dog pisses as soon as its paws touch the scrubby front lawn, so Rose’s intuition was correct on that front. The Corinthian is tempted to just take the animal back inside, except then it darts after a crow with a surprisingly loud bark and, well, those are the kinds of instincts that should be encouraged. Of course, the crow takes flight, but the dog isn’t discouraged, just turns its nose to the ground and starts sniffing for new prey. The Corinthian follows behind at a leisurely pace. “Billie,” as Rose keeps reminding him, “she has a name,” except it doesn’t have legs, not really—Billie trots with single-minded focus. Its long sausage body is good for poking into gopher holes and under bushes. It’d be useful for ferreting out rats or foxes, if either of those were a problem here. As is, it manages to snag a half-empty package of fries and hork down a couple before the Corinthian can wrestle the bag away.
“Puppies keep you on your toes,” says a raspy voice.
The Corinthian turns. Gives a little wave. “Hey, Mrs. Moreno. You do something new with your hair? It’s looking good.”
“Psh. Flatterer.” But the older woman pats at her curls, framed with a colorful headband. “Didn’t I tell you to call me Jackie?”
She did, when he first encountered her during his initial scope of the neighborhood. He hasn’t taken her up on it, mostly because her greenish eyes sparkle whenever he drawls her surname or calls her “ma’am.” Jacqueline has the voice of someone who started smoking as a teenager and hasn’t stopped despite her doctor’s best efforts. She sits on her porch at odd hours but always spares a friendly word for Rose. If the Corinthian were hunting her, he’d take her out to Employees Only for drinks and K-town for karaoke. He imagines those honey-flecked irises taste like an appletini.
His smile widens. “Now where would a Southern gentleman be without his manners?”
Jacqueline’s gaze travels slow and deliberate over his body. “Mm, I’m sure you’d get by.”
“Yeah?”
She waves a hand at him. “I’m not gonna stroke your vanity unless you stroke something of mine—and I know you belong to that sweet Walker girl. Is that her dog? Doesn’t seem your type.”
“What’s my type?”
Her grin is all teeth. “Some kinda hound.”
She clucks at the dog and it, idiot creature, runs straight for her, tail wagging. “What’s her name?”
“Billie.”
“Lady Day. I’m more of a Vaughn girl, don’t tell your friend. Though I’ve got some records if she ever wants to listen.”
“I’ll let her know.” The Corinthian watches as the dog wriggles with joy at her attention. Jacqueline laughs at its antics, flops its velvet ears between her fingers. The lines at the corners of her eyes crinkle. “Her mom was a big Holiday fan, apparently.”
He’s not sure what makes him offer this tidbit. Maybe the hope that a human will know what it means, clue him in to its significance.
But Jacqueline just hums, moves her hand to rub the dog’s belly as it rolls onto its back. Her acrylic nails scritch gentle, gentle on that exposed flesh in a way that makes the Corinthian’s eye teeth ache.
#la guard dog#my fic#i'm imagining Jacqueline as like. Rosie Perez or Cecia Cruz.#lil old lady perm with insane highlights. nails to strip the skin off god.#a secret stash of edibles and cuban cigars#sandman#sandman fic
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Not Duke, Not Prince - Part 5
(POV Hopper) Billy | Teen | 2.6k
Alternate Canon/Divergence
And this is where the initial cracky silly plotline went awry and turned into something that I will be elaborating on down the line lol. Please enjoy <3
Made for @billyhargrovebingo!
Prev. | Part 1
Hopper sat in his van with a blanket over his shoulders, clinging to the police radio that crackled in and out since before sunrise. He’d gone through three coffees and a whole pack of Camels waiting for a sign, a sound, a rumble in the earth. Nothing. Nothing yet, at least, so he waited a little longer.
Two weeks prior, a man arrived in the hospital’s intensive care unit after showcasing severe, presumed, stab wounds and bruising over his chest. One Neil Hargrove, one Hopper knew of because his son was in the hospital only days before that with similar injuries, though much less severe. Much less deliberate, if Hopper were to think so, which made him queasy to consider.
Once he was conscious again, Hargrove Senior claimed that his son had done that to him. Jumped on, scratched, bitten; “Stabbed?” asked Officer Phil Callahan, the regrettable choice sent along to question him, but Hargrove shook his head. “He didn’t have a weapon on him?” And again.
“Teeth… he—he wasn’t—wasn’t human.”
It came out on the very same day that there had been reports of an earthquake from neighbors, thunder or explosions or God-knew-what. Commies, yelled one old woman, or winter fireworks. Her husband said it was like a herd of angry buffalo. None of that helped, obviously, because neither buffalo nor such violent political expressionists existed in the quaint town of Hawkins. Neither of those things were what shook the town just further than its outskirts, a few miles in each direction from the Hargrove household on Cherry Lane. One neighbor reported unusual rustling in his bushes, but even that wasn’t very useful.
Despite the odds favoring against him, Hopper had instincts that very seldom disappointed when it mattered. Callahan said something about a cougar, and then it finally made sense—maybe, if Hopper was right.
And he had been right once before, one night when he went to his cabin for a weekend getaway on the anniversary of his first daughter’s death. Whiskey, cigars, the cheapest pizza Hawkins could offer—that was his plan, and it was underway. On his day of mourning, he sat on the porch in an old rocking chair, beer in his hand, air in his gut that refused to escape, a cigar in his shirt pocket that he didn’t get a chance to light before tiny headlights caught his attention. Only for a moment, a split second in time, and then they disappeared.
So, maybe they weren’t headlights. A trick of the eye, perhaps. He was drunk and fuzzy anyway, distrusting of himself to see anything clearly, so he pretended to forget about it. Finished his beer, smoked his cigar, stood up to go back inside and sleep the pain off until morning. Before he could, however, there was a disturbance in the trees just ahead of him, something running and hiding from him until he threatened arrest. Had it been some delinquent teenager, it would have run away. It would have listened. Instead, it waltzed up to him with a long, red tail swishing behind a lean body, dark eyes that glimmered in the light of the new moon.
It was a fox.
Moments later, a little girl stood before him, naked and trembling, patches of auburn hair all over her body until they shed away later into the night. Hopper thought he was hallucinating, that his cigars were laced with something more illegal than they already were. The girl challenged more than feared him. She needed to get inside.
Three years later, she remained with him. A tattoo behind her ear read 011, and she called herself Eleven—or, the bad people did. Hopper started calling her El, which she took to quickly. When, one day, Hopper asked if the bad people turned her into a fox, she said no, she had always been that way, and she may have been a fox first. She didn’t know or care. Papa was long gone, the doctor was dead, and her stories only ever got more grim.
So Hopper waited for another earthquake, and then his radio crackled again.
“Come in, Jim, do you copy?” It was Callahan.
“Loud and clear, Phil. Over.”
“There’s a guy here harassing me for you… Says his name is—what’s your name again?” There was a garbled answer before Callahan repeated it: “Murray Bauman—Over.”
Hopper’s eyebrows turned in. “That Chicago prick?” he asked, having read an article written about said Chicago prick and the outlandish conspiracies he journaled about. “He’s here? In Hawkins. Over.”
“Unfortunately. Over.”
“What the hell’s he doing here?” Silence. “Phil!”
“You didn’t say, ‘Over!’” Hopper rolled his eyes. “I don’t know. He won’t tell me. He’s requesting you directly.” He could hear the inattentive look on Callahan’s face even from the middle of an open field. “And he’s not leaving until you talk to him. Over.”
“Christ,” Hopper said, muttering to himself. Then into the radio, “Fine. I’ll be there in twenty. And I’m giving him five. Over and out.”
“All I’m saying is, I don’t think it’s a coincidence, and before you cut me off again, there is historical evidence of house pets turning feral and morphing into other biological orders entirely—“
“So you’re saying the kid’s a cat with a tummy ache. Okay.”
Murray huffed and rolled his jaw, having gone through similar conversations with Hopper before because Hawkins was a strange little town, and he liked to keep tabs on it. They sat in the chief’s office, Hopper with his boots kicked up on the desk, Murray with his hands folded in his lap and a flat line across his lips. The combover was looking extra sharp that afternoon.
“If you’d let me finish, you’d be hearing that there are cases in the last thirty-odd years of this happening as a result of chemical mishandling during the war, and said chemicals causing permanent and significant damage to the animal kingdom. Three years ago, a woman in Memphis reported a possum sneaking into her hamster’s cage and eating it”—Hopper laughed—“but she inspected it more closely herself and determined that it was, in fact, her hamster that had transformed, based on behavioral evidence and markings on its skin that Mister Cheesy had as well.”
Smoke plumed from a cigarette resting on Hopper’s ash tray. “Those are a lot of words for a small man,” he said, maintaining an expert pokerface so as not to give away the returning curiosity of his own daughter.
“It’s not just cute, fuzzy little animals, okay, it’s wolves—“
“Werewolves?” He couldn’t help himself now.
Murray continued without missing a beat: “—and coyotes, cattle, chickens, ducks, toads, foxes, humans—“ But the buzz of Hopper’s alarm clock went off right when he said it would, five minutes after his ass met the chair. Murray stopped, stood up, straightened his jacket and said, “Well, I’m afraid my five minutes is up.” That smile made Hopper want to punch him. “Call me if you change your mind—“
“Wait.” He stood from his own chair and walked around the desk, closed the office door, drew the curtains. “Sit the hell down.”
Four days later, Murray joined Hopper in his van to drive to the clearing a mile out from Brimborn Steel Works. Max was in the back seat after having a long conversation with Hopper some days before, wearing his blanket over her legs. Neil was in no position to stop her going along for the ride, not that he knew. Susan didn’t particularly care. She clutched onto her skateboard as Murray asked Hopper, “And you’re sure this is the exact location he was attacked?”
“Yes, I’m sure.”
“Okay.” He unbuckled his seatbelt and opened the door, pointed a stiff finger in Hopper’s face and said, “You stay here. You”—he looked at Max—“come with me.”
“Christ, she’s a kid, Murray. What the hell are you doing?”
“Let me handle this,” he said, and Max didn’t argue getting out of the car. Either she was eager, or her hair jumped up just enough to make her look it. That stiff grin on Murray’s face shut Hopper right up, and he pulled the blanket from the back seat to drape over himself.
From the van, he watched Billy’s little sister stomp over to the tree line and face the darkened wood with Murray. He looked so small, and Max looked even smaller. So clueless even though, by then, Hopper knew Murray was far from it. He had proved that he knew exactly what he was doing, but Hopper had trouble believing him anyway. After all, it was a lion they were looking for, and they were in its territory.
Both Max and Hopper laughed when the first roar came, more of a purr from Murray’s throat than something to fear or be threatened by. He did it again, pursing his lips, taking deep breaths in between each long, thick propeller-like mimicry. A few minutes of that, and Murray was off to the next sound: a raspy huff, complete with strained neck motions. It was primal, Hopper thought. And then Murray howled, and he rolled his eyes and got out of the van too.
“We’re not hunting werewolves, Murray!”
“Real lions don’t roar like the movies, Jim!” he said with outstretched arms and started up again, making faces towards Max like this wouldn’t have been embarrassing if he were anyone else.
They were breathy roars, not unlike Hopper’s groans when he sat in his lazyboy after a long day. It continued for a while, Murray adding heavy stomps into the mix that hardly made any noise at all—but he was the expert, as reluctant as Hopper was to entertain it, so there weren’t any more interruptions. Max crossed her arms and stood back; Hopper leaned against the roof of the van, blanket over him like a cape, and waited.
And waited.
And then it happened, the earthquake, the rumbling at the surface of his skin that made his hair stand up and his heart retreat into his chest. “What the hell…” He looked around, and everything rumbled again. Max’s eyes found his, frantic, excited, scared and confused all at once. Murray kept up the charade, and the real roaring got louder every few seconds, sending bass-heavy waves straight to Hopper’s bones and nearly knocking the girl to the ground.
From the trees, there were the headlights again, only now he knew immediately that they weren’t headlights at all. Trees rustled far in the distance, the light flickering as a heavy stampede started towards them, right in Murray’s path, but even that didn’t stop him. The lights shone brighter, earthquake growing more powerful with every leap over roots and creepers and bushes, and—
Silence.
Murray held a hand up in front of him, cautious but not afraid. Max was stiff as a board. Hopper’s eyes locked onto the animal, locked onto Max, hand tight on the door in case they had to haul ass out of there, but the lion was still as a statue. Striking eyes, white and blue and glimmering in the sun, only saw him for a time, and then they found Hopper standing far in the background.
“No sudden movements, Jim,” said Murray, still unafraid, still smart. The lion growled in his direction, huffed, roared something small and nonthreatening but… displeased, maybe. Like it had been tricked.
Hopper nearly had a heart attack when it kicked its feet up again to charge at Max, who Murray had stepped away from when she wasn’t looking. Hopper wanted to strangle him, immediately jumping to try and do anything to keep it from killing her, but then it roared at him, fully bared teeth, standing in front of her like a guard dog. Which, he supposed, it was. Maybe. If it was really Billy Hargrove under all that golden mane and fur, behind a sharp face with eyes just as determined as the kid he’d seen in the hospital.
“Billy, it’s okay,” Max said then, softly, like she still wasn’t certain that this was her brother. The lion huffed, roars shrinking back to the Volkswagen growl only Neil had heard before. Defensive, protective, like stay away from my sister. “They’re—they don’t wanna hurt you.” She reached a hand out to touch its back, which made it flinch but not enough to deter its attention from potential threat. Max continued with long, gentle strokes down its back, then up to the base of its mane which curled in loose, messy ringlets like Billy’s hair. It turned its head, sniffed Max’s own mane, rubbed a wet nose against her shoulder, and she burst into tears. “Shit, it is you.”
“Careful,” Murray said, warning. “He could still snap like he did to your dad—“
“Jesus, I don’t care!” She dried her eyes in Billy’s fur, then looked at Murray with a fury Hopper hadn’t seen on anybody since the war. “And don’t you ever call him my dad again, weirdo, do you hear me!” Small, nimble fingers gripped tightly to the mane, and Murray offered a quiet apology.
“Guess it’s a good thing we brought you along, huh…” Hopper said. Max just cried and cried and cried, and eventually they left her alone with him.
She sat with Billy on the grass for a long time, talking as if he could answer, curling into his side like she was his cub. In a way, maybe she was. In a way, she was all he had left.
Hours later, they remained. Hopper sent numerous radios back to the station that Max was safe, that he would keep them updated with any news—which he didn’t, because he needed a story that wouldn’t get picked up by the bad men. He knew they were out there somewhere, closer than he may have thought. So he and Murray got to talking, and Max was still oblivious as she held Billy close, assuring him more than herself that she was safe and still with him.
Then he exhaled, and kept exhaling for far too long, so she sat up from her position on his side and saw that he was changing back.
“Hopper!” she yelled, and it was hard for the chief to look as fur shed, muscle mass all but disappeared, bones returned to a human structure, and Billy was himself again. He blinked, stirring himself awake with a heavy groan, and slipped away from Max’s touch. “Billy, are—“ Their eyes met for the briefest of moments, and the question fizzled off of her tongue because the answer might have been obvious. It might have encompassed everything running amok in her head, every thought and worry and regret in thinking that she’d lost him forever.
Billy looked exhausted and worn dry. He leaned back on one arm, not bothering to cover himself up. “Why the hell am I naked?” he asked, grumbling, taking the blanket from around Hopper’s shoulders and shivering underneath it.
“Growth spurt,” Hopper said, which made Billy laugh.
“Shit.” He scratched his nose with a handful of blanket and yawned, then looked over at Max, already having forgotten about Murray’s presence. “Do we gotta go home?” She shrugged and looked up at Hopper for an answer. There was something dark in Billy’s eyes, then, that he recognized vaguely. Something akin to the way children pleaded for forgiveness after breaking something fragile; a scared, broken kid running from bad men in bad places.
Billy sounded like a kid too when he said, “Please don’t make me go home.”
Part 6
#.discowrites#stranger things#stranger things fic#billy hargrove#jim hopper#chief hopper#murray bauman#max mayfield#werelion#werelion au#werelion billy hargrove#fanfic#billy hargrove bingo
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It’s been a while since I’ve done a character playlist so! Here are five songs that are really giving me the Fox vibes right now.
Up first a Hozier song. All of the clones have complicated feelings regarding personhood and culture but I think Fox is probably one of the more conflicted. He and his brothers have stolen a language word by word and phrase by phrase. On the front his brothers at least get to paint their armor, but Fox and the Corries are forced into a sea of sameness and surrounded by more cultures than anyone else. I have feelings on cultural erasure as I live somewhere where eugenics was practiced until fairly recently and my grandmother’s dialect is dying out because it’s being deliberately stolen from the younger generations by parents who don’t want their children to face discrimination. It’s not as overt or serious as what other people face but I have complicated feelings on culture/assimilation and I’m projecting them onto Fox via a Hozier song.
Listen Fox is one of millions copy pasted on repeat to be slated specifically for death. Literally every line hits me personally but then when I extrapolate it to the idea of Fox and the other Corries trying to put on a good show for all of the front liners when they’re crumbling? Like this song really hits the “surrounded by people who love you and can’t see though the front you’re putting up and you don’t want them to see though it but that means you’re so incredibly isolated and it’s hitting crisis levels while on the outside you’re laughing and dancing” vibes.
I feel like this one is pretty self evident but… the clones were made to die. Like they’re canon fodder in the war yes, but beyond that the war is entirely pointless. They are not only made specifically to die, they’re made to die pointlessly. There is no meaning to their birth, their life, or death. Being on the home front means they’re fighting a slower war. They’re still dying but it’s slow and agonizing. They don’t get the adrenaline fogging their higher thinking, they aren’t forced into just reacting. They have time to plan and mitigate and it doesn’t work because they will all die anyway. Fox pulls away from his batch not to protect them, there’s no protecting them when everyone is going to die within years of discovering they can be people, he pulls away so they can die without ever questioning their purpose.
In the same vein of everything else on this list, it’s definitely got the vibes of Fox holding back hell through the worst coping mechanisms and putting a good face on it. It’s so bouncy but the lyrics are pretty hopeless. I feel like that’s who Fox is until maybe a year or so in. Eventually he just starts crumbling completely and can’t even put up the front anymore.
This one is from the POV of the ones who knew Fox on Kamino who are desperately trying to hold onto him while he pulls away. They know he’s falling apart but they can’t figure out why and they’re desperate and trying to hold onto hope so they can give it to him.
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THE VOICE WILL BE WITH YOU, ALWAYS (#112, OCT 2009)
Scott Chernoff says “Hello there” to James Arnold Taylor as he talks about voicing Obi-Wan Kenobi in Star Wars: The Clone Wars along with hundreds of other characters, and the time he was nearly silenced—forever.
He’s the heroic Green Arrow Batman: The Brave and the Bold, erstwhile friend Harry Osborn on The Spectacular Spider-Man, Ratchet of the hit series of Ratchet & Clank videogames, and the new voice of modern Stone Age family man, Fred Flintstone.
But there’s one achievement that towers over the others for voice actor James Arnold Taylor: He’s finally fulfilled his life-long fantasy of playing a major role in the Star Wars saga, starring as Jedi Master Obi-Wan Kenobi in Star Wars: The Clone Wars.
“I lived and breathed Star Wars as a kid,” Taylor says. “We played all the time—but I was always Han Solo. If somebody told me I was going to be Obi-Wan Kenobi, I would have been like, ‘Wait, I’m the old guy?’”
But despite his tremendous success performing literally hundreds of cartoon characters and videogame voices over the last two decades, Taylor told Star Wars Insider that it nearly all slipped away. “About four years ago,” he reveals, “I lost my voice completely due to toxic mold in our home. When the doctor said, ‘You can’t speak,’ I was like, ‘Uh, that doesn’t work.’”
The incident was a stark reminder of just how precious Taylor’s instrument—his voice—is to him. “I had to start over and change my whole life,” he recalls. “I trained with a gentleman who trains opera singers. I had to learn how to re-use my vocal chords in new and exciting ways.”
EARLY INSPIRATION
Luckily for Taylor—and his fans—the hard work paid off. “I’m stronger now than I’ve ever been. Sometimes, you need something like that to break you down, just to rebuild yourself,” he says.
Now back in the game with three animated series on the air, Taylor is free to pursue the one thing he always loved. “I’ve known since I was four years old that I wanted to do the voices of cartoons,” he says, noting that he drew inspiration from legendary performers like Mel Blanc (who voiced virtually all the Looney Tunes characters), Daws Butler (Yogi Bear), and Don Messick (Scooby Doo and many more). “I was glued to all those guys and memorized their vocal inflections,” he recalls.
“I never had any aspirations to be an on-camera actor—I always wanted to be a voice actor. The truth is I’m the luckiest guy in the world to be able to make my living doing what I always wanted to do.”
STARTING OUT
Taylor started out doing impressions as a stand-up comic and radio disc jockey when he was just 16, moving south to Hollywood from his native Santa Barbara, California, as soon as he got out of school. His first break came in the obscure world of voice doubling, re-recording small bits of dialogue for famous actors who were too busy to come in when a small line needed to be changed. He got a job filling in for Michael J. Fox on the Disney animated feature Atlantis—and soon found himself taking over the lead role entirely for the sequel, Atlantis: Milo’s Return. “I just have a knack for picking up voices,” he shrugs.
Among the stars Taylor has doubled for videogames and feature film looping are Johnny Depp, Billy Bob Thornton—and Ewan McGregor. He started voicing Obi-Wan Kenobi for the first Clone Wars TV micro-series in 2002, then went on to Star Wars videogames and now the new hit TV series, Star Wars: The Clone Wars.
“Originally, it was to be an exact voice match for Ewan McGregor,” Taylor says. “We basically have the same sound, the same range. So I thought that rather than trying to sound like him, since I know I already do kind of sound like him, I’d just do what he did: try to sound like Alec Guinness. So I started thinking of how he would talk, and I tried to ‘young it up,’ and went, ‘OK, so if I was casually speaking as a young Obi-Wan, I might sound like this.’ I didn’t concentrate so much on sounding like Ewan McGregor as much as I concentrated on sounding like Obi-Wan Kenobi, the character we all know. That seemed to work.”
Taylor explains that for him, focusing too much on precisely matching a specific voice can get in the way of a good performance. “You can get hung up on a voice match where you try too hard to sound like the person and it becomes a caricature. It becomes more the nightclub comic’s impersonation. You want to relax in the voice. You really have to understand how that person would act, and you have to be able to act that way. I always have to envision how he would deliver the line. It’s more than an impersonator would do, because you have to understand the character and be able to say anything in that voice.”
That approach sat well with Clone Wars director Dave Filoni and Star Wars creator George Lucas. “After we’d started the series and done the film, Dave and George said, ‘You have the freedom now to take this and make it your own thing,’” Taylor recalls, adding, “Dave’s vision for Obi-Wan in this series is very specific. He’s trying to show Anakin the right way, but he’s also the calm in the storm. I’m always the straight guy. Most of the time, I’m pulling the reins back on Anakin and Ahsoka, so I’m like the older brother. Nothing really gets to him. But at the same time, I know people may think sometimes he’s a little too reserved, so I’m trying to give him some excitement. Every once in a while, I torture myself and read the message boards, and some people do think he’s got to lighten up. But I just think, ‘Give him time.’ There’s something that happened in a second season episode we did recently, and I can’t really get into it, but it made me think, ‘Oh, we get to see different facets of Obi-Wan in this.’ I’m playing a side of Obi-Wan that nobody’s really seen before.”
UP CLOSE AND PERSONAL
Taylor thinks that the epic scope of Star Wars: The Clone Wars is allowing a far more personal glimpse of Kenobi than fans have ever seen. “He’s such an iconic figure,” he says, “but you don’t know anything about his personal life. We have many episodes, so now the writers have been exploring those areas. How does he act when he’s gotten up on the wrong side of the bed and he’s having a bad day? What’s his day-to-day relationship with Anakin? It’s been fun to work with everybody and create those parts of his life and his characteristics. I try to put a little of the reserved old Jedi living alone in this deserted part of a desert planet, and the young one who was in the world and so much a part of everything.”
At the same time, Taylor has gotten to give voice to a host of other Star Wars characters, from fan favorite Plo Koon (“Dave said, ‘Think Gandalf,’”— he recalls) to espionage droid 4A-7 (“A whiny, high-pitched guy”) and the medical droid from The Clone Wars movie (“That’s me doing kind of a Jeff Goldblum type voice”).
“That’s another great part about being a voice actor,” he says. “You get to be so many different characters all the time.”
A REWARDING ROLE
All those characters add up to more reasons Taylor is grateful to have re-gained his voice in time to continue his work in the Star Wars universe. “I’m a geek when it comes to this stuff,” he said. “I’m a fan as much as anybody else, so I get into the story, and to me, Star Wars: The Clone Wars is as good as Lost or any other great show. I can’t wait to see the next season, just like everybody else.”
Thinking back on his journey, Taylor adds, “It’s so rewarding. I get so much fan mail from people all over the world, and I’m not trying to sound corny but it moves me—because I’ve always been a fan, and I’ve sent fan letters to people I respect and gotten autographs before, too. So when I get letters from people about how they’re sharing Star Wars with their kids, and they’re thanking me for helping them see this whole universe in a different way, I kind of trip out on it. Daily, I go, ‘Wow, I’m involved in this world, and not just on the sidelines—I’m really involved in the Star Wars universe.’ It’s a great honor.”
#James Arnold Taylor#Obi-Wan Kenobi#cast#insider#i112#the clone wars#112 is the Obi-wan special by the way
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@rapeculturerealities @hellyeahheroes @socialistexan
Convicted stalker Billy Raymond Counterman is challenging how courts determine what statements are “true threats” not protected by the First Amendment, and when someone is just supposed to suck up thousands of unsolicited, disturbing messages — even when we know more than 50% of female homicide victims reported being stalked first.
But Counterman’s taken the argument all the way to the Supreme Court, and oral arguments were this week, as reported by SCOTUSBlog.
Both sides in Wednesday’s case agree that the issue is an important one. Counterman stresses that the “notion that a person can spend years in prison for a ‘speech crime’ committed by accident is chilling.” But the state of Colorado, which prosecuted Counterman, counters that Counterman’s messages frightened their recipient and disrupted her life. “This is precisely why threats of violence are not protected by the First Amendment,” the state says: to shield individuals from the fear of violence, which follows from the threats “no matter what the person making the threat intends.”
Counterman argues for a subjective test for stalking charges that looks to the speaker’s intent:
The test for determining whether speech is a “true threat” that is not protected by the First Amendment must consider the speaker’s intent, Counterman contends. A purely objective test, like the one used by the Colorado court, runs the risk of criminalizing “inevitable misunderstandings” and good-faith miscommunications – particularly when so much speech occurs on the internet, where “the evidence of criminal conduct consists of bare words on a screen.”
Professor Mary Anne Franks is a First Amendment scholar and an amici in the case, arguing for the “well-established, historical support for an objective standard in determining true threats and to highlight the costs a subjective standard would impose on free speech generally, and to individuals and communities targeted by stalking in particular.” Franks notes the oral argument revealed a take at home on Fox News — that society is too filled with snowflakes for the objective person test to be workable. Justices Neil Gorsuch, Clarence Thomas, and Amy Coney Barrett lamented an objective person standard in a world where people are “increasingly sensitive” or “hypersensitive.” Which, okay Boomer, maybe the “objective” standard isn’t deadened empathy from lead exposure.
But remember, the objective person standard is all the hell over the legal system, but it’s only when the well-being of stalking victims is on the line that the Court starts balking at it.
But — unfortunately — that wasn’t the only moments from the oral argument to give the icks. Chief Justice Roberts read a small selection of Counterman’s statements to his victim to laughter in the Court.
Franks points out this was but a small selection of the thousands of messages Counterman sent his victim, devoid of any context. But the Chief Justice thought it was a great idea to play it for laughs.
The Court — or at least the right-wing majority — seems, from the oral argument, willing to prioritize nebulous chilling impacts (which, how chilling can it possibly be when stalking is still a problem) over the harms suffered by stalking victims. Just another sacrifice to the conservative movement’s perversion of the First Amendment.
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interview music tag game
RULES: Put your playlist on shuffle. For each of the 10 interview questions, select a lyric from the random song that comes up. (Skip if there aren’t any lyrics and make sure to drop the name of the song in your interview answer!) xx
tagged by @serethereal MWAH
1. First off, how would you describe yourself in one sentence?
Life is fabulous (Oo-oo oo-oo-oo) / Death is glamorous (Oo-oo oo-oo-oo)
life rips - mommy long legs
2. What kind of [gemini] are you?
I got so tired of discussing my future / I started avoiding the people I love / Evenings of silence and mornings of nausea / Shake and sweat and I can't throw up / I got so tired of discussing my future / That I walk through my life like I'm the only one / With evenings of silence and mornings of nausea / Shake and sweat and I can't throw up, oh no!
nausea - jeff rosenstock
3. You’re visiting your favorite spot, what are you thinking about?
Biding your time / On the other ocean / Falling into line / In the cold and dim
on another ocean (january / june) - fleet foxes
4. If your life was a movie, what do you think the first review would say about it?
I really want to see you / Really want to be with you
my sweet lord - george harrison (but the brian wilson live cover)
5. Say you get a book deal, what are you titling your memoir?
I Love You - Dogbite
6. What would you say about your best friends?
Stroke me, stroke me / Could be a winner boy you move mighty well / Stroke me, stroke me (stroke) / Stroke me, stroke me / You got your number down
stroke me - billy squier
7. Think back to when you had everything all figured out in high school, what was your life motto as a teenager?
Do you miss my all time lows?
combat baby - metric
8. Describe your aesthetic now:
I'm feeling so good / I'm gonna work it all out / I'm feeling good, I'm feeling oh so fine / Until tomorrow, but that's just some other time / I'm waiting for my man
im waiting for the man - TVU & nico
9. What’s a lyric that they’ll quote in your eulogy?
So the serpent slides slowly away with his moments of laughter / And the old washerwoman has finished her cleanin' and gone / But the bamboo hangs heavy in the bondage of quicksilver daydreams / And a lonely child longingly looks for a place to belong
quicksilver daydreams of maria - townes van zandt
10. And for our final question, say we believe in soulmates, what do you think their first impression of meeting you will be?
It's ok being in love girl / But then fun is second best
i’ve changed my address, the jam
tagging: @souvlakigf @wutheringdyke @darknessontheedgeoftowndyke @katebush-gf @lostboys1987 @queenofmoons or anyone xx
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S2 au where the Hargrove-Mayfield family are werewolves
It goes like this - Neil comes from a long line of werewolves, his grandfather turned his father into one, his father turned him, he had to turn his family into werewolves as well. That's just tradition. He turns Billy but his mom leaves before Neil turns her. She leaves Billy because she doesm't know what werewolves need or how to take care of one. She thinks he's better off with Neil
Then Susan and Max show up, and Sasan has a hidden bite/claw mark on her forearm, fresh in bandages. Billy knows what means she is staying for good, because Neil turned her. Susan turns Max when she's old enough
They had to move out of Cali bc of Billy almost outing them all, about to shift in front of his 'friend' (more like boyfriend) and Max telling on him to Susan and Neil. So they move out far, far away to Hawkins, Indiana where everything is supposed to be perfect and nice and they could pretend again to be just a normal human family
Except there's weird shit going on and Billy slowly finds out there are actually more werewolves in this small town than he had ever met. El is one, born a werewolf, which is almost unprecedented. Will is another one, attack by a werewolf a year prior and almost didn't survive his first shift. The kids and the Byers are trying to help but obviously, they don't know anything about werewolves. Will needs a proper werewolf to help him/explain to him what's going on with him because he's scared of himself and miserable and no one can help. Cue Billy for the rescue
Billy the whole time is fighting against his instincts telling him he has to be Top Dog of the school and he has to fight Steve Harrington. But also maybe his wolf instincts are a bit confused about Steve in general and they're not all bad. Steve is totally oblivious (though knows werewolves exists bc he met El and knows about Will) but assumes Billy's cryptic behaviour and the weird conversations they keep having (real cheesy stuff like 'I'm not like other guys in this town, Harrington', 'You better stay away from me, Harrington').
And Steve, being his oblivious self, ignored obvious signs of Billy being a werewolf and instead thinks he's gay (which he's not wrong) and tries to be aggressively accepting. Billy is overthinking like 'Maybe he knows??' and is getting more comfy around Steve but then Billy shifts into a wolf in front of Steve and Steve is like 'Holy shit, youre a werewolf too?!?!' and everyone is like 'How could.you not know this, Steve? You spend so much time together 🙄'
Some other ideas:
- Barb was also attacked by the same wolf who bit Will but she didn't survive her first shift
- Maybe Billy comes around by Steve's house in his wolf form sometimes and Steve reluctantly adopts this giant wolf that is as tall as him but his fur is really soft and he's a very friendly albeit judgmental wolf so Steve gives him a name and talks to him about Billy while petting him. Billy likes the gossips and the pets
- Steve keeps giving wolf!Billy increasingly better quality dog food but Billy, while he hunts and eats rabbits and foxes in the woods, absolutely refuses to touch dog food
- Will had a big mangled scar from his bite. He hates it until Billy shows him his, it's on his side and it's also big and ugly and the worst part is that his dad was the one who put it there. He's not ashamed of it though and is still allergic to shirts
#literally no idea where this idea came from but here you go#werewolf au#i dont know anything about werewolves though#billy hargrove#harringrove
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Underrated Disney Films
It doesn’t matter how old I get; I will always love Disney movies. They were so instrumental in my childhood and really kick started that part of me that loves story telling in all medias. But it seems that all my favorites (with the exception of Beauty and the Beast and Sleeping Beauty), are the least known. So, if you haven’t watched these Disney movies, you need to get on that because they are just the best and they really need more love. In no particular order:
Robin Hood: 1973
I just love the whole story of Robin Hood, and the way Disney wrote music in the silver/bronze age just always warmed my heart. Plus, I think Robin Hood and Maid Marian have one of the best relationships in Disney movies, and Robin and Little John’s friendship is so wholesome.
The Sword in the Stone: 1963
Upon my first read of Harry Potter I couldn’t not imagine Dumbledore as this incarnation of Merlin, and it actually really works. Upon reflection I think I just loved stories that took place in the UK. Plus, To and Fro is a great song, and Merlin is a riot.
Peter Pan: 1953
Once again, we’re in England. I always loved story lines where these seemingly normal people were suddenly thrust into a world a magic. Later I would fall in love with Harry Potter and The Mortal Instruments, but I think that fondness started here.
The Fox and the Hound: 1981
This movie and its sequel were the cause of my first heartbreak. But I think ultimately, I loved it because it was just so sweet, and my childhood stuffed animal was a fox and I LOVED her. (Correction: love her.)
Alice in Wonderland: 1951
The story of Alice and Wonderland has gotten a resurgence in popularity, but I even as a little girl was fascinated by the animated film, even though the twins and queen of hearts really frightened me. I just loved how “airy” Alice was.
The Hunchback of Notre Dame: 1996
This may be the single most underrated film Disney has ever created alongside Black Cauldron. This film was the reason I was broken at Notre Dame’s burning. I immediately ran to my room to listen to this film’s soundtrack. Plus, the music is great, Quasimodo belts like no tomorrow, and Esmerelda was a really good female character.
The Aristocats: 1970
The cats were just so damned cute!!! Marie was my favorite and I use to have the Thomas O’Malley tune memorized. Note though that this movie has one of the most offensive scenes I can recall from a Disney film with the inclusion of an oddly Asian stereotyped feline. I can’t help but love this film with it being so prevalent in my childhood, but I always have to skip over that part.
Oliver and Company: 1988
How can a Disney film with Billy Joel as one of the lead voice actors not be a smash hit? “Why Should I Worry” is so good, it hurts that more people don’t know this film. It needs more love!
#disney#movies#disney movies#underrated disney movies#underrated#Oliver and Company#Alice in wonderland#robin hood#peter pan#the aristocats#the fox and the hound#the hunchback of notre dame#disney bronze age#disney silver age#disney the dark age#billy joel#the disney renaissance
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hi! first of all, i love your stories :) and second, last year i started watching csi from beggining and i just finished season 7 and i wanted to ask if it's in my head or sara appeared less on the episodes? i liked s7 more than the previous ones, the cases were more interesting imo (apart from the first seasons) but like in half of the episodes i got the impression that she barely shows? anyway i'm already bummed that jorja's leaving haha she was always my favorite
hi, @lamprey-savage!
thank you for your kind words! i'm glad you love my stories. <3
as for your question:
though jorja fox was negotiating her contract throughout parts of s7's production, she was still technically under contract as a regular cast member for its full run. accordingly, sara does appear in every episode of s7 and generally has about as much screen time as she has had in previous seasons. while there are some episodes of s7 where she is noticeably sparse (such as episode 07x08 "happenstance," where she only appears in one scene near the end), these "low visibility" episodes generally balance out with episodes where she is a major focus character (such as episode 07x18 "empty eyes").
that said, the sense you're getting that you're not seeing as much of her in s7 as you have in previous seasons may be because she really doesn't have a "front and center" personal storyline for most of the season.
whereas previous seasons—like, say, s4, which contains her depression arc, or s5, which reveals and expounds her backstory—provided her with consistent, dynamic mainline development, in s7, much of what happens with her happens on a "between the lines" level.
jorja fox has talked before about how early s7 was essentially a "romcom" period for sara, so a lot of her scenes then were on the lighter, more comedic side, with her playing off of grissom.
however, as the season went on and grissom eventually left on his sabbatical (coincident to billy petersen taking a break from the show to take part in a rhode island stage production in real life), the focus with her eventually shifted—just not to a more prominent storyline.
as i talk about in this post, "there is a subtle storyline that plays out for gsr over the course of s7, which sees sara wondering if grissom views their relationship in the same way she does and if he feels as deeply for her as she does for him. she is insecure because while grissom most often demonstrates devotion to her, there are occasions when he behaves carelessly regarding her and/or their relationship; sometimes she can’t help but wonder just exactly how he feels, particularly as he seldom verbalizes his feelings to her."
they keyword in the above paragraph is subtle, because the thing is, for the most part, this storyline does not really get a lot of direct attention throughout the season. only a handful of episodes—such as episodes 07x11 "leaving las vegas" and 07x23 "the good, the bad, & the dominatrix"—really broach the subject of sara questioning how grissom feels about her/their relationship and his level of commitment to her directly. the rest of the time, her anxieties are much more subtly implied.
since sara feels she can't really talk about her insecurities with anyone (including grissom himself), exploration of what she's feeling is limited to how she's shown to react to him. there's not a lot of dialogue where she expresses her emotions outright; more just facial expressions and body language.
the storyline is there if you look for it, but you do have to squint a bit to see it, particularly as the miniature killer storyline so dominates the s7 landscape otherwise, and sara plays a central role in that investigation, meaning that nine times out of ten when you see her on screen, the focus will be on what she's doing in relation to the case rather than what may be going on with her personally and/or in her relationship.
so tl;dr? sara isn't actually scarce in s7 in terms of how much screen time she gets; her personal development just isn't really spotlighted in the same ways it might have been in previous seasons. there's never actually a point in s7 where the show comes out and says, "here's what's going on with her!" for the most part, her development is much more subtextual/sublimated.
thanks for the question! please feel welcome to send another any time.
and good luck with s8! it's a heartbreaker, especially as a sara fan.
#answered#lamprey-savage#asks: csi#**#my meta#meta: csi#meta: sara#meta: production#season seven#let's talk shop#csiverse
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