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httpsuniverse · 4 months

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storiesforpeanut [ lando norris ]

[ 𝗣𝗔𝗜𝗥𝗜𝗡𝗚 𝗔𝗡𝗗 𝗖𝗛𝗔𝗥𝗔𝗖𝗧𝗘𝗥𝗦 ] — bf!lando norris x pregnant gf!reader . ⊹ ✶ ㄔ 🫂 °. *

[ 𝗗𝗘𝗧𝗔𝗜𝗟𝗦 & 𝗪𝗔𝗥𝗡𝗜𝗡𝗚𝗦 ] — soon-to-be-parents, fluff, mentions pregnancy, no specific timetable . ⊹ ✶ ㄔ ℹ️ °. *

࣪˖ 💭 .. 𝗘𝗬𝗔’𝗦 𝗡𝗢𝗧𝗘𝗦 ⌕ this is inspired by a filipino actor, ryan agoncillo’s instagram hashtag, #storiesforlucho ! something about dad!lando makes me feel so soft >_< i’ll post this first before posting the written version of fine line (bc i am in a deep pit of writer’s block) anyway, enjoy <3

this work is purely fictional. names, characters, places and incidents either are products of the author’s imagination or are used fictitiously. © httpsuniverse, 2023. do not steal, repost in other platforms, translate and/or claim this work as your own.

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storiesforpeanut

5 likes

storiesforpeanut the day mum and dad went to the hospital to make sure if the tests were true, if you were true. and you were. mum and dad are both confused, scared, but are confident that they could take care of another human being. peanut, the moment we saw this sonogram, our hearts were filled with joy.

this is the day dad called you ‘peanut’ because look at how little you were, my peanut. dad even convinced mum to name you peanut, but mum shut that idea right away. our little peanut, this account is dedicated to you, so you can look at our memories as a family.

peanut, mum and dad loves you so much. you may have changed the trajectory of our lives, but we are still grateful enough to have you in our life. we love you, peanut.

love, dad.

storiesforpeanut

8 likes

storiesforpeanut you were getting bigger day by day, peanut. bigger and stronger that mum was starting to show. mum never left my side, never missed a weekend supporting whatever it is dad was doing. she started wearing bigger clothes to avoid people seeing. not that she was embarrassed, but because mum was afraid that something would happen at the early stage of your growth.

mum did not believe in superstitions during pregnancy, but when you were growing inside of mum, she didn’t want to jinx anything that might harm you, peanut. avoiding the public eye was hard, but heck, your mum did such a good job doing so.

we love you, peanut. and we will protect you from any harm. we will protect you for the rest of our lives.

love, dad.

storiesforpeanut

16 likes

storiesforpeanut our first day back in abu dhabi after a year. mum got ready for our friday schedules and we arrived earlier. people were shocked to see her, after hiding her bump with oversized clothes for at least two months while accompanying dad. people took photos of mum and dad, people started congratulating the both of us.

we hid you for a little while, peanut. that’s because of dad’s work where almost everyone in the world is staring at us and that scared mum and dad. that someone might mob the both of us and could cause you and mum harm.

negativity aside, peanut, your aunts and uncles were excited when they saw mum. everyone, including dad’s big boss had a huge grin on their faces. everyone was happy to meet you, peanut. even though it will still be a few months until we meet you personally.

we love you, peanut. we can’t wait to meet you here.

love, dad.

storiesforpeanut

20 likes

storiesforpeanut mum and had has two moods: beach mood and winter mood. this is taken after our weekend in abu dhabi. we stayed for a few more days, exploring the beach and enjoying the sun before going to a cold place to spend some time with dad’s friends (and ski! which mum can’t do as of the moment, don’t want to harm you, peanut).

you won’t believe it, peanut. mum threw a snowball on dad's head, her revenge because i insisted we call you peanut.

mum enjoys the sun and winter, peanut. those are her favourite season. dad, however, loves all seasons as long as he gets to spend it with mum and you, as well, peanut. mum and dad will experience these seasons with you in a few months.

we love you, peanut. we can’t wait for you to experience your first snow, first beach, first autumn and first spring.

love, dad.

storiesforpeanut

29 likes

storiesforpeanut taken while mum and dad are on their way to maccy d’s in the middle of winter. mum said she wanted fries without the salt. /fries without the salt/. even though that was a weird request, can’t deny mum her weird cravings. after all, she’s growing a literal human inside her–which is you, peanut.

also, mum only ate three pieces of fries and made me eat it while she watched. that i didn’t like. but you know what? dad is ready to give you everything you want. you and mum. be it a weird craving, late night feed or nappy change–i will be there for you and mum. always in all ways.

we love you, peanut. we can’t wait for you here.

love, dad.

storiesforpeanut

37 likes

storiesforpeanut mum took this video. the very first time you kicked, and dad was in the shower (unfortunately). mum and dad are visiting mum’s family where mum reunited with her childhood dog. mum’s pup, poppy, immediately went to her and checked. poppy sensed your existence, peanut. even poppy was excited to meet you.

mum and dad’s family are delighted to have you, peanut. especially your grandmums. they now named themselves, nan from dad’s mum and granny from mum’s side.

we love you, peanut. we are all waiting for your arrival.

love, dad.

storiesforpeanut

55 likes

storiesforpeanut 30 weeks in, and we finally saw your beautiful face, peanut. mum and dad haven’t gotten over the first time they heard your heart beat, felt your kicks, yet here you are... so beautiful as mum’s doctor showed us your face.

peanut, mum and dad were scared the first time we found out that mum was pregnant. but seeing you now, all those fears are gone and we feel confident that we can do this–together.

you are such a happy baby, peanut. you even got dad’s dimples, said mum. you are a perfect balance of mum and dad.

we love you, peanut. 10 more weeks until we finally meet. we can’t wait for that day to come.

love, dad.

storiesforpeanut

79 likes

storiesforpeanut last week of mum’s beautiful belly. any day now, we will finally meet you. you’ll have your first breath, first cry. mum and dad and other family members cannot wait to finally meet you, peanut.

the last nine months has been crazy, peanut. it was crazy, but it was fun. brought mum and dad closer than ever. you’ll be so loved, no, you are so loved already, peanut. and a little spoiled because some of dad’s friends from work have sent you numerous toys and clothes and even diapers to last for the next year or two.

we love you, peanut. we’ll see you soon.

love, dad.

storiesforpeanut

249 likes

storiesforpeanut well, it’s nice to meet you, peanut. mum and dad are delighted to finally see you. mum laboured for almost 24 hours, and by the time stroked at exactly 04:49 am, you were born.

dad almost passed out during your birth (for some reason), but dad got through it. mum was so brave, dad held her hand throughout the procedure and never left mum’s side.

peanut, the second they returned you to mum and dad after cleaning you and helping mum, we couldn’t stop looking at you. how could we make such a beautiful baby like you? said dad.

we love you so much, peanut. welcome to the real world.

love, dad.

yourusername

liked by mclaren, lilymhe, landonorris and 1,839,937 others

yourusername baby olivia norris checking in 🫣👩‍🍼

view all 23,961 comments

mclaren congratulations, y/n and lando! 🧡 welcome to the world, olivia 😍

landonorris my girls ❤️

user OMGGGGG shes hereeeeee

user congratulations 😭😭😭😭😭😭

user shes so tiny!!! 😭😭 so cute

lilymhe congratulations girl!! 😍 can’t wait to officially meet ms. olivia and see you soon 🤗

yourusername thank you babe 😚 you and alex can visit us anytime

alex_albon on our way NOW

yourusername dont bring any more toys ok

lilymhe aww why not :(

yourusername WE HAVE NO SPACE ANYMORE

landonorris

liked by oscarpiastri, carlossainz55, maxfewtrell and 1,990,827 others

landonorris me 🤜 🤛 peanut

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maxfewtrell will i be able to hold olivia 😁

landonorris no

maxfewtrell ☹️

yourusername lando be nice

landonorris ok fine

user let him hold olivia!!

landonorris 😐😐

oscarpiastri congratulations mate 🫡 on my way to give gifts

landonorris thank you and pls dont bring anymore

oscarpiastri it’s a koala bear

landonorris ...

landonorris ok fine i guess

oscarpiastri 🐨🐨🐨

user no way lando’s first picture with olivia is them doing a fistbump 😭

user why are there two babies in this pic

storiesforpeanut and landonorris

908,729 likes

storiesforpeanut on your very first boat ride, dad had the courage to finally ask mum an important question. a question dad has been wanting to ask mum since he saw your very first sonogram. and guess what, peanut? mum finally agreed to marry dad!

you may not remember this at all, peanut. but it was a day to remember, indeed. dad really wanted this to be perfect, and he got what he wanted. this is a year full of surprises.

we love you, peanut. we love you so much.

love, dad.

view all comments

user omgomgomgomgogm

user LANDO GETTING MARRIED JFJFHFJF IM CRYINGGG

user OLIVIA MAY NOT REMEMBER IT BUT SHE JUST WITNESSED HER PARENTS GET ENGAGED AND GET MARRIED IN THE SAME LIFE TIME

user congra😭😭😭😭tula😭😭😭😭tions

yourusername

690,857 likes

yourusername beach days with the loves of my life 🌅

view all comments

user i love this family so much

user THE KITTLE FINGERS

user PEANUT’S SMALL FINGERS IM CRYIGN

landonorris i love you babies

yourusername we love you, daddy

landonorris 😳😳😳

yourusername sleep on the couch tonight

landonorris I WAS JUST KIDDING

landonorris BABE

landonorris PLEAAAASEEEE

#lando norris imagine #lando norris fluff #lando norris one shot #lando norris oneshot #lando norris instagram edit #lando norris insta au #f1 imagine #f1 fan fic #f1 one shot #f1 instagram edit #f1 instagram au #f1 x you #f1 x reader #formula one imagine #formula 1 imagine #formula one x reader #formula 1 x reader

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darling-zain · 10 months

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✮ ↳ The Show Must Go On ↰

♡ yandere! actor x gn reader♡

tw/cw: slight obsession, nothing too detailed

authors notes: first work and i wrote this in one sitting...it's okay we're fine ♥ also i may have based him off of myself and i will probably do that with a lot of my ocs! my bad i'm just a theater kid who likes to write

➼ yandere! Actor who first only knew you as one of the stagehands, always flitting back and forth behind the curtains.

➼ yandere! Actor who didn't even know your name until you got promoted to prop manager.

➼ yandere! Actor who never knew how every character that he played fell in love with someone at first glance, but as soon as you walked onto the stage and started giving out your orders, it was like the heavens had shone their light upon you and you only.

➼ yandere! Actor who was infatuated with everything about you. Your responsibility, your assured nature, the way you'd sternly correct him when he messed up his lines because he "should be reading off his script, not off my face".

➼ yandere! Actor who was always on top of his game, one of the best actors in his region, yet when you looked at him with your concentrated eyes it was like he was a rookie again.

➼ yandere! Actor who would be stuttering and tripping over his words on purpose just to get you to come up and read it with him, your warm body so close to his that he could almost taste the perfume you were wearing.

➼ yandere! Actor whose heart raced whenever you praised him, even a simple "good work today" would give him butterflies.

➼ yandere! Actor who knew that opening night was approaching, so he worked day and night to memorize his lines. The excited smile on your face when he was able to perform the whole dress rehearsal without flaw was something he'd never forget.

➼ yandere! Actor who, standing behind the curtain on the first day of their showing, suddenly started to shake. He's been in the industry so long that he forgot what it's like to have pre-show anxiety, and he doesn't even know how to deal with it. Suddenly, a warm hand is put on his shoulder.

"You're shaking." You point out, turning him around to face you. "Why? Are you feeling alright?" You place the back of your hand on his forehead to feel his temperature. "You're not warm, so you're not sick..." You think about it for a second, looking him in the eyes with a warm smile. "Are you...nervous?"

Aurelian doesn't speak, instead, he just nods. He's ashamed of you having to see him like this, the Aurelian Yavuz, getting jitters right before the opening night of one of his most popular shows.

"Hey, look at me." Your voice is soft, yet commanding, forcing him to look into your assuring eyes. You place both your hands on his shoulders, gripping them firmly to help ground him.

"You've done this show countless times before, and we've read the script together so many times that it should be burned into your brain by now." He laughs slightly, a sign that your motivation is working.

"You're one of the best actors I've ever worked with, and one of the most dedicated as well. You've spent so many hours reading, fixing, and editing this performance so that it's just right and absolutely nothing could go wrong. Am I correct?"

He nods again, making you click your tongue.

"Use your words. Am I correct, yes or no?" Your firm tone makes it hard for him to disobey, especially when you look at him with those fierce eyes.

He gulps, taking a deep breath before responding.

"Yes, you're correct. I've done so much to make sure that this show is perfect, so I have no reason to be nervous." He stands up straighter and walks backstage, adjusting his costume in the mirror. "Plus, I know that you'll be watching, so everything will be okay~." He winks at you from the mirror, making you chuckle.

"Exactly. We behind the curtain will be making sure that everything goes smoothly, so all you have to do is go out there and do what you do best." The lights start to dim as the audience applauds. You pat him on the back and adjust his collar for him.

"The stage is yours, Auri." you nod at him as he takes a deep breath, walking out onto the large wooden stage to loud cheering. His voice booms through the stage, and soon enough, the show is over. The cast takes their final standing bow and walks back to their dressing rooms. Aurelius makes a beeline for the lighting booth where you are usually sitting; he bursts through the door backstage, only to find your seat empty.

"What...?" he looks around for any trace of you, but it's like you've disappeared. He takes a seat in your chair and waits for what seemed like hours to him because of how tired he was. 15 minutes after the show ends, he hears your voice from outside the door. he gets up to open the door, but as soon as he does, the door opens with a creak. There you are, standing in the doorway with a coffee in one hand and your bag in the other, looking up at him surprised.

"Auri, why haven't you changed? Everyone's already leaving, you should go too-"

"You weren't watching." He cuts you off, looking at you with cold, dead eyes.

You look at him confused, setting your bag down on the floor. "What are you-"

"Why weren't you watching?"

#zain>>works #yandere writing #tw yandere #yandere blog #yandere #yandere x you #soft yandere #oc x reader #god i think i blanked out writing this #it's now half past one in the morning #i can't remember how i got here #all i remember is having an idea and needing to write it immediately #it's fine it's okay #we ball #anyway this is my first work i hope yall weren't expecting much

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harveyguillensource · 5 days

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Harvey's photoshoot with Mike Ruiz for Photobook Magazine has been published, along with a short interview covering his career and ambitions! Read a few of his responses below:

You have become somewhat of a trailblazer for what is possible for queer, Latinx actors. Who are your biggest role models and inspirations when it comes to performing? My on-screen role models were pretty limited. I found inspiration in watching Cantinflas, a Latino comedian, with my dad. Watching people like Salma Hayek and Antonio Banderas represent Latinos on the big screen helped keep me hopeful. I’m happy to report that I’ve worked with both of them. From “What We Do in the Shadows,” to “The Magicians,” there is a slight recurring theme of supernatural or fantasy. What draws you to these types of projects and roles? In both 'The Magicians' and 'Shadows,' anything is possible. I love the idea that there are no limitations on where our characters can go, so I’ve always been drawn to that. I was never specifically seeking to be in these particular genres, but I’m so happy to be a part of them. In addition to on the screen, you have an extensive portfolio of voice acting credits. How does working behind a microphone compare to working on the camera? Doing voice-over has been such a wonderful experience. I didn’t really start doing V.O. work until the pandemic. It’s a tough door to get through. The pandemic brought these opportunities to me. It was the only work that I was able to do safely at the time. Since then, my portfolio has doubled in voice-over work. All the characters I get to play are so different from each other. I get so excited when people come up to me and mention they're fans of a character I voice. Either voice acting, on camera, or on the stage, are there any dream roles you would love to play? As a musical theatre kid, I’d obviously love to do Broadway. I’d also really love to host SNL one day. In addition to acting, you're also involved in advocacy work, particularly in the LGBTQ+ field. What inspires you to use your voice and platform for good? I try to use my platform to help anyone that I can, especially those in the LGBTQ+ and Latino community. For so long, I didn’t see anyone advocating for someone like me so I do the best I can to amplify their voices while bringing awareness to those communities. With “What We Do in the Shadows” heading into its sixth and final season, what’s next for you? Anything fans should look forward to? We’re about to wrap in two weeks from the time this interview is published. That being said, it’s bittersweet. We recently said goodbye to our exterior set, and it was really emotional. I committed to this character for half a decade, which is no small task. It’s become such a big part of my life, and I’m thankful for all the lives we’ve touched through comedy. Season 6 will air later this year. I’ll have projects like “Companion” and “Garfield” out this year as well as a couple others. I’m excited to see what’s next!

#harvey guillén #harvey guillen #wwdits #guillermo de la cruz #photoshoots #plus size model #fashion #mike ruiz #photobook magazine #what we do in the shadows #wwdits cast #april 2024

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pricesbeltbuckle · 3 months

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I love your work! (especially your könig) I don't know how you feel about male!reader but I just wanted to request how the guys (Ghost, Soap, König, Price, e.t.c) would react to stage actor male!reader playing a character like Frank n Furter from Rocky Horror. You know, just how they react to the different revealing costumes, the humorous sexual themes and stuff. Even better if the reader is already very confident and flamboyant. Preferably sfw but I don't mind some nsfw (😏). I am SO SORRY if this is way too specific.

Stage - König, Simon 'Ghost' Riley, & John Price

Pairing: König, Simon 'Ghost' Riley, & John Price x Stage actor!Male Reader

Warnings: Mild Nsfw, Fluff. MDNI 18+

König:

You had been stage acting for around 2 years, you’ve become quite famous especially inside of the LGBTQ+ community and obviously for 2 reasons

A: The roles you played and the outfits you wore.

B: Your very public relationship with your army boyfriend König.

Whenever you’re interviewed and asked about him everyone asks how you met and the story was quite cute, he came to one of your shows and met up with you after and you hit it off!

But that brings you to the present day when you told him to come to one of your new shows, you had a surprise for him in the costume you had to wear.

He agreed to come and found a seat right in the front, of course.

The show was good so far, he thought everyone did well but they weren't you, until you came on stage and he saw what you were wearing. His mind blanked!

After the show he met up with you faster than the speed of light. “Jesussss-You looked so good Meine Liebe.” He mumbled as he swept you off your feet to bring you to the car, peppering kisses all over your face.

“König!! I know I looked good but Jesus, how impatient are you?” You said in between struggles and laughs but he just held you tighter.

“You’ll find out soon enough Gutaussehend.”

You did in fact find out when you got home, he definitely bought more of those types of outfits for you after seeing you in that one time he was now obsessed, more obsessed with you then he already was.

Simon 'Ghost' Riley:

Now you had been stage acting for around 3 years before you met Simon, he met you for dinner one night and you told him about your career and he was intrigued.

But if you told yourself around 6 months later you’d be in love with the man you wouldn’t believe yourself.

But the man was a sweetheart, flowers without ever having to ask kind of guy. He was a killing machine on the field, but off the field he was your boyfriend and you like to separate the two.

He didn’t mind coming to your shows but it definitely was not his scene. But if you had pleaded with him and asked just the right way he’d go.

But this night, you had just wanted to show him a costume they wanted you to wear on stage, you didn’t really think about his reaction.

But when you walked out of the bathroom, he nearly passed out right then and there.

“Tryin’ to kill me?” He asked lowly as he wrapped arms around your waist and you giggled, “Could only dream of such a thing Si.”

He chuckled as he started to undress you a bit, “Well, hopefully you have a bit of time to sleep in tomorrow, yeah?”

He tended to your every need that night, and to your surprise you did have a bit of time to sleep in the next day so it all worked out.

When you came back home from your show and saw that Simon left a note you read it, “I’ll be back ina bit lovie, Price needed help with paperwork. Check your closet and call if you need.”

You smiled at the note as you settled it down and went to check your closet to see now multiple costumes, you rolled your eyes and got ready to take pictures and send them all to Simon, this is gonna be a hell of a night.

John Price:

Now you were a stage actor for around a year before you met John. He was at a bar you went to after one of your shoes and you found him highly attractive, so you gave him your number and he called you.

You found out about his job in the military early on so he could warn you about the dangers that come with his job, but you loved him regardless so it didn’t matter to you.

He came to all your shows and always bought you flowers, the vases were overcrowded at this point. So then he started buying you chocolates, he just loved seeing your face as he gave you things.

But one night when he spent the night you went through your old costumes to just show him them. And you came across a very particular costume you knew he would love. “Babe, I’m gonna go put this on, I'll be right back.” He nodded at you as he waited for you to come back out.

You looked at yourself in the bathroom mirror and giggled as you remembered your role as the character and just the fun you had with the cast.

You walked out of the bathroom and John let out a chuckle but also a low groan as he felt his cock restrain against his boxers. He quickly got up and tackled you to the bed.

“Listen, You look sooo good in this but I have to get it off ya.” You chuckled to yourself as he just admired you for a second before nearly ripping it off.

After that night you came home to a box full of similar costumes, and were those fluffy handcuffs? Jesus christ what had you gotten yourself into.

You tried a new one on every night for nearly 2 weeks before you ran out, but don’t worry he got more for you. He loved seeing his handsome baby in such revealing clothes.

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maturemenoftvandfilms · 15 days

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Me and Mr. Jones

Featuring actor, Eddie Jones

Back in 2003, I was working as a grip on a low budget film called Fighting Tommy Riley. It was 5 day shoot, but I was lucky enough to meet one of my favorite character actors, Eddie Jones. Best known to audiences as Superman’s adoptive father Pa Kent on Lois & Clark: The New Adventures of Superman, when Eddie was on set, I couldn’t take my eyes off him. When he was off-stage, his broad, bright smile would light up the room. He was a sexy man for his age of 69 with his broad face, imposing presence and solid build. When he was off-set, his broad, bright smile would light up the room.

Everyone who knew Eddie as a friend, or had the good fortune to share the stage with him, was touched by his gentle and generous nature. He was very nice and enjoyed the attention I paid to him. Actually talked to me. What had seemed like just a cute, older guy on set turned out to be a seriously hot daddy for which I was developing a major hard-on. I enjoyed passing the time by watching him work, fantasizing about him being naked.

How much of that fur, if any, spread across the rest of him? Did being big of stature mean he had a small dick or was he one of "nature's surprises" like I'd met once or twice? I really wanted a chance to find answers to these questions, but knew it wasn't likely to happen. He's married, but we all know that does not mean a thing.

That evening, after a very good meal in the dining car, I began the walk back to my trailer. I saw him at the other end of a narrow corridor. Slowing as we approached each other, we exchanged pleasantries.

"Hey Eddie." I said as we came up to each other.

"Hi there! Did you enjoy dinner?" He asked.

"Oh, yes. It was great."

"Good."

It was clear he was on his way somewhere, so I stepped back against one wall to let him by. It turned into to a moment I'd never forget. Not only did he fail to avoid brushing against me as he squeezed past, but he made a point of slowing down and actually pushing his ass into me as he slid by. There was a relaxed feeling to his butt muscles against my crotch. I immediately went hard. I don't think I'd ever gone fully erect that fast. Ever. I didn't even know a guy could.

After he slid past me he looked over his shoulder and smiled. This wasn't one of his professional "have a nice day" smiles. No. There was a distinct twinkle in his eye. He continued down the corridor leaving me standing there staring after him.

"I'll be checking on you around 8:30." Eddie said without looking back.

"Fine." I replied with a dazed grin. I continued down the corridor, trying to smooth out the bulge he'd left in my pants.

At 8:30 sharp, I lightly tap on his trailer door. The door opened to those sexy blue eyes looking at me as he flashed that warm smile again. Eddie made a quick check to see if there was anyone to see me enter before letting me in. While stepping in he closed, locked the door in a single motion and we fell into an embrace, sharing a long passionate kiss. We began frantically pulling off our clothes. I didn't know if he was eager or just didn't have much time to "fuck around" before going home to the wife, but he wasn't waiting for any conversation. And I certainly didn't mind.

As his shirt came off I saw that, though not quite as hairy as some of the "chubs" I liked to see, but there was plenty of body hair to enjoy. His forearms were thick leading to those masculine hands I'd admired earlier. I continued down his stomach until it ended in a mostly black bush above his rising cock. I quickly dropped to my knees and took his dick in my hands.

His cut rod had a thickness that filled my mouth nicely as I slid my lips over it and took it down to its base. He exhaled slowly as he stood there, his hands on my shoulders. I could smell old fashioned cologne along with his natural musk. My tongue worked his fully erect shaft as I moved slowly up and down. I pulled up again to enjoy a good look at his knob before licking around the tip.

I pushed Eddie toward a nearby couch and he sat down. He leaned back and spread his legs wide allowing me better access. I worked my tongue around his dickhead as my other hand was feeling the hair on his balls. They were much larger and heavier than I'd expected. I thought about what his load might taste like. I took his dick in my hands, stroking up and down as I worked my tongue down under his nuts. I gnawed gently here and there, slowing the pace of my stroking on his dick. He moaned a bit, then a bit more. After a delicious minute or two he suddenly exhaled, "No!"

I was nearly knocked over as he jumped up. He was getting too close, too soon so I paused and waited for his cue. Whatever he wanted next, I was going to do my best to please him; not that I didn't have ideas of my own.

Earlier in the day I'd fantasized about what it'd be like to fuck him. Those fantasies were about to be realized as Eddie turned around knelt on the couch with his butt now at my eye level. I set in quickly on eating his ass. I covered his hole with my tongue and licked long, broad strokes up and down his crack. Starting low against the back of his balls and on up to where his crack ended at his tailbone. I continued slowly moving up then down again. He moaned deep and low. I could tell he was enjoying it as he squirmed a bit, pushing his ass back into my face.

I slid my tongue into his warm canal and continued to work my way in until I couldn't get my tongue in any further. Eddie continued moaning as I worked my tongue in and around. I felt him start to relax even more as he leaned forward laying his forehead on his folded arms, tipping his ass up a bit.

Eddie was breathing heavily when I finally stood up. He looked back without saying anything, but his sexy blue-eyed gaze told me he was ready for me to stick my cock in. I worked up some spit in my mouth, transferred it to my fingers and spread it around my fully erect cock. I set the tip against his hole and paused: this was the moment I wanted to last forever.

As the head of my dick slipped in he gasped. He was pretty tight and I didn't want to hurt him. So I kept the pressure constant while letting him take me in at his own pace, leaning back into me. Putting his hands against the back of the couch, Eddie rose up and pushed ass back and down on my dick. It was time to go in all the way.

"Yes…" Eddie moaned as he reached back to pull me against him, making sure I was all of the way in.

It looked so hot to see my cock was now firmly buried in. I pulled out and pushed back in. He turned back to face me again and I leaned forward to kiss him. We held a kiss as I worked his ass. He turned back to the wall and moaned as I continued, now moving a bit quicker. Every so often he would squeeze my dick with his ass muscles. I continued to pick up the pace. My fucking worked up to a solid rhythm, my balls occasionally slapping against him. He began moaning low. It was very quiet, but with an encouraging note. As I continued to fuck him his moaning grew louder. His ass felt so good that I knew I couldn't hold back much longer.

I was about to pop as Eddie pushed back hard into me. That was my cue to go for it. It was only another three or four strokes before I slammed up against him and held myself there, my dick in him as deep as it could get.

"Oh fuck!" I gasped as my cock began to throb, pumping my load into his ass. He was moaning and rocking, his warm hole enveloping my throbbing cock.

"Yes! Yessss…" Eddie said, ending in a whisper.

As my cock's throbbing lessened and I started to go soft I reached around and under to jack him off, but to my surprise, he had already cum. So I slowly pulled out and stepped back. Eddie stayed kneeling laying his head back down on his arms. I stared at his hole, now visibly open wider than when I'd first gone down on it. I could see traces of my cum as I watched the hole pulsing along with his breathing.

#Me and Mr. Jones #eddie jones #fan fiction #actor #american actor

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asexualenjolras · 9 months

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It is one week until Newsies London closes in Wembley, and I got to see it again the other day, so I want to talk about Ryan Kopel and his beautiful portrayal of Davey Jacobs one more time.

I love how Ryan portrays Davey to be autistic. Ryan has said that he plays Davey in a way that exemplifies his quirks, and it really works in this production. It’s what I am going to miss the most. I’ve never felt more seen.

As an autistic person myself, I have always headcanoned Davey as being autistic – in every format of Newsies previously. Ben Fankhauser’s Davey was always autistic-coded to me – his portrayal was one of my favourites. And I was nervous about seeing another actor take on a character that means so much to me ... but Ryan took Davey and made him even more autistic and I am so, so grateful and in awe of his talent.

Let’s talk about Davey Jacobs and his autistic traits, as portrayed by Ryan Kopel in West Endsies:

- Stimming:

Davey is stimming the WHOLE SHOW. And that’s not an exaggeration. He is shown to bounce on his toes, he is constantly fidgeting with his fingers (and standing with those stereotypical t-rex arms) and he runs his hands along his newsie bag, and he does a few little spins when he's excited, and he jumps up and down at one point.

- Difficulty with social interaction:

From the first moment that Davey is on stage, he is shown to be incredibly uncomfortable talking to other people. He is shown to stammer over his thoughts and struggles to coherently converse with the other characters on the stage. He is portrayed as someone that is reluctant to speak, and he stutters and rambles and struggles to maintain eye contact, looking down at his fidgeting hands a lot. Ben Fankhauser made Davey more confident in his ability to share his thoughts, but Ryan’s Davey struggles - both internally and externally - with this.

He is also shown to have a one track mind in conversations. He struggles to see why Jack is having doubts after the rally because he, personally, thinks it was a success. Davey is bouncing around and his tone is so light and he is so confused by Jack's doubts. It's so autistic. It's so relatable.

- Relationship with physical contact:

Davey is shown to struggle when people suddenly touch him, he flinches and wipes the touch away whenever he is uncomfortable. BUT he initiates touch with those that he trusts. He's so physical with Les, constantly holding him and giving him reassurance through taps. He is shown to hug Jack and he hugs Crutchie and it's nice to see.

- Strong moral compass:

Unlike Ben Fankauser’s Davey (who I LOVE), Ryan’s Davey is shown to be more reluctant to join in on the strike – he is a lot more sheltered, and is completely isolated on one side of the stage in that scene. Davey looks down to his feet and looks to be at war with himself. He looks completely defeated when Jack asks if his father would be in the mess he was in if he had a union, because he knows that Jack – this boy that he has just met – is right. But he is so conflicted because he knows that this is going to be difficult, and he’s so worried and so anxious and so questioning about what the right thing is. It’s such a minor part of the show, but it’s there and I love it.

- Autistic joy:

I don’t know how else to word this but the way that we see Davey unmask throughout the play makes me so smiley. We see him go from this uncomfortable, awkward, masked version of himself in the beginning to someone that genuinely feels accepted and like he has a place in this strike and in the Newsie family. The excitement in his voice when he is talking to Jack in Medda’s is UNMATCHED. He’s so bouncy and light and he’s STIMMING and he’s so happy. I love it.

I could go on and on but I won’t. I just really love the artistic differences between Ryan and Ben’s Davey Jacobs’. I love both of their adaptations, but Ryan’s Davey feels so authentically autistic. And I am PRAYING we get to see his Davey immortalised in a pro-shot?! PLEASE?!

Ryan Kopel, thank you so much for giving us this wonderfully autistic Davey Jacobs on stage.

#newsies #davey jacobs #ryan kopel #west endsies #newsies london #autistic davey jacobs #autism #autistic headcanon #autistic spectrum #actually autistic #wembley #i am so not ready to lose this show #i hope it comes back soon #thank you so much ryan #your davey is so important

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ojcobsessed · 3 months

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Few actors have endured as fraught a journey as Oliver Jackson-Cohen. Few actors are more in demand than the star of The Haunting of Hill House and Jackdaw

by Maeve Ryan

OLIVER JACKSON-COHEN HAS been doing this a while. He decided to act at the age of six. Joined a theatre troupe and began to climb. He continued until university but didn’t get into any drama schools. Throughout our conversation, he tells me there were no signs pointing him in this direction, no surefire chance at success. But he’s found it, and then some.

He rose to prominence with his highly acclaimed portrayal of Luke Crain in Mike Flanagan’s The Haunting of Hill House.

A character that battled a heroin addiction to cope with past traumas, though addiction was the least interesting thing about him. The show featured stars of the past, and launched new ones into the present, Oliver Jackson-Cohen being one of them. The role of Luke changed the course of his life – for more reasons than one.

It was the first time in his life he no longer had to hide, he tells me. “I could be as fragile as I felt.” He took his newfound Netflix fame and began to carve a path that finally aligned with who he was, not who the world wanted him to be.

Now, he takes centre stage in Jamie Dobb’s new film Jackdaw. When he read the script, he thought he was the last man for the job. When Dobb explained the hyper masculine lead needed someone to bring softness behind it, he signed on.

Jackson-Cohen’s career, and presence, proves that the strength of a man lies in his ability to go beyond society’s standards. He breaks the stereotypes like bread over a long conversation in Soho. We discuss his entrance into the industry, facing traumas, and finding a safe place to land.

sm: What was the first movie you ever saw that made you want to act?

o-jc: Home Alone. I remember seeing that film and saying, oh whoa, so a kid can do this? I remember telling my dad, ‘I think I want to do that.’ I was six or seven.

But it gets dark. So, my mum and dad’s house had a bay window that was on the street. And when I came home from school for a week, I just sat in the window thinking, any minute now, someone from Home Alone is going to walk past, and go, there’s a kid! Let’s get him! I was willingly wanting to get kidnapped. Which is so fucked. My dad came home and was like, ‘What are you doing?’ And then he was like, ‘Yeah, that’s not how that works.’

We found a theatre program – I started going there when I was eight. I was never the golden kid. In the drama clubs, I was always like the snake in the background. Or just the scenery. We used to put on terrible plays. I was such an insular kid. I found a safe place to feel where it’s real, but it’s not. So you can experience it all. I did that for three years, and then I was kicked out.

sm: What! Why?

oj-c: I had an attitude or something like that. I got suspended so many times. I genuinely was not looking for trouble. I was always the one to get caught. Like, I was the kid who someone handed the knife to, and I’d be standing above the dead body, and then the next thing I knew it was 20 years in prison. It was always stuff like that. But it was time to move on anyway.

I found this drama school at Riverside Studios. It was a small group, maybe eight or nine people. It was so interesting, because I’m going to do a gross name drop, but in the group was Carey Mulligan and Imogen Poots. It was incredible.

sm: Those were the kids that were just there? Did you have to audition?

oj-c: No, but I did a trial. It was a lot of devised stuff, like improv. A guy named Andrew Bradford ran it. He really supported kids. It was all day Saturday. We were all teenagers. It felt like another life. It grew and grew and by the time I left I was 17 or 18. It wasn’t one of those places that you were beaten down. No fake bullshit. It was a safe place to try stuff. We’d put on plays and we all got agents from that as kids.

sm: Is that the moment you look back on and think of as the beginning?

oj-c: I think so. But it was such a long period of time. Career wise, it was quite stagnant. I did one job when I was 15 that was some late night soap. Then I didn’t do anything until I was 18. I wasn’t like this is real until later. It started to snowball when I finished school. I went to get a French lit degree, hated it, dropped out, and applied to drama school. I didn’t get in anywhere.

In the meantime, there was a job at the BBC for a silly period drama. I did that, took the money, and went to do a foundation in New York at Strasberg.

sm: Tell me about the audition for drama school. You didn’t get in anywhere?

oj-c: Yes. I’m telling you there were no signs that pointed to me saying, yeah, you’re quite good at this. It felt like everyone was saying, ‘don’t do it.’ Which is a really interesting place to start from. If no one around me believes in me, how do I? And I just keep going? It was a mix of delusion and stupidity.

sm: Did you think about doing something else?

oj-c: When I was still in high school, I worked as a runner on productions, mainly at the BBC. I was revolving through that so when I finished school, that was kinda my job.. I got to see the inner workings of how sets worked, rehearsal periods. I got to see the writers and the actors, how they would construct a joke, and adjust things.

When I was 17, I started doing the European Music Awards. I would go and work in the costume department, I didn’t fucking know anything about how to sew on a bun but it was amazing. I got such a solid understanding of how a production office works, how a schedule works.

Tragically, you see a lot of how an actor is a small cog in this machine. Everyone is working so diligently. This whole idea of superiority that can go on, it was important for me to witness early on. Because when you go onto set and someone says five minutes, it actually means five minutes. But it was also hard because I was watching people do what I love. I didn’t get into school, so I said fuck it, I’m gonna do a foundation for a year and reapply to drama school from New York.

sm: Why choose the Strasberg program?

oj-c: Someone told me about it. I thought I needed to go do something that gives me a playground, a space in the meantime. But when I got there, I was with this small agency, and they started sending me out on auditions. The first or second one I went on, they flew me to LA to do a screen test and I got it. This was six weeks into the program. I was like: what do I do?

sm: What did you decide?

oj-c: There were three or four movies I got, but then the financial crash happened and it all fell apart. So I went back to New York to continue with the program. But meanwhile, I had been signed to WME and my agents were like, let’s go down the studio route because that’s going to be fun. I got an audition for this Drew Barrymore movie, got that, and then I dropped out. Then got another job that moved me to LA. I was there for a year shooting and doing the prep for that.

The whole idea was that I’d do that and reapply to drama school. Then I kept on booking. It’s only in the past couple years I was like, thank fuck I didn’t stop. There were moments that I thought I needed to stop and do three years of training.

sm: Did you feel like you were missing something that other people had?

oj-c: I felt like I was back-footed. Like I had no idea what I was doing, then I realised no one does. There is no arrival point where you’re like, ‘I know how to act!’ A lot of it was becoming comfortable with learning and making mistakes. Some will hurt and some don’t matter.

sm: So you start booking jobs, and then it just keeps going? No break?

oj-c: There’s obviously periods where you’re out of work. Or you really want a job and you do 50 auditions for it and you don’t get it. A lot of that went on. But I was 22. I ended up staying in New York until I was 28. I felt like a deer in the headlights. I was just so grateful that I was working and that people wanted to hire me that I never stopped to ask if it was actually fulfilling.

I listened to a lot of people early on. I needed guidance. I needed someone to say, do this job, this will lead to this, or it’s important you work with this person. Then I woke up one day and was like, is there anything here that I’m actually proud of?

That comes with experience and maybe a little bit of delusional confidence where you go, I think I want to try and do something here that is more aligned with me. It was a weird time to be in LA. I’m six foot three. I look a certain way. People wanted the product. I thought that was how I’d get there. I’ll pretend to be confident, I’ll be a version of what these people want. Keep my mouth shut and pretend. I reached a point where I was like, I cannot keep going this way.

sm: Did you feel that you’d abandoned yourself? Or was it a slow realisation?

oj-c: It became harder and harder to pretend to be this chill guy. I’m not chill. But when you’re handed something, you go, this is fun. Then the more you read and become accustomed to the environment you’re in, you start to feel entitled to have an opinion. To feel entitled enough to say: I actually don’t like this, I actually find this quite soul destroying. Having to make myself small, or block myself off and not be as vulnerable as I feel. To not show that.

It was an interesting time – in the late 2000s, men were men and what I was being asked to do was be an idea of what a tall, white, masculine man was that sort of never really sat. I actually feel really fragile. So I took a break for six months. I was like, I’m just going to say no now and try to re-shape the direction of what I want to do. Then The Haunting of Hill House came along.

sm: How did that audition happen?

oj-c: I’d done a film with the producer before. They sent me a conversation that happens in the show between Luke and his twin sister, it was him asking her to get him drugs. They asked me to read that and literally the following day, they called me and were like yep, you.

means something to people. It was an amazing thing to be a part of.

sm: Did you immediately recognise that Luke was the kind of character you were looking to play on the page?

oj-c: Sort of. If I’m honest, I did quite a lot with the role. Mike was very open to collaborating. I put a lot of stuff in there that wasn’t necessarily there originally.

All of the siblings were there but they were sort of blank canvases for anyone to put whatever they needed to put in it. We all came in and made bigger choices to create this family dynamic. They brought on this incredible writer, Scott Kosar, who wrote The Machinist, to tackle the Luke character because he was in recovery at the time.

sm: The writer was in recovery?

oj-c: Yes. He tackled all those monologues about staying clean and everything. That was him. You know, you’re talking about a family that lived in a haunted house, that’s sort of a silly premise but all the substitutions that everyone did, it was all about trauma. Living and being followed by things unless you face them.

sm: What did you bring to the Luke character that wouldn’t have been there if somebody else played it?

oj-c: Someone else would have brought something amazing to it. But Mike Flanagan had so many tapes come through of people playing the addiction, and you can’t play the addiction. When I first looked at Luke I was like, okay, he’s a heroin addict, but then I was like, actually, to put a label on that, to label him, does such a disservice.

So it became about what he was running from, and what was terrorising him. For me, it became about childhood sexual abuse. How do you escape this thing you don’t want to feel? And if you can’t keep it at bay, it will take over. It became about that struggle, not ‘I need my fix.’ It became about this terrorising thing that’s always present, which translates into the show. We all have things that follow us. It became about trying to humanise it and make it real by using that as a way in.

sm: You’ve been open on social media about the sexual abuse you faced as a child. How did you navigate acting something so close to home?

oj-c: I’m of the school of thought: use whatever is real for you. That’s why I do the job. A lot of us use our own personal experience, but we bring it to a safe space where it’s okay for us to experience it. In a way it calls for that, and it felt important to do for the show.

I come back to this idea of needing to stop and reassess what I wanted to do, where I wanted to go, and what I wanted to say in the work that I do. I felt like I couldn’t keep hiding. We’re all complicated, we’ve all had complicated upbringings. That’s just part of life. It’s unfortunate, but it’s sort of always going to be a mess. I needed to put everything that I felt into something. I do that all the time.

We use the parts of yourselves. Including the darker parts, and some of the stuff we don’t want to look at. I’ve never been one of those people to go half on something. You either do it or you don’t. There’s no middle ground. I’m not going to half step in, or pretend.

sm: Did you have any practices while filming to help you not carry the hurt from that world into your own?

oj-c: What was interesting was that all of that sadness was in there anyway. I wasn’t generating any of it, I was just opening it up. I didn’t whip myself up into a frenzy. It just felt like I didn’t have to hide, or pretend it wasn’t there.

sm: Would you say acting has been healing for you?

oj-c: I don’t think the word healing is correct. But it’s been incredibly helpful in helping me understand myself better. It’s probably not the healthiest but I’ve said this before, I feel like I need the job to lay out all my neuroses and vulnerability. I keep myself so closed off in real life. It’s an outlet that feels necessary. That’s why I go off to work every couple days.

sm: You are cast in a lot of thrillers and horrors. Why do you think you mesh well with that genre as an actor?

oj-c: You know, after I did Haunting of Hill House, it was sort of this big thing where the amount of horror scripts that came through was crazy. The amount of, ‘do you want to play a drug addict?’ It’s incredible how desperate people are to put us into boxes.

After Hill House, I did The Invisible Man. That was a horror but the messaging - we’re talking about gaslighting, we’re talking about toxic relationships to an extreme. It was so much more than a scary film. It felt like it had something to say. That’s the thing about horror. When it’s done well, it’s incredibly impactful.

sm: After Hill House, did you feel you had agency when choosing your roles?

oj-c: To a certain extent. But no matter where you’re at: the job you want, they don’t want you. You can be Julianne Moore, but they’d rather have someone else. It’s constant. But it did change quite a lot. In terms of becoming Netflix famous, which is the strangest, most intense thing ever because you’re the most famous person on the planet and then something else comes out. I felt like I was in a fortunate space where I could choose more, but there were films that I really wanted that I didn’t get.

sm: I heard that when you first read the Jackdaw script, you didn’t think you were right for the role?

oj-c: Yes. I called the director Jamie Childs and told him he was nuts. Because again, here’s this hyper masculine man that felt quite robotic on the page. I met Jamie on the set of Wilderness. He was telling me, ‘I’ve written this movie. I’d love to get your feedback on it.’ So I read it. It was still an early draft. Then he said, ‘Do you want to do it?’ I genuinely thought I wasn’t the right fit. I thought it was just out of convenience that he wanted me.

He said to me, ‘It needs someone to come in and make it human. To give it vulnerability.’ He said the film is about how this man readjusts his life following the death of his mum, and I was like, sold! You need some tears? I’ll bring you tears! I’m never leaving my sad boy era. It happened so quickly. We wrapped Wilderness, and then started filming three and a half weeks later. We were up north in January.

sm: You go swimming in the North Sea quite a bit in the film…

oj-c: Oh yeah. It got to like minus nine. It ended with me getting hypothermia. I think I’m a bit too delicate, that’s why. I had this amazing stunt guy called Jamie Dobbs who’s this gold motor-cross champion, and we had to shoot all this stuff of us in the night. They’d get me on a rig, and then they’d get Jamie and it got to minus 12. He got frostbite on his face. It was unbelievable. It was all night shoots. I am so surprised we all made it out alive.

sm: Had you ever cold plunged before?

oj-c: Not at all. I’m one of those people in August that’s like, I don’t know if I want to go in the sea, it looks a bit cold. We did three days on the water. Some of it was in a kayak. The underwater stuff, that’s where it got brutal. We were all eating every 25 minutes because we were so cold. There was a boat just for food. I couldn’t name one thing we ate. It was just fuel. We were going to work at 5pm, and then wrapping in the morning.

sm: Do you often try new things on film sets that you’d never do otherwise?

oj-c: Yes, all the time! That’s part of the allure of it. You get to learn all these weird things that you’d never do. You get to experience these amazing things. I’ve been doing this for so long, because I’m 150 years old, and someone will bring something up and I’ll be like, oh I’ve done that! But then I’m like wait no I didn’t, the character did.

sm: Was there anything else you learned on the set of Jackdaw? Motorcross?

oj-c: Yes! I fucking loved it. If I’m honest, a lot of it is me jumping on and starting up and then getting out of frame. Insurance-wise, I couldn’t do any of the jumps or anything. But it is so great. There is nothing quite like it.

sm: Do you ever think you’ll get into the writing side of film?

oj-c: I have. I just don’t know what I have to say yet. Everyone reaches a point where they think, I don’t want to forever be a product. It would be nice to be part of the creative. I have a lot of opinions.

You go into a job with the best intentions. This is what they’ve told us, this is what’s been sold and then you’ll see the final product and be like: that’s not at all what I thought it would be. The more you do it, the more you feel like you know what you actually like and what you want to be part of. I’ll get to it at some point.

Jackdaw is in cinemas now.

#oliver jackson-cohen #oliver jackson cohen #jackdaw #jackdaw film #jamie childs #2024 #interview #cw: csa #mike flanagan #haunting of hill house #luke crain #jack dawson #i have that home alone anecdote memorised by now 😭#he writes!

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mikodrawnnarratives · 1 year

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Before I talk a LOT (I'm not joking, A LOT)

About this au, how I stumbled upon the idea, story and all in a rushed format,

APPRECIATE THIS

TOOK FOREVER

COMPLETELY out of my general comfort zone in art BUT OH WELL LOOK AT IT :DDDDDDDD

Also serves as a good hook for what this post is about mehehehehehehehe

CUT TO RAMBLINGS

Oh I have your attention?

Excellent.

It started with me thinking and wondering about a specific fic that is unrelated to this post, frankly different fandom, and I was wondering how it would play out in a movie format, but seeing as the fic in question currently is unfinished and won't be for a while I decided to direct my attention to other fandoms, got to DCA fandom, came up with a few cute ideas i didn't write down for unfinished fics, for the record I do think it would be interesting if Solar Lunacy was a musical just saying, and then I started to think about ok what fics ARE fini-

SLEUTH JESTERS HECK YEAH

Unfortunately at the moment I don't have any digital sketches to share for some of these points and the sketches I do have are pretty messy SO I'LL JUST RAMBLE cause I already wrote down a lot of these separately

Firstly, I imagine this kind of musical being in universe kind of au. Possibly an extension of the Actor AU where the original media (tv show? movie?) got so popular it got a musical adaptation

I imagine the actual music, whether the songs or just sound track, would be heavily inspired by Jazz or smthn. Like, the genre of music most popular during the time period Sleuth Jesters is in ish. It would still be musical-like but you can tell the genre they are going for

And before continuing, to get around not actually saying "y/n" on stage cause that might be a little awkward MAYBE there could be some kind of special sound affect for the actors mics that the audience knows is y/n's name?? Half baked tho

COSTUMES

Sun, Moon and Eclipse (at least) would have highly decorated masks to match the original just added onto because they are on stage. Masks, so that there are more options for who to cast. To make up for this, the actors have to make it clear in their body language to make up for lack of expression

in productions with higher budget mayhaps one function could be the eyes have options for what emotion they could express

In most productions there will be sound effects in the background that mimic the noise that Sun Moon and Eclipse make as they move. Or at least be incorporated into the sound track ooooo

Y/n's clothes would have an easy to notice difference in quality compared to the DCAs, which makes the bell and ribbons much more noticeable on stage

Smaller note but I think y/n's make up could be kind of fun with how they show the y and n on their face

Would probably have a wig colored various shades of silver but not required

FIRST SONG FIRST SONG FIRST SONG

Would be the introduction (of course) and depict the first chapter and likely have something to do with "Until Next Time". I think possibly it would have little breaks in the song to fit in the dialogue

Honestly, in an adaptation there might just be more scenes added between the earlier chapters to fill in points in time or smthn

OR (the answer I like better) The first act uses time between chapters to fill in reader watcher on backstories or past's of characters

Actually yeah little hints would be packed in the first half

Any other songs could be filled in for the boys or y/n that could have the potential to return as a Reprise

Now listen Mandatory Eclipse Villain song(s)

this is not optional

Duets Duets DUETS

One duet could be between characters that are foils or mirror each other but it's one of those duets that have different lyrics that still match up musically

Particularly I think the latter could be used for Sun and Moon's complicated relationship with Eclipse but not completely sure where that would be, probably second half, speaking of which...

ACT ONE ends in the chapter that Y/N has to return the favor to Eclipse, where he crashes the party and they go with him, reassuring Sun and Moon that they allways can wiggle out of situations

REPRISE OF THE FIRST SONGGGGGG

Until Next Time Reprise

Which will have a moment of silence after, showing their mutual understanding yet make it perfectly clear sun and moon don't want to do resort to this

Doesn't last to long as it proceeds with the sound track DROPPING in tone as Eclipse stuffs y/n into the car, that is actually just a prop that leads to the back stage

FADE TO BLACK INTERMISSION

ACT TWO (any major costume changes or forever hold your piece) I think would start off with Sun and Moon's dilemmas first before getting back to y/n

WHICH would likely cut to y/n maybe already in the burgundy shirt but meh that's not solid

I think the way Eclipse gives them the burgundy ribbon and bell could be changed in an adaptation of the story since it would be easier I imagine to show it later than in a car set piece

(Admittedly I have to reread these specific chapters to know specifically the order) But when Eclipse drops the bombshell he knows their past, and I think he leaves them alone for a bit after that, SONG TIME (though song could still happen with him there honestly)

Something similar to the theme "I thought I burned everything" and would just

And after that likely more backstory could be cut to depending on what it is and how relevant it is at that point. WOuld be much grimmer in tone but hey it's the second act.

Though if this opportunity is taken, this could be reprised later when Y/N proposes to the boys, with the necklaces to show being more comfortable with their past

More song opportunities with Y/N's trust issues, Sun and Moon's brother issues, etc

Final act-ish, where y/n first runs away after Sun and Moon "find out" and from there would have more focus on the score than any songs that could be fit into that small frame.

My thoughts went kind of to Heather's Dead Girl Walking Reprise and then Veronica and JD's tussle toward the end if songs got implemented there

AND OF COURSE The moment of Eclipse's death is really what makes me think this would be adapted into a musical in universe

Because it does kind of fit the bill for being tragic

You feel bad enough for what could have been

But also remember "Nah that bitch deserves it"

But also.. it's sad

PERFECT FOR MUSICAL ENDING

ish

After proposal, there is possibility to do a QUICK little glance into the future at the end, not unlike Dear Evan Hansen's ending, but maybe not

Ok now Applause section!!

Freddie and Gregory would bow together

I forgot to mention earlier, but the character that is revealed to be a spy for Eclipse at the police station I'd imagine would have hints on their clothing (like burgundy) that would foreshadow their side

Eclipse would bow by himself, flaunty as ever, yet you can still kind of tell the actor is kind of a sweetheart

Sun and Moon would enter, bow together and then welcome Y/n

Who would get to bow on their own, then with Sun and Moon

Then the rest of the cast is welcomed

How the arrangement would go from left to right I was thinking

Law Enforcement and basic background cast making up crowds, Freddy, Gregory, Sun, Y/N, Moon, Eclipse, Michael, Other Aftons and Spy, rest of Law Enforcement and basic background cast making up crowds

AAAAAaaand thats what I've got.

@naffeclipse did you catch all of that?

and @sunnys-aesthetic for their detective au! :3

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colourstreakgryffin · 7 months

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Can you write a mermaid au where the reader attends a circus with poorly dressed employees who are supposed to look like fairy tale characters but the main event of the circus is a merman ( kyojuro) and he does this amazing performance and the reader goes and talks to him to ask how he does those stunts in the water without breathing (because she don't think their a real mermaid) until she see the gills actually moving?

Please and thank you I just think Kyojuro would be so pretty as a merman

Ooohh! Cute, a Merman Kyojuro~! Let’s go, I can’t wait to finish this up! Thanks again, loves!

Rengoku Kyojuro- Fantasy is True

You could tell why this cheap half-assed circus managed to attract the attention of a number of families. It spilled out so many promises on online advertisements and it rolled around your little homely village regularly, it was clearly a quick cash-grab type of business

On a meaningless but yet only relax day of Sunday, you truly had nothing else to do once you finished your power nap and your curiosity got the better of you, ended up with a single ticket to this circus that proudly proclaimed to have had a real fairytale creature performing for them

You want to see if they really do have a real life fantasy creature at their disposal, willy-nilly or if they are just bullshitting to further get money off circus-addicted children or bored adults like you

Taking a lazy seat at the first empty bench row you spot when you enter through the curtains, you slid the paper ticket into the case of your phone and pocketed it. As a extra measure incase you need that ticket, you propped your hands on your cheeks over your knees and stared at the empty stage, already bored out of your mind with loudly speaking children and occasionally scolding parents filling up the seats all around you

You hoped this circus would make your day even the slightest bit better

Boy… it for sure did

The employees’ last-minute baked uniforms were clearly modelled after fairytale characters; Riding Hood, Fairies, Elves, all kinds of would-have-been pretty looking displays if they gave a shit to actually look good. You could tell how badly careless the outfits were thrown together, stitching all over the fabric and even a zipper busting out from the back on the Riding Hood actor as many came out of the darkness circling the stage

You truly had no right to complain as the children in the stalls were cooing and cheering at the performances. Clearly, they had some reputation of being incompetent and children aren’t that brainless, even some lonely middle-aged adults or bored teenagers were remarking openly that the performances were decent

The juggling, the fire ring jumping, the clown scene, all do the stereotypical and common circus parts came in so quickly, filling the lousy stage with people doing their best to entertain. Crossing your arms and hoping something else would come, your request suddenly came to reality as the much more fancy and lavish-appearing Ringmaster appeared in the centre of the stage

The non-dressed employees that clearly hid in the back, possibly operating the music and lights, wheeled in a huge mysteries rectangle covered by a pale yellow sheet and held off the ground by a massive dark blue metallic mini-trailer without the walls. Was this the fascinating real fairytale being this circus proclaimed to have?

“For the grand finalee~! Ladies and gentleman, I present to you! A real lifeeee—” The Ringmaster dramatically called out into the microphone clutched tightly in his hands as his makeshift clown tore the sheet off the rectangle and revealed the content underneath. A gigantic glass container without the lid and filled to the tippy top with clear yet noticeable light blue water

What was inside was actually more believable and realistic as compared to all the other circus performers here

A human being, a fully grown man was swimming around the thick, you assumed, seawater with a bright smile on his attractive fan. His skin was a healthy tan, his visible torso and arms were built to the brim with muscles and athleticism and the most interesting part. A merman tail that directly mirrored the long-finned tail of a Firefish Goby. From what you saw of his fingers, they were webbed and his ears looked more like fins then ears

White at the hips and fade to dark red at the ends with light orange to dark orange completing the beautiful fade. This most-certainly fake merman tail prop looked very convincing and very professional! This is beyond amazing as compared to every other actor, they must have poured all their love into a merman actor

“Welcome! Our lovely merman, Kyojuro!” The Ringleader cheered pridefully, quickly rushing into the black shadows as the many high-beam lights illuminating the wide stage shut off mysteriously and all the ones remaining tilted over to the supposed merman’s container as to place the centre of attention onto him. Like it was nature, Kyojuro flung himself out of the water beautifully and begun to harmonise, seemingly as ready as he would ever be

His singing voice is incredible, so angelic and majestic as he hung over the thin glass wall before he flopped back into the water without stopping his singing, your eyes widened in shock. How was a human singing underwater? No, it must have been a technological trick of the radio playing a convincing audio of a man singing as the actor pretended to sing, he probably isn’t singing at all!

You carefully followed every movement and stunt the supposedly Merman, Kyojuro performed as he leapt out of the water, flinging thin strings of water around, in which glittered with the artificial light by a flip of the tail’s small round fins. Even the adults were gawking in wonder at Kyojuro’s fascinating show and by the end, the Ringmaster excitedly thanked every paying customer for taking time to come to their circus but you ignored his little speech

Your eyes followed watching the employees wheel away Kyojuro from the centre of the wooden-pane stage in a extreme sense of wonder and want of discover. How he could stay underwater for so long and even keep his mouth open underwater so effectively, wouldn’t it cause water to enter his lungs? Thankfully, the Ringleader was too ego-driven to not let the children approach the employees and praise his work

You manoeuvred through the wave of parents with their young children once you stepped down from your seat. Most other patrons had left with only a handful exploring the stage and speaking with the actors. You were the only solo adult doing so but you didn’t want to pretend you were believing that you were talking to Snow White, no.

You just wanted to meet and greet the amazing “Merman”

Pure amazement overflowed your eyes as your pace grew slower, you pressed palms on the thin but tall glass pane wall facing you once you reached it, flinching when Kyojuro does the same from the inside. Your palms looked as if they touched his on a angle. You couldn’t believe this human was doing all these stunts for almsot three hours non-stop without needing air as he was singing and speaking everytime he went up, was he using a invisible oxygen task or something?

The floating locks of firey yellow and red crossed his neck and face slowly by the water pulling it around, highlighting his gorgeous flame-coloured eyes, in which calmly bored through you with enlightenment for finally having company again, especially company from a pretty woman. Your world begin spinning in amazement and disbelief at what you noticed after examining him up close

Three thin lines on both sides of his neck, almost like strange lacerations, slowly flaring in and out like how a chest would rise and fall. Exactly as how fish filter water for their own breathing needs, he did the same

Kyojuro was worried for you by the way you reacted as he pressed his brick-like muscular chest against the glass like he was trying to break out, his expression dissolving into concern as you stumbled back, clutching your head with one hand. You almost didn’t want to believe it but all the evidence, you couldn’t ignore all the evidence

…He wasn’t a normal human nor a very trained human actor. The oddly-marketed main attraction of this dilapidated wannabe circus is no joke nor a fake, he is a…

A merman! A real merman!

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autumn816 · 12 days

Text

Thinking Actors Gewis Au

stealing this from the show Arrow. They are filming for a tv show. Lewis is the main actor. George was only supposed to be in the first episode only but Lewis and everyone was so impressed by George that he became a recurring character in season 1. Then season 2 onwards, he is a regular character. Lewis was supposed to have someone else as his love interest but George and Lewis’ on screen chemistry changes the love interest discourse. The producers and writers building up a storyline for the characters since the beginning but it’s a slow burn. The characters don’t get together until season 4? maybe?

the chemistry is chemistrying from the starting for the fans. they wouldn’t mind having two beautiful men get together in the show.

the chemistry is chemistrying outside of the show too but it’s jokingly more than anything when the fans see them in interviews and promotions stuff until…

the premiere of season 2? 3? (don’t ask me the timeline. i have no clue). During one of the fan event, Lewis is talking about music and karaoke and a fan shouts Shakira (there were dating rumours months ago) but Lewis goes “Hips don’t lie doesn’t suit me. It suits him” while pointing at George and continuing “he would say his hips don’t lie.” And then George brings up how he always hears Lewis sing in the room next door and he doesn’t know if Lewis is trying to distract him or soothe him (of course i brought this in, i just had to). The fans (it’s us. we are the fans) go crazy because those are some very insane things to say about your co-worker. that’s when the real shipping starts

^^yes i had to include that moment. why wouldn’t i

a fan asks Lewis if he is dating George and Sebastian replies “he wishes”

a fan asks George if he is dating Lewis and Alex replies “in his dreams” with the biggest smile

^^not on the same day or even the month. Just wanted moments where Alex and Seb are being little shits

one of the scenes in the earlier season gets too intense. Everyone on set thought Lewis and George were gonna kiss the way they kept leaning in closer so the director yells cut. Lewis is glad they did because he was definitely gonna kiss George (the intensity of the characters’ first kiss makes the build up worth it)

during an interview, the interviewer brings up Gewis shipping. George tries to steer back the conversation back to the show but Lewis realises what he is doing. Lewis being the evil menace he is, he puts George on spot by cutting in and saying “no. they mean Gewis as in me and you.” George is too stunned to speak and just looks at Lewis

or maybe vice versa. Lewis tries to change the subject but George goes they are talking about me and you (i don’t know which option i like more—actually no, that’s a lie. i think i like the first option more)

little interview moments where they are blatantly staring at each other. one interview had george yapping as always and lewis staring at him while licking his lips the whole time

their characters finally kiss and get together on the last episode of the season. it’s trending on twitter for days

when Gewis and the other actors are asked what their favourite filming scene from that season, Gewis answer their kissing scene. They don’t elaborate on it

the speculations get worse during the break between the seasons and Gewis are seen hanging out together all the time

the worst of it happens when someone from the casts posts a picture of the cast getting dinner. there is a hint of lewis’ hand on George’s thigh. fans catch on it. we would know that tattooed hand anywhere

+ Bonus

their relationship is confirmed years later when Lewis wins an award and he gives a thank you speech and talks about George. George rushes to the stage and kisses Lewis

or George wins an award and Lewis is the one presenting it so when he gets on stage, he just kisses Lewis and it’s the first thing he does (even before collecting his award)

#gewis #actors gewis au #ideas box

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sofiiel · 9 months

Text

Date: theme park with Eddie

He asked for triple scoops at the cotton candy stand.

He nomed a piece of said candy and then kisses you so it melts as you kiss.

He's stuck between the biggest ride and the photobooth because he's torn between "I must ride the machine of death and terror" and "I need adorable snaps with my lover" his head is turning left and right as he tries to decide which direction.

Eddie picks the biggest ride. At first, he throws his hands up, and suddenly he's squeezing the life out of you, at the drop. Then that scream becomes a joyous cackle. He's having a blast, but he is still got his arms locked around you as best he can manage. You know, for safety reasons.

You've lost him in the midway games and can't find him. Eddie tries to win you the biggest prize, and he's tried three different games, several times. He trudges back to you with an arm fool of the smallest prizes and a pout - only to find you won him a giant stuffed creature. He did however win a kiss from you.

He spots a man walking on the tallest stilts he's ever seen and follows him around, asking questions about how hard it is to do and how long it took to master. He then looks at you. "Babe, we're getting stilts. I will play the filthiest solo on stage in those god-damn stilts."

Eddie wants pictures with all the characters and mascots. He's somehow dragged a few of them to get in the photobooth with the both of you.

You go on the water ride, several times. Mostly because it's really doing it for him to see you drenched from head to toe.

Smoking weed in the back corner behind something. He wants to be high as a kite when goes on the space themed ride and the haunted ride. If you don't smoke it ~ that's fine. He'll happily entertain you while you're 100% lucid by tripping out at everything.

In the haunted house, he accidentally backhanded one of the actors who jumped towards you after you got scared and scream "Eddie!". It was a natural reaction. He had to apologize and you two run before you get kicked out.

Doing a bungee jump ride. While preparing to go, Eddie's saying his last I love yous. "Babe, if the string snaps....I was happy to spend this one moment with you, than the rest of my life alone." But when you two jump he's nearly giggling and when it's over he looks at you saying "25 more times, please, please."

You two are doing the cutesy couples 'ha ha i bumped you silly!' thing with the bumper cars. Ignoring almost everyone else. Until one guy wanting to kill the sweetness rams his cart into you - Eddie goes off, terrorizing them the whole time while rage cursing. The guy might actually have whiplash.

Eddie bought a ring from the coin gacha, and offers it as a promise ring in the tunnel of love, when the couples cam is on you. You've got it on photo for all time.

Poor Eddie road the tilt'a'whirl after gorging on what amounts to carni food. You stood there rubbing his back and holding back his hair and desperately trying to tune out the retching sounds. "oh god that was stupid, that was so, so stupid." he's muttering.

Eddie loses you in the crowd for the smallest millisecond, and he's climbed up on one of the park statue's shouting your name out over the sea of people.

You've gotten matching touristy merch from the park and instantly change into it for the rest of your trip.

Every single ride must be ridden thrice. At the very least.

But if you don't like a ride, Eddie will happily go it alone, he's waving you to you and talking anytime he spots you. Even if he's way up high, he's shouting. "This is amazing!" - "You look so little!" - "Hiiii sweetheat!" - "It's too fast!"

You aren't leaving without a balloon animal, and one of those foam animals that 'walk' as you drag them with the wire leash.

He's taken to holding your hand the whole time, so he won't lose you in the crowd again.

At lunch eddie starts to wind down and he's in his 'yeah, I'm gonna be that boyfriend mode' and he's trying to feed you part of his food because "you have to try this."

Shhh, you've written your names in the bathroom stall with sharpie...and behind that ride you *probably* low-key banged behind.

Eddie's somehow ended up with 300 raffle tickets. He isn't sure how, and neither are you - you don't even know where the raffle is. but hopefully you'll win something nice.

There's a band of characters playing instruments to amuse the visitors. You sneak up to them and ask them to play a specific song and dedicate it to Eddie. When he hears it, Eddies looking at you the same way people watch the happy ending of romance movies.

He's doing that thing where he tries to hop over statues/trash cans/barrier things. As if it'd impress you and yes it goes wrong, and he gets a rude awaking in a very sensitive spot. - time to go kiss it better 🙄

He's collected so many pictures that it's ridiculous. You've had to buy a tote bag for all of them, plus the theme merch, plus the pile of little prizes.

On a forgotten note: Eddie lectures of park employees the importance of keeping his giant prize you won him safe every time he has to leave it to get on a ride.

Playing sheriff vs outlaw on the merry-go-round.

Cuddling close while in the animal exhibit as you marvel at all the creatures. Trying to pick out which animals remind you of loved ones back home.

Singing pirate shantys on the ship ride.

You have been at the park all day, night is falling and after watching a light show they put on. Eddie kisses you under the neon lights of the parks' entryway. He's paid off some rando to snap a picture of the moment for him without you knowing, so he can surprise you with it later.

#eddie munson x reader #boyfriend!eddie munson #eddie munson x you #a date with eddie #contains some suggestive content #mostly sfw #modern!eddie munson #might take request for these date things this was fun!

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vintagepresley · 1 year

Note

Austin or elvis walks in on reader changing clothes

Thanks for the request! ❤️

You had been working with Elvis on his new movie King Creole and even though you weren't one of the main characters, the two of you had a few scenes together because you played one of the performers in the night club scenes, you caught his eye nonetheless and for sometime the both of you had grown quite close and he'd ask you a ton of questions about your dancing. He'd even want you to show him some moves, which you thought was funny considering the way he'd move, but you did and it had gotten to the point that whenever there was downtime between scenes he always came to your trailer to hangout with you. There was never a moment where he wasn't hanging around you or even trying to flirt with you, it was all fun and innocent and you thought it was pretty cute, which only prompted a small crush on him to follow. He was slowly becoming one of your closest friends that your trailer basically had open door policy for him and him alone that locking your trailer door was just something that was always the last thing on your mind. Of course rumors flew around the set about you two doing things together because of how much time he spent in there with you, but even with all his flirting and cute nicknames he never actually made a move on you, which only made you respect him even more. But a small part of you kind of hoped that he would.

It was late night shoot and you were pretty tired and uncomfortable in the wardrobe for one of the night club scenes and you were dying to just finish the scene so you could get changed and call it a night. As you watched Elvis up on the stage singing a song for the scene, he kept looking in your direction with that little curled up grin on his face. You tried your best not to blush from the eye contact that he was giving you, you shook your head and playfully rolling your eyes at him as you continued to watch and in awe of him much like everyone else. You had to admit that you were surprised at what a great actor he was you weren't really sure what to expect from him when you first signed onto the movie, but you weren't going to throw an opportunity away like starring in a film with Elvis Presley. Once everyone had wrapped on the scene you couldn't be happier and you quickly ran off to your trailer to change out of your wardrobe.

After speaking with the director and getting some tips and some feedback, Elvis looked around to see that you had disappeared, he furrowed his brow a bit because he wanted to know what you thought about the scene and he eventually excused himself out of the conversation and he assumed you went off to your trailer, so he decided he'd go pay you a visit like he usual did. You hadn't realized that you didn't lock the door of your trailer because you were so focused on getting out of those clothes. You kicked off your heels, slipping off your pantyhose and you shimmed your way out of the tight little number until it was in a puddle on the floor, letting out a sigh of relief as you stood there naked and as you were searching for your robe, you suddenly hear the door of the trailer clicking. Shit.

You completely forgot to lock the door and before you could even try to cover up Elvis had burst through excitedly. "Y/N, why'd you run off I wanted to-" but before he could finish his sentence the two of were face to face with one another and he was completely stunned by the sight of you, his eyes wandering over your nakedness and you quickly drapped an arm over your breasts and covered your most private area with your other hand, standing there just as shocked as Elvis. "You could knock once in a while, Elvis!" you screamed. He was completely speechless and unable to fathom that he was seeing you naked and he got a bit turned on as he continued to stare, he stammered and stuttered over his words as he licked over his lips. "I-I'm sorry." he says as he swallows harshly. But his eyes still stared at your body, wandering over every curve and now he was stepping toward you and you backed away. "Elvis, get out.." you mumbled. "Why? Seems like ya left door unlocked for a reason, baby." he said with a sly smirk.

"No.. I just forgot to lock it.. Honest.." you said softly, watching him take a few steps forward until he had you pressed up against the wall and trapped as he towered over you. "Mhm.." he hummed softly. Your hands still covering your body. "Elvis, please.. I-" before you could even finish your sentence his lips crashed against yours, kissing you deeply and as much as you didn't want to kiss him back you just couldn't resist him and a small part of you wanted to push him away. But he didn't even give you the chance to consider it as he slipped his arms around your waist and he lifted you up, wrapping your legs around his waist as his lips devoured yours, his tongue slipping into your mouth and you let out a soft whimper as your arms draped around his shoulders. He broke the kiss only for a moment. "I knew you couldn't resist." he mumbled. "Shut up before I change my mind..." you whispered.

He grinned as he dragged his tongue along your bottom lip before he captured your lips in a passionate kiss again. He kept his left arm wrapped tight around your waist as he moved his right hand down toward his pants. You could hear him unbuckling his belt quickly and he unbuttoned his pants and tugged them down just enough to pull his cock out that was already full hard. He wrapped his hand around the girth of his member and he slapped the head of his cock against your pussy, he let out a groan feeling how wet you were against his swollen tip, a soft moan escaping your lips. "Soaking wet already for me, baby." he mumbled with a smirk. He ran his cock between your sopping folds, you tightened your legs around his waist as you felt him rub up against your clit, pursing your lips as you let out a muffled moan. His lips trailing down your chin to your neck as he continued to tease your pussy with his swollen cock which only caused you to become wetter as your pussy ached and throbbed for him. "Quit your teasin'.." you purred.

He glanced up at you with those sleepy eyes and through those long dark lashes of his with a curled up grin on his lips, he lined himself up with your needy little hole, then he roughly plunged himself into your pussy, you gasped loudly which was followed by a whimpering loud moan. "Fuck baby.." he growled. Your arms tightening around his shoulders as his hands held onto your thighs, he hips slamming against yours as his full length buried deep inside of you hitting against your walls roughly as he fucked you intensely, his tongue dragging across your neck as he groaned softly feeling how tight and wet you were around his pulsing cock, each thrust he made inside of you felt more and more pleasurable. His lips met yours again and your tongues dancing around one another's as you kissed sloppily, moaning into each other's mouths as he kept up the temp within you, slamming you down onto his cock as he forced himself inside of you harder and faster, the wall he had you pinned up against scrapping against your back. You practically screamed his name as you moaned and whimpered not wanting him to stop.

Now you were thinking in the back of your mind maybe a small part of you did leave that door unlocked on purpose, because you knew he'd come to your trailer like he always did. Maybe you did want him to walk in on you naked because your desire for him was growing more and more each day. You knew you couldn't resist him and he couldn't resist you the way you make eyes at each other all day. The deeper he plunged into you the further he pushed you into pure bliss, your hands tugging and pulling at his raven hair that was falling into his face and sticking to his sweaty forehead, his fingertips digging into your thighs tighter and harder the more you two fucked each other senseless, his cock stretching you open and glistening in your sweet juices, you didn't know how much longer you could hold on as your body tensed up around him and quivered from each thrust, your orgasm building in the pit of your stomach that it felt like it was fighting to get out. Your toes curling as his cock curved inside of you and hit the right spots that made your eyes roll back and made the most embarrassing sounds escape your lips. "E-Elvis.. I.. I'm gonna.. Gonna... C-C..." you cried out, not even able to finish your sentence.

He raised his right hand up to your face, wrapping it tight around your jaw as he forced you to look at him. "Mm.. atta girl.. Cum all over my cock.." he mumbled under his heavy breath as he slammed into you forcefully, his eyes watching your breasts bounce before him with delight. Your head tilted back and pressed firmly against the wall as your mouth formed an O shape as you whimpered, moaned his name between your wild noises, you tugged tight at his hair which caused a hiss to escape his lips and your entire body trembled as you finally let go and came all over his cock. "Fuck yes.. Good girl.." he praised between his shaky groans, the sounds of his cock moving in and out of your leaking pussy filling the room, his hand still squeezing firmly around your face as he approached his own orgasm and he held you down on his cock with his other hand, keeping you still as his cock throbbed inside of you and suddenly you felt the warmth of his thick cum spirting out and coating your insides white, his groans loud and long as he had so much cum to give you that it started to leak out of you, the two of you collapsing against one another for a moment as you both caught your breath.

Once he was done, he pulled his cock out letting out a soft grunt and the moment his cock left you, you whimpered at the empty feeling his cum mixed yours dripped down your thighs as he set you back down on the ground, your chest heaving as you leaned up against the wall feeling completely paralyzed as you stared up at him, watching the beads of sweat drip down his face, you reached up to wipe away his sweat and leaned up toward him on your tiptoes to press a soft kiss to his lips. He smiled tiredly against your lips, brushing the pad of his thumb along your chin. "I guess I'll go and let ya get back to what you were doing." he said with a chuckle, tugging his pants back up and fixing himself. You rolled your eyes at his words. "Don't you dare breath a word of this to anyone, Elvis." you said with your eyes narrowed playfully at him. "Oh darlin', I'm sure they all heard ya screamin' my name in here." he smirked, stealing another kiss from your lips. You could feel your face heating up from how flustered you had become, biting nervously at your bottom lip. His hand grasping yours for a moment and intertwining your fingers together before his fingers slipped away from yours as he began to walk away, giving you a wink before he headed on his way.

You knew from then on that your innocent hangouts would not be so innocent anymore.

I hope you enjoy this! I wanted to make it cute and hot.

#elvis presley #elvis x you #elvis x reader #elvis x y/n #elvis smut #elvis fluff #Elvis imagine

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sideprince · 6 months

Note

A movie question I wanted to throw your way: what do you think about the decision to use a decent amount of physical acting on Rickman’s part for comic effect? I’m thinking his snatch of thin air in Philosopher's Stone, his creeping along the table towards Ron and Harry in Chamber, his dramatic point in that same scene, his walk up to the stage for Dueling Club, his whacking students in Goblet and Order, etc.

On one hand, I feel like this does match the tone of the books; he canonically lurks and prowls and points and snatches at the air, and his menace is often undercut by a physical description that’s meant to be some level of comedic. On the other hand, we don't see Snape nearly as much in the movies as we do in the books, so this aspect of his character seems somewhat overinflated by the movies?

TLDR I don’t think these decisions in the movie were completely out of left field, but it also feels off for some reason. Idk I don’t know how exactly to verbalize my feelings on the matter and wanted to hear your thoughts!

It will probably come as no surprise that I feel like any answer to this question is inseparable from the absolute hatchet jobs that are Steve Kloves' screenplays for the HP franchise. This reply is going to end up inevitably long (you ask me about my favorite subject, you suffer the consequences), but all of it is ultimately framed by the problem of having to make the best of a badly written script. (**edit: This post is way too long. Run away. Don't look back.)

The writing doesn't support the story

The first thing that jumps out to me is that there's a separation between where and how these comedic moments are used, up until the end of GoF and after. They're more a part of the story only until Harry's story arc reaches the point of Cedric's death, when he first witnesses death in the way that allows him to see thestrals after. GoF is when the story takes its first dark turn, and up until then the tone and story is much more in line with children's literature, so it makes more sense that Snape is portrayed in a bit of a playful way. After GoF - even though the films reveal it as an aside and much later than the original story does - Snape resumes his role as spy and becomes more integral to the story as a key character and is thus no longer just a foil in a children's story. I think what doesn't work about it is the inconsistency. The books have comedic moments with Snape too, which are cartoonish, up until the end of DH - I feel those are also out of place, but at least their existence gives a basis to what's done in the films.

Nevertheless, one of the biggest problems with the films is that they're badly edited. I'll leave that analysis for another post (you're welcome), but essentially these comedic moments feel inconsistent in part because there's often a disconnect between the performance a director has asked of his actors and the tone that's established in the editing room once pacing and a soundtrack are added. Any vision a director had for these films was muddled by the involvement of big studio producers and limitations. This is made more jarring by the way that Kloves has interjected light, funny moments in awkward ways throughout the scripts. He struggles overall to convey the world that Rowling has created, and if it weren't for the brilliant production design of Stuart Craig, Kloves' failures would be much more obvious (again, worthy of its own roast post).

Take the scene where Snape whacks Harry and Ron on the head in Gof: why are the students all studying in the Great Hall? Why are various years sitting together? Why is Snape overseeing them? It's a scene almost verbatim out of the book (Fred asks Angelina to the ball casually, he and George tell Ron and Harry to get dates "before all the good ones are gone," we find out Hermione already has a date), but like pretty much every scene that originally takes place in the Gryffindor common room, this one is moved to another location for no discernible reason. The main difference in the change is how restrictive it is: in the common room the children are free to be themselves, but in the Great Hall, under a strict teacher's nose, they have to be quiet and restrained. Another subject that would need its own post is the myriad of ways Kloves goes out of his way to rewrite settings and characters to avoid allowing them to express themselves or grow as characters, and how hard he works to stifle and limit them in ways that are convoluted and work against the story, as if he himself couldn't deal with any kind of emotional vulnerability (in a way, his scripts are a desperate cry for help). This directly contributes to why so many of Snape's comedic moments feel off.

The changes in the scene in GoF don't even make sense from a production perspective, as they required more actors, more lighting, and more setups. Instead of using the cozy setting of the common room to establish camaraderie between the students, Kloves replaced that energy and lightheartedness with Snape in a way that's uncharacteristic. The scene, as he wrote it, is already light and has humor, but Kloves doesn't trust it - he feels the need to exaggerate it and the casualties, as always, are the characters and their portrayal. It's as though he's following a formula and saying, "this page number/scene number must provide relief from the tension of the story" and then doesn't consider how following that directive fits into the rhythm of the narrative. It's closer to being an isolated scene akin to a comedy sketch than to a scene that's part of an act that's part of a film. It's worth noting that, in GoF, Kloves interjects this scene as if he's forcing this moment of comic relief into a story that didn't require it and then relies on playing off of Snape's usual seriousness as its crux. In OOtP, when there's a callback to it as Snape smacks Ron with a book again, it's no longer the point of the scene, but an aside in a comical montage focused on Umbridge (OOtP was also the only film not written by Kloves, so this moment is more likely the result of Michael Goldenberg trying to maintain a consistency with Kloves' work). Overall, I think that feeling of something being off is, again, more rooted in the writing than the performance.

Rickman as an actor playing Snape

There's a lot of criticism in the Snapedom of how Alan Rickman portrays Snape, but not enough acknowledgment that none of the characters are portrayed well, and most of it comes down to Kloves' writing of them. Book!McGonagall insists that all students under 17 are evacuated before the Battle of Hogwarts, where Movie!McGonagall only cares that the Slytherin students are locked in the dungeon, everyone else can stay, what does she care if first years die? Book!Hermione is intelligent and empathetic while Movie!Hermione is a two dimensional maternalistic harpy whose main job is to be a mouthpiece for plot exposition. Book!Ron is funny and brave and fiercely loyal, while Movie!Ron throws Hermione under the bus, is cowardly, and is reduced to a flatly written sidekick. Book!Harry is complex and while I could list a million examples, I'll stick to this one: in PoA when he finds out Sirius betrayed his parents, he's enraged but has no reply when asked if he'd want to kill Sirius. Movie!Harry says with conviction, and without prompting, that he wants to find Sirius with the explicit purpose of killing him. Every single character takes a hit because of how Steve Kloves writes them, and Snape is, sadly, no exception.

While some film shoots allow for improvisation, a big budget production on a tight schedule with scenes that require a lot of prep work can't afford to make many changes. So, for example, while Ralph Fiennes was asked to improvise his scene as Voldemort at the end of DH2 when he re-enters Hogwarts victorious (and that's why the dialogue is redundant and that weird hug with Draco continues to plague us), it could be done because the wardrobe and set and cast were already in place and the time required had already been scheduled in. It wouldn't be possible, though, to add an additional scene - like Snape going feral in the hospital wing at the end of PoA - unless it was written into the script. Additional actors would be required, which would mean coordinating with their schedules and adding them to the budget, not to mention scheduling in additional days with the crew who may already have other work lined up. It would require either pushing every other shooting day back - which is near impossible - in order to use the hospital wing set while it's still up, or tacking on production days to the end of the shooting schedule and rebuilding the set on those days. This can be done for necessary pickups that round out existing scenes, but you can't really say, "hey I decided we need a scene here that didn't exist before" without causing huge problems. Because of how contracts work, any significant scene changes would have to be sent back to Kloves who would have to write alternate scenes and/or dialogue, and even then if you wanted to fix a specific character's arc - like Snape's - you would have to add in so much that it just wouldn't be feasible. Screenplay lengths have to fall within a certain number of pages, because each page is approximately a minute of screen time, so adding a few more to a finished script mid-production is very difficult. The actors have to make the best of what's on the page. Which brings us to Alan Rickman, his choices as an actor, and what informed both him and the character of Snape.

Alan Rickman was a RADA trained actor, so his approach to a character involved a lot of physical work as well as character analysis. As far as I know, he was the only actor to contact JK Rowling directly to ask about his character, because he wanted to make an informed decision about how to play him since Snape was so nuanced and gray. Unlike some of the other actors (like Michael "DIDYAPUTYANAMEINDAGOBLETOFFIYAH" Gambon) Rickman read the books - those that were available when he took on the role, and each as they came out afterwards - and used them to inform his understanding of his character beyond what Kloves wrote (presumably in crayon with all the e's backwards). In interviews and Q&A's it's clear Rickman was fond of the HP books and story, and had a thoughtful process taking on Snape's character. He did not see him as a villain, because, as he's said, he didn't approach characters with that kind of judgment. And while I'm sure the egregious amounts of cash Warner Brothers threw at the actors was inevitably a factor for all of them, several of the ones playing teachers or other adults have said that they took on their role because a child in their life insisted on it, despite them being unfamiliar with the books, whereas Rickman's process was to read Rowling's books in order to decide whether to take the role. Again, he was a RADA trained actor, and thus had a meticulous approach to his work that followed a thoughtful, considered process and a decision based on whether he felt he could embody a character in a way that did them justice/if they were interesting enough to him. By the time he started shooting PS, he also had experience directing a film and was working as a director in theatre as well as still acting, so he understood the process from the perspective of not just an actor, but also as someone behind the camera, someone working with actors both as a peer and director, and someone sitting in an editing room.

We know from his diaries that he became increasingly frustrated with how his own process and expectations clashed with that of the producers on Harry Potter. He wasn't interested in renewing his contract after the first few films (goodness knows how much money they offered him in the end - his wife has said that he never let anyone else pick up a tab in a restaurant and if they argued, he would just say "Harry Potter."). He writes about seeing the films at premieres and being frustrated with how little story and development there is (especially for Snape), which makes me think there are deleted scenes somewhere that haven't been released. At one point he writes about a premiere party where he had internally lost patience with the three Davids (Yates, Heyman, and Barron). It's obvious that there's a discord between the work he wanted to do with Snape's character and what choices the production made:

He describes how, during the filming of the Yule Ball scene in GoF, there was an attempt to get him to dance but he refused because he didn't think Snape would dance:

It was a rare moment of potential for improvisation because, again, the set and cast and timing were already accounted for, and in this case there wasn't even dialogue. The scene where he smacks the boys with the notebook - as far as I know - was scripted. So there's a difference there in how much freedom he had, as an actor, to say no to what he was asked to do. Even in the above diary entry it's clear that, given his way, he felt the character wouldn't even be present in that scene, but he had no choice. This tells me that when he had more freedom to make choices, he did so based on his understanding of Snape as a character and, given that he was an actor who was both very respected (and got away with more than most) and also someone who could get argumentative about his character choices, I think this is the most apt lens to examine his physical work with Snape through.

Knowing that he wasn't interested in continuing the role of Snape after the first couple of films and that he was often frustrated with the lack of characterization and story arc, his physicality in his first scene in CoS (when he reprimands Harry and Ron for flying the car) says a lot. (Caveat that one of the reasons he didn't want to renew his contract was that the shooting schedule restricted his schedule and he wanted work on other projects, but I can't help but wonder if that had been the case had HP provided a more satisfying process.) It's almost certain that he had read all the available books by the time the scene in CoS was filmed, including PoA where Snape becomes apoplectic with rage in a way that, to a child reader, is comical (and intended to be) and to someone analyzing Snape is clearly rooted in triggered trauma.

Alan Rickman knew from the outset that Snape's motivation was his love for Lily, so he would have understood the dynamic between his character and Sirius re: who Snape thought sold Lily out to Voldemort. He would also have understood that Snape's reaction in PoA was more about distress and anxiety, and that this was connected to the promise Snape had made to protect Harry for Lily's sake. This would have therefore informed his portrayal of Snape's anger at Harry in CoS, and it's reasonable to assume that Rickman was trying to walk the line between the way Rowling portrayed Snape in full unhinged rage in PoA, what this tells him about this character when angered, and the connection between the moments in PoA and CoS when it comes to Snape's anxiety over Harry's safety. Unlike the author of a book however, who has full control of how they tell a story, Rickman was an actor in a film - an inevitably collaborative medium which therefore made his portrayal reliant on the decisions of others as well.

Chris Columbus, the HP movies, and feral Snape

PS and CoS were directed by Chris Columbus, the guy who directed both Home Alone and Home Alone II and Mrs. Doubtfire. He was a successful director from the 90s tradition of children's movies whose sensibility was informed by the era's attitude towards children's media: kids wanting to see themselves in narratives, in ways that felt empowering and allowed them to process the confusion of a world run by adults in playful, quasi-cartoonish ways within a 3 act structure where the villains - mean adults - get their comeuppance because it feels fair. One thing that set Harry Potter apart was that the villain was not the mean adult; Snape, the mean adult, is a character kids can hate and project their own experiences onto, but Voldemort is a true villain who represents evil and is vanquished by the hero. Chris Columbus established a tone for the first two films that was no longer apt by PoA, not only because it didn't work for the story, but because that 90s era of children's movies had ended and the culture moved on to more complex narratives (and Columbus has focused more on producing than directing since, because his style doesn't work for audiences anymore).

What's ironic about the way Snape's scene at the start of CoS comes off is that, in the book, there's a great comedic moment that's left out:

This is cut from the film, and instead it's Filch waiting at the top of the marble stairs who catches Ron and Harry being late and delivers them to Snape (I don't know why, the scene in the book is much more dynamic and would have taken up about as much time on screen). Rickman, meanwhile, is using the information he's gotten on who Snape is from the books, and imbuing some of that feral Snape energy into his portrayal of a Snape who is genuinely angry:

(Thank you for making these gifs @smilingformoney , they are truly the gift that keeps on giving.)

The thing is, no matter how much of feral Snape Rickman brought to this, no matter how menacing his performance is, this moment still lives within the dynamics of a Chris Columbus children's film. It gets cut off by Dumbledore's entrance - meant to be a comeuppance for Snape, since Dumbledore (being the voice of wisdom and fairness in this world) prevents him from punishing Harry and Ron (you know what, at least in the books they got detention, but ok). Despite Rickman's performance, Columbus as a director has framed this scene in the same context as the one Kloves cut. The tension is brief, and the focus is on Snape being foiled, because it's what children want to see - a mean adult experiencing consequences. It's down to the editing and soundtrack, choices Columbus made in the editing room. In addition, we don't know how many different ways an actor tries a scene, only what ends up in the final cut of a film. The process of the work done on a set is often much richer and more diverse than what an audience sees in the finished film.

Tbh I think this is also why Snape's feral moments were cut from PoA: it's a darker film, but had to straddle the line between being for both children and tweens and not getting too playful, nor too intense. As much as I want to see feral Snape on screen, it's extremely difficult to make work in a narrative that is about Harry and his friends. It either skews too intense, making the audience uncomfortable because seeing an adult becoming unhinged and in pain is difficult and frightening for most young people, even adults, and would therefore take away from Harry's goals and narrative as well as his changing relationship to Sirius (all of which is already barely supported by Kloves' writing). Alternately, it could also skew too comical and over the top, which takes the audience out of the tension of the film's climactic moments.

If Snape's story had gotten more focus and screen time, an unhinged moment would be better justified because the audience would have been more invested in the character and their arc. PoA sidesteps pretty much all of the most compelling parts of the book, which is the realization that Harry is not only connected to Sirius personally, but that his dad, Sirius, Lupin, and Pettigrew created the Marauders Map, that they were animagi, that Harry's patronus takes the form of his father's stag, and that Snape was initimately connected to all of them as well. For me, reading the end of PoA was what cemented Snape as someone who would be crucial to the narrative and whose role would increase as the series went on. As a result of Kloves skimming over these essential plot twists, Snape is a minor character in the film, showing up mostly as a foil who tries to expose Lupin and then catches him and Black in the Shrieking Shack (this also sets his character up to be minimized in every film down the line, which has a worsening impact as Snape becomes increasingly integral to the plot).

One thing I find interesting is that Snape's comical physicality changes over the films. In PS and CoS he's menacing, a looming, larger than life figure the children fear and easily assume to be a full-fledged villain. By GoF there's a relationship embedded in how he interacts with Harry and his friends. He's no longer terrifying, just intimidating, more of an adult Harry challenges than someone he must defeat. The comedic effect now comes from a rapport within an established dynamic between characters. By HBP, the only comical moment is at Slughorn's party, and it's no longer Rickman who uses physicality - the action happens around him, and the comedic effect is in his lack of reaction to any of it. In other words, he's no longer the comic one, he's become the straight man in a (badly written) comedy sketch (with abysmal timing, what even).

Ultimately, as with most of the characters in the HP films, Snape is undermined by the writing. Rickman was stuck working within the confines he was given. No matter how well he may have understood the character, the limited screen time and character development were always going to stifle how Snape was portrayed on screen. I'm very much pro Let Snape Be Feral but I also don't fault Rickman in how little we saw of that.

How Feral is Snape?

If I'm honest, I feel like the Snapedom has taken the Let Snape Be Feral thing and has started forgetting that he wasn't all-feral-all-the-time. The point of Feral Snape is that it's a heightened state of tension in a character whose trauma is being triggered. Apoplectic Snape wouldn't have an impact at the end of PoA if that was his usual way of being. And, as you so brilliantly showed @said-snape-softly Snape's speech patterns are primarily quiet and controlled, his speech gets softer the more dangerous his mood, and it's only after he reassumes his role as a spy that the description of his speech becomes increasingly volatile (but is still controlled). Feral Snape's definitive aspect is the lack of control shown by a character who usually is so exceptionally capable of self restraint and compartmentalization. So again, while I would have loved to see Feral Snape on screen, I think it's also important to acknowledge that this is not the defining feature of his character and is more about what those moments mean to his arc. Their absence is primarily due to poor writing that didn't create space for them (including what leads up to them), and the direction that didn't carve out any kind of niche for them, not Rickman's choices as an actor.

In fact, Snape as a character is defined by descriptors of his voice more than any other character by far. I have my own theory about why this is, and it has to do with Alan Rickman being inextricably connected with how Snape is written. Chris Columbus said that Alan Rickman was always Snape as far as he was concerned, because when JK Rowling showed him a sketch of Snape she had made, it looked exactly like Rickman. I don't think this is accidental.

Alan Rickman was always intended to be Snape

First, what's important to remember is that before Harry Potter, Alan Rickman was best known in the 90s for playing both villains and sad romantic leads. His signature defining feature was his voice. I think it was Ang Lee who described the casting choice of Greg Wise and Alan Rickman in Sense and Sensibility as wanting Willoughby (Wise) to be dashing and Brandon (Rickman) to be sexy (if this was Emma Thompson and not Ang Lee, my apologies, I can't remember where I read this and can't find the source). This is how Rickman was perceived by audiences up until Harry Potter. And I know a lot of the Snapedom considers him to be sexy as Snape too, but the general audiences of the films don't, so please don't @ me, I'm just setting up a point here.

This is relevant because, as we find out in the end of the books, Rowling wrote Snape's motivations to be rooted in romantic love (I'm very nobly putting aside, for the sake of focusing on Rowling's intentions, my personal interpretation that Snape's feelings for Lily were platonic, please acknowledge how brave I am for this). She pulls a lot from gothic tropes into how he's written, and as much as she's talked about the character having been inspired by a chemistry teacher she disliked, and as much as she's talked about Snape being both morally grey and someone she personally dislikes, she also romanticized him. Between this and what Chris Columbus said about her sketch of him, it's hard for me to ignore that this character, conceived of in the 90s, wasn't written with Alan Rickman in mind from the beginning, especially since Rowling herself has said that she envisioned him in the role. Whether or not he lived up to Rowling's imagination is, frankly, his choice and Rowling's problem.

The story of how Harry Potter was written according to JK Rowling is that it started with the idea coming to her on a train ride in 1990. She completed the PS manuscript in 1995. While everything I'm about to say is absolute conjecture, I can't help but wonder at the connection between these films and the way Snape was written (spoilers ahead, no regrets, these films have been out for over a quarter of a century - forgive my reviews, I can't help myself):

1988: Die Hard comes out. Alan Rickman plays Hans Gruber, a villain who is a genius, composed, controlled, and soft-spoken. (Great film, a classic, the only valid Christmas movie.)

1990: Truly, Madly, Deeply. Rickman plays a man whose wife can't get over his tragic death, nor can his own ghost, who comes back to spend more time with her. No one else can see him, and they can't really share a life anymore. She eventually lets him go as she realizes that his spirit doesn't belong in the mortal world and her own life can't move on as long as she clings to it. (Beautiful film, will break your heart and put it through a shredder.)

1991: Robin Hood, Prince of Thieves. Rickman is the Sheriff of Nottingham, an unhinged, feral villain who wears all black complete with billowing cape. (Terrible film, disaster of a period piece, Rickman's performance is the only redeeming thing about it. Halfway through its press tour talk shows started booking Rickman instead of the lead, Kevin Costner, because Rickman stole every scene.)

1995: An Awfully Big Adventure. Rickman is an actor who comes back to his hometown to revive his role as Captain Hook in a local theatre production of Peter Pan. In the process he has an affair with a young ginger stagehand who reminds him of his lost love, a vivacious woman named Stella with bright red hair who, as far as he knows, birthed his child - a son - before she died. It turns out the girl he has an affair with is his daughter, which he realizes when he visits her home where she lives in the care of her aunt and uncle - whose name is Vernon - and connects the dots of who this girl's mother was. (He then rides his motorcycle out to the pier, screams "Stella" at the heavens like he's in a revival production of Streetcar Named Desire, trips and hits his head on the edge of the pier and falls into the water, drowning. I can't make this up. Mike Newell directed this. The same guy who directed GoF. As if following in the vein of the 90s movie obsession with incest as the controversial-trope-du-jour wasn't enough. I don't even need to review this, just sum it up.)

1995: Sense and Sensibility. Rickman plays Colonel Brandon, a forlorn, grieving man who lost his first love at a young age and spends most of the film pining for the only other woman he's ever had a romantic interest in. Wears all black, rides a black horse.

Given what a well-known actor Rickman was in the 90s - especially in England - and how connected his characters all seem to be to various aspects of Snape, it's hard not to see a connection. The entire premise of Truly, Madly, Deeply sounds like the inspiration for the Resurrection Stone in Deathly Hallows. The redheaded lost love whose child is left in the care of an Uncle Vernon in An Awfully Big Adventure is difficult to look past. All of these characters either exude menacingly soft-spoken Snape energy, feral Snape energy, or forlorn because of his lost love Snape energy. As a result, I feel like it's almost inevitable that Rickman inspired Snape, especially when you consider how known he was for his voice and how frequently Snape's voice is used to describe him. When Rowling said that she envisioned him in the role, it makes me wonder if she meant during the casting process for the first film, or well before it. I think his previous roles were a contributing factor in how the character was written in the books. After Tim Roth - who was originally cast in the role - had to back out due to scheduling conflicts, she got her way. Authors don't often get to choose who plays their characters, but in this case it worked out as the production thought Rickman was a good fit as well.

I'm done, I promise

So where does this leave things at the end of this horrendously long post? Rickman's choices of how he physicalized Snape - comedic or not - are only part of a larger whole. He was playing a character who was written based on his other roles, and limited by the shortcomings of how Steve Kloves translated that character from Rowling's books into his own screenplays. Whatever Rickman did on set was limited by that writing, by the directors he worked with, and by the choices made in the editing room.

I'm fascinated by the idea that Rickman was playing a character written with him in mind - but not really him, the him who embodied other characters whose echoes show up in Snape. It's difficult enough to contend with an actor playing a character in a screenplay you wrote with them in mind when you're directing your own script, because they'll never be what you imagined in your head. But for that process to get filtered through several directors, a team of producers, another writer who changes your work, and an editor, let alone throughout a decade of films - that's downright wild. The original intention gets lost and reinterpreted like a game of telephone, and I think that a lot of the consistencies between Movie!Snape and Book!Snape are down to Alan Rickman's nuanced and generous nature as an actor. If I'm honest, I'm not convinced that every Snape moment that comes off comical was meant to be so by Rickman. But again, film is such a collaborative medium that his intentions aren't the only ones that matter, ultimately, at least they aren't the only thing that ends up in the final cut.

My take, personally, is that I'm more interested in critical analysis than personal criticism. I respect that everyone has their own vision of a character and fandom is absolutely here for, among other things, having a place to share those thoughts and feelings. But a character is rarely going to appear on screen the same way you see them in your head, and that's not always going to be a fault, even if it's a disappointment to you. It's interesting to hear different people's perceptions, but there isn't that much to discuss there - you can't refute how someone feels, and you can't argue that their truth is what it is, to them. Whereas with critical analysis there's a lot more to talk about and examine, so it's where my own interest is much more invested.

#asks #long post #said-snape-softly #do I have regrets about the length? not one.#is anyone still reading? not one.

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not-wholly-unheroic · 1 year

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The Many Faces of Captain James Hook

With the release of the first promotional images of Jude Law’s Captain Hook for Disney’s upcoming Peter Pan and Wendy, there’s been a lot of complaints about both the costuming choices made and the fact that Law’s Hook bears little physical resemblance to the captain’s more “traditional” look and seems to be older than most versions with his graying locks. Some have even gone so far as to call Law’s Hook “ugly”—which I find rather unfair and even laughable. (If you find Jude Law in any role ugly, your male beauty standards are ridiculously high and I hate to think how hideous you must think most average people are.) Further, it’s a bit shallow to reduce a character completely to his physical attractiveness—especially a character as complex and complicated as Captain James Hook. Barrie’s Hook was described as being handsome, yes, but the popular vision of Hook as being an inherently “sexy” character is a fairly modern phenomenon in the story’s history—probably largely due to Jason Isaacs’ performance in the 2003 Peter Pan and, more recently, Colin O’Donoghue’s “Killian Jones” (who isn’t even technically James Hook) for Once Upon a Time. But the character has existed for close to 120 years, and in that time, he has borne many faces—some instantly recognizable as our favorite captain; others less so. He has worn a variety of colors and clothing styles, had nearly every shade of hair, and possessed varying degrees of facial hair. In fact, you may be surprised to find that the iconic waxed mustache, red coat, and ostrich plumed hat likely didn’t become mainstream until around the time Disney put out their version of the film. (That’s not to say other, previous Hooks didn’t ever have these characteristics. Only that Disney was probably the catalyst that solidified the look into the mind of the fandom.) For those who may not be as familiar with the history of the Hooks, let’s take a quick look at some of the lesser known versions of the character…some of whose influences can still be seen in Law’s Hook.

Here we see the costume design for Captain Hook by William Nicholson for the first production of Peter Pan, Duke of York's Theatre, 1904. You’ll notice the concept art doesn’t feature the bright red coat or any pluming on the tricorn hat.

You can see how this costume idea might have translated onto an actor in this image of one of the earliest actors to play Hook on stage, Robb Harwood.

Notice, he has no facial hair at all and although he looks like a gentleman, he’s far less “frilly” than the standard Hook is today.

The iconic mustache is also conspicuously absent in the silent film’s Hook, played by actor Ernest Torrence. He also still has the tricorn hat without any plumage. Note that Barrie was still alive at the time of the silent film when it came out in 1924, and some of his suggestions made it into the film.

Another early Hook, played by famed horror actor Boris Karloff for the 1950 Bernstein musical looks downright terrifying.

He has the mustache and the hair going on but I don’t know if I’d call him exactly “handsome” here.

Then we get to the 1960s. This seems to be about the time that we get the bicorn hat that Law’s Hook wears in the promotional photo. It shows up both in some scenes with Cyril Ritchard’s version of the character (notably, Ritchard was in his 60s when the film version was recorded, and his Hook has gray hair)—though he also has the red plumed hat we associate with most modern Hooks—and in Vincent Price’s stage Hook (sadly, not recorded to my knowledge).

Of course, we also get Disney’s version of Hook in 1953, and after that, we start to see more of the “iconic” Hook look that we’re used to with a few exceptions, such as Fox’s Hook from the 1990 series Peter Pan and the Pirates, who has white hair, no facial hair, and a dark navy blue/black outfit.

Despite looking more like an angry Quaker Oatmeal man than the usual Captain Hook, this guy gets a lot of love from the fandom because Tim Curry’s voice acting knocks it out of the park and personality wise, his Hook is both refined and threatening.

We also have to remember that even Hoffman’s 1991 version of the captain is likely much older than (and not quite as good looking as) he comes off as when he’s fully made up. Recall the scene near the end when he loses his wig:

And Rhys Ifans’ “prequel” Hook in SyFy’s Neverland (2011) hardly looks like a Hook at all when we first meet him.

Even after his transformation into the pirate we’re more familiar with, he still has the “wrong” hair color and no mustache.

Yet he manages to get the right “feel” for Hook, which makes up for everything else, epitomizing the messed up father figure in Peter’s life, inspiring both our sympathy and revulsion.

My point in saying all of this is not to explicitly praise Law’s Hook or make any kind of judgement—for that, we’ll have to see the film itself—but to simply remind folks that Hook has worn many faces over the years, and ultimately, what he looks like matters less than the actor and director’s grasp of who he is as a person. Hook, as a fan favorite, has some incredibly large boots to fill and whether or not Law will live up to those expectations remains to be seen. But let’s give the guy (and his character) a chance to speak for himself before we go judging too much. Some of the greatest Hooks haven’t always looked like what we’d expect him to.

#Captain Hook #jude law #disney live action peter pan #cyril ritchard #boris karloff #Peter pan #vincent price #Robb harwood #ernest torrence #rhys ifans #tim curry #peter pan and wendy #jm barrie #Dustin Hoffman

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redheadspark · 10 months

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17. Renting out a cottage together by a small town, and taking new identities for the summer. hmm, It would be interesting to see reader & Barry do this :P

A/N - I love this. This will be nice and short. Thanks for requesting this, Stella.

Summary - Official

Warnings - Just fluff.

“I didn’t think that was going to work!”

“Aye, well you don’t me well enough, don’t ya?”

“Not really since you were giggling like a school boy when you gave them your name….or your apparent stage name,”

Your boyfriend, actor Barry Keoghan, gave you a roll of the eyes as you two were unpacking your little car with your suitcases and a bag filled with snacks and groceries. The soft sounds of the highway were behind the pair of you since the small little road that lead to your rental.

A small quaint cottage that was out in the countryside, built from stone with a lavender garden in the back and a great view of the rolling hills to the left that had a herd of sheep already grazing the field. Barry found the rental, thinking it would be a great idea for you two to have the summer to spend together. He had no upcoming projects until the fall, and your job was going slow enough for some of the employees to take time off. You were saving up your time off and taking some vacation days, so now you had the entire summer to look forward to.

Barry whisked you away a few days after booking the cottage, you having no idea what was going on or how long you two were going to be gone. But it was a thrill to pack your bag, knowing full well that Barry knew how to plan real well when it came to you. Although he was rising up as an actor and was getting some recognition wherever you two went as a couple, he didn’t want to have anyone to know that he was renting a small cottage with his girlfriend for the summer. You two really had some run ins with the papparazii in the past, so the last thing he wanted was cameras pointing at the two of your trying to relax and enjoy the summer.

Of course Barry was ballsy to begin with, more of the daredevil than you ever were. But using a fake name? That was new.

It worked in his favor though, the sweet old lady who owned the cottage had no idea who he was or that he was an actor. She made you two a plateful of cookies, which was perched on the countertop as soon as Barry opened the door into the small cottage. It had no much character to it, from the wooden stairs and old rugs to the pictures that were tainted in history and age and the wooden burning fireplace. You thought of it as charming, thinking of the plenty of viistiors that came and stayed in those walls that had happy holidays.

“Good choice, Barry,” You hummed as Barry placed the suitcases on the bottom step of the stairs.

“You had little faith in me,” Barry countered back at you, you trying to smack his arm but he dodged it and laughed, “I thought you would like a place like this. The photos don’t do justice,”

“I can’t believe you said your name was Reggie Fairchild,” You joked with him as he was unloading the snacks into the pantry, “That’s such an actor name,”

“Which means they won’t suspect me being…..me,” Barry said, placing the last of the snacks in the pantry and then looking around the room, “So, what should we do first?”

You were looking around the living room when he asked you, seeing the loveseat couch next to the fireplace and the two massive windows that were showing the rolling green hills. You never heard such quietness in some time, even back at your apartment or in your work cubicle. This kind of quiet would seem daunting to others, but not with you. It filled you up and wrapped around your bones, already making you ready for a peaceful summer with Barry.

Although he was used to living the life of an actor, going to parties and premiers to be seen and be hired, he was more of a homebody. Apart from boxing, Barry had no real need to being out and about public most of the time, he would rather be at home with you. You were thinking that he was simply wanting to top out from being at a party or at a sponsor event, but hr truly told you he love being at home.

Later on he confessed he would rather just be with you.

You were no fan of bring in the spotlight, he knew that when you two first got together. You thought that would be a deal breaker with him, but he still stayed. You never cared for going to premiers on his arm or to parties as his plus one, but you did to the more important ones that you knew would help his career in the end. But the rest of the parties, you stayed behind and let him have fun. He was a goos boyfriend to you, you never once loosing your trust in him or having doubts about him being faithful.

When it came to going on holiday, he would let you pick. Of course he had the means of gong anywhere in the world, connections left and right being able to take him to distant lands and paradise if he wanted. But he would let you decide since, giving you a bit too much pressure. This cottage was merely an idea you had months before when you two were snuggling in bed, thinking of the next holiday you both wanted to take together.

“Let’s go to a cottage together,” You said to him as you were about to drift asleep, “A little cottage, with on one else around.”

He remembered, and now you were about to have the best summer ever.

“I know precisely what I want to do,” You said to him, seeing him walk over to you from his spot in the kitchen. Taking his hand in yours, you both walked to the main bedroom on the first floor, the bedroom you two would use during your time there. The quilt on the bed was already turned down, massive goose feathered pillows were fluffed and ready at the head of the bed, and the two little windows were already perched open to let in the breeze. It was such a simple looking room, but you grinned widely as you looked from the bed to Barry.

“Of first official nap on holiday,” You said to him, seeing him break into a massive smile.

“Good thinkin’, darlin’.” He said in agreement.

So you both stripped off your sweatshirts, down to your loose pants and shirts. Slipping under the quilt with your head on his chest, his arms around your shoulders with his fingers running up and down your spine , you both were closing your eyes. Letting your summer together finally sink in and begin. You had no idea what you were going to have for dinner that night, nor for breakfast the follow morning. You had no idea what you two were going to go to pass the time.

In fact, there were no real plans for your entire summer, but that was what you loved.

The End

#barry keoghan fanfic #barry keoghan #barry keoghan writing #barry keoghan x f!reader #barry keoghan x female reader #barry keoghan x reader #barry keoghan x reader smut #barry keoghan x you #fanfiction #writing #my love

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innuendostudios · 1 year

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youtube

A new video essay has appeared. The second Protagony, this time looking at Abed Nadir and the weird way modern audiences treat the fourth wall.

If you like this video and would like to see more Protagony, Alt-Right Playbook, and what else have you in the future, consider backing me on Patreon!

Transcript below the cut:

The doors open. The line starts to move. The usher takes your ticket and points in the direction of your seat. Preshow music plays over the soundsystem as you side-shuffle past the knees of the folks in your row. You stick your bag and your jacket under the seat and sit down. You leaf through the playbill, futz around on your phone, until music starts to fade. The lights in the auditorium dim and the lights come up on the stage. The show is beginning.

This is one of those plays set in a single location: three walls on the stage represent the interior of a French bistro. French bistros typically have at least four walls, and that’s where you come in: the lip of the stage - what theatre nerds call “the proscenium” - is where the fourth wall would be, and it’s your job to pretend it’s there. Or - let me rephrase that: it’s your job to ignore that it’s not. That is the bargain you make when the lights go down.

To the characters onstage, everything inside those walls is real, and nothing on the other side of that fourth wall exists. The ambient noise, the guy two rows down and four seats over who’s clearly playing Words with Friends, even you yourself, you are - and this is a nerd word again - “non-diegetic.” You’re here, but you exist outside the story.

That is, until…

[Picasso at the Lapin Agile]

EINSTEIN: My name is Albert Einstein

FREDDIE: You can’t be, you just can’t be!

EINSTEIN: Sorry, I’m not myself today. (fluffs up his hair so he looks like Einstein.) Better?

FREDDIE: No no, that’s - (pause for laughter.) No no, that’s not what I mean. In order of appearance.

EINSTEIN: Come again?

FREDDIE: In order of appearance. You’re not third. (aside, to audience member) Excuse me, ma’am, can I borrow your program? (to Einstein) You’re fourth. It says so right here: Cast in order of appearance. I knew you were fourth. I knew it when you walked in.

[/Picasso at the Lapin Agile]

This is what we call “breaking the fourth wall,” and Steve Martin’s Picasso at the Lapin Agile is a great show for demonstrating it because the character Freddy literally reaches his hand through the wall and into the audience. Like many fourth wall breaks, this is played for laughs, because it’s a kind of narrative transgression; you’re not supposed to do that. When the diegetic intrudes upon the non-, the audience is reminded of all the things they were ignoring: that this is not a French bistro in 1904, but a bunch of plywood flats and actors in pancake makeup and period dress. The disbelief that was suspended is brought back to school, as it were.

But what I want to highlight is how durable the fourth wall is. For starters, in order for this joke to work, the audience has to be already suspending its disbelief; the boundary must be drawn before it can be broken. And, shortly after this gag, Einstein exits, Germaine enters [“Sorry I’m late”], Freddy makes a little wink to the audience [“You’re not late, you’re fourth”], and the scene continues as if nothing had happened. The audience wraps itself back up in the story, and the fourth wall is rebuilt, so that, when it’s broken later in the show [“When will you be there?” “When the play is over.”] it’s funny again! If the wall had stayed down, that joke wouldn’t work.

Why do we build the wall? So we can have a wall to break.

Often enough, these acknowledgements - in theatre but also film, novels, video games - any time a narrative reminds you of its own artifice, it is contained such that it does not disrupt the narrative too much. It operates like the soliloquies in Shakespeare or the songs in musicals. When Deadpool speaks to the audience, everyone around him goes deaf.

But what I got curious about, when I first read Francesco Casetti’s Inside the Gaze - or rather I read the glossary because it’s very dense Italian film theory and I was nineteen - was, what if you didn’t make that bargain when the lights went down? What if breaking the fourth wall wasn’t a disruption of the narrative, because the story is built such that the artifice is part of the narrative? Can you break the fourth wall… diegetically?

Now, that was a punchy idea as a teenager. As a man in his late thirties, I am aware this idea has been approached many times in many ways throughout the history of storytelling [Brecht: “Am I a joke to you?”]. We’re currently living in a golden age of metanarrative where most major properties have folded the audience’s relationship to that property into the text. But I wanna talk about my favorite example: Abed Nadir.

Now, my feelings about the show Community are… mixed, but I love me some Abed. [“pretty adorable”] Abed is a pop culture-damaged perpetual college student raised by his television, who loves TV to the point where it’s his primary metaphor for looking at the world. In other words, he’s an American millennial. His tendency to filter his life through sitcom tropes is lent a certain pointedness by being a character on a tropey sitcom. Por exemplo, when Annie asks him for help [“Phoebe and Chandler” clip], or when the new school year coincides with the conclusion of the previous season’s arcs [“self-contained capers” clip], or when it looks like he’s going to spend the day locked in study hall [“starting to feel like a bottle episode” clip]. In these moments, Abed Nadir is not breaking the fourth wall. He may not fully understand that real life doesn’t have bottle episodes, but this is real life to him. He’s not seeing the cameras pointing at him, he’s not disrupting the narrative by winking at a sitcom audience.

But there is a sitcom audience - we are the sitcom audience - and the writers did just use Abed to wink at us. “Cooperative Calligraphy” is a bottle episode. Abed is speaking diegetically to his friends, who read his comments as the pop culture references they are, but they double as things a person who was breaking the fourth wall might say. [“This is totally meta” clip] The rules of narrative are not transgressed, and, yet, we are, all the same, constantly reminded that we’re watching a work of fiction.

This kind of interreference, in which a sitcom points constantly at itself, at other sitcoms, and at “The Sitcom” as a medium, can come across kind of masturbatory. David Foster Wallace argued that the pop culture reference in mass media serves three functions: “(1) to help create a mood of irony and irreverence, (2) to make us uneasy and so ‘comment’ on the vapidity of U.S. culture, and (3) most important, these days, to be just plain realistic.” I would say (2) is far less prevalent now than when he was writing.

The reality is this: how you gonna write a twentysomething millennial in 2009 who doesn’t talk a lot about what’s on television? This is a conundrum many writers face. There is still the High culture urge to make art that is timeless, that avoids what Foster Wallace referred to as “the frivolous Now,” and the Low culture necessity of not looking dated eight months after you air. This can be approached many ways: you can avoid reference and just take the verisimilitudinous hit; you can create fictional, in-universe pop culture for your characters to reference; you can reference pop culture that is old enough to be considered timeless, functionally setting your story in a different “frivolous Now,” e.g. the way Sex Education and Life is Strange are both canonically set in the present but are aesthetically set in the late seventies and early nineties, respectively; or you can embrace chaos and just reference contemporary culture.

But, once you’re a show on TV with characters referencing other shows currently airing on TV, things might get a little meta, especially shows that lean into it the way Community does. So what does this do to the fourth wall? That supposedly sanctified construct, the violation of which is most often either a failure or an act of deliberate anarchy? How are we to suspend disbelief for stories that don’t even pretend not to be fake, and whose primary pleasure is in acknowledging the fakery?

Abed is, to me, a distillation of the modern audience’s more intricate relationship to the fourth wall. Art imitates life, and when much of life is spent discussing popular art, popular art begins to discuss itself. And art that discusses itself requires a more liminal relationship to the fourth wall. These days we don’t choose to either see it or ignore it, but pay both kinds of attention at once, letting the fourth wall, as needed, fade in and out of visibility, like glass when it catches the light, or seeing your face in the monitor when it fades to black. This was maybe inevitable in a media-saturated environment where the lines between audience, participant, and creator continue to blur, where we watch even straightforward media with an eye towards how it’s made, because we imagine making something like it ourselves one day, or because any viewing experience is potential #content. In a world where it is rarer and rarer to experience art in a darkened theatre that shuts out the world, but where it’s watched on phones during bus rides, in the background while cooking, in an open tab while writing emails. We keep fiction and reality running in tandem, shifting between them with little more than a saccade. The real world isn’t forgotten but edged out of the foreground during a cigarette break.

What tickles me is that Brecht violated suspension of disbelief to create distance between the fiction and its audience. But postmodern reflexivity just makes Abed relatable. He watches TV the same way we watch Community. You can imagine him watching his own show and responding much the way I am now: OK, so you want me to mentally construct a fourth wall that the performers will pretend is there, but the writers will constantly - and entertainingly - bring to my attention its nonexistence, such that I need to suspend my disbelief while thinking about the fact that I am suspending it, which should be mutually-exclusive modes of thought, but, to even understand what I’m watching, I’ll need to do both at once?

Cool.

Cool cool cool.

#Youtube

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