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din-jarhead · 2 months

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soft side | joel miller x f!reader

Valentine’s Masterlist | Main masterlist | Palestine

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Rating: 18+ MDNI

Word count: ~2.5k

Summary: You and Joel enjoy a quiet Valentine’s Day.

Warnings: no outbreak AU, pwp, established relationship, fluff, oral (f!receiving), fingering, squirting, cum eating, unprotected PIV (wrap it up y’all), creampie, praise kink, pet names (baby, darlin’, good girl), after care, reader has no description, no mention of hair type/body type/skin color, NO USE OF Y/N.

A/N: i haven’t written Joel in ages, so i’m a little nervous i can’t lie. i do have a dbf fic in the works for him, but he’s very intimidating since he’s so well-loved. i hope i did him justice 😭 anyway, i hope y’all enjoy! thank you for reading! as always, not beta’d - all mistakes are my own. 🏃‍♀️

Divider by @saradika-graphics

His truck is parked in the driveway. He’s home before you, something out of the ordinary with work being so busy all the time. You park your sedan beside his pickup and gather your belongings before heading to the front door. It’s oddly quiet as you shuck off your boots and toss your keys on its respective hook, save for the record player going in the living room.

Warmth glows throughout the house, painting the walls in a sepia hue.

Sauntering into the dining room, you spot a vase of tulips sitting atop the dining table. A card sits beside it, his chicken scratch scribbled inside.

“Happy Valentine’s Day, baby. Thank you for loving me and the girls the way you do. Don’t know what I did to deserve you. I love you.

-Love, J”

Your heart flutters at Joel’s sweet message, knowing he isn’t typically one for declarations. Rustling comes from the garage door, Joel trudging in with a bottle of that sweet wine you like.

“Hey, cowboy,” you mutter, grinning ear-to-ear. His head snaps up, a goofy grin crinkling his features.

“Hey, baby. Didn’t even hear ya come in. How long you been home?”

“Just got in.”

You waltz towards him as he sets the wine down on the table. His arms wrapping around you.

It’s instinctual.

Slotting your arms around his neck, you meet him halfway into a soft kiss. Melting into him, mindlessly carding your fingers through his hair as you kiss him sweetly, slowly – something you haven’t had a chance to do very often lately. Savoring every bit of him he has to offer.

“Hmm. It’s quiet. What’d you do to our girls, Miller?” You ask against his lips, Joel chuckling into you.

“At the movies with Tommy. Slipped him somethin’ so we could have the house to ourselves tonight. Should be back ‘round 9. ‘S a school night, but just wanted some time with my valentine,” Joel mumbles, his chocolate irises meeting your gaze.

Smirking, you hum in approval.

“Smart man,” you murmur before crashing your lips against his.

“Mhmm,” Joel agrees as he grins into the kiss. Both of you chuckling at his conniving plan.

“Missed you, cowboy. I feel like we haven’t had a moment alone in a while,” you utter as he places tender kisses on the column of your throat.

“Mmm. Missed you too, baby. Feel like I haven’t seen ya in ages,” he says into your skin, the two of you mindlessly swaying to the record playing in the living room. Unable to contain your laughter, Joel snaps his head up - his signature scowl returning.

“What’s so funny, darlin’?” He asks, a smirk playing on his lips.

“Nothing. You’re just… you're so… I like when you’re soft,” you timidly murmur in between giggles. His brows scrunch further, smirk pulled into a thin line.

“Soft? The hell you talkin’ about, darlin’?” Joel asks in genuine confusion.

“It’s not a bad thing, Joel. You’re just… real soft when it comes to me and the girls. It’s sweet,” you explain. He grunts.

Typical Joel.

“Well you three are the only people I care about,” he mumbles, his kisses resuming, nibbling on your neck. He draws out a breathy chuckle from you as your resolve slowly starts to crumble.

“Come on, Joel. I gotta make dinner,” you whisper, no conviction in your voice.

“Mmmm. ‘S alright. Already ordered us somethin’. ‘Sides - rather have dessert right now,” he rasps against your lips before smashing them together again. The kiss grows sloppy, heady, full of tongue and teeth. You moan into his mouth, feeling drunk just off his touch. He cups the back of your head while squeezing your waist with his other hand, leading you out of the kitchen.

“Lemme have my dessert first, baby,” he mutters before dragging you up the stairs. Drunk giggles bubble from your lips as he leads you to your shared room. Flinging the door open, Joel tosses you on the bed, diving into your neck as he litters kisses along your throat.

He nips at the spot beneath your ear, earning him a breathy moan. Soothing his bite marks with his tongue, he fumbles with the hem of your blouse. He tosses it over your head as you fiddle with the buttons on his flannel.

His rough hands undo the clasp of your bra, a moan breaching his chest as your breasts spill out of the cups. You slide off his flannel, revealing his taut chest and soft tummy, your mouth waters at the sight of him. Rugged and soft around the edges, you frantically undo his belt. A smug laugh rumbles from his chest.

“Eager now, ain’t ya, baby?” He teases, shucking off his jeans. He visibly twitches in his boxers, a damp spot of precum already leaking through. You palm him through the fabric, Joel groaning at your warm touch. Sitting up on your knees, you snake your hands up his torso and wrap them around his neck, slamming your lips together in another heated kiss.

“Want you in my mouth,” you rasp hungrily.

“Later, baby. Need to be inside you. Gotta get you ready for me first,” he grunts as he throws you back on the bed. In one swift move, he slides your trousers down your legs and discards them on the floor. He groans at the sight beholding him. Your lacey pink thong with a visible wet patch on them. He wildly yanks it off, nearly ripping the lace.

His lips ghost over your bare sex as he settles in between your legs. He peppers kisses along your thighs, his beard scratching against your skin.

“Joel,” you pant, plead. Your desire grows with every kiss to your thighs. He hums, the vibrations sending another wave of arousal to stick to your panties. His callused hands rest atop your tummy, settling your squirming.

“Joel, please,” your voice barely above a whisper. He laces his fingers with yours before diving in. Drowning in you, he moans at the taste of you. Savoring your tang on his tongue as he licks languid stripes up your glistening folds. Your wanton moans making his cock twitch, boxers growing messier with precum.

“Always taste so fuckin’ good, darlin’. So fuckin’ sweet,” he rasps before suckling your clit between his lips. You keen above him, arching your back into the mattress as your eyes roll to the back of your head.

“So fucking good, Joel. Feels so fucking good, oh my god.”

Mouth still wrapped around your precious pearl, he prods a thick finger at your entrance. Your eyes fly open, gasping at the intrusion. His thick, long fingers hardened by a long day at work always hit that spot in a way you never could. He groans as he watches you suck him in, gliding in with ease.

“Joel, oh fuck, Joel. More, please,” you beg, breathless as he brings you closer to your release. He slides in another finger, moaning into you as he watches them glisten every time he pulls them out, squelching around him with every pump. Crooking his fingers deeper, your moans grow pitchier with every stroke as he brushes your g-spot.

He releases your clit from his lips, licking hurried stripes through your folds, slurping up the juices that have pooled at his wrist.

“C'mon, baby. Can feel you squeezin’ my fuckin’ fingers. Fuck, can fuckin’ hear ya. Let go for me, darlin’. Come on my fingers, baby, let me have it,” he growls before flicking at your clit relentlessly. Your tummy clenches tightly, pressure bubbling over as you gush all over Joel’s mouth and fingers.

He groans as he skyrockets you into orbit. Floating around the sun, your vision burns hot and bright, body covered in a thin sheen of sweat. Joel hungrily, wildly drinks every drop before licking back up to your clit.

A puddle of your release gathers beneath you, it coats Joel’s wrist as it sticks to your thighs. Whimpering as you return to Joel, he releases your clit from his mouth and greedily licks up your slick from your thighs. Roaming up your body to meet your gaze, he brings two of his fingers to your mouth.

“Open for me, baby,” he snarls. You mindlessly obey, sucking in his slick-soaked fingers with heavy eyes. Moaning around him, savoring the taste of yourself.

Joel lets out a wrecked moan, his mouth gaping as you suck his fingers clean. Hastily removing them from your mouth, he hurriedly slips out of his boxers and kicks them off to the side. You catch glimpse of him through heavy lids, whining as he pumps himself, precum smeared along his throbbing length through gritted teeth.

You flinch when he lines himself up with your weeping cunt, clit throbbing as your breathing becomes even more ragged. Whimpers and moans reverberate off the walls as he slides home. Fluttering around him as he splits you open, tears prick your eyes. The sting heightens your pleasure. His cock kissing your cervix as you adjust to the size of him.

“Fuck, baby. Always so fuckin’ tight,” he grits, holding his orgasm at bay.

“Y-you’re so fucking big, Joel, holy shit,” you whine, gasping with every word.

His size is something you’ll never get used to.

He sloppily slots his lips against yours, the taste of you melding into the kiss. Threading your fingers through his salt and pepper curls, he groans into your mouth as you tug on them. His weight making the pressure in your tummy rise.

“Joel,” you whisper against his lips. He hums, capturing them in his again before you can speak. He smirks as you let out a hmph.

“Move. Please.”

Joel hisses as he slides out of you almost completely, before ramming back into you. Your back arches into his chest, his rough, large hands slitehering to cup the sides of your waist. Pinning you beneath him as he snaps his hips into yours. Nudging at that spongy spot with every thrust.

He’s incredibly deep, fucking an endless stream of whines and moans out of you. Gripping his broad shoulders for purchase, your nails drag down his back. You can feel him twitch inside you, his hips stuttering at the dull sting of your scratches.

“Pussy’s so fuckin’ good, baby. Best fuckin’ pussy I’ve ever had in my life. Good fuckin’ girl, takin’ all of me, squeezin’ me so fuckin’ tight. You my good girl, baby? Huh?” Joel babbles, drunk off your pussy.

Your eyes struggle to stay open, every thrust sending you closer to the edge.

“Y-yes, Joel. Your good, fuck, your good girl,” you wail.

“‘S right. You’re mine. All fuckin’ mine, baby. So good for me. Wanna feel you soak my cock, baby. Come on my cock, baby. Need to feel you."

With no preamble, he brings his thumb to your clit.

“Joel!”

One stroke to your clit catapults you to your orgasm. Stars bursting behind your eyes, dizzy as he fucks into you harder and harder. You feel his cock twitching as he nears his own release.

“Gonna let me fill you up, baby? Gonna take all my cum like a good girl?”

“Yes, Joel! Fill me up! Please! W-wanna feel you dripping from me, please, Joel!” You scream as you ride out your high, tears streaming down your face.

“Fuck!” Joel barks, hips stuttering as he cums hard. Coating your fluttering walls with his cum, his guttural, drawn-out groan echoing in the room. The two of you ride out your highs together, babbling nothing but Joel Joel Joel as the sheets crinkle in your deathgrip.

He collapses on top of you, his weight pushing you further into the mattress. He can feel his cum seeping out of your throbbing cunt, but he can’t bring himself to pull out.

Not yet.

He catches your lips in a searing kiss, a silent check-in, bringing you back to him as you whine and writhe.

“I got ya, baby. I got ya. So good. Did so good for me,” Joel rasps, voice hoarse and mouth dry.

He slips out of you slowly, reluctantly leaving your warm, wet walls. Your cunt achy and puffy as it gleams in the setting sun that glows through the window. Both of you covered in sweat and sticky with cum.

Laundry definitely needs to get done tonight.

Before he rises from the bed, Joel revels in the sight before him. You swollen, shiny hole weeping with his cum. Diving in, he licks up your folds. A wail bursting deep within your chest as he cleans you up with his skillful tongue.

“J-Joel. Too much, baby. Too much,” you gasp, your clit stinging from the overstimulation. He pulls away, but not before he can stuff two fingers inside your pussy.

“Gotta keep you full of me. Want you to feel me drippin’ outta you tomorrow."

Moaning at the fullness, at his words, you helplessly keen as he shoves his cum back inside you.

“Good girl,” he rasps before slipping his digits out of you, he places a soft lingering kiss to your thigh. Sliding out of bed, he pads into the bathroom. The water runs as you lay sprawled out on the bed, legs like jelly and head spinning.

Returning with a warm washcloth, Joel carefully swipes between your thighs, gently cleaning up the mess you two made. You hum, the warm water soothing your aching legs and cunt.

He tosses the cloth in the laundry basket. Scooping you into his arms, you nuzzle into his chest. Basking in the warmth of his tender embrace. Smiling at the feel of his lips on your head.

“Love you, darlin’.”

Humming against his chest, you bring your eyes to meet his.

“I love you too, Joel. Best Valentine’s Day ever,” you giggle, Joel laughing along with you.

The doorbell rings, Joel sighing at the interruption.

“‘S the delivery guy. Let me go pay him, baby,” he rasps into your hairline, a bratty whine bubbling from your chest.

“I’ll be right back, darlin’, I promise,” he says as he slips from your grasp. Playfully smacking your lips, Joel rolls his eyes, smiling at your antics.

While Joel handles the delivery guy, you get up and strip the bed. Tossing the sheets into the laundry basket, you head into the hall to grab a fresh set. Making the bed with the new sheets, you sigh as you plop yourself on the mattress, snuggling under the blankets.

Joel clambers up the stairs and back into the room, pizza box in hand along with two glasses in one hand, the bottle of wine carefully resting atop of the box.

He sets it down on the dresser, pouring you each a healthy glass. He hands you a slice of pizza along with your wine, graciously thanking him with a smile on your face.

The two of you share the pizza on the bed, sidled beside each other as you debrief your days. As Joel goes for another slice, he stops in his tracks.

“Why’d you strip the bed?”

“Huh?” You ask through a mouthful of pizza.

“Why’d you strip the bed?”

“Oh. Well… it was messy. I thought I’d clean up,” you explain through your muffled mouth.

“And who said I was done with ya, darlin’?”

tag list: @nostalxgic @honeyedmiller @gracieheartspedro @undrthelights @harriedandharassed @pedrostories @morallyinept

#reblog bc of the yummy smut and also bc free Palestine

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din-jarhead · 3 months

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good things about ep. 7:

this episode was by far the best at working with film as a medium. there were still issues, to be mentioned soon, but this ep did a lot of things that impressed me on a level of cinematic structure and format:

some actual tension!! simply showing the trio running from cerberus created investment and stakes for me in a way no monster fight or other obstacle had before (a matter definitely enhanced by the music)

the use of flashbacks!! now, i have some issues with the content of those flashbacks, but since im basically getting two degrees in assessing media i know how to give credit where credit is due lmao. these flashbacks were doing interesting things cinematically, creating parallels with percy's experiences in the present, especially that last flashback where they continued poseidon's voiceover into the present moment. fuck yes!! use the medium of cinema to your ADVANTAGE!!

related to the use of flashbacks, the match cuts!! they were so good, as they helped make visual those narrative and characterological parallels being constructed through the flashbacks. film is an inherently visual and auditory medium, and it was so refreshing to see the show experimenting and making effective choices with those tools

some issues with ep. 7 and the series as a whole:

i'll admit it. im tired of the trio already knowing everything about every obstacle they face (having to improvise in the fight with cerberus was so refreshing and retained more of the spirit of the book as opposed to uh. every other obstacle). and i think this connects with show's overall struggle with writing, adaptation, and the medium of film. these writers have committed the cardinal sin of assuming their audience always needs explanation. in any writing class (fiction and screenwriting are my personal expertise), you are told to assume your audience is smarter than you think, bc a writer's instinct is to assume they need to be clear about action and themes out of a fear of confusing their audience and the end result of that situation is a boring, overly explanatory piece of work. (an re the young viewers, kids are freaking smart!! i literally teach kids of the age range these books are directed for and they are so quick-witted. kids don't need stuff handed to them on a platter, they know how to put puzzle pieces together.)

example of the aforementioned "too much knowledge" issue: the pearls. (people have already explained the issues with medusa, the casino, procrustes, etc., so im going for a new one that's been bugging me a bit.) after percy received four pearls, the general conclusion people came to was that one pearl would break, forcing them to have to choose three people to go/one to stay and thus making the choice more "meaningful" (i.e. bc the opportunity to save everyone had been stripped). it's a fair choice, a fair reason, a fair analysis, and this is a change that bothers me but much more minimally than other changes to the show. here's the deal: the reason they had to give four pearls in the show was bc the trio already knew exactly what the pearls would do. there was no reason to give only three pearls bc that would force a character (probably percy) to raise the question of like "hey, that's not enough to save four people!" so where am i going with this?

in the books and the musical, we get the alluring line of what belongs to the sea can always return to the sea. percy gets three pearls in the book and a seashell in the musical, where he doesn't know right away the specifics of what this gift does (the seashell is an excellent example of adapting a story to a new medium, as a low-budget theatrical production can't afford the effects of smashing three pearls and causing people to vanish from the stage, so blowing the seashell to open a portal was a great move that worked for the new medium and retained the spirit of the source material - percy having an epiphany well after receiving the gift about what, exactly, the gift did and how it would help him). in the show, they issue is that they already know, thus creating the dilemma of there being no reason not to give four pearls. again, not the worst choice the show has made, but it's another example of how the show's most pervasive issue is over-explaining and giving too much information to its characters.

in short: the pjo show doesn't understand "show don't tell." they love telling even though "showing" is Most Important in film as a medium, like it's even more important to show what's going on in film than it is in prose because cinema is an inherently collaborative medium that generates a visually-dominated product. the show clearly lacks a fundamental understanding of the medium it is working with!! and that is bad!!

another issue: the lighting. this show suffers from the current trend in film to make dark scenes impossible to see in.

more characterological problems: the gods are not imposing. just to speak of ep. 7 alone, why was hades so... banter-y? in the book he literally makes percy's hand "move... against [his] will" to show him the pearls. there was none of that power and domineering energy in the show!! the pjo show keeps hammering us over the head with what should be a series-long revelation about the gods' flaws and pettiness and spite and misuse of their incredible power, and yet all of the gods seem almost like... caricatures. where is their ability to be charismatic and threatening. to be lax and powerful. to remind us that they can, have, and will kill demigods.

core thematic issue: the show lacks the humor and fun and adolescent spirit of the books. i've seen a lot of people insist the show is directed for young readers of the book, which i don't disagree with, but the lack of humor and energy and vitality is undoubtedly turning off a lot of younger viewers. in a lot of instances, everything feels so gritty and angsty, lowkey like the winx adaptation (but on a less severe scale). we have moments of sass/sarcasm, moments of levity, but it doesn't feel like a core trait of the show (much less of percy) like it does in the book. and honestly, i think that's a loss! if rick wanted a grim pjo adaptation, fine, but i wish the show hadn't been advertised as something perfectly attuned to the spirit of the book bc it's just not. if it was, i'd be laughing a lot more.

now, let's talk about sally...

i don't love how they've characterized sally in this show. i respect that they wanted to "modernize" her character and more accurately demonstrate the struggles of a single parent raising a child with learning (and in percy's case, also magical) difficulties. i genuinely do respect that choice, and i can follow the thorough-lines created in the show that illustrate this revamping of her character. similarly, i can respect that they didn't want sally to seem like a stereotypical "passive" victim of abuse re gabe, hence her explicitly pushing back at him. that said...

i still don't think these are effective or necessary changes, because i don't think sally was portrayed as overly passive or as a perfectly equipped parent in the book. i understand the argument that gabe is still presented as abusive, i.e. that he checks her phone without permission and controls access to the car, but those moments feel so technical. when i rewatch those scenes and examine the acting (both line delivery and bodily cues), sally is outwardly derisive toward gabe ("who's yancy?" / sally sighs and shakes her head, exasperated, has the long blink to give an extra beat before responding: "the school."), yet at the same time there's a banter between them, where sally insists that she's going to go to montauk no matter what, and if gabe disagrees then she won't bring back both their sandwiches for the knicks game that they apparently watch together often (implied by "you know i hate watching the knicks alone!" "so do i!"). sally holds herself confidently in this scene (hands on her hips). gabe is forced to actually ask politely for his sandwich order (and notably holds his shoulders slightly inward, visually closing himself off in a physical representation of surrender). two of my friends, diehard pjo fans who are not literature or film scholars, were both confused as to why sally and gabe seemed to be bantering within a seemingly standard relationship dynamic - not necessarily the happiest of couples, but a standard married couple (as opposed to clear imbalance of power between them in the book).

to be clear, it's not that sally needs to be a "passive victim of abuse," and it's certainly not that the show needs to explicitly depict gabe hitting sally or percy for us to understand that he is abusive. my issue is that the show seems to have not understood what made sally a strong character initially: her willingness to endure anything for her son, including marrying an abusive man who smelled so rankly human in order to prevent monsters from finding them. like, sally resisted gabe's abuse in the book! the reason blue food is a major motif in the first place is because sally and gabe had a fight where gabe insisted blue food wasn't a thing, and thus percy observes that "ever since, my mom went out of her way to eat blue."

in other words, verbally standing up to one's abuser is not the only way to demonstrate that a character is not a stereotypically weak, helpless, passive victim. it's definitely an easy choice with regard to cinematic staging (and the show has a pattern of taking the easy way out of conflicts and nuance), but i think the real issue is that sally's vocal protests come in tandem with the defanging of gabe. why does his body language and tone falter in arguments with sally? does he not have the upper hand? where is the evidence of an imbalanced power dynamic? there is no one way to write abuse bc the tragic reality is that abuse happens in an infinite number of ways, but nonetheless i am frustrated with the route the show went down in the first ep bc it feels reductive to the core of sally's character and her strengths: her endurance, her implicit but present rebelliousness, and her love for her son.

im also not a fan of some of the flashbacks we're getting with sally. it's not that sally shouldn't be "allowed" to get frustrated ever, but a major element of her characterization in the books is that she didn't take that frustration out on percy. i just don't see sally jackson getting upset that percy doesn't want to swim (beside that, i can't imagine percy not wanting to swim lmao). i just don't see sally jackson almost aggressively telling percy that he is the one making their goodbye ugly (because he's being a kid?? who doesn't want to leave his mom?? you're telling me sally wouldn't recognize the root of his anxiety immediately??). i just don't see sally speaking vaguely to percy about there being things she has to do that he doesn't understand instead of doing her best to meet percy where he's at with her explanation. if someone is coming to this show without having read the books, i genuinely think they might be starting to question sally's parenting, i.e. if she was really as wonderful a mom as percy insists or if he simply sees her through rose-tinted glasses. bc here's the thing: percy does see sally and his mom's struggles through rose-tinted glasses, and it's because sally bottles up and hides her struggles and frustrations from him. she doesn't let percy witness those frustrations. as such, there's an incongruity between book!sally and show!sally that doesn't mesh for me.

in short, show!sally feels like a new character to me. that's fine if that's the route they wanted to take, but again: why advertise it as a faithful adaptation if you're not going to be faithful to the core elements of central characters?

im also disappointed by how much the show has stripped annabeth of her character besides her intelligence. i have some thoughts about the adultification of young Black girls and the fact that annabeth is Black in the pjo show, mostly that i can't tell yet whether the show has the self-awareness to offer commentary on this reality for many Black girls through annabeth's character being seemingly defined by her intelligence and maturity or if they're simply unwittingly replicating this circumstance. i need more material before i can make a concrete assessment here, but all the same, i wish they were allowing these kids and especially annabeth to be kids - to make mistakes, to fall into traps, to have little crushes and get flustered, and to not know everything about every monster/obstacle before they come to face it.

people have talked to death the issue of the pacing so i won't belabor it but in general this show has terrible pacing. the first two eps are rushed (we got so little luke that im concerned his betrayal won't have much heart/meaning/oomph in the final ep), the constant unnecessary exposition creates periods of narrative drudgery, most of the fights lack tension bc the choreography is effectively nonexistent, them missing the solstice deadline has so far sucked the wind of the energy of their quest (of which there wasn't much in the first place bc the show did a poor job establishing the looming threat of a globally destructive war being on the horizon), and in general there's no sense of stakes. sigh.

i probably have more thoughts, but i'll stop for now bc i've got a shit ton of assignments to work on. in sum: the show lacks an understanding of how film operates as a medium, and while the merit of the show as an adaptation can be debated, it's simply a poorly constructed and lackluster piece of tv.

(but on the bright side? the trio is killing it even with the weak material they've been given, and their acting talent is the only reason i and many of my friends have kept watching)

#this is exactly everything I’ve been feeling #pjo crit

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