#but then being The Lead can't be the ultimate of All [doing theatre]; having kissing status w/a guy isn't the ultimate of all Arcs/Life

[unproduciblesmackdown]

more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair.  More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking.  Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction. 

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are:  "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself.  They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory.   As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it.  Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

#summer stock #dearth of peak relevant info for our purposes otherwise lol but hey #pressing f for danielle wade's performance Tending to be juxtaposed w/either corbin bleu's or judy garland's #which in fact doesn't always mean their going ''eh comes up short Relative to that comparison but good enough'' but yknow #also that role just isn't gonna be designed to be the most thrilling lol...let's get those character(tm) parts babeyyy #further photos of that preview performance do suggest there's more like midshow conflict b/w jane & gloria vs Only getting along great.... #and intrigued here if it's like yeah gloria can be written to have Flaws kiiinda like the film dunking on her though not as much as it #(though not as much as it might've; parallel to orville; relevant to their compatibility lol though in this show it indeed just might not #go for ''conveniently gloria's also always already liked him & orville's just glad someone's being nice to him'' lmao. & in fact yes the #material already in the film was like hm sure could be the queer readings in these ''so you're doing cishettery wrong'' roles here #and going aw man wrt the comedy boys herb/phil & orville/orville not getting to interact more #herb getting to make One reference to kinda being the outsider/misfit even amongst the troupe like hey more abt that? what's your job also #meanwhile yeah you can do something like ''oh gloria has this idea re: being The Star but isn't actually as interested in that Process'' #but that then instead of that Just being her at odds w/jane & her coming up short she can have her own arc still #finding out what behind the scenes work she Does want to do; jane & gloria of course ending up being mutually supportive one imagines #rather than jane Just being freer from Dealing With her lesser sister or what have you; whom can graciously enough accept this #and ofc we don't Need the partner swaps for everyone's guaranteed happiness communicated through ''they're not single'' #whilest the lack of [oh this backup relationship was here the whole time kind of] does make your potential love triangle trickier then lol #hence perhaps some more significant conflict if you're like kissing your sister's date or what have you & she can't Just(tm) have yours #but then being The Lead can't be the ultimate of All [doing theatre]; having kissing status w/a guy isn't the ultimate of all Arcs/Life #(though noting tim wasn't Relieved if another ostensibly straight romance; a cliche in the modern musical; wasn't shoehorned in there...) #(also the awkward notes about Male Dancers and The Female Ones like alright? supposed relevance Where?) #long post ///

[raebayhc]

Girls Night Out

warnings: implied virgin, fingering, lesbian implied, bi implied, public sex, smut, fluff, angst

word count: 2164

summary: you along with your groups of friends decide to have a girls' night for the first time in a while, things get heated and your friends end up taking turns using your body.

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It was a Thursday night and you along with the other ladies who went to the same college as you decided to go out and have a girls’ night. Yall planned on going to see a movie, going out for drinks, then finally retiring to Sasha’s barn where yall planned to stay up late telling spooky stories trying to freak one another out. Normally you wouldn’t agree to something like this because socially you were a lost cause, you had many friends and were very close to them. However, when it came to hanging out in large groups and even going out in public with the group, that’s when you started to get anxious. Your friends always had your back though and you knew that. Ultimately you decide not to fret too much and just have fun.

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It was the beginning of a very long night, you and pieck were roommates so yall got ready at the same time and left together to meet everyone else at the theatre. On the ride there pieck looked over to you and broke the silence- “if it becomes too much just let me know, I’m good to go home anytime.. Okay darling?” she patted your thigh and you nodded waiting for her warm hand to leave its place. It never did. She kept her hand on your thigh occasionally tapping to the beat of the music she turned on after yall briefly spoke. You felt your cheeks begin to warm as you peered out the window. Nobody within the group of friends knew you swung that way you wouldn’t dare tell them fearing the absolute worst. You knew they would love you no matter what and you never thought they would say anything hurtful but you still kept your little secret to yourself.

Piecks hand remained on you the whole car ride to the theatre. When yall arrived you hopped out of the car with intent... That intent being getting away from under piecks touch as you know you wouldn’t be able to hide your heavy breath for much longer. You played it off as getting “all excited” about seeing the movie when you really just wanted to escape. You waited as pieck slowly gathered her items and met you outside the car, yall then proceeded to walk through the glass doors into the theatre where the rest of the girls were already waiting.

“Yo what took yall so long??” Sasha said while stuffing her face full of popcorn. “Yeah, we thought we were gonna miss the movie because of you two” Ymir followed, whilst rolling her eyes. You look around to check everyone out, Historia and Ymir were clinging together, as usual, Sasha and Mikasa playing “hot hands” in the corner. You laughed as Mikasa gagged after Sasha got butter all over her hands. Pieck walked off to go meet hitch at the counter to get some candy. You giggled to yourself and told the girls that the movie was going to start soon and yall should probably head to yalls seats.

Finally, in yalls seats waiting for the movie to begin, you were sat between Sasha and Mikasa. You were definitely closer to these two than you were anyone else. Yall had been a trio since fourth grade and nothing could ever split yall apart. Nothing. All of the ladies were quite touchy with each other, it was all platonic of course. Why wouldn’t it be? Sasha snatched your right hand and hugged your shoulder burying her nose in the crook on your neck as a monster popped out at the screen. “Why would you choose a horror movie when you can't handle them” you whispered to Sasha to which she replied “because I like the way it makes me feel y/n, I get all tingly and itchy” you rolled your eyes holding back a chuckle so you wouldn’t disturb the others during the quiet scene.

You felt a slight tug at your left hand as Mikasa habitually grabs your hand. She tends to do that when she has nothing to do with her hands, it “helps her stay focused” she has explained to you a million times. Between Sashas breath on your neck and Mikasa drawing circles on your hand with her index you couldn’t help but squirm. You go to whisper something about the movie to Mikasa when she goes to do the same, your faces come within an inch of each other, noses barely touching you feel her breath out her nose as it fans across your lips. Your face turns bright pink as you halt in surprise. “I wanted to point out that actor….. Since we’ve spoken about them before…” she spoke softly. You replied with a small “me too…”. Yall have yet to part until you are broken up by screams as the movie takes a turn and Sasha yanks your arm “AHHHHH Y/N HELP!!!!!” Sasha screams in a high-pitched tone. You turn breaking your eye contact with Mikasa “Sasha! Be quiet we arent the only ones here!” you jab at her as you apologetically smile at the others in the theatre. You momentarily forgot about the moment you and Mikasa had until she takes her hand and places it on the back of your neck. Thumb swiping up and down, she pulls you a bit closer to whisper “awfully close weren’t we…” she lets that sentence linger before playfully giggling and removing her hand from your nape.

The movie was finally over and you were one of the last to leave your seat, since you decided to pick up all the popcorn Sasha had dropped after one of the jumpscares, you stand up, lifting your arms towards the ceiling, stretching and letting out a soft moan. You felt hands slither from the small of your back to the front of your hips “wow y/n, you have a hot moan. Whoever sleeps with you must be lucky” Ymir says before shifting you to the side to make way for her and historia. “Ugh, Ymir how many times do I have to tell you it’s not ladylike to talk about such things so casually” “I know I know I’m sorry... But it had to be pointed out” Ymir shrugged “she does have a point y/n.. You have an attractive voice it makes sense your moans would be..” historia pitches in and she looks you up and down before continuing “h o t” she lingers on the t a bit before moving on. You could feel your arousal pooling. The ladies seem different tonight... Maybe it’s just you... Maybe it’s not... They walk out and you follow suit.

You decide to ride with hitch since yall haven’t spoken a lot tonight, you ask her about life and she goes on to rant about her boyfriend noting that he’s not good in bed and she hates his haircut, she finishes her rant off with “ugh maybe I should just switch to girls! You’d date me right y/n?” you pause for a moment then reply with a simple “who wouldn’t!” a simple sentence yet complex at the same time. She turns to you and examines your face “you know I think id be a top if I were with a girl… in fact, you’d make a perfect bottom for me..” her eyes linger a bit too long, your skin crawling whilst illuminated by the red light yall were stopped at. It flashes green and her eyes return to the road “of course if I was single and into girls hahaha” she plays it off.

Yall arrive at the bar shortly after Sasha and Mikasa who had taken the same car and followed by Ymir who carpooled with historia. Mikasa and Sahsa hand out everyone’s paper wristbands, Sasha stops in front of you takes your hand, and putting it on for you. She didn’t do it for anyone else… just you. You decided you were overthinking and you moved on, walking into the club you were bombarded with loud music busybodies and the smell of alcohol. You were stressed, so many people, so many noises, so many smells. It was overwhelming, to say the least. Pieck noticed your uneasiness and placed her hand on the small of your back, she led you to a dark hallway filled with heavy pheromones and kissing partners, past that was a bathroom to which she leads you, pushed you in, followed after you, and locked the door. “Wh-” pieck covered your mouth with a single finger, “I noticed your stress, we can leave if you need y/n” a look of sorrow on her face. “No I’m fine it was just a lot at once I’m sorry, I’m okay now” you push out with a soft smile. Her body moving closer to you she wraps an arm around you pulling you closer “baby… tell me if you need anything, mmkay?” she purrs into your neck giving it a soft peck. Your arousal beginning to pool again you squeeze your thighs.

She excuses herself letting you go and leaving the bathroom. Turning around to face the mirror you scold yourself for acting the way you are when your friends are just being nice, they’d probably feel so grossed out if they knew your cunt was getting all nice and soaked for them, you thought. “Maybe I just need to relieve some stress… yeah that's all it is… built-up stress…” you hiked up the mini skirt that you decided to wear today above your hips and you pulled your new pink lace panties to the side. Beginning to slide your fingers over your unclothed clit the door rattles “hey bear, pieck said you weren’t feeling well so I brought you a dri-” historias sentence is cut short when she looks up to see you sitting on the counter sprawled open like a book. “I’m so so-” you begin before she hurriedly shuts and locks the door behind her.

“I- i- can explain-” she cuts you off before you get a chance to explain “oh bear..” a slight purr in her voice “who knew you had such a perfect pussy?.. All this time you’ve been hiding it from me?” she pouts, you’ve never seen her act this way much less talk this way before. Shocked by her actions you freeze, she steps closer and peers up into your eyes, lifting a hand to show she has her pinky and index slightly bent, she speaks “..may I?” if this was any other night you would freak out, apologize, get dressed quickly and leave, but for some reason you cant. “Please do” a slight whininess in your voice. Taking her ring and middle finger she traces a line from your entrance to your clit making you twitch once she reaches the small bud. She chuckles a bit and continues, pushing her middle finger into you, slowly but surely, you lay your head back resting it on the mirror. A low groan leaves her throat as you tighten around her finger “y/n… can I ask you a question? Hmm?” “nghh yes” you manage to push out through cries and moans. “You’re a virgin aren’t you, bear? Nobody has ever touched this perfect little body. Nobody has ever stuck their fingers in you either, huh?” you nod trying to keep sane while her pace quickens, you squint your eyes shut forcing tears out and down the sides of your face. Your response influenced her as she moved faster prodding another finger at your entrance and pushing it in with her other. “Ahh fuck ‘ri’” RI was a name you’ve called her since yall first met, originally made because you couldn’t remember her full name but it kind of just stuck throughout the years. “I’m gonna- I think I’m g-” cut off by the feeling of her warm tongue prodding your clit, dangerously licking and lapping, boy did she know how to please, and that she did. “RI oh shit” you grab a fistful of her hair as your orgasm hits, continuing to finger fuck you and lightly lick your sensitive bud she helps you ride out your high. “..- first, right?” you couldn’t make out what she said through your hazy mindset “what RI?” she repeats “I was your first, right??” you nod with lazy eyes, she smiles a big smile then gives you a sloppy kiss, you groan into her lips.

She cleans you up then helps you off the counter. Now realizing what had just happened you panic pushing out a quick “oh my goodness ri I’m so sorry I didn’t mean to put you in that position” she chuckles “don’t worry bear there are plenty of other positions I plan to have you in” before you could really digest that she tugs at your wrist leading you out to the main hallway and back to your groups of friends. The night has only begun….

THE END Pt. 1

this is my first fanfic ever so I'm sorry if it's bad!! I will continue to improve trust me! also, this will be a multi-part series so stay updated!

#aot #girls love #fanfic #smut #pieck finger #historia reiss #mikasa ackerman #hitch aot #ymir aot #sasha braus #mikasa x reader #sasha x reader #hitch x reader #pieck x reader #ymir x reader #historia x reader

[howling-harpy]

Since I'm being brave today I will be brave one more time and pick your brian about Speirton because I love how you explore in your work the obvious source of angst in their story that is Lip's marriage. I can't remember if Lip getting Dear John was actually canon or not, let's assume it happened. I need your take on Ron navigating around the news. They're very much in love but Lip honours his duty as a husband and apart from maybe a kiss and very chaste affection (hand squeezing) they never did anything. They acknowledged their feelings but agreed to not act on them. The letter comes and what does Ron do? I refuse to believe that a big part of him wouldn't be over the moon about it. The biggest obstacle is gone. It's a green light, but on the other hand it's a very sensitive topic and maybe he should be a good platonic friend and offer support but his friend is also the love of his life and he wants to know where they stand now and also struggles to be sympathetic when the outcome of the divorce is nothing short of miraculous luck for him.

Ooh, I love this topic. I love the complexity this brings, and also the opportunity to get period-accurate attitudes towards marriage and sexual orientation.

(Lip doesn’t get a dear John letter. The real life-Lipton went home and was marrid to his wife until her death. But that has nothing to do with this post.)

My take on this is that it’s interesting to think how Ron and Lip feel about cheating or breaking up a marriage. I have already written some versions of this, and in the private theatre of my own mind continue to ponder this over.

Firstly, does Ron care that Lip is married? I tend to lean on the side that he does, and despite his feelings for him considers him off limits.

Does Lip care that he’s married? Yes. He does, he’s a good, proper person, and genuinely cares for the woman he is married to and wants to do his duty of a husband, and I think he really did love his wife.

But then again, Lip is in training for two years and then at war all the way in Europe for over a year, and that does mess with your perception and values if anything. In my version, he did grow apart from his wife, and he did fall in love with Ron, and since they might as well die tomorrow, what does it matter?

I’ve written fics where they both conventionally ignore that Lip is married, I’ve written fics where they are in love but accept that Lip will be returning to his wife, and I’ve written at least one where I mention a dear john letter. Whatever way, they fall in love and want each other.

But if a Dear John letter comes? Well.

I think Ron is both very selfish and very attentive in his love. Firstly, he will comfort Lip and be there as a friend and mourn the life that will not be with him.

But he’s also very intense. He wants Lip for himself, he believes they are meant to be, and he is creedy and hungry and dying for love. He wants so much, and I headcanon him as gay so he’s absolutely dying for real, lasting connection, and probably lowkey jealous how some people just get to have that.

Ron is very torn. He doesn’t know what Lip is feeling, and there’s a whole mix of feelings: He’s happy; he’s sad for him; he’s jealous of the intensity of grief; he’s feeling lucky; he’s in love. He wants to be good to Lip even if it’s just as a friend, but really he wants to be his lover, and communicating that is hard.

Ron is smart, so he isn’t relying on their connection meaning that Lip wants to actually be with him.

Ron might even resent Lip’s marriage and think that he is either willing to fake a way out or is one of those able to take part in the polite society. He loves Lip, but must face the fact that Lip is not like him, or like he imagined his intended would be like.

I think ultimately Ron will let Lip make the first move after the letter. Since Ron doesn’t want to assume or take advantage, the ball is in Lip’s end of the court, and Ron decides to just be innocently friendly and let the other to take the lead. Ron’s available, but won’t push; if Lip wants him, he can take him, and if he still doesn’t want to commit with the obvious obstacle out of the way, he has an easy way out.

Ron is very creedy, romantic and hungry for love, but he’s also very realistic, honourable, and won’t assume. His love is so strong that he would rather let Lip go than take advantage and shackle him down.

What will come is up to them both, but I think their primary conflict as they try to navigate actual relationship comes to this: Ron thinks love is meant to be and happens without him asserting himself since he thinks he isn’t really allowed, and Lip thinks love is made and if something isn’t stated out loud it isn’t an option.

#band of brothers #speirton