Gossip girl xoxo
Part 4
Part 1 / part 2 / part 3 / masterlist
Warnings : mention of underage drinking but other than that don't know
((Side note : apparently you guys like the series so what you want you take my beautiful people! I love you guys! Anyway I saw what happened with lando and I had to make that in here! Also something is coming soon I don't know if you will like it but I will enjoy writing so 🤷♀️))
Texts with lando
You : hi lan!
Landinio : hey!
You: I heard that you are going to King's day tomorrow with Martin
Landinio : yeah I am what's up?
You : well I got invited for some reason too and wanted to know if you will go with martin or you could carpool with me! I have the lambo here!
Landinio : OH SHIT! I am texting with will rn to cancel on him! There is no way I am missing the lambo ride with you!
You: okay sweet just text me when are you meeting and here you are staying at to come get you because I am out rn. Ttyl x!
Landinio : oh 😏 with who?
You : none of your bizz bye!
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Texts between martin and lando
Lando : hey martin sorry to cancel last minute but y/n is coming and she has her lambo here and I won't find another chance to rice that thing so... Sorry again!
Will : oh it's nothing I understand I would too!
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After picking up lando from his hotel we headed out towards the boat that the party is held taking empty wide roads to really drive the thing, drifting and doing a few donuts in an empty parking lot just for the thrill of it but making sure to actually arrive in the boat party you both got out of the car talking and laughing entering and finding Martin by the dj booth.
Greetings were exchanged talking and laughing until the second round of drinks that started to kick in hopping around, dancing and sings to the rhythm being surrounded by the Dutch men.
You two weren't fazed by the phones recording your every move because you were having fun and a little tipsy, not that you would admit it both to anyone that in fact you were drunk continuing with the drinks and having fun and just as you were getting drinks you got elbowed in the face not really hard but enough to cause a little mountain the next hour not really noticeable.
Lando in the other hand just as you were nearing him again was hit or something because his nose was bleeding you drank both of them quickly and ran up to him while near you can see the bloody roll down in this lips and teeth he smiled at you teeth bloody, you started to laugh at the situation. Someone had a first aid kit and you cleaned the wound putting a plaster on the cut and a bandage wrapped around his head loosely because you were drunk it was going to be messy.
When you finished you started to laugh again at his stupid look he looked like a mummy but who cares? You two didn't nor did the men around you so you both continued dancing, bouncing, shouting lyrics and drinking again. You weren't piss drunk you could think and walk straight and so was lando, playing some songs with martin lando djing for a bit so will could take a break, talking to you laughing and gossiping about news lately and having fun and creating the mood for the actual club that Will, Lando and you will be going to after the pre party in the boat. You were sure you will regret going to another club but current you don't care about it, future you maybe.
You weren't a light weight by any means, starting drinking from a young age and in your teenage years going out drinking almost everyday drinking made it hard for you to get drunk so you were good by half of the actual party in the club but you wouldn't say lando was the same...
Cutting your night in the what you seen fit as to lando wouldn't start throwing up but you could see he was ready to do anyway calling a taxi and telling him the directions of your hotel so you won't drive while drunk.
Taking him by his bicep and wrapping one hand around his shoulder and the other in his arm you payed for the drinks you ordered and left, waiting for the taxi to arrive he was talking to you, whispered things, making sentences up that made no sense, talking gibberish almost falling in his face while you were laughing and loose the grip around him and quickly regaining strength keeping his upright the taxi finally arrived.
Getting him inside and going arout the car so you could take care of him he laid his head in your lap while you slowly and softly graced your hand through his brown curls and stroking his cheek softly while he closed his eyes smiled and opening one eye to look up at you periodically while you made small conversations with the driver which was a fan of the sport and you learned his daughter's favourite driver was you from a young age looking up at you and asking for a photo with you, he wanted a photo with lando but he was asleep so you decided against it, when you arrived you took his phone got a selfie with him and one alone from a high angle so he was visible but not his face just his hat and hoodie that he got out with, you paid the driver and slowly got out of the car and went around the car again opening the door taking his hand waking him up a little so he can get out but he feel asleep again on you as you closed the door.
You again wrapped a hand around him and holding his other firmly you opened the hotel door and getting inside the building, the receptionist was eyeing you but you didn't care you were determined to get him safe and tugged in, heading in the elevator you waited for the doors to close and pressing the button of your level.looking at the mirror you see on your dress a bit of blood from lando's nose you looked a bit disheveled with your eye sparkly eyeshadow somehow under your eye, the lipstick long gone now in its place your lip pencil a bit smeared around the corners of your mouth, in your forehead a little knob and in lando having his head buried in your neck seamingly asleep by his slow rhythmed breathing that was hitting your neck practically hugging you, the elevator pinged letting you know that you got to your floor you started trying to wake him up to stop hugging you but he didn't budged you decide to just carry him to your door which was easier taking out your card key which luckily you took out of your wallet in the taxi and opened the door.
Upon entering you left him to the bed trying once again to gently wake him up so he could change, you left the club at 4 :30 and now you read the clock it said 5 : 30 so you did all of this in an hour and in heels... He is gonna pay fro this but for now you laid a hoodie that you had oversized and long shorts again oversized that you knew that would fit you took your pj's and headed to the bathroom, you washed your face to get rid of the make up and changed out of the dress and heels.
Going again the the bed you saw lando's clothes messily tossed around the side of the bed he was occupying and in your clothes, the hoodie was one of your merch with a red bull logo in the back and you are not gonna tell that to him, wanting him to walk out with it, he was lying in your bed the covers covering most of him but his back and head out you took a picture and tugged him in and walking to your side of the bed pulling up the covers and getting in falling asleep almost instantly, felling a pair of hands wrapping around you and a head to your neck going closer to lando cuddling up on you and falling asleep peacefully
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Waking up in the morning was a struggle, you wouldn't say it was really a morning but evening waking up at 1pm by calls on your phone. Lando still asleep but starting to stir awake too by the annoying ringing of your phone you took your phone from the night stand you answered the phone without looking who it was
It was max
( the convo went like this)
Red : max / pink : y/n
Y/n? Why aren't you answering my calls? I have been calling you non stop from the morning where are you?
Max lower your voice... I have been sleeping what do you want? I am in my hotel room rn sleeping
Why are you still sleeping? What time did you leave the club last night?
4:30
Why? How did you get to the hotel?
Omg max can you interrogate me later? Let me sleep man...( a raspy voice could be heard in the background : stop talkinggg and then a sigh) shut up. Anyway I will call you back lat-
No! No don't fucking hang up! Are you with someone I heard a man! Who is he?!
Omg max! It's lando what do you want? I will talk to you later good bye!
I said and hand up the call not waiting for max to reply and rolled over now cuddling lando and falling asleep again for a few minutes then waking up by lando leaving the bed.
After he got a shower he came back and by then I dressed up to get food because I was starving waiting for lando you go together. We did you got a few pictures with fan and got food.
After that you called max and explained everything at some point max came with us to a few stored and hung out together and took max's plane and went to Monaco each to their own homes.
That's it thank you! ( not the end of the series tho)
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Just over a decade ago, the late novelist Hilary Mantel (6 July 1952 – 22 September 2022) delivered a lecture to an event at the London Review of Books and triggered national outrage.
In the course of a talk on “Royal Bodies,” which ranged widely across royal women from Anne Boleyn to Marie Antoinette and Princess Diana, she had made what many perceived as disparaging remarks about Kate Middleton, then the Duchess of Cambridge.
The Duchess, she said, appeared to have been “designed by a committee and built by craftsmen, with a perfect plastic smile and the spindles of her limbs hand-turned and gloss-varnished."
Indeed, Mantel said, Kate “seems to have been selected for her role of princess because she was irreproachable: as painfully thin as anyone could wish, without quirks, without oddities, without the risk of the emergence of character.”
At this, the newspapers were soon in uproar.
The prime minister David Cameron called the comments “completely misguided and completely wrong” and the Labour leader Ed Miliband agreed they were “pretty offensive.”
Mantel doggedly refused to back down, saying that her remarks had been twisted out of context, and that she was in fact writing with sympathy about the perceptions that are forcefully projected on to royal women, the cage in which they are held to be goggled at.
That was true but also perhaps not the entire truth, for there was still a perceptible trace of authorial vinegar in the portrait:
Which of us would be happy to learn, even in sympathy, that we were held at low risk for “the emergence of character”?
Royals are public as well as private figures, of course, and authors are free to hang intellectual ideas on them to try out, as designers do with clothes.
Yet while much of the lecture was sharply perceptive, I didn’t agree with the portrait of Kate.
That word “selected” had rendered her passive, when in fact her behaviour thus far had suggested both an active intelligence and an unusual degree of self-discipline.
The context of her entry into “The Firm” was different from that of other royal brides.
Unlike Diana, who had barely emerged from the fractured chrysalis of her troubled aristocratic family when she first met the much older, more worldly Prince Charles, Kate was a contemporary of Prince William’s at the University of St Andrews.
Her family background, which appeared warm and supportive, was comfortably middle-class.
She seemed generally cheerful and unruffled, even when the press was at the barbed peak of its “Waity Katie” hysteria, trying to goad Prince William into a proposal or abandonment.
After the wedding, in her approach to royal duties, she clearly took the role she had inherited with marriage seriously.
The royal whose attitude her own most resembled was the late Queen Elizabeth II, who had long understood the essential nature of the job:
To turn up to public events looking the part, intuit precisely what was needed — gravitas, fun, consolation or reassurance — and deliver it while keeping one’s personal emotions on the back burner.
This is what a monarchy demands, and the ability to act as an impeccable interpreter of the public mood, year after year, is a particular and testing art.
A few have a natural aptitude for it, but most of us do not, and would quickly find its scrutiny and restrictions intolerable.
Grace under consistent pressure is an admirable quality.
Were a ballet dancer to execute a string of flawless performances, or a pilot to conduct numerous flights without incident, it would not be deemed evidence of an absence of character: quite the opposite.
Yet in Kate — especially for those who increasingly conduct their lives online — serene self-possession seems to drive a proportion of onlookers insane: what lurks behind it, what dark secret is waiting to destroy it, how best might it be disrupted?
The uncomfortable truth is that what many people deeply crave in a young and beautiful royal wife and mother is not competence, but crack-up.
The increasingly bizarre treatment of Kate, or the idea of Kate, is connected to the most dominant phenomenon of our age: a cultural prioritising of drama over duty.
The supply of drama has spilled beyond the confines of the novel, theatre, cinema, or television to become a commodity on which our public figures are judged.
When Mantel spoke of Kate’s apparent absence of emerging “character,” she was assessing her primarily through the hungry eyes of a novelist.
In books, central female characters often generate dramatic tension by chafing against their circumstances, by the intensifying dazzle of their discontents, something that Kate refused to transmit.
In contrast, Mantel described Diana as a “carrier of myth”: Diana, publicly trapped in the disappointments of her marriage, certainly carried more plot twists than any author had a right to expect.
Unfortunately for her, the final one was her shockingly premature death.
Set against this artistic conception of “character” — distinctive qualities or flaws that, one way or another, deliver drama — is the societal judgement “of good character,” meaning someone who is broadly reliable and respected in relation to their behaviour to others.
In recent years, the electorate, in line with Neil Postman’s warning in his 1985 book, Amusing Ourselves To Death, has proved increasingly ready to select the former over the latter, even to the marked detriment of our civic health.
The former prime minister Boris Johnson instinctively understood it as his job not to deliver the detail of workable policy but to satisfy the public’s appetite for story:
“People live by narrative,” he once told UnHerd’s Tom McTague.
In the US, Donald Trump — that relentless generator of low mockery and high fury — is now running for a second term as president, after his first one ended in his supporters storming the Capitol building.
Men are often permitted to survive the frantic generation of drama: it is everyone around them who suffers.
Yet women — in art and life — have a greater tendency to be destroyed by it.
There is no strutting female equivalent of the male “hellraiser,” but rather a woman who, soaked in the crocodile tears of the tabloids, is tragically “causing concern” among friends.
Art and its audiences have always relished the restless struggle and disintegration of female characters who are, or become, unmoored from the harbour of marriage and children.
Flaubert’s Emma Bovary — her imagination inflamed by reading novels — is bored with her marriage and disenchanted with motherhood.
She seeks solace in affairs and excessive spending, the consequences of which hasten her suicide.
Zola’s Nana, a courtesan who ruthlessly captivates Parisian society, has her beguiling face eaten away by smallpox.
Janis Joplin and Amy Winehouse, immolated on their blazing talent, are hung posthumously high in the musical hall of fame, next to Sylvia Plath in the poetry section and Marilyn Monroe in cinema.
In Jean Rhys’s Good Morning, Midnight, a middle-aged English woman called Sasha Jansen, mourning an unhappy marriage and a dead child, finds herself in Paris, a vulnerable drifter seeking solace from stray men.
Rhys herself, who died at 88 after a precarious but surprisingly long life, had much in common with her literary creations.
As the writer and editor Diana Athill crisply put it:
“Jean was absolutely incapable of living, life was just hopelessly beyond her.
When she was young, she floated from man to man in a hopeless way… by the time she was old, she floated from kind woman to kind woman.”
In Rhys’s latter years — hard-drinking, irascible and impoverished — Athill and a small group of female friends formed what they called “The Jean Rhys Committee,” which met regularly to ask “what should we do next?”
Rhys’s claim to such loyalty, I suppose, was the weight of her literary talent, her ability to exert an odd kind of fascination, and the fortunate soft-heartedness of her friends.
The dramatic collided with the dutiful and was kept alive by it.
From what I can see, the Princess of Wales exists at the opposite end of the feminine spectrum from Jean Rhys.
Pinned firmly in place by her royal obligations, her wealth, her marriage, and three children, she belongs to the realm of the respectable and dutiful rather than the erratic and dramatic.
She is not a “character” in the artistic sense, nor does she desire to be, but both a survivor and upholder of an institution:
Hers is the territory of the prompt thank-you note, the kept promise, the commitment to public service, the uncomplicated pleasure in children, the stoic endurance of difficult times in the hope that better ones will come along soon.
The public senses an emotional solidity in her, and it is partly why she is held in broad esteem.
In this age of insistent self-definition, duty to others might be an unfashionable concept, but it is nonetheless one that keeps families and institutions from chaos and collapse.
With the advent of the internet, however, anyone with a keyboard can become a form of author, with the freedom to insert a toxic form of drama into real-life situations.
What was extraordinary, during the Princess of Wales’s recent health problems, is how speedily and carelessly such speculations overrode the bounds of decency.
It was already known that she had undergone major abdominal surgery and was taking time to recover.
And yet — egged on by the participation of silly celebrities and malicious US comedians — conspiracy theories about cosmetic surgery and affairs and nervous breakdowns spread like knotweed.
According to social-media researchers, these were also vigorously introduced and amplified by fake accounts set up on Twitter and TikTok, some associated with Russia-linked disinformation eager to spread the termites of mistrust and doubt in Western institutions.
Only the Princess of Wales’s revelation of cancer, which carries a testing drama all its own, served to shut up the majority of them.
Unlike these callous gossips, Mantel recognised her own complicity in dehumanising royalty.
Upon encountering the late Queen, the novelist said: “I passed my eyes over her as a cannibal views his dinner, my gaze sharp enough to pick the meat off her bones.”
The Queen looked back at her, she said, briefly hurt. Mantel warned of the way in which “cheerful curiosity can easily become cruelty” precisely as it has done in recent weeks.
Her talk concluded with a prescient instruction for those who comprehend monarchy mainly as a source of entertainment: “I’m asking us to back off and not be brutes.”
In the midst of treatment and recovery, the most hitherto stable of royal women could be forgiven a keen sense of injustice:
Her job description, it seems, must now include the ability to weather the online public’s fits of brutish mania for drama.
With its contempt for duty, and its savage appetite for story, it is hungry to chew up far more than just the Princess of Wales.
NOTE: Additional photos have been included in this article.
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