TV WEEK: THE INDESTRUCTIBLES
May 16, 1964
Lucille Ball, Andy Griffith, and Danny Thomas were depicted as the three musketeers on the cover of the May 16, 1964 Chicago Tribune’s TV Week supplement. The caricature was done by Tribune artist William Sajovic.
Interestingly, both Thomas and Griffith had hit shows that were filmed at or by Desilu Studios: “The Andy Griffith Show” and “The Danny Thomas Show” (aka “Make Room for Daddy”), so Ball was actually their landlord!
When Thomas’s show moved to CBS (and the old “I Love Lucy” time slot), the Ricardos and the Williams families did cross-over episodes on both their shows.
The Desilu world gets more incestuous when you realize that “The Andy Griffith Show” was actually a spin-off of “The Danny Thomas Show”!
During the “Here’s Lucy” years (1968-74), both Danny Thomas and Andy Griffith appeared as characters for their former landlady, but not the ones they created on their respective series.
Although not directly attributed, Sajovic’s artwork is definitely inspired by The Three Musketeers, an 1844 historical novel by Alexandre Dumas. A 1935 film version featured Lucille Ball in a small, uncredited role. Lucy got into full Musketeers regalia in “Lucy and Flip Go Legit” (HL S4;E1) in 1971.
ON THE COVER
'The Indestructibles' of Television
Finding three stars who have survived a combined total of three decades in television - older than the industry itself - is as rare as a royal flush in stud poker.
Nevertheless, in the case of Lucille Ball, Danny Thomas, and Andy Griffith, who occupy a two-hour bloc on CBS-TV Monday nights, it's happened.
Deep within the recesses of the television industry, where tycoons run rampant and sons of millionaires run messages, this frolicsome three are referred to as "The Indestructibles." And indestructible they have proven to be.
Their unique position inspired William Sajovic of The Tribune's art staff to paint them for today's TV Week cover. Lucille Ball [at 7:30 p.m.], as TVs queen of the merry widows, has been wearing her crown for 14 years.
The Lebanese wonder, Danny Thomas [at 8 p. m.], has a total of 12 years playing nightclub entertainer Danny Williams on the tube.
The neophyte member of this gregarious group is Andy Griffith [8:30 p.m.], who has brought more laughs than, law enforcement to the small community of May-berry during his four seasons as sheriff. We originally had Garry Moore, with his 12-year reign, in the cover group, but as of this writing be has decided not to return next year. That takes him out of the "indestructible" class.
Add them all [except Garry] together and what do you have? Thirty years of television talent continually concentrated for two consecutive hours every Monday night.
On Monday, May 18, 1964, viewers enjoyed a rerun of “Lucy Goes Duck Hunting” (HL S2;E6) first aired on November 4, 1963. The episode featured Keith Andes (above), who had also starred with Lucille Ball on Broadway in Wildcat (1960).
On May 19, 1964, Chicago area viewers saw Lucille Ball’s 55th film (and her personal favorite) The Big Street (1942).
The supplement is promoted above the masthead and the day’s headline. TV Week was added to the Saturday paper instead to boost weekend circulation.
Lucile Ball was a popular cover girl for the Chicago Trib’s TV Week. She was also on the cover just a month earlier to promote her TV special “Mr. and Mrs.” with Bob Hope. Other covers include: September 1956, November 1956, November 1957, October 1963, January 1965, March 1966, December 1967, May 1970, and June 1976.
TOP OF MY HEAD: WAX OF BALL
May 16, 1964
Last summer I was engaged to write a one-hour special comedy program starring this glamorous bouquet of names: Jack Benny, Danny Thomas, Garry Moore, Lucille Ball, Andy Griffith, and Phil Silvers. (1)
I am not going to single out any certain name, but one of these stars gave me plenty of trouble. If I play my cards right, I may never have to write for her again.
These six television personalities are all under the sponsorship of one advertiser and appear weekly for separate products in their own respective half hour niches. To herald the opening of a new season a week before their first shows appeared. General Foods gathered them all together into one huge bowl to serve up a mighty chef's salad. It was only natural that some ham should have slithered in.
It was at once discernible to the writers that to accommodate this array of disparate talent the script concept would have to include two important factors. One, a plot in which they would all be concerned. Two, jokes distributed in equal portions among the six performers. Give one comedian, working with a group of other comedians, fewer lines than the others and you have an actor on your hands who, as rehearsals go along, sinks lower than the second f in Schrafft's. (2)
The plot we came up with was a simple and workable one. Five of our stars see a news item in Variety that General Foods has just hired Phil Silvers to do a new half-hour show.
"It is rumored," says our Variety story, "that General Foods may drop one of the other five." If that sounds contrived, it was. We put a piece of paper into the typewriter and contrived it. I don't quite know what critics mean when they write that a story line was contrived. I like to think it was conceived. We certainly went through enough labor to bring it into the world.
In due course an outline in some depth was written and presented to the advertising agency, and there was joy in all the cubicles up at Benton and Bowles. They phoned to say they had engaged as producer a man from the theater with a long list of distinguished plays he had nurtured through their out-of-town tryouts to Broadway successes—Leland Hayward. Mr. Hayward and I were to make the trip to the West Coast and articulate our outline to the stars. Which we did, to unanimous approval. The agency men were quite pleased, and at lunch Ed Ebel, vice-president of General Foods, insisted I have a second dessert.
Then back we came and the script was written. You know that line about everything being fine at the theater until the curtain went up? In the purified vernacular of television, all heck broke loose. Miss Ball found it highly incompatible with her public image to pretend that she would worry about losing her job to Phil Silvers because everybody knows she is president of Desilu Productions. She wanted a slight change—the script to state explicitly that she is president of Desilu and she wasn't worried.
Well, this played hell with our premise —excuse it, I'm getting steamed up now. We watered the plot down to "although Miss Ball was president of Desilu and was not worried about losing her job she would pretend to have some concern for the other stars who might lose their jobs and she would help get rid of Mr. Silvers." Some of the enchantment of doing the show was now slipping away. But it got worse. My good friend Jack Benny, when he saw the changes, reminded us that everybody knows he's quite wealthy and he wouldn't be worried about losing his job either. To keep it from spreading through the cast, Mr. Hayward explained that they were playing the parts of people about to lose their jobs—a crisis with which viewers can all identify.
The point was finally made and the script went into rehearsal. Word came back to us from the Coast that Miss Ball, who evidently wasn't finding it very rewarding laugh-wise to be the public image of president of Desilu, had ordered other changes into the script— among them a scene with Mr. Silvers known in burlesque as "Again I Turn" (3) —ending with the pie-in-the-face bit, in which the president of Desilu pretended to be an old scrubwoman.
After the show went on the air I heard to my sorrow that some viewers found this scene quite hilarious. This I can attribute to only one unfortunate thing—Miss Ball happens to be one of the country's most talented and prolific comediennes.
The other Sunday night Miss Ball appeared in an hour show with Bob Hope. (4) She played, of all things, the president of Desilu. Also, she was an actress for Desilu. She appeared in one scene as the actress trying on a top hat, white tie, and tails.
"This is what I wear in the magic act, isn't it?" she asked the tailor. "Where are the tricks?"
"In the suit," he replied, as the public image of the Desilu president went off gaily to a board of directors' meeting.
Well, if there was a message in a television program, this was it. No sooner had she arrived at the meeting than she removed the top hat, and there, nestling in the hutch of all that red hair, was a rabbit. Desilu stockholders will please not assume that this is her public image.
Also, the very next night the president of Desilu appeared in her usual weekly show. (5) The premise: "Lucy takes a job as a summons server to earn vacation money."
~ GOODMAN ACE
Goodman Ace (1899-1982) was born as Goodman Aiskowitz, aka "Goody" (as he was known to friends) had a low-key, literate drollery and softly tart way of tweaking trends and pretenses made him one of the most sought after writers in radio and television from the 1930s through the 1960s. In 1957 and 1959 he was Emmy nominated for writing “The Perry Como Show.” He and his wife Jane had a long-lasting radio breakfast show called “Easy Aces” that transferred to television in 1949 - where it lasted just six months. As per his desires, “General Foods Opening Night” was the first and last time he collaborated with Lucille Ball.
This article appeared in the May 16, 1964 issue of Saturday Review, a weekly literary magazine published from 1920 to 1986. Norman Cousins was the editor from 1940 to 1971. It was described as "a compendium of reportage, essays and criticism about current events, education, science, travel, the arts and other topics."
FOOTNOTES TO HISTORY
(1) The TV special that Goodman Ace was employed to write was titled “Opening Night” airing September 23, 1963 on CBS starring Phil Silvers (“The New Phil Silvers Show”), Lucille Ball (“The Lucy Show”), Jack Benny (“The Jack Benny Program”), Andy Griffith (“The Andy Griffith Show”), Danny Thomas (“Make Room for Daddy”), and Garry Moore (”I’ve Got A Secret”).
(2) Schrafft’s was a chain of moderately priced New York restaurants which often attracted ladies who were out for shopping trips. It was one of the first restaurants to allow un-escorted females on a routine basis. In 1981, the Boston-based candy company that owned the chain ceased operations, leaving just a few remaining restaurants in private hands. Schrafft’s was mentioned in “Lucy Does the Tango” (ILL S6;E20) and ““Housewarming” (ILL S6;E23).
Ace writes "sinks lower than the second f in Schrafft’s”. This is a reference to the company’s distinctive logo.
(3) The vaudeville routine is most commonly known as “Slowly I Turned” or “Slowly I Turn” or even “Martha”, but not “Again I Turn,” as Goodman writes. Perhaps this mistake is intentional to show his displeasure of the age-old vaudeville routine being inserted into his script - or perhaps not. Lucille Ball had performed “Slowly I Turned” as Lucy Ricardo on “The Ballet” (ILL S1;E9) opposite Buffo the Clown (Frank J. Scannell) in 1952. This time, Lucy takes the role of the clown, and Phil Silvers is the one with the kind face. For plot purposes, Lucille is dressed as a charwoman.
(4) The show Goodman Ace is referring to was titled “Mr. and Mrs.” aka “The Lucille Ball Comedy Hour” and was aired on April 19, 1964. As he points out, the premise has Lucille Ball playing ‘Herself’ as the head of a studio named Consolidated Pictures (not Desilu). Like the real-life Ball, she also has a popular TV show in which she plays a wacky redhead named Bonnie Blakely (not Lucy Carmichael).
(5) Ace is referring to “Lucy is a Process Server” (TLS S2;E27) aired on April 20, 1964, in which Ball plays Lucy Carmichael, a single mother of two who takes a second job as a process server to make enough money to go on vacation with her best friend and roommate Viv (Vivian Vance). Her first summons must be served to Mr. Mooney.
Original 1964 article by Goodman Ace, transcribed verbatim. Footnotes by Michael T. Mooney.
Help,the bubbles just appeared as I started filming and they won’t go away💀
Yeşilin Kızı Anne %25 indirimli Koridor Yayınları - Yeşilin Kızı Anne / L.M. Montgomery (Bez Ciltli) Sıra dışı tavırları ve al saçlarıyla, Avonlea isimli bayağı ancak kasabadaki insanların kalplerini tekerlek tekerlek kazanan işte ele avuca sığmaz bayağı kızla, An
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Hi! It's me again! Your self-proclaimed writer who just can't stop writing about Buddie. This time I offer you angst before the s4 finale ;)
Find it on ao3
This canʼt be happening.
Buck barely even registers it when heʼs brutally pushed by Eddie. He wants to ask him what the actual fuck but he doesnʼt have a chance. It all happens so quickly. He hears a gunshot and—
His heart stops. His world shatters beneath him as he sees in a slow motion that the bullet reaches his friend and Eddie is collapsing, his expression stuck between pain, fear and something else, something Buck canʼt describe. Thereʼs a dark red patch blooming on his uniform in his chest.
This canʼt be happening.
Buck realises with horror that he canʼt move, heʼs like petrified and his body just refused to work. He canʼt even make a sound even if heʼs literally screaming in his mind.
He desperately tries to force his legs to move, to run to Eddie, try to help him, not let him die.
He canʼt die.
He canʼt die, he canʼt leave him alone, he canʼt die not knowing that Buck loves him—that heʼs in love with him. He canʼt leave Christopher, he canʼt do it to this poor kid that has already lost his mother.
Buckʼs vision blurs and he feels tears streaming down his cheeks but he doesnʼt even try to wipe them out.
He falls on his knees, not noticing that the hard concrete is causing him pain. The only thing heʼs focused on right now is Eddieʼs closed eyes, shallow breaths and the pool of blood around him slowly spreading.
He wants to help him, save him from bleeding out but his hands are trembling so much, heʼs not able to do anything. He knows he should focus, push away all the negative thoughts but he canʼt. Heʼs never been more scared and panicked in his life. Heʼs never been so paralysed with fear that it actually prevents him from doing his job. It has never happened before. He canʼt do anything and his best friend is bleeding out right next to him.
He barely hears the sound of another gunshot. Then, he feels burning pain in his arm but he ignores it, he doesnʼt really care if he got shot. Itʼs nothing compared to the dreadful feeling like his heart was ripped out from his chest. Or rather, gouged out with something blunt.
He doesnʼt notice his coworkers rushing to them to help them, he doesnʼt hear Athenaʼs shouting, the sound of sirens around them, he doesnʼt really feel Bobbyʼs gentle touch on his non-injured arm.
“Buck”, tries Bobby but thereʼs no reaction. He doesnʼt want to do anything sudden, he doesnʼt want to scare him more than he already is.
“Evan”, he tries again.
This time it works. Buck tears his gaze away from Eddie whoʼs already taken care of by Hen and Chim and looks at his Captain.
“Buck, youʼre hurt. We have to check you out. Can you move?”
His voice is filled with so much worry, it makes Buck weep even more.
“Iʼm okay”, he hardly whispers because the lump in his throat doesnʼt let go.
“No, youʼre not. I know youʼre worried about Eddie but heʼs in good hands. Heʼs strong, heʼll get through this. Letʼs go.”
He helps him stand on his feet and wraps his arm around his waist to keep him standing because Buckʼs legs are still like jelly. Slowly, they reach out the paramedicsʼ truck and Buck is examined by another team. They say he got lucky because the bullet only grazed his arm and his recovery will be quick.
He doesnʼt feel lucky at all. How can he? His best friend is a few feet apart from him, fighting for his life. Friend who has a son waiting for him at home. Friend who never should have been shot. It was supposed to be Buck. The sniper was aiming at him, not at Eddie. He was supposed to be lying on the ground with a bullet in his chest. But Eddie—his usually careful, cautious Eddie—did a very reckless thing and saved his life. Knowing that his best friend noticed the sniper and pushed him to protect him makes him physically sick. The guilt is consuming him because he wasnʼt worth saving. Not that much anyway. Eddie has a loving family, a son, a girlfriend and Buck... Buck is just a friend. Not someone who canʼt be replaced.
His hands are still trembling when theyʼre heading to the hospital Eddie was taken. Bobbyʼs there with him; he doesnʼt speak, doesnʼt try to find some clichéd words; he suspects that they wouldnʼt work anyway because Buck is too lost in his own head. Bobby just reaches to his hands and covers them with his own to keep them more steady.
They arrive at the hospital and find out Eddie already has a surgery.
He canʼt die.
That clean, sterile smell of hospital makes Buck even more sick. Heʼs been there enough times, both as a visitor and as a patient. He hates hospitals and he knows heʼs gonna spend there next few hours—or days. He doesnʼt know how he will survive this, how he will get through Eddieʼs surgery. What will he tell Chris? Carla? Abuela? That Eddie got shot because of him? His brain immediately takes him back to the day when he lost Chris in the tsunami and he tried to tell Eddie. It was one of the worst moments of his life and now it seems like he will be forced to do it again—only this time to tell Christopher which makes everything worse. He needs to stop bringing the Diaz boys such awful news. He should call Carla, tell her what happened, make sure she can stay with him longer than she was supposed to, tell him the truth but he canʼt even hold his phone. Itʼs Hen who does it for him. She calls Carla, she tells her about Eddie, about Buck, about the whole situation and promises sheʼll keep her updated.
Buckʼs grateful for that but he still feels guilty that he wasnʼt the one to share the news. It was supposed to be him but he was too weak to do it.
Thereʼs a gentle pat on his back, big, warm Henʼs eyes filled with love and a sad smile on her lips.
“You canʼt keep blaming yourself. It was not your fault and everybody knows that. Eddie knows that and he wonʼt be angry at you when he wakes up after surgery. Besides, you would have done the same thing for him. But Iʼm pretty sure if you were the one shot, we would have to restrain Eddie from barging into the police station and killing the sniper with his bare hands.”
Buck lets out a quick, humourless laugh because heʼs not sure Eddie wouldʼve done such thing. Oh, he knows that Eddie cares about him, he knows that heʼs a part of the Diaz family but at the end of the day, heʼs still just a friend. He wouldnʼt be that reckless.
And yet, he decided to put his life at risk for him.
He canʼt die.
Buck has never been a religious type but after two hours in the hospital, he starts to pray. He knows that surgeries can take hours, especially if you have a patient with a bullet in his chest but panic starts to take over him and he canʼt stop it, itʼs stronger than him. What if Eddie doesnʼt make it?
He canʼt think like that. Itʼs not his first time heʼd been shot, he was in Afghanistan, he was almost buried alive, whatʼs a one bullet for him?
He has to fight for his family.
Next few hours blur into never-ending waiting. Buck feels more and more exhausted, the pain in his injured arm is nagging him but he refuses to take pills that could help him ease the ache and lull him to sleep. He will do it, eventually. As soon as heʼs sure Eddieʼs alive and safe, he can rest. Otherwise, heʼll keep vigil. He can do it. Maddie and Athena paid them a quick visit—they brought them coffee, donuts and fresh clothes. Both women talk with Buck and try to reassure him. Athena also scolds him for getting shot and she pulls him into a hug because clearly the whole situation took a toll on her and sheʼs as worried about both Buck and Eddie as much as her husband. Her presence actually helps Buck a little and heʼs calmer than before. He even manages to drink his coffee and he doesnʼt feel like throwing up and he counts it as a success.
After what it feels like an eternity, the doctor finally goes to their room. His expression is unreadable.
“Is there Evan Buckley?”
Buck raises his head sharply because itʼs not something he has expected.
“Y-Yeah. Itʼs me”, he says hesitantly. He really hasnʼt expected to be Eddieʼs emergency contact even though he knows itʼs very reasonable. “Is he...?”
“He is alive and stable, heʼs lucky because the bullet missed the most important organs and he will get through this but he needs to rest. Heʼs sleeping now but you can visit him now. One person at the time.”
Buck lets out a long, deep breath; he didnʼt even realize he was holding it during the doctorʼs speech. The guilt is still there but the weight that has been crushing his chest is definitely lighter.
“Go, Buckaroo. Go see him”, encourages him Chim, smiling softly and nudging him in the right direction.
Buckʼs very unsure and tentative but he goes to Eddieʼs room anyway. Seeing him so vulnerable makes him want to cry again. He has never seen him in a bad state like this. Heʼs never seen Eddie being so close to death—not even when he was buried in that well.
He sits on the edge of the bed and squeezes his hand gently. He knows Eddieʼs sleeping so he feels comfortable with doing this. His cheeks are wet again; he didnʼt notice heʼs crying again. All of the emotions he has felt in the last few hours are piling up in his chest and he has to let them out. Heʼs still worried, he still feels guilty but knowing that his best friend is alive, that heʼs gonna get through is soothing. He thinks about how happy Christopher will be and that heʼs probably eager to go to the hospital and take care of his dad. Heʼs relieved that he doesnʼt have to bring him bad news.
Everythingʼs gonna be okay.
He lets the rest of the team see Eddie; he gently refuses Bobbyʼs offer to take him home. Heʼs not ready to go back to his apartment, he needs to stay, be there when his best friend wakes up. Bobbyʼs not happy with his decision because he sees how exhausted Buck is but he doesnʼt argue with him. He only tells him to call when Eddie wakes up. Buck agrees and he settles on the chair next to Eddieʼs bed.
He falls asleep somehow, even though he was sure he wouldnʼt be able to. His sleep is not deep though because he immediately wakes up when he hears a shift on the bed. Eddieʼs eyes are open and he looks a little bit confused.
“Hey, Eds. Itʼs okay. Youʼre in the hospital, you got shot. Iʼm gonna call the doctor now, okay? Iʼll bring you some water”, says Buck. He doesnʼt even let him say a word, he doesnʼt know if heʼs ready to hear what Eddie has to say. Heʼs not ready because the guilt is still there, it doesnʼt let him forget even just for a moment. He calls the doctor and stays back when the man checks Eddie and talks with him. Heʼs even ready to sneak off like a true coward but Eddie must sense it before it happens.
That one word is all it takes to make him stay. When the doctor goes out, smiling warmly at Buck, the blonde sits again on the chair very hesitantly. He keeps his head down because heʼs not sure heʼs able to look him in the eye.
“Unbelievable”, he hears Eddieʼs voice. It sounds weaker than usually but he can still detect a hint of amusement and teasing. “I took a bullet for you and you still got shot.”
“Sorry”, mumbles Buck, still not raising his head. “I didnʼt really think about it when I saw you on the ground. Besides, itʼs nothing. The bullet just nipped my arm. Although it should have been me with a bullet in the chest.”
“Buck, look at me”, Eddieʼs voice is now pleading and Buck finally looks at his best friend. Eddie has a small smile on his lips and he reaches out to take his hand and intertwine their fingers. “I would do it again if it meant that youʼre alive and safe. Iʼm glad youʼre alive and safe, but I wonder if I should be mad at you for being careless. I wouldnʼt want to wake up and find out that youʼre fighting for his life or youʼre dead. Weʼre not Romeo and Juliet so no dying, okay?”
“Said the dude who was literally fighting for his life a few hours ago”, points out Buck. His eyes are fixated on their intertwined hands; he was surprised by Eddieʼs gesture and he hopes heʼs not misreading this.
“Again, Iʼm fine with it. I would definitely do it again to keep you safe. Iʼm not blaming you for this.”
Buck should have known that Eddie would reassure him, tell him itʼs not his fault. He knows him so well, probably sometimes even better than Buck knows himself.
“It still feels like my fault. Eddie, you have to be more careful, you have to think about people who love you, people you love because—”
“Who says I wasnʼt thinking about people I love?”, interrupts Eddie.
“Then why did you do it? Why did you do it thinking about Chris, your family, Ana—”
“For Godʼs sake”, Eddie interrupts him again, now with a very exasperated look. “Because I love you too, you dumbass.”
Buckʼs heart stops again. It feels better this time, though.
“You... Love me?”
“Yes, I love you. Although I should probably make this clearer for you... Iʼm in love with you. So yes, I was thinking about you and I wouldnʼt forgive myself if I lost you. But youʼre here and I couldnʼt be more happy.”
“I love you too”, says Buck simply and then, heʼs just grinning because itʼs the most beautiful thing heʼs ever heard and his awful day just turned into one of his best.
“So is there a chance that youʼll take care of me when I go back home?”, asks Eddie, doing puppy eyes because he knows Buck wonʼt say no. “You know, I did take a bullet for love so I think Iʼve earned it.”
“Oh my God, I’m never gonna see the end of it, am I?”
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Today’s the day!
Remember everyone - protect your hearts, wear your clown shield. Unless we see it on screen there will be no dance. There will be no realisation of feelings. There will be no meaningful looks.
I’m obviously hoping I’m wrong but I’m setting my expectations at 0 for now. 😂
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Chenford + don’t leave
Lucy sighs, dragging her hand through her hair to comb out some of the tangles from sleep. “Tim,” she laughs, glancing back at him over her shoulder, “I have to leave.”
Tim frowns, still half-asleep, and reaches out to her. He settles his hand on her thigh, tugging lightly. “No you don’t,” he mumbles, “you could stay, you just don’t want to.”
Lucy squints at him over her shoulder, then turns to face him, softening when she sees the stubble along his chin. She hums, crawling up the bed and straddling his stomach, resting her hands against his chest. “I scheduled a massage,” she murmurs, dragging her thumbs gently along his skin, “and you didn’t want to join me.”
“I told you I would give you a massage, instead,” he counters, a smug smirk on his lips, his eyes still closed. He raises his brows and settles his hands on her hips. “Plus, then you could stay like this, baby.”
“Tim,” she leans down, her hair brushing along his chest, “we’re on vacation. I want a professional massage, and then a Bradford massage.”
Tim hums, sliding his fingers underneath her shirt, dragging them along her skin. “Maybe,” he shrugs, faking a yawn that turns real in the middle, “I might be too tired. We’re supposed to be resting, aren’t we? Vacationing?”
Lucy kisses the corner of his mouth softly. “Nice try, Bradford,” she mumbles, then slides off the bed, laughing as he whines up at her. “I expect you ready to take care of me in two hours.”
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okay, but can we all agree that Natsu, Erza, and Wendy are all on the autistic spectrum,
Lucy had ADHD,
and Gray has OCD?
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Aaaaaaaand they’re back! 😂
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Chenford Song of the Day!
Lately I've been dreaming of a life
Told myself that there was only one
Maybe I've been holding on too tight
Hard to see what you and I'd become
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Playlist I made for Mirta about Lucy (Winx Club)
If you have any other songs you think could fit them please let me know in the comments.
I've had a lot of comfort characters over the past few years, but recently my sister pointed out that I definitely have a type and I can't even deny it...
Apparently my type is characters that are very smart and have traumatizing storylines at some point. Love to see it!!
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Sometimes, a family is a dragon, A woman with Celestial Spirits, their flying, talking cat, and their carrot-nosed dog. And that's okay
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Lockwood: whoever spilled tea on magazines, I-
Lucy: i did it.
Lockwood: I will forgive everything. We all make mistakes.
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