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#modern Benjamin Tallmadge
Heyy how are you guys doing? How's life? Remember to drink water (that's for u too mod) <33
Ben: hello, we’re hanging in there, right Pythias?
Nathan: *half asleep* mm-hmm Damon…. Snuggle time. I’m sleepy… and I need you.
Ben: well, we’re apparently sleepy today but we are well overall. Especially considering everything that last week brought up for us… for Nathan…
Nathan: *whimpers softly and clings to Ben*
Ben: thank you for worrying about all of us and checking in.
Nathan: *nods* yes, thank you.
(Mod: thanks for checking in! We’re all drinking enough water. I hope you’re well too.)
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musicboxmemories · 4 months
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TURNsgiving 2023 - Day 5: Modern AU
In early 1985, Ben inherits his surrogate father's detective agency, Culper Investigations. Caleb serves as his courier, Abigail his receptionist, and Anna his reluctant partner. When a widow comes to their door crying m.urder, Ben finds himself tangled in a plot far more insidious than he could have imagined. (Modern AU/Moonlighting AU)
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honorhearted · 4 months
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TURNsgiving Day 6: Modern AU
In order to beat Professor John Andre at his own game, Ben goes undercover at the same school to glean intelligence.
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melpomeneprose · 2 months
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He plays the violin. He tucks it right under his chin and he bows, oh he bows. — He Plays the Violin, 1776: the musical
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queerquaintrelle · 4 months
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TURNsgiving 2023 day 5: Modern AU
“You can never be overdressed or overeducated.” — Oscar Wilde, The Importance of Being Earnest
(College Professor Benjamin Tallmadge vs College Professor John André x the vampire Audrey ~ charmantevamp but make it dark academia, and Audrey playing “teachers pet” x2).
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Dark Academia classical: playlist.
An education in malice: playlist ~ curated by @saintmachina.
Inspired by this post by @honorhearted, An Education in Malice the novel by @saintmachina and this fic by @musicboxmemories. I’ll write this fic/RP, eventually, I just wanted an excuse to edit these. Also ft me romanticizing academia, and college, cause I can.
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yr-martyr · 5 months
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Hi Nat! Freya here. I saw you were doing art requests and wanted to put in my two cents. Could you draw any two characters you want snuggling in a bed. It doesn't have to be an AU but I think a modern AU would fit the concept. Other than that, go wild! Don't worry about straying from the prompt a little, I just wanna see some tooth rotting fluff.
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Under the covers :)
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Without the colors
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Here u freya!!
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charmantevamp · 10 months
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I give in to sin, because you have to make this life livable. / Strangelove, will you give it to me?
Ben x Audrey: @honorhearted.
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meerawrites · 1 month
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A New Year's Dare
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@ockissweek
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Read here.
Full collection here.
East Coast of USA, present day. 
“Is that a dare?” the raven-haired green-eyed vampire Audrey asked. A most pleased feline look on her charming face. 
Ben blushed furiously. 
“No– no,” Ben deflected, a lie, of course. 
“It is New Year's, ma cher,” Audrey purred. Leaning close enough to kiss alcohol and sweet perfume lingering on her. 
Ben paused. Heart pounding in his chest. He feels rather exposed at the moment, but shockingly he doesn’t seem to mind being called on her every whim. 
Closing the distance between them Ben’s mouth harshly met hers. Surprisingly, Audrey didn’t pull back, nor did she exercise restraint. Kissing back just as harshly a hand tangled in his dirty blonde hair. 
When Audrey pulled back they were both breathless. 
“Perhaps we should go somewhere where fewer can see us,” she said gently. 
Ben merely nodded and followed her lead.
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knowltonsrangers · 7 months
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The cutest thing just popped into my head: ben tallmadge x female reader where the reader is from the modern world and is stuck in colonial america so she doesn’t know how to put on a corset and is struggling af. she’s at the continental camp and ben notices out of the flap of her tent that she’s struggling so he walks into her tent and decides to help her lace up her corset and then does her hair in a braid (bc it’s down which was like considered immodest back then) HEHEKSJSJAJWKSJKAS and there’s hella tension n stuff between em and ben can’t help but admire her long hair down and the feel of it ykyk yeah thank u i love ur fics sm <333
TURN!Benjamin Tallmadge x reader
[a/n: aw, this is absolutely adorable! tysm for the request, I hope I did it justice!]
Ben ambled throughout the camp, pacing along the row of tents with his hands clasped behind his back. Every time he heard the flap of a tent open, his blue eyes would bounce to his own tent, hopeful that you would emerge dressed, and yet, it would be another officer going on with their day.
“Oh, for crying out loud—“
His boots meet the dirt in a dramatic manner, storming over to his tent, not quite sure what to be expecting, but it was most certainly not you struggling to lace a corset.
Staring in the entrance, hand pulling the flap back, he’s left stood completely still for a moment, then he clears his throat loudly.
“How long must this take you?”
In return, you yelp, your back to the tent opening. You were never expecting someone to be standing right there.
“Why?! Why did you just do that?”
Your heart clamps over your heart, in an attempt to qualm its fast beating.
“I didn’t mean to startle you, I’m sorry. But, haven’t you ever…?”
Ben notices your hands, and the messy loops, how you’ve been struggling for the past ten minutes trying to figure out the right way to lace the bodice.
“No, why would I? You found me in joggers and t-shirt,”
You deadpan, mirroring Ben’s expression as he sighs, letting the tent close behind him so the two of you are enveloped in complete privacy.
“May I?”
Your cheeks burn red, the tips of your ears as well, but you nod, spinning around once more as the officer approaches, gently undoing all the terrible knots you had made prior.
“You are aware I don’t entirely believe you about your nonsense, right?”
“Please. If this doesn’t prove it, I don’t know what will,”
Ben lifts your hair so it drapes over your right shoulder, out of the way as he begins to lace and weave the ribbon down the bodice.
“Your story is infuriating, but infatuating. I would be lying if I said that I don’t appreciate your story-telling.”
You gasp when he pulls it just too tight, your eyes blinking rapidly as he continues.
“Your stubbornness is infuriating, as well.”
Once he’s satisfied, you spin around, glancing up at the Major as he lets his hands fall to his sides.
“Thank you,”
“Not necessary. Though, you have to do something about that.”
He gestures to your hair, now back over your shoulder as it lays down along your back.
“Can you do it in a cute little braid like yours?”
It was a joke, you had all intentions to put it in a bun atop your head like so many ladies you’d seen around the camp, but Ben sighs, motioning for you to spin around once more.
Your mouth flubs, ready to tell him it was a reflex comment-and yet, the feeling of his calloused palms and soft fingertips running through your hair makes you snap your mouth shut.
“This is a customary hairstyle, I don’t understand why you must make fun of it.”
“It was just a joke, I’ll keep them on the DL from now on.”
Ben makes a face at the ‘DL’ comment, but doesn’t ask what it means.
“May I ask you something?”
“Sure, y/n.”
“If you really don’t believe me, why are you going to all this trouble?”
Ben hums, quickening his motions as the braid begins to descend down your back.
“I’ve determined you are no spy, when you didn’t even know which one was the Lieutenant.”
“I can’t tell all those uniforms apart, who could—“
“Like I said, a portion of me believes you. Maybe you just hit your head too hard and don’t know where you are. Maybe you’re telling the truth.”
“I am, but I’ll do whatever it takes to convince you, Major.”
There’s a bout of silence, and right when you feel him go to tie your hair with a ribbon, you offer him your hair tie over your shoulder.
“I’d like you to use this, if you wouldn’t mind.”
Ben says nothing but it takes him a good minute to figure out how to use it, and tie it securely into your hair.
“Thanks. Maybe it’ll keep me sane for a bit longer.”
“I don’t think you’re crazy, y/n. But I am enamored by your…way of doing things.”
The pink color returns to your ears, and you turn slightly, watching the way Ben takes a hesitant step back, admiring his work.
“Best to get you to the General.”
Your stomach flips, palms sweaty as he goes to exit the tent.
“If you don’t believe me, what makes you think the General will?”
“General Washington? He’s…he’s very good at listening.”
Ben misses the way your jaw falls open, mumbling about how on earth any of this was real, your shoes sinking in the soft dirt as you scramble after him.
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thenamesofthings · 7 months
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McKim, Mead and White. Wheatly, 1890–1900. Old Westbury, NY.
The Fruits of Capitalism
After the First World War, the first historians of American architecture attempted to determine just what the American spirit in its architecture was, and if the classicism of the 1890s had contributed to or hindered its expression. In his Story of Architecture in America (1927), Thomas Tallmadge made the dilemma clear, for while he respected McKim greatly, Tallmadge had practiced in Chicago and knew Sullivan and Wright personally, and therefore could write as a participant in the development of Chicago's "commercial style" and Wright's "Prairie Style." He entitled his ninth chapter "Louis Sullivan and the Lost Cause," not because he thought Sullivan or Wright had been wrong, but because what they had propounded was at variance with what the American and especially the midwestern public wanted. Neither architect had developed (up to the time Tallmadge wrote) a base broad or deep enough to carry the Chicago work forward into the 1920s.
In his later Architecture in Old Chicago (1941) he observed: "An artist's reputation with posterity depends on the vividness of his personality, on the power and popularity of his work, and most of all on the influence he wielded on his contemporaries and on his successors. If his power was so great that he changed . . . the course of architecture, creating a new expression which the people accepted, then he becomes one of the immortals. The men who have done this in America are Thomas Jefferson, Benjamin Latrobe, H. H. Richardson, Charles F. McKim, and Louis Sullivan."
It was Fiske Kimball, however, who went to the heart of the problem then beginning to cloud understanding of "Academic" architecture. In his American Architecture (1928), he defined two poles of modernism: the love of science and respect for abstract form. Kimball drew a parallel between Sullivan's architecture and "realism" in nineteenth-century painting and literature, all of which "emphasized the novel element in modern life rather than its continuity with the past." The counterpart to this was a movement to restore the supremacy of abstract form, centered in New York and led by McKim, Mead & White. By viewing this as a conflict in "an interpretation of architecture . . . in terms of mass and space" and an alternate interpretation of architecture as a "realistic" expression of structure, Kimball avoided questions of style and the idea of "classicism," already in 1928 becoming a pejorative term. He was correct, for to McKim and White it was far more than a matter of which style, but a question of a building's responsibilities to revealing internal functions or augmenting the larger context. For them, context and abstract form always were the determining factors. By 1900 the drive toward abstraction was in ascendancy, and, as Kimball notes, "McKim and his followers went on from triumph to triumph, finding in the early buildings of the Republic a supporting tradition and a national sanction." McKim's followers, those practicing as Kimball and his colleagues wrote, faced a quandary, for it appeared that "the great problems of our time have been attacked and solved with such perfect conformity to 'classical' ideals that little room is left for further creative effort." So, Kimball realized, "the disciples of McKim are condemned to ring the changes on the models already established. These tend to harden into formulae, sometimes relived in their application by subtle restudy of proportion and detail."
Within a few years of the appearance of Kimball's book, of course, opinions changed, so that functional "realism" in architecture came to be preferred to "abstract form." European progressives and radicals during the 1920s had been fascinated with the "realism" of Sullivan's buildings, seeing in them the realization of the realism advocated by Semper, Choisy, and Viollet-le-Duc. This led to the apotheosis of structural action, mechanical function, and industrial process, in the service of social reform, that shaped the early work of Gropius and Mies van der Rohe. Once this utilitarian-social theory was developed, it made "Academic" or "Beaux-Arts" architecture appear fallacious, since structural action was hidden and the building process was not pointedly celebrated. To this then was added a Marxist stigma, for it was the fruit of capitalism. "Our imperial architecture," wrote Lewis Mumford in 1924, "is an architecture of compensation: it provides grandiloquent stones for people who have been deprived of bread and sunlight and all that keeps men from becoming vile." Architecture, according to the new definition, was simply to be an envelope, sheltering the most forthright and structurally rational way essential environmental and physical needs. Richly ornamented public buildings were adjudged "imperious" and, ipso facto, oppressive. The groundwork for the popular notion of the "anti-monument" was laid.
It might be supposed that turn-of-the-century classicism would have been readily subjected to Veblenian analysis, but surprisingly few charges of "conspicuous consumption" were leveled at such public architecture even late into the 1920s. Later, when it was examined from a Marxist point of view, it was noted by Michael Klare that while such architects as McKim, Mead & White built for the wealthiest of capitalists, what they built for the most were pubic buildings generated by the strongest expression of richesse oblige the nation had yet seen. To a degree, this outpouring of hospitals, sanatoriums, museums, libraries, schools, and even entire colleges and universities, compensated for the slow progress of municipalities in providing such services. As Klare observed, one might say such buildings as Carnegie's hundreds of small libraries were undertaken to assuage guilt, reduce proletarian discontent, or effect something of a redistribution of wealth. The reason most cited by the participants, however, was to raise the standard of general intelligence, so that such architecture was judged by its donors not according to its utility merely but for its capacity to inculcate morals and social values. Consequently, buildings for institutions were regarded as vehicles for social symbolism, and this virtually required the return to an allegorical language in architecture and its attendant figural sculpture. This was precisely the reason given by McKim for using the Renaissance idiom for the New York State Building at the Columbian Exposition, for in usch architecture "the use of Allegory and Symbol is possible."
In his autobiography Louis Sullivan asserted that such classicizing allegory was alien to the American spirit and had been forced on a duped public. When the Autobiography of an Idea appeared in 1924, Mumford shared this view, and soon he was joined by Henry-Russell Hitchcock and Philip Johnson in proselytizing for the bare European modernism that was supposedly entirely sachlich ["objective"] and culture free. In 1936, Hitchcock presented the work of H. H. Richardson as leading the way to modernism, tending to dismiss any positive impact McKim or White may have had on their teacher; he believed that on leaving Richardson in 1878 White "left the position of a one-eyed minister to become king among the blind." The general acceptance of the "International Style," as Hitchcock and Johnson christened it, was reinforced by recurrent attacks on pictorial formal design during the 1940s, as in Siegfried Giedion's Space, Time and Architecture (1941), which claimed that the academics had contributed absolutely nothing to the Columbian Exposition. In 1947 James Marston Fitch wrote how Sullivan's ideals had been betrayed by the substitution of the classical architecture of the "Wall Street autocracy," and that after the Columbian Exposition "American architecture was undermined by the most dangerous reaction since its birth." The complete shift in public opinion was signaled by John Kouwenhoven's pronouncement in 1948 that "the work of men like McKim . . . had less relation to the vital contemporary forces of American life . . . than even the crudest, least ingratiating examples of small-town dwellings or the most materialistically functional office buildings."
Then, unexpectedly, following the Second World War, when the utilitarian doctrine was fully embraced by the public, the theorists and critics who had propounded the theory in the twenties and thirties began to change their position, calling for a return to monumental formalism in the new architecture required in devastated Europe, for an architecture of dignity and fundamental emotional impact, an architecture representing ceremonial life, going beyond mere functional fulfillment and expressing "aspirations for joy, for luxury, and for excitement." What was needed now were buildings which could not be justified at all by sheer necessity. Conversely, postwar public opinion had now been conditioned to support the wholesale demolition of Beaux-Arts buildings across the country, even though the qualities they incorporated were precisely those being advocated by the critics. In his encyclopedic Architecture: Nineteenth and Twentieth Centuries (1958), Hitchcock presented a view of traditionalist academic architecture just the reverse of that in his study of Richardson. McKim, Mead & White, in their Boston Public Library, were described as not refuting what Richardson had done but in fact pursuing a course he had already sketched out. Traditional or academic architecture was not meretricious or nonfunctional, as we had earlier been told to believe, nor was it to be dismissed with derision; it was simply necessary to evalyuate it by the humanist standards of the nineteenth century rather than utilitarian standards of the twentieth.
Vincent Scully's Shingle Style (1955) marked the beginning of a genuinely positive view of at least the firm's summer and country houses. And Philip Johnson evven went so far as to suggest the following year that "McKim of New York, in his Boston Public Library, contemporaneously with Sullivan, erected a design far purer, and much more inspiring to look at (at least for me), than nine-tenths of Sullivan's buildings." When the new editions of Hitchcock's Richardson and Fitch's American Architecture were published in the 9160s, the original pejorative passages were qualified, toned down, or stricken out altogether. . . .
. . . So, by 1980, the course of critical and popular perception of the work of the firm had come nearly full circle, approximating something of what it had been three quarters of a century before: first, the firm could do no wrong; then they could do no right; now they are seen as having built a remarkable number of astoundingly good buildings which warrant closer study.
—Leland M. Roth (1943–). McKim, Mead & White, Architects, 1983.
In my opinion Roth misrepresents Mies, whose work begins and ends with formal considerations and who never gave more than perfunctory lip service to "function," and that only in his earliest days. The passage is otherwise invaluable for tracing the path of opinion regarding an American architectural firm of great historic merit.
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ladytp · 10 months
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Show Off Tag
One of my earliest friends in fandom, creative and magnificent @supernovadragoncat, tagged me in this meme; a show off dare for fanfic writers. Something most of us are hesitant to do unless ‘forced’, so thanks for the tag! 😊
The Rules: Post the 5 fics you are most proud of then tag 5 people.
I chose deliberately fics from different fandoms I have written, as all of them had a special meaning to me at the time.
1.      This Time, We'll Do Better (A Song of Ice and Fire, Sansa Stark/ Sandor Clegane)
This was my “magnum opus”, a culmination of my desire to write a longfic with various side plots alongside the main story, with adventures, events, ups and downs – and using a devious theme of time-traveling to allow Sansa to do stuff that might not be believable in the strictly canon setting… It took exactly two years to write and post and it was all fun!
2.      The Triangle (’A Song of Ice and Fire’, Sansa Stark/Sandor Clegane/Jaime Lannister)
A bit like above, also a longfic but written much earlier when I wanted to explore a topic that had long fascinated me: the Arthurian love triangle. So I did scratch that itch and it was extremely satisfying!
3.       Jumping from the Ropes (’A Song of Ice and Fire’, Sansa Stark/ Sandor Clegane)
My only modern fic – set in a professional wrestling world that I followed avidly at the time. I didn’t think I would have enjoyed writing modern fic as much as did (as required by a fic exchange prompt) - and even continued it with a follow-up sequel! However, I think that might have been it about modern fic for me...
4.       Seven Autumns With or Without You (’Washington’s Spies,’ Benjamin Tallmadge/Caleb Brewster)
Hmmmm, I seem to have a penchant for sprawling fics… This too is a story covering the whole lifetime and the full love story of its central characters in the midst of American Revolutionary War. Sweet and bittersweet – that is my jam!
5.       To The Ends Of This Earth (’Our Flag Means Death’, Edward ‘Blackbeard’ Teach/Stede Bonnet)
This TV series blew me over like it did so many others – what a breath of fresh air and what an absolutely amazing love story! So I just had to write something about it, starting with ‘3 times when’ and then taking it to an AU direction. This is also my latest fic - how time flies...
I miss writing fic, but increased work responsibilities and stresses have kind of come in the way... However, I know of others who have had a lull and then started writing again, so I am hopeful that I will too, eventually!
I tag @weshallflyaway, @amplifyme, @ownsariver, @littlefeatherr and @enchi-elm – and of course anyone who wants to do this!
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A Modern Girl in a Revolutionary World
Based on this request:  Happy Birthday!! Would you be willing to write a modern!reader in the TURN universe? Maybe the reader saves John Andre’s life as a sort of secret vigilante and Caleb or Ben fall in love with her?? It’s kind of silly, but I think you could do well with it.
Here you are! *Familiar Characters are NEVER mine!*
Fandom: TURN: Washington’s Spies
Warnings: slight angst, mentions of executions, fluff
Pairings/Characters: Caleb Brewster x modern!fem reader, Benjamin Tallmadge
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"Dammit," you growled out feeling dirt digging into the skin of your knees. Your jeans had torn a bit when you fell. You could be clumsy at times. It happened. What had never happened before was ending up in a COMPLETELY DIFFERENT TIME! You didn't know how it happened, but it had and now you were stuck in Revolutionary times, currently running from a few red coats. You knew, if they caught you, you'd probably be hanged as a witch or a mad woman or something. Fortunately for you, you were discovered by the right people.
         The first person you met was one Captain Benjamin Tallmadge. He was kind, but reminded you far too much of Captain America. That wasn't really your type. A good friend perhaps, but nothing more. Not that you were looking for any sort of romance. At least that's what you thought until you met Caleb.
         At first, you and Caleb did not get along at all. You fought like cats and dogs. Maybe it was because you both had such strong personalities. Or maybe it was the underlying sexual tension between you that neither one of you wanted to admit. You couldn’t say. But the more time you spent with him, the more you started to like him.
         Caleb had such compassion for people, even when he tried to hide it. He truly believed in what he was fighting for. And he could be quite charming and funny when it suited him. It made being in his care a little bit easier. Since Ben was a Captain and usually fairly busy, it gave you a lot of time with Caleb. He grew on you far more quickly than you ever expected. Over the months, you found yourself falling in love with him. Which was why your heart broke when everything went to hell.
         You were currently sitting on a cot in front of Caleb and Ben who both wore disappointed, angry expressions. Ben was more furious than Caleb, which was surprising considering Caleb had more of a temper. Still, you wouldn't change what you did. John Andre hadn't deserved to die. Not like that. Having studied history(and watching TURN), you knew more about Andre than Ben, Caleb, or even Washington.
         John Andre was just a man doing exactly what he was expected to do. He had been raised to believe he was inferior and was merely trying to prove himself to those above him. Mostly Peggy Shippen's father. Just because the love of his life had been forced to marry another did not mean Andre loved her any less. Andre did what he had to do to stay alive and keep Peggy safe. That wasn't worthy of execution in your mind. Not for him. For Arnold maybe, but not Andre. To that end, you decided to try and save him if you could. You hadn't counted on Caleb catching you leaving the scene.
         "What were you doing?" Ben hissed while Caleb simply stared at you with an expression you couldn't quite place. "The right thing. Andre didn't deserve that." Caleb scoffed and reminded you that Andre was technically the enemy. "By whose standards? Aren't you fighting for something you believe in? Fighting for what you think it right? So is he! The life he is fighting for and spying for is the ONLY life he's ever known. While I agree with your stance, I can also empathize with people like Major Andre. I don't regret what I did and if that means I trade my life for his, then so be it."
         Caleb, whose arms had been crossed over his chest, let them fall to his sides as he gaped at you in disbelief.  Ben blinked rapidly for a moment before stalking out of the tent muttering under his breath. You and Caleb were left alone. His eyes were glued to you as if he were trying to decipher something.
         After a few moments, the air between you became stifling. "Are you going to say anything?" you asked when you could practically feel the tension sitting on your chest like a boulder. Caleb opened and closed his mouth a couple of times. He seemed uncharacteristically…nervous. He ran a hand over his beard and sighed.
         "Did ya think about anythin' else while ya were out there savin' the enemy, Y/N/N? What if Washington had seen ya? He'd execute ya fer treason, just like Andre. Did ya think about what would happen to ya? What I would do?" Your brows drew together in confusion. Caleb didn't strike you as the kind of guy to beat around the bush. He had always just come out and said what he was thinking to you. About everything from the war to Ben to the ladies (your least favorite topic when it came to him, if you were being honest). Caleb Brewster never seemed to run out of things to say.
         "What do you mean?" you asked. "Do ya think I could just sit and watch ya die? Let Washington hang ya and not be able to stop it?" he answered, "Do ya think I'd be able to keep fightin' if I had to watch them kill ya?" While you were touched by his admission, you didn't know if you could believe him. "You'd be fine, Caleb. You have plenty of admirers."
         Caleb put his hands on his hips and scoffed lightly, shaking his head. "Ya don't get it, do ya? There aren't any ladies. Haven't been since I met ya. How can there be when all I can think about…is ya?" His voice softened as he confessed. You stood on shaking legs and slowly moved to stand in front of him. His hands remained on his hips, his gaze down at the ground.
         "Caleb? Look at me," you requested. Caleb looked up and nearly jumped seeing you so close. You reached over, taking his hands in yours while he regarded you with curiosity. "I think I love you too, Caleb," you whispered. His eyes widened, causing you to laugh a bit. "Ya do?" You nodded. "I do. And I'm sorry I hurt you with my actions. And that your friend hates me now." Caleb chuckled. "Tallboy doesn't hate ya. He'll calm down. Especially when he sees ya've got me outta his hair." You let out a giggle before wrapping your arms around him.
(a/n: I hope you like it! Tag lists for everything are OPEN!)
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musicboxmemories · 9 months
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Another Time, Another Place https://archiveofourown.org/works/47877859/chapters/120704998
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Pairing: Benjamin T./Original Female Character Summary: When Benjamin Tallmadge (literally) crashes into Layla Blake, she soon discovers he’s not some d.runken re-enactor, but a living, breathing relic from years past. In between teaching him how to behave in modern A.merica (toilet paper included), can she ignore her affections and help him return back to his own time?
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honorhearted · 3 months
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For modern AU Benjamin Tallmadge:
“It really is nice out tonight.”
From ~ Audrey ~ charmantevamp
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Ben jerked, not having expected the intrusion. In truth, he'd gone o.utdoors in need of air -- the f.estivities inside were capable of making him feel quite lonely, given the memories they were starting to unlock -- and offering the woman a wan smile, he inclined his head and replied, "I suppose so."
If she meant nice as in the w.eather, then yes; if she meant nice as in the beautiful scenery, skyline and glittering s.tars up above, then also yes; but Ben couldn't find it in himself to agree that the night was pleasant.
"You should go back inside," he said. "I'd hate for you to miss the c.ountdown just because you chose to stay out here with me."
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melpomeneprose · 5 months
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Ben should be Magic Mike for Halloween
Here.
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Again, he can’t exactly tell if this is meant as a compliment or insult, or a flirtation. But he’s mildly offended now regardless.
“With respect, that is not my realm of expertise,” he sighed. Then he adds, “I’m not that talented, also I pity strippers, I also wouldn’t wish to be one, personally. Also, with respect, I don’t even know you.”
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kittycattscathy · 1 year
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Rewrite history
This is something that is currently sitting in my drafts. A modern woman somehow ends up in the year 1777. She stumbles upon Benjamin Tallmadge whom she thinks an actor at first. Turns out that he isn’t and she discovers that she is indeed in the past and hasn’t somehow stumbled upon a film set.
She realizes what this means and even though she knows little about the American revolution, she wants to help them win. Think of it as a culture clash. The possibilities with music, sports, customs and much more. The military is stationed at Valley Forge where she knows will be the pantless flaming shots party. just imagine what could happen if she attended the party.
You know how soldiers were deserting? Yeah, entertainment keeps them in the military, who would’ve thought. She thought and pressed Washington to allow her to do this. Maybe teach them football or some other sport.
She is friends with Ben and some other people. She sings a lot and it sometimes leaves her friends confused or downright terrified. She also has some piano skills which she uses to entertain even more people.
I have so many ideas for this AU but the problem is to get them into order and make sense of them. And if you have some other ideas let me know, I would appreciate it!
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