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zepskies · 9 months

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Devour Me - Part 1

Pairing: Dean Winchester x Plus-Sized/Latina!Reader

Summary: When you and Dean start to press each other’s buttons, both of your tempers ignite. To make up for it, you give him an impromptu salsa dancing lesson…one he didn’t exactly ask for. (18+)

AN: This is a two-part sequel to “Midnight Espresso!” I would read that one first before you dive into this one. (It’s fun, I promise!)

Word Count: 3,800 Tags/Warnings: Supernatural shenanigans, tiny bit of body insecurity, hurt/comfort, fluffy fluff, and a cliffhanger...

☕ Midnight Espresso Masterlist

Part 1: "A Takeover"

When Dean asked you to move in with him, he really didn’t think it would come to this.

Clearing a nightstand for you, half of the dresser, a section of his closet. Those things are reasonable.

But this is a total takeover, he thinks, as he surveys the sheer amount of crap you’ve brought into his room.

Mind you, despite this still being a bunker, the décor is nice. You brought in sturdy, but stylish wicker baskets for his pile of cassettes (and your CDs) next to the TV, filing bins for the haphazard shuffle of papers on his desk, installed dark wood shelves on the wall for his various weapons and your collection of books.

But he’d had his music organized—not alphabetically or chronologically, but by his own personal rankings of awesomeness. Now they’re all shuffled together by band name.

Plus, he likes having his shotgun on the floor by the bed, within reach, not three feet above his head. And where the fuck is his collection of…magazines?

The point is, every time he looks for something, you’ve put it in a different place. Not to mention the damn bathroom (don’t get him started on all your shea butter lotions, makeup brushes, frilly-smelling soaps, and the army of hair products now taking up space in his cabinets and drawers).

Dean is sitting on the edge of the bed, trying to figure out where the hell his cassette of Zeppelin IV is, when you breeze into the room he now shares with you. You’re dewy with sweat in a Guns & Roses shirt and some yoga pants you reserve for cleaning.

And that’s another thing. You’re more anal than Sam about having the bunker smelling like Pine Sol. However, as you’ve expressed before (after nagging him to pick up his dirty, and occasionally bloody clothes from the floor), while you like a clean house, you are not in fact the maid.

“Hey, baby. Can you fold these for me?” you request. “I need a shower.”

He raises a brow as you dump a new basket of fresh laundry onto the bed. It looks like you washed your clothes mixed in with his, which he actually doesn’t mind. He fishes out one of your red, lacey thongs with a hint of a smile. He bought you these last week, and they already have a tear. (His fault.)

“By the way, next time you move one of my things, mind leaving me a post-it note or something?” he dryly remarks. “It’s like a scavenger hunt in my own damn room.”

You pop your head out of the bathroom, though he can tell by your bare shoulders that you’ve already gotten undressed. Your mouth is quirked at the corner.

“It’s called organization,” you tease. “Apparently a foreign concept to you.”

You disappear back into the bathroom, giving Dean the privacy he needs to grumble almost inaudibly to himself. But then he hears your voice behind the door.

“Oh, by the way. Your vintage collection of smut is in the bottom of your nightstand,” you call out. “That 1996 edition of Busty Asian Beauties is particularly classy.”

Dean hears the wryness in your tone, and his face actually heats up in embarrassment. He frowns at the bathroom door, his jaw tensing, but he takes a breath. Deciding to let it go with a roll of his shoulders, he puts on the TV to catch up on Dr. Sexy M.D. He also neglects the task you gave him, just for a little while.

When you’re still in the bathroom an hour later, Dean starts to get curious about what the hell you’re doing in there. The shower isn’t even running anymore.

That’s when he hears the hairdryer go on.

He knows he’ll never be able to concentrate on his show with all that noise. So with a sigh, he clicks off the TV and eyes the pile of laundry. You probably cleaned the whole freaking bunker this morning. Despite his annoyance, he figures folding your clothes along with his own is the least he can do.

Dean scoops up the pile back into the basket and takes it elsewhere.

He finds his brother at the kitchen table and joins him with his basket. Sam’s gaze raises from his laptop to meet his brother’s grumpy face. He watches in mild curiosity as Dean plops down across from him and dutifully begins folding one of your shirts.

“You okay?” Sam hazards the question.

“Fucking peachy,” Dean replies. “Looking for a new case?”

“Yeah. Nothing yet.” Though Sam raises a brow when Dean all but tosses one of your girly sundresses on the table after it’s folded. (It’s yellow, and it happens to be his favorite on you.)

“Everything all right?” Sam asks.

Dean glances up, finds his brother’s knowing eyes, and doesn’t have it in him to lie. He lets go of a breath, as well as one of his undershirts to rub at his forehead.

“She’s nosey, Sam. She’s all up in my business.”

“Your girlfriend?” Sam clarifies, with raised brows. “Of six months.”

“Yeah, that one,” Dean quips, with all due sarcasm. “Ever since she moved in, she’s been going through everything, moving my crap every which way, making it so I can’t find a damn thing.”

Sam’s mouth edges at a smile.

“I’m tellin’ you, Sam, she’s damn near taken over,” Dean insists.

“You done?” Sam teases. Dean just leans in, like he’s about to level his brother with a secret.

“Matter of fact, she locks herself in the bathroom for like, forever. I just heard the hairdryer go on, meaning another hour at least. What the fuck is she doing in there, getting ready for prom?”

Sam finally has to chuckle. “Clearly it’s been a long time since you’ve lived with a woman, Dean.”

Dean scoffs. “Right.”

“And she’s actually been a big help in cleaning up around here,” Sam says, with a growing smirk. “Which is, quite literally, a refreshing change.”

Dean snorts at that.

“Of course, you’re happy,” he says. “A new damn dish rack turns you on.”

Sam shoots him a wan look. “The question is, are you happy?”

That manages to take Dean by surprise. He hesitates to answer…

But he’s saved when he hears someone approaching. He knows it’s you because he can smell the mix of your floral soap and coconutty shampoo; it’s a scent that often lingers on your pillow and has unconsciously infiltrated Dean’s nose.

His reply to Sam dies on his tongue when he sees you.

“Hey,” you greet both men, all bright and smiley with your hair in wild curls down your back.

A lot of the time you keep your hair straight or loose and wavy, so it’s rare for Dean to see your natural look. It’s a good one for you, he thinks. Along with those jean shorts hugging your curvy hips, and the V-neck top you’re wearing, which offers a nice peek of cleavage.

Your hand falls on his shoulder, with your thumb stroking his neck. You then brush that hand across his back as you pass by on your way to the kitchen. If possible, you’ve become even more touchy since you two got together.

Dean holds fast to your hand, stopping you in your path.

“So that’s what you were working on in there,” he remarks. “Thought I was gonna need to break out the fire extinguisher.”

You grin in amusement and do a little twirl under his hand, shaking out your curls a little.

“You like?” you ask. Dean tugs you back over. He reaches out and fingers at the soft ends of your hair.

“Beautiful,” he says.

“Looks real nice,” Sam adds.

“Why, thank you.” Your smile is contagious, and Dean can’t help reciprocating. You drop a hand on his shoulder again.

“I know you’re our resident Gordon Ramsay, but I kinda feel like cooking today,” you say. “Is Cas coming home anytime soon?”

Dean nods. “Yeah, he called this morning. Probably dropping back in tonight.”

You nod. “Good! I’ll make plenty then…oh, wait, he doesn’t eat.”

“What did you have in mind?” Sam asks.

“Well, I know you guys haven’t had much Cuban food, so I thought you might like to try some ropa vieja,” you reply. Sam’s brows knit together.

“Old clothes?” he translates. His two years of high school Spanish can give him that much.

“Yeah! But it’s basically shredded beef with onions, garlic, tomato sauce, and a bunch of other good stuff,” you explain. Then your eyes brighten. “Oh! And I can make my grandma’s famous black beans, white rice, some bread with crushed garlic and olive oil…”

By the time you finish listing the things you plan on making, Dean is already salivating.

Later that evening, when Dean actually gets to sample said food, he’s eaten enough for three men in the span of forty-five minutes.

“Jesus, man. Going for a record on indigestion?” Sam cautions him, despite his amusement.

Dean pointedly ignores his brother to look over at you. After he swallows another forkful of beef stew, he says, “Not for nothin’, this is probably the second-best meal of my entire life.”

“Oh, yeah?” You giggle. “What’s number one?”

“Diner called Slammies in Alabama. Best fucking pie on Earth,” he easily recalls. “Double applewood bacon cheeseburger, chili cheese fries, brick oven pizza. Bar none.”

Sam inclines his head, remembering the food coma he and Dean had that night. They’d hit the rock-hard pillows at the motel and slept like they’d been on an all-night bender.

“But this is like, right there,” Dean says to you, leveling his hand up by his head.

“Well, let’s see if this moves the needle,” you reply as you get up from your seat. You answer the question in his eyes. “Forgot something, hold on.”

But before you can leave the table, Dean reaches over and takes your hand.

“Thanks, sweetheart. For all of this. I mean it,” he says.

A soft, genuine smile grows across your face. You lean down and press a tender kiss below his hairline, stroking his cheek before you go.

Dean quirks a smile. It’s taken him time to get used to how open you are with your affections, but he likes it. All of it. Every time you reach for him, touch him, brush against him, intentionally or not. He always has.

Though he has to resist embarrassment when he notices the way his brother is watching him. Sam raises a brow, smiling that irritating smile of his.

“Oh, yeah. You’re not happy at all,” he intones.

“Never said I wasn’t,” Dean says defensively. But he perks up when you return. Maybe you’re bringing more garlic bread.

Instead, you’re holding a tin pan.

“What’cha got there?” he asks.

“Dessert,” you announce. It’s a Cuban flan: creamy, rich custard with a consistency smoother than cheesecake, and thicker than pudding.

You haven’t even sat back down yet when Dean carves himself a generous slice. He moans when a large forkful melts in his mouth. You start to blush as you watch him with crossed arms and a hand over your smile. You don’t know whether to be amused or flattered.

Sam watches his brother stuff his face with a subtle shake of his head.

“You’re enabling him,” he tells you. You shrug, but then you rest your hands on both Sam and Dean’s shoulders.

“Now I have someone to cook for,” you say. You have tears in your eyes, but you quickly blink and try to turn away. Frowning, Dean takes your hand.

“Hey, where you going?” he says, and aims to pull you into his lap. You hesitate, knowing you’re not going to be able to squeeze between him and the table.

“It’s okay, these hips don’t fit,” you chuckle wryly, with a sniffle. But Dean just backs his chair up from the table a bit to make room.

“What’re you talking about? You fit right here,” he says firmly, and he tugs you down. This is the one thing Dean has tried his damndest to break you out of—that self-deprecating streak of yours.

You finally accept being guided into his lap, where you indeed fit snugly across his thighs. His arm comes around the front to hold you close by your hip, while his other hand rests comfortingly on your back.

Looking up into his eyes, you draw enough courage to be honest.

“I was mostly raised by my grandma,” you begin to explain. Your father wasn’t ready to be one, and so wasn’t in the picture. Your mother died when you were in high school. So when your grandmother also passed away a few years ago…

Well, you’ve been alone for a while.

You sniff and wipe at your face, but your eyes close as Dean’s lips press above your brow. When you next open your eyes and cautiously look between the brothers, Sam’s sympathy warms you.

“If it isn’t obvious, you have a home here,” he says. “We can never replace what you’ve lost, but…we’re your family too.”

You know that Dean feels the same way by the way he brushes the tears from your cheek, thumbing at your bottom lip.

"You're right where you need to be," he says, with a hand squeezing your hip. His sincerity is in his even tone, in the firmness in his eyes.

You’re able to smile a bit.

“Ah…I’m interrupting, aren’t I?”

The three of you turn to the kitchen doorway, where Castiel stands awkwardly. He clearly senses emotional tension, but it breaks the moment you turn to him with a tearful laugh.

“Hey, Cas. Have you ever eaten ‘old clothes?’” you ask.

His puzzled expression is absolutely priceless.

When Sam finds a possible hunt in Hope, Indiana, Castiel agrees to go with you all. It’s a small, corn-fed town in the middle of nowhere, and five people have gone missing over the course of a year.

The latest is a nine-year-old kid named Andy Campbell. That alone upsets you; if you have one weakness, it’s for kids.

“Local farmers have been reporting dead cattle too, drained of blood,” Sam says from the passenger seat in the Impala. “I’m thinking vampires trying to keep a low profile.”

“Sounds about right, if a bit sloppy,” Dean remarks. They are in the Midwest though. If this is a coven, or even a rogue vamp who’s been here a while, maybe they got lazy. “So what, police station first? Get any details they might’ve missed.”

“I want to talk to the kid’s mom,” you say. It earns Dean’s gaze at you in the rearview mirror. “We can get the last time she saw him, where he went missing, anything she might’ve held back from the police.”

He nods and shares a glance with Sam. “I’ll go with her. You and Cas scope out the station.”

The angel has gotten better at pretending to be a Fed, but not by much. Sam agrees, even though Dean sees in his face that he’d rather be taking his brother. Dean tempers a smile and keeps driving to the closest motel in this dusty town.

You don a sensible pantsuit to match Dean’s Fed suit, along with your badges: Agents Buckingham and Nicks.

When Andy’s mom, Rachel Campbell, opens the door of her modest home to you and Dean, he lets you take the lead. You’re good at this part, connecting with the victims and getting them to talk. He sometimes worries about you though—that your soft, sympathetic heart will get the best of you.

“How long has Andy been missing?” you ask, accepting a cup of tea from the woman.

Rachel is around your age, maybe a few years older. She looks run down, a shell of a human as she looks at the carpet rather than at you or Dean. You can’t know exactly how she feels, but you have a vivid imagination.

And from the various pictures of her and Andy on the wall, just the two of them, you deduce that she’s a single mother. Just like your mom had been.

“Almost four months,” she admits. “The police station doesn’t even return my calls anymore.”

That upsets you, but you keep a lid on your emotions to focus on the woman in front of you.

“Andy’s father, he’s not around?” Dean asks. Rachel shakes her head, confirming your suspicions.

“No, we split up shortly after he was born,” she replies, her tone tired and resigned. “I was at work. I uh, I work at a doctor’s office. Andy was supposed to come home on the bus, like any other day…but he never did.”

She sucks in a shaky breath as the beginnings of tears make her eyes red and glassy.

“His school couldn’t tell me why he wasn’t on the bus. But one of his friends said he was late getting out of class, so he must’ve tried to walk home. Even though he knew he could call me when that happens…anyway, somebody must’ve grabbed him.”

Rachel looks away as a tear streams down her cheek, followed by another. You feel your throat tighten with a sympathetic burn behind your eyes, but you keep it at bay long enough to set down your tea. You reach out and lay a hand on the woman’s hand. She meets your steady gaze.

“I promise, we’ll find your son,” you tell her.

“What?” you ask Dean as the two of you leave the small house, walking back to the Impala in the driveway. You just know there’s something up with him by the stoic look on his face. It isn’t so stoic to you.

He waits until the two of you are in the car before he levels you with a raised brow.

“Look, I know you want to find this kid. I do too,” he says. “But watch out about making promises you can’t keep.”

You frown back at him. “What’s better, letting that poor woman have no hope at all?”

In his mind, Dean thinks it’s worse to give her false hope. But he sees how stubborn you’re getting, so he doesn’t push it. The fact that you care about people like Rachel is part of what drew him to you in the first place, but there’s a line, he thinks. A point where you can care too much.

When you two eventually meet up with Sam and Castiel, they’ve been able to confirm from the body of a recent Jane Doe, with a row of lethal bite marks on her wrist, that this is definitely a vamp case.

After narrowing down where each of the victims were taken, the four of you sketch out a perimeter of where the monsters could likely be hiding. It’s Dean who finds the old barn on the verge of a corn field, about three miles away from the school where Andy was taken.

You all wait until high noon the next day to scope it out. Looking into the front windows is useless; all evidence points to an empty home.

The back of the barn is another story. Cracking the barn door open reveals a large storage area, where a nest of vampires are sleeping in their beds. Some are coupled off, but you note a few on single beds.

Then, your eyes narrow on the humans sleeping piled together in the corner—three women, a young man, and Andy Campbell on a twin-sized bed of his own.

Dean carefully closes the barn door, and the four of you regroup back to the Impala.

“It’s a bigger nest than we thought,” Sam says, though he keeps his voice quiet. Dean is already opening the trunk for his favorite machete.

“First, let’s get those humans out,” he says. You agree with a nod when he hands you a weapon.

Dean shoots you a wink. “This one’s Brenda.”

“What happened to Lucille?” you ask, taking the knife from him.

“That’s the bat wrapped in barbed wire. Matter of fact, I should break her out.”

Dean reaches into the trunk and pulls out the blood-stained bat. He rubs the handle fondly.

“Ahh, Dad loved this thing.”

You sidle up next to him and glance over wryly. “You want some alone time with your big stick, there?”

Dean flashes you a smirk, giving you a long once over in your form-fitting shirt and jeans. “Well, you’re certainly welcome to join me, sweetheart.”

You snort in response, bumping into his side with your hip. Dean teasingly bounces one of your curls in your face. You smile and swat his hand away.

Sam subtly rolls his eyes, despite a small smile as he shares a look with Cas.

“All right. Can we go, please?” Sam says in amusement. Castiel awkwardly straps on a machete to his belt. He doesn’t believe he’ll need it, but Sam and Dean are always prepared. He wants to be as well.

You’re ready to go, but Dean holds you back by your shoulder. You look up at him curiously.

“Hey, follow our lead on this one, okay?” he asks.

You sense that he’s hedging at something more specific with that request.

“What do you mean?”

“The kid. I know you wanna beeline for him the second we get in there, but hold off,” Dean says. His gaze is serious. “He could be turned.”

He got a good look inside, the same as you. The kid was lying on a bed while the other humans were chained up on the floor. Still, you shoot him an incredulous look.

“Why would they turn a kid?” you ask. “They have the others.”

“Yeah, and they were chained up. Why not him?” Dean asks, imploring you to think logically. He shares a look with Sam, who silently agrees. You look between the brothers with pursed lips.

“Maybe they don’t give a fuck, because they’re cocky assholes,” you retort. And you walk past them to head back towards the barn.

The brothers and the angel share one last look, with Dean letting out a subtle breath before he follows you.

You creep back into the barn, as quiet as possible through the room of snoring vampires. The brothers and Castiel go to the sleepy women in the corner. They look dirty and malnourished, wearing threadbare clothing. Sam feels the pulse of the man prone on the floor, but he’s already dead.

When one of the girls wakes with a whimper, Dean holds his finger to his lips, warning them all wordlessly to be quiet. He looks over and doesn’t find you next to him. He nearly curses out loud when he sees you heading for Andy’s bed across the room.

Meanwhile, you touch the little boy’s shoulder and shake him a little. He wakes with a small sound of reluctance, but you shush him gently.

“Andy?” You grasp his shoulders. He nods, though his blonde brows are furrowed with confusion.

“Who…who are you?” he asks. He rubs at his sleepy brown eyes.

“I’m here to help,” you reply in a whisper. “I’m going to get you back to your mom, okay?”

After a moment, he nods and lets you pick him up into your arms. You hazard looking over across the room, and you find Dean’s annoyed gaze. Despite the uncomfortable churning in your belly, you ignore him for now and head for the back door.

You’re only able to take a few steps when you feel a hand wrap tightly in your hair and pull it away from your neck, just for rows of several razor-sharp teeth to sink into your neck.

AN: 😬 ...Sorry. If you don't know me by now, I love a cliffhanger. But how'd you like Dean getting used to sharing his space? (And having someone to occasionally put him on his toes.)

Part 2 will feature a good old fashioned "you should've listened to me" fight, some angst, some making up, some salsa dancing, and a healthy dose of smutty smut.

Next Time:

“I don’t care what that legendary gut tells you,” you sass back. “I’m not a little girl, and you’re not my damn father!”

Dean raises incredulous brows at the way you’re shouting at him. He crosses his arms.

“What’s this, some kind of Latina temper?” he asks snidely.

You truly become incensed at that.

Keep Reading: PART 2

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onmyyan · 2 years

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I love Caspian, the perfect soft yandere!

If his darling tried to leave would he be the pathetic cry baby who sobs as they try to leave and the guilt makes them stay or the possessive "You can't" and keeps them restrained kind?

A/N: WOOOO I love him n I wont him feedback is always welcomed hope u like🖤 (EDITED 12/16/22)

T/W's: Cis fem reader, Yandere shenanigans, manipulating but the hot kind, cursing

Okay, so the fun thing about Cas is he is charming. Like poured all his points into charisma, any chance to fight or argue is crushed by his silver tongue, people look at him and assume he's all brawn and no brain and he liked it that way, made it easier to crush vermin but I digress, we got a master manipulator on our hands, he'd never use his powers for anything that could cause you harm of course!

It's everyone else who's gotta be worried. He would slowly and meticulously isolate you but you're having such a good time you don't notice until someone else points it out. He's so good in fact before you know it he's the only person outside of work you've spoken to for three weeks. You'd been so wrapped up in Caspian everything else faded away, he had that effect on you a lot, you were so enamored with him that you'd completely forgotten about a brunch date with your girls planned ages ago, so when you're rushing around to get ready to leave he's suddenly behind you, his all-encompassing frame pulls you in from behind as he silently takes his morning kiss, his lips taste like maple, warm hands tilted your chin up for deeper access which he explored immediately. His tongue snaked its way in your mouth to dance against your own, the little moan he let out as he pulled away was downright sinful.

"Where you off to looking that fuckin' good." His words had some bite but no malice, suddenly flipped you around to face him, "Lemme' get a proper look at my girl." His hands trailed down your waist with a heated force. He sucked his teeth, shaking his head with that wicked grin, he leaned down to steal another soul-stealing kiss, "S'it my birthday again?" He always made you laugh, your face hot and cheeks sore from grinning like the fool in love you were.

"Just gonna get something to eat with the girls, you remember them right?" You'd turned once more to finish getting ready and missed the meanest expression curl on his face. He nodded, more to himself than you, with a half-hearted laugh. "Course I do."

It was about three weeks into the relationship when you first brought it up. He knew your partner meeting your friends was socially important but truthfully he couldn't give less of a shit at the idea of sharing you with anyone, he did that enough already in his mind. However, the shy way you pitched the idea to him had his heart melting and he had to physically keep his hands occupied so they didn't squish your cheeks. Naturally, he said yes, hoping he could keep himself in check and not scare you off but your little friends sure made it hard.

He remembers the way they stole your attention the entire night you'd introduced him to your friend group. The two women had made up their minds about him before he had gotten a word out he just knew, the slight widening of their eyes and the rapid way they texted under the table, but what sealed it was when you excused yourself to the bathroom, the two women following after you like lemmings.

He debated his actions for a split second before pulling out his phone and logging into the bug he'd installed on your cell. Now- he trusted you with his life, but he also knew how kind and forgiving you could be which the worst kind of people were attracted to. He trusted you to tell him if something was wrong, this was just an extension of that trust.

He caught the shrill voices of your companions with a wince, "-ly shit (y/n) he's is so fine!!" The giggles that followed belonged to you. "It's been so unreal- I feel like-"

"Is it serious?" One interrupted- he thinks her name is Shea, much to his annoyance.

"What do you mean? I think so- I hope so." His blood began to simmer at the two harpies polluting your thoughts. "It feels serious." You said mostly to yourself as the two women were chittering amongst themselves like teenagers, his hand found his chest at the sound of you reaffirming the truth, while you may not know it for certain yet, he knew you were his person.

"Why'd you ask?" You questioned softly, the silence that followed was thick, "Girl it's nothing. I was just asking if you were exclusive or like seeing other people." He could practically see her lewd expression, her tone made his stomach lurch, to think you thought these people were your friends. "Yeah, again I ask why?" You sounded uncomfortable, the edge in your voice only fueled the fire in his belly. She scoffed a laugh, clearly not ready to be called out, "Oh my god (Y/n) baby you are so tight for nothing- I was just seeing if you guys were legit- come on he's ridiculous you can't blame me for asking."

"Yeah don't get upset she was just kidding-come on our food should be there by now." The second woman dismissed your unease and tried to move past the situation which you chalked up to nothing and silently made your way back to the table where he'd been waiting, his phone tucked securely in his pockets. He watched you try to put on a face, to engage and be present but that wench of a woman across from you had ruined your mood.

He pretended to get a text and pulling out all his training in the theater he gasped, suddenly jumping to his feet, shocking all three of you.

"Ma called the bees are back!" He panted as if stressed, quickly grabbing his coat and throwing enough cash on the table to cover you both, you'd stood as well, the pure confusion on your face nearly made him break character, but he stood strong. "I'm sorry- bees?" You asked in disbelief, slipping on your own coat, his hand grabbed your purse for you, the other wrapped around your waist as he began leading you away, "Uh bye? I'll call you later." You yelled over your shoulder, squeezing his hand, "Is your mom okay? What's going on?"

"Oh she's fine I lied." He squeezed the flesh of your hip gently pulling you closer to his side. You couldn't help but laugh at the ridiculousness of it all. "You lied to get outta there? Why? Did Shea say something to make you uncomfortable-"

"No- you came back looking sad, and I didn't wanna' yell in such a nice restaurant so I made a call." He kissed the side of your head as you two leisurely walked back to the car, he'd spend the rest of the night showing just how much better company he was.

He is the biggest baby in the universe, and the thought of you being alone with those two demons made his skin crawl, so he'll crank up the drama to 11 and begin moping around until you ask him if he's alright, which doesn't take much as he looks like a kicked puppy. He assures you nothing's wrong but he makes it sound unbelievable until you, being the Angel you are say you're not leaving until he tells you what's going on, cue the waterworks as he "looks" for the words to say, you're by his side in a second, and as soon as you're within reach he's clinging to your middle, the hot tears streaming down his face left a growing stain on the nice dress you'd put on, he'd let himself be consoled by you, let himself be silently rocked and babied until he's "ready" to talk.

"I'm so sorry Honey- I'm keeping you from your brunch, don't worry I'm fine I'm just having a bad day. Go, have fun, I'll be here when you get back." He didn't need to look up to see you shake your head.

"Shut your beautiful face, I'm ordering from your favorite and we're having a self-care day okay baby?" He would nod into the flesh of your stomach, his grip tightening. "Thank you Sugar, you always take care of me, I love you." He's a whiney blubbering mess anytime you try to do anything without him but you're so focused on cheering him up that you don't notice the pattern until it's too late.

#yandere #yandere x reader #yananswers #yandere x y/n #yandere oc x reader #yandere oc #yandere oc caspian #caspian delmont

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gromlyn · 20 days

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(Asoiaf AU) Shea Reed, a greenseer plagued by dreams of mist and eyes. He eventually goes south and gets involved with Targaryen shenanigans.

#he’s just a weird little man #asoiaf au #asoiaf oc #shea reed #my art #house reed #character art #blood moon #a song of ice and fire #illustration #digital art #procreate #artists on tumblr

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methinkethashipeth · 2 years

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More modern/college AU shenanigans, Byleth is still a teacher lol

Shez can hold a serious grudge but Byleth barely remembers him lol-

Also did wanna add these two chaotic edgy twins, thought to name them Shez and Shea (pronounced Shee-ah or Shay-ah idk yet-)

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golbrocklovely · 1 year

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colby is a very contradicting human being. just when you think he has changed, hes gotten the hint, there is not more he can delete,he goes back and throws in a old snap question from Ms snapchat and we’re back to square 1. i think most of us have caught up to her game by now, how conniving she is, and deemed it pretty pathetic and sad, but he loves to be the second player whenever things are finally starting to settle down and get quiet. if he ruins this year with his shenanigans again i am officially done with all of them. i think twitter has calm down, more people have opened their eyes and then there he goes once again with mlp, and ms snap, and traitor taylor.

i might be giving some controversial yet brave opinions here in this ask lol jk

i'm not saying any of this to you, or that this whole answer is about you, anon. this is more a general, overall feeling i have towards some of the anons i get that mention being upset towards colby about stas or shea or whoever.

i get it can be annoying when he gives attention to these ppl. i understand that it sucks when things finally cool down and grow quiet only for them to start back up again bc he does something. but i think it's good to remember that not everything he does related to these girls is shit-stirring. sure, there are definitely times when he does lurk and likes to see what everyone is saying. but honestly, i don't think this past time (of him using stas' old question on snapchat) was him trying to start anything. highkey he probably just used it absentmindedly. he's used it multiple times in the past, why does now seem different?

also, i feel like just bc we have a problem with someone, and he might have had a problem with this same someone, doesn't mean he has to ignore them for eternity bc it pisses us off. look, i don't like stas, i've made that clear. but i also know that i can't control what he does. even if we all know giving her attention causes issues, it's his life at the end of the day. not to mention, that is his friend regardless of how we feel. sure, they had their problems, they had their kerfuffle; but clearly they moved on from it, even if slightly. she's probably gonna be in videos this year. they might even go on trips together. but that doesn't mean oh he's doing all of this for attention / to start drama back up in the the fandom. tbh i think some of yall give him a lot more credit than you should lol

but even if, for argument's sake, he is doing all of this to shit stir… why isn't he allowed to do that? i get it. it's annoying. but imagine how annoying it must be for him. he can't do anything without being shipped with stas or shea, or another girl if he dares to breathe near her. and even when he tells the fandom to not ship him with his friends, they don't listen. not to mention no girl will ever be good enough for him and this fandom. and then on top of that, he's told who he should and shouldn't hang out with. and while i know a lot of us warn him bc we care, he may not see it like that bc of past fandom bs. he has to walk on eggshells around us in fear of pissing us off which is why he's basically removed himself from almost all social media besides the one he made with sam. he can't even grow facial hair without getting emails sent to his business email telling him to shave it off.

so, is it really surprising that he does shit like this from time to time? if stas can get away with using him for every possible tiktok with a sappy song or poem, why can't he do the same back if he wanted to lol

HOWEVER, that doesn't change the fact that he doesn't want to be shipped with her. it doesn't negate all of the things he's outright said about being single or not liking being shipped with friends. he's made it clear that he doesn't like that. but him being petty doesn't take it back either.

if you're annoyed by it all, that's fine. but i think it's good to remember that it's his life and we're just observing it. we can't control what he does, and tbh there is so much more going on then we even know. also... don't let it piss you off so much. if you need to remove yourself from the situation, do that.

#ask #personal #colby brock #i probably shouldn't tag him but fuck it lol

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dropkickboomers · 1 year

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Mine and Shea's latest matches are now streaming on IWTV! Check out INVICTUS' UNCONQUERED CUP. Shea's in a singles match, and I'm in a very shenanigans filled 6-man scramble. (Link after GIFs)

#Weber Hatfield #INVICTUS #Pro Wrestling #Wrestling #Professional Wrestling #Scramble #Shea McCoy #IWTV

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dweemeister · 10 months

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Spider-Man: Across the Spider-Verse (2023)

When Columbia and Sony Pictures Animation released Spider-Man: Into the Spider-Verse in late 2018, the film’s daring visual style brought the art of a comic book to life. For a major American studio that had arguably the thinnest track record in terms of animated features and shorts (yes, I am counting Columbia’s association with UPA), it was a stunning achievement. And it appears its visual influence is only beginning to ripple across cinema, if The Mitchells vs. the Machines (2021) and Puss in Boots: The Last Wish (2022) are any indication. Directed by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson, Spider-Man: Across the Spider-Verse cannot hope to match the first impressions of five years ago, but what a hell of an impression it leaves. Visually, it exceeds its predecessor, but, due to the necessity of its heavily expository multiverse-based screenplay (this film is first part of two), it is the weaker of the extant Miles Morales Spider-Verse movies. When considering the bar set by the previous film, ATSV remains one of the finest superhero films ever made.

Sixteen months after the events of ITSV, Gwen Stacy (Hailee Steinfeld) must contend with the situation that she must keep secret her Spider-Woman identity while her policeman father (Shea Whigham) hunts Spider-Woman down. An incident concerning a villain from a different universe introduces her to the Spider-Society – a group of Spider-People from thousands of universes who assist each other, as well as maintaining the space-time order of their respective universes. Earth-1610 is Miles Morales’ (Shameik Moore) world. There, Miles is still pining for Gwen, as the college admissions process draws near and his parents, concerned about his grades, ask for a conference with the counselor. But the mysterious appearance of The Spot (Jason Schwartzman) seems to be Miles’ more immediate concern. Gwen arrives on Earth-1610 not necessarily to see Miles, but to monitor the Spot’s movements. Miles, not invited to the Spider-Society, falls into the group and learns more about “canon events” and the manner in which he became Spider-Man.

Brian Tyree Henry and Luna Lauren Vélez reprise their roles of Miles’ parents, as does Jake Johnson as Peter B. Parker. Issa Rae, Karan Soni, Daniel Kaluuya, and Oscar Isaac play other prominent Spider-People in this film. The cameos from across Spider-Man media are too numerous to list here.

Phil Lord and Christopher Miller (2009’s Cloudy with a Chance of Meatballs, 2014’s The Lego Movie) and Dave Callaham’s (2010’s The Expendables, 2020’s Wonder Woman 1984) screenplay is hamstrung by the very fact that this film has no resolution. Because this is by design, I will hold most of my fire. However, the pile-up of subplots – Gwen’s relationship with her father, Miles’ relationship with his parents and him missing his late uncle, his developing relationships with the other Spider-People, a reveal that throws into question Miles’ self-belief he is a worthy Spider-Person, Peter B. Parker’s newfound fatherhood and relationship with Mary Jane Watson, tensions between the leader of the Spider-Society and Gwen, etc. – is overflowing, uncontainable, and impossible to treat each one with the developmental (because I understand that not all of these can be resolved yet) respect they deserve. The appeal of Spider-Man is rooted deeply in the ordinariness and day-to-day struggles of whoever dons the suit. Not the spider powers, not the villains, not the multiverse shenanigans, not the humor (of which there is plenty, don’t worry). Those multiverse shenanigans overshadow most of the movie. Only during Gwen’s scenes with her father (ATSV’s strongest moments) and Miles at the very beginning and in the closing chapters of this film does the viewer ever feel the pull of those central Spider-Man themes.

Miles, this series’ primary star, must reckon with the realization that his becoming Spider-Man was a multiverse-related accident, rather than what constitutes as the “normal” way to become Spider-Man – you know, being bit by a spider that came from your universe instead. Through Miles, Lord, Miller, and Callaham are clearly attempting to establish a message that one should reject determinism and wrest control of one’s future for themselves. For me, the execution of that messaging relies too heavily on the metatextual elements related to Spider-Man lore to be as resonant in the first movie, when Miles was addressing more grounded personal problems. But Shameik Moore mostly sells Miles’ doubts in another solid voice acting turn, especially when confronted with the most disapproving of the Spider-People.

Far more effective are Gwen’s troubles with her police captain father. In their universe, her father is undertaking a zealous campaign to find and bring Spider-Woman to justice in the belief that Spider-Woman murdered Gwen’s friend, Peter Parker. Meanwhile, Gwen – living a sort of second life she hides from her father, is beginning to become more emotionally distant from him, and (like Miles) is having difficulty finding a place in her world. The tension-filled scenes between daughter and father, recalling the first issues of the Spider-Gwen series, raise the questions of morality and responsibility that Spider-Man lore is known for. As such, they are the emotional highlights of ATSV – lifting Gwen almost to a co-lead in this movie, and enlivening her storyline beyond her infamous and still-controversial deaths in the mainline Spider-Man comic series and The Amazing Spider-Man film series (2012-2014).

The cutting-edge animation of 2018’s Into the Spider-Verse was breathtaking. For Across the Spider-Verse, the variety of styles somehow make the preceding film look safe by comparison. The multiplicity of styles in ATSV truly allows the viewer to inhabit the idea of a multiverse – better than any multiverse-centric offering Disney’s Marvel Cinematic Universe (MCU) has to offer, and perhaps more convincingly than The Daniels’ Everything Everywhere All At Once (2022; although that movie worked wonders on a fraction of ATSV’s budget). The company logos for Sony, Columbia, and Marvel – flickering in stylized fashion and, in Columbia’s case, brief glimpses of older renditions – provide only the first hint of the animated radicalism to come. Like ITSV, ATSV is also a CGI movie that exemplifies a remarkable fidelity to certain aspects of traditional hand-drawn animation – see character designs and movements. Including blink-and-you’ll-miss-it footnotes during bits of unfamiliar dialogue are a cheeky touch. The fluidity and clarity in which characters move through space during action sequences far surpasses the choreographic incoherence that is endemic in recent MCU films. ATSV takes the very best of comic book and graphic novel artistry and translates that beautifully on the big screen.

Let us take the best-case example in the film. As Gwen’s universe contains the most appealing subplot of the film, so too is it the most aesthetically interesting. ATSV may be a computer-animated film, but Gwen’s Earth-65 appears as impressionist brushstrokes. Gwen, her father, and all those who inhabit that Earth, are animated similarly to those in Miles’ universe. The major difference is the backgrounds. With shades, gradients, brushstrokes, dots, and splashes of off-whites, pinks, and blues, the backgrounds change with each cut – reflecting the direction and moods of a conversation or an action scene. As the dramatic intensity of a conversation increases, the more abstract the backgrounds look. These background changes are but a suggestion; Gwen and her father do not see the dazzling colors flying around and behind them. It is thrillingly experimental stuff for a major Hollywood studio animated work.

Some viewers of ATSV have interpreted Gwen’s story as a transgender allegory (at the very least). The presence, above her room’s door head, of a transgender flag reading “protect trans kids” has fueled further speculation – and bans from cinemas in Saudi Arabia and the United Arab Emirates – that Gwen herself might be transgender. Her universe is emblazoned with the trans flag colors (the whites/off-whites, pinks, and blues mentioned earlier), and the language she employs in her final conversation with her father in this film almost sounds like a coming out. No matter how one interprets this aspect (and there is nothing in the film to prevent one from interpreting her scenes allegorically or literally), it is the finest reinforcement of one of the film’s central theses: that anyone, regardless of gender identity, race, religion, or sexual orientation can be a Spider-Person.

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Like ITSV, much of ATSV’s soundtrack comprises of numerous hip hop songs that are used not so much to complement what is occurring on-screen, but to instead serve as background vibe noise, lyrics barely discernible. This musical direction goes against my beliefs that original and non-original film music have an expressive power. To mute such music so consistently is to deny an opportunity to enhance the expressivity of both the motion picture and music. It just becomes sonic wallpaper, there only to sell soundtracks and pump up music streaming numbers. Either cut the songs or be more selective of the placement of these non-original songs.

Elsewhere, composer Daniel Pemberton’s (2015’s The Man from U.N.C.L.E., 2020’s Enola Holmes) score for ITSV was riddled with heavy-handed electronic manipulation and record scratching, with nary any acoustic elements. Pemberton’s background is in avant-garde electronic music. Appropriate, perhaps, for Miles’ Brooklyn soundscape, but it is deeply unpleasant to listen to outside of the film’s context. With the universe-jumping of ATSV, one musical mode cannot serve the entire film. Gwen’s universe opens with understated, ethereal synth in “Spider-Woman (Gwen Stacy)”. Unfortunately, the musical ideas of Gwen’s universe are never quoted as wonderfully again. Reintroducing Miles and opening his storyline in ATSV is “My Name Is… Miles Morales”, which utilizes Latin American rhythmic complexities in its unmanipulated percussion – already a notable departure from ITSV – alongside Miles’ three-note motif (“SPI-der-MAN!”) from the first film. The traditional orchestra has a larger presence in ATSV, perhaps due to Pemberton’s success in his predominantly orchestral score to Enola Holmes. “Nueva York Train Chase” is one of the major beneficiaries of that orchestral integration. The cue’s thrilling string runs accompany the action magnificently and, combined with enormous hits in the bass brass in the climactic moments, is one of the best action cues in superhero film scoring in some time. Pemberton still resorts to many of his worst habits in his excessive manipulation, but this is a far better score than ITSV’s.

As this write-up heads towards publication, the Writers Guild of America (WGA) is on strike with the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) perhaps soon to follow. Labor practices in Hollywood are under scrutiny as streaming and artificial intelligence (AI) pose to change how studios make movies. Though Sony Pictures Animation is covered under The Animation Guild (TAG), there are reports that artistic input from co-screenwriters and co-producer Phil Lord and Christopher Miller have engendered an unsustainable and unhealthy working environment. Lord and Miller, in their capacity as producers, have a reputation in the animation industry for coming onboard as producers late in production and forcing animators to partake in wide-ranging changes on complete or near-complete work. Their laborious revisionism, say some of ATSV’s animators, comes without a set artistic vision – it is trial-and-error for the sake of it.

In American animation, considerable artistic changes during production are commonplace, but they often take place early on, most typically during storyboarding. Any changes coming later than the storyboarding stage can be a financial boondoggle for a studio and can result in a chaotic animating process. If these anecdotes are true, Lord and Miller are responsible for the film’s high turnover rates and widespread burnout. This behavior should prove incentive for the artists at Sony Pictures Imageworks – despite sharing a corporate parent with Sony Pictures Animation, Vancouver-based SPI is non-unionized and worked on all the physical animation on ITSV and ATSV – to unionize. Scheduled for a March 2024 release, Spider-Man: Beyond the Spider-Verse, due to the alleged aforementioned issues surrounding Lord and Miller, may not be ready in time for its slated debut.

A thunderbolt of animated innovation, Spider-Man: Across the Spider-Verse’s true value will be unknown until Beyond the Spider-Verse’s release. Fast-paced and overstuffed to a fault, ATSV might not have the freshness that ITSV brought. But for a major American animated studio in the early 2020s, this is bewilderingly wonderful work. One just wonders what the animators possibly could have left up their sleeves.

My rating: 9/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

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babyjakes · 2 years

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guys we need. we neeed to talk about colin shea for a moment.

he is so— *incoherent grunting, barking, etc.*

i think one of the reasons i love jakey so much is bc he’s a younger chris character who’s just so fun. he’d be the funnest boyfriend, someone you could truly partake in so many shenanigans with and like… colin??? same exact vibes. same. exact. vibes.

and the way he values her art and encourages her to pursue it more 🥺 coming from someone whose boyfriend thinks art is silly and pointless, colin is a dream come true fr 😔👍

#eun talks #eun loves jakey the most most most

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robo-bozo7125 · 5 months

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utterson was the GOAT ever. bro was looking out for his homie the entire time...

#i adore their friendship #shea's shenanigans #jekyll and hyde #the strange case of dr jekyll and mr hyde #henry jekyll #gabriel utterson #gabriel john utterson #mr utterson

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macymacymac · 3 months

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I watched that 'glow up' girl on youtube... my god. This girl was shaking and crying and shidding and farting because she gained weight. Like sis.... SIS!!! but also I understand shea very young, and has genuine mental ilness so I shant be too hard on her... BUT SIS!!! I noticed how she never mentioned other ppl in her (long) videos unless it was to do with her self image. This girls main problem is that her hobby is herself. She has no external hobbies (that I could tell). If u make urself ur hobby ur gonna objextify urself. Imagine trying to convince this type of woman to grow out her armpit hair (the tamest radfem babystep). The shenanigans of it all!!!

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watching-pictures-move · 10 months

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Movie Review | Mission Impossible - Dead Reckoning Part One (McQuarrie, 2023)

I view these movies mostly as set piece machines*, and there are number of pretty fun ones here, including a surveillance-assisted foot chase through an airport, a car chase where characters are handcuffed together that may or may not be an extended women drivers joke, a dangerous looking skydiving stunt that's unfortunately been spoiled by the promotional materials, a vertical climb through some falling train cars. I don't think any of these are quite as good as the helicopter climax from the sixth movie or the Burj Khalifa wall climb from the fourth movie, and the special effects seemed more obvious this time than in previous entries, but there is a fundamental sturdiness here, of intricate setups** and complication-prone execution, depicted with cleanness and assurance. Christopher McQuarrie in his earlier directorial efforts struck me as someone who gets the nuts and bolts of good action sequences, and he's turned out to be a good match for the complex, large scale set pieces that define this series. There is something a little breathtaking about the way he lets the camera just observe a truly formidable stunt, especially if you see it on the biggest screen you can. I am not in love with the runtime, especially as it's only first half of this particular story, but all in all I had quite a good time. I am less moved when these movies try to make me care about the hero's emotions, but whatever, I like seeing Tom Cruise onscreen.

Like with Top Gun: Maverick, Tom Cruise has finally started to show his age, even if his refusal to have done so for so many years seemingly through willpower (and whatever sinister scientific advances a man of his means has access to) seems part of his characters in both series. This movie somewhat softens the blow by casting him alongside a bunch of actors whose age is more obvious, like Henry Czerny, the king playing of untrustworthy bureacrats***; silver fox Esai Morales, who as big a laugh out of me with a weird line reading as any of the actual jokes; Cary Elwes, who gives Czerny competition in the untrustworthy bureacrat department; and Shea Wigham, who brings some real "too old for this shit" Danny Glover energy. I guess Ving Rhames is old too, but he's looked exactly the same since the mid-90s so he doesn't count. In any case, it's always nice to see him and his little pork pie hat, and Simon Pegg doing his thing, and I guess they got rid of Jeremy Renner, and I wish there was more Rebecca Ferguson, who's been a highlight of the series since she was introduced as a deviously sexy assassin in the fifth movie, devious because one cannot be all that good at spycraft without a bit of cunning. As far as new cast members go, Hayley Atwell turns out to be a great addition, with whom Cruise has more chemistry than he's had with any female co-star in... a while.

Like Maverick, this is a throwback in pretty overt ways, taking the affect of Cold War geopolitics (Russian submarines, CIA shenanigans) and stripping them of overt jingoism. The enemy this time around is an AI, which many of the parties involved foolishly believe they can control but Cruise and friends know better.**** Blockbusters certainly have had technophobic worldviews in the past (you can go back to at least Terminator 2, which used state of the art special effects to warn of the dangers of misusing technology, and lots of other examples I'm too lazy to think up), but as Cruise is one of the last remaining stars on whose name a movie can be sold, and the recent push by studios to use AI to replace the creatives in the creative process, there is a certain potency in the material. And given that Cruise's movies are now about him as a star as about whatever their plots consist of, certain elements, particularly the handling of the female characters, is certainly interesting in light of his offscreen exploits. In fact, in that scene where's he's handcuffed to Hayley Atwell as they're being chased by more and more pursuers, you could argue that the pursuers represent the paparazzi hounding him for sordid details about his personal life or just the outside world poking their noses into the Church of Scientology's affairs and that Atwell represents the real life wife with whom he's very much in a Real Loving Marriage with and who totally doesn't want to run away and... Okay, okay, I'll stop now.

*I hold that the second movie, often cited as the series' worst, is actually pretty good, while the better liked third movie is definitely the worst (and the only bad movie in the series) for the simple reason that John Woo is good at directing action and J.J. Abrams is not.

**The movie often flirts with self-parody in its expository scenes, the camera whipping about, cutting quickly as either Ving Rhames or Simon Pegg explain all the details, the former with glee, the latter with worry. There's even a good fakeout where Hayley Atwell imagines her future as an IMF agent and the improbably plan she has to help execute. If you're gonna dump a lot of info on the audience, you might as well have fun doing it.

***Czerny got some of the biggest laughs in my screening when he explained what IMF stood for.

****If I were Cruise, I would have just destroyed the key to the AI, but then the movie would have been five minutes long instead of almost three hours for just part one of two.

#film #movie review #mission: impossible - dead reckoning part one #christopher mcquarrie #the movies are back!#you cruise you lose

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