(But seriously, those were some expenses I didn't really want that close to one another. I certainly have enough money now for most of the things I want to get, but my buffer will take a few months to rebuild.)
Mostly, I'm annoyed I can't play RO2 or watch Teen Wolf/SYTYCD/The Voice until I get the replacement.
In work news, it's been such a joy to listen to the twenty or so teens participating in this week's songwriting camp. They're so talented, and the leader who is a somewhat famous pop artist is really great at being inspiring. This morning she even talked to us about setting up a network of mentors for these kids once the week is over. Computer woes aside, this has been a very nice week for me, with the songwriting camp in the mornings and then the library after lunch. Our project group got granted money for what we're doing, so hopefully we can do a lot more of these kinds of things over the next year.
Oh, Adrian Searle, there is probably a bingo card to be made for journos reviewing any event with an erotic component and emphasising their journalistic detachment.
What I immediately note about this exhibition at the ICA is that it appears to be foregrounding the male body and genitalia (esp the latter?) rather than the perennially fascinating trope of nekkid wymmynz.
'obvious and a bit lame'
'[work of artist not in show] much more subtle in its sexual politics – and better drawn, too'
'Whatever subversiveness they had once has faded.... feel[s] redundant, telling us things we already know'
'Like most pornography, most sexual fantasies, and even sex itself, their work is deeply repetitive, playing again and again on the same tropes' (This plaint would work a whole lot better if one could not think of many artists who returned again and again to similar non-sexual themes, or 'We wish M Monet would get away from the waterlily thing, srsly'.)
'There is an exhibition to be made about drawing and sexual politics, pornography and protest, and the boundaries between private acts and public display. But this flaccid exhibition isn't it
In Dept of Oh Dear, What Is She Thinking: codfish over here for Francesca Annis:
I only took my clothes off in one film – Macbeth, directed by Roman Polanski. I looked at his past work and felt OK. He's never been into exploiting nudity. He's interested in the dark side of the female psyche.
Franklin and Bash is coming back in . . . some hours. Too many hours, but not whole days, it's kind of collapsed my insides and I have a headache which might be to do with [million and one things that were terrible yesterday] but might be because I can't breathe properly because there are so many good spoilers and so much beach but so many things that might just be horrifically horrible anyway and the man cave! And aksdhfoiwjefoisjdf. I'm so entirely totally prepared for more f&b on my television, but in a way that feels like it might just kill me. At least they're not deciding to live apart. Deciding to live apart is the worst thing they could ever ever ever do and I worry about it all the time even though they're fictional and moving to a beach house. I don't avoid spoilers for franklin and bash, I seek them out and worry over them instead. It's a stupid way to live. It's a stupid thing to be in love with. There's not enough of it, and people are really wrong about it, but also it's more beautiful than anything else in the world and having a happy pairing is bizarre but okay and they have to stay happy or I'll die. Separate offices! LKSHFOIJEsLKSH. It's only okay if they just MISS each other. And it's even more okay if it makes Jared's face do that thing it did last time. That would be super terrific okay.
There was an article the other day by a woman saying that she couldn't believe it hadn't been cancelled because the two leads have 'NO CHEMISTRY'. AAAAAAAAAAAAAAAAAAAAAAAA. I HATE HER. I HATE HER. Did...has she just not ever seen even five minutes of it? Is that what? I HATE HER FOR BEING MORE WRONG THAN I CAN COPE WITH. She doesn't get to be in charge. Can I be in charge? I just want them to last forever, that's all I want. It's a little thing really.
I dreamed about Jared Padalecki again. It's a really strange thing my brain is doing, I think it might just get confused by the amount of fic I read with Jareds in it? We were in a canadian castle this time, with members of the senior british government who were smuggling octopuses to drink their blood and Jared Padalecki was really cross with them, but we were hiding from them, and then he ate a whispa.
None of my parcels arrived.
I really enjoy Longmire, it's just one of those shows I have nothing to say about.
What Are You Reading (Actually On A!) Wednesday:
• What are you currently reading?
• What did you recently finish reading?
• What do you think you’ll read next?
What are you currently reading?
The Unicorn Hunt by Dunnett. I'm about 40 pages in.
Mary of Delight by Naomi Jacob. This is a hilariously terrible historical novel about Mary Queen of Scots. I loved it when I was 12 or so. It ... hasn't aged well. I mean, it's hilarious but mostly because it's remarkably awful. My personal favourite thing at the moment is the characterisation of Lord Darnley. I mean, Jacob has a good handle on his excessive drinking and womanising and general being a bit of a dick, but for some reason she has also chosen to make him really stupid. So, in Mary of Delight Darnley doesn't speak French. At all. And claims he can't learn to do so because he doesn't have an aptitude for the learnings. Which is, you know, hilarrible because Darnley was actually well-educated and did in fact speak the French.
What did you recently finish reading?
Scales of Gold, Dunnett. SO MANY FEELINGS. SO MANY OF THEM. I sent wildestranger a series of increasingly feelings-filled text messages as I was nearing the end of this.
Brand New Friend by Mike Gayle. Don't both reading this, it's a bit dreadful.
So Much For That by Lionel Shriver. As lunchtime reading this was a failure, I like my lunchtime reading fluffy. But, you know, it's Shriver so it was a good book if a little heavy-handed. Intriguingly it was the 'nicest' protagonist of any Shriver novel, which made it all a little boring. I like to hate the protagonist's of Shriver novels.
Free Country by George Mahood. In which Mahood and a friend travel from Lands End to John o' Groats, with no money and start off only wearing boxer shorts. It was a fun read, and I do like books about the general oddity of the British.
What do you think you’ll read next?
Well, the rest of The Unicorn Hunt, and I got Elizabeth Wein's new novel, Rose Under Fire the other day. But I don't know when I'll read that because it will require the plucking up of courage.
ESAC is a much smaller site than ESTEC (in Noordwijk, the Netherlands, where I was at the end of May) and is less restrictive about on-site photography since little (or possibly no, I'm not sure) hardware development takes place there. Hence, pictures of dishes and spacecraft models!
One big dish and one small dish nestled amongst the trees at ESAC.
( More dishes & spacecraft models )
My hotel room was on the seventh floor, so I had some rather nice views over the city from my window.
( One more. )
After the meeting, the correct course of action was to go out for tapas and beer.
Scientists and beer. They haven't had much beer yet and are still looking a bit serious.
( Things get sillier. )
Melissa Scott and Amy Griswold: Death by Silver. I hestitate to call this Steampunk because there are actually no gadgety technical inventions in this particular Victorian tale; rather, it is an Alternate Universe with magic in it. Otherwise, it's a good old fashioned Whodunit with two gay detectives (well, technically one is a detective, one is a metaphysician), and also, courtesy of a lot of crucial flashbacks, an entry in the boarding-school-was-hell genre I mostly associate with British writers and their memoirs, since one of our two heroes originally gets hired by the father of their mutual public school nemesis who used to bully them horribly back in the day.
The book reads well paced, and the characters are engaging; I liked both Julian and Ned (who, btw, already have a sexual relationship when the novel starts; the hindrances to be overcome by them as far as their relationship is concerned are emotional in nature), and I thought the authors did something interesting in the way they use Victor (aka the public school bully of old) in the present. Usually such characters either end up as supervillains and/or total losers, or they do a complete U-Turn after having a moral awakening, atone for their bullying by becoming heroes. Whereas while adult, present day Victor doesn't fall in either category. As an adult, he's capable of positve traits and relationships as well, but he clearly never realised that what he did at school was truly horrible, or that Julian and Ned have good reason to despise him (as opposed to going through the old boy, well met school chum routine). Which strikes me as psychologically plausible. Also, the book never belittles just how badly the public school events were, and that Ned and Julian have a right to feel about them they way they do. The sense of powerlessness when the system backs the people having power over you (and indeed produced the abuse of power) in the flashbacks is truly frightening.
In the present day, I was especially intrigued by Victor's wife, of whom we see alas little, but her few scenes hint at so much more that I wish someone would write fanfiction about her. The various suspects and the killer are delivered in a familiar-yet-not-way that comes with liking your Victorian mysteries, and giving them your own spin. Just a great way to pass the time on a lengthy train journey, which was how I read the novel last week.
Neil Gaiman: The Ocean at the end of the Lane. Speaking of familiar-yet-not tropes, this is unmistakable a Gaiman tale: every day life mingling with myths, passive point of view character encountering vibrant supernaturals, cats, a child's emotional landscape intensely written. In the first person, which previously I had only read in short stories of this author, who preferred third person in his longer texts, and in some ways, this feels more like a long short story or novella than an novel. Which I don't mean critically, btw. I'm just remembering my teacher drumming into us that a novella is defined by its focus on one particular "singular event" whereas a novel deals with a longer tale of multiple focus events.
I read it quickly, and loved reading it, which includes loving to be scared. The most disturbing sequence accesses what I think must be an atavistic fear in children and adults alike: your parents turning against you and the realisation of your complete powerlessness, the sense of being trapped. I don't remember who wrote about the difference in the authorial voice of Tom Sawyer versus the one in Huckleberry Finn that in the first novel, the author is looking back on childhood from an adult pov, from the outside, with amusement and affection and awareness of how it felt, to be sure, but definitely from the outside; whereas Huckleberry Finn pullls of creating a child's point of view from the inside. The Ocean at the End of the Lane has a framing narration in which our narrator, who is nameless like the second Mrs. de Winter, is an adult looking back, while the main story is set at a point where he's seven years old; and strangely enough, Gaiman pulls off both at the same time. I.e. you are aware, and believe, that this is an adult looking back on how he felt as a child, with the added difference the years make, but at the same time, the child's feelings and thoughts come across as unfiltered and true.
I think it's perfectly accessible and compelling if you've never read a story by this author before, but if you have, you're bound to be either delighted or annoyed at various points when encountering, shall we say, certain elements one might have read elsewhere in other shapes. Count me in the delighted category: meaning, when I figured out who the Hempstocks had to be, I went "but of course! That's great!" rather than "Here he goes again". (A bit like realising that Silas is a vampire in The Graveyard Book despite the fact nobody at any point in The Graveyard Book calls him that and the word is never used in the narration, either.) I was also tickled by the occasional historical allusion, as when a character mentions "Dickon and Geoffrey and John" as one king's sons, or "Red Rufus" as another king. It's the kind of thing that works if you're aware of the reference but doesn't distract if you're not.
There is a passage in which the narrator brings up the difference between the children's books he reads and enjoys and myths he also reads and loves just that bit better - liking myths because the rules are so different, or rather, there aren't any, the just aren't rewarded, gods are not role models or even good, they just are. He brings up a story of Hathor (the Egyptian goddess) which I hadn't been familiar with, which could be an actual myth or one Neil Gaiman just made up, but one of the reasons why I love his style is that neither would surprise me. And The Ocean at the End of the Lane, while being marketed as his first adult novel since Anansi Boys, to me feels like both a children's book - not just because of the child protagonist, because it does fit the genre - and a myth - because the supernatural entitities in it, be they helpful or damaging, aren't declared to be good or evil, "they just are", to use a frequent Gaimanism.
Lastly: just as you can rely on the cats in Neil Gaiman stories being written with sympathy, he really seems to have an issue with birds. Not that I blame him. Those beaks are scary.
Instead I did laundry and some other household chores, then formatted a bunch of short Homestuck fics for ff.net (which eats a bunch of things, possibly still including my normal line breaks) and stuck them up: the remaining four Alpha timeline fluff fics ("Hollywood Shenanigans" was already there), the four parts of the "Alternian Nights" sequence, "Gifts Unlooked For," and "And the Big Bad Wolf." I also posted "Dedication," which is a Susan POV Narnia ficlet about the first year after LWW -- it's kind of a disaster story told in my best approximation of grace.
I am probably tempting fate with this paragraph, but I admit that I wonder how long it will take the vultures to start shrieking about interactivity, since some of the aforementioned Homestuck fics are in second person. They are not interactive in the slightest -- for one thing, they are all complete, so there is no conceivable opportunity for audience participation -- but upon reading the fic posting guidelines, I noted that the ff.net administrators have STILL not clarified their terribly worded rule one way or the other, so I expect the idiots are still darkening the digital skies, so to speak, and have yet to learn the difference between interactive and non-interactive uses of second person. *sigh*
I should get to work on formatting and posting my back catalog of fics to AO3, too. I don't really want to post my Harry Potter stuff until I finish "Secrets" and can start with that story, but I could probably do the miscellaneous fandoms one or two a day. Or maybe start with "The Way of the Apartment Manager" and run through all my Naruto fic instead. *ponders* Ah well, we'll see. I am fundamentally lazy, after all, and crossposting years-old stories is not very high on my priority list, especially since they're all available through my journal already.
I of course must respect the privacy of my students, so I don't talk about them directly here, or much about what I do with them (and wouldn't even if I had the time!) but I think professional conduct allows me to say this:
Today we were doing a creative writing lesson on writing an action scene. I gave the students this for an example:
At the soft scrape of a bare foot on stone , Luisa whirled.
The Grey Man stood directly behind her, reaching for her throat. Luisa didn’t waste a second. She took one step forward, lifting her knee sharply. Her tensed foot snapped up. Too late! With the speed of a snake, the Grey Man caught her ankle and yanked.
Luisa went down hard, the gritty rock of the clifftop scraping her hands and knees raw. She tasted blood in her mouth and felt the sharp pain of a bitten tongue. With a monumental effort, she forced herself back to her feet. The Grey Man was waiting. Watching.
“Give me the stone,” he said, his voice soft and sibiliant. “The secret stone. Give it to me.”
Luisa risked a look over her shoulder. The ocean below was rough, the sharp rocks jagged teeth. And there were predators in the water.
But none of those were as dangerous as the creature that blocked her exit.
No safe way past him. The only way out was down.
With her heart pounding in her chest, thumping against the stone in her pocket, Luisa turned on her heel and fled. Towards the edge of the cliff.
She felt a tug at her hair, but she wrenched free and leapt. For a breathless moment, she felt suspended in air, flying past the startled gulls who screamed their displeasure.
Then, she fell.
"What happens next?" they wanted to know.
"You tell me!" I said merrily, and set them brainstorming, planning, and drafting.
I think Luisa dies in about half the stories. 14 year olds LOVE gore.
Length: 1815 words
Verse: Sherlock BBC
Author's summary: What it says on the tin. John writes poetry, and Sherlock hacks into his computer and "fixes" it with track changes.
Shakespearean sonnets, John? How ambitious.
Reccer's comments: Shakespearean sonnets, how cool is that?, was my first thought. That was before I saw Sherlock's edits. The poems are fun. Sherlock's commentary (and/or John's mistakes) make them even better.
This fic made me laugh and tickled my literary fancies. numberthescars captures John and Sherlock's interaction and their voices. I could see this happen.
The form and small details like the email addresses add an extra special something to this poetry fic.
Incidentally, I saw Joss Whedon's Much Ado... on Monday with kalypso at the Cornerhouse (I cannot get my head around Mark Kermode's insistence that like MCC and Albany, it does not take the definite article, though I agree this is true of the visible branding on the place and its literature.)
Greatly enjoyed, and definitely agree with Philip French's review in the Guardian that everyone's terrible decision-making, hair-trigger tempers and impulsiveness is made much more explicable where, as here, the entire cast is permanently semi-sloshed (were one to ask one of the characters what they wanted for breakfast in this production, the answer would appear to be "a tequila slammer")
The standout performance is Nathan Fillion as Dogberry, someone I'd previously thought of as "one of those ghastly unfunny Shakespearean comic characters" but Beatrice and Benedick are very good, too; there's a scene where Beatrice is trying to shake off a guy who insists on pawing her bare arm and shoulder at a party which is brilliantly observed, and helps point out that for all her verbal freedom she's stuck in a world where women have no real power and they're constantly walking a tightrope between seen as loose or uptight.
In which regard, I don't have the problems other reviewers seem to have about the modern-dress setting and the actions of - in particular - Beatrice and Margaret compared to the "Hero has to be a virgin" McGuffin; Claudio (in particular) is established as an unbalanced obsessive with a nasty streak at an early stage, in his sudden conclusion that the Duke was after Hero on his own behalf (again, a brilliant scene).
In fact, it occurred to me (and I don't know if anyone's actually directed it this way; there were, I'd say, veiled hints in this production) that everyone's motivations would be a great deal more explicable if we assume that Don Pedro and Claudio have just started an affair, Don Pedro is a politician with a very conservative, family-values power-base, and Hero serves as a convenient beard for both of them, with her dowry (which was definitely emphasised in this production. Twice) coming in handy as a campaign war-chest.
It would explain Don John, if he's hoping to use the attack on the Hero marriage as a way of provoking something even juicier to come out.
by H.D. (Hilda Doolittle)
The light passes
from ridge to ridge,
from flower to flower --
the hepaticas, wide-spread
under the light
grow faint --
the petals reach inward,
the blue tips bend
toward the bluer heart
and the flowers are lost.
The cornel-buds are still white,
but shadows dart
from the cornel-roots --
black creeps from root to root,
cuts another leaf on the grass,
shadow seeks shadow,
then both leaf
and leaf-shadow are lost.
Author: the_ragnarok | the_ragnarok_d | theragnarokd
Reader: Jinxy | MistressJinx | mistressjinx
Fandom: Teen Wolf
Pairing: Derek Hale/Stiles Stilinski
Tags: Mating Cycles/In Heat, Alpha/Beta/Omega Dynamics, Sex Toys, Ass To Mouth, Consent Issues
Download: MP3 [59MB] | M4B [31.4MB]
Original Text: HERE
AO3 Post: HERE
Summary: Stiles hates spending his heats alone.
Just, you know, auuuuuugh. And like that.
I've been busy enough that I haven't kept up here in, like, two weeks now, which is pretty much the first time that's happened with this particular set of web presences in the last decade. This should give you some idea of the drama-volume inherent in the system. Please do let me know if there's something that happened to you that I should know about, or, I don't know, some massive shitstorm has broken out somewhere on the internets and I've been in a cave and therefore didn't notice. *flaps hands*
If you've read anything long and escapist lately and want to share, that would be great. I've run out of Ginn Hale, which, y'know, takes a while.
Fandom: The Avengers
Characters: Phil Coulson, Clint Barton, Natasha Romanova, Tony Stark, Bruce Banner, Hulk, Steve Rogers, Betty Ross, JARVIS, Bucky Barnes, Nick Fury.
Warnings: Mind control. Inferences of past child abuse and other torture. Current environment is supportive.
Summary: A mission in Russia introduces the Avengers to the Winter Soldier. Steve wants Bucky back and will stop at nothing to make that happen. Everyone else helps however they can.
Notes: Asexual character (Clint). Aromantic character (Natasha). Asexual relationship. Sibling relationships. Fix-it. Teamwork. Canon-typical violence. BAMF!Avengers. Bucky!whump. Vulgar language. Drama. Rescue. Hurt/Comfort. Emotional whump. Survivor guilt. Friendship. Confusion. Mind control. Memory loss. Slow recovery. Nick Fury makes stupid-ass decisions. Fear of loss. Arc reactor. Fluff. Nonsexual ageplay. Making up for lost time. Tony Stark has a heart. Games. Trust issues. Safety and security. Howard Stark's A+ parenting. Obadiah Stane's A+ parenting. Brian Banner's A+ parenting. Food issues. Multiplicity/Plurality. Sleep issues. Non-sexual touching and intimacy. Yoga. Personal growth. Family of choice. ALL THE FEELS. #coulsonlives.
Begin with Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8, Part 9, Part 10, Part 11, Part 12, Part 13, Part 14, Part 15, Part 16, Part 17, Part 18, Part 19, Part 20, Part 21, Part 22, Part 23, Part 24, Part 25, Part 26, Part 27, Part 28, Part 29,Part 30, Part 31, Part 32, Part 33, Part 34, Part 35, Part 36, Part 37, Part 38, Part 39.
( Read more... )
( Wednesday Reading. )
Those were all original fic readings, but there's a fanfic rec I want to share outside the cut: the Paris, je t'aime series by la_faerie. It's One Direction fic, but you don't need to be a part of the fandom to read it. It's priestfic at its finest, and more; the author clearly loves a lot of things, and the stories brim with art and culture and the different kinds of relationships that people can have that might not be Hollywood, and they might not be resolved, but they're still good as far as they can go. The crying I did over them was cathartic, and the whole thing was just the amount of bittersweet I like.
...and then there's the fic I wrote over the weekend, and it's none of those things, but I really enjoyed writing it. There's room for all kinds of stories in the world!
"red, gold, and blue" (AO3 | DW)
NC-17, 1500 words, Mikey/Gerard/Frank, June 2013
Mikey knows Gerard's ideological reasons for posing in alpha/beta erotica with his brother. He doesn't get the rest of the reasons until he sees the hot photographer.
( A couple thoughts. )
So that's some of the catch-up I've been meaning to play. (It's amazing how far behind you fall when you go to Disneyland, move between houses, and rewrite a 30k word story in about two weeks' time.) Comments will happen soon, I hope!
For me, the highlight of the day was synecdochic's talk "Kicking Impostor Syndrome in the Head", which was as awesome as you'd expect. The best part was at the end where people in the audience named things our impostor syndrome had said to us at some point and everybody who'd also experienced the same thing raised their hand. Also great was Kronda Adair's talk "Expanding Your Empathy", about the basics of challenging oppression in conversations that happen in the tech world.
Tomorrow I'm looking forward to skud's keynote speech as well as the panel on diversity in open source. And, uh, I'm giving a talk, starting in less than 12 hours. I'll put the slides online soon after and there will be a recording on the conference web site eventually.
Also, my photoshop trial is about to expire. So I spent the afternoon making BtVS icons. I was partially inspired by some recent conversations between red_satin_doll, kikimay (from whom I got the text in the second icon), and others about women and their relationships with each other. Particularly Tara and Dawn and their relationships with Buffy. It got me excited again about the Tara vid idea that's been brewing for a while now. (Hey, now it has a tag! That means it'll fersher get made, right???) But between thesis writing and a hopeful Elementary vid and Sekrit Vid, that'll be a while. So here are some icons in the meantime!
( 9 more under the cut )
Oh, em, feel free to take. Please credit, and I appreciate comments. And welcome constructive criticism, though, huh, I really oughta figure out this photoshop situation if I plan to use said concrit, eh?
The... dinoCherub extends a three-fingered hand into the room, holding a small, soap-bubbleish sphere. A humanoid figure is within it. "Your vessel, Beth-haran. I'm Ra'amiel, and I'm supposed to attune to you, too."
It clasps her hand -- very small, and very vividly green against its huge cloud-gray fingers -- and blinks slowly. "Done. If you need to, you may inform any would-be attackers that you are under the protection of the Thunder-Lizard." It grins, showing a great many teeth, each one at least as long as Betharan's fingers.
( INwatch+Bookwatch )
( Dragons under fold )
- So, Elleth wanted a minicommentary on this fic which came about because someone on AO3 dared me to do it, and you know, I can resist anything except temptation. Orodreth here is definitely of the published Silmarillion, second son of Finarfin, mostly because I thought writing Orodreth as someone who has always been in Finrod’s shadow rather than … I don’t know, his grandnephew, or something.
( All right. )
Content note: Some discussion of rape, murder, and mutilation.
This is a hard book to review because my reaction to it is basically, "Eh."
It's not a terrible book, it's not a great book, it's not off-putting, it's not absorbing. Typically, my rule for deciding if I want to watch a TV show is, "Is this more fun than reading a book?" For this book, I would much rather have been watching TV.
Euripides wrote the version of Medea best known to modern audiences: the princess of Colchis falls in love with the adventurer Jason and betrays her family -- to the point of murdering her brother -- to help Jason steal the Golden Fleece. She then has a checkered career murdering people for Jason's advancement, which ultimately leads to him becoming king of Corinth. Eventually, Jason decides to abandon her in favor of another princess. (I am not sure I have ever read a single version of this myth in which Jason is not a total schmuck.) In revenge, Medea kills the other woman and her own children. In earlier versions, Medea kills the children by accident or the children are killed by the citizens of Corinth.
In most versions, there is yet more wandering and killing and attempted killing. Most notably Medea marries Aegeus and then tries to poison Theseus when he comes to claim his birthright. (This is included in The King Must Die, because sadly Mary Renault does not seem to have ever encountered a misogynistic trope she didn't like.) Medea is often said to have escaped from both Corinth and Athens in a chariot drawn by dragons. I wonder where she stabled and fed the dragons in between witchy midnight escapes. Possibly she just borrowed them from Hekate in her times of need.
Most versions of Medea's history end with her returning to Colchis and killing her uncle to restore her father to the throne. Presumably her father felt that this made up for that one time she murdered her brother and chopped his body into little pieces to scatter in the sea.
( Mildly spoilery, but you already know most of this. )
Author: Eustacia Vye
Author's e-mail: email@example.com
Disclaimer: Everyone here belongs to Christopher Nolan and not to me. His toys are fun to play with!
Spoilers/Warnings: Post-movie. For the inception_kink meme prompt in round 17: picture prompt
Ariadne gets a very enthusiastic welcome home (and next time don't be gone so long).
Summary: Arthur hates being left behind, but welcome home sex is always fun.
You weren't kidding about missing me, were you?