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john releasing (just like) starting over and then dying is one of the top ten most fucked up things to ever happen btw

Okay final results: Not as controversial of an opinion as I feared, most people agree that Maxwell's Silver Hammer is good!!

Only 53 people out of 680 either dislike or hate it, and 476 say it is a banger!

I thought a lot more people disliked this song than actually seem to! Okay true, it might be a biased dataset of Beatles fans, still, great data today folks, thanks for voting :D

can you believe that we have fanfiction. that we have websites dedicated to fanfiction. that there is a place that you can go and read tens, hundreds, thousands and thousands of pieces of writing that strangers have made. people who are not "writers". people who come home at the end of the day and have feelings and say, i am going to put that into words. i am going to share those words. short, long, sweet, sad, horny, funny, wonderful words. we are all just human and we all love to make and remake and share that with others. can you believe that.

I should be asleep but I can’t stop thinking about Ram and John’s reaction to it. If we Assume, as 90% of the world does, that there was nothing sexual/romantic between them, then both of these things (Ram itself and John’s reaction) make no sense. Ram is not cruel in its lyrics, not really, but throughout the whole album runs this very interesting thread of almost-but-not-quite taunting self-satisfaction. As someone else said, it’s very “my wife and I are having a great time off by ourselves.” But Paul is a smart man and he knows John Lennon will see it as a taunt. So that makes it a taunt.

But again, this doesn’t make sense if John and Paul were simply besties. If they were, Paul wouldn’t feel the need to implicitly tell John that he has a wife now and doesn’t need John anymore to make good music and good love, and John wouldn’t have felt so abjectly hurt (and dare I say jealous) by it.

Also there’s a part of this interview from 71 where someone asks John about Ram and that part is interesting but y'all have been SLEEPING on the last part of that question, when someone follows up with “and don’t you have a song on your new album that could be seen as a response to Ram?” And John’s like well yeah, you could see it as a response to this, or it could just be about a chick I used to know, wink wink.

Bruh. Why u always comparing Paul to women in relation to yourself. It’s like you’re literally asking people to ask you if y'all ever fucked.

For the WIP ask meme: would you like to share a little more info about the 1980 multi-chapter fic?

Yesss absolutely :D This is the one I've been working on the most recently!

Here's the (subject to change) fic summary: Throughout the seventies, John writes letters to Paul to let out all of the things that he can never actually say. He never intends to send them, of course. In retrospect, maybe he shouldn’t have addressed them and put the stamps on, although in his defense, how was he supposed to know that Sean would go through his drawers and decide to put them in the mailbox?

Here's a snippet:

Paul’s gaze lands on him and John sees the moment of shock – he jerks backwards a fraction, his lips parting abruptly as if to yell, but nothing actually comes out. He snaps his mouth closed with a sharp click of teeth and stands up quickly, steps closer. Paul stares at him. John stares back. A branch from the bush is digging roughly into his back, another scratching his arm quite painfully. “John.” Paul takes another step closer, right in front of him now. “Why, pray tell, are you crouched in my hedge?” “This is hardly a hedge,” John responds, as if there’s nothing odd about the situation, as if he doesn’t look like a complete idiot and some kind of crazy stalker to boot. “If it were, you probably wouldn’t have seen me. Hedges are thicker than this, you know.” For some incomprehensible reason, Paul allows himself to be distracted despite how transparent John’s deflection was. “It used to be bigger! Our gardener moved away a while back and I haven’t hired a new one yet. Think it might just be dying.” “It’s still not a hedge. If your gardener told you it was, it’s a good job he’s gone, can’t have been very good.” “Well maybe you ought to take care of my garden, what do you say? Since you’re such an expert and all.” “What do you think I was just doing?” John returns easily, using the opportunity to rise to his feet while he gives the bush an exaggerated showy pat. “Though, if you want regular service, you’d better be paying well. I don’t come cheap.”

I’d love to hear more about Curse of Foresight!

Ooh yes okay so this one is still in the very early stages but basically it's an au where Paul gains the ability to see visions of the future in his dreams. He sees that he's going to be rich and successful and famous and is obviously very excited about it, but then he starts to realize that seeing the future isn't quite so much fun as he'd thought, actually. He's not supposed to be able to change anything that he sees, but he's desperate to make sure that the future that he sees doesn't come true and starts trying to change it anyway. I'm not sure if I like it much haha but we'll see where it goes! Here's a random little snippet from what I've already written :)

When Paul finally opens his eyes and dares to look over, John’s still asleep next to him. He looks the same as ever – peaceful in sleep, angelic, almost – but all that Paul can see is the twisted expression on the older version of his face, the cold indifference as he had said that the band was over and that he was leaving. It can’t have been a real vision. It was just a dream, this time, maybe. It could have been. It might not really happen, what he’d seen. He knows the difference, though, knows what it feels like when it’s just a dream versus when it’s something that’s actually going to happen, and he knows that he’s lying to himself. It hits him like a physical blow, the realization that John’s going to look at him like that one day, that it’s set and certain and going to happen no matter what Paul does. He stares down at the John in front of him now, quiet and beautiful on the bed next to him, and suddenly finds himself thinking that maybe this ability of his is more of a curse than a gift. He wishes he hadn't seen it. He wishes he didn't know.

WIP title meme

Thanks for tagging me @unusable and @crepesuzette2023! :)

Rules: make a new post with the names of all the files in your WIP folder, regardless of how non-descriptive or ridiculous. let people send you an ask with the title that most intrigues them, and then post a little snippet or tell them something about it! and then tag as many people as you have WIPs.

1. P.S. I Love You (1980 J/P multichap)

2. Curse of Foresight (only just started this one)

3. If You Were Here Today (this one's just a short oneshot)

Okay I have a couple others that I've kind of started but don't have any titles at all yet (Lol I'm horrible at naming my fics I usually leave it until the last minute) so I'll just list these I guess?

Uhhh sorry if you've already been tagged but @buttahpie @merseydreams and @unchaineddaisychain

I am obsessed with fictional guys being really weird about each other. Hard at work in the plausible deniability mines. You know those pairings who would jerk each other off before they'd kiss

McLennon Fic: Follow the Sun

I just posted the 11th and final chapter of my McLennon fic!

Rated M, 11/11 chapters, 44,000 words

“I love you. I’m in love with you.” Paul has to close his eyes for a second. John’s gaze on him is too intense, too wanting, it makes him feel like he’s on fire. He tells himself that he must have imagined what he just heard. “What?” “I’ve been in love with you for ten years. Since we were kids. Practically since the day I met you.” Paul wonders why the hell John is telling him this. What could it possibly achieve?

Or, John tells Paul that he loves him, and Paul's not ready to hear it. This causes a lot of problems for them both.

the medley at the end of abbey road is fucking everything truly

Oh yeah I almost forgot I made this a while ago because I wasn't feeling sad enough or something ig (it's a very bad edit sorry lol but thought I might as well post it anyway just in case anyone wasn't feeling sad enough!!!)

George: hey. don't cry. I went to Mad At You island and none of your friends were there :)

Paul:

Paul: why were you at mad at me island

I just think if you're gonna call your ex bestie/creative partner gay for wanting to meet one-on-one without either of your wives present that says more about you than him but unfortunately even a broken gay clock is right twice a day sorry this apropos of nothing but of course it is about the beatles

“It’s like you and me are lovers” is so not the appropriate response to Paul saying there’s a thematic string tying the album together

Fanfiction writers only want one* thing and it’s disgusting

*Comments where you explain in excruciating detail how each line made you feel

george and ringo

20k word paul x reader fic and he ends up leaving u for john by the end of it

Just uploaded chapter 10 of Follow the Sun :)

“We hope this email finds you well” babe, the only emails I hope find me well are the ones from Archive of Our Own

Paul's body language listening to Beautiful Boy and what I think is Paul's greatest tragedy

I had to capture Paul's body language while listening to Beautiful Boy as one of his choices on Desert Island Discs in 1982. He says the song is 'very moving' for him—you can listen to the whole thing here and watch the actual video captured in these gifs here.

Desert Island Discs is a radio programme, so I wonder if Paul wasn’t expecting cameras, or perhaps he knew there would be one but wasn’t prepared for his own emotional response once the song started playing. His body language is incredibly poignant to watch, and while I'm no expert, this feels like the rawest I've ever seen him captured on film, even more so than the most difficult parts of Get Back/Let It Be.

It starts when the songs starts playing: his eyes are everywhere, and he puffs his cheeks and bites his lips. He clearly knows the lyrics, you can tell througout this video that he does, but he keeps himself from singing along out loud.

Then, when John sings, “And your daddy’s here,” he puffs his cheeks again and fully turns his back to the camera to gather himself, flicking his hair, and starts rocking back and forth.

His eye are EVERYWHERE at that point, with some more hair flicks. Also, you can't hear in the gif, but there's a second or two of him tapping along with his hands on a table or his thighs, perhaps in discomfort or a nervious tick, and then he stops.

And just when you think he’s composed himself, he turns his back to the camera again and stays like that for a good while. To clarify, the show’s host is sitting right next to him, shoulder-to-shoulder and elbow-to-elbow on Paul’s right, but Paul is clearly avoiding eye contact and communication altogether.

This continues for several more seconds until John sings, “It’s getting better and better.” That's a hint to Paul's own line from Sgt. Pepper, I think we can all agree to that. Then, the camera operator—perhaps taking pity or simply doing their job well—pans the camera and focuses on something even more telling; after tapping along and swiveling, he's now hugging himself.

And that's when the camera cuts, thankfully. I can imagine this is exactly how he must have spent hours in the early eighties, listening to Double Fantasy and the Real Love/Free as a Bird/Now and Then demos and taking it all in.

And herein lies what I think is Paul's greatest tragedy: if, as he's claimed for decades, they were never knowingly or consciously romantically or physically involved while John was alive, I wonder if the understanding of what they actually had crept up on him after John's death, especially in moments like these. It could be argued that it's reflected in songs and lyrics throughout his solo career—a progression of moments, memories, and conversations, all deciphered and processed in a new light.

How heartbreaking.

John wrote a short story where he has sex with a 'woman' in paris. Except the woman is called Amie L'Nitrate and Amyl Nitrate is a reference to poppers. He talks about grabbing her 'pomme de frites.' Her potatoes? He uses the term 'tread lightly on some loafers' which is an old euphenism for being gay. Amie says they should have sex to God Only Knows. Then John says their relationship ended in a seething rage but he still thinks of 'her.' Yeah. Most solid mclennon evidence in my eyes.