Remainder, 7 Deadly Sins and UConn style
WNBA/NCAA RPS, all tied to the University of Connecticut Huskies.
4x100, 1x200 (which kinda answers two challenges, which is why I wrote it as a double)
Still don't own anybody. Still not making any assumptions about women's sexuality here.
Sue Bird/Diana Taurasi, Seattle Storm and Phoenix Mercury
Diana exudes lazy confidence- among other things. It's the other things that bother the ad people. They insinuate that people have been concerned about the company she keeps, and they'd give her a bigger deal if she just lets herself be seen more often with men and less often with women.
Diana explains this to Sue with painful earnestness, and Sue tells her she understands, because Diana was never good at hiding things.
Later, alone in her cold bed, Sue will remember, and wonder if she really did see Diana's eyes flash money-green, or if it was just her imagination.
Sue Bird/Lauren Jackson, Seattle Storm; Bird/others implied
Sue has spent her life aflame with need. No one is ever enough: not passionate Diana, not innocent Nicole, not cerebral Kate. She burns through them like a match through paper and leaves them with memories that will keep them desperately awake at night.
She's sure Lauren will be the same. What chance does some punk from Australia have with her?
Plenty, as it turns out, because Lauren's desire burns as bright as hers. They sink into each other, and when Sue remembers that it's supposed to be a sin, the fire coiled between her legs burns all the hotter.
Swin Cash/Ruth Riley, Detroit Shock; Riley is a Notre Dame alum.
People envy Swin for beauty, charisma, talent, glamour. She may be a diva, but there's a core of stability in her life that surprises people when they look past her high-strung exterior.
What people don't know is how much she envies others their ability to be open. With glamour and talent comes stardom; with stardom comes secrecy, and the woman in her life must remain unacknowledged, no matter how important she is, how special she is in her own right.
She cannot sacrifice fame to tell the world of her Irish lass, for it would bring Ruth down with her.
Rebecca Lobo/Sue Wicks, ex-New York Liberty
It would be so easy to pick up the phone and call her. She's #23 on the speed-dial, not because of unimportance but for mnemonic ease. Three buttons, maybe four, and Rebecca can pour out her concerns and her emotions, accept that there are two people she loves as lovers, neither of whom she can give up no matter what legal bonds tie her to one.
So easy, so simple, and yet Rebecca can't stir herself to punch in the keystrokes. She says nothing, and Sue doesn't know, and the love that was once between them melts like morning mist.
lots and lots of pairings and implied pairings; the "S-wheel of agita" comes from iwouldbethe1 and birdtaurasilove's "S-wheel of angst".
It doesn't make sense for him to be proud of their pride, but that's what he's been doing for years anyway. He's seen the campus become harder, tighter, meaner, more conservative, and all it does is make the team tighter-knit, which in turn breeds the success that Connecticut feeds upon. They are defiant because of their classmates.
It's been going on for years. He saw Rebecca's crushing on Meghan (and Meghan's later, slightly disturbing, crush on Diana), and her experimentation with Pam, and Jen's with Kara. He saw what CD dubbed the "S-wheel of agita" that linked Sauer to Stacy to Shea to Sveta to Swin, not to mention Stacey, Sherri, and Smith (and Tamika, who didn't fit the pattern any way you twisted it). Then there are the guards, almost ten years of various combinations.
Of course, he doesn't let on, because then they'd all freak out and hide it even more, and that tended to lead to embarrassing losses like North Carolina and ASU. He's a man, after all, not to be trusted with girl-girl issues.
They're all his guys, anyway. Doesn't matter what they do on their own time.
Doesn't mean he can't be proud of them.
4x100, 1x200 (which kinda answers two challenges, which is why I wrote it as a double)
Still don't own anybody. Still not making any assumptions about women's sexuality here.
Sue Bird/Diana Taurasi, Seattle Storm and Phoenix Mercury
Diana exudes lazy confidence- among other things. It's the other things that bother the ad people. They insinuate that people have been concerned about the company she keeps, and they'd give her a bigger deal if she just lets herself be seen more often with men and less often with women.
Diana explains this to Sue with painful earnestness, and Sue tells her she understands, because Diana was never good at hiding things.
Later, alone in her cold bed, Sue will remember, and wonder if she really did see Diana's eyes flash money-green, or if it was just her imagination.
Sue Bird/Lauren Jackson, Seattle Storm; Bird/others implied
Sue has spent her life aflame with need. No one is ever enough: not passionate Diana, not innocent Nicole, not cerebral Kate. She burns through them like a match through paper and leaves them with memories that will keep them desperately awake at night.
She's sure Lauren will be the same. What chance does some punk from Australia have with her?
Plenty, as it turns out, because Lauren's desire burns as bright as hers. They sink into each other, and when Sue remembers that it's supposed to be a sin, the fire coiled between her legs burns all the hotter.
Swin Cash/Ruth Riley, Detroit Shock; Riley is a Notre Dame alum.
People envy Swin for beauty, charisma, talent, glamour. She may be a diva, but there's a core of stability in her life that surprises people when they look past her high-strung exterior.
What people don't know is how much she envies others their ability to be open. With glamour and talent comes stardom; with stardom comes secrecy, and the woman in her life must remain unacknowledged, no matter how important she is, how special she is in her own right.
She cannot sacrifice fame to tell the world of her Irish lass, for it would bring Ruth down with her.
Rebecca Lobo/Sue Wicks, ex-New York Liberty
It would be so easy to pick up the phone and call her. She's #23 on the speed-dial, not because of unimportance but for mnemonic ease. Three buttons, maybe four, and Rebecca can pour out her concerns and her emotions, accept that there are two people she loves as lovers, neither of whom she can give up no matter what legal bonds tie her to one.
So easy, so simple, and yet Rebecca can't stir herself to punch in the keystrokes. She says nothing, and Sue doesn't know, and the love that was once between them melts like morning mist.
lots and lots of pairings and implied pairings; the "S-wheel of agita" comes from iwouldbethe1 and birdtaurasilove's "S-wheel of angst".
It doesn't make sense for him to be proud of their pride, but that's what he's been doing for years anyway. He's seen the campus become harder, tighter, meaner, more conservative, and all it does is make the team tighter-knit, which in turn breeds the success that Connecticut feeds upon. They are defiant because of their classmates.
It's been going on for years. He saw Rebecca's crushing on Meghan (and Meghan's later, slightly disturbing, crush on Diana), and her experimentation with Pam, and Jen's with Kara. He saw what CD dubbed the "S-wheel of agita" that linked Sauer to Stacy to Shea to Sveta to Swin, not to mention Stacey, Sherri, and Smith (and Tamika, who didn't fit the pattern any way you twisted it). Then there are the guards, almost ten years of various combinations.
Of course, he doesn't let on, because then they'd all freak out and hide it even more, and that tended to lead to embarrassing losses like North Carolina and ASU. He's a man, after all, not to be trusted with girl-girl issues.
They're all his guys, anyway. Doesn't matter what they do on their own time.
Doesn't mean he can't be proud of them.