#( sorry for length!! )

[chloesimaginationthings]

FNAF Michael refuses to be gaslit on “THE BITE OF 83”

[rainscenes]

Every day, you heal a little bit more. Then one morning, you wake up and losing her isn't the first thing you think about.

BOBBY NASH and EDDIE DIAZ for @wernerherzogs

[pigeonconcert]

I think she's what love looks like actually

[keirahknightley]

Costume appreciation series: Barbie (2023) dir Greta Gerwig

Costume Design by Jacqueline Durran

[cry-ptidd]

"My good friend Jonathan... what do you have there?"

[ylangelegy]

After MAMA awards I'M VERY PROUD OF MY BOYS and seeing Woozi crying, nooooo my mannnnn

So can I request Woozi or anyone after awards, all members celebrating with their partners hehe LOVE YOUUU!!!

PLEASE PLEASE 🛐🛐

🍑 i will really live the rest of my life repaying you.

you don't see seungcheol until the next day. such is the life of the general leader, it seems— the never-ending heralding, the non-stop worrying. he deals with his boys, first, then the fans, then the staff. but once that's all done, he's at your front door, collapsing into your arms before he's even past through the entryway. it doesn't matter how many awards its been. he is still overwhelmed by it every single time, and you are a soft place to land. he comes home to you and whispers the sweetest nothings in your hair. i'm so proud of them and they did so well and they're so happy. as he holds you tight— like you're the only thing keeping him upright— it's your turn to let him hear those words. i'm so proud of you. you did so well. you get to be happy, too.

the jeonghan on the other end of the video call has been quiet for the most part of the past half-hour. you'd be more worried if you hadn't already predicted where his solemness was coming from. "hannie? still with me?" you prompt gently, and he finally tears his gaze away from the ceiling to look back at you. "yeah. yeah, i'm with you," he answers. a beat. there are some things you no longer have to say out loud. how he wishes he was there. how he misses them and tries not to let it show. instead, you give him a reminder that's quiet and firm. "this is yours, too," you say. this award. this moment. these boys. all still his. there's a ghost of a smile on his face as he mumbles, "right. of course. how could i forget."

joshua likes keeping lists. a running one he has with you is that of gratitude, where the two of you try to end each day with acknowledgements of what you're grateful for. you're expecting a whole essay for him after tonight. he surprises you by keeping it short, sweet, and straight to the point. in no particular order, he types out into your shared note. music, the boys, you. hours later, he adds a footnote like it'd occurred to him as an afterthought: i'm always grateful for those three, but especially so today.

"look at them!" jun shrieks. his video call pixelates, either from spotty connection or his sudden burst of enthusiasm. you have half a mind to warn him that he may get a noise complaint again, but this time it'd be completely warranted. he's positively vibrating with excitement, his eyes glued to the livestream of his twelve brothers ascending the stage for their second award of the night. "look at them," he repeats, and this time his voice is more reverent than anything. you could comply, could do as he's asking, but your eyes are trained elsewhere. and look at you, too, you want to say. look at you and all that you've done to get this far.

even though it's been an exceptionally long day, soonyoung comes home brimming with adrenaline. he does dance routines in your living room. he jogs around your block until you beg him to just come back. he sings in the shower before collapsing onto the bed next to you, where he suddenly becomes boneless. the glow of pride stays even as the exhaustion hits. he pulls you against him and cuddles right into you. to soonyoung, this is as good as any trophy: the peace that comes with falling asleep next to you.

wonwoo has no destination in mind. he has a car with a full tank, and a playlist of all his favorite songs, and you in the passenger seat. that's more than enough. you pass through tunnels with warm lighting; expressways where he keeps the windows down so the wind will whip at your hair. occasionally, you'll stop to grab a snack or take a photo of something interesting on the side of the street. after hours of just going in circles, he'll ask, "should we keep driving?" even though he knows you'd never deny him this. this. his little celebration in the form of getting 'lost' with you.

nobody hears from jihoon for the next couple of days. the managers are worried, but the boys all just shake their heads and say that he's in good hands. which means: he's wherever you are. the two of you don't talk about his speech, about his public breakdown, because both things make him want to hide forever. instead— he sleeps in. he watches movies from months ago that he promised he'd get to. the two of you go on walks at night, and have breakfast at lunch time. the vicious cycle will soon have to begin again. jihoon knows that. but for a few, precious moments, his heart is not a heavy burden because it's safe and sound in your capable hands.

seokmin takes you on the textbook definition of your perfect date. a shopping spree? here's his black card. an amusement park? he'll rent out lotte world for the day, if he must. you're understandably baffled. he's the one who just won big, and yet you're the one being treated like royalty. try to resist and he'll only push back on you. seokmin already spoils you enough as is, but this is just a little more over-the-top than the day-to-day stuff. at the end of it all, his rationale is as sweet as it gets. "you keep me going," he tells you. "and so you deserve just as much credit as i do."

mingyu has always liked to celebrate with a meal. you'd expected his usual fare of some swanky restaurant or high-end café, but, this time, he asks for only free reign of your kitchen. he props his phone up against the salt shaker and pulls up a youtube video before flashing you his best 'just-trust-me' grin. your trust is not misplaced; the two of you do manage to bake the celebratory cake, though whether it's any good is an entirely different story. the end result doesn't matter as much as the process. mingyu is happiest about the flour marks on your cheeks, about the kisses he steals while you whisk eggs. it's not a birthday cake, but you light up a candle for him anyway. just for the hell of it. "make a wish," you tease. he's looking straight at you as he blows at the flame.

minghao asks for a beach day. the two of you set out for the nearest one. maybe the sand is a bit rocky; the shore, lacking in shells. he doesn't care. he only seeks out the sun beating on his back, the saltwater clinging to his skin, the first punch of air after emerging from the water. as the stolen weekend winds to a close, the two of you sit at the point where the water lap at your toes. neither of you have to speak. here, minghao lets the tide wash away the ache of homesickness. here, minghao redefines 'home' as a future with the boys of his youth, with the music that is as constant as the waves— and with you, of course.

the ferry ride to jeju is about four or so hours long, but seungkwan doesn't mind. there's just something so right about getting on the first vessel that will take him back where he has family waiting with a homecooked meal and a play-by-play of the award show. besides, the ferry means having four hours of uninterrupted leisure time with you. the pair of you literally have nowhere else to be except this boat and this point in time, which seungkwan is a little guilty to be so happy about. he's a glutton for your time and attention, and these ferry rides— these trips home— remind him just how much he likes taking the scenic route.

vernon treats it almost like it's just another day. almost. you're thrown off by his initial nonchalance, by the lack of utter fanfare in the way he asks you out to lunch and the two of you barely discuss the recent accolades. when you prompt him about it, you realize it's not because of arrogance or ignorance. "we're just doing what we always do," he says with an expression of mild confusion. winning?, you almost inquire half-jokingly, but that's only part of it. he elaborates, "we were just ourselves, y'know?"

when chan suggests a rage room, you're understandably confused. the wrath-based activity doesn't seem like the most optimal celebration, but you're not about to cramp his style. the two of you queue the angriest songs known to man before smashing some defunct appliances and throwing empty bottles against a wall. once your time is up, chan looks at you with that familiar spark of fire in his eyes. that dedication you fell in love with, that passion that has always burned bright. "again?" he asks, and you know it's not just the rage room that he's asking for.

[ilikethisnamebutter]

I can fix him

[wigglebox]

Sad Bois’ Story Time

Bonus:

[shorthaltsjester]

endlessly thinking thoughts about cr characters, morality, and selfishness (likely place for me to be, given that my day job includes endlessly researching ethics and meaning of life) but in light of bell’s hells most recent illustration of their insularity and individualism, I’ve been really like. Trying to unpack why I find it particularly egregious in this party when obviously mighty nein were notoriously self-interested, especially at the beginning, and when vox machina had quite a few moments where their horses were far higher than they had any reason to be. And again, I really want to make it clear her that I don’t hold self-interest or selfishness to be some abhorrent and unforgivable thing, in fact I think its incredibly normal especially given the context of main characters in a story told through game mechanics that flourish on the interest of the individuals making the choices. I’ve written before about how one of the throughlines that I’ve seen in laura’s pcs (since I’m someone who particularly enjoys looking at the moral outlooks characters develop) is a common thread of morality that’s highly dependent on their own interests. And like, this is a positive throughline to me! Without getting into my own views on morality, it is particularly compelling to me for characters with isolated upbringing (which applies to vex, jester, and imogen, each in different ways) to develop a moral code informed by that isolation, and in vex we see her moral code is ‘anything goes if it protects those I hold dear’, in jester we see a moral code that doesn’t care about morality as much as it cares about the chance to care and be cared for, and in imogen we see a moral code developed in response to her very unique experience of hearing the darkest parts of people and judging them on those (which to be clear, i am not judging her for that fact, I think it makes extreme sense for someone who hears the thoughts the people have to be horrified by those things, but it does mean her moral system is almost completely backwards, where intention holds more weight than action, which perhaps makes sense of the popularity of defending all of her ideas and choices and the Right Ones by certain parts of the fandom that insist leftism is hidden in the dnd real play). And that’s all to say that, out of the cr parties we’ve seen, I don’t think any single member of bell’s hells is uniquely more or less selfish or more or less of an asshole than previous characters. And in fact, I tend to be quite fond of selfish characters, I have a well documented history of cherishing them well beyond the cr fandom. But the point is that my calling something or someone self-interested is not a value judgement in this context, it's a descriptive claim about the traits a character exhibited.

Imogen, who has insisted time and time again re: the values of the accord that she would not be swayed by the temptation of predathos because she recognizes the importance of this fight, only to turn around and pretty immediately open herself up to predathos to fulfil the most threatening part of ludinus’ plan is self-interested. I cannot conceive of any other way to describe her choices. And her being self-interested doesn’t mean she can’t also be altruistic at times, but I will be clear that I don’t think her risking killing herself as she attempts to bring down the god-eater that she released is particularly selfless. In my best faith interpretation I’d say she’s pretty middle of the road in that choice. But I bring all this up because a comparison I’ve been seeing is that bell’s hells aren’t as mean as the mighty nein or even vox machina in certain moments and that it doesn’t make sense for the fandom to view bell’s hells as likely to be villains when the same wasn’t true of the previous two campaigns, and I think I have to pretty emphatically disagree, and not because I don’t think there aren’t moments in both campaigns that feature extremely high levels of assholery and villainry from pcs – I mean, some of my favourite cr characters are percy and jester, both of whom i’d say are ‘good guys’ due to the pure luck of the found familys they fell in with and both of whom often suggested plans that were. Not okay. To say the least. But ignoring the difference between suggesting fucked up plans and walking your god-eater infused bestie back towards the troops sent to support you in keeping that entity contained, the other big difference I’ve noticed in my own introspection on how I react to bh vs mn and vm, as well as which things i cherish about previous campaigns that were really missing from c3 to what I think is the story and the character’s detriment (staying away from the shape of the narrative, just because others have made posts that put words together better about that than I can) is that while members of vm and mn remained self-interest to the end of their campaigns and have reasserted those habits in appearances since, the parties as entities working in exandria had both, to echo ashton’s apt suggestion to ludinus, grown up.

Like one moment I think of is beau and fjord’s convo in the nein hells episode, because beau is being her asshole self and fjord is being his ‘I care about My People and I’ll think about the rest later’ self (i say affectionately but certain parts of the fandom I recognize would view derogatorily) – clearly they’re not the kindest people as they discuss bell’s hells, but two notable things are (a) they still treat the hells with the respect and use their means to help them prepare for the battle coming, even when they hear the horrifying thought that the hells aren’t certain they’ll choose to save the gods, all the nein request is that they choose the kind option (b) they say none of their doubts to the hells themselves – likely because they have the empathy to realizes that its a high stress situation that won’t be made better by a reminding the hells how small and likely ineffectual in the universe they are – and their comments about cannon fodder are ones made in jest to each other. Even taking that in the worst faith interpretation, the jokes that beau and fjord make in a private conversation has absolutely zero influence on bh. This is quite different than bells hells, after like. as clearly betraying the accord they promised to assist (even if their intentions are ‘good’) as is possible, belittling the religious armies sent to support their endeavor to keep predathos sealed as they all feel the weight of an irrevocable change occurring in exandria, one bells hells has first account knowledge now that it IS incredibly willing to eat mortals, and laudna and ashton, the members of bells hells most often cited by certain fandom spaces as characters who have gone through so much and it only made them kind and strong, look into the faces of people facing literally existential threat and laugh and mock them. That is, mighty nein as individuals is comprised of some of the, perhaps, most asshole pcs, but The Mighty Nein as a party is committed to treating others the best they can, to leaving things better than they found them (a quote that I think is particularly exemplary of the dynamics of self-interest at play in the mighty nein, since it originated as a blatant illustration of molly’s notion of self-importance but developed to become a kind of commandment that the nein became committed to fulfilling). The opposite is true of bell’s hells, where orym and dorian at least both seem to have motivation beyond themselves, imogen’s changes but has shown she is capable of letting go of her ‘intention reigns’ requisitely individualistic perspective, and chetney plays up his selfishness but has shown himself to care quite a bit for people beyond their party but bell’s hells as an entity is uh, pretty self-interested.

To clarify some of my thoughts here in the spirit of the wicked renaissance happening rn, I’ve always felt that for good was an incredibly apt song for the mighty nein, because it really nails that feeling that perhaps they didn’t change each other as individuals to become better people on the grand scale, maybe they’ve just changed each other permanently, but they (and I would agree with this) view each other as having changed each other for the better (e.g., I don’t know if I could say whether jester is a morally better Individual at the end of the campaign, but I can say with certainty that she fulfils and makes moral choices in her work as a member of the mighty nein). And I don’t know if this can be said about bell’s hells – I think they have certainly influenced each other and changed how alone many of those characters felt, and that is not a slight on the story, it can be a great centre for a story to focus on how a relinquishment of the feeling that one is alone in the world can change them. But for the most part, that hasn’t been bh’s story, their story instead has been about validating their refusal to become anything beyond what they insist was out of their control. And not to get to annoying philosophy student about it but bell’s hells are maybe some of the most explicit examples of sartrian bad faith I’ve seen in fiction in a hot minute, because their insistence that they treat their wounds as incurable and entirely out of their hands has led to them limiting their own potential because many of them ignore their responsibility as people to make choices in their own lives. In contrast, at the end of the campaign, mighty nein are still assholes as we all like to refer to them as, but in the context of an apocalypse, I think I’d prefer the assholes like fjord – who is certainly being truthful when he says he doesn’t care about what harm comes to 200 people when jester is at risk but who also, as they traverse into aeor, is insistent that their group won’t be running away from whatever apocalyptic threat awaits them, even if that means dying in the fight – than I would an asshole like ashton – who promises to fight for the little guys but who then turns around and acts upon a philosophy that says the strongest will survive. When you look at the mighty nein, it is incredibly easy to see the fingerprints of change they’ve left upon one another, and even to see the boundaries they place on one another’s asocial behaviours through their presence in one another’s lives (more recently the group chastising jester’s fond words about ludinus is a good example, but others are yasha’s pressuring caleb and essek to move on from their wizard talks as they collect paper in aeor instead of venturing further toward the battle they have to fight, or fjord and jester’s frustrated conversation in the ukotoa reunion about how fjord made a stupid decision and he doesn’t regret but he feels dejected and jester checking him on the fact that they still need to figure out a solution). It takes some extrapolation to see how bells hells have changed each other in more than aesthetic ways, if they have at all. Because the catalyst for change is pressure to do so, and aside from moments where it was truly change or be left behind, bh doesn’t challenge each other unless forced to by morri’s trials or delilah’s interruption and on the very odd occasion an interesting game of rollies-spin-the-bottle. 

And it’s interesting because the asshole behaviour of the mighty nein, like bell’s hells, stems from being left on the outskirts of society and the mistreatment that comes with that, so seemingly the change from being alone to being with others is one that actually insists upon being challenged to grow and change. I mean, just looking at the starting points of the characters, there’s an intriguing amount of stark similarities between their pasts; jester and fearne were both people loved dearly by the family they grew up with but who were loved within the confines of a gilded cage, ashton and beau both have an glaring self awareness that their anger at the world has a very particular source (their parents) but use that as justification rather than a means of self reflection, yasha and orym are trying to navigate a world in the wake of an incomprehensible loss and a sense of duty, fjord and imogen are both seeking out knowledge of their own powers and unknowingly retreading the paths of their missing and presumed dead parental figures. The idea that bell’s hells are uniquely mistreated by society in the history of cr player characters is, politely, laughable. Absolutely they’re mistreated, and I think it could be fair to say these characters are more defined by their isolation than others but I think that has more to do with the lack of downtime rp than it has to do with the context of their suffering.

What I have loved about the mighty nein is that in their realization that the bonds they forge with each other are undermining the truths most of them had taken to be true – that they were alone and without a place in the world – they are also forced to realize that no longer being alone and isolated comes with the weight of social responsibility. And this was born out of a willingness the mighty nein had to call each other out and that the players had to allow their characters to be wrong and get called on it. Because that’s the friction of living with other people on the small party scale and the large world scale – in the mighty nein’s ability to survive as a people who cared for each other even when they didn’t agree or when they made decisions that they couldn’t understand, they were constantly developing their ability to care for the very same world that left them alone. Because in campaign two, the world as a whole had the role that the gods have in campaign 3 – why should a party of nobodies, treated like shit by the world and the people in it go through the effort of saving it?

And the mighty nein answered, in their own imperfection and assholery, that nothing is ever just one thing – one of the things I cherish most about campaign 2 is its commitment to ambiguity, allowing the complexity of the world to go unsolved because there is no solution to the fact that life is immense and sometimes incoherent. I don’t think its a coincidence that I’ve seen some of the people lamenting the idiocy of fandom members like me who think that it actually isnt a leftist win to destroy the world in the hopes of spontaneous justice arising in c3 are the same people who criticised c2’s conclusion with the cerberus assembly for not being leftist (a word which for them means . the aesthetic image of a rebellion sparked and not the unending commitment to doing what you practically can to make life more just for those around you – whether they’re particularly kind to you or not) enough. The conclusion of c2 emphasizes that the choice to make the world a better place isn’t something that can be achieved in one single sweeping action that will wipe the boards clean – there is no murder of all the members of the cerberus assembly that would’ve solved the problems that caused the assembly’s power. There is no forcing of the god’s out of exandria that will deal with the actual issue undergirding both bh and their blorbo-moralized fans' criticism of the gods, which is that mortals are cursed with the burden of free will, and being mistreated by other mortals means constantly having to try and make sense of the fact that someone chose to do something cruel to you (and, sometimes, that you made a choice that allowed that cruelty to occur) – a burden made much heavier when the person who hurt you is your cult-indoctrinated mother, or your cult leader father, or the person in the mirror. The mighty nein take up this fight, and the complexities of their individual identities begin to heal in the light of a commitment in their relationship as friends and as a team to improve the world, even on the small scale. Bell’s hells remain gridlocked and stagnant and unwilling to change in an unspoken turf war of self-interest because they’ve insisted (influenced in part by the context of the campaign 3 narrative but, as others have aptly pointed out, that narrative was much more influenced by bh’s lack of curiosity regarding anything except their own minds) upon finding a solution to a problem they’ve decided is earth-shatteringly (quite literally, to the people of ruidus) unjust based on, aside from encounters where fellow mortals were the primary oppressors, their own testimony of the god’s not listening to them and the obvious villain’s parallel testimony. Something I’ve really been chewing on lately is caduceus words to fjord about his role as a paladin of the wildmother – that maybe it just means that someday, someone will pray for a miracle, and there fjord’ll be and the weight that has given that fjord’s bond to ukotoa came from his desperation not to die and his willingness to accept whatever help would be offered, that fjord could now be the person that reaches out to someone in need, and that the hand he offers won’t come with a curse.  And I think that’s really the poignant difference between bh and mn for me, that for bh, their experiences of injustice, though did make them personally bitter, did not make them morally misanthropic.

Comparatively, Bell’s Hells chose to ensure that, because the gods never answered their prayers, they shouldn’t be permitted to answer anyone else’s. Is this an understandable position? Sure, for the walls of a preschool, not really for a group of characters that I will ever be in any way inclined to view as something close to heroes. While it’s true that there are parts of life that are beyond our control – somethings happen to us that we have no say in, and they cause injuries both physical and mental that we are left to heal without any rhyme or reason, it is still our responsibility to heal them. And if you choose not to, well, then you’ve chosen not to, and are responsible for the consequences and judgements that choice might amount to.

Anyway, sorry this is all over the place but TLDR: calling bell’s hells as a party self-interested is actually just descriptively correct – they can save members of the party made up of their close friends and still be self-interested – and while the individual members of bell’s hells actually aren’t all that uniquely self-interested in the history of cr pcs, the party is uniquely self-interested in how they’ve chosen to navigate the world an their responsibility to the people in it.

[tubbytarchia]

shut up I'm on my drawing kisses arc

[sweetmapple]

Mostly Hiring manager, but HR manager and PR manager too

[tactilescream]

> the entity swims through the void, and it remembers

I don't think I ever actually uploaded this one. I consider it a half wip bc I have this idea I will add more onto it at some point

[treycloverfield]

*Griffin McElroy voice* What’s up everybody i think treyvil shippers should vote

[kerryweaverlesbian]

O

○{-/_\-}○

// ◇ \\

In some ways, this too is Castiel.

[kevjeanyves]

i just got here (and by that i mean i binged the whole show while studying for finals between november and december), but buddie can’t NOT go canon. not at this point. not with everything they’ve set up

bucks canonically bisexual. that’s a massive key component. the queerBAIT is now lying entirely on eddie’s shoulders. and in terms of bucks storyline, the horrible guy he dated was given a barebones personality…that resembles eddie (military, likes sports, had a serious relationship with a woman). almost every trait they gave That Guy resembles eddie (except eddie isn’t racist). they did that on purpose. buck, bothered, bewildered, bisexual or whatever it’s called was so centred on bucks relationship with eddie

plus the whole confessions “i’m not your last” moment, only for the LAST shot of that episode to be buck and eddie sitting side by side. confessions as a whole is such insane proof of impending buddie canon too…the whole focus on eddie finding joy, on eddie’s catholic guilt and guilt in general, on eddie not wanting to See himself both figuratively and literally because he’s scared of what he’ll find…josh’s speech applying to eddie but making no sense regarding that Other Guy (the glee thing made no sense regardless)

and THAT focus is so obviously pointing towards eddie being gay. eddie’s entire everything has always pointed towards him being gay, i can’t lie, but it’s getting so much more obvious. they’ve reached a point where nothing about eddie’s personal arc or journey makes any fucking sense UNLESS he’s gay, and every storyline is making it more obvious that they’ve realized it

his catholic guilt being brought up. not wanting to be intimate with a woman who represents god in his mind. sex, god, and shame all coming together in that episode, AND bobby bringing up that eddie does this thing in relationships where he makes excuses instead of examining how he really feels towards them…now im sure bobby doesn’t know eddie’s gay, but it invites the audience and eddie to examine his past behaviour towards female romantic partners. and every single thing about that priest/juice scene in confessions. catholicism guilt tied into sexuality again (“uh…n-no offence…i-im straight” to a priest like cmon)

and speaking of past relationships, eddie’s grief is at the forefront of his storyline too now. his main most pressing storyline being chris’s running away. eddie’s grief and complicated emotions towards shannon have always been something he struggles with, and in s7 we learn that chris has complicated feelings around his mom too. and at the end of s7…well. what a stupid fucking storyline, but grief is the driving force of the chasm between eddie and chris. this addresses the most important romantic relationship eddie had with a woman (obviously shannon), and hopefully the relationship he has with his son, and both of those people are excuses eddie might be making in his own head to justify not even questioning his sexuality. eddie and shannon had chris when they were teenagers, eddie’s been a dad literally his entire adult life. does he know he can be gay if he’s been married? if he has a kid? does he know he’s allowed to even question his own sexuality? it’s probably what michael felt, but more complicated

AND michael stayed with athena thinking she could “fix” him. eddie said in s7 that he thinks he’s broken and can’t be fixed, to a woman he’d been unadvisedly pursuing, a woman who looked just like his own wife…

then, the “you think being a cheerleader makes your son weak?” storyline. cheerleading is seen as feminine and there are a lot of stereotypes about male cheerleaders and feminine men. both cheerleading and being gay are seen as feminine. the cheerleader called eddie “dad” and hen pointed out to chim that it his emergency is difficult for eddie because he misses his own kid AND the conversation with the cheerleaders dad where he relates it to his own current situation, which connects the storyline to eddie and chris. but the “you think [stereotypically feminine thing] makes your son weak?” brings eddie and ramon to mind. because eddie was raised to be hypermasculine and Not Weak, never weak. what would ramon think if eddie comes out as gay?

and, finally, the focus on eddie finding joy. on eddie doing any introspection at all. on eddie Seeing himself and understanding himself and being kinder to himself. on eddie realizing he deserves to be happy. on eddie realizing he doesn’t have to hide behind his (ridiculously adorable) moustache, that he doesn’t have to hide who he is

s7 was for bi buck. s8 is for gay eddie AND likely for buddie. eddie’s currently trying to see Himself and make amends with his past (and because that went badly, making amends with chris…the child he sorta partially legally gave to buck, in a way…). buck’s trying to not lose hope over the future, wondering who’ll be the last to love him (or wondering if he’s loveable at all). eddie’s true self AND bucks endgame are called into question at the same time…now maybe i just got here But

[charmac]

Glenn Howerton on MacDennis (x)