#(sorry that I cheated a bit)

[lauravian]

S1E13: Le Morte D'Arthur

Redrawing a screencap from every episode of Merlin... (until I get bored with it)

[pokeberry5]

Hiii

Love your art and I'm so sorry for your flight

If you have time could you do some jason /nightwing brothers moments?

If not I love you anyways ❤️❤️

thank you <3

this is them right?

Ref:

[myokk]

😇💘 (mdni🔞)

[dododrawsstuff]

Hi!!! Can I ask for chevalier + A5?

Hiii Inky!! Of course! Thank you for requesting!

I like to imagine he got into a fist fight with Ruri because he insulted Clavis and precious girl went to defend the honor of her man lol maybe I should draw that?

Expression requests are closed

Ikepri Taglist: @keithsandwich @scummy-writes @bicayaya @natimiles @floydsteeth @lorei-writes @aquagirl1978 @ikeprinces-stuff @goustmilk (let me know if you want to be added or removed from the taglist)

[danikatze]

[ID in alt text]

Haven't finished the first run yet, but I made a new bg3 character.. Their name is Russet Cuprum, Russ for short :3 (brown and teal like rusted copper is one of my fave colour combos) They're a barbarian but also a Soft Boi ™️

[falconfate]

Hello ranger’s apprentice fandom can we talk real quick about the stupidest thing Flanagan ever wrote

It’s about the bows. Yanno, the rangers’ Iconique™️ main weapon. That one. You know the one.

Flanagan. Flanagan why are your rangers using longbows.

“uh well recurve arrows drop faster” BUT DO THEY. FLANAGAN. DO THEY.

the answer is no they don’t. Compared to a MODERN, COMPOUND (aka cheating) bow, yes, but compared to a longbow? Y’know, what the rangers use in canon? Yeah no a recurve actually has a FLATTER trajectory. It drops LATER.

This from an article comparing the two:

“Both a longbow and a recurve bow, when equipped with the right arrow and broadhead combination, are capable of taking down big game animals. Afterall, hunters have been doing it for centuries with both types of bows.

However, generally speaking and all things equal, a recurve bow will offer more arrow speed, creating a flatter flight trajectory and retain more kinetic energy at impact.

The archers draw length, along with the weight of the arrow also affect speed and kinetic energy. However, the curved design of the limbs on a recurve adds to its output of force.”

It doesn’t actually mention ANY distance in range! And this is from a resource for bow hunting, which, presumably, WOULD CARE ABOUT THAT SORT OF THING!

Okay so that’s just. That’s just the first thing.

The MAIN thing is that even accounting for “hur dur recurves drop faster” LONGBOWS ARE STILL THE STUPID OPTION.

Longbows, particularly and especially ENGLISH longbows, are—as their name suggests—very long. English longbows in particular are often as tall or taller than their wielder even while strung, but especially when unstrung. An unstrung longbow is a very long and expensive stick, one that will GLADLY entangle itself in nearby trees, other people’s clothes, and any doorway you’re passing through.

And yes, there are shorter longbows, but at that point if you’re shortening your longbow, just get a goddamn recurve. And Flanagan makes a point to compare his rangers’ bows to the Very Long English Longbow.

Oh, do you know how the Very Long English Longbow was mostly historically militarily used? BY ON-FOOT ARCHER UNITS. Do you know what they’re TERRIBLE for? MOUNTED ARCHERY.

Trust me. Go look up right now “mounted archery longbow.” You’ll find MAYBE one or two pictures of some guy on a horse struggling with a big stick; mostly you will actually see either mounted archers with RECURVES, or comparisons of Roman longbow archers to Mongolian horse archers (which are neat, can’t lie, I love comparing archery styles like that).

Anyway. Why are longbows terrible for mounted archery? Because they’re so damn long. Think about it: imagine you’re on a horse. You’re straddling a beast that can think for itself and moves at your command, but ultimately independently of you; if you’re both well-trained enough, you’re barely paying attention to your horse except to give it commands. And you have a bow in your hands. If your target is close enough to you that you know, from years of shooting experience, you will need to actually angle your bow down to hit it because of your equine height advantage, guess what? If you have a longbow, YOU CAN’T! YOUR HORSE IS IN THE WAY BECAUSE YOUR BOW IS TOO LONG! Worse, it’s probably going to get in the general area of your horse’s shoulder or legs, aka moving parts, which WILL injure your horse AND your bow and leave you fresh out of both a getaway vehicle and a ranged weapon. It’s stupid. Don’t do it.

A recurve, on the other hand, is short. It was literally made for horse archers. You have SO much range of motion with a recurve on horseback; and if you’re REALLY good, you know how to give yourself even more, with techniques like Jamarkee, a Turkish technique where you LITERALLY CAN AIM BACKWARDS.

For your viewing enjoyment, Serena Lynn of Texas demonstrating Jamarkee:

Yes, that’s real! This type of draw style is INCREDIBLY versatile: you can shoot backwards on horseback, straight down from a parapet or sally port without exposing yourself as a target, or from low to the ground to keep stealthy without banging your bow against the ground. And, while I’m sure you could attempt it with a longbow, I wouldn’t recommend it: a recurve’s smaller size makes it far more maneuverable up and over your head to actually get it into position for a Jamarkee shot.

A recurve just makes so much more SENSE. It’s not a baby bow! It’s not the longbow’s lesser cousin! It’s a COMPLETELY different instrument made to be used in a completely different context! For the rangers of Araluen, who put soooo much stock in being stealthy and their strong bonds with their horses, a recurve is the perfect fit! It’s small and easily transportable, it’s more maneuverable in combat and especially on horseback, it offers more power than a longbow of the same draw weight—really, truly, the only advantage in this case that a longbow has over the recurve is that longbows are quicker and easier to make. But we KNOW the rangers don’t care about that, their KNIVES use a forging technique (folding) that takes several times as long as standard Araluen forging practices at the time!

Okay.

Okay I think I’m done. For now.

[jetlaggingbehind]

listen to me. in a swap au ramona's knives would NOT be matthew. matthew got over his heartbreak fairly easily once he had his own musical to perform on and knives does not have that kind of emotional resilience in the face of scott's shittiness she is seventeen years of age. matthew would more likely be like kim or something. he's hiding stuff and he never got closure but at least he has a healthy outlet for his emotions which helps him come to terms with it in some sense. knives would be ROXY. heartbreak central.

[mostofthingsmostofthetime]

My thoughts on The Ballad of Songbirds and Snakes movie

I don’t know if I liked it as much as the original films (maybe Mockingjay 1 & 2 as they are pretty emotionally draining), but I still enjoyed it.

I think where it fell a little flat for me is 1. The beginning was a bit slow (tbh I only really started getting interested when Lucy Gray stuck that snake down that girl’s dress & even then I enjoyed the story more when the setting changed from the Capitol to the district) 2. I knew Snow would survive 3. I’d already been spoiled online for a lot of stuff that happens & 4. while I know the director did his best to make Snow as “likeable” as he could for as long as possible, even before he started getting “a little too comfortable” with killing & snitching I didn’t find him as sympathetic as Katniss or Peeta (but that is probably again down to the fact that I know what he goes onto do & there’s no real way around that), this made engaging with him difficult for me.

The world is fascinating. Getting to see all the new locations we never had access to before as well as old locations now in a totally different light (for example district 12 which, while still clearly suffering, seemed like such a bustling industrial town compared to how it is in Katniss’s time). It might have a much more retro aesthetic but there's also just a more vibrant, natural, wild & lawless atmosphere to this movie compared to the others in the franchise. The whole scope of the film just felt more cinematic then I remember the others being yet also weirdly intimate. Maybe because it was one contained story & we knew the main character’s fate from the start. I also loved the title cards signifying the start of each section of the story like from the books & wished they'd done something similar for the other films. It just added a certain flair to the whole thing. Almost gave it the vibe of a tragic play.

The costuming was great. The bright red of the academy uniforms.  Flickerman’s snazzy suits. Snow’s dapper black & white outfit. Both peace keeper uniforms (despite one of them giving very ‘1930’s Germany’ vibes) looked great. Grandma might have been a bigot, but at least she was well dressed. Everything Dr Gaul wore (except the top that looked like a used tampon, lol) was exquisite. The main ladies of fashion, Tigris & Lucy Gray slayed. Our Future Capitol stylist looked like some regal yet exotic bird & Miss Survivor was giving Bohemian, country girl realness the entire time she was on screen. Even the extras were serving (like that random couple Snow walked past on his way to the reaping ceremony).

The music was amazing. Every song that played was fantastic (shout out to Olivia for her end credit contribution). The lyrics & instrumentation were beautiful & my god does Rachel Zegler have pipes! Anyone who says the singing scenes are cringy is just stupid like I’m sorry you can’t appreciate art. Also, the words ‘ballad’ & ‘songbirds’ are literally in the title. Plus, Lucy Gray is from the poorest district, so what exactly do those people want her to do in her free time? She can’t exactly hop on an X-box for a few hours. Not too mention that (as the offspring of someone who’s musically inclined) I can tell you, it’s completely realistic for a musician to use their craft to help them deal with trauma & Lucy Gray clearly had more than her fair share of that.

The Grandma'am helped to paint a sadly very realistic background for Snow. As who among us hasn’t met at least one delusional old person who thinks that their/their group’s suffering (regardless of the severity of it or the reason behind their former/newer status in society) means that no one else are deserving of even the tiniest shred of humanity & there are some people who are unlucky enough to not only be related to these people but be raised by them.

Hunter schafer as Tigris is clearly the superior Snow when it comes to things like empathy & overall mental stability but I do kind of wish they’d been more for her to do. Credit where credit is due though her & Tom did actually look like they could be related & I did buy their familial bond (which makes her appearance in Mockingjay so much sadder in hindsight).

Peter Dinklage as Casca Highbottom was a bit of a mix for me just due to his purpose as a character & the limit of film as a form of media. Like sure the audience know that Snow’s going to become an irredeemable monster in the end but without a window into his mind it really does just seem like the Dean is just out to get him & even when we find out why it seems kind of unfair. Like sure his dad sucked but haven’t the Games shown that blaming children for violence caused by others is unjust (& like ok he hates Coriolanus & probably the grandma but Tigris hadn’t done anything to deserve living in poverty, as she can’t control who she’s related to)? Plus, it felt like he could have at least tried taking Snow under his wing at some point to try to hinder Dr Gual’s influence. Saying all of that, though, Peter Dinklage is great at playing an addict with depression & the idea that some drunken rambling could lead to such long-lasting suffering is terrifying. Also its pretty realistic that living with that kind of guilt & in such a cruel environment for that long would make most people jaded & bitter, even if they did have good intentions.

Omg we finally get a Mayor family on screen & they’re assholes! Madge would be so disappointed 😭. It was interesting to see how harsh & overall “boot licky” the mayor & his family seemed compared to decades later, which makes sense as the war wasn’t that long ago for them so the dad probably felt more incentive to align himself with the Capitol as well as not feeling very connected to the district people as 12’s decline probably didn’t fully set in until they really started running low on coal & Snow became president (oh I just know he wanted to blow that district off the map 😆). I also wouldn’t put it past Billy to come up with some sob story of how he really does love Mayfair but wicked Lucy Gray is somehow preventing them from being together. Still no excuse to try to send her to her death twice in one week, though. Definitely not a girl’s girl.

Ok, so a liar. Cheat. Drunk & someone who hits women. Is there anything good about Billy Taupe? Also, trying to get your ex back, while your current girlfriend is literally standing right next to you? Dude, have some god damn back bone! You made a choice, now stick to it. Also, fumbling Lucy Gray, for a girl like that? What’s it like having no brains or taste? Well, too bad, coz you’re stuck with her forever now, lol.

Viola Davies, the actress that you are. What else is there to say? Dr Gaul is almost comic book levels of insane. Like she is how the Right see women in STEM, on crack! I don’t know what she did to get into character, but whatever it was, it worked.

Jason Schwartzman as Lucretius Flickerman is a very interesting addition to the story despite playing such a small & seemingly insignificant role. He is strange in how unthreatening he is while also extremely blasé about the abhorrent violence he witnesses that it’s as funny as it is disturbing. Making him come across as  more human yet harsher than his son, who at least pretends to care about the tributes (in a very Capitol way, obviously but still). There’s also a polish & confidence to Tucci’s performance that I think Schwartzman did a great job of avoiding copying (despite knowing what audiences were probably expecting) because not only are their characters in entirely different stages of their careers but the whole ethos of the Hunger Games is different in Snow’s youth than it is in Katniss’s. Caesar is a well established presenter & during his time, the games have always been a success (minus the year with the tundra) that the entire Capitol is invested in & seemingly in support of. On the other hand Lucretius had the unique task of not only coming into a job like this with zero experience (I mean imagine going from announcing the weather to presenting the fucking hunger games) but also there were no vibes to try to emulate let alone guidelines to follow because he truly was the first person to do this. On top of that, the "event" his presenting has been panned for years as both boring & unethical. Schwartzman brought a slightly awkward, experimental, yet try hard vibe (like a comedian who's desperate to get a laugh) that I think worked wonderfully for the character.

Tom Blyth's performance was great & he was visually perfect for a young Snow (the power of a good wig! Who knew lol). Even having the cool, analytical stare of Donald Sutherland, down pat. While his appearance was very Eminem during his peacekeeping days, his realisation in the cabin and subsequent breakdown in the woods were crazy. There was so much tension between him & Rachel in that scene that for a second, it literally felt like all the air had been sucked out of the room. I could almost hear the record scratch for both of them, & all that building paranoia finally coming to a sudden crescendo in the way that it did? Pure cinema!

Josh Rivera, as Sejanus, was honestly a mix for me. Obviously, I agree with his morals, but his way of going about it did seem a little dumb. However I do think it’s pretty realistic that a teenager, especially a rich one, would be rather naive. Also I’ve heard that he’s smarter in the book & I think at times my frustration with him is more just down to the fact that I’m seeing him from Snow’s point of view. Meaning scenes that would be portrayed as noble in any other film instead come across as almost painfully inconvenient because the focus is always on how they affect Snow rather than the actual victims of the situation. Lastly, sorry, Snowjanus shippers, I just don’t see it (especially on Snow’s end), but whatever floats your boat.

Rachel Zegler played Lucy Gray with the perfect mix of natural charm & emotional vulnerability with clear pride in her culture & a refusal to let the world around her change who she is. Yet there was also an air of mystery & a subtle resilience to her that makes her potentially surviving out in the woods for years without being detected actually believable (though I don’t buy the theory that she went on to become president Coin). Definitely the highlight of the movie for me.

PS. I'd love to know what you think of my review in the comments/tags & am open to criticism (as long as it's respectful) just remember that I'm only talking about the movie so please don't reference anything spersific to the book.

[eddieandbird]

ctcwc day 14: hot cocoa

You and Eddie got to school early to share some hot cocoa

[coraniaid]

reverse unpopular opinion meme: xander?

[Reverse unpopular opinion meme]

I like to consider my opinion of Xander Harris as being particularly complicated and nuanced, but – engaging in some critical self-reflection for just a moment – I think the objective truth is probably more that I’m just instinctively and aggressively contrarian about it.  I find that I tend to strongly disagree with most of the online takes about Xander I see, almost regardless of whether they’re pro or anti.  

I mean, on the one hand I do think it’s more than a bit silly to pretend, as many people seem to do, that Xander Harris is [somehow?] uniquely and only a Joss Whedon self insert [despite being written by multiple people] in a way that none of the other characters [that Whedon also created and that appear in the show Whedon created] apparently are. Or to ignore the fact that very often the audience is clearly meant to think that Xander is in the wrong and disapprove of his actions.  (You obviously aren’t supposed to be cheering for him when he lies to Buffy about Willow’s message about Angel in Becoming, for an easy example; or to be clapping and applauding him when he cheats on Cordelia or leaves Anya at the altar either.) And I think it would be wrong to dismiss the fact that Xander starts the show as a dumb but (mostly) harmless teenager and that, not only does he gradually mature and improve as a person as he grows up, he also [perhaps uniquely for this show?] manages to do so without killing even one person.    

But equally I would be lying if I didn’t admit that many of my least favorite episodes of the show are either Xander-centric episodes (Teacher’s Pet, The Pack, Bewitched, Bothered & Bewildered for example) or episodes in which Xander plays a non-trivial role in exactly the parts of the episodes I most dislike (his treatment of Buffy in Dead Man’s Party, say, or his speech in support of Riley in Into The Woods).  The haters are right to say that Xander does often treat his female friends and partners abysmally, often in ways that the show doesn’t seem to acknowledge or which it briefly acknowledges only to brush them off with no consequences.  There certainly are times when the writers expect the audience to cheer for Xander a lot more than I personally want to, or when he says something gross and sexist which is just meant to be funny and that the writers simply didn’t think critically about at all.  And the flipside of Xander being written by a range of different writers is that his character growth is often slow, halting or inconsistent (which, while arguably realistic, is not particularly fun to experience).  And unlike some of the fandom I don’t really believe anything Xander does can be handwaved away by him being deeply affected by what happened to his “best friend” Jesse in Season 1’s The Harvest: in fact I would put money on a majority of the show’s writers having no idea who Jesse was.

Anyway, none of that preamble is really in the spirit of the ask game, is it?

Um.  Five things I like about Xander, then.  No hedging or clarification except for what I heavily imply above (oh, and also the comics aren’t canon and don’t mean anything and actually don’t even exist … I mean, uh, what comics are we even talking about?).

I think the show resolves the initial Season 1 “love triangle” (in which Xander is really into Buffy and she doesn’t reciprocate his feelings or even seem to notice them, while similarly Willow is really into Xander and he doesn’t reciprocate her feelings or even seem to notice them) in about the best way it possibly could have done.  Buffy and Xander don’t ever get together and there’s never really any suggestion that they might – one or two odd moments in Season 2 aside, I guess? – and Willow musters the self-respect required to firmly reject Xander when he tries to ask her to the dance that Buffy had just turned him down for in Prophecy Girl.  Not only that, but Willow goes on to have a serious relationship with a guy who isn’t Xander and then comes out as a lesbian and continues to have serious relationships with woman who aren’t Xander, right up to the end of the final season.  And this happens all while the three of them stay very close friends; in fact Buffy and Xander at least are clearly better friends in the second half of the season than they were at the beginning of the show [when, after all, Xander had only just met her].  Whether or not that was planned from the beginning – and to be honest, I think the Buffy fandom as a whole wildly overestimates how much of the show was planned from the beginning – I think that’s a pretty unambiguously great way for that particular subplot to have be handled.   (Although the funniest and most geometrically pleasing resolution of the Season 1 love triangle would, of course, have been for Buffy and Willow to end up together.)

Speaking of Buffy and Willow, for all his faults Xander is consistently written as somebody who cares about his friends and wants them to be safe and happy.  As well as the obvious big moments – helping to save Buffy’s life in Prophecy Girl; his speech assuring Buffy that she’s his hero in The Freshman; repeatedly assuring Willow in Grave that he’ll always love her, even if she ends up killing him or destroying the world; that moment in Season 7 where Buffy sends him away to look after Dawn because she “needs somebody [she] can count on” – I think it’s fun when we get to see the three of them just hang out, in those quiet little moments they get to just all be kids together.  I am very firmly in the camp that thinks Buffy should have friends and be allowed to not be treated for an idiot for liking said friends or wanting to spend time with them.  Whatever else you can say about it, I think it’s obvious that this is how the show’s writers expect you to engage with the show.   That’s part of why I’m more forgiving than some people of episodes like I Robot, You Jane or Bad Eggs or Amends: these are all episodes in which I can believe that Xander is fundamentally a good kid who Buffy would want to be friends with, and that he’d grow up to be somebody she’d still want to be friends with as an adult.    

Some people online – mostly not on Tumblr – talk a lot of rot about Xander getting self-defense training or somehow reconnecting with the military persona he had in Halloween or otherwise Learning How To Fight, and I can’t overstate how glad I am that the show didn’t go in this direction.  Xander makes sense as a character precisely because he isn’t a fighter.  Because he doesn’t occupy that more stereotypically masculine role: because he is the one who gets rescued and brings in baked goods and that the other, more powerful but emotionally repressed characters can go to to talk about their feelings.  Because he is the person who, by the end of the show, can best reassure Dawn that she doesn’t need to be a Potential Slayer or have superpowers to be special.  This idea that Xander complains too much during the show about not having special powers and that the “solution” to “fix” this is to have him go out and get some (as opposed to this being a deliberate character arc in which Xander learns to accept that he’s never going to be that sort of person) is not one I have a lot of sympathy for.  The show already has a human male character who is trained as a fighter so he can go on patrol with Buffy: he’s called Riley Finn and he’s insufferable. 

Although the fandom as a whole loves to massively oversell how “abusive” the Scoobies respective parents are, I do think that Xander’s home life is a key part of understanding who Xander specifically is as a person.  And – again, however deliberately planned from the beginning or not it was – there’s something nicely disturbing about how we never get a big dramatic reveal about how awful Xander’s parents are: it’s just something that the writers just slowly build up to – from the idea in Season 1 that Xander doesn’t regularly eat cooked meals at home (“do your parents even own a stove?”), to Xander joking about his dad trying to “send [him] to some Armenians once” early in Season 2, or calling home to say he’s going to be out all night and having his mother clearly not recognize his voice, through to Cordelia revealing in Season 3 that he admitted to her that sleeps outside during Christmas to avoid his parents drunken fights  – until by Restless we can see Xander having nightmares about being trapped in his parents basement and having his father come down the stairs and we don’t need to have anything more than that explained to us.  I think that’s all really effectively done, and while I don’t think it excuses te way Xander behaves I do think it does a lot to make sense of it.

Again, while I think it’s possible to drastically overstate the Mind/Spirit/Heart metaphorical reading – I don’t think this is something the writers were consciously thinking about most of the time and I don’t think the reading of the show in which everyone is reduced to a part of Buffy’s own psyche is even particularly interesting except perhaps as an intellectual exercise – I do think it’s a reading that works pretty well for Xander. (Actually of the three elements, that’s surely the one that’s easiest to see: I’ve never been completely sure why Willow is the Spirit rather than the Mind.)  Yeah, Xander can often be petty and jealous and selfish and hypocritical and refuse to analyze his own feelings: that doesn’t rule him out from being Buffy’s metaphorical heart, it’s evidence that he is.  Buffy can be all of those things too!  (I think I am rather more fond of Buffy herself than you are – she is my favorite character on the show, after all – but I don’t like Buffy because she’s flawless and perfect; I like her because she’s interesting and realistically flawed, and very often flawed in the same ways as her friends.)

[pollutionbylimpbizkit]

Three Dollar Bill Y'all$ era Wes doing hair flips/ playing with his hair for @peppermint-candy ♡

[afewproblems]

agree with steve not forgiving eddie! how do you think it would go when they see each other for the first time after everything? like.. I feel like steve would just tell him it’s over for good but :O

Part one, part two, part three

The record label releases a statement, something to the effect of privacy concerns, not to misconstrue or blow things out of proportion because photos can be manipulated. There is no firm denial, but no confirmation either. It's all wishy washy bullshit.

It's like Steve's heart breaks all over again.

He doesn't speak to the press, despite redoubling their efforts to talk to him, Steve unplugs their home phone permanently, wraps it up in the cord and puts it in the back of the bedroom closet.

Eddie does try calling Steve's cell, but he never leaves a message, as though he knows they would go unheard.

After the initial visit from Wayne he ends up calling his de facto father in-law once a week. It's nice, it's the one good thing that has come out of this whole situation.

And Wayne doesn't seem to mind being their go between, especially since he's a lot less subtle than he thinks, asking pointed questions about how Steve is feeling, how he's handling the LOA.

It's a relief to say the least, talking to Eddie without talking to him, it allows him to breath.

It's quiet for about two weeks, the coverage of the photo and the story has dwindled significantly and the media seem to have moved on from talking about them, finally.

Steve's LOA is almost over, he's confirmed with Liz that he can return to the classroom next week as planned which leaves him in the highest spirits he's been in all month.

But of course it can't last.

The first time Steve sees Eddie is on Conan.

It's a Thursday night, Steve channel surfs absently. He's left the living room dim, the only lights from the television and the Chicago cityscape glowing through the living room window.

He lands on NBC for just a moment and freezes when he hears Gareths familiar voice speaking.

Gareth, Eddie, Jeff, and Grant are all seated on the set couch with Andy Richter. Conan asks a few questions about their tour, their recent resurgence in popularity from the movie, their favorite Marvel characters from the franchise that skyrocketed them back into the public scene.

Its a standard interview, Conan keeps it light, easy-going, not a single mention of the infamous photo.

Logically Steve knows this is most likely a mandate from the band's manager but it doesn't feel that way, it feels like a slap to the face if he's being honest with himself.

Did he imagine it? Had he blown this whole thing out of proportion? Maybe he was overreacting.

His phone buzzes on the coffee table he's left his feet on, Robin's face and 'Thing One', brightens up the room.

Steve moves his feet to sit up properly and he mutes the television with the remote before answering.

"Are you seeing this shit?" she growls on the line.

Steve laughs, "Hello to you too," he leans into the worn cushions of the couch and tries not to think of the second empty divot in the middle next to him, "yeah I'm seeing it".

"And they're not going to talk about it at all? Like what about journalistic integrity and all that shit?"

Steve rolls his eyes and snorts into the receiver, "I don't think Late Night counts as journalism Bobs--"

"Still," she huffs out.

Robin is quiet for a second before she says softly, "you okay?"

"No," he whispers, "but I think I'm the closest I'll be for awhile," he draws a heavy hand through his hair and ignores the cameras which have now panned to Eddie who looks pensive on screen.

He's not speaking, in fact Eddie hasn't said a word the entire interview. He looks tired, his normally pale face has turned sallow and drawn with deep purple bags under his eyes that even the show makeup has not covered.

Steve looks away from the screen and ignores the dull ache in his chest.

"I'm glad that it's not all over the news anymore," he admits after a moment, "but, its almost like it never happened".

Robin hums sympathetically on the line, "Twenty-four hour news cycle, they've probably found some new scandle to follow," she's quiet for another second, "he looks like shit".

Steve barks out a surprised laugh that trails off sharply, he chews his lip for a second, "is it crazy that I'm worried about him? He looks likes he's not sleeping--"

"Steve..."

"I know, I know, I'm am angry with him and I don't think that will go away any time soon, but look at him".

The camera angle switches to a wide shot of the whole group and Eddie stands out so starkly amongst the other band members that are put together, smiling, engaged in the conversation.

Verses the silent, pale ghost that Steve doesn't even recognize.

"Do not let that kicked puppy thing let him off the hook Steve," Robin says, the words are sharp but the tone is still gentle, "he hurt you just because you had a fight--"

"Maybe it wasn't that simple!"

"Steve..."

"I miss my husband Robin, I can't, I fucking hate that he did this but I miss him so much," he says, his voice wobbles slightly as Conan holds up a large version of Corroded Coffin's latest album on the desk before gesturing to the stage area to reveal their setup to start playing.

"I feel like there's something wrong with me," Steve says, giving voice to the smallest parts of himself that have been festering inside of him the last couple of days.

The longer they're apart, the longer he refuses to speak to Eddie to more these thoughts have been creeping in. Maybe he should just let it go, maybe he can eventually forgive him and they can move forward again.

It's countered again and again by the image, the kiss.

Imagining the two of them together, Eddie with this stranger. Did he call them Honeybee, the way he did Steve? Did he hold them after and whisper other sweet nothings, promises into their ears?

It's enough to turn his stomach.

"I don't know what to do, I can't exist like this much longer, the tour is going to be over soon and then what?"

"I don't know Steve, you're the only one that can make that decision, but," he can hear the small reassuring smile on her face as she speaks, "we'll be here for you no matter what you decide, I promise".

"Thank you".

"Anytime Dingus".

***

The second time Steve sees Eddie is a month after the Conan interview.

Steve's back at work and the kids seem happy to see him, though they are sad that the 'easy' sub days are done. He's glad for the routine once more, especially with the end of the tour looming on the horizon.

Steve has spent the last week fretting over what to do, he's talked to Robin and Dustin about it, weighing the pros and cons. He's talked to Wayne about contingency plans for the apartment, if he has space for one of them to go there.

Steve is fairly certain Eddie would go stay with Wayne willingly if he asked him to, but both of their names are on the mortgage and he'd rather be prepared for anything.

It's Gareth that calls him, his name lights up the darkened bedroom while the picture of Gareth and Chrissy and Steve and Eddie at their place for Thanksgiving two years ago flashes on the tiny screen.

It's late, almost two in the morning, but Steve is awake. He hesitates before snatching the device with shaking hands and swipes a hesitant thumb across the screen to answer the call.

"Hey Gar," Steve says quietly.

He sits up, letting the covers pool around his waist and stifles a small yawn with his hand.

"Oh, Steve, I...fuck is it good to hear your voice man," Gareth breathes out, he sounds surprised, nervous, "I wasn't expecting you to actually answer this," he trails off and clears his throat.

"I wasn't asleep," Steve shrugs.

There's a pause on the line, Steve can hear Gareth take a deep breath and the hushed words of someone in the background.

"I, God, Steve, I'm so sorry, I hate that we weren't there for you," he continues, and Steve can't help but agree with that sentiment.

It's certainly felt like the only one of his friends from Eddie's circle in his corner was Wayne, he hasn't heard from any of the band members or Chrissy since this happened and he can't say it hasn't stung.

"And I know you must hate us for this--"

"Gareth, I dont--" Steve tries with a small tired voice but Gareth barrels onward, the words getting faster as he speaks.

"I won't make any excuses, we should have done better by you and the fucking label knew exactly what they were doing," he breathes out again and this time its infinitely more pained, "and I hate to do this Steve, I know you already told him that you needed more time--"

"You're coming back?"

"Yeah, we fly in tomorrow actually," Gareth says softly, "and we just, well we wanted you to know".

Steve feels his heartrate quicken, he swallows harshly against the sudden lump in his throat.

Tomorrow? Tomorrow, with no warning, no notice, and suddenly Eddie would be back. He'd be coming home...

"I want to see him," Steve hears himself say before he can clamp his mouth shut, "I...can you tell him that, I need to talk to him?"

"Oh, uh, yeah, uh," Gareth stammers out, then the sound is muffled for a moment as though a hand has been placed over the receiver, lowered voices murmur in the background and Steve feels himself drag in a sudden breath, as though he had forgotten to breath at some point.

"Okay, Steve?"

"Yeah," he whispers into the darkness of his bedroom.

"He'll be there".

***

The clock ticks slowly by, interrupting the quiet of the apartment and every time Steve looks at the clock face it's still only been forty minutes since Gareth texted to tell him they've landed at O'Hare.

It's like the clock is mocking him, the minute hand holding court over the kitchen where Steve has planted himself with a full cup of, now undrinkable, tepid tea.

He initially debated offering to pick them up from the airport, but the thought of their first meeting being so public, the thought of camera flashes and more people asking questions was enough to turn his stomach.

Even now Steve isn't sure how he'll react when Eddie walks through that door, his hands shake slightly and a flicker of anxiety runs through his chest because what if he's not alone? If he brought Gareth with him, or Jeff as some kind of backup or shield from Steve's anger.

Steve scoffs to himself at the thought, they'd seen a lot of Steve over the years, he's sure this wouldn't phase them. Maybe they'd even stand aside and let Eddie take his verbal lumps.

Steve sighs and grabs the mug from the counter before walking it over to the microwave. He sets it for thirty seconds and waits with his fingers drumming against the door handle. He opens the microwave before it beeps and presses the cancel button to reset the time before he walks back to the counter and stool he had been perched on.

Steve steals another glance at the clock and curses, make that forty-five minutes since Gareths message.

The sudden sound of a key sliding into a lock snatches Steve's attention towards the entryway.

Eddie steps through, wheeling his suitcase in behind him, he lets his backpack fall onto the doormat and softly closes the front door behind him. Eddie looks even more tired than he had during the interview, thinner as well and Steve feels that familiar pang in his chest at the sight.

Neither says anything for a moment. They stare at each other unmoving, and then...

"Hi Honeybee".

That's all it takes for Steve to jump off the stool and stride through the kitchen to the foyer, he stops just in front of Eddie, takes in his shining eyes and the sharp downturn of his normally smiley mouth and Steve's last resolve snaps into pieces.

He launches himself into Eddies arms and tucks his face into his neck, it's the first time he's felt remotely normal in the last two months.

"I'm so fucking angry with you," Steve hisses but the words sound more like a sob than anything else.

"I know, I'm angry with me too," Eddie whispers into his ear, he holds Steve even tighter as he speaks.

"I just, you're the person I talk to, about everything and," Steve bites his lip and curls his fingers into the fabric of Eddie's t-shirt, "I couldn't do that, I didn't have you, you’re my person Eddie and you took that from me, and so much shit happened here, you dont even--".

He's fully crying now, so much that it's harder to speak, but Eddie is holding him so tightly he can't catch his breath.

"I'm sorry, I'm so sorry," Eddie says, his voice wobbles and wanes as the words tangle in Steves hair, "if I could take it back I would, I wish I could take it back Stevie believe me".

"It didn't mean anything, it didn't," he continues, raising one hand to card through Steve's hair as he does, "I don't know how to fix this," he admits so quietly its nearly lost in Steve's sniffles and hitching breaths.

"I don't want to lose you," Steve whispers into Eddies shoulder, the material of his shirt is soaked with tears and snot but he raises his face anyway to meet Eddie's own red rimmed eyes.

"Then you won't," Eddie whispers again, he sniffs and moves his hand to cup Steve's cheek, "we'll fight, we'll fight for it and I won't give up, I won't run this time".

"I promise".

There is so much more to talk about now, so much to apologize for, but for now, they hold each other in the foyer, letting the golden Chicago light morph into the bronze orange of sunset wash over them from the kitchen window.

[faunandfloraas]

i love being friends with girls and then they get a boyfriend and then he becomes the center of her entire existence and all she talks about and all she focuses on and i sit there and i smile and i nod and i feel myself becoming genuinely evil

[cerealbishh]

"Maria and Rhett knew each other way back when, they went to high school together. (...)Yeah, I think the spark is immediate because I think they maybe, secretly, always wanted to be together."

"I think that it's one of those relationships that never happened and never was but it was almost. And, I think, spending so much time apart, one can tend to fantasize what could be. (...) All of that ease of them seeing each other again is right there and it's almost as if they never left each other's side." - Isa and Lew on Maria and Rhett in an interview with Down and Nerdy(x)

"I also love that I get to tell a story about love in this really crazy, scary world(...) and we really want to root for them!" - Isa in an interview with SciFi Vision(x)

[violetvulpini]

Happy Level Up Day! *explodes*

Thank you!! Fireworks and everything! For you, a lil scribble of the power armor👍

[iwritenarrativesandstuff]

ughhh thinking back on the original atla and lok by association reminds me of how much the writers of these shows just... cannot write a good romance.