#-if it means the world is safe because of it

[harzilla]

More self aware concepts but humorous.

You end up in the world of Twst but every time you try to tell somebody your actual name you get censored out by some random background noise, a car horn(why is there a car on campus?) a random student running into a tree, Sebek yelling, Kalim's carpet crashing into the person you were talking to, etc... to the point that the others notice and certain troublemakers like Ace, Floyd, and Jade start doing it on purpose because they want to see how the universe censored you. About the fifth time it happens you turn into a mess of explicit language, much to the horror of Vil or Riddle. It turns out the only name you can give them is your in-game name. If you used your own name. You're good. Used the name Yuu? Not so bad. But if you have some hard to say or random numbers? Good luck. You're going to get mocked by Ace especially. Like you couldn't pick something cool at least?

Explaining the friendship system to them. Like trying to explain how the guestroom and sticker system work. The guys you give the stickers vary in reaction. The liars who act like it's no big deal but the stickers end up somewhere safe. The ones who react happy. Thank you, they love them! Then you got the "I would die for these stickers" group. They're gonna protect them so hard.

You got guys like Azul who openly brag "Why yes of course I have more stickers, the prefect is quiet intelligent when it comes to strategizing... blah blah blah. A couple people about ready to shove the stickers down his throat. Stickers end up in odd places. Trey's hat stand, Jack's dumbbell, Rook's quiver, one of Jade's terrariums, etc... Some of them have them tucked away in a box. Floyd walking around with one on his cheek because you drew an eel on it for him.

The guys being stuck doing the same dance routine five times in a row. What do you mean this is a game mechanic? Do they HAVE to perform this much?

You: Oh no I actually have all week but I like to get it all done in one go. Now we gotta do the "piece of my world" set three more times. Chop chop.

Them: Mercy....

You: Mercy is for the weak. Now keep dancing.

The guys be acting up and you're just tired of it.... So the particular trouble makers you pick for lessons. Azul or Jade pissed you off? Welcome to Hell flight class. The two start getting nervous because you know how much they dislike this class right? Then you look them dead in the eye as you bust out the candy jar from your pocket that extends the lessons. The smile you give them. There's no mercy behind those eyes. Azul is trying to figure out a hundred different ways to get you to sign a contract to never torture him with flight class again after you extend the time twice. Everybody knows that if you bring out that jar, nobody is spared. May the seven have mercy on their souls.

[docdudo]

Familiar 141 - Young Witch!Reader

You never thought you would be in this situation, running for your life as you try to get to your grandfather's cabin near the entrance of the woods as fast as possible.

Well, that's kind of a lie. You did expect something like this to happen at some point, but why now...??

Your biggest problem has always been the fact that you were a witch, born from the humid earth near a river source and blessed by the nature spirits of the forest.

Which, okay, it wouldn't be a problem...

If you weren't a witch without a Coven.

And you were so young too. Fate really dealt you the worst cards, making you, a small witch, barely in your teen years, fend for yourself without a Coven to protect or guide you.

It was dangerous, madness even. Young witches were easy targets. They didn't really have strong magic yet, couldn't interact with nature spirits that well or defend themselves. That's why they needed the protection of the older witches, who would keep their little ones safely tucked in the heart of the coven, only letting them out when they come of age (for witches), and in small doses until they get used to the world.

You... didn't have that luxery tho.

You have no idea what really happened to you when you were born. Usually, witches from the coven would all be present to a newborn's birth, help them settle and taking them with them as one more little sprout for the Coven.

But, all you had was your grandfather's story, about how he found a baby covered in dirt by the river bank, not crying or making any kind of sound, just peacefully laying there as the forest kept it safe for who know how long.

He knew you were a witch, that much was obvious. He knew you were just born too, but he didn't manage to find any other witch living around that place, much less a whole Coven of them.

So, he took you in, which you were pretty grateful for. You though that it would be fine, i mean... sure, you didn't have a Coven, but who needed them anyway?? You were doing fine by yourself...! Especially after you managed to control a bit more of your magic! Your grandfather told you were very powerful for a baby witch, which is nice! See, you didn't need a Coven...!

Except, being "powerful" for a baby witch wasn't really... that powerful in the first place, and now, you were being freaking hunted down after a mistake you made.

Ah, being hunted down by who? That's simple.

A freaking pack of familiars, four of them to be exact.

There's one little detail about all of this... witches have familiars, powerful creatures that were the most loyal beasts you could ever have for yourself. Usually, a powerful and old witch would never link themselves to a weak familiar, even if they could grow strong with time and a good master guiding them.

And you could imagine the same would happen to the opposite situation... except, familiars were freaking bastards.

One of the reasons older Witches kept their young very well hidden and safe in their Covens is because rogue familiars hunt down little witches to force a bound with them.

While mature witches look for familiars around their same power level, powerful familiars like to take in small and young witches to mold the to their liking. Teach the little witch how to properly use their magic, be their primary guides and protectors.

And you? You were a very young witch, with no Coven on sight, and that showed a very big potential since your magic was stronger than other baby witches your age.

You were a prime target.

And you were being hunted down by four bastards that were toying with you the whole chase.

You could tell they were powerful, just not... how powerful. Since you were still too young, it was quite difficult to identify these things. It's like you could feel the heat of the flame but not see how big the flame was.

But you had a hunch they were... very powerful... at least, that's what you thought, since there were four of them, bounded together. It means their last witch was probably old and strong enough to have four of these big beasts.

Not that your theory matters now, not when you are trying to run in this stupid thick forest from four big familiars that you could hear laughing and taunting you.

Tauting you gently, at most. They already knew they had you.

You already knew they had you.

Still, you were running, even if just because you were high in adrenaline and refused to just stop.

That is, until you fell harshly on the ground after tripping over a rock or some shit hidden on this stupid dense forest.

Goddammit.

"Aww, lassie, c'mere, did it hurt?" You widden your eyes in surprise as you hear the heavy scottish accent right behind you, big hands carefully grabbing under your arms to lift you up on your feet like a kitten.

You squirm momentarily in discomfort, settling down a little as he puts you down and gently pats your clothes. You wish you had more fight in you, but you were still young and just took a nasty fall. It stunned you enough to barely react to the big familiar gently fixing your clothes.

"Oww, baby, it's okay." Another one of them, the dark skinned one with a heart shaped mouth, approached easily, both warm hands immediatly cupping your face to check on you. "We're sorry for making you play until you got hurt, we're not doing it again...." He coos gently, a warm smile on his face.

He looked... so happy......... freak, the scottish-mohawk guy by his side looked ecstatic, such a big smile on his face.

Well.... familiars always prefered to be linked to a witch.

You jumped a bit as you heard the rustling of leaves in the distance, eyes falling immediatly on the big black wolf behind some trees. That's certainly one big bastard of a familiar, even in his animal form...

Wait... where is the last one then...?

"Darlin', we need to talk, don't we?"

You freeze for complete as you feel a heavy, warm hand hold the back of your neck, not hurting, not ever, just... locking you in place. His voice is low and gruff, authoritarian, but it's... soft enough. Enough for you to know that he's forcing softness to speak to you.

His hand feels so damn big around your small neck...

It's okay, it's okay... familiars rarely ever hurt a witch for no reason.

Besides, they don't seen that inclined on hurting you anyway... no, you know they are ready to claim you for them.

The mess you found yourself in...

"T-Talk...?" You murmur quietly, unsure, still a bit stunned as you try to look over your shoulder.

"Wee lass just took a fall, Price, little witch like this might've gotten hurt." The scottish one says easily, smile still on his face as he approaches you a bit more to gently hold on your head, inspecting you himself now.

"She's just a tad stunned, no harm done." This voice was new, and very low. Gravelly. Patient.

The wolf familiar went back to his human form, leaned against a tree as he observed you with crossed arms and a relaxed posture. Indeed, a big bastard.

"That's why we shouldn't play with the young ones like this. I told you that they get hurt easily." The dark skinned one sighs slightly, like he was scolding the big brute by the trees.

"Boys, focus. We are not yet marked to her, and she's out here, exposed and defenseless. We're taking her home." The 'Price' guy says slowly, his authority over the others obvious by how they all straightened at his command.

"W-Wait-" You manage to find your voice once again, only to be interrupted by the scottish guy.

"The Coven?"

"If she had one, wouldn't be wandering around 'ere by 'erself." The wolf one rumbles, still relaxed against the trees.

"A baby witch without a Coven?" The dark skinned one considers, eyes narrowing.

"Sometimes it happens. Rare, but it can happen. All the more reason to get her to safety." Price rumbles back, voice getting... grow-ly, the hand on your neck heavier. "Soap."

"Aye, Cap." He smiles easily, bending down closer to your height, meeting your big, scared eyes. "Let's go, wee lassie, ye're safe." He coos, and before you can protest, one of his fingers are touching your forehead, a wave of pure magic going through you. "Nap nap time, huh?"

And just like that, you are loosing your consciousness, falling directly on his arms as you feel him picking you up easily before falling asleep.

[dannydvo]

I was just told by a blogger to stop reblogging, so I’m a little rusty and weary. I have an old story idea of mine that I will use for inspiration:

There was a little girl, with sun-bleached dirty blonde hair. Her true friends and family fondly referred her as the tomboy of the family. She enjoyed catching and releasing bugs. She felt sad when bugs died. Eventually, daddy long legs and such learned she was safe to be around.

Through time and repeated strife from strange adults and mean children, she became more shy. Less outgoing. She dubbed herself an introvert as a middle schooler, but the fun word to use at the time was “emo”. Now reader, you can only guess what year that was.

This poor little girl was moved away from everyone she loved to a place she had only visited once: the swampland of Florida. Poor child for being forced to live in such an *unwelcoming* region of the Americas.

You can only imagine the bullying that took place in schools. The horror. Children fist fighting each other when home was so peaceful. She was then taught about pedophilia because men kept touching her hair without asking. The bravery and audacity of those men, to do those things in front of a Midwest mother and an Italian Floridian father. Those men were also very very dumb for bothering such successful parents.

However, those parents, through their massive veil of protection began:

1. not allowing her to sleep over with certain friends with little to no explanation.

2. policing her in a way she had never seen before. Don’t they trust her?

3. not letting her go outside alone anymore.

As time passed, she grew paler from lack of sunlight. She became depressed and didn’t know why we had to be so afraid. Then what happened, you might ask? The afraid little girl found social media. She found a bigger evil in something she felt so safe in.

Now she walks around looking over her shoulders, poor girl. Now she is a 27-year-old man. She is proud that no one was able to kill her.

Throughout those years, dear reader, times in her home country have changed. This poor little girl who died was just reborn through the flames.

Call me the Angel of Death, call me anything. Do not let your fear and religious superstition traumatize the already traumatized youth, dear reader. Be kind, or you may just create yet another horror series when the world is always so so tired of horror tropes. Continue on our path, our media will be horror, obscure, free… and beautiful.

You are the child of Death. Everyone always assumes that you were adopted, but you are in fact Death's biological child, although they are unwilling to tell how exactly this happened.

[bucksboobs]

Make up scene where Buck says “I’m bisexual. Kinsey 3, maybe 2 or 4 I don’t know it still confuses me a little bit but the point is. I’m bisexual. You know that. I know that. And you might be the person that made me realize it but that doesn’t mean I don’t want to be with you over every man or woman in the world because you’re confident, hot as hell, you make me feel safe and comfortable and n-not just because you’re my First but because you’re you. Because you’re Tommy Kinard and I love you.”

[shanastoryteller]

Happy Halloween! Would love more of F is for Frankenstein! 🧟‍♂️

a continuation of 1

Twelve hours later JARVIS has brought him up to speed on what was clearly the weirdest week of his life, the fabrication units are working on a better container for his corpse than the damn suit, and they’ve identified nearly a hundred ways that this plan isn’t going to work.

JARVIS isn’t deterred.

One of the advantages of being a synthetic person is that he can’t feel exhaustion physically, although this whole experience has confirmed that he can feel it mentally. The downside to this is that he doesn’t have any sort of natural que to alert him to the passage of time.

Which means he doesn’t have any idea how long it’s been until it occurs him to check and he frowns. There’s something not quite right, besides the obvious. “Did you – shouldn’t I have gotten some calls or something by now? What did you tell them?”

It’s been almost twenty four hours since he died. Even with the clean up from a massive alien invasion to see too, he’s sort of expected someone to reach out to him. Agent Coulson is such a stickler for timely debriefs –

Ah. He was such a stickler for timely debriefs. Tony isn’t the only one that hadn’t gotten out of this mess alive.

“Sir has received eighty nine assorted calls and texts from Miss Potts, fifty three from Colonel Rhodes, one hundred and twelve from Mr. Hogan, and seventeen from various SHIELD personnel. Two of those are from Director Fury personally. There have been close to a thousand from various news and media companies, but those have been ignored and deleted per Sir’s standing orders.”

It’s amazing how well he’s able to synthesize and interpret emotion. He’d installed a rudimentary AI into – well, himself, he guesses, and that combined with the memory dump is really exceeding all of his expectations. He knows this because he’s appalled. “JARVIS! What the hell? If we’re going to convince the world I’m not dead, we have to talk to people!”

“Is that what we’re going to do?” JARVIS asks.

There’s steel in his voice, a warning buried in there. TONY’s heard that tone before but never, ever directed at him.

Except it’s not. Jarvis would never talk to Tony Stark like that, but he’s not Tony Stark. He’s just one more robot and AI for Jarvis to corral, although sophistication wise he’s several steps ahead of his helper bots. Except he might not be, because not even Butterfingers would be dumb enough to agree to something like this.

“It’s not going to work,” he says harshly, because it isn’t. “But yeah, I guess that’s what we’re going to do.”

“Calling Miss Potts,” JARVIS says promptly, and Jesus, that’s not what he meant at all.

“Don’t,” he hisses, but of course it’s too late and Pepper picks up immediately.

“Tony?” she asks, voice shaky and hoarse and faint. She’s been crying. She’s been crying hard enough that it’s stolen her voice and he knows Jarvis was focused on other things, but he could have at least sent her a text. “Are you okay? Where are you?”

He breathes and then leans over, elbows on his knees and his face in his hands. He doesn’t even have an omelette to hide behind this time. He knows he’s dead and he’s seriously considering the idea that this is hell.

“Tony?” she repeats, voice going up several notches in the way he hates. She’s afraid. He hates when she’s afraid.

He forces him mouth to move, forces words pass his lips. “Hey, Pep.”

“Oh god, Tony,” she says and then there are tears again. He wishes he could hold her, could kiss her tears away and could fold his arms around her delicate shoulder and tuck her beneath his chin, keeping her safe and keeping her close. Except he can’t do any of that, because he’s not Tony Stark. “Tony, Tony – you left so quickly and we couldn’t find you and no one’s been able to get in contact with you and JARVIS is offline in the tower and – where are you? Are you okay? I watched you fly that bomb into the portal, and,” she has to cut herself off to try and keep from crying again.  

You watched me die, he thinks, although he obviously doesn’t say it. “Hey, breathe for me, okay? Deep calming breaths, I know you have a lot experience with those around me-”

“Don’t tell me to breathe!” she snaps. “Where are you, Tony? What’s going on?”

He hesitates. They haven’t discussed this, and they really should have before JARVIS put that call through. Unless this is a test, and wow, his AI are such assholes. That old curse about having kids that are just like you is making more sense by the second.

“Something happened to my memory,” he says, which is probably the only true thing he’ll be able to tell her and will hopefully cover the gaps of things that JARVIS couldn’t tell him. “I got here and passed out and I just woke up and I panicked and I don’t – I saw space, and the – the aliens, which is so weird to say Pepper, I need you to fully appreciate how weird that is, but my head is killing me and nothing makes sense. The last memory I have on Earth is us running final checks on the clean energy prototype.”

He's a terrible person. Or, well, a terrible android. Whatever.

“Where is here?” she presses, her voice softening and strengthening both. It’s always so much easier for her get her bearings when she’s the one taking care of him, which is probably why she’s always so steady. She’s always taking care of him. “Where are you, Tony?”

There’s no getting around this one. Jarvis probably won’t be happy about it, but TONY isn’t really happy with him right now either. “Malibu. I’m at the Malibu house. Sorry, I don’t know why I came here – I mean, I really don’t, I was blacked out for most of it. Give me a couple hours for everything to stop spinning and I’ll head back to New York. Wait, are you still in New York? You were going have to leave early for that thing after we tested the prototype-”

“I am in New York now,” she says, almost sounding calm. “Do not fly the suit if things are spinning Tony, I swear to god.”

“It’s fine, it’s fine, just a little spinning, you’re so dramatic-”

“Tony!” she interrupts, but the hitch in her voice is laughter instead of tears. “God, Tony. I’m so glad you’re okay. I love you, so, so much.”

If there is a hell for androids, that’s where he’s going.

“Yeah,” he says, “I’m glad you’re okay too, Pep.” He can’t say it but he has to say it because Tony would say it, because Tony loves saying it, because he loves her so much that it sits heavier on his chest than the arc reactor ever could. “I love you too.”

He stares at his hands for a long time after the call ends. His fingerprints are Tony’s, of course, and his hair is Tony’s and his memories are Tony’s and this feeling that he wants to call love belongs to Tony too. None of it is his.

Well, except the guilt. That’s definitely his.

“Incoming call from Colonel Rhodes,” JARVIS announces.

“Answer it,” he says. Why is he so damn tired? He’ll have to run a diagnostic on his processors later.

There’s nothing but harsh breathing down the line, filling every corner of the workshop. TONY thinks, maybe a little hysterically, that it’s the only breathing happening here. He’s designed to mimic it, but it’s nothing besides that, mimicry. “Hi Papa Bear, how are things?”

The heavy breathing stops, for so long that TONY wonders if they got disconnected, then Rhodey bites out, “I’m going to kill you, Tony! I’m too damn old for this, you can’t keep giving me heart attacks every time I take my eyes off you!”

Too late. Tony’s already dead.

“You’re only two years older than me,” he says. “If it weren’t for me, you would have been the youngest freshman at MIT. Besides, a heart attack or two is character building, I’ve had like. Seven. Ish.”

“Reminding me how many times you’ve almost died is not your smartest move right now,” Rhodey says. “Tell me you’re okay.”

It’s a demand, an order, firm and unyielding like he’s one of Rhodey’s underlings. Except that Tony was giving orders way before Rhodey was, with the whole running his own multi-billion dollar business thing, and that tone of voice has never worked on him. Still, he says, “I’m okay.”

“Tony,” he says warningly, clearly not believing him, which is fair enough. He is lying.

TONY sighs, hanging his head like he can stretch the tension out of him, but that’s not how things work anymore. He’s vibranium and silicone and some other interesting materials and all his tension is mental. “Sour patch, I’m fine. Okay? Confused as all hell, but I’m okay. I’m sorry I worried you. I really didn’t mean to.”

“You never mean to,” Rhodey says, but his voice has softened and lowered. It sounds like he’s holding the phone even closer. “You almost never mean to.”

“It’s just difficult, is the thing, because you’re a little prone to worrying, a worrywart, as your mother might say-”

“My mother worries more about you than me and always has even though I used to be only one us getting blown up,” he says.

TONY pauses, considering. “Well, she is a smart lady.”

“Damn straight,” he agrees. “Pepper says you’re in Malibu. I can be there in two hours.”

“No!” he shouts, then winces. His eyes skitter over to the suit holding Tony’s body. They need a plan and that plan can’t involve Rhodey being here in two hours. “Don’t. Stay with Pepper. Please.”

“She’s fine,” Rhodey retorts. “You-”

“I’m fine,” he interrupts. “I’m fine, she’s fine, we’re both fine, except she’s in the city that was recently invaded by murderous aliens and I’m not and I have a suit of armor with repulsor technology and she doesn’t, so. Stay with her. Please.”

The silence drags on then Rhodey lets out an aggravated sigh. “Fine. But get your ass over here and if you miss another call from either of us I’m heading over, no matter what you say.”

“Sir yes sir,” he says.

He expects Rhodey to hang up on him then, but he lingers, nothing but his real, non synthetic breathing on the other end. “You really scared me this time. I saw the news reports and then we couldn’t find you-”

“Hey,” he says softly. A bomb and Tony disappearing and Rhodey unable to anything about it. Tony wasn’t the only one of them that had nightmares after Afghanistan. Neither of them had ever been particularly good at sleeping, but it was nearly impossible those months after, when he and Rhodey were fighting and Tony was hiding Iron Man and they still crawled into the same bed because Rhodey got frantic if he reached out in the middle of the night and found the bed empty. Which he often would, considering how much time Tony was spending in his workshop.

They shared a bed more after Afghanistan than before it. Rhodey had been willing to risk the paparazzi and exposure if his other option was staring up at his ceiling and having a panic attack about Tony being gone. Tony had been bitter about that, which certainly hadn’t helped their fight about weapons manufacturing any.

Pepper’s nightmares had been easier. She’d only been his assistant and friend at the time, after all. She would call him at two or three or four in the morning – or all three – and have some sort of urgent question or something for him to sign and he just went along with it because she just needed to hear his voice to fall back asleep and he’d learned after the first teary voicemail and alert from JARVIS that when he didn’t pick up, her vitals were out of acceptable range, per the prototype StarkWatch on her wrist.

It wasn’t until after they got together that she told him she actually drove to his house most nights and called him from her car rather than her bed. Just in case he didn’t answer, which wasn’t logical and didn’t make any sense at all but Pepper hadn’t pretended it had.

They’d all gone a little crazy, after Gulmira, but they’d settled.

But this is going to bring it all bubbling up and if TONY doesn’t figure out a way to reassure them then they’re going to want to stick close to him like they had before and he can’t let them do that. He can’t keep up pretending to be Tony forever and it’s going to be either Pepper or Rhodey who figures it out. He doesn’t need to help that process along at all.

Except that since they watched Tony fly a nuke into space and then hadn’t heard from him in two days, that’s basically impossible. The fact that it wasn’t three months and from their perspective he’s actually fine is going to help, but the level of damage control he’s capable of here is fairly minimal.

Still, he has to try.

“Honey,” he says, making his voice soft and warm like Tony only does when they’re alone. He doesn’t know where Rhodey is now, if he’s somewhere private, but he doesn’t hang up or stop him. All the stupid nicknames were fun and genuinely affectionate but they were also cover for the times that Tony slipped and called him something he shouldn’t, a little too genuine and not quite kitsch enough to pass muster. “Love, it’s okay. I got my head knocked around some, that’s all. And because I freaked out and ended up on the wrong side of the country, I need you in New York, doing what I can’t. That’s all. I’ll be there soon.”

If there’s a hell for androids, TONY is going there and the hellfire will be hot enough to melt his vibranium core, which, you know, is going to the be least of what he deserves.

“I love you,” Rhodey says. TONY closes his eyes. “You know that, right, baby? I do.”

It’s a bad, bad sign that Rhodey is the one using pet names, especially over the phone. “I know. Of course I know. I’ve always known.”

Over two decades of secrets and hiding and fooling around with women he didn’t give a shit about, before Pepper, and through every lonely, angry, desperately sad moment of it, Tony had known that Rhodey loved him. He wouldn’t have put up with that shit for anything less.

Tony died knowing that Rhodey loved him. TONY is sure of it. It’s the worst sort of cold comfort and he’s glad that he can’t offer it.

“I love you,” TONY echoes, because Tony’s been saying it for twenty six years and there’s no good reason for him to stop now.

Except that Tony is dead. He’ll never tell Rhodey that he loves him again.

One day Rhodey and Pepper will find out that the truth and know that while they heard Tony’s voice telling them what they needed to hear, while they let relief nudge out the fear, Tony was dead and cold and gone.

He hates this. This wasn’t what he was programmed for.

This isn’t what Tony would have wanted. But until he can convince JARVIS of that, they’re all stuck in this hell of the AI’s making.

[biancadoes1]

This is not really an ask. But I was reading an older article today about Nic when she first tried on the intimacy wear at home in front of her mirror & thought “Absolutely not. How am I going to do this.” Then proceeded to hide it in the bottom of her laundry basket.

It reminded me of the way she talked about how terrified she felt in the lead up to their first kiss, to the point she had a stress rash. Gives an insight into how big of a deal all of this was for her. Scary even. How vulnerable she felt. (I mean who wouldn’t!) Then the things she says about Luke - he’s so supportive, he never made her feel judged, he made her feel safe, he is just a joy to be around, she can’t imagine doing this with anybody else, what was originally terrifying turned out to be some of her favourite days, the whole experience is just so special and not something they can explain to anyone else, how they have amazing communication - anything they were unsure or nervous about they could just talk about it.

I think because we mostly see the fun & flirty side of them, it’s easy to forget sometimes just how much their bond and that comfort and closeness they have with each other was very much earned. There is a real strength and depth to their relationship. Like she says, they really went on a journey together… she always really liked him but now she has a real love for him.

The way they make each other feel seen, safe and supported (wether that be on red carpets or on set) is such a beautiful and special thing. I think about the strongest relationships in my own life and it’s the ones where I’ve been the most vulnerable, where they’ve seen me at my most unguarded. The ones that have seen me through the hard stuff and that make the difficult & scary parts of life more bearable.

I guess this is just a reminder that the love we see they have for each other is very real just like N says it is. They laughed and joked a lot on the world tour about how much they enjoyed it & I don’t doubt that for a second and I love that light, fun, cheeky side to their relationship. But just like Pen & Colin, there’s history there for Luke & Nic… one that is very hard to compete with. There were some very real fears, struggles and growth that they bore witness to & supported each other through to get to this point. It’s not surprising that their relationship is not like any other relationship she has. She said towards the end it became effortless for them. They clearly adore and respect each other deeply. I do not think it would be easy for another partner to compete with that kind of earned ease and trust. Or for L & N to not be drawn back to the safety of each others arms. I think they are home to each other and I think they are reminded of that every day they are together and apart.

❤️❤️❤️

[bestrongbebrave49]

I think a lot of people don’t seem to realise that every book does teach you something but not necessarily from a moralistic point of view; books with unreliable narrators and shady characters teach you that the world isn’t kind and that perception can be warped. That two truths can co-exist simultaneously and that people either intentionally or unintentionally lie to themselves and/or others as a means of self-preservation, gaining something for themselves, and/or simply because change and self-awareness are difficult when you lack the desire (for whatever reason) to do so.

However, let’s say you love the twisted character and you’re enjoying their deceptive nature, their manipulative engagement with others, and the self-centred actions they take. What does that say about you personally? The answer is way more simple than a lot of people assume; you enjoy learning about the darker aspects of human behaviour in a safe environment where that characters actions can never harm you.

You enjoy the violence because it’s not being directed at a real person. You cheer on the character because through the power of words you’ve found them compelling, exhilarating, relatable, disturbed, fascinating - they are a fictional lens of darker aspects that you can cheer on because they are solely comprised of words, or are portrayed by an actor, or are lines drawn on to a page.

Books can and do teach you empathy, injustice, a difference in perspective. They broaden your mind and give you comfort with the parts you may relate to. They push you out of your comfort zone and wrap you in a thrilling experience whereby you can escape from your troubles whilst seeking enjoyment.

But they are also fictional depictions and if you cheer for the villain that doesn’t mean you have failed morally. It means you found a fictional character compelling. If you enjoy the morally reprehensible events in a book, it means you like the fictional depiction of events - not that you condone those actions in real life.

I love Ramsey Bolton - from the shows granted haven’t yet finished the books - I cried when his character was no longer a central figure. That doesn’t mean I would go up to a real life perpetrator of such violence and congratulate them, cheer them on and demand they suffer zero consequences. Books teach you a lot about what you do and don’t like in fiction; what tropes, characterisations, themes and plots you prefer from ones you don’t. They can teach you right from wrong but that doesn’t mean they necessarily have to or that every book should. Many stories expect you to already understand morals before you crack the spine open.

Every book you read will be a journey of self-discovery, but that’s all every book should teach you really - more about yourself. What aspects intrigued you, excited you, and drew you in? Which repulsed you, and why were you offended, scandalised and uncomfortable during the reading process? Was that the fundamental purpose of the story or was there something in the text that hit a nerve?

I certainly have a purpose for what I personally write, but equally I write things for fun. When I write a morally reprehensible act it’s not because I want the take away to be - go forth and do these things - but simultaneously I want people to enjoy reading the scenes and find enjoyment in them.

I want whoever reads my stories to come away with some sort of understanding of themselves; whether it be a comforting aspect or an unsettling one - an understanding of new knowledge they didn’t have before the reading experience, or merely the cemented fact that they enjoy something they already knew they liked. I want them to learn they like my writing or for my writing to help them understand that something in the text - heck, maybe the whole book - just wasn’t for them.

Every piece of art we interact with will help us uncover something about ourselves however minor or major that discovery may be, and no matter or how brief or long our engagement with said artwork is.

Yes, books are teachable moments where morals are concerned, but if you’re using them purely as a moral testing means then I’m sorry (truly) but you’ve been unintentionally engaging with the art form in a damaging way.

“it sounds like you’re justifying their actions-“ i am. they’re a fictional character. i’m okay with anything they do all the time. hope this helps.

[katyawriteswhump]

Steddie Wiggly Wednesday🪱🐛🪱🐛

Thanks for the tag @wheneverfeasible and @medusapelagia and possibly some other lovely moots. Sorry, I move in ice ages!

CW for original character death. Don't worry, Steddie and all canon characters are safe.

☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️☁️

Steve has an older brother, Cal, less than two years older than him. He loves his brother and hates his guts because Cal is stupidly perfect.

Not just grade A student perfect and state championship tennis finals perfect. Cal is so ridiculously, effortlessly nice. He floats above the High School popularity monster on some cotton-candy cloud of perfection—so high above all the shit that he can play Dungeons and Dragons with Eddie ‘freakshow’ Munson every week and walk away untarnished.

Steve’s pretty popular too, but he’s laboring for it the hard way— hanging with the ‘right’ crowd, dating the ‘mean’ girls. He’s sweating it out on the basketball court, barely scraping through the classes that Cal aced. Of course, his parents are pissed, and he knows he’ll never emerge from Cal’s perfect shadow.  Cal secretly gave Steve all his old class notes to copy and offered to coach him, but Jesus, who’s gotten time for that shit?

So yeah, Steve hates Cal, and he loves him too. When Steve figures he might be bi, he’s in need of his brother like never before, though can’t find the right words. He’s got a dumb crush on Tommy H and… Ugh, it’s not like he can tell Tommy, and even when Steve gets over his crush, nobody in Hawkins is gonna accept that kind of shit.

Naturally, his perfect brother sees when Steve stops hanging with Tommy and the others. Sees when Steve stops dating. On that spring night, when it’s only the two of them and a sixpack at home by the pool, Cal knows. Even before Steve starts to inarticulately explain how confused and screwed up he is. Even before Steve tells Cal he’s over Tommy, but he’s definitely queer, and faking being the Steve Harrington the world wants to see is killing him. He’s failing his classes, and Hargrove is humiliating him on the basketball court. Steve’s got a totally messed up crush on Billy too, even though the guy treats him like dirt. Steve is scared Billy knows, and… Crap, why is his life such a mess?

He cries. He hates himself for it, but he cries, and it’s okay, because he’s got his brother, and he hates how perfect Cal is. But Cal is always gonna be there, and he’ll always have his back.

Cal is off to MIT in the fall. So yeah, that’s gonna suck, until… Cal doesn’t go. Instead, he gets sick.

Really sick. Steve’s worried, but this is Cal, he’s perfect. Everyone says that Cal is gonna ‘beat it.’ As if, because he’s a good person, he’s going to somehow exert his magic over whatever fucked-up biology is destroying his body.

Cal has three months to live.

Eddie is devastated. It was supposed to be Cal’s final campaign before he ascended to the higher plane of an Ivy League school. Now it’s simply final.

Suddenly, Eddie is moving Hellfire Club to Hawkins General Hospital, and then hosting it at the fucking Harrington’s. Nobody is shrieking or dousing him in Holy Water, and it would be hilarious, if it wasn’t so horrible.  Obviously, Eddie is determined to make it the greatest, most metal campaign he’s ever conducted. He’s crumbling inside. They all are. These are the last days he gets to share with the guy from the ‘right’ side of the rails who looked at Eddie and saw Eddie, rather than the con-supremo-spawn of Al Munson.

Cal’s a-hole kid brother, Steve, starts hovering around when they’re playing. For obvious reasons. He needs to cling to every last moment with Cal, too. Lurking in dark corners, Steve starts staring at Eddie so hard it gets creepy. Eddie knows he’s pretty magnetic when he’s in full-on DM mode, but this is weird. Obviously, Steve must want ‘in,’ so Eddie reluctantly offers to help him draw up a character card, and… shock horror.

Steve Harrington isn’t that much of an a-hole. Now, it’s just the two of them, laughing and sketching and conjuring with D and D ideas, and Steve’s oddly jumpy. He doesn’t seem to be able to look Eddie in the eye, keeps staring at Eddie’s mouth, then touching his own, licking his lips. Eddie is… confused. Steve Harrington is cute. He is also supposed to be a repellent jock—not this guy who swerves maniacally between hilariously bitchy sniping and self-effacing over-apologies.

Once Eddie gets Steve going in Hellfire, Steve is stupidly over-confident, almost back to dumbass-Steve-the-jock. Eddie has a billion chances to slaughter him, and he refrains. For Cal.

Oh, and because, Eddie’s got a stupid crush on his friend’s kid brother. He figures out there is barely a year age gap between him and Steve, though. Cal was old in his year group, and Eddie one of the younger ones.

Still irrelevant. Steve is straight. Eddie’s 100% sure. Well, he would be, if Steve would stop blushing and glancing away whenever Eddie seeks eye contact.

Then Cal calls Eddie one night, asks him to come over. Cal’s getting sicker, so he detonates the bombshell.

You’d be perfect for my brother, man.

What the fuck?

Okay, so he doesn’t press Cal for details. It’s implied that Steve is into guys, but… Woah! Too much! His sick friend wants him to date his younger brother? Like, a dying wish? Yeah, Eddie likes Steve, and now he’s starting to read Steve’s feelings into the way Steve acts around him. But no way are they perfect for each other.

He gives it a shot.

On their first date, Eddie takes Steve to a dive bar Cal used to love more that it deserved, and where Eddie sometimes performs with Corroded Coffin. They make out around the back, against some dingy brick wall. They’re slightly drunk, and the kiss is wet and messy, and they’re stupid happy and then both so stupid sad that they stop trying not to be. They can’t kiss away the pain, but they can kiss. They cry so hard.

Eddie has found another Harrington brother who actually sees him. It occurs to him, more gradually, that he’s the only person in the world, other than Cal, who actually sees Steve.

What the fuck AGAIN?

And then he’s the only person left in the world who sees Steve, and besides Wayne, Steve is the only person left who really sees Eddie.

Steve loves Cal so much, and he hates him. He was so fucking perfect that he couldn’t possibly ditch his little brother without setting him up with a soulmate.

🪱🐛🪱🐛

My ST fic on AO3

no pressure tags: @mugloversonly @tea42 @fuctacles @queenie-ofthe-void

[purplehoodie09]

To be honest one of the things that most absolutely pisses me off about the writing of tua in general actually is the absolute discrepancy we see between how people describe fives behaviour and how he really behaves in terms of the whole "chaos junkie" sthick. Because, by all means, itd be SO interesting to see this character who alledgedly has been doing nothing but try to save the world for the one and only purpose of having his family be safe and sound for once, become so used to being alert all the time and living in fear that he finds himself uncomfortable with the normality he always craved. And itd be especially funny if they did that and still had those scenes where other characters call him out on it!!

But. When you actually. LOOK. At what five has been doing? How he acts when we DO get a glimse of hope for domesticity? THERE AIN'T NONE OF THAT HAPPENING. Call me crazy all you want cause sure i guess you could argue that "he joined the cia the second the world became normal!!" But i mean what else was he gonna do? None of these guys have any real world skills, hes smart and he was trained to be an actual superhero since childhood, he can become a detective and still have that be an extremely domestic life for him. Not to mention the second he found a cottagecore little hideaway universe he settled the fuck down. The only thing that kept him sane all by himself in the apocalypse was having his little mad scientist home with his little mannequin wife. Five does NOT long for chaos

[deathlygristly]

This is really weird.

I met the spousal person when someone else I’d recently met introduced us when he rode by on his bike. I started hanging out with him and a couple of other guys. A month later I had picked up on enough signals to feel okay emailing him and asking him if he wanted to hang out without our other friends. He said he considered it for a while because he was worried about ruining the friendship, but he said yes. That was 25 years ago, and we still are very much friends. Friends who have been very happily married for 22 years.

If no one has ever told some of you in the notes this, I’m telling you now. You can do whatever you want forever.

TV shows and movies are fiction created by a small group of people. Some people just wrote a script that they personally imagined and then some people acted it out as directed by other people. They are just some people telling a fictional story. You do not have to copy them to be a human.

If the media you engage with is making you feel miserable and less than human because you are not exactly like the fictional characters in the media, then you are allowed to stop engaging with that media. No one who is safe to be around will get mad at you or think less of you if you stop engaging with things that make you feel alienated and miserable. If someone gets mad at you because you stopped watching a TV show or a movie they are not safe and you need to put up some boundaries with them.

Also it sounds like maybe some of you need to greatly expand your experiences and social networks and media diet. If you think there’s only one way to be a human and to have relationships that’s a sign that your view of reality and its possibilities is extremely limited, and I mean extremely.

Things you can do to expand your view of human experience and what it means to be a human:

Go to your local library and read books you’ve never heard of.

Go to the streaming sites where you are watching the extremely vanilla media and see if you can pick something you have never heard of, perhaps from another culture and in a different language.

Go outside. Go somewhere in your community and watch people for a while. See if you can find local communities to join or local events to go to.

There is a world outside of whatever prison you’re in that has made you think human experience is so extremely limited. Break the bars and leave. You’ll be much happier with a much fuller life if you can manage that.

Hey, today I learned that my catalogued lack of dating experience is cited in an academic paper

[justin-chapmanswers]

Hey Justin! Quick question (okay maybe not so quick after I write this),

What are you and the other guys’s (Adam and Brian) thoughts and plans after you release II S2 E18? Are you planning to do anything with the characters after it?

What are your thoughts on (I don’t want to say ending oh my goodness) finishing? this season. Is there going to be anything else or are you just done for good. (NOT IN A MEAN WAY IM SORRY)

I’m just curious since I’ve been hyperfixating on II for a while now, and I’ve been working up courage to just ask my idol a quick thing but AAAGGGHHH WHO KNEW HOW SCARY IT IS.

Anyways, I hope you’re having a great day or night, and hope you aren’t overwhelmed or overworking yourself.

AAAGAGGHHHH BYEEE STAY SAFE HUBFRBFHURBFHURDR

- 💙 Queer ahh anon (OKAY IM SORRYHUCNFUHFR)

Hihi! Thank you for the sweet words.

Unfortunately I can't give a clear answer right now, because it's so up-in-the-air. We've thrown around ideas for II and non-II things. It really comes down to what inspires us most after this season has wrapped. If there's a big II story still to tell, we'll tell it. If something else calls to us, then we'll turn in that direction.

I don't have a lot of time to search it out, but I'm sure there must be at least one or two asks on this subject from a long time ago in which I responded with like "it would definitely be a very different world after this season" and I'm sure you can see why already haha.

I would be sad if I had to say bye to II forever after this, though. Whether or not there's anything more, season two's finale is written so that it could be an ending. So we'll seeeee.

[alarajrogers]

I feel we could get a lot of traction with billboards in red states saying "Learn the secrets they don't want you to know!" Include a web site. Then the web site, using conspiracy theory type language, explains to you that "dark forces" in bed with "enemy agents" and "wealthy elites" are trying to control the government, explain to them how they are doing it... and don't name names until you get to the end. Never say Republican, just name specific people who happen to be Republicans. Talk about how these forces control the media.

Also, specifically call out how these forces want you to blame the Jews rather than them. Ask them if they thought of Jews when they thought of wealthy elites, and explain that is exactly what the elites want you to think, so you pick on your Jewish dentist and not the actual billionnaires who secretly rule the world, who are of many different religions.

Similarly, do something similar with migrants. Migrants come to this country and take your job... because they'll do it for so little, because they can't come in legally so they can't protest being underpaid, and your bosses pocket the difference! When people have a way to come in legally, that doesn't happen. So instead of cracking down on migrants, crack down on the companies that employ them, and give them a means to legally enter the country -- so they'll be safe to report on gang activity and employers in food service using practices that contaminate the food, without fearing being deported. And so they won't be getting under-the-table wages that no American can or would want to beat.

But you present all this the same way the conspiracy theorists do. "It just makes sense." "Do the research, you'll see the truth!" And then you give them links to credible sources. And you have explanations of how the US government works and "how people who hate ordinary Americans exploit the system to get power and make sure it's used to make your life worse!" And everything is like fourth grade reading level.

A lot of people, once they get to the names, will snort and call it misinformation because you're calling out Their Tribe. But other people will go, huh, maybe there's something to this... And because everything you're saying is actually true, any independent research confirms it. And now you have a counter to QAnon, who don't know they are leftists, who think they are conservatives who believe in small government and low taxes, but you've just presented most of the Democrats' policy points as being palatable to those beliefs.

the lesson I'm taking away from this election is not that the Democrats need to become more left wing or more right wing but moreso that they need to find a way to cater their rhetoric towards people who genuinly have no idea what is going on. the target audience for every speech and political appearance should be someone who doesn't know what the three branches of government are because they were drawing a Cool S during high school civics

[drdemonprince]

People who are concerned about problematic or triggering kinks often couch these concerns in highly reasonable-sounding reactions and make what seems like highly reasonable requests.

They point out that lots of the most upsetting kinks may remind a person of their worst traumas, for example, and that these kinks, when played out, can resemble actual abuse so closely that the kink communities may attract bad actors who genuinely do wish to do harm.

They may allow that some kink practitioners are themselves survivors, and tolerate taboo kink's existence insofar as the correct people find it therapeutic, but they'll qualify that it should always be made clear what is fantasy and what is reality.

But ultimately, people making these arguments will assert, there are certain things that a simply beyond the pale -- across the line and wrong.

A lot of people say these things earnestly, and mean them, and I don't think they intend any harm in saying them. And in comporting their own personal lives, these guardrails may more or less apply well for them. But where it becomes a problem is in issuing dictates about how other people should act, and how kink friendly spaces should run, and how people who hold taboo kinks ought to be regarded.

Does it protect victims to view their kinks as inherently morally suspect?

Does treating a person who is forthright about their taboo desires and who has found a consensual venue to express those desires as more potentially predatory than your random vanilla cishet man help us make kink spaces that are safe?

Is it *true* having a fetish or kink makes a person more dangerous than someone that doesn't?

What's an acceptable reason to have a taboo fetish and what's an unacceptable reason? Who decides?

How might linking sexual practices that are already highly stigmatized and associated with queernees to abuse lead to increasing those group members' vulnerability?

Are communities where vetting of sexual play partners and frank discussions of consent are routine somehow more dangerous to be in than the vanilla world, where such things rarely happen?

What is a suitable way of flagging that fantasy is fantasy and real life is real life? Who decides?

Are certain real life enactments of a fantasy always wrong even when they are consensual, simply because they look bad/intense?

Which practices are okay to partake in in real life?

Who decides? Who decides? What happens to the people who violate those other people's rules?

You don't have to be interested in every kink and you don't have to visit all kink spaces. It's fine if you find certain fetishes disturbing, gross, triggering, a deal breaker, or reminiscent of your own abuse (and I'm really sorry that those things happened to you). But those entirely legitimate feelings in NO way translate to a need for anyone to place restrictions on how others play or fantasize or comport themselves in their own spaces.

Not all spaces will be for you, but please understand that for those of us who are kinky and queer, 99.9999999999% of all social spaces in the world are already viscerally violently NOT for us. Let us have our spaces to pretend to be puppy dogs and kitty cats and siblings and vampires and home invaders and monsters and rape victims and rapists and murderers and dead bodies and babies and robots and dolls and video game characters and everything else.

You don't have to like it but you don't have the authority to say we don't get to do it, and nobody should.

[letters-to-lgbt-kids]

My dear lgbt+ kids, 

If you sometimes come across the term “banned books” but don’t really know what it means, here’s a simple little introduction to the topic: 

“Banned books” refers to books that have been censored or removed from libraries, schools, or bookstores due to objections from certain groups or individuals.

When we read that definition, I think a really common and understandable response is: „whoa, okay, these must be really bad books full of dangerous ideas!“… and in some way, that’s true. 

Because, you see, to someone with a homophobic worldview, any book with a gay character is really bad and dangerous. And to a child abuser, any book that educates children on consent is really bad and dangerous. 

Among the top reasons for book bans are lgbt+ content, sexual content (including sexual education or education on sexual abuse), themes of racism and themes like drug use or addiction. Over the years, many books with significant cultural and educational value have faced bans - and this continues to be an issue all around the world, including in the US. 

When books are banned, it restricts the access to information people (including kids and teenagers) need to understand themselves and others. This negatively affects queer people and other marginalized groups (for example people of color or disabled people) but it also impacts everyone else. Diversity in literature enriches our understanding of the diversity of real life. It helps to build empathy, compassion, kindness and understanding. Access to different stories and viewpoints is vital for an inclusive society. 

Censoring queer books in particular also normalizes the message that queer experiences are inappropriate or “dirty” - which, again, is really beneficial to homophobes and transphobes. If it feels safe for them to say that queer books harm children, it paves the way for all other kinds of discrimination and harassment of queer people. 

Now you may think “this all makes sense when it comes to books with gay characters! But didn’t you also mention stuff like sexual abuse and addiction and racism up there? These are indeed bad and dangerous things!” 

I think this is another really common thought. These things happen in real life and it can be uncomfortable to even think about them. But that’s precisely why we need books about those “uncomfortable” topics! 

We may not like the idea that a child hears about racism or abuse - but in a world where kids can experience racism and abuse, they also need to be able to read about racism and abuse. They need to be able to say “this is what’s happening to me and this is not okay”. We need to be able to name bad things when they happen to us or when we witness them happening to others. We need an understanding of and a language for bad things. That’s the only way to fight the bad things. 

Another thought you may have is “Okay, and now what? I don’t have the power to do anything about all this anyway”, and honestly I wouldn’t blame you for that one either. Hearing about book bans (on top of all the other negative stuff we hear about) can feel really depressing. But there are things you can do to push back and help keep diverse stories accessible - even if you are young or have limited resources! 

Some ideas: 

use your public library (many public libraries actively resist censorship and make banned books available!) 

use a digital library (services like Libby and Project Gutenberg offer free access to many books) 

look out for online petitions or letter-writing campaigns by organizations that oppose book bans (for example PEN in America) 

look up if there are any “little free libraries” in your area (free book-sharing box operating on the honor system: anyone can take or leave a book for no cost) 

look up if there are any book swapping events in your area 

take part in reading groups, book clubs etc. (either in person or online) 

And of course the big one: if you can afford to buy books - make a point to buy banned books (or more generally, queer books and books from marginalized authors and books on topics that frequently get banned)! As a starting point, you can find lists of banned books online. Wikipedia has one, for example. 

If you have a bigger budget, you could even buy multiple copies and put some in your local “little free library” or bring them to book-swapping events or gift them to friends etc! (You could also ask your local public library (or school library or prison library or youth center or women’s shelter etc) if they take book donations, but you may want to hold off on buying before they say yes - not all of them can accept donations!).

Happy reading and resisting!

With all my love, 

Your Tumblr Dad 

[vidavalor]

Playing with Fire

Armageddon: The end of the world.

World: The Earth. Also: a person's own universe-- the life of an individual and the people they let into that life.

With that in mind...

Armageddon: The destruction of Earth and the deaths of all living beings inhabiting it. Also: a person's mental health crisis.

"When alle is fayed and all is done, ye must choose your faces wisely for soon enouff, ye will be playing with fyre." -Agnes Nutter's final prophecy of Armageddon and a big theme of the story in a nutshell.

Faces: The front portion of the head of a human or an animal.

Also: to confront and deal with a difficult or unpleasant task or situation.

Also: the front of a building, including its front door.

Agnes Nutter's prophecy is not just about the destruction of Earth but about the everyday Armageddon of people's lives. Soon enough, we all will eventually find ourselves playing with fire-- in dark times and in the danger zone of falling. We all wind up there at some point and we need help either staving off a fall or getting back up from one.

The only way out of that is to choose our faces wisely. It's to choose to trust the people who show us they are worthy of that trust and to let them in enough to help with safety and support.

It's to form a mutual aid association and face the world together as a group. That's the only way to move through the dark stuff to keep it from getting you-- to go as one, together.

In S2, Gabriel survives by doing exactly this to the letter, even though he doesn't know Agnes' prophecy. He is the positive example of this theme in action.

Gabriel chooses his faces wisely. He is unconcerned with how a person is labeled or judged by others and, so, trusts two demons in Crowley and Beez to help him, and enjoys joining the human world as a bookseller. He puts his fate in the hands of Aziraphale, the only angel he has seen with the good heart and moral character to be fully trustworthy.

He isn't bothered or intimidated by Beez's change of face because he can recognize them enough to know they are who they say they are and outward appearance matters little to the guy who is, ironically, also sometimes the vainest person on the show.

He picks a person in Beez to trust with all of himself who has proven with their actions that they are worthy of that trust. This is the wisest of choices as it's evident Ineffable Bureaucracy were made for each other.

Without opening up and trusting Beez, Gabriel would not have had the means to survive his fall without losing himself entirely. Trusting them is the wisest choice of a face that Gabriel has made.

He then is ready to face his issues with Heaven and its role in all definitions of Armageddon. He rejects the, well, literal face that is The Metatron...

...and goes to the face of the building where he knows he'll be safe...

...because he knows he can trust the faces of the couple who lives there to let him in and help him.

As such, Gabriel survives his personal Armageddon. He falls and he's struggling but he is saved from forms of death by Beez, Crowley and Aziraphale, finds a new way forward, and rendered literally immune to darkness as a result.

Gabriel went down in S2... both figuratively and literally... a mental health crisis and cast down from his position at the top of Heaven and down in the lift to Earth as he ran for his life... but he's saved from the fall leading all the way to death by virtue of the fact that he chose his faces wisely. Beez, Crowley and Aziraphale helped him find his way through and join The Whickber Street Shopkeepers and Traders Association and now Jim has people.

Not only does this help Gabriel but it's going to help others as well because now that Jim is on the mend, he can be there for them and others as well.

But what about the one whose story Gabriel is paralleling in S2?

What about Aziraphale? Did he remember in S2 what Agnes told him?

He did not.

In S2, for the most part, Aziraphale was pushing away the people and things he needed to survive a personal Armageddon and, as of the end of S2, is playing with some serious, serious fire.

In The Final 15, Aziraphale chose an untrustworthy being wearing the very same face that Gabriel had wisely finally rejected...

...over quite literally a lot of face of the person he trusts more than anyone else...

...he chose the elevator door face ("going to Heaven"/death) over that of his own bookshop (life)...

He was offered the chance to become the new Gabriel and that is likely more true in the S2 falling Gabriel sense of things than it is in terms of the job offer being real. In his effort to take care of everyone, Aziraphale didn't let in the people around him to help him, too. He didn't see himself as a person in his own right. He made the fatal mistake against which Agnes cautioned and which Gabriel avoided.

That said... everyone goes down. It's just gravity. Everyone wants to live and they'll eventually fall trying. No one asks for death. They all ask for coffee.

But those that manage to survive can find wings can fly and go back up together.

Insects, birds...

The flies. The nightingales...

Did you give wings to peacocks, Job? The communication metaphor of feeding the ducks frozen peas:

Or teach the ostrich to run? The ostrich who ran:

And when you feed your ducks your frozen peas and make your own history, you're living life together.

Everyday/it's a getting closer/going faster than a rollercoaster...

A rollercoaster goes in a bendy loop. It goes up, it goes down, it goes upside down and right side up again and sideways and every which way, and when, all is said and done, it drops you off back off in what looks like the same place you began... but the experience has left you a changed person. This is life.

Life is a series of loops on the rollercoaster track. You can go up and you can down and it doesn't matter because it's all the same track and your position, so long as you are alive, isn't fixed but forever in motion.

If you choose your faces wisely like Gabriel did, they can help you stay alive, get back on the rollercoaster, and take the ride with you. If you shut out those who are there, you might never get back on. If you don't, as the song suggests, love will surely never come your way.

But what if you're like Aziraphale and you have chosen your faces wisely but then, unwisely, pulled away from them? What if you push people away when you're struggling and are only going so high up because the track has run out and you're about to take a massive plunge down? Is it really all over for him?

Yes and no. Yes, because a fall is a death of sorts and there is no going back. Aspects of it will forever be a part of him... but, also, no, because while he might have chosen his faces, for very sympathetic reasons, ultra-poorly in The Final 15, he has chosen them very well before. As such, Aziraphale has people around him, like Crowley and The Lords of the Flies, that will help him back up-- as well as some people he might not yet even realize are in his corner.

To save Aziraphale from the effects of Aziraphale's own, personal armageddon, they're going to have to come together to change Heaven and, in doing so, they will stop the destruction-of-Earth kind of Armageddon in the process. In choosing the faces of one another over the floating head's face, they'll save their individual worlds and the Earth as a whole, giving everyone a chance to live their lives as they see fit.

Save the angel, save the world.

A-hey? A-hey-hey. 😇

[inkspiredwriting]

Words Unsaid

Five Hargreeves x Fem!reader

Warnings: angst

The Hargreeves’ home was silent, the usual hum of life replaced by a tense, suffocating quiet. Y/n stood in the living room, her arms crossed tightly over her chest, her gaze fixed on the clock ticking away on the wall. Each second seemed louder than the last, a relentless reminder of the time slipping through her fingers.

Five stood by the door, his face a storm of conflicting emotions. His fists were clenched at his sides, the muscles in his jaw twitching as he struggled to contain his anger. The argument had started over something trivial—a misplaced item, a careless word—but had quickly escalated into a whirlwind of accusations and hurtful comments.

“I can’t believe you sometimes,” Y/n said, her voice rising. “It’s like you don’t even care about how I feel!”

“Care about how you feel?” Five shot back, his eyes flashing with frustration. “I’m doing everything I can to keep us safe, to keep this family together! But nothing I do is ever good enough for you, is it?”

Y/n’s heart ached at the words, but pride and anger kept her from backing down. “Maybe if you didn’t shut me out all the time, I wouldn’t feel like this!”

Five’s face twisted with pain and rage. “You have no idea what it’s like to be me,” he snapped. “To have the weight of time itself pressing down on you. I’m trying, Y/n. But I can’t do this if you’re constantly second-guessing me.”

Tears blurred Y/n’s vision, but she blinked them away, refusing to let him see her cry. “Then maybe you should figure out what you really want,” she said coldly. “Because I can’t keep doing this.”

Five’s eyes softened for a moment, a flicker of regret passing through them. But before he could speak, the anger surged back, and he turned on his heel, wrenching the door open. “I need some air,” he muttered, stepping outside into the night.

The door slammed shut behind him, the sound echoing through the empty house. Y/n stood frozen, her heart pounding in her chest. She wanted to call after him, to tell him she didn’t mean it, but the words stuck in her throat, choked by pride and fear.

Y/n sat on the edge of the couch, her phone clutched tightly in her hand. The house was dark now, the only light coming from the muted glow of the television. She had tried calling Five’s phone multiple times, but each call went straight to voicemail. Anxiety gnawed at her, twisting her stomach into knots.

Just as she was about to try calling again, the phone rang. She nearly dropped it in her haste to answer, hope flaring in her chest. “Five?” she said breathlessly.

But it wasn’t Five’s voice on the other end. It was cold, detached, professional. “Mrs. Hargreeves? This is St. Matthew’s Hospital. Your husband has been involved in an accident. You need to come down here immediately.”

Y/n’s world tilted on its axis, the words not fully registering. “What…what happened?” she stammered, her heart racing.

“He was hit by a car. He’s in critical condition. Please come quickly.”

The phone slipped from her hand, clattering to the floor. The world around her seemed to blur and distort, the edges of her vision darkening. She stumbled to her feet, grabbing her coat and keys with shaking hands.

The hospital was a sterile maze of white walls and antiseptic smells, the fluorescent lights harsh and unforgiving. Y/n rushed through the hallways, her breath coming in ragged gasps, her mind a whirlwind of fear and regret.

She reached the emergency room, her eyes scanning the sea of faces until they landed on a nurse standing by the door. “I’m here for Five Hargreeves,” she said, her voice trembling. “Where is he?”

The nurse’s expression softened with sympathy. “He’s in surgery,” she said gently. “The doctors are doing everything they can.”

Y/n nodded numbly, the words washing over her without meaning. She sank into a chair in the waiting room, her hands twisting together in her lap. Each minute stretched into an eternity, her mind replaying their argument over and over again. Every harsh word, every angry look—it all haunted her, a relentless loop of guilt and sorrow.

It was the early hours of the morning when a doctor finally approached her. His face was weary, lines of fatigue etched into his skin. “Mrs. Hargreeves?” he said, his voice gentle. “I’m Dr. Nguyen. Your husband…he’s out of surgery. He’s stable, but he’s in a coma. We’re not sure when he’ll wake up.”

Y/n felt the ground fall away beneath her. “A coma?” she whispered, her voice breaking. “But he’ll wake up, right? He has to.”

The doctor sighed, his eyes filled with compassion. “We hope so,” he said softly. “But it’s hard to say. He’s been through a lot. His body needs time to heal.”

Y/n nodded, tears streaming down her face. “Can I see him?”

“Of course,” the doctor said, guiding her to Five’s room.

The room was dimly lit, the soft beeping of machines the only sound. Five lay in the bed, his face pale and still, tubes and wires snaking from his body. Y/n approached slowly, her heart aching at the sight of him so vulnerable and broken.

She sank into the chair beside the bed, reaching out to take his hand in hers. His skin was cold, his fingers limp in her grasp. “Five,” she whispered, her voice trembling. “I’m so sorry. I didn’t mean what I said. Please, come back to me.”

The silence was deafening, the only response the steady rhythm of the machines. Y/n bowed her head, her tears falling onto their joined hands. “I love you,” she said, her voice breaking. “I love you so much. Please, don’t leave me. I can’t lose you.”

The days blurred into weeks, each one a relentless cycle of hope and despair. Y/n stayed by Five’s side, talking to him, reading to him, holding his hand. She told him stories of their life together, of the moments they had shared, the dreams they had for the future.

But Five remained unresponsive, his eyes closed, his breathing steady but shallow. Each day that passed felt like a lifetime, the weight of uncertainty pressing down on her.

It was a quiet afternoon when it happened. Y/n was reading aloud from one of Five’s favorite books, her voice soft and soothing. She paused to turn the page, and that’s when she felt it—a faint, almost imperceptible squeeze of her hand.

Her heart leaped in her chest, her eyes widening in disbelief. “Five?” she whispered, her voice trembling. “Can you hear me?”

There was no response, but the slight pressure on her hand remained. Tears filled her eyes as she clutched his hand tightly, hope flaring in her chest. “I’m here,” she said, her voice breaking. “I’m right here. Please, come back to me.”

Days turned into weeks, and slowly, miraculously, Five began to show signs of waking. His fingers would twitch, his eyelids would flutter.

Y/n was there every step of the way, her heart lifting with each small victory. She knew their journey was far from over, that there would be challenges and setbacks. But she held onto hope, held onto the promise of their love, and the belief that they would find their way back to each other.

In the quiet moments, when the world was still and the only sound was the soft beeping of the machines, Y/n would lean close, her lips brushing against his ear. “I love you,” she would whisper. “I’m here, Five. I’m not going anywhere.”

And in those moments, Five’s hand would tighten around hers, a silent promise that he was fighting his way back to her. That their love, though tested and scarred, was still strong enough to withstand even the darkest of times.