#Charlie about death

[funcionoacafe]

“As a child, there is a moment when we see him for the very first time, and he has always been there but finally we know, but as an adult, we never believe, we close our eyes because we are too afraid”

  — Charlie about Death, The End of the Day (Claire North)

[chloesimaginationthings]

You know Henry’s final speech went hard in FNAF

[the-ace-with-spades]

(another unfinished post i found on the way to glasgow - that was the longest train ride in my life - I'm sorry in advance)

When Ice finally passes away, at the age of 73, in his sleep, Bradley moves Mav into their house the same day.

He gets the call in the morning, while trying to simultaneously cook Jake's breakfast and try to make their daughter put on a rain jacket. It's not Mav, but someone from the hospital. Jake doesn't know this — Bradley's face twitches only for a second and then he's back to the nagging, relaxing tone and telling their daughter it's raining and it won't stop. Jake only finds out when he comes back home from the school drop-off and Mav is already there on their couch. Jake doesn't even get the full explanation until that night, just a quick, "Ice passed away overnight."

There's only their three youngest living with them at the time — their 18-year-old daughter who attends UC San Diego, and their 15-year-old son who is still in high school, and their 7-year-old daughter — so Mav takes one of the vacant bedrooms.

The first few nights, Bradley sleeps in the same bed with him. Neither of them looks like they get much sleep. They don't really eat, either, just drink coffee and nibble on the crackers.

The kids start coming back home, and their oldest helps Jake arrange most of the things for the funeral, at least for the first few days. Mav is... numb, not really there, and Jake understands — he would, too, if he woke up one day and his husband died in his sleep next to him. Bradley is silent, mostly, the way he usually rambles to fill out the silence, the way he hums, the way he sings at any given time when there are no words spoken, it's all gone and Jake doesn't know how to fill out the silence either, how to ask, how to make it better without asking.

Bradley doesn't cry, or at least not the way he knows Mav does — he can see Mav's red eyes every morning — but there's something empty in his gaze, in the way his eyes follow Mav and in the way he melts whenever Mav is around, always close, always brushing against him. Mav spaces out a lot, doesn't talk much, doesn't—well, doesn't do much. Every time he tries to help with something, paperwork, the funeral arrangements, the hospital bills, even just sorting out the kids' school leave or Jake's own work leave, he fumbles a bit, not really able to focus on anything for long, and it's like his mind is completely scrambled. Jake doesn't know how to help him — doesn't know if they even can.

The kids, well, did not take it well, as expected. The oldest two try to be brave and help Jake with everything, keep the house going, but their youngest daughter doesn't really understand why her pops isn't back, the middle kids don't understand why now — Ice was in remission, in good health, would go hiking with them once a month, play with them in the backyard, talking about plans for the future with them, nothing that would tell them to expect their pops passing away. Mav and Ice had taken care of all of them for years, while Jake and Bradley were still deployable, and helping out as much as they could. Ice was a huge part of their lives, since the very beginning.

Bradley is certainly not doing any better but one couldn't be able to tell if they didn't know him well enough. He's always been more for packing his feelings into a tight neat box, compartmentalizing until there is too much and it all overflows in some explosive way. His focus is mostly on Mav and the kids, trusting Jake to take care of anything he can't.

Jake can't even ask him how he's doing until the night before the funeral.

Mav tells Bradley he wants to be alone that night and Bradley lands in their bedroom.

He acts normal — checks the kids are in bed, checks on Mav, prepares stuff for breakfast in the morning, has a shower. Only when he sits down in their bed, their dress blues, cleaned and pressed sitting on the hangers hooked up on their wardrobe, right in front of him—only then he freezes, a blank stare still on the uniforms.

Jake sits down next to him on the bed. "Talk to me, Bradley."

"I knew it was going to happen at some point, I just," "I just thought we would have a few more years."

Bradley sleeps curled up on his chest — he sleeps the whole night, soundlessly, and Jake is almost settled.

Almost. Mav is a couple doors down, alone.

Ice's been—had been retired many years now, but he had been high enough in the ranks that the Navy still insists on making a military funeral. Jake tried to take away as much of the flashy bullshit as possible, but there are still things leftover — the sailors with the flag, the flyover. But there's no one who wasn't close with the family at the ceremony, there's no speeches, and no one tries to hand either Mav or Bradley a flag.

The wake has an even smaller amount of people, all packed in their house — Mav hasn't been at his own house since — and thanks to Slider, mostly, and his 'the bastard wouldn't want us to mope around', it's less sad and quiet.

Mav eats two slices of cake, which is the most Jake's seen him eat since, and even laughs at some stories about Ice people are exchanging.

Ice had a good life. A big family. A big happy family that loved him.

But life goes on without him. Jake goes back to work first, then the kids have to go back to school, then Bradley has to back to work. After a couple of days alone at their house, Mav starts bringing up moving back to his own house.

He's not really doing great. He's still quiet, still spaces out more often than not, still forgets himself sometimes, still freezes whenever he tries to say something and the we he uses is one person short. He's—lifeless, for a lack of better word, and seems like he's noticing it now that Bradley isn't with him most of the waking hours.

"That is our home," Mav tells them. "I can't abandon it forever, I'd be abandoning him, too, if I—"

Jake—Jake gets it. He doesn't like it, but he gets it.

Bradley's been fielding off any suggestions of Mav moving out but he's pretty sure that soon Mav is going to pack his stuff and up and leave without asking for permission.

"If he wants to move back home, we can't exactly hold him here. against his will."

"Jake," Bradley says. "I feel like—if we let Mav go back there alone, he's going to die of a broken heart and I won't have either of them anymore."

"Sweetheart—"

"I know it's selfish," he interrupts, "but I can't lose him, too. Not now."

Jake can't make Mav stay with them — so he finds the best solution he can and instead, they all move in with Mav. Hell with it, he's going to try to get everyone to live their lives to the end. They'd done it before, Mav, Ice, Bradley, Jake and their two kids under one roof, when their oldest two were their only two kids.

The two of them and two of their youngest; two of their kids move into their house so they don't have to sell it.

Mav lives on. They try to occupy his mind by throwing their youngest at him — ask him to take her to school, pick her up from school, take her to her gymnastics class, do her homework with her, teach her how to play piano. The other kids pick up on it, too, and their high schoolers would wrap Mav into doing math workbooks with them, or ask him to drive them to their friends' house, and the kids that have moved out ask Mav to go to lunch together or call him to ask him things about car and house repairs that don't exist.

Mav gets brighter every day. Never as bright as before, but no longer so numb.

Their daughter ends up never moving out and so do they.

They all get older but Mav holds up pretty well. He does break his hip when trying to wash the windows, had a limp and terrible back ache ever since, had to stop driving because he can't see shit, had to stop piloting even sooner, and his memory is also shit, but Jake is pretty sure his cholesterol is lower than his own and he has better blood pressure than Bradley. Bradley and Mav are the ones cooking after all, Jake is the one eating all the tasty but not healthiest food, and Mav's life revolves around spoiling his cute great-grandkids and Bradley's is filled with the constant stress of managing Navy's top flying school.

For his ninetieth birthday, Mav flies a fighter jet as a passenger, the oldest person to ever do that — his youngest granddaughter is the one to take him up in the air, a junior grade lieutenant herself. They have a birthday party held at their house, Mav falls asleep in the armchair, Bradley makes fun of him and promptly falls asleep on the couch, too. Jake loves them both so much and still kind of can't believe he has this — house full of grown-up kids and grandkids of his own, his graying husband of over thirty years, his father-in-law coming to an age he wanted to see his mother at.

They're cleaning up, their two daughters who still don't have kids and didn't need to go home helping, and Mav tells them he's going to get some fresh air on their veranda. "I've got a terrible headache," is all he says.

Half an hour passes, they've packed all the clean and dirty dishes, and Bradley huffs to himself. "He fell asleep on the bench again, didn't he," and goes outside.

Bradley shouts for him in less than a minute. The ambulance is there in eight. Within the half-hour and a CT scan in the hospital, the neurologist tells them Mav is too far gone to survive the day. Within six hours, every single person from their family has come to say goodbye. When they pass the seven hours mark, Jake stands up from the plastic chair behind Bradley — he's not about to tell Bradley he should rest, but he's been holding Mav's hand since the minute they admitted Mav to the ward and hasn't eaten or drunk anything all day. He tells him he'll go grab them a coffee and bagels and gets a little nod and a smile.

Jake comes back twenty minutes later and Bradley doesn't even look up from where he's gripping Mav's hand.

"Can you get the nurse for me?"

[chaggiehearts]

Do you ever think about how Vaggie is quite literally the protector, the guardian angel, of the Hazbin Hotel, which is Charlie's whole dream? You ever think about how Charlie is Vaggie's metaphorical wings, she is her Heaven and her purpose to fight for love? How a demon and an angel (specifically, the princess of Hell and an Exorcist) fell for each other in the most tender way ever? How they mean everything to each other? How the key to their happiness is each other? How they feel capable of facing anything if they're together? How Vaggie considers herself Charlie's armour but then when the actual battle came to be Charlie was the one who had a shield, the protector (probably because she learned from Carmilla that Vaggie's fighting style was reckless and she wasn't going to let anyone hurt her girlfriend)? How they never separated in the last battle until Adam killed Pentious and then they kept trying to reunite despite Lute and Adam's efforts to separate them? How Vaggie survived and defeated Lute because she was fueled with her love for Charlie, because Charlie was her whole reason to fight and live? How Vaggie never doubted Charlie's project and was willing to see it to its end despite Charlie being mad at her? How she would have stayed in the hotel even if everyone else had gone away? How Charlie just had to mention in Cannibal Town, while still angry, that the hotel wasn't something she was managing alone, that she was doing it with her partner? How long before her talk with Rosie she had already bought a souvenir for her girlfriend, whom she was still angry at? How Charlie became Vaggie's hope when literally her whole world turned its back on her? How Charlie found Vaggie at her literal lowest point ever and saved her, healed her? How she fell in love with Vaggie when she was at her absolute worst, having just survived a brutal mutilation by the hands of the Exorcists? How Vaggie was probably the first person to ever be truly thankful to Charlie for her kindness? How Charlie was lonely, with a stranded relationship with her father and with her mother having disappeared and gone no contact a couple years before, and found true companionship in this kind lady she had found after the Extermination? How they literally say to each other that they love each other more than anything in this world?

Do you ever think about them?

[fazgoo-connoiseur-1987]

Ok so I think Charlie’s murder was completely spur of the moment right? I want Bill to be continually shocked and confused about how smoothly he gets away with it and the fact that he gets literally everything he’s ever wanted as a result (people treating him more normally because they’re directing their pity at Henry) (also HE gets to pity Henry- he gets power over someone on his level for once). No wonder he does it again tbh.

Idk guy who spends his entire fucking life trying to be normal and then he snaps out of that in a glorious show of violence- this horrible and unforgivable act- and he’s REWARDED. The things that must do to his tiny bunnyman brain I mean

[muffinlance]

Next Dark Night in Ba Sing Se part! Is! Fully outlined!

...And so is the majority of series in lesser detail because oops my hand slipped.

[a-dauntless-daffodil]

potato is love, potato is life- local hell woman gives potato to her angelic future wife

Charlie: “I don’t think I should be allowed to interact with women ever again.”

Husk: “Is this about Vaggie giggling over a fucking potato earlier-”

Charlie: “OH IT’S ABOUT THE POTATO ALL RIGHT! WHY THE FUCK DOES THE PHRASE ‘apple of my eye’ EVEN EXIST IN THE SAME UNIVERSE WHERE ‘earth apple’ IS ANOTHER WORD FOR POTATO??? WHY DO PEOPLE CALL THE STUPID SPROUTY THINGS ON POTATOES ‘eyes’????? CREATION IS STUPID! IT DOESN’T MAKE SENSE!!”

Husk: “Did you fucking give her the potato.”

Charlie: (slumping) “I was trying to be romantic-!”

Husk: “Did you call HER your potato.”

Charlie: “THE POTATO OF MY HEART! The tuber of my root sprout!”

Husk: “Oh fuck. Shit, that’s. That’s terrible. You really shouldn’t fucking talk to women anymore.”

Charlie: (sobbing) “I WAS TRYING!!! TO BE SWEET!!!!!”

Angel Dust: “-hey gays m’kay, real fucked up question for ya both but- anyone know why Vag G-string is makin’ soppy doe eyes at an uncooked tater tot?”

Husk: “It’s because she’s almost as much of fucking fail loser as her girlfriend, is why.”

Charlie: (sniffs) “She. You think she likes it…?”

Angel Dust: “Charlie chip, she’s starin’ at the damn thing like it’s her first born child.”

Charlie: “Oh…”

Charlie: “…”

Charlie: “Unholy shit…. I am so GOOD with women-”

Husk: “No. No you’re fucking not. It’s just her.”

Charlie: “Well she’s the only one who counts so that’s perfect!”

Angel Dust: “Oh please don’ tell me you gave her the potato-”

Charlie: “BE RIGHT BACK IM GONNA GO GET HER ANOTHER ONE!!!”

Husk: “NO-!”

[crimson-nail]

(florida man voice) yoink!

[nashvillethotchicken]

It's crazy how people talk about loumand like they hate each other and have never once looked at each other with anything resembling lust, like two nuns at a silent covent. Buddy louis has had bed death with his husband, and that husband wasn't armand lemme tell you that!

[nachosforfree]

She looks like the real thing, She tastes like the real thing,

my fake plastic love

closeup

[atomicengineerdetective]

I've been watching Hazbin Hotel in prime. Just watched episode 5 and I gotta ask

Why, oh, WHY DON'T I SEE MORE PEOPLE TALKING ABOUT "MORE THAN ANYTHING" WHEN TALKING ABOUT THE HAZBIN HOTEL MUSIC???

Like I get it, the song before it "Hell's Greatest Dad" Is a bop reminiscent of other music from the era its parodying. I loved it.

BUT why are you only putting clips of that song when this MASTERPIECE comes a few minutes after

I honestly don't even know where to begin with this song. The visuals are beautiful, especially when we get moments like this where you can just see the absolute LOVE this man has for her daughter is so sweet and Heartwarming I just-

The voices are fenomenal but what else can you expect from the broadway talents of Erika Henningsen and Jeremy Jordan.

There is also the whole Symbolism with passing the baton to the next generation and stuff. I- I can't even get into the specifics right now Im too emotional.

But above all else THE LYRICS

ESPECIALLY THAT LAST ONE

"I'M GRATEFUL YOU ARE MY DAUGHTER/FATHER MORE THAN ANYTHING"

DO YOU WANT ME TO CRY?? CAUSE I AM. I AM BAWLING MY EYES OUT RIGHT NOW.

It's just so fucking beautiful man. Probably the best song I will hear all year. Obviously my favorite from Hazbin.

[cherrywhite]

I know Faulkner's ever increasing body count is a running joke as if it's something he's purposefully racking up but Rane's murder is such a stark contrast compared to every other one that's come before. And that difference marks such a monumental shift in Faulkner's character.

Like, he runs from the hotelier immediately after sainting him (I know his whole I'm going to make you a saint mirrors what he tells Rane this episode, but he still ultimately runs), he can't bring himself to use the Withermark at Marcel's Crossing, and Mason and Thurrocks' deaths were done in a fit of rage, the horror evident by the time he comes to his senses. Even Daggler's was caused by the Angel Faulkner summoned, not something Faulkner committed to up close. And I imagine however Charlie drowned, well. There's a lot of ambiguity in how it could have gone down, something we'll never really know the scope of, purely because Faulkner is such an unreliable narrator.

Then there's this.

I would argue that Rane's death is much more violent than the ones that came before purely for the fact that Faulkner seems to revel in their suffering as he does it. He needlessly pulls them back up to get a breath of air before plunging them back in the water. He strikes them with his staff so hard that it breaks. And he does this all while laughing and mocking at them. He's needlessly cruel to the point of terrifying. This part was so well done and it really shows just how far Faulkner has gone.

I'm so hesitant to say there's no way back from this simply because of how TSV writes its characters but my knee-jerk reaction as I was listening to this the first time is that there isn't. This was him, fully aware, crossing over the threshold.

[chloesimaginationthings]

Susie meets the friendly yellow rabbit in FNAF..

[batcavescolony]

I just explained this to someone and I thought I'd make a post for it on here too.

Shrouds in Percy Jackson are like this right?

But their siblings decorate and make them out of silks with decorative embellishments on them?

The empty ones are burned after a quest to symbolise that the person they were made for came back from a quest ALIVE.

The lack of cemetery at chb shows that when they burn Silena, Charlie, Luke, Lee, Castor, everyone's shrouds, they have their bodies in them. They're being cremated.

[franken-loser]

Me when i find queer media with good/healthy/happy canonically queer couples:

Wow this is so cute!! (never thinks about them again)

Me when i find either queer or queercoded media with sad/unhealthy/unhappy ending canonical or non canonical queer couples:

GODDDDD GET OUT OF MY HEAD WHY CANT YOU JUST BE HAPPY I LOVE YOU SO MUCH I JUST WANT YOU GUYS TO LIVE HAPPILY AND HEALTHILY WITH EACHOTHER FUCKKKKKKK (thinks about them 25/8)

[fazgoo-connoiseur-1987]

something about the idea that Charlie trusts William over her own dad and that trust gets her killed has been tumble drying in my brain for ages it upsets me greatly.

Cus she knows her dad, right? He's a flawed person. He doesn't spend as much time with her as he should and is generally emotionally unavailable. Not that he doesn't love and care for her and she knows he does but also like... she doesn't know Bill. She's like 10 and she's falling for the 'perfect suburban dad' front he's putting on. All her interactions with him have been possitive because he's always acting when he's around her. Fuck.