#I LOST ME TAGS....

[midnight-coffee94]

No single line has ever wrecked me as hard as this one from the Good Place and I think about it constantly

[honeypleasejustkillme]

i thought i was at my lowest but holy shit it gets lower

[chiptrillino-art]

ID in ALT Text

sooo... @ranilla-bean wrote a fic The Iconoclast beta read by @faux-fires but before rana and i got to talk lots about sout eats asian clothing and khmer cuture and... i stat down... drew the first one... and the other two. enojoy?

[azuremist]

“Unfinished Painting” — Keith Haring

This painting was left intentionally incomplete. Haring began it when he was dying due to complications from AIDS, and knew he didn’t have much time left. The piece represents the incomplete lives of him and many others, lost to AIDS during the crisis.

“AIDS Memorial Quilt” — Multiple

This quilt is over 50 tons heavy, and one of, if not the, largest pieces of community folk art. Many people who died of AIDS did not receive funerals, due to social stigma and many funeral homes refusing to handle the deceased’s remains, so this was one of the only ways their lives could be celebrated. Each panel was created in recognition of someone who died due to AIDS, typically by that person’s loved ones.

“Untitled” (Portrait of Ross in L.A.) — Felix Gonzalez-Torres

This pile of candy weighs the same amount as Gonzalez-Torres’ partner, Ross Laycock, did. Ross Laycock had died due to AIDS-related complications earlier that same year. Visitors who see this piece are encouraged to take some of the candy. As they do so, the pile of candy weighs less and less, like how AIDS had deteriorated the body of Ross Laycock.

The SF Gay Men's Chorus

This photo was taken in 1993. The men in white are the surviving original members. Every man in black is standing in for an original member who lost their lives to AIDS.

“Electric Fan (Feel it Motherfuckers); Only Unclaimed Item from the Stephen Earabino Estate, 1997” — John Boskovich

After the death of his lover, Stephen Earabino, from AIDS, Boskovich discovered that his family had completely cleared his room, including Boskovich’s own possessions, save for this fan. An entire person, existence and relationship had been erased, just like so many lives during the AIDS crisis. Boskovich encased the fan in Plexiglass, but added cutouts so that its air may be felt by the viewer, almost like an exhalation. In a sense, restoring Earabino’s breath.

“Blue” — Derek Jarman

This was Jarman’s final feature film, released four months before his death from AIDS-related complications. These complications had left him visually impaired, able to only see in shades of blue. This film consists of a single shot of a saturated blue color, as the soundtrack to the film described Jarman’s life through narration, intercut with the adventures of Blue, a humanization of the color blue. The film's final moments consist of a set of repeated names: “John. Daniel. Howard. Graham. Terry. Paul". These are the names of former lovers and friends of Jarman who had died due to AIDS.

“Untitled” (Perfect Lovers) — Felix Gonzalez-Torres

Created by the same man who created the previous untitled piece, this piece was also inspired by his lover’s deterioration and death due to AIDS. This piece consists of two perfectly alike clocks. Over the course of time, one of the clocks will fall out of sync with the other.

In a letter written to his lover about the piece, before his lover’s passing, Gonzalez-Tourres wrote, “Don't be afraid of the clocks, they are our time, the time has been so generous to us. We imprinted time with the sweet taste of victory. We conquered fate by meeting at a certain time in a certain space. We are a product of the time, therefore we give back credit were it is due: time. We are synchronized, now forever. I love you.”

Please feel free to reblog with more additions

[bixels]

Learning that fans hated Applejack and called her "boring" is crazyyy to me because I genuinely, unironically believe AJ's the most complex character in the main six.

Backstory-wise, she was born into a family of famers/blue collar workers who helped found the town she lives in. She grew up a habitual liar until she had the bad habit traumatized outta her. She lost both her parents and was orphaned at a young age, having to step up as her baby sister's mother figure. She's the only person in the main gang who's experienced this level of loss and grief (A Royal Problem reveals that AJ dreams about memories of being held by her parents as a baby). She moved to Manhattan to live with her wealthy family members, only to realize she'll never fit in or be accepted, even amongst her own family. The earlier seasons imply she and her family had money problems too (In The Ticket Master, AJ wants to go to the gala to earn money to buy new farm equipment and afford hip surgery for her grandma).

Personality-wise, she's a total people-pleaser/steamroller (with an occasional savior complex) who places her self worth on her independence and usefulness for other people, causing her to become a complete workaholic. In Applebuck Season, AJ stops taking care of herself because of her obsessive responsibilities for others and becomes completely dysfunctional. In Apple Family Reunion, AJ has a tearful breakdown because in she thinks she dishonored her family and tarnished her reputation as a potential leader –– an expectation and anxiety that's directly tied to her deceased parents, as shown in the episode's ending scene. In The Last Roundup, AJ abandons her family and friends out of shame because believes she failed them by not earning 1st place in a rodeo competition. She completely spirals emotionally when she isn't able to fulfill her duties toward others. Her need to be the best manifests in intense pride and competitiveness when others challenge her. And when her pride's broken, she cowers and physically hides herself.

Moreover, it's strongly implied that AJ has a deep-seated anger. The comics explore her ranting outbursts more. EQG also obviously has AJ yelling at and insulting Rarity in a jealous fit just to hurt her feelings (with a line that I could write a whole dissection on). And I'm certain I read in a post somewhere that in a Gameloft event, AJ's negative traits are listed as anger.

Subtextually, a lot of these flaws and anxieties can be (retroactively) linked to her parents' death, forcing her to grow up too quickly to become the adult/caregiver of the family (especially after her big brother becomes semiverbal). Notice how throughout the series, she's constantly acting as the "mom friend" of the group (despite everything, she manages to be the most emotionally mature of the bunch). Notice how AJ'll switch to a quieter, calmer tone when her friends are panicking and use soothing prompts and questions to talk them through their emotions/problems; something she'd definitely pick up while raising a child. Same with her stoicism and reluctance at crying or releasing emotions (something Pinkie explicitly points out). She also had a childhood relationship with Rara (which, if you were to give a queer reading, could easy be interpreted as her first 'aha' crush), who eventually left her life. (Interestingly enough, AJ also has an angry outburst with Rara for the same exact reasons as with EQG Rarity; jealous, upset that someone else is using and changing her). It's not hard to imagine an AJ with separation anxiety stemming from her mother and childhood friend/crush leaving. I'm also not above reading into AJ's relationship with her little sister (Y'all ever think about how AB never got to know her parents, even though she shares her father's colors and her mother's curly hair?).

AJ's stubbornness is a symptom of growing up too quickly as well. Who else to play with your baby sister when your brother goes nonverbal (not to discount Big Mac's role in raising AB)? Who else to wake up in the middle of the night to care for your crying baby sister when your grandma needs her rest? When you need to be 100% all the time for your family, you tend to become hard-stuck with a sense of moral superiority. You know what's best because you have to be your best because if you're aren't your best, then everything'll inevitably fall apart and it'll be your fault. And if you don't know what's best –– if you've been wrong the whole time –– that means you haven't been your best, which means you've failed the people who rely on you, which means you can't fulfill your role in the family/society, which makes you worthless . We've seen time and time again how this compulsive need to be right for the sake of others becomes self-destructive (Apple Family Reunion, Sound of Silence, all competitions against RD). We've seen in The Last Roundup how, when no longer at her best, AJ would rather remove herself from her community than confront them because she no longer feels of use to them.

But I guess it is kinda weird that AJ has "masculine" traits and isn't interested in men at all. It's totally justified that an aggressively straight, misogynistic male fandom would characterize her as a "boring background character." /s

At the time of writing this, it's 4:46AM.

[dizzybizz]

i drew them,, with some mixed results

[druid-for-hire]

hawkeye and trapper get fake septums

(id under the cut)

[image id: a three-page digital comic about characters from the TV show MASH, illustrated by "druid-for-hire." On page 1, frank burns squints at Hawkeye from a short distance, who is next to Trapper, who is reading a newspaper that obscures his face. "Pierce," Burns asks, "what's on your face?" Hawkeye turns to face him, revealing a septum piercing. "what's what, Frank?" he asks. Shocked and affronted by this breach in army regulations, he shouts, "I can't!! Believe you!! It's not enough for you to disagrace the army uniform by being out of it all the time? You have to go and--and do that! You look like a punk! Or a cow!"

On page 2, Hawkeye, unbothered, replies "Y'know, Frank, I'm finally living up to the Pierce name. I was thinking about going for some ear tag earrings. Maybe I can get a nurse to pull my udders." Frank howls, "That's disgusting!" Turning to Trapper he shouts, "Did you have anything to do with this, McIntyre?" Trapper pulls down the newspaper to reveal that he's wearing three septum rings and says, "I sure did! He stole my look!"

On page 3, Frank says "You're both terrible. Both of your butts are going on report!" while Hawkeye takes out his apparently fake septum ring behind his back. "Report for what, Frank?" he asks; Frank turns to see that the piercing is now missing. "Yeah, what's the matter, Frank?" Trapper says, whose piercing is suddenly missing as well. Frank storms off, yelling "Neither of you can pull the wool over my eyes!! Just wait until General Barker hears about this!" Some time later, Frank is standing next to General Barker, pointing at Hawk. "General, I'm telling you, the hole is THERE!" he shouts. "Go and take a look in those nostrils for yourself!" There is a long and awkward pause. The General did not like that. Hawkeye remarks, "Gee Frank, take a girl to dinner first." end id]

[thebrainrotsreal]

Drew this real quick because I fucking love these two so much ???? Especially Bee. I wish they interacted more so badly. PLEASE.

Also learning how to draw these guys.. slowly.

[dekariosclan]

[vieramars]

Hey guys I found this weird map I wonder where it goes

[rcmclachlan]

8x06 fix-it fic: Amnion

Buck doesn't bounce back from Tommy the way he did with all his other breakups for reasons he can't articulate or even look at. He thinks of how long it took him to recover from Abby, but even that felt different, because he'd had hope carrying him through most of it. He doesn't have that now.

The worst part is it's bringing everyone else down. It's starting to affect the job, and he can't take any more of Bobby's pity dinner invites or the kid gloves Eddie handles him with. Then one day, Chimney (in an attempt to lighten the mood) asks Buck if he's pregnant, and it awakens some primordial rage in Buck that he never knew he possessed and damn near rips off Chimney's head about it.

But once the blood levels in his adrenaline start rising and he calms down, he starts thinking about it. Before he knows it he's thinking about it day and night, and now that's starting to affect the job more than his heartbreak had been.

Then one night Maddie invites him over to watch trash TV and eat junk food until they can't feel feelings anymore, but instead of the patented Maddie Hug he's expecting, she hands him a First Response test stick the second he walks in the door.

Five minutes later, he comes out of the bathroom pale-faced and dripping tears because there are two lines in the test result window, and Maddie leads him over to the couch where they curl up and cry together. Just like the old days.

Maddie asks if he's going to tell Tommy, but there's no judgment in her voice, like she's behind him no matter what he decides, and Buck tries to make her laugh when he says, "How do you know it's his? I could've been living it up for the last month. New person almost every night. Exploring myself."

She just gives him a Look. Also patented.

Under the weight of her scrutiny, Buck thinks about Tommy's face before he left the loft that night and how ''Buck'' looked and sounded so wrong coming from him. Like the shape of it was so painful he could barely move his mouth around it.

Finally, he shakes his head. His eyes well up with more tears, which feels impossible, because the human body can't possibly produce this much liquid. He's going to drown them both. "I thought... I thought we had a future, Maddie. I really did. I guess I still get one... but only with part of him."

A couple of months pass and Buck's entire world shifts. The 118 have rallied around him in a way that almost feels like they're closing ranks to every other firehouse. Eddie becomes especially protective and devises a 5000-point care plan that makes him twitch if Buck so much as thinks about deviating from it, but he also keeps telling Buck that he needs to tell Tommy about the pregnancy.

"If only to get his family history," Eddie says reasonably, but there's something pleading in his voice every time, like there's so much more under the surface that he's trying to keep under wraps. Like there's more about this that he thinks Tommy should know.

Chimney's in the middle of explaining why he's stealing the cool uncle crown from Buck and sitting pretty on the throne when Buck asks him about it.

"Is there something about Tommy that no one's telling me?"

It trips Chimney up. Literally. He just barely catches himself from going headfirst into the kitchen counter.

Buck's heart starts pounding. "Chim, does he know?"

"No," Chimney says, firm and almost a little offended. "We promised you we wouldn't say anything. But Buck... you should tell him. You should talk to him."

Part of him wants to whip his phone out right then and there and dial Tommy's number. He could do what he did the first time: ask to meet somewhere and laugh about bad coffee and plead his case for a second chance. He could reach across the table for his hand, but this time, he'd stand up and walk over to Tommy and place it on his belly. "I don't care about firsts or lasts," he'd say. "I care about only's. And you're the only one I want."

But the other part of him, still licking its wounds, hormones in flux and forcing organs to shift and bend as it makes room for the thing he and Tommy made together, bares its teeth and snaps, "He made it very clear that he had no interest in hearing what I had to say."

Chimney never brings it up again.

Meanwhile, Hen goes a little overboard with forcing him to undergo random physicals—she pops out of the shadows twice a day to ambush him with the blood pressure machine, and he keeps threatening to avoid rooms that have doors—but he loves it. His body is a complete stranger to him for the first time in a long time, but the changes he's experiencing are interesting and he's having a blast cataloging every new one. He and Hen have a spreadsheet with like fifty tabs, and she helps him navigate every test his actual OBGYN sets him up for.

He's over her house at least once a week, although pregnancy talk at the dinner table is verboten.

"If one of you says the word 'amniocentesis' one more time, I will start a food fight," Karen had said, finally putting her foot down. Across the table, Denny perked up.

As much as he hesitates to even think the Q-word, it's a pretty quiet pregnancy. The cravings are kind of wild, though, and he goes most of his first trimester feeling like he's going to die if he can't eat rice krispie treats with cottage cheese. Every time Bobby sees him cracking open another container of Hood, it looks like he's seriously reconsidering sobriety.

But as incredible as they are about the pregnancy, they're all tiptoeing around the other elephant in the room: when Buck is going to stop working scenes. He and Bobby have a series of discussions that satisfies neither of them and resolves nothing, and it builds to a big blow-out that ends when Bobby tearfully begs Buck to stop risking his own life and the life of Bobby's grandkid.

After that, it's like some stone thing in him dissolves into sand and he finally eases back a bit in his fifth month. He doesn't put up a fight when Bobby orders him to only handle the winch or stick with hose duty, and if he stays a little closer to the engine because he gets winded so easily these days, no one comments on it.

In his sixth month, the inevitable happens: there's a call out at Palos Verdes and it's all hands on deck, which means the 217 is there too. At first he thinks he might make it through without running into Tommy at all, but he turns a corner and—there he is. Smudged with mud and looking like a drowned rat because of the downpours, but in his turnouts he's big and capable and, for a second, he's walking into First Presbyterian and apologizing for missing the ceremony.

But the memory is easily wrestled back into the past the second Tommy's gaze fixes on Buck's belly.

Buck wants to stage a retreat that would make the Allies at Dunkirk stand up and applaud. He wants to throw his arms open so Tommy can get a better look at it, say something cool and mean, like, "Did you know that INNOTEX makes turnouts for carriers these days? Pretty progressive of them, if you ask me."

He wants to be weak and ask if Tommy will spare him a hug. Just one. Nothing greedy. Just—a moment to soak in his warmth, to inhale the smell of his skin. Enough to carry him through the rest of it.

But he does none of that. He inhales through his nose, lifts his chin, and says, "Firefighter Kinard."

At that, Tommy smiles, and it's completely awful. There's no joy in it. Not even amusement. He looks like he wants to be sick, and Buck feels like a monster.

But Tommy swallows and says, earnest as anything, "Congratulations. I-I knew you'd find it. I never doubted for a second that you'd find the person who'd be your last."

Even as he says it, Tommy's face does something indescribable, but it rips through Buck's chest and shatters his ribs, tearing through pericardial layers until it scores the vulnerable muscle of his heart. It's so shocking that it almost knocks the truth right out of Buck's mouth.

Someone comes over the radio and requests all available first responders with flight experience to report to the B-zone, and Tommy straightens up and locks whatever it was away.

With an unsteady hand, he tips an invisible hat to Buck and says wryly, "Firefighter Buckley," before jogging away.

And Buck stands there like an idiot watching him go. It's that night all over again. It's Buck instead of Evan.

"See you around," he whispers, and then runs back to his post in the A-zone.

+

Tommy gets the call when he's halfway through a burrito foisted upon him by Dana, who had taken one look at him and said, "You look like a flood victim. Eat something before I get HR involved."

He'd taken a mutinous bite and couldn't argue with her. Months later and it still felt like he'd watched everything he loved wash away with a tide he couldn't fight. Except he'd sent the tide himself. He had no business feeling like this.

But they send him to the site of a car accident where a pregnant driver had been T-boned by some asshole who ran the red light, and the RA unit called to the scene didn't have the right equipment to assess the fetus. But the victim's belly was hard enough to warrant a med evac.

By the time Dana gets the victim loaded on the backboard and inside, Tommy's already on with both First Presbyterian and LA General to see whose neonatal surgery team is available.

The door on Tommy's side slides open and Tommy turns in his seat to ask what the hell Dana's doing over there, but it's Hen who's pulling herself inside.

His stomach clenches with dread. "Hen?"

"I'm riding with you," she shouts, taking the headset that Dana gives her.

He looks just beyond her and wishes he'd had the presence of mind to listen to the manifest when Dana had read it aloud to him, because Evan Buckley is strapped to the gurney and looks like he's on a completely different planet.

"Hen." Tommy can't hear him say her name, but he sees Evan's mouth shape the word. Evan reaches clumsily out for her with one hand while pressing the other to his belly.

Hen murmurs something to him that the comms can't pick up, and Tommy wonders if they've notified Maddie, if they've notified the father, whoever they are. If they're already at the hospital waiting for them. If Tommy will have to see them, talk to them face to face.

Tommy bites the inside of his cheek until he feels the hot wash of blood over his tongue, then forces everything down to join the burrito from earlier that really wants to make a reappearance. It isn't his right to know any of it. That went out with the tide, too.

He locks it down tight enough that he gets them into the air so easily they might be a feather on the wind, then he heads in the direction of First Presbyterian. The real start of it all.

They're maybe halfway across the city when Evan shouts, desperation and fear carrying his voice over the rotors, the words sliding together, "Hen, check Nora! Y-Y'need to ch—"

"Nora's fine, Buck," Hen says, her voice clear as a bell in Tommy's ear.

Staring at a skyline he can't see, Tommy says, "'Nora'? Was someone else in the car with him?"

When Hen comes over the comm, her voice is as inescapable as a flood. "Nora's what he decided on for the baby. It's her name."

Tommy's hand tightens on the cyclic so the way it starts shaking won't be so obvious. "Nora was my grandmother's name."

He'd told Buck about the woman who was basically the only family he could stand, who was responsible for not letting him become his piece of shit father, who accepted him when no one else would. She'd meant the world to him. She'd been the world to him. And for Evan to give his kid her name—

Realization hits like a levy breaking, and he turns to look wide-eyed over his shoulder at Hen, because it can't—he couldn't be—

"Patient, male, 33, prenatal course complicated at 8 months gestation," Dispatch had said.

The timeline is right.

Hen stares right back, as good of a confirmation that he could get outside of a DNA test.

Without breaking her gaze, Tommy tells Dana to take over. She gives him an unreadable look but says nothing except, "Copy that," and smoothly resumes their journey while he squeezes into the back. There's hardly any room next to the gurney and his knees are compressing his lungs, but he takes Evan's' hand and stares blankly at the shiner forming around his right eye until Hen breaks the silence.

Why didn't you tell me, he wants to demand, but he knows that if he so much as opens his mouth, he's going to start screaming until someone sedates him.

"For the record," she says, "I hate what you did. I hate what you took from him. But I understand why you did it."

Tommy rolls his lips inward and wants to suffocate himself to death. She understands? Does she? Does she know a life can be obliterated in the span of a minute? Does she know what it is to live a half life, to walk through the world like a five-year old drew a scribble on a blank sheet of paper that was supposed to be a person?

Does she know what Evan looks like when his joy is sucked away? Because Tommy does. She hates what he did? No one hates what he did more than him. No one hates him more than him.

Shakily, he lifts his other hand and touches the tips of his fingers to Evan's birthmark, which used to know the touch of his lips so well that Evan would joke that it was actually in the shape of Tommy's mouth print. Like a brand.

He forces himself to inhale. It seems impossible that Evan's here, carrying their child, their Nora. Evan used to say the lightning strike gave him super powers, made him invincible, and Tommy's ashamed to admit that he almost believed him. It seemed like nothing could ever bring Evan Buckley down, but here he is in Tommy's sky, halfway to Heaven already.

He glances at the LifePAK—where Evan's life has been concentrated into a series of lines and numbers, the reading strong despite everything—and then looks back at Evan, who is still the most beautiful man Tommy has ever seen even now.

"Evan," he chokes out.

There's no answer. At least not from Evan.

Across from him, Hen breathes through her nose and then quietly says, "I'm only going to say this once, Tommy, so I hope you're listening. If you can't trust him to know what his own heart wants, then this flight will never have happened. When he wakes up, you will not have been here. I'll change the manifest myself."

Tommy closes his eyes. Something hot spills down his cheeks.

"I know things haven't been all sunshine and roses for you. Lucy's said you've basically shut down since it ended. I know you're hurting just as much as Buck is... which is why I'm telling you: be sure. He's going to have enough on his plate without worrying about whether or not you're going to swan out of his life again. You need to be sure, Tommy."

Tommy doesn't say anything, but he opens his eyes and holds her gaze without flinching, and he tightens his hold on Evan's hand.

The rest of the flight passes in the kind of silence that feels like a cyst was lanced. Or maybe a boil, as it were.

+

Buck wakes up in stages to find he's in a hospital bed, and when he puts a hand on his belly it's smaller and almost deflated beneath his palm. He is just starting to hyperventilate when suddenly Tommy's there, murmuring to him, "You're okay. Everything's okay, I promise, she's fine. She's fine. Look."

And Buck, heart racing, forces himself to breathe slowly while he follows Tommy's gaze down to the bundle in Tommy's arms. Then he stops breathing altogether.

"She's fine," Tommy says. "A little early, according to the doctor, but absolutely fine."

Buck collapses back to the bed and weeps in relief, because she's fine. She's here and she's fine and she's perfect. Tommy gently places her in Buck's arms before retreating to the chair next to the bed which has a dent in the vinyl in the shape of his ass.

But Buck is enraptured with Nora, who smacks her lips in her sleep, and he marvels aloud, "She has my mouth."

"Thank God for that," Tommy says with a laugh. "It'll help take the focus off my nose. Poor kid."

It hits Buck like lightning that Tommy is here. He's in this room and talking about Nora like—like he knows. And there are things Buck should probably be saying, like apologizing for not telling Tommy about her as soon as he found out, or asking why he's there at all, but the words are crowding in his mouth and he can't figure out which ones should go first.

Tommy's lips twitch in a smile that is awful to look at, like he completely understand Buck's struggle, but his voice is soft and even when he says, "I need you to know that it wasn't about you. Not you personally. It never was."

Buck stops trying to speak and just stares at him, because that is bullshit, and oh, he knows which words should come first, and he opens his mouth to release them into the wild but Tommy holds up a hand.

"I know," he says. "I was a coward and an asshole, and I'm more sorry than I can possibly say. I won't ever be able to make up for what I did. But I need you to know why I did it."

And, in fits and starts before he finally finds the thread, Tommy tells him about Jeremy.

After Tommy ended things with Abby and then finally came out, he dated around for a long time before he met Jeremy, who was brilliant and fun and new. Tommy was the first man Jeremy had ever been with, and Jeremy was the first person Tommy saw a future with. He'd been so sure about Jeremy. He'd believed that Jeremy was it.

Until, almost two years in, Jeremy ended it. He'd sat Tommy down and said kindly, cruelly, "You're amazing, Tom, but you're just the first. You can't be my last." And then he'd left Tommy completely shattered in the rearview.

"That night, when you asked me to move in... it was like I was watching him put on his coat all over again," Tommy says shakily. "But what I felt for you was lightyears beyond anything I felt for him. I'd fallen so hard for you that I knew if I had to watch you walk away I'd never get up again."

Buck stares at Tommy, eyes rimmed red, and says, "So instead you made me watch you walk away."

It must land like a fist because Tommy exhales sharply and hangs his head, bowing around the pain. He sits like that for a moment, absorbing it, before he lifts his head and nods. "Yeah. That's exactly what I did."

There are deep, dark circles under Tommy's eyes that speak of a hundred sleepless nights, and his body is sharper, leaner, trimmed entirely of anything soft. He's made entirely of angles. He's so unfairly hot. He's miserable to look at.

Buck swallows and murmurs, "You look like there's no love in your life, Tommy."

Sucking in a trembling breath, Tommy smiles weakly and sketches a shrug. It looks like the fatigued steel of his edges are starting to crack.

"I left all my love with you that night." His gaze darts down. "Among other things."

Buck looks down at Nora, who's sleeping the sleep of someone already exhausted by existence, or maybe just by her fathers' drama, and thinks that maybe he really has been carrying all his love plus Tommy's around. Because otherwise he has no idea how he's so full of it.

"She's absolutely perfect," Buck says, smiling dopily.

"She's... more than anything I could've ever dreamed of."

He looks up in time to see Tommy drop his gaze to the floor at the same time his shoulders lift and lock like they're bracing for a blow. And in a voice so thin it's barely a sound, Tommy says, "I know I don't have... any right to ask, but is there any... any chance I could be part of her life?"

The tears that have been languishing at the edges of Buck's eyes finally see an opportunity. He doesn't think he could've held them back any longer if he tried.

Mouth trembling, he whispers, "Just hers?"

At that, Tommy looks up, eyes wide, disbelief and hope chasing each other across his face like dogs. He jerks a little in his chair but he doesn't move. He doesn't move.

Buck stares at him, a tsunami pulling everything back from his shoreline, and bites out, "Thomas James Kinard, if you don't get over here and kiss me, I swear to Christ—"

But Tommy's out of the chair and at his bedside, cupping Buck's face and tenderly smearing a kiss over his open mouth, licking the relieved gasp right off Buck's tongue.

Between them, Nora makes a tiny noise, and Tommy startles away just enough that he can press the side of his head to Buck's and gaze down at her with a tremulous smile.

"She really is something, huh? Sorry about the nose, kiddo," he says softly.

Buck knocks their heads together and says, "I happen to love that nose, thanks. And like you said, my lips will help balance it out."

Huffing a laugh, Tommy kisses Buck's lips. And the side of his nose and the bolt of his jaw. Then he leans down and presses a kiss to Nora's little pink and blue hat.

"I'm sure if you are," Tommy murmurs, tilting his chin up so he can flash a brave smile up at Buck, who smiles back.

"I was always sure."

[4doji]

❛ㅤ𝙞𝙣𝙗𝙤𝙭ㅤ—ㅤ@itaidoshin,ㅤPops a lil kiss on his cheek !

'ㅤyou disappeared.ㅤ'ㅤ he'd been fraught with worry over the girl's impromptu absence, an absence that was felt strongly, deeply, painstakingly... his days had been consumed with ideas of what he would say to her when they crossed paths again ... only to come up short now that the time has come. torn between bombarding her with questions on her well-being, what she'd been up to, if her family was well...

but he couldn't find the voice to do it. and even if he did, it would be hypocritical of him. the feel of soft lips caressing the side of his face made his thoughts scatter like marbles, and he has to restrain himself from lifting her into his arms and spinning her around in the middle of the street.

'ㅤwelcome back, isaksen-san.ㅤ'ㅤthe smile in his voice said far more anything else could.

[bumfuzzled-bee]

Lil birdie and his eldritch demon (build in friend) !!!

[the-great-papyru]

i think the thing a lot of papyrus takes get wrong is that they forget that, among other things, papyrus is funny. in my experience writing papyrus, i often find the most funny line is the most in-character one. an unfunny papyrus doesn’t ever feel like an accurate papyrus to me. it’s more than part of the game, it’s part of his character. and disregarding that is what messes up a lot of otherwise good impressions of him.

[magpie-trinkets]

continuing that "maya tries to contact claire" post, i present you the post-Spirit of Justice follow-up

[codecicle]

he's now been wiped off the trending tab unfortunately, but i started this dash event so I have to end it. happy slimecicle "big-arms" trending thursday