#I must go back to it when I can

[raddestrose]

I have been quite busy but I present you all this

[vaguely-concerned]

are. are you telling me that if the romanced mage warden dies and alistair is king, he deadass stares greagoir down over her dead body and grants the circle of ferelden its autonomy after ordering it rebuilt somewhere safer. first you have to deliberately leave him behind so he won't die for you and then he does that for you once you're gone, even when you're broken up??? absolute and literal king behaviour of the highest order????? the actions speak louder than words of it all??????? I think I hauve covid

[fun-esta]

[galacticlamps]

ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--

But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.

And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.

That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.

Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.

And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"

So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.

Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.

[pocketramblr]

I would do anything to save her.

This was supposed to just be drawing the Taoden siblings hugging a bunch but ah guess that Falin as the tower/princess/dragon post got into my head too much

[highly-flammable]

I have watched Galadriel and Celebrimbor’s scene multiple times since 2x07 aired and failed to hold back my tears every single time, which is a testament to how insanely good Morfydd and Charles were in that scene. I really wish they had gotten to explore their family drama in the show a little more.

[evilkitten3]

naruto crack au where kakashi manages to successfully drill the "never abandon your comrades" thing into team seven's heads

so when sasuke deserts naruto and sakura immediately desert with him. like he gets to the village gates and they're just waiting for him bags packed like "what took u so long we doing this or what"

he tries to get them to go back bc of course he does. "no you losers this is about me i'm going to kill my brother. also i'll have to kill my best friend for the super sharingan and you two are like the only people i talk to". but they do not listen. teamwork sasuke we will defeat your brother (OUR brother #communism) with the power of teamwork. just like kakashi-sensei said

suddenly orochimaru has to deal with three horrible little goblins with an even more codependent relationship than his old team

[rinbylin]

"what is the image of the ideal person..."

[justanotherwriter140]

Kung Fu Panda 4 - The Movie

The last really, really long discussion post (for now).

Major spoilers ahead!

This review is full of spoilers, so please refrain from reading through it until you've watched KFP4. I would highly suggest doing so, as I want everyone to form their own opinions without my influence. The movie has its flaws (some of which admittedly being a bit distracting), but it's a fun film that has things to offer.

Kung Fu Panda 4 is a fun movie (take that as you will) that takes its audience on an action-packed, surprisingly funny, yet relatively contained adventure on which Po doesn't really do much. It's an inconsequential, safe sequel that doesn't really hurt the franchise but adds close to nothing.

I had a good time watching the movie. It was obviously produced with its theater experience in mind and the action scenes especially reflected that priority. The humor was actually funny sometimes and I enjoyed Po and Zhen's dynamic. During the film, I was able to put most (most!) of my grievances aside and take the movie for what it is. I've discovered that the best way to watch KFP4 is with low expectations and an open mind.

I have a lot of things to say about KFP4, both complaints and compliments (though the former might be taking the forefront in this review), and I hope this review can help those of you who have seen the movie organize your thoughts. I've been having a lot of trouble with that specific aspect of things myself. Those who get it get it.

With that said, let's get into my full review of KFP4! I've been waiting for nearly 2 years to write this and I'm so excited to share every single thought.

I'm going to follow the format of my first discussion post and curate a bulleted list of my thoughts, followed by an analysis of each of these points. Keep in mind that everything I say is IMO and this is more of a rant post than anything else.

Here are my main points:

The Furious Five's role is comically minuscule in the context of the film. Their actions are inconsequential and add nothing to the plot (a confirmed last-minute add), and they have 30~ seconds of screen time. Shifu is also largely irrelevant.

Mr. Ping and Li's presence has little to no effect on the movie (though I won't complain too much because they were pretty fun to watch and this movie has bigger problems). In almost any scenario, I am adamantly against having characters present that don't add anything to the narrative; however, Mr. Ping is an exception. I love Mr. Ping. James Hong is a gem.

Zhen's screen time is not utilized well and her character is underdeveloped. She definitely wasn't annoying, but I didn't find her either compelling or funny enough to warrant the screen time she was given, especially considering it wasn't used to establish a backstory/strong motives. This makes me feel bad for the character because the movie kind of screwed her out of any substantial development.

The Chameleon, while complimented greatly by Viola Davis, is an underwhelming villain. Viola Davis is amazing in this film and I would suggest watching it for her performance if for nothing else, but the Chameleon is underwhelming considering the super cool concept behind the character.

The film feels very rushed. Apologies to those who disagree, but I think the pacing is atrocious and the final fight is anticlimactic. The movie felt like a word-vomit with no discernible intermissions that stops abruptly when the film ends.

I felt as though Po didn't change/grow as a person and the audience never had a chance to either bond with or relate to his character. His internal struggle is kept to a minimum and we don't spend a moment alone with him as an audience, which is disorienting and distracting. Watching the film felt like running into an old friend at the store who's too in a rush to have a real conversation.

The action scenes were strong with few exceptions. Creative art direction was utilized and I thought the martial arts choreography was entertaining and dynamic. I love the color palette of the film and many scenes were very impressive visually.

With my main points established, I do believe it's ranting time. Strap in, folks.

Let's start strong with the Furious Five: I'm gutted. Chagrined, despondent, crestfallen, etc.

The lack of the Furious Five negatively affects KFP4 so much, because not only does their absence hurt the atmospheric integrity of KFP as a franchise, it also forces KFP4 to bring in a slew of different characters—all while still noncommittally including the FF at the very end because I believe the marketing team required it—that clog up the cast a bit. It all goes to show how important strong, established side characters are.

The Furious Five are side characters, but the role of "side character" does not equate to being irrelevant, expendable, or exchangeable. I recognize that the Furious Five aren't super developed as characters beyond a handful of lines that allude to traits sprinkled sparingly among the members; however, I believe that the tiny bits of development we have been given have proved impactful in the past. Tigress's development in KFP2 is a prime example of how much narratively conscious changes (however small they may be) can positively affect these movies.

Because of limited runtimes, the Furious Five often operate as more of a singular unit than five individuals. Even so, I don't think discarding them is valid. They're so important to the KFP universe (to Po's universe!) and not having them with him feels so wrong. The Furious Five are fully integral to the heart of Kung Fu Panda, which is why I believe a lot of those who have seen the new movie have expressed something feeling "off" or something being missing.

I agree with this sentiment. To me, KFP4 didn't feel like a KFP movie. I don't need a Furious Five spin-off movie and I can be fully content with a KFP5 centered around Po's journey as an individual as was intended from the beginning, but he can't carry an entire movie on his back. As strong as he is in every sense of the word, he is only one character. He's the centerpiece of the franchise, but a centerpiece can only go so far without the rest of the design, so to speak.

For me, the Furious Five's absence is one of this film's biggest faults. It's huge and glaring. I know I'm not the only one who feels this way, either, because the friends with whom I saw the film refused to talk about any other aspect of the movie after seeing it. Seeing them at the end was better than nothing, of course, but it was a disappointing culmination after eight years of waiting.

That all is to say I feel robbed. Despite all of this, though, I understand that there were reasons why the Furious Five weren't included in the movie. I don't believe the production team would exclude the Furious Five unless they weren't given a choice.

Shifu and Po's dynamic continues to be thoroughly delightful but their interactions are short and simplified. I would have loved to see more of them in this film, especially considering the extreme relevance of teacher-student relationships in KFP4. I (somewhat) digress, though, because the idea of Shifu having to live at the Jade Palace with only Po for an extended period of time is hilarious enough on its own. Maybe that's what the short film is about!

The comedy is odd but has some jokes that stand out. Po maintains a healthy relationship with his inner sass, which I think makes him more fun to watch and kind of eradicates the man-child verdict. Some jokes don't land, of course, but I genuinely thought KFP4 had some funny moments. Mr. Ping was consistently awesome and Po had some good lines sprinkled throughout the film.

As for Mr. Ping, he and Li Shan are the subjects of the film's B-plot as they follow Po to Juniper City out of shared concern for their son's safety. In my mind, they don't add anything to the story that couldn't have been brought about by other characters, but they had their moments of being entertaining. I enjoyed their silliness and thought they had a cute dynamic if nothing else.

Speaking of other characters, I want to discuss KFP4's deuteragonist and why I genuinely feel bad about the way her character was treated.

I want to let it be known that I'm still not on board with Po passing the Dragon Warrior torch to another character. While I agree that his arc is now calling for him to have a student, I disagree with the notion of him retiring from his DW role.

As I stated in my first discussion post:

Didn’t the initial significance and nuance of the title come from the fact that there is only one person who can be the Dragon Warrior, because the concept of the “Dragon Warrior” isn’t so much a title as it is Po himself? The universe (Oogway) must choose the Dragon Warrior because they are a singular being of legend. It is one person, and that person is Po. Wasn’t the point of the first film that the title ultimately doesn’t really matter because there is no “secret ingredient,” so to speak? The title doesn’t actually give Po anything. “It’s just you,” Po says, and that was the resolution.

When it comes to Zhen as a character, contrary to what I predicted I would think of her, I thought she was okay. While I was still a bit distracted by how out-of-place her design looks, I wasn't truly annoyed by her at any point and she and Po had some cute moments. Even so, I think their relationship could have been a bit more refined and developed.

While it's evident that Po and Zhen are meant to have a teacher-student/mentor-apprentice dynamic, I think their relationship feels half-baked. There were parallels that contradicted one another and ended up being confusing come the film's conclusion, and the nature of their relationship seems to vacillate depending on the scene. Additionally, the strength of their bond goes from zero to one hundred within thirty-ish minutes and left me with a bit of whiplash.

We're shown that Po and Zhen care about one another, but we're never shown why. They have a brief conversation during which they bond over being orphans, and Zhen says at one point, "You're actually a good guy," but that's it. This obvious lack of development is a bit disorienting because we're later led to believe that Zhen and Po care very deeply for one another when there's almost nothing to back it up.

A scene that sticks out to me when discussing this is when Zhen attack-hugs Po in a way that explicitly mirrors Tigress's hug from KFP2. This happens around the beginning of the third act, and while it had the potential to be an endearing moment, I think it fell flat.

The impact of Tigress's hug was brought on by her character's hardcore nature and reputation of being heartless, further strengthened with the knowledge that she was hugging Po (which was obviously way outside her comfort zone) as a show of companionship and fundamental understanding. Tigress hugged Po because he needed someone to recognize his strive for closure.

Zhen's hug had little to no impact because she had no reason to do it and it didn't indicate growth. She hugs Po because she's sorry for betraying him and doesn't want him to be killed by the Chameleon, but neither of these things are newly-established via this hug; we have already gathered by now that Zhen regrets betraying Po and doesn't want him to get hurt.

The hug is far from the movie's weakest point, but I think it's unnecessary given the context. I'm big on hugs in movies (an underutilized form of platonic affection, in my opinion), but it didn't fit here. I don't hate it, and I see it as an honest effort to bring emotionality to Po and Zhen's relationship, but it seems arbitrary.

Zhen and Po's relationship has a lot of potential and I'd be open to seeing more of them in the future, but I think some more thoughtful development needs to occur before I can humor it further. Even so, I can see myself featuring Zhen in some future post-KFP4 one-shots—sparingly, of course, because we have a lot of Furious Five content to compensate for.

Overall, they had a cute dynamic and some sweet moments but I'm not attached. I'm on board with Po having a student but I think their relationship needs a lot more development, something that this film unfortunately didn't give them time to either accomplish or earn.

Now, onto the Chameleon!

The concept of the Chameleon's character is admittedly super interesting. She's the deuteragonist's fastidious mother figure who feels that Zhen owes her a debt and as a result holds her to an impossible standard. That dynamic had the potential to be so interesting but I didn't think it was explored at all. There is no indication of Zhen having any internal conflict about fighting the Chameleon, no emotional complexity between them at all; it's disappointing because I think it would've added a bit of earnestness to the film.

Additionally, the idea of a shape-shifting villain is versatile. A shape-shifting villain gives those telling the story a lot of room to experiment with the protagonist and different ways in which the main character can be challenged and tested. It's yet another good idea utilized poorly. Just one idea: the Chameleon could have disguised herself as one (or several) of Po's family, friends, etc. and brought to fruition a new arc with his character (seeing as he arguably doesn't have one in this film), but she only disguises herself as Zhen very briefly in the movie.

Furthermore, the Chameleon completely relies on the powers of previous villains to pose any sort of threat to the main characters. She summons Po's former nemeses from the Spirit Realm (despite there being little logic in doing so considering Kai's literal evisceration) and takes their kung fu abilities for herself.

An excerpt from my first KFP4 discussion post that I think is relevant to the point I'm trying to make:

I don’t think it would be in the best interest of anyone if the past villains were to come back in any way that’s not a flashback (even then, I’m not sure I’d see the point). In all honesty, I thought that the whole point of the villains was that they died and stayed dead. They were defeated by Po once and for all as a testament to the idea of establishing Po's character growth and journey as a person through the bad things he’s able to overcome. It’d be highly contradictory to the messages of the other films if these villains were to suddenly come back.

While there was an honest effort made to portray the Chameleon as intimidating, I never felt as though any of the characters were endangered by either her or her army of lizard henchman. She's a visually appealing character (aside from her eyes, which I thought more resembled those of a gecko than a chameleon) and I greatly enjoyed Davis's performance, but overall I don't see the Chameleon as a notable villain.

The return of Tai Lung (had he been on his own) had the makings to be an excellent story, especially considering the importance of teacher-student dynamics in KFP4. To see him interacting with Shifu would have been incredible and could have led to further closure on Tai Lung's end (because I think that's kind of what the team was going for anyway), but it didn't happen.

It was nice to see Ian McShane reprise his role, but I wish Tai Lung's characterization had been more reminiscent of the way he was in the first film and more complimentary of his overall character arc. Tai Lung isn't a one-dimensional villain with a singular goal and motivation, and I couldn't help but feel as though the complexity of his character was simplified for the sake of KFP4's narrative.

Tai Lung's presence in KFP4 may be odd, but Shen and Kai's appearances are even more so. Kai, if I remember correctly, was fully obliterated by Po, reduced to literal particles on screen (which is kind of wild now that I think about it). Shen being in the Spirit Realm makes sense all things considered; however, Po and Li had no visible reaction to his presence, which seemed a bit unlikely considering Shen's deeds. This plot hole can likely be attributed to the fact that Shen and Kai's cameos (to my knowledge) were last-minute additions to the movie.

I have to talk about the pacing. I have to. I'm sorry, bear with me.

To me, the film's pacing is erratic and disconcerting. While I can appreciate a quick-moving narrative that doesn't dawdle on storylines that aren't interesting/important, KFP4 kind of flings itself too far in the opposite direction and ends up being frighteningly fast-paced. Once the credits began, I felt like I had been holding my breath for the entire movie.

KFP4 is confusing because while the runtime is standard for a KFP movie, it feels incredibly short. At the same time, the film's story moves at a breakneck speed and leaves little time for heart and development. These things culminate into a barreling boulder of a movie that simply doesn't have time to let its characters, story, or audience take a breath.

A fast pace is not inherently negative, but I don't think it worked in the favor of KFP4. The KFP franchise has always been very emotionally grounded (and just very grounded in general), so to see a film in which emotion/heart takes an aggressive backseat in comparison to action and comedy is jarring. While I think it's unreasonable for fans to expect the same emotional integrity as the original films to be present in the current and upcoming ones, I still think there's room for Po to grow and I felt as though the notion of him developing further was brushed aside in this film.

As for Po's growth, I felt it was nearly nonexistent. The previous trilogy wrapped up his character's journey beautifully and I know that KFP4 was bound to struggle with this particular aspect of making another KFP film; however, just because the strongest pillars of Po's character are established doesn't serve as a valid excuse to reverse his development and repeat what he learned in KFP3.

In KFP3, Po learned firsthand that he is capable of spreading wisdom and teaching kung fu. He also learns that he is constantly growing and that change is inevitable; there is always something more to learn.

"If you only do what you can do, you will never be more than you are now."

"I don't want to be anything more, I like who I am!"

In KFP4, Po pushes against this narrative despite fully accepting it in KFP3, actively reversing crucial parts of his character development achieved in the latter. KFP3 was non-ambiguously about learning to cope with change and responsibility, and I can't help but feel like KFP4 is simply copying this message while not adding anything to it.

Additionally, I felt that KFP4's Po generally felt less personal than he has in the past. In every KFP movie up to the franchise's most recent addition, I felt very connected to Po as an audience member. I felt like I was truly seeing the world of KFP through his eyes. I consider this to be one of the franchise's most impressive feats; it's incredibly difficult to build a universe around a character without making the audience feel limited to one perspective and one part of the world.

With KFP4, I felt both limited and disconnected. The world didn't feel as vast and all-encompassing as it has in the past and Po didn't seem fully like himself. This could be me nitpicking (as I'm prone to do), but I can't recall a single moment in the movie in which Po was alone on screen. Scenes like these are crucial for me because I see them as a meet-cute between the character and the audience, a moment for us to cross the bridge into their world in a way that's silent and intuitive. These little bonding moments are absolutely integral to feeling connected to a character.

Po's dream sequence in the first KFP movie is one of the best examples of this. It presents his aspirations, alludes to his way of life up to the point of the movie, and showcases his personality. During Po's dream sequence, the audience is quite literally inside Po's mind; we're there with him, seeing what he sees, subsequently feeling what he feels. Po is a dreamer at heart and makes the audience feel like dreamers, too.

In KFP4, I felt like I little to no point of reference when it comes to how Po was feeling. I didn't feel immersed in him and his world.

I know I've been very "doom and gloom" throughout this post, which is an exhausting mindset for everyone involved. I want to end my critique with something positive because I think some praise is deserved. Let's just say the movie could have been a lot worse, the details of which I'm sure you're all well aware.

Congratulations, you've reached the end! Thank you so much to all of you who took the time to read this unnecessarily long and detailed review. As long as I help someone translate their conflicted feelings into coherent thoughts, I'll call it a win.

KFP4 has its flaws and there are a lot of aspects that I dislike, but the I greatly admire and respect the hard work put into the film by those of the crew who put their efforts forward and tried their best to make it work. This does not at all excuse my issues with the movie, but it's worth saying.

As for the future of the series, I only hope that the next installment is more considerate of the franchise's origins and why Po's story is being told in the first place. I fully believe that another sequel could be good (even great!), but only given a strong, passionate crew with a great understanding of the characters and world (and I wouldn't be averse to some previous directors returning, just to put it out there).

Thanks again to those who took the time to read this crazy excuse for a movie review. Feel free to either disagree with me or add things in the replies/reblogs, I'm always looking for more thoughts to think.

Until next time!

[romance-rambles]

modern alkaid | the duality of pining

Alkaid's first night at in The Intermission goes badly. The next day, however, turns out for the better—as it so happens, the girl he loves might love him back.

6.3k, set during TE3, alkaid-typical anxiety + pining + happy ending, reader is mc, series: none

IF ALKAID LEAVES HIS ROOM and walks in a straight line, remembering to take a right turn before he crashes into the wall, he will come across an ordinary door.

It is blue in color, with a pop of silver provided by the cool-toned hardware. Many like it can be found installed in every door frame housed by Mrs. Santos' hotel; within Alkaid's suite alone, there are three examples to choose from—the front door, his door, and...

The door that belongs to you.

An ordinary door, made extraordinary by the girl staying in the room behind it—by you, the girl of his dreams. The one who'd fished him out of the snow and watched the aurora alongside him. The reason he'd chosen to go to St. Shelter Academia in the first place.

It's like something out of a dream, really.

To think you're sharing a suite with him—that he's separated from you by only a short trek to your door. There's a common area in between, and it would be so easy to waste the night away, chattering about something—or nothing—whilst sitting on the sofa.

How wonderful it would be to walk outside his room and be able to check up on you. To ensure that when you need someone by your side the most, you're not alone, even if you keep your secrets close to your chest.

He has some too, after all.

It only matters that you're okay.

And even taking into account their relationship status, the situation has all the markings of something that could be so terribly domestic that he can't help but want.

In the morning, you'll both walk into the lounge after, hopefully, a good night's sleep on your part. You might forget to brush your hair, and when he playfully points out your bedhead, you'll grouse about how perfectly awake he seems to be.

Alkaid will only laugh, painfully aware of how much he adores you. As you fix your hair in the bathroom mirror, oblivious to his longing glances, you'll strike up a random conversation with him—probably related to food. After freshening up, the two of you will head down together, and he will do his best to ignore Mrs. Santos' knowing looks.

And tonight, once you've relaxed a little, you'll probably go take a—

He pauses his thoughts there, before they can spiral to places he knows would make you uncomfortable, if you ever learned of them. After all, his keen gaze had not missed the flash of uncertainty that crept into your otherwise relieved expression that morning. Nor had he missed the way you'd locked yourself in your room the moment you entered the suite.

The daydreams he holds dear are likely the last thing crossing your mind right now. No matter how comfortable you may be with his presence, there are some concerns that aren't easy to shake off.

It is a fact Alkaid knows painfully well.

With a sigh, he sits up on his bed, legs still hanging over the edge. Considering the speed with which you agreed to spend the night with him—in the suite—he suspects you didn't want to trouble him with the task of finding a place for you to stay.

You must be regretting your choice right about now.

At that thought, his lips pull into a frown. Will you...will you be able to sleep well tonight?

You made it no secret that you enjoyed exploring this quaint little town. So much so that before they had returned to the homestead, the two of you briefly discussed your plans for tomorrow, vague and unfinished as they were.

A rough night is the last thing you need.

He could never forgive himself if you walked out your door, bleary-eyed and exhausted—with only enough energy to eat breakfast before you went back to your room to nap.

Pulling himself out of his thoughts, as a plan forms in his head, Alkaid stares at his door.

It does not have the privilege of being made extraordinary simply because of the person residing in the room behind it—it is an ordinary door, as it had been this morning, and every other time he'd stayed in this particular suite. But it is through this door that he can make amends.

In that regard, he supposes it deserves some kind of credit.

THOUGH THE HOTEL DOES OFFER room service, he's always preferred to go down to the kitchen and grab the simpler orders by himself.

These days, Mrs. Santos only tends to sigh as she waves him back to his room. Sometimes, she'll let him make his order himself if she's busy. But when he'd first started this habit, after she'd offhandedly mentioned how exhausted she'd become after a day's work, he'd been met with some amount of resistance.

It had taken almost a year to wear her down.

"Here you go: a warm glass of milk," she says, handing him the glass. There's a knowing glint in her eyes, but it does not sufficiently prepare him for her teasing. "Are you having trouble sleeping? She's such a nice girl—I can see why you like her."

Alkaid flushes, instinctively spluttering out an unintelligible defense of his crush on you. Mrs. Santos only laughs wistfully and pats his shoulder. Her husband had died a few years ago—she's likely remembering him.

The thought helps him regain some of his lost composure. Unfortunately, by the time he clears his throat, she's already ushering him back to his room. He has no time to explain that the glass of milk is actually for you, or that he'd appreciate it if she'd tone down the teasing.

After all, he suspects her good-natured teasing likely contributed to your extreme discomfort at being alone with him.

He can still feel the lingering warmth of your hand from when you subconsciously held his hand, in order to escape Mrs. Santos' words. It is overshadowed by the heartache that comes with the memory of the distance you'd maintained early on in their day out, before you seemed to grow tired of your hypervigilance.

Alkaid makes a mental note to discuss it with her tomorrow as he climbs up the stairs, back to the second floor. It wouldn't do for you to be uncomfortable in your own suite.

But for now, all he can offer you is this glass of warm milk he's put on the table.

"Are you awake?" he asks softly, though the light seeping out from your room gives him a good idea of the answer.

When you first respond, your voice is startled and a bit shaky.

You repeat your words again. It still doesn't sound like the voice of someone comfortable with his presence outside her door. Instead, there's a hint of urgency in your words, one that screams at him to leave you alone.

The sound breaks his heart into such tiny pieces that it would take centuries to piece them together. Somehow, Alkaid manages to pull himself together quickly, carefully collecting the shattered fragments for his future self to deal with.

"I've ordered you a glass of warm milk. It's on the table," he tells you, keeping his tone upbeat and cheerful—just slightly above a whisper. "Drink up and rest well."

His hand is splayed out against the door's surface. Alkaid can't help but wonder: are you on the other side, holding out your hand like he is?

It seems almost disrespectful to ponder the thought.

After all, he knows it isn't true. That would imply that the respective situations they've both found themselves have any sort of equivalence, beyond the discomfort they both feel. And even that is different, in its source—you do not want to be here, and he wants what will make you the happiest.

Reluctantly, remembering he can't stay here forever, he pulls his hand away. You'll need to come out in order for his plan to be successful, after all. And the fact that you didn't open the door right away means you won't feel comfortable if you know he's there.

"See you tomorrow," he says, before returning to his room to grab a change of clothes.

All things considered, Alkaid's uncertain whether you'll take a shower. But just in case, he'd like to finish up quickly. The sun has long set, and though you aren't a stranger to staying up late, he doesn't want to impose on you more than he already has.

Quietly, he slips inside the bathroom—stares at the worried young man watching him from the mirror. He can't help but remember when he'd spotted you from the balcony overlooking the courtyard. Not for the first time, he'd thought his senses had betrayed him.

Alkaid was in the middle of wondering if you'd like his quaint little escape back then. Then, you were there, observing the courtyard and telling him about how your accommodation woes. The spare room in his suite, he'd thought, was only going to rot.

After all, what good would the privileges at his disposal be if he could not aid the girl he loves in her time of need?

"What should I do?" he wonders out loud as he runs his fingers through his hair. How can I make things better?

The man in the mirror does not offer him a response.

THE LIGHT IN YOUR ROOM is still on when Alkaid walks out of the bathroom and into the living room.

His hands pause their gentle drying of his damp hair. The towel they'd been using—a light blue one, in keeping with the theme of the suite—droops, the bulk of its weight coming to rest atop his shoulders. Alkaid pulls at the fabric and, from the back, wraps it snuggly around his neck.

As he is, he must look like quite the sight. Lips parted in surprise, and bright green eyes transfixed on the siren song that is the warm light seeping out from under your door—

And oh, what a beautiful song it is, drawing him to its domain so skillfully that the memory of his short trek escapes him.

All Alkaid knows when he comes to is that he is standing at your door once again, loosely curled hand poised to knock. Uncertainty leaves it lingering in the air, a few painful centimeters away, right before it resumes twisting his heart into another painful arrangement.

That the warm glass of milk he'd brought up for you seems to have vanished from its place on the table provides little relief. How can it, when his mind seems insistent on playing round after round of its latest obsession?

(Are you awake?

Are you asleep?

Are you in the midst of a beautiful dream?)

And the only one who can free him for the never-ending cycle does not wish to see him.

THE NUMBER OF SPARKLES FROLICKING in the grass turns out to be nine. Twelve, five, nineteen, forty-nine—after a few rounds of the game, he turns to his side. A stray thought about his cat's friendship with Beanie distracts him from his counting, and he is forced to discard the results of the sixth game.

He soon turns to his other side.

Sleep does not come to him that night. When he moves on from counting ragdolls, Alkaid distracts himself by softly singing a lullaby. It does not work. He switches, instead, to wishing on some distant star, hidden by the half-darkened ceiling.

That does not work either.

Eventually, he gives up and opens his eyes.

The town outside is quiet. Only his breathing disturbs the silence. Somewhere beyond the foot of his bed, a blue nightlight glows softly. His phone, once he retrieves it from the nightstand, reads 2:00 AM on the lockscreen, above a photo of Sparkles.

A pair of arms—clothed in a familiar, baggy beige sweater—hold his beloved ragdoll in place, atop your lap. The peace sign your hand had been making is just barely visible, most of it having been cut off when he'd cropped the photo. Your braid happens to fall in front of Sparkles, who eyes it with ill-intent.

Alkaid's never asked whether you'd be okay with him putting you as his lockscreen, because you'd been the one to offer this one up. He remembers you smiling oddly once he showed you the finished product. You would go on to show him that same smile again—when, after mulling over your expression, he concluded it was some sort of test, where the correct answer was no, and made amends accordingly.

It goes without saying that he's never tried changing it after that. He can't, not when you have your own version of it with Beanie on your phone.

Glee had sharpened your smile into something teasing when he took notice of his inclusion. Just his arms, the same as in his own lockscreen. You made no effort to hide how much of it was motivated by some kind of spite, but the same went for how much you adored it.

Because whenever you'd look at it, your gaze would grow soft. It was as if you were watching something so incredibly precious—a treasure you would not trade for the world.

And like clockwork, a traitorous part of him would wonder if some of that affection was aimed at him.

"I'm sure—" Exhaling deeply, he traces the curved path your arms take with his thumb. Once, you'd mentioned the shape's resemblance to a heart; he hasn't been able to unsee it since then. "—whoever that ends up being instead will be the luckiest man in the world."

And perhaps Alkaid will get to reintroduce himself to him, if their friendship survives the night.

It has to.

After all, he hasn't gotten the chance to show you the pictures he took today, some of which, as usual, feature you among the sceneries of Mrs. Santos' hometown. His favorite is the one he took of you watching the sunset.

The warm colors of the sun had imparted a golden hue on your hair. Your back was to him; your hands were tied behind your back. A gentle breeze disturbed the serene moment at the same time you turned around.

With a press of a button, your welcoming smile became forever memorialized—and it will remain so, for as long as you want to keep it.

And he will remain by your side, for as long as you want to keep him.

MRS. SANTOS IS ALREADY TENDING to her garden when he comes down to the courtyard.

The moon is faintly visible in the sky, even as the lightened skies beckon the sun to climb out from under the horizon. As usual, Alkaid passed by only a few stragglers in the common area downstairs. You were not one of them.

Because before he left the room, your snoring could be heard from the living room.

Even on an ordinary day, when you don't have classes, there'd still be some time before you wake up. Today, he expects you'll need at least an hour more and—

Alkaid blinks as a yawn cuts through his thoughts. Unwilling to grant him the possibility of dodging the same accusations, his concealed eyebags remind him of their presence. They sit heavy on his undereyes; it is enough to have him contemplating a nap.

"Good morning, Alkaid."

That doesn't mean he'll go through with one.

When he pulls his hand away from his mouth, a polite smile awaits Mrs. Santos. He nods, returning her greeting as he would on any other day. Yesterday's vow remains fresh in his mind, quietly but insistently urging him to speak up.

"There's something I wanted to discuss with you," he says, his tone both firm and polite.

The older woman looks concerned. With some difficulty, she stands up, a hand on her knee offering her some support. Mrs. Santos puts away her gardening tools and observes him carefully.

"That's not something I hear everyday," she says, her tone humorous. He feels his shoulders relax slightly. "Why don't I brew some tea first?"

Without skipping a beat, he agrees. "Alright, I'll come with—"

She disappears inside before he can finish. Alkaid follows her. When they both return, sometime later, he is dutifully carrying a tray with three cups and a tea kettle, and Mrs. Santos is quietly grumbling about it.

They go through the familiar motions in silence—arranging the cups and pouring the tea. The third cup is left empty, though neither of them discuss why. It is their understanding, implicit, that if you come down stairs, you certainly won't say no to some tea.

When all is said and done, he begins to speak. It's a rather long-winded speech, something he's come to expect when it comes to you. You did not go out of your way to ask this of him—it would not be fair if you were judged for it.

"So, I'd appreciate it if you didn't tease us about our—" His mouth seems to have some difficulty sounding the word relationship out. Alkaid swallows with great difficulty. "She isn't interested in me, in that way."

Surprise registers on her face, eyebrows knitting together. She purses her lips, then opens her mouth. It closes before she can say anything at all. Her lips purse into a thin line.

"I see," she murmurs. A realization dawns upon her. "Has she—"

Cutting herself off, without prompting, Mrs. Santos shakes her head. Even so, he knows what the question on her lips was. Because Alkaid has wondered the same thing before.

Has she said that?

He brings the teacup to his lips. In doing so, he manages to cover up the downturned edges that speak of his thoughts on the matter—the hopes he once clung to, the ones he still can't shake off.

Have you said that?

You haven't.

You've never commented on how often he happens to be passing by your house, a box of cake in hand. Or how your friend Stella seems to be of the (correct) opinion that he's in love with you, a fact she makes sure to bring up every time she sees him. Or how you end up so often on his camera reel that it's much easier to count how often you don't.

What you have said is that you like spending time with him. That when you end up in a slump, he's the person you think of. And when you finish a painting, he's the first person you think of. And when you're doing nothing at all—

But they say actions speak louder than words.

Your actions last night can't speak any louder. The only way for him to reconcile your distant behavior with your general eagerness to spend time with him is simple.

You do love him, just not in the way he loves you.

"Alright, I suppose I got ahead of myself," she agrees. "It's such a shame. She's the first—you would've made such a good couple."

Alkaid puts down his cup, narrowly avoiding a catastrophe as he swallows down the rest of his tea, just in time. Zaph had told him something similar when he'd returned from his trip. That everything about him screamed he was in love.

He supposes time has only made it more noticeable.

"Thank you." Tucking a strand of hair behind his ear, he smiles weakly at her. The moment he retracts his fingers, it slips back out. "I hope she'll be able to enjoy her trip fully."

Mrs. Santos only smiles sadly at him.

YOU COME DOWNSTAIRS EARLIER THAN expected.

The tea is still warm, and Mrs. Santos has yet to finish her usual rounds of the courtyard. When he asks about how you slept, whether your early rise is related to him in any way, you stumble over the only word that slips out.

"N—no," you say, discomfort flitting across your startled expression.

Alkaid doesn't get the opportunity to clarify your wording. Before long, you're sitting beside him on one of the white chairs, hands wrapping around your cup. He pours you some tea, carefully eyeing the steady stream of steaming liquid to ensure you don't get splashed.

You do not have the face of someone who would rather be anywhere but here. After taking a sip, you sigh happily. Eyes narrowing fondly, he smiles and pours you another cup when you finish.

It is with that same gaze that he watches you accept Mrs. Santos' flowers. You cradle them in your arms gently, their light purple color a lovely contrast to your cream cardigan. Then, you turn around and Alkaid forgets how to breathe.

Whatever it is the older woman says register in his mind as a jumbled mess of sounds, like a series of words he ought to be familiar with. The longer you watch him, the easier it becomes for his true thoughts to slip out.

You are, and always will be, the most lovely person in the room. You're—

"Beautiful," he says earnestly, his gaze lingering on your nervous smile.

By the time his mind catches up to his mouth, it is, in some ways, too late to worry about how you'll react.

A flush creeps up your neck, to your cheeks and the tips of your ears. On one side, the latter is made more prominent when you tuck a strand of hair behind your ear awkwardly.

You almost seem pleased with the compliment.

He does not think about it. Not now, not when Mrs. Santos ushers you back to the table and you set your flowers to the side, in a vase at the edge of the table. Dark purple meets green as you sit down, your lips curving into a gentle smile.

Last night's worries keep him from enjoying the sight properly.

In the background, Mrs. Santos is asking about something. Alkaid hears his name and yours—and the word together. The look the older woman sends his way leads him to believe she doesn't see the problem with her question.

It says, See? I didn't tease either of you.

Seemingly unaffected by the question, you take a big bite of a chocolate-filled croissant. Your blissful expression is perhaps the biggest compliment you could pay the older woman—second to only the way you reach out for seconds.

As you lick off the leftover chocolate on your lips, your hand hovers over the assortment of breakfast items before gleefully plucking another two croissants from its plate. Meanwhile, his plate remains untouched.

Alkaid chews on his lip, worried that perhaps you're doing too good of a job at being polite.

"Well, Alkaid here—" You reach over and nudge his elbow. "—promised he'd show me around town again. I hope that's still in effect?"

You say that as if he'd ever say no to you. He chews thoughtfully on a pastry and wonders if that might be a good thing. In that case, perhaps you'd feel less pressured to do things with him—

But your expectant gaze returns his thoughts to their normal direction.

"Of course," he answers, condensing all his longing into only two words.

The third one borders on a near-confession—an implicit acknowledgement of his affection—so he leaves the Anytime out of it. It does not stop Mrs. Santos from giving him a knowing look.

"Is that right?" She smiles pleasantly. "You two enjoy yourselves, then. I'll make sure to whip up something nice for your last night here."

Your face lights up in delight.

"That's—ahem." Coughing into your fist, you pretend to be unaffected by the allure of the older woman's words. You haven't known her long enough to find out she's already prepped the ingredients the night before. "You don't have to do that, Mrs. Santos. Last night's dinner alone was more than enough."

"Don't be silly," she says, waving your concern off. "I'd do the same for Alkaid—oh! That's right. Do you have any requests, Alkaid?"

He does not—but you do.

So, Alkaid smiles and pretends his motivations for putting the spotlight on you aren't selfish in nature. That he does not to do this to be able to see that same blissful expression on your face again, this time with the knowledge that he played a part in your happiness.

"I enjoy anything you cook, Mrs. Santos," he says smoothly, before nodding his head at you. "Since it's her first time here, I think it's only fair that she gets to pick."

The older woman laughs, not unkindly. You shove another croissant into your mouth. A silent understanding seems to form between the two women at the table, one that, Alkaid feels, has everything to do with him.

But they do not enlighten him on what that understanding is.

Instead, the conversation continues where it left off, so seamlessly that he can trick himself into thinking the interruption never happened.

You talk about food, then flowers, then your time at St. Shelter Academia. Mrs. Santos tells you stories about him, of when he was younger and would come with his family—most of them being decidedly embarrassing, particularly since you're the one listening to them. And you drink them up with the same eagerness that seems to consume Alkaid when it concerns you.

The matching lockscreens come up once, as well.

He finds himself being stared at—almost disapprovingly—by the older woman. It reminds him of your odd expression, on that day. But before he can ponder what it is she knows that he doesn't, you rescue him with an apologetic smile—one that'd have him forgiving you immediately, if there was anything to forgive.

(There isn't.)

And even when he backs away from the conversation with warm cheeks and the word beautiful rattling around in his brain—even though it is entirely your fault, there is nothing to forgive.

Even though he wonders, again, when you glance at him after your devastating blow—that is his own fault.

Because last night, he'd sworn he wouldn't do this again. Last night, you seemed like you didn't even want to see his face. Last night, it seemed so easy to think he wouldn't fall back into old habits again.

Is it about him? Is it about Beanie instead?

Alkaid swipes an assortment of fruits from the center of the table. Pretends those questions won't be eating into the time he could be using to sleep. He is nothing less than his normal, polite self, even as the hurricane called you tears up his sanity.

When you look at him and smile contentedly, he adds another cause to the list.

THE PAYMENT ALKAID REQUESTS OF you, when paid in full, takes the form of a flower tucked behind his ear.

It is your idea, something spur-of-the-moment that pops into your head when you rest your hand on the bike's rear seat. You close the distance between them, and only when he replays the memory at night can he pinpoint the exact moment his fate is sealed.

There, as he's laying in bed—kept up by a situation that is in every way the opposite of last night—the sight of your eyes, glimmering with mischief, engraved into his memory forever.

In the present, however, as your hand reaches out for him, Alkaid closes his eyes.

On the front seat rests one of his hands; the other fiddles with the back of his shirt. They curl loosely into a fist as your cold fingers carefully brush his hair out of the way. His heart, as it beats only for you, tries to jump out of his chest. The trail you leave behind on his skin feels unbearably warm.

You laugh softly, to a joke only you know of.

It loops around in his mind like his new old favorite song, silencing any thoughts about how close you are. Yesterday's worries seem to flee his mind, your easy-going behavior a balm for his soul.

"Alright," you say, the sound of your voice returning to an appropriate distance. He opens his eyes to find you admiring his appearance. "I've paid your price."

The smile on your face would've stolen his breath away—if only he hadn't already forgotten how to breathe.

IN THE HOURS THAT FOLLOW, Alkaid falls in love with you, over and over again.

And the truth is, nothing in this world is easier—that if soulmates exist, then his heart knows, whether he is yours or not, that you are his. Even the heartache that visits him every time he leaves the present to court the future cannot deter him.

The most logical part of him points out that few women would act as you did this morning. The rest of him chides it for being so presumptuous, wielding last night like a dagger—so resolute in their conviction to keep him in his place.

Their job is made harder by the fact that you've once more taken to acting as you normally do.

Right now, the two of you are at a souvenir shop in hopes finding a present for Mrs. Santos. The idea came to you when they were at a convenience store earlier. You wanted to find a way to thank her for the lovely experience—and the love and care she put into every interaction with you.

"Do you think she'd like something like this?" you ask, holding up a mug with a stylized design of a grumpy cat.

Though she is a lover of cats, Mrs. Santos is, rather unfortunately, allergic to cats. For that reason, ever since he was old enough to go by himself, he's always been a solo traveler. Sparkles is there with him only in spirit—and in the many photos he has of his beloved ragdoll on his phone.

Alkaid thinks the mug is a lovely idea. Both practical and aesthetic. It is only the words written above the cat that give him a pause, in fun, bubbly letters that hardly suit the design's star.

Rather than the always cheerful Mrs. Santos, he thinks it would suit you much better.

Seemingly reading his mind, you sigh despondently. "I'll keep looking. Come on."

This is only the second shop they've visited. This is only fifth thing you've discarded from your list. Alkaid stares at the long fingers wrapped tightly around his wrist and obeys.

The urge to grasp onto them doesn't entirely die when next you release his hand.

At that time, his watch reads 11:15. Thirty minutes later, you remain unsatisfied with the selections offered by this particular store. You drag him along to the next store, brows knitted in concentration as you mull over your possible choices. He mulls them over too, in hopes of speeding the process along.

Because there are still a few more places he thinks you'd like. But the sun steadily creeps up higher in the sky, constantly reminding him constantly of their limited time together.

Tomorrow, you'll return to Harp Island—and there's no word on when you'll come back here.

"I'll go take a look too," Alkaid says, after you make a beeline for the first thing that catches your eye.

"Would you?" As you put away a hairpin you can't seem to agree with, a relieved smile crosses your lips. "Thanks, Alkaid."

He returns your smile with one of his own—something he hopes will assure you that the end is in sight. Then, he leaves first, disappearing among the shelves with only a fleeting glance at your now distant figure.

ALKAID IS NOT A STRANGER when it comes to having eyes on him. Whether it's strangers on the street or the ghosts of his childhood, he's grown adept at hiding both his discomfort and his knowledge of them.

Still, when the topic of their discussion partially revolves around you, he feels compelled to step in and clear the misunderstanding.

"She's just a friend, I'm afraid," he says, smiling apologetically. "It's payment for a tour I'm giving her."

The culprits seems to be a pair of siblings, close in age. Over the course of their fervent but light-hearted discussion on whether men look good with flowers in their hair or not, he learned their names are May and Max—that May is the older one, and that Max is not infrequently teased for every possible reason under the sun.

They both startle easily at his interjection and glance at each other. A flush creeps up the girl's cheeks, half of which she manages to hide by giving herself a sidepart. Max only coughs politely.

The satisfied gleam in his eyes, despite his embarrassment, speaks volumes.

"Oh," she utters, clearing his throat. Max tugs at her sleeve, and May lets him drag her away—though not before she decides to offer him one last bit of advice. "I'd ask for more than one flower, then."

Alkaid merely smiles politely.

To charge anything beyond that would imply that spending time with you is not its own reward. To charge anything at all would, ordinarily—but he's found, more often that not, people tend to feel more comfortable when there's some form of reciprocity, when it comes to jokes.

If he insisted on going without pay, there was a distinct possibility of the mood souring faster than he can recite your birthday.

"What was that about?" a familiar voice rings in his ear, your warm breath fanning against his ear. He tamps down the urge to flinch, though he can do nothing for his warm cheeks. "I heard something about flowers?"

Carefully, so as to ensure you don't think he's running away from you, he takes a step back—puts his hands in his pocket. And when he looks back at you, you're doing a terrible job at hiding your smile.

The upturned corners peek out from behind your two fingers—but even if they didn't, he thinks your eyes would betray you.

"She seemed to think I should've asked for a higher price," he confesses truthfully.

There are three ways this can go. You can ignore his words entirely to show him the latest item you've pinned your hopes on. You can argue against it, with whatever argument you have on hand, and Alkaid will easily return the flower. And the third one, both the one most likely and the one he wishes for, is—

"She's not wrong." You nod, tucking a few strands of hair behind your ear. A plushie's leg peeks out from behind you as you walk up to him. "A flower isn't enough."

"What would you give me then?" he inquires calmly, as if his rapid heartbeat doesn't drown out all but the sound of your voice.

At first, it seems as though you have the answer already. Confidence drips from your tone for the first half of your sentence, but a distressed expression soon breaks out on your face. You purse your lips and cup your chin thoughtfully.

"Well, for something obtainable..." You mutter, sounding exasperated. He expects some of your next words to be a quip about how difficult it is to put a number on him. "Maybe a 100...maybe 200...300...? Your birthday is...so that many...?"

Alkaid hums, taking note of your wording. "And if it isn't obtainable?"

"It'd be hard to wrap," you caution him, having forgotten whatever plans you had for the plushie. As it swings behind you, he realizes it's a teddy bear. "But if I could, I think I'd give you the world."

The last of your words comes out softly, like a confession meant only for him. Your gaze softens, and though you seem like you're somewhere else, he can't help but think you're still thinking about him. And for the first time in a while, the contrarian in him remains quiet.

When Alkaid smiles softly, his heart feels lighter than it has in ages.

The girl he loves wants to give him the world—and though you keep your secrets close to your chest, you are not a liar. He will not make you out to be a liar, by wondering if you really mean it at all.

And it is easy enough. All it requires is framing last night's interactions with you a bit differently—that you were not afraid of him but of what he'd figure out. It's a thought he'd entertained on and off, but never with as much conviction.

In a way, the two of you are nothing less than birds of a feather.

"Just spending time with you is enough," Alkaid assures.

With a dramatic sigh, you hold the teddy bear against your chest and huff. His smile takes on a helpless tinge as he watches you shake your head. When you take note of it, your eyes narrow into what would be a ferocious glare if not for the faint pout on your lips.

"And we return to the crux of the problem again," you complain, shoving the teddy bear at him. "We'll come back to this. What do you think of this bear for Mrs. Santos? Doesn't it look like her?"

He takes a step closer. "Hmm, I think she'll appreciate it. Do you like it?"

Your nose scrunches up at his words. A sigh escapes your lips as you look longingly at the teddy bear, then at him. This time, you don't shake your head quite as vigorously as before.

"Alright, let's keep looking," you say, your hand wrapping around his wrist again. "You come with me this time, alright?"

The answer to that comes easily, even before you confide in him how boring it was without him. Alkaid chuckles warmly and quietly takes your hand, the way he'd wanted to earlier, with an explanation on the tip of his tongue—

"It's more comfortable this way."

Once the flash of surprise fades from your eyes, you grin at him. "You read my mind."

It takes some time before either of you are willing to let go.

[asthedeathoflight]

Ajax in Leave The Bronx Alive going from panicking that the doors aren't closing to mocking the Turnbull ACs literally the moment they close is soooo important to me. Yeah they are fucking slowpokes babygirl. Everyone forget about how you just thought you were gonna die fifteen seconds ago.

[fisheito]

My favourite fantasy lately is Kuya kidnapping Eiden and bringing him to a house in the woods to punish him for endangering himself during some adventure. Kuya keeps Eiden in bondage and constantly on edge, teasing and denying him. And Eiden just takes it without asking to be let out, allowing Kuya to vent his fear and frustration, because he's nice like that.

But, at some point, even the strongest little soldiers break, and just when Eiden is about to shatter from all the stress and Kuya's oppressive anxiety, Quincy comes for the rescue. He's the only one who managed to find that little wooden shack in the middle of nowhere (you know, because Kuya's allowed him to), and he comes in and persuades Kuya to relent.

Kuya hasn't even given Eiden any dick in all the (three? four?) days they've been at it, so serious he was about the discipline aspect!

Eiden cries when Kuya finally fucks him, and Quincy makes him spill

this just reminds me of Billowing Wildfire Kuya R2 where eiden saID sO HImself

i would not be surprised if kuya went full speed into an evil edging hostage situation because he doesn't know how to process eiden's mortality

[arlathen]

it's funny that andrastianism was right but like a thousand years too early. like no a god and his (once?) mortal beloved didn't inhabit the golden city but. they do now.

[visenyaism]

asoiaf thesis statement

[jondrettegirls]

[ID: Two drawings of Enjolras and Grantaire from Les Miserables. They are both of the pair, asleep in bed, spooning. But the first has Enjolras as little spoon, and the second has Grantaire as little spoon. End ID.]

usually i can instinctively instantly tell which of my blorbos is which spoon…. but i cant decide w enjoltaire what is going onnn….

[nuclearanomaly]

Bookshop AU - The All Saint's Party Incident: Outfits