#I’m tearing up a little

[hazelcephalopod]

Alright. I assume it’s been long enough I can post… well it’s a big Pluto spoiler so scroll now if you care. I’ll do the stars- ** ** ** ** **

Best and most tragic part of Pluto is Gesicht revelation that he had a (robot) daughter who was horrible murdered -and later all memory of her was erased, except it couldn’t take. Part of him wouldn’t forget! Which you’ve possibly figured out when it’s revealed. But what really got me was it wasn’t like, normal adoption. No! He found her in the actual trash. In the garbage dump! All broken and he immediately fell in love with his new child and presumably takes her home where he and his wife repair her and name her Robita. Like. The levels of wholesomeness in all that. And the “we (androids) have found our beautiful robot daughter (child sized bipedal wall-e) and she’s just (re?)learned to walk and talk. We shall call her Robita!” What?! What do you mean she was murdered, and it’s already done and in the past?! What do you mean it’s even more tragic yet beautiful and resonates perfect with the theme. And the child was named Robita?!! What?!!

I loved it so much. Idc if she’s probably a preexisting character. Just another testament to a masterclass on taking a lighter hearted old comic/manga and making it more serious without becoming too edgy and loosing its heart.

I mean. Her name was Robita! And she was adorable.

(more spoilers)

And then Gesicht gets murdered. By the same model. As he is having this twisted beautiful tragic traumatic flashback! And somehow the balance keeps if just on the right side of edgy and heartfelt. Just a masterclass in emotional storytelling.

also. They just give this child a gender. I didn’t know until they named her. Like there’s no… she’s a robot. I love the robots having gender just because. Look, she’s wearing an apron! Woman! Look he’s got a hat! Man! I love it. I got maybe one or two notes but I can work with that.

[laz-kay]

“Sounds like a hoot. Probably a good thing if I tag along, huh? Stay for dinner, make amusing small talk”.

Bob's Burgers, The Amazing Rudy (S14: E2)

[theloveinc]

Togame Jo’s greeting kisses to you are always way too long.

The kind of affection that’s usually savored in private, instead displayed wherever, whenever, and every single time you see each other—he always takes two to three minutes just to kiss you hello, abandoning the task at hand (dozing off, attending to Choji, managing the Shishitoren) to mosey your way and pull your lips to his in something just a little too sloppy to be sweet, but a little too sweet to be… too distasteful.

Everyone’s used to it by now, even Sakura, knowing that when you arrive, there’s always a going to be a pause in action just for the sappy display of Togame drooping over you and announcing you to the crowd physically.

(What’s not readily exposed, however, and especially not in a room full of men, is that it’s not just a kiss Togame’s giving you, not just a hello that he hides behind his long bangs and your cheeks between his warm hands, but the kindest stare and sweetest little whisper, “missed you, baby,” as he wraps you up in his arms.)

[anonymous-dentist]

🖤🩶🤍💜

[k1tty5]

was deciding where i would put each lifers hearts and then i got stuck. this is how far i got

[yo-yo-yoshiko]

They’re so good

[parasolladyansy]

I have a question about your LoZ AU.

LoZ as a series has a bit of a weird depiction of humans. Hylians are almost always portrayed with pointed ears, although humans with rounded ears do show up sometimes (notable example is Wind Waker, where it's an actual plot point). I know this is a weird question, but would Ingo's, and by extension Ansy's, round ears be a point of interest to the inhabitants of Hyrule? I don't remember if BotW or Totk ever mentioned any area outside of Hyrule, and since everyone there have pointed ears, no one would have any idea as to where those humans came from.

Also, if I remember correctly, I think that pointed ears are a sign of a connection to the goddess Hylia. And given the generally polytheistic society in (most) Zelda games, then that could be another odd thing about Ingo and Ansy.

At the very least, their round ears would be a very clear indicator that both of them are not from Hyrule.

I know this is a weird question, but for some reason this topic has always been an interesting one for me. Especially since I remember my first reaction to Totk Ganondorf being that he's the only character in Totk and Botw with round ears. (Me : yeah sure his character design looks cool and he looks swoll, but LOOK AT HIS EARS-)

Pardon me, a flood of Zelda lore just rushed into my head lol - I’ve been a Zelda fan EVEN LONGER than I’ve been a Pokémon fan.

Okay, so round ears, our isekai-ed friends in Hero of Bombs / Isekai-ed Artist, & Ganondorf! (Lore dump ahead!)

It’s as you said - round ears have been a minor topic of interest in Hylian history, regardless of the timeline. I remember reading the booklet that came with A Link to the Past when I was little, about the creation of Hyrule & the Triforce. In there, they talked about how Hylians heard messages from the gods with their elven ears. One of the townsfolk in Ocarina of Time says the same thing.

Meanwhile, the earliest instance of round ears I can remember appearing is Ocarina of Time: ALL of the Gerudo (including OoT Ganondorf) had round ears - more on that in a bit. Another example came a little later in the Oracle games with the inhabitants of the other countries Oracle of Seasons / Ages Link visited (Holodrum & Labrynna), then again in Twilight Princess with the residents of Ordon Village (technically just outside Hyrule’s border).

(OoT Nabooru to the left, OoA Bippin & Blossom in the middle, & TP Colin to the right)

“Oh, okay. Gerudo & these folks from neighboring countries / villages just have round ears - easy!…Right?”

Until Breath of the Wild happened, reintroducing the Gerudo people after all these years with pointed ears like Hylians (not to mention different skin tones).

The Gerudo being an all female race (except for a male born every 100 years, often some incarnation of Ganondorf), they reproduce via men from other races (Hylian, Sheikah, etc). Stands to reason they would get traits from their fathers. Why, then, didn’t they have pointed ears back in OoT? Maybe round ears & darker skin used to be a stronger gene? I couldn’t tell you.

Why TotK Ganondorf has round ears might be an example of that gene coming back in the rarely born male, though honestly I just feel like they were just making a design choice to refer back to OoT Ganondorf, the very first depiction of him we saw in the games (though he was mentioned by name in A Link To the Past) as a love letter to us older fans.

(OoT Ganondorf to the left, TotK Ganondorf to the right)

I don’t think Nintendo wanted us to think too hard on it, or why some versions of Ganondorf actually does have pointed ears, even when it was the same Ganondorf (eg. OoT Ganondorf > WW Ganondorf / TP Ganondorf). All I know is that when ToTK Ganondorf stepped into the frame, my inner 10yo saw the villain from her nightmares (in the very best sense! 878)

As for Ingo & isekai-ed me (lol), the Hylians would probably just think of us as foreign visitors, maybe from Labyrnna / Holodrum. Link & probably some other key characters would know the truth, either by being told straight out, or intuition.

Side note: as Ingo muddles with his memories & ends up spending time with isekai-ed me, he wonders if we come from the same country / world (not quite, Ingo!)

—

(Editing to add maybe it was also a symbolic thing - pointed ears symbolizing communication with the divine, maybe it’s to say “he refuses to listen to heaven”? Who knows.)

[wyyvoren]

How does one even angst cumplane

well it’s simple. you put them in a situation.

[banditblvd]

Pretzel doodles I did because I’m on… a specific arc…… in my rewatch………..

[myokk]

remembering the snow

pairing: Imelda Reyes x Poppy Sweeting

word count: 3,2k

summary:

Imelda remembers the first time she saw snow.

Her parents always started the story telling her that she cried and cried and cried.

***

Or: a character study on Imelda and how she grew up because I love her & she doesn't get enough appreciation :)

cw: none, this is just a love letter to Imelda

a/n: or: this was the first oneshot I ever wrote, and it holds such a special place in my heart. I think it might be my favorite 🥹🫶

Imelda Reyes has never been one to do things by halves.

Her mother always talked about the circumstances of her birth with pride: Imelda came quickly as if she were eager to get out and see the world already, screaming even before she had fully left her mother's womb, determined to leave an indelible mark on the world.

The women in their village who had assisted the birth crossed themselves, chattering to each other in quick, soft, beautiful Spanish staccato about the baby who was already unlike any they had ever seen before. Strong and healthy and beautiful, her deep brown eyes already taking in her surroundings and watching them solemnly moments after her arrival.

Her father always talked about the circumstances of her childhood: running wild and free, flying before she could walk (a source of great pride), his little shadow who peppered him with endless questions about the world. He always brought her along to his work meetings much to everyone's delight; she was with him when he was offered the enviable position of Spanish Diplomat to the British Ministry of Magic.

At the age of five, they left the beautiful sleepy village where time hadn't seemed to exist. Imelda still dreams of long, hot, dusty days playing under the shade of orange trees, going to the market every two days with her mother draped in their finest silks, sleeping and lying around during the hottest part of the day, only leaving their house once the sun left its highest point and was about to disappear behind the mountains.

The older women in the village doted on her. If she thinks hard, she can recall their beautiful, wavering voices calling out to her as she raced past them: 'ten cuidado, cariño, te vas a mancar', 'ven aquí, cielo, te quiero ver la cara tan bonita', 'mira cómo se está creciendo, se nota que va a ser una belleza de mayor'...voices filled with comfort and love. She never knew anything different then.

She's their only child. Her mother was always brushing her hair and humming, trying to get her to sit still and listen to her endless fairy tales as the sun bore down on them; her father, treating Imelda like the son he had always wished for but accepting and loving her all the same. Sometimes, her mother would let her out of the house before the sun became too strong and they would fly around the mountains and be free free free.

Arriving to Edinburgh at the age of five, Imelda hadn't even realized she didn't speak the same language as the other children around her. As with everything else, she jumped in headfirst. Her mother always jokes that she became fluent in English the second she stepped foot on Scottish soil. To Imelda, it does seem that way. She can't ever remember not speaking in the soft Scottish burr, reminiscent of the soft Spanish she had left behind and still spoke at home.

As a child, she never had problems forging relationships with whoever was around her. She was brash and inquisitive and irresistible, taking charge wherever she went. The other children flocked around her, hanging on to her every word.

It changed, though, when her mother got her cough. It started out harmless enough, a slight cough and headache before bed each night. When her mother woke up every morning, she would be fine. But going to bed early changed to going to bed even earlier and earlier until it was time to accept what the three of them were steadfastly ignoring: she was getting worse.

Imelda was nine. She remembers her mother drying her tears with gentle, soft hands, caressing her cheeks and whispering to her that it would be fine. That she wasn't gone yet: they still had time.

'No pasa nada, mi amor. Siempre estaré contigo.'

At Hogwarts, things changed even more. She was a Slytherin and proud of it, but she never quite fit in with her classmates. She wasn't one of them, hadn't grown up with them, and they made sure she knew it. Gone were the days of running wild: she turned her single-minded determination to her studies and quidditch and found herself excelling at everything she put her mind to. It all came easily to her and she had no time for anyone who could distract her.

She wasn't a complete loner. She had her quidditch teammates, her partners in various classes, but nobody she hung out with outside of classes. She always studied alone, learned alone, trained alone.

(Of course, the picture she paints to her father in owls home is much different. He has enough on his mind - a daughter struggling to make friends is a non-issue as far as Imelda is concerned. And besides: she's fine.)

Imelda was quite content with the way things were working out for her. She would never admit if she was lonely or not, and enjoyed every part of her life. Until her fifth year, when everything began to change. Gone were her rigid schedules and studying alone and discipline. A new girl was sorted into Slytherin and Imelda found she didn't hate the girl's company. The two of them laugh together at night while they braid each others' hair, Imelda teaches her Spanish, and they have started to study together.

The new student drags her around Hogwarts and Imelda finds herself actually enjoying herself and enjoying spending time with the classmates she’s spent so many years ignoring.

This is when she meets Poppy Sweeting.

Well...Poppy swears that they met ages ago, during their first year when they were partnered together in Potions. Imelda has no recollection - that whole year was a blur - it was the year her mother succumbed to her illness - so she has to take Poppy's word for it.

She finds herself with friends for the first time in a long time. But, when the new student is running off with Sebastian doing Merlin-knows-what, things that Imelda definitely does not want to be a part of, she still finds herself seeking Poppy's company.

Poppy is sweet and fun and introverted in a way that Imelda finds familiar and comfortable: whereas Imelda turns to her studies and quidditch, Poppy often opts to spend time more time with beasts than humans. But there's something endearing about her earnestness and Imelda starts to find herself craving Poppy's calm company.

She always knows what to say when Imelda finds herself getting worked up over nothing.

On the train home for the winter holidays, as Imelda is striding down the long corridor in search of an empty cabin where she can read and concoct fail-proof quidditch tactics, Poppy calls her over to her carriage and asks Imelda to keep her company. She only needs to ask once. There's an unfamiliar fluttering in Imelda's stomach as she sits across from Poppy and the other girl beams at her but it's...well. It's not altogether unpleasant. They play exploding snap and exchange book recommendations and laugh together and...well, if Imelda's knee brushes against Poppy's occasionally or their fingers linger as they exchange essays to look over...

She can't be blamed, can she?

A letter from Poppy arrives over the break. At the sight of Poppy's small brown owl tapping the window with the letter in its beak, Imelda's heart starts racing and she runs over to the bird, grinning like a fool, but she pauses before opening it. Her fingers tremble as they hover over the wax seal.

Imelda's father is largely absent these days, a shadow of the man she had grown up with. She's noticed the difference over the summer too, of course, but the winter always feels different. More desolate; more harsh. They're nearing the four-year anniversary of her mother's death. It's impossible to ignore the fact that losing his wife has damaged his soul irreparably, and Imelda's seeing first-hand what being deeply in love can do to a person.

Maybe she'll put the letter aside and read it tomorrow.

Tomorrow bleeds into the next day turns into one week and before she can blink the bleak winter vacation with her father has ended and she's heading back to Hogwarts.

On the train, she walks past Poppy: the two of them make eye contact but Poppy flushes and looks out the window, tucking her honey-colored hair behind her ear and Imelda moves on to the next empty carriage. She pulls out some parchment and works on revising her Charms essay. It's for the best, anyway, she tells herself. For the best that she doesn't have any distractions. Their O.W.L.s are coming up and she's determined to get an O in every subject.

The month of January goes by in a flash. Between the insane quidditch schedule she's concocted for her team and the study sessions in the library, she keeps herself busy. The new fifth-year, her first real friend, starts to show concern for Imelda, gently trying to ask her what's going on as they braid each others' hair before bed.

Imelda doesn't want to bother her, though.

(She doesn't truly know what's the matter, anyways.)

She resolves to do a better job with keeping her emotions in check - her friend has enough on her plate, and Imelda doesn't want her to have to worry over something that's not even a problem in the first place.

She's fine.

Out of the corner of her eye in the classes she shares with Poppy, Imelda notices that she doesn't look as happy as she normally does. Her face is more pale and withdrawn; whenever Imelda's eyes flicker to her, her own gaze darts away.

With the beginning of February come a lot of blizzards, and they make Imelda remember the first time she saw snow.

Her parents always started the story telling her that she cried and cried and cried.

They had both run over to her, covering her with warm hugs and kisses, the tiny family huddled together in this foreign place where the people looked and spoke differently, where nothing was the same and she missed the old women who would give her mazapanes whenever she ran by, missed the tiny clouds of dust that would puff up as she ran and the hazy mountains in the distance and the hot, hot sun beating down while she played in the shade of the orange trees while her mother slept away the heat. Pulling her mittened hands off of her tear-stained face and telling her 'mira cariño, mira qué bonita es la nieve. Tócala, ya verás que no pasa nada...estamos aquí contigo...'

Her tears had soon dried and she was laughing and playing in the snow and she couldn't even remember what had made her so sad in the first place.

Imelda's sad now as she stares out the window.

Her mother isn't there anymore. She has no one to turn to in this self-imposed exile.

Four years ago today.

She's hidden herself away in an alcove, curled up, arms wrapped around her knees watching the snow swirling out the window. She canceled quidditch practice today due to the storm, much to everyone's surprise. Just last week, she had forced them to train in the freezing rain and today's snowfall is mild in comparison. But...today she doesn't have the energy. She's spent so much effort pretending that everything's fine when it's not and now she's sad and alone and confused.

She doesn't hear Poppy when she comes near.

The other girl crowds into Imelda's space, pressing against her in the alcove. The two face each other, and Poppy brings a gentle hand up to Imelda's face to brush away tears she hadn't even realized were falling.

"What -" Imelda starts saying, but a fresh sob chokes her and she can't. Poppy leans forward and wraps her arms around Imelda, pulling her into a close embrace. Imelda feels everything crumbling around her and she sobs into Poppy's shoulder - Poppy whispering reassurances and smoothing her hair, cradling Imelda as she cries and cries and cries.

They don't leave the alcove for another hour, almost staying out after curfew.

Imelda is subdued the next few days. The snow continues to fall until the whole castle looks like it's straight from one of the fairy tales her mother used to tell her as she brushed her hair. Imelda shows up for meals, shows up for classes, shows up in the study group, but she feels like she's just going through the motions.

She can tell her friend is getting worried, but Imelda can't confide in her. Her friend does small gestures anyways because she understands: saving Imelda a seat in class, asking her about quidditch, saving her favorite muffins for her at breakfast.

Maybe she talked to Sebastian about her worry because even he is being nicer than normal to Imelda, asking her if she wants to play wizarding chess with the two of them. Imelda doesn't really understand how or why they like playing the game so much - her friend is awful at it and Sebastian seems to enjoy the destruction and chaos more than actually strategizing. Even though Imelda hates the game - every move is painfully obvious and she can't understand how nobody else sees it like she does - maybe it would be nice to do something different.

Imelda freezes when they enter the Astronomy Tower to play: Poppy is there, waiting. For her. They haven't seen each other since she broke down humiliated and sobbing and she doesn't know what to do.

Sebastian looks between the two of them, brows furrowed, then leans down to their friend and whispers something in her ear. She nods and the two of them disappear, leaving Imelda and Poppy alone.

Poppy stands and Imelda can feel her heart start to hammer against her throat. Poppy walks forward slowly, only stopping when she's right in front of Imelda. When she speaks, her voice is high and sweet and Imelda realizes how much she missed her. "I-I'm sorry, I just didn't know how else I could talk to you. Will you come with me? I have something to show you."

Imelda nods mutely and Poppy takes her hand. They lace their fingers together and it's the first time - apart from a few days ago - that they have voluntarily touched each other. She feels Poppy's fingers tighten around hers and Imelda focuses on the feeling of soft knuckles under her thumb, but now...she's self-conscious for the first time about her quidditch-rough hands and maybe she should have listened to her friend when she tried to encourage Imelda to use some hand lotion.

Maybe Poppy will let go of her hand and leave in disgust.

But...Poppy doesn't do any of that. Every so often, she looks up at Imelda, smiling slightly. When they reach the Entrance Hall, she lets go of Imelda's hand and Imelda feels its loss with a pang.

Poppy opens the bag at her side and pulls out two huge yellow and black Hufflepuff scarves. As she's reaching up to wrap one around Imelda, she whispers: "sorry, I only have these. But yellow looks good on you."

Both of them flush and smile at each other and Imelda doesn't know how long they stand before Poppy grabs her hand again, making sure their fingers are laced, and then they are heading out.

Poppy looks more and more excited the closer they get to the Forbidden Forest, but Imelda's never set foot even remotely close to the forest, and she feels quite apprehensive at first. But, Poppy's excitement is exhilarating - Imelda can feel it rolling off of her in waves and despite herself, she begins to feel excited too. They still haven't spoken since leaving Hogwarts, but it's a comfortable silence. Imelda's glad for the scarf - their breath is puffing out in soft clouds as they breathe and it's quite cold - the freezing temperatures in Scottish winters are still something she's never quite gotten used to.

Their boots crunch through the snow-filled landscape - it's nearing dusk and the sky is turning a brilliant shade of orange and pink, but it gets obscured by the tree branches the further into the Forbidden Forest they venture, the golden light only showing in bursts now.

"Almost there," Poppy says breathlessly. She beams up at Imelda, whose breath catches at the sight, before turning back and pulling her faster and faster until they stop in a clearing. They've stopped in the middle, and Imelda looks around.

Here, they can actually see the sky and it is breathtaking in its beauty - the gnarled, naked trees around them twisting and reaching up as if they could try and grasp some of the beauty for themselves. The snow is perfectly smooth and untouched except for the footprints that the two of them have just left. Apart from that, the clearing is nondescript.

This is what Poppy had been so excited to show her?

Poppy gives no explanation for why she brought Imelda to the Forbidden Forest, but she's almost quivering in excitement - Imelda can feel the tension in the hand that's clutching hers tightly. The sun sets lower and lower, the two of them watching it as the colors around them start to fade and mute and then -

Poppy gasps in delight.

There -

A small, dancing, brilliant white light sparks to their left and disappears just as quickly.

"Look," Poppy whispers. Imelda glances over to her - she can barely make out her face in the dimming light, but Poppy seems to be glowing with happiness.

There - again -

More and more of the brilliant white lights appear, glowing and flickering on and off, and moving in almost a pattern, dancing around their heads. Imelda laughs as she watches the tiny creatures fly around them. It's magical and beautiful and -

"I found the snow sprite nest a few weeks ago, when the blizzards started, and I've been observing them since then. I...I wanted to show you and tell you about them the second I found out because I haven't stopped thinking about you but after...well, you know...I just wanted to cheer you up..."

Poppy trails off, looking uncertain when Imelda doesn't say anything in response.

She can't, even though she desperately wants to. Her mouth goes dry as she looks to the girl at her side, who has done all of this, for her.

Poppy looks impossibly lovely in the glow of the snow sprites, as they dance and spark around their heads in a beautiful waving pattern and Imelda doesn't even think as her hand goes to Poppy's cheek. Poppy stops rambling as she looks up into Imelda's eyes.

Then, before she can lose her nerve, Imelda leans forward and presses her lips to Poppy's. It's only the lightest of touches, but her heart is beating so quickly and Merlin, she can't believe she just did that. She quickly retreats, face flaming, but before she can get away Poppy reaches up to cup Imelda's cheeks with both hands and she pulls her forward, her mouth greedy, desperate, as they finally kiss.

When they finally pull away, breathing heavily as their foreheads rest against each other, Imelda can't help the huge smile that's threatening to split her face open. It mirrors the expression she sees on Poppy, her eyes bright and cheeks flushed and she is just so lovely that Imelda can't help but lean forward and capture her mouth again. Their lips mold to each other and it's the culmination of all of their stolen glances, touches, secret wishes.

Imelda Reyes has never been one to do things by halves, after all .

A HUGE thank you to @dom1re and @thingsmaygetalittlecrazy for reading this oneshot recently and leaving me such amazing comments on ao3😭♥️♥️♥️ they made me reread this oneshot & I remembered how much I love it🫶

[we-are-not-afraid-92]

see I thought everyone was kind of exaggerating when they said “total eclipse was originally written for a nosferatu musical” and now here I am looking it up online and learning yes indeed it was and tearing up being like “it’s actually ellen and orlok’s song 🥲🥲”

[mx-legend-of-faye]

Totk Zelda is a scientist and engineer in her own right and this is a hill I’m willing to die on.

Now, with that said, I think it would be really cool if she made a gun. Totk gave us zonai cannons, so it’s possible that engineer/scientist Zelda would find a way to miniaturize them and make them handheld.

And imagine if post botw she had made a gun with sheikah tech. Totk could’ve started very differently:

Link, pointing at dehydrated Ganon: Hey Zelda, what’s that over there?

Zelda: Oh shit, basement must be haunted.

Link: Huh??

Zelda, ready to field test her new gun: Basement’s haunted.

Ganon doesn’t stand a chance. My girl will shoot his dehydrated ass point blank, because Zelda is awesome and badass like that.

[95enthusiast]

rewatching cars on the road after like a year i love this show sm it’s so fun and wholesome 💔

i know having mater on screen for too long can get pretty overwhelming but i just love seeing him and lightning interact in this show. like they really feel like best friends here, they banter, get into stupid squabbles and they just understand and love each other so much.

i also keep thinking about their video call in cars 3, like just the whole idea of mcqueen being able to call mater at an ungodly hour at night and get an immediate response. that is SUCH a best friend thing. like i just love how their friendship evolves from joking around and partaking in shenanigans to them being able to really trust and count on one another.

[flowercrowngods]

making a real post for @rvspecter pls bear with me

anyway harvey hurt fic where after mike is busted and given a second chance at life (or a third, really) and pearson specter litt seizes the chance to instate a pro bono department mike is heading because he wants to get it right this time and harvey will do just about anything to keep him, these two men finally mention this Thing between them and decide to give it a try. and it’s good. it’s fragile and it’s tentative and it’s gentle and it’s the same as it’s always been but with more tenderness, more honesty, more vulnerability (and more sex of course) and it’s good. against all odds, it’s so good.

but then one day, long after hours, donna approaches harvey in his office and her eyes are shining, but it’s not a glow harvey is used to — he never wants to get used to donna’s eyes filled with tears so he asks her what’s wrong, but he’s not ready for the answer. because she tells him she can’t work for him anymore. she tells him she’s leaving him — to work for louis at first, maybe to quit altogether. the fact do the matter is she can’t be the Donna to his Harvey anymore because she’s in love with him and she thought she had it under control but she doesn’t, okay, she doesn’t and it hurts and she wants to be happy for him and mike because they’re so good but all this time she’d never thought that harvey would ever find someone real, and now that he has, well. she can’t pretend anymore that it doesn’t tear her up inside and she doesn’t want to put that on any of them so she’s doing the mature thing and leaving. to heal. to get over him. to come back stronger.

and she’s so, so sorry.

they listen to gordon one last time, they toast to thirteen years one last time — her words, not his, but they drive a knife into his heart nonetheless because harvey doesn’t do one last-anything and yet here sits his best friend and asks for one last night together and who is he but to give her everything she wants and more. she’s his donna — still, tonight; one last night. she is.

he doesn’t tell mike that night. couldn’t, even if he wanted to; because he doesn’t have the words. but in the secure hold of mike’s arms, he says “donna won’t be working for me anymore, starting tomorrow.” and he doesn’t mention how that means that donna went to jessica and louis first, he doesn’t mention that he was the last to know, he doesn’t explain how he wasn’t given a chance to fix this — not this time. “donna quit?” mike asks, and harvey swallows, shakes his head, shrugs. “just me,” he says. “just me.” and when mike pulls him closer and holds him tighter and tells him “i’m so sorry, harvey,” it’s the first i’m sorry that night that he believes.

unfortunately, sorry never fixed anything.

especially when soon after, mike finds out just why donna left. and he gets all up in his head about it, he allows himself to spiral because he’s so ready to succumb to tunnel vision and obsessing over solutions to problems that aren’t his to fix. and so he tells harvey that he can’t be the thing that comes between him and donna. they’re soulmates after all, mike can’t bear to be the one to sever their bond. harvey doesn’t understand. he’s the one who’s supposed to lose his mind over having lost his best friend and pretend like everything is okay, what right does mike have to make that about himself, to take it upon himself to fix everything when harvey’s the fixer, harvey is the one who solves problems and protects people. but mike won’t hear any of that and tells harvey that he can’t do it like this if it means hurting donna because she’s his best friend, too, and he wants to get it right this time. he doesn’t want to build this new life on decisions that hurt his people — not again. he’s hurt enough people, he can’t keep doing it.

harvey wants to ask him why he’s always so ready to protect everyone at his expense. isn’t this thing between them, their relationship, isn’t it meant to stop them from hurting each other? why is it okay to hurt harvey, but not to hurt donna?

he doesn’t ask any of that, only tells him that they’re not in high school, and that they’re either doing this or not, but he refuses to base their relationship on whether or not his best friend is okay with seeing him happy or not. “you’re either in this with me, mike, or you’re out. that hasn’t changed, and it won’t, because donna will get over it and everything will be back to normal before you know it.”

“you don’t know that.”

“yes i do, because we’re grown-ups and we get over things.”

famous last words, it turns out, because mike just slowly shakes his head, agonising over this and not thinking, clearly not thinking when he says, “i’m sorry, harvey. i can’t to this; not like this.”

and all he can do is watch mike’s back as he all but runs from him, dragging his heart behind him, through the dirt, uncaring as bits and pieces of it chip off with every step mike takes, with every second that passes and allows the words i can’t and i’m sorry, harvey echo in the hollow of his chest.

we’re grown-ups. we get over things. well, tough fucking luck.

and this is how harvey loses the two most important people in his life in the matter of a week. before he knows it, he’s alone, left to fend for himself and hollowed out. his walls are broken down, deconstructed piece by piece by carefully, gentle hands to reveal what’s underneath — only for the hands to retreat, letting in the icy cold and accepting what’s inside to wither and die.

there’s a reason harvey specter makes his own luck; the universe isn’t very forthcoming otherwise. a fact that is proven when he finds a stranger outside his building when all he wants is to curl up and breathe through the cracks of his broken hearts that have pierced his lungs, they must have, surely they must have, because he can’t breathe. and he doesn’t learn how to breathe again when the woman — a kid, really, merely twenty-five — reveals that she’s his half sister. because it turns out the reason lily specter was so ready to up and leave all those years ago; the reason she didn’t fight for her family and instead blamed it all on harvey, was because she was pregnant. and she lied about it — for twenty-six years.

amelia selene specter is the little sister harvey has always wished for — but cancer is a curse that rests on the specter family, and while marcus got lucky twice, selene isn’t. she didn’t have the money for medical resources, and it’s eating harvey alive that he didn’t know, that there was no way for him to help her and that there’s no way now.

but there is. because selene has two kids, seven and four, and she needs his help because they can’t get lost in the system, they can’t live with total strangers or be separated because the system doesn’t actually care about children, they only care about not feeling guilty. and she won’t ask lily. these two angels must be kept from her at all costs because she ruined two families already, she won’t ruin this one.

and harvey is obsessed with the thought of more family, he needs to take care of and be there for someone and he’s ready to take on the world to protect his niece and nephew — but he’s not warm, he’s not available, he’s not even at home most of the time, nor is his place suitable for kids.

he agrees to take them in and find a solution though. he promises selene that he’ll be there for them. he’ll always be there. and when he gets to meet them — a few days before his sister dies way too young, way too alive for something like death to not rip him apart entirely — he gets attached instantly and vows to himself and to selene that nothing will happen to them as long as he’s there.

even though harvey just lost his family — the one he chose, the one he was born into, and the one he never got to meet. even though harvey’s entire world was deconstructed with no one around to put it back together. even though he doesn’t know how, because evidently he got it wrong every single time, harvey gets to build a new family with these kids. and though it tears him up inside, it heals something inside him too — and sometimes they balance each other out, and he can breathe again for just a little while as he reads to charlotte because she’s feisty and afraid of nightmares and not listening when he says she’ll be tired in the morning because “i’m tired in the morning anyway, but now i wanna read” and he trades her going to bed for a bedtime story, and she falls asleep with her face pressed into his side.

it’s so frail, though, so fragile, this little family, and he knows what it’s like when everything breaks. he knows what it’s like to lose one’s family — over and over and over again. and he’s terrified that he’s building himself back up the wrong way. he’s terrified because there’s no one keeping him together but both his hands are occupied holding these children that cry for their mama.

he’s terrified because he’s not supposed to be doing this alone. but everyone else has made their choice and he, as always, is just there to bear the consequences and try to turn it into a win.

one day, he will. he has to. and one day, he’s not alone anymore.

[uhbasicallyjustmilex]

miles rubbing comforting circles on alex’s shoulder after their emotionally charged final performance of eycte where they were both visibly in tears is just -

[rainbow-sunshine-unicorn]

On People they pretty much confirmed that Simone won’t be in s4.

Yeah, I have seen it, anon

source

And honestly it just upset me more. Because the thing is, regardless of how attached I am to certain characters, I fully understand that the actors playing them have every right to make decisions that are best for themselves and their careers. And if that includes leaving behind certain characters, then I support those decisions no matter how much I personally love the character.

That’s how I felt about Regé and that’s how I would feel about Simone, had there been any indication that it was her decision. Had this source even hinted at something like a scheduling conflict, I would have swallowed down my tears, made a “thank you for giving us Kate” post and simply moved onto waiting for all of Simone’s upcoming projects and season 4.

But to hear her repeatedly say that she wants to come back, that Kate is here to stay, that she wants a kanthony spinoff, hear her say she has ideas for Kate’s script and then to not see her? When she clearly wants to be there? It has just left me gutted.