#analysis seamless

[leaderscorpblog]

Odoo Software Support in pakistan | Leaders Corporate by leaders corp Via Flickr: "Leaders Corporate is your reliable partner for Odoo Solutions in Pakistan and a leading ERP company based in Karachi. Our expertise extends to Odoo ERP software, gap analysis, seamless integrations, custom software development, as well as specialized solutions for hospital and restaurant management.

[transcriptioncity]

What is Concept Elaboration? Concept Elaboration Services

Concept Elaboration and Understanding the Importance of Clear Communication The intricacies of language often present challenges, especially when conveying complex ideas across different cultures. Concept Elaboration, a vital process in language services, ensures clear and comprehensive communication. This article delves into the origins, implementation, and significance of Concept Elaboration,…

[acaplaya-musings]

no you don’t understand the thomas sanders joke in your “way down” analysis took me OUT. like i was laying on my back in bed and snort-laughed so hard and then started regularly laughing so hard I choked and am now sitting up, having had to COUGH, and with a little bit of a sore throat because it was so unexpected and funny. and I was also obsessed with sanders sides for a few years a few years ago and they still have a secret of chokehold on me as well so i absolutely get it

Haha thank you! Ngl I considered being a bit more concise/direct and just captioning one of the screencaps with "wow I love Sanders Sides /j" or something like that, but I'm glad someone got the reference and I'm glad it made you laugh!

Sanders Sides was a very strong hyperfixation of mine from about mid-2017 to about mid 2022 I would say? I own merch, I did cosplays, fanart, fanfic, a bit of theorising and analysing, all that good stuff. Also I think Thomas filmed one or two music videos at PattyCake Productions Studios or something?

I didn't really leave the fandom for any particular reason, just that the hiatus between new TSSides videos was going on forever, and I was getting pretty busy with university anyway. I've kept all my merch though, and I always have to appreciate anything that has given me inspiration to write/draw stuff (and thus further experience in doing so) 💜

[dyslexicempress]

made a good breakthrough on my research, yippee!!!!

[shamelest]

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[ezekiel-krishna]

Pick a Pen 🖊️

What Kind of Person will you Grow Old with ?

Picking the ideal Pen :

Take a moment to close your eyes and inhale deeply. Slowly open your eyes, choose the first pen that captures your attention..

⇝ Please remember that this reading is not personalized, so only take which resonates with you.. 1 > 2 > 3

For Personalized Readings ➤ Click Here

Pen 1

The person you'll spend your life with will provide you with a strong sense of security, happiness, and balance. This partner will value the idea of establishing a solid base and fostering a loving, harmonious atmosphere. The individual will be the perfect match for your dreams of a lasting and dedicated companionship. Your aspirations, beliefs, and dreams for the future will be perfectly in sync. Together, you will build a nurturing and encouraging environment where both of you can flourish.

With a sense of balance and peace , you guys will age gracefully into your own little world. Your Partner will serve as a rock-solid foundation, offering unwavering support during both the good times and the bad, providing you with strength and affection when it is most needed. This partnership will be marked by happy occasions, festivities, and a profound feeling of satisfaction as you navigate life's path hand in hand.

In this fated bond, you guys will sustain one another, establishing a strong base rooted in love, faith, and mutual admiration. Your relationship will unfurl like a seamless tango, where you both value and revel in each other's individuality while embracing the special bond you share.

Pen 2

The partner you'll grow old with will be unwavering, hardworking, and dedicated to laying a sturdy groundwork for your shared future. This person is committed to a stable and secure life, taking things seriously. Their down-to-earth personality and practical approach will provide a feeling of safety and consistency in your relationship. Your future partner will be focused on their goals and responsibilities, sharing your desire for reliability and a strong foundation..

It will be like stepping into a thrilling adventure alongside with this remarkable individual, who possesses exceptional skills in practical and tangible fields like business, finance, or craftsmanship. Their meticulous nature may sometimes give the impression of being reserved or cautious, but it actually arises from their deep-seated aspiration to ensure a solid and secure future for the welfare of both.. Together, you will establish a relationship built on trust, dependability, and a shared dedication to long-term stability.

Pen 3

This person is overflowing with dynamic energy and intense passion. A youthful and eager individual brimming with creativity, motivation, and a thirst for adventure. Your Partner is ready to dive into new experiences, take on daring challenges, and inject their life with enthusiasm and thrill. The individual you will spend your golden years with will sets your soul on fire, motivates your aspirations, and amplifies your thirst for excitement. Will be your companion, sharing your zeal for life, and forever pushing you to discover uncharted territories.

This journey will be a lifelong pursuit of personal and artistic growth, where you will wholeheartedly support each other's dreams and ambitions. Together, you will revel in the excitement of new discoveries and the magic of life's experiences. Your connection will be marked by a youthful vigor and a shared passion for exploration, resulting in a dynamic and enriching partnership.

Let this reading motivate you and steer you towards a lifetime of happiness, love, and contentment...🌟

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[renphousa]

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[warriorforumwso]

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[holohedral]

i’m supposed to be somewhere in an hour but i’ve been revisiting married in mount airy a lot as we approach its first birthday and want to talk about it for a minute. i am so inspired by the instrumentation and production on this record and could generate pages upon pages in analysis of its writing but i will keep it brief.

MIMA is a testament to the myriad ways men inflict harm upon women, whether it be through marriage, their absence, fear and intimidation, threats, and direct acts of violence. even when you yourself are free, their harm persists through fellow women and the trauma they leave behind. with i’ll wait for you to call melting the record into a seamless loop back to the title track, a cycle of abuse despite glimpses of hope via summit song and whispering glades, we acknowledge healing isn’t linear.

if for some reason you haven’t spent any time with married in mount airy, i can’t recommend it enough. it is without question my top album of 2023 and possibly ever.

[chipsncookies]

Bravern ep 9 spoilers)

I've been dumpster diving on twitter in search for supe fanart (I didn't find many) but i came across an interesting analysis. Ep9 has shown that the popular theory was right, there are multiple timelines, and this user claimed that we've seen multiple timelines in past episodes. There are some evidence that look really convincing.

In ep 2 smith busted the door to the torture room open, but after that the door looks completely fine

In the scene where they changed lulu's hairstyle, the background changed drastically (seaside + runway turned into buildings, with isami watching) they shouldn't have walked that far for the place to change so much

In japan, the command people were first shown observing the events outside by binoculars, but then changed to monitor. Why go inside? If it's safe to observe in the beginning why bother going inside

Also, remember the risque scene of smith with lulu? It seems the bg also changed between what seemingly looks like seamless scenes. The green duvet is messy in the first scene, but neat and undisturbed in second scene?

Also, this is my own observation, but the place where superbia meditated also changed. In the beginning the place is completely clear, but in ep9, there are many dead trees very close around him.

You could argue he moved, but if you look closely he's on top of a rather tall hill(?) and there's no other place with the same height in immediate vicinity. He'd also made the decision to sit there and think, plus (from what i understood) he could get a good grasp of the situation with bravern vs deathdrives so it's not like he changed place to get a better view

There's a post by another user pointing out that hibiki's injury has changed from head to hand (or vice versa? I don't remember) but I couldn't verify this yet.

There are many more things pointed out in the thread, but they're non visual stuff that require checking and might be affected by subs. Please check it out yourself. I think bravern really needs rewatching after all the revelation.

I think it makes sense that there are different timelines. Because these different timelines could be based on smith/bravern's memories (before and after transformation). But I wonder if we'll continue seeing these in ep10 and so on because starting from knuth's explosion, he can't possibly see what happens in the future

[merakiui]

MERA, THAT NEW TREY FIC HAS TICKLED MY BRAIN SO GOOD LIKE AAAAAAAAAAAAAAA!!!!! ヾ(≧▽≦*)oヾ(≧▽≦*)oヾ(≧▽≦*)o

Surreal horror has always been one of my favorite types of horror because of the unsettling atmosphere and the reality-bending and you wrote it so well! You did amazing when you wrote the dream sequences in DRU, and now to actually read a whole dang fic with the theme?? With Trey of all people???? OTZ OTZ OTZ You've unlocked so many new possibilities with his Doodle Suit, truly the Gaslighting King of all time 👑👑👑

AND THE SYMBOLISM!!!!! please please please please ramble about them if you want-- I'm having so much fun rereading this fic again and again. The Violet Butterwort caught my attention cause isn't that a carnivorous plant? 👀👀 Trapping insects in its leaves like a certain grass-haired man??? 👀👀👀

Anyway, all I'm saying is, Trey is not the only chef around cause you definitely COOKED with this one 🔥🔥✨✨

( ≧ᗜ≦) AAAAA OMG OMG THANK YOUUUUUU!!!!!! ✨ ✨

I'm so happy it tickled your brain! I adore surreal horror in film and writing. There's just so much potential for the craziest of things to happen! Dream sequences or sequences that feel like dreams are some of my favorite things to write. The ones in DRU are also just as surreal. <3 I originally wanted to write this concept with Jade (Kalim was second on my list), but I decided upon Trey in the end because I think he suits the surreal horror vibes so well! Doodle Suit + the power of seamless gaslighting........ what a terrifying combination.

I wanted the story to feel obscure and almost like a trip with the imagery and descriptions. Sort of like the vibes in Alice in Wonderland. Just,,,,, utterly bonkers.

👀 you are very right about the butterwort hehehe!!! As for other symbolisms/details, these are the main ones in the story! I left out some of the symbolisms of various lines or words because that would make for such a long analysis of my own work. ^^;;;

It is under the cut due to length (forgive me)! A warning for mentions of sexual assault and drugging!

✧ the binary can be translated into messages. :)

✧ the feeling of itchiness - feeling as if you don't fit in your body after it's been violated. Feeling like something (trauma/blocked memories) is beneath your skin and you can't get it out no matter what you do. Also, itchy as in discomfort.

✧ grass - this is meant to be Trey. It's how Reader views him throughout the story.

✧ violet butterwort - as you noted, it's a carnivorous plant that traps insects! It's also a symbol of resilience and a common charm used to ward off supernatural evils.

✧ birthday cake with 20 candles - the plot is that Reader and Trey are/were in a relationship and on Reader's twentieth birthday Trey drugged their tea (chamomile) and had his way with them when they were half-conscious. Thus, Reader was never able to indulge in their birthday cake because Trey took it all. Cake can also be a metaphor for Reader's body.

✧ the line "it will take twenty more..." is in reference to the healing process and how it's going to take Reader time to heal from everything.

✧ xylophone chimes/broken glass - the juxtaposition of something sweet-sounding with something jarring.

✧ the white rabbit - a sense of innocence/comfort lost.

✧ "Soups are easy to eat. Easy to slip special sentiments in." - a reference to drugging.

✧ "Soup is what becomes of your brain when your body is too itchy." - disassociation during something traumatic (in this case, sexual assault).

✧ the hedge maze that never has a true exit - the feeling of being lost and trapped and never having a real escape.

✧ the grass bow around the white rabbit's neck - the obsessive and unhealthy hold Trey has on Reader. How he can't let them go.

✧ static - lots of noise and amidst the noise there's Trey, whose own voice is sometimes static and other times soothing enough to cut through the static.

✧ the sequence of "it's here and then there and then here again..." - an allusion to the Cheshire Cat from Alice in Wonderland when he's giving Alice directions, but they're all over the place.

✧ every time the grass whispers or speaks - things Trey told Reader when he assaulted them.

✧ "In and out. Out and in. In and out. Out. Out. Out. Incessant itchiness. Get it out." - double meaning for breathing but also the act of sex (thrusting).

✧ the questioning of "that didn't just happen, did it?" - how Reader feels in the aftermath. But also just a general question in response to gaslighting. A consistent questioning of one's reality.

✧ Reader's association of the word "gross" with cake (especially birthday/confetti cake) - it ties into the above and also the part in the story about favorite foods and memories.

✧ teeth falling out - usually, in dream interpretation, this symbolizes a recent loss or mourning of something lost.

✧ hyperdontia - the horror of having a mouth and a voice but never being able to use it because it's so clogged with teeth, so no one will ever listen to or hear the things Reader desperately wants and needs to say.

✧ Frozen Charlotte dolls - Victorian era dolls that could float in the bath. They were also baked into cakes. They're called Frozen Charlottes based on a folk ballad called "Fair Charlotte," which tells the tale of a young girl (Charlotte) on her way to a ball with her lover (Charlie). It's dreadfully cold out, but she frets over the fact that wearing a coat will prevent everyone from seeing her pretty dress. She freezes to death on her way to the ball and arrives in her carriage as a frozen corpse. I think these dolls are fascinating and so cute, so I just wanted to compare teeth to Frozen Charlottes. The description of having a dozen tiny dolls stuck in your throat made for unpleasant imagery, so I wanted to write it!

✧ "A black rabbit blinks up at you with its milky-white eyes. Its nose twitches. Once. Twice. Thrice. A loud gust slithers through the field in which you currently observe, surrounded by decaying greenery and wilted wildflowers. They sprawl endlessly, clawing at the horizon beyond with broken fingers. You watch monochrome tones sway, dried petals flaking off like scabs against a battered, bloodless sky." - this is the same paragraph as seen in the beginning, only certain details have been changed. It's a hint at some sort of cycle that Reader's just only beginning to see. Idyllic beauty is no longer so blinding now that Reader sees what they didn't notice before.

[nichenarratives]

Hurricane Heller 25

A Niche Narratives Fanfiction

last | first | next

25. Lackadaisy Austerity

Even in his youth, Mordecai was never an athlete, struggling to keep pace with peers and often the last to finish even after those with weak chests. As with most innate insufficiencies, the nine year old tom had refused to accept he wasn't athletic and instead turned to his strengths, studying how to become a fit and healthy young man who could rival an Olympian on the track. The scrawny tom believed he could do it as well; books had yet to fail him, from botany to mathematics, so was certain all he needed was to buckle down and understand, to flourish here too.

Though he was aware of his intellectual differences well before fourth grade, the discrepancy between Mordecai’s attempt to overcome this challenge with applied research, compared to how his teacher and peers responded, would ultimately skew any future interactions with others for the worse. Attempts to discuss his physical limits or potential adaptations to optimise both his own and classmate’s development were met with irritation; his notes stuffed into a desk, he was escorted out by the ear and deposited back into the school yard roughly, a reminder to respect his tutors ringing in the sore appendage.

To wit, he was pushed harder in gym class, until an inescapable physical exhaustion claimed his body and he fell. This was received with amusement by his peers, especially when it was usually followed by a yardstick to the rear and accusations of laziness. For the rest of the year he was at the epicenter of his tutor’s storm, miserably exhausted and never able to improve his physical state. Yet adult Mordecai would look back on those months as an important learning experience, one he subscribed to even neck deep in the Savage Family Corporation.

If he wanted something done right, he should remove the middleman and simply do it himself.

While he hadn't been particularly successful with an extracurricular exercise routine - life seemed to develop an uncanny ability for throwing proverbial spanners in those particular cogs - a discernment of keen proprioceptive capabilities in adolescence allowed Mordecai to ‘hack’ his biological malleability. 

According to the physiology books, proprioception is an awareness of where one’s appendages remain in space without thinking. Realising he’s acutely aware of this sense, preteen Mordecai would consciously engage his entire body’s muscle framework while he undertook mundane tasks like paperwork to enforce an almost ambient regime into his schedule. 

The initial results were as expected; a deep seated exhaustion and a dread of repeating it all tomorrow, which he almost surrendered to on a monthly basis. Every night, he’d collapse into bed, his entire body aching but thankfully too exhausted to be kept awake by pain. He'd sleep fitfully and awaken with residual soreness in his core, both a physical and mental battle of wills to overcome and rise before the day even began, but he persevered regardless.

Until one day he realised the pain was simply gone his mind and body finally in sync as both analysis and reaction became a seamless response to any stimuli. While Mordecai never became the Olympic contender he'd envisaged as a kitten, he gained something more useful; a finely tuned core strength that enabled swift, precise movements within a tiny window of inaccuracy, a margin of error easily rectified with basic calculations.

It still bothers the tuxedo that he can't pinpoint a day his muscles adapted. Applying tension upon waking eventually became automatic, as much a part of the mask he wore to sequester his emotions. This skill is what made him an exacting amateur surgeon for interrogations, a formidable foe with a firearm and a swift, decisive hand in high tension altercations. 

It likely saved his life the night Fiores attempted to murder him also, though as he sprints through the back alleys of Queens in driving rain, path heralded only by the cloud-crested moon, the unanticipated limitations of his biological hacking quickly become apparent. Already fatigued from constant flexion, his core muscles reject the sudden exertion and begin to ache as they drown in an excess of lactic acid, low base energy stores swiftly exhausted.

His legs feel immensely heavy, his chest tightened by an underdeveloped lung capacity, but as a shot whistles past his ear the tuxedo forces himself on through sheer willpower, towards the station he can see a few blocks away. A small part of Mordecai's mind agonises over his missing satchel, but there is no time to return for it; he has no money or papers, just a pen, a pocket watch, and a useless safe code wrapped around a dime in his pocket.

An awkward step on the cobbles and he stumbles. Mordecai gasps and barely prevents a fall onto the glistening streets by grabbing at the nearest wall in desperation, claws digging into the mortar with an unsettling scratch across brick. He pauses only long enough for the moon’s shine to glint off of the barrel of a pistol and pursuer’s eyes before pushing off the wall, ignoring the growing stitch in his side and the burning in his lungs, hellbent on survival.

The station is barely fifty feet away when a thought hits him. I can't purchase a ticket. A revelation that is swiftly accompanied by a trajectory shift towards the unfenced tracks extending from the southern side of the illuminated building. It troubles Mordecai to know riding the train without procuring a ticket is theft - something he refused to indulge even in the depths of poverty - however, he decides imminent mortality is an effective extenuating circumstance to allow it this once as by divine doctoring, a train pulls out of the station when he's a mere twenty feet away. 

With a grunt and a final surge of energy, Mordecai sprints the distance with a burst of speed before he leaps forward, jumping for the nearest carriage as the rear stairs draw level.

Time seems to stop when airborne. Breath caught in his throat and heavy body suddenly weightless, his heartbeat becomes a rapid, dicotical metronome in his ears and throat as hot smoke envelops his body. Suddenly blinded, the tuxedo is forced to have faith in his calculations and physical reflexivity, reaching through the choking gray smog with little more than a muttered prayer to a god abandoned years prior.

When his hand closes on a cold metal railing, time resumes with a sudden explosion of sensation; rain raps heavily on his bare head and chugging engines are thunderous in his ears as he clings to the railing for dear life, soaked loafers slipping on metal steps before finding purchase. Exhausted but relieved, he clutches onto the guide rail and sucks deep breaths into aching lungs, unstable legs threatening to give as he casts his gaze out in search of his pursuers.

Between the darkness, smoke and driving rainfall, viability is poor. Mordecai squints towards the alley he'd fled from as the train begins to pick up speed, pulse still hammering and breaths drawing deep. He can see nothing; lanterns eaten by darkness, smog too thick to dispel. Assuming they can’t see either, the tuxedo finally sags against the guide rail, acutely aware of the patter of rain on his head and the deep thrumming of engines rattling through his teeth.

As the adrenaline surge begins to wane, his body comes alive with aches and pains. Both his throat and lungs burning with exertion, his thighs aching almost as much as his blazing calves, a stitch in his right side flaring with each heavy breath. Whipping winds and unsteady legs mean he dare not release the guide rail lest he simply fall into the tracks, so he remains steadfast as they gain momentum, taking a moment to recover from-

A bullet pings off the train car barely a half inch over his head. Hair waving wildly in crosswinds between carriages and eyes startled wide, Mordecai ducks behind the guide rail with a gasp just before another shot dings off the metal right where his head had been moments before. The tuxedo peers around the edge of the carriage behind his own and squints in the smog, until he sees two dark figures hanging off a guide rail two train cars down, attempting to fire as the rails jostle their aim.

His second adrenaline rush is more like a trickle, a heavy delay between noticing the danger and acting on survival impulses. He jerks back being the train car between them as a third shot pings off the metal guide rail and with the last of his remaining strength, Mordecai wrenches open the rear door and throws himself inside, slamming the door behind him.

The air within the train car is still, the trundling of the train and heavy rainfall muted by thick window panes and thick metallic architecture. A couple of yellowed or green pairs of eyes turn to observe their belated fellow passenger before they return to their books, newspapers or work. None take interest, nor inquire of his arrival mid transit, merely sneaking a covert glance as he stumbles down the middle aisle to an empty pair of seats at the front of the carriage and collapses against the window.

Finally safe, if only for a short period of time with his pursuers just two carriages down, Mordecai allows olive eyes to flutter closed as he can truly catch his breath. He barely feels the usually uncomfortable sensation of soaking clothes on coarse fur or the way his hair sticks to his face, his mind distracted processing the events of the night with the clarity of a man aware of his imminent demise. There's no time to dwell on misfortunes when it's at a premium.

He shuffles through data, from limited inventory to loose ends, until finally, the tuxedo has a course of action to follow. Sitting straighter in his seat, he first pulls a pencil from an inside pocket and digs it into the inner lining of a coat pocket, destroying stitches he'd added the week prior to extract the dime, and paper wrapped around it containing the safe code in his apartment bedroom.

Using a tissue from another pocket, he soaks up the worst of the water from his right knee and folds his right leg over the left. It's only as he begins writing he truly notices his left glasses lense is cracked, but it does not stop him from transcribing his last words.

Mother,

Forgive my unannounced departure. Circumstances relating to my employment have required me to travel on short notice. It may be some time before I am able to correspond again, but you will find savings in my rented room above the dry grocery adequate for living. Give Mrs. Kovitz the name Ezra and she will allow you upstairs. There is a safe hidden in the southeast corner behind the baseboard.

He makes sure to outline the safe code where it had faded slightly from formerly hurried penmanship. He may have sat there for hours procrastinating the end of the hastily scrawled letter were it not for a sudden  and short lived increase in engine noise and driving rain. The rear carriage door opening and closing, a shuffle of fabric as someone silently takes a seat, an additional passenger changing carriages amidst the rainstorm worrying for the pursued tuxedo. Incensed to finish his letter, Mordecai carries on.

Please use some portion of it to relocate to more suitable living space, expeditiously. Purchase somewhere if you are able. The building is poorly ventilated, molded and unhealthful.

-M

Before he can sign his name, a thick drip of red falls to the crumpled page. The tuxedo pauses to stare at it, distracted brain struggling to comprehend what it is and where it might have come from, before a thick warmth oozing down his lip preludes an accompanying second drip of blood joining the first. Mordecai rubs at his snout with the back of a hand and pulling back, is greeted by a smear of red on dark fur. His own body betrays him, coating his only note paper in blood of all things, which he cannot send his mother lest she worry or ask questions of unsavoury people in the city.

“Damnit, damnit.” He rubs his nose roughly on his sleeve, inadvertently smearing the blood across his muzzle, before ripping the bottom of the letter away to remove both his blood and the laments regarding Mother’s current housing. Casting a glance over his shoulder as he crumples the soiled paper in hand, he spots Brady’s sour face immediately beside a man Mordecai recognises as Gabriel’s chauffeur. 

They don't meet his gaze, but Brady smirks for the briefest of moments, hand thumbing something in his pocket. Dark ears folding flat as time speeds past, the non-stop train journey to Missouri rapidly closing in on its, and his, inevitable end.

Fatigued adrenals activate a final time when he turns forward to find an unfamiliar man in a flat cap also observing him over the back of a seat. This man watches him openly, a lit cigarette dangling from thin lips and a brow quirked in a question the young tom cannot decipher. Noticing the three men briefly sucks the air out of the carriage, a suffocating sensation making it nigh impossible to draw breath.

Fear isn't an emotion Mordecai entertained often in recent years. He'd become as adept at masking that weakness of character as any other, sequestering it beneath a stony façade and severe tone most were themselves too intimidated by to query. In the face of death however, a young tuxedo cannot prevent bile churning in his stomach any more than the rapid jittering of his leg, an outlet for the intense anxiety created by knowing his time is running short.

Mordecai inhales and the spell is broken; the man in front turns away and lights a cigarette, the train still trundles along its track, rain beating mutedly against thick panes of glass. With a ragged exhale, he digs in an inside coat pocket for the blank envelope that so recently held a thick wad of cash and presses the folded letter to his mother inside. The sealing glue is bitter on a dry tongue, taste lingering as he scrawls her name and address on the front.

This very envelope previously had once contained a payout, monies accrued through sanctioned abuse, suffering bloodshed at his own hand. 

As a kitten, Mordecai was enraptured by fairytales not for their whimsy and wonder, but the dichotomy of good and evil so frequently portrayed. Black and white, heroes and villains, light and darkness. The concept had made perfect sense; that badness was as inherent to a soul as was blood to a paper cut, to know even as a child whether you were good or evil. It was a comfort in an otherwise difficult childhood to know he was good and that would never change. 

Joining the Savage Corporation had congealed bad and good into various shades of malignant gray. In order to benefit his family he was forced to entertain fixed odds, inflated prices, lying and stealing his way to middle management in an organisation with its very foundations rooted in moral debauchery. The kitten so sure of his integrity had become tainted by shadows and soon, was no better than those who now sought his death.  

All before one final, poorly conceived embezzlement endeavour had left Mordecai staring down the barrel of his own pistol. He grimaces, pencil stilled on the last digit of his family address, his grip on the shaft so tight his hand shakes. It's almost poetic that the former vessel of such funds should deliver his final words home but the prospect that money tainted by moral ambiguity required his untimely demise before Mother could discover and utilise the funds?

In hindsight, that is nothing short of zemblanity, but now is not the time for lamentation. The tuxedo tom tucks his pencil away safely and leaning forward, he speaks softly to the man sitting in the row in front of his own. “Excuse me,” Mordecai begins, then clears his throat softly to attract more attention. Though his eyes never leave his paper, the man’s head turns toward him, which is enough for the desperate tom. “You wouldn't happen to have a postage stamp, would you?”

“Sorry kid, I don't.” The man goes back to his paper without pause, leaving Mordecai to mumble half hearted thanks and lean back in his seat, ears flat to his skull and tail tucked beneath his legs. While the response is polite, it's useless; even if he manages to alight in St Louis and find a post office, he can't afford to buy a stamp with just a dime to his name. 

Resisting the urge to surrender to anxiety he casts his gaze around and spies a finely dressed woman reading, one seat back and across the middle aisle. Suppressing the growing anxiety in his chest as the train speeds towards its destination, Mordecai turns in his seat to try a more direct approach. “Pardon me, uh… perhaps I could impose on you to post a letter? I wouldn't ask a stranger, except that it’s-”

The carriage plunges into darkness as it enters a tunnel, a cavern of semicircular bricks and mortar that couples as an echo chamber, exponentially and rapidly increasing the thrumming of metal wheels on tracks. A clamber of engines and a heavy trundle of bolts and divots of very carriage pulled forthwith all join the cacophony of screeching couplings, rattling window panes and screeching horns that only grows by the second, a locomotive thundering through a wonder of modern architecture with all the disruption that seemingly accompanies industry.

With the accumulation of these sounds, the carriage interior almost becomes intolerable. Yet Mordecai does not notice intense auditory stimuli that would normally cause him great discomfort. Instead, the sight of a man standing in the aisle, a glimmer of something in his hand catching tunnel lighting as it flashes past, has his blood run cold. White fingers tighten on the pivotal envelope still in his grasp as desperation devolves into desolation, for as Close as he came to achieving his objective, this is where it must end.

The figure takes a step closer, the cover of darkness and intermittent flashing of passing lanterns keeping his identity shrouded in mystery. The glinting in the figure’s hand comes closer and the tuxedo flinches, eyes squeezing shut and head turning away. Final breath caught in his throat, he awaits an inevitable oblivion as overt peril draws his overwhelmed mind inwards, to a nauseatingly empty vacuum sans the rapid biological metronome drumming in his ears.

Ba-dum. Ba-dum. Ba-dum.

Chest burning with depleting oxygen, his body tense for anticipated pain, it takes until early morning light falls on his face as the train exits the tunnel for the tuxedo to date squint as his executioner. Mordecai is not met by the barrel of a gun however but rather, a visage he will remember for decades to come as a moment his life changed forever; a gray tabby with pure white across his muzzle, a glinting cane under one arm and a newspaper under the other, the pale tips of his fur illuminated like a beacon of hope by the sun’s tender morning rays.

While not a particularly spiritual man, Mordecai is captivated by the imagery even as the tabby takes a seat directly opposite, placing his newspaper down out of sight before resting his cane against a hand. Impeccably dressed; a sharp three piece of better quality than anything Mordecai could dream, fitted leather gloves and manicured whiskers, he's flawless even as he stoops to spark up a cigarette, a habit the tom holds with a deep level of scorn as a wasteful vice.

As if feeling the young tom's gaze upon, the man tilts his head to regard Mordecai in return. Despite his obviously ruffled appearance, this businessman looks upon him without distaste or irritation, but a curious interest. Dark ears turn forward as yellow eyes meet olive across the gangway, a long moment of mutual, silent study before the gentleman turns his gaze to the rolling Missouri fields outside.

Time speeds past and soon, the train is pulling into its final stop in St Louis, Missouri. Palms slick with a nervous sweat, Mordecai watches as the gray tabby stands and disembarks without a second glance, leaving the newspaper on his seat. Mordecai’s only respite is seeing the unfamiliar man in a flat cap at the front of the carriage follow, after briefly meeting his anxious gaze. Not another assassin then, but a concerned third party, or perhaps a bored traveler concocting gossip for his next tiresome meeting.

The relief is short lived, for when the well dressed woman also stands to depart, it leaves him alone with Brady and his chauffeur. The tuxedo feels his nerves fray as they stand, wordlessly reaching into their jackets, cold eyes and wicked smiles telling of their intentions. Breath so heavy yet fruitless, the young tom feels he might faint. He clutches onto the seat in front of him and murmurs a quiet plea to the God he’d lost faith in years prior. 

One last chance, that's all I ask. One more-

It's surely coincidence alone that he notices the glint across the aisle at that moment, a metallic shimmer catching the sun’s still virgin rays. Wide olives settle on the newspaper the gray tabby left behind and finally sees the gift wrapped within; a revolver with an ornate handle, ivory or bone to contrast a brown casing and the sleek sliver of a metallic barrel. A custom piece, one not left behind easily, and a clear direction for a lost kitten to take.

Mordecai dives across the center aisle just as a shot embeds in the seat in front of the one he'd occupied. He crouches between one bench seat and the backrest of the next as he retrieves the revolver, a heavier kind than he's used to. A swift check of the chamber to know precisely how many practice shots he has before he can't afford to miss - four shots, far more than necessary to recalibrate - and he's ready to take this final chance seriously.

With the swift mobility he's come to rely upon, the tuxedo rises, aims and fires at the chauffeur within a second and a half. As expected, his aim isn't sure with an unfamiliar weapon; a shot intended for the chest instead rips through the chauffeur’s left bicep. Mordecai ducks just as Brady curses and takes a shot, the bullet searing a path through air so close to his face, the tuxedo feels the heat of expulsion graze his face before the bullet embeds in the seat behind him.

The proximity doesn't phase Mordecai now he has a tool to wield. He takes a breath and makes a swift stab at ballistic trigonometry. Intersecting axes, angles and calculations overlays the memory of his failed shot behind sharp olive eyes until the basic math completed, Mordecai once again rises, aims according to estimated mathematical adjustments, and fires. This shot lands just shy of his intended mark, striking the chauffeur in the lower right lobe of his heart for a fast, fatal wound.

Blood blossoms on a white shirt as the strong scent of iron fills his nostrils. The man screams in terror, a gun clatters to the floor as shaking hands clutch at a punctured heart, desperate wails swiftly suffocated by blood rising up his esophagus. Brady hesitates, his gun raised but eyes averted to the chauffeur. It's all the time Mordecai needs to reload the chamber, adjust his aim and finish the job.

Only once Brady hits the floor beside his compadre does the world flood back into focus; screams and shouts echo beyond the train car, fluffy of shadows in all directions as panicked passengers scramble to flee the platform. A whistle screeches over the noise as calls for police cut through the chaos, orders for men to surround and search each carriage issued in short order. Mordecai has to get out of here, before he's apprehended holding the murder weapon in a strange city, with no papers or credentials.

Pocketing the ornate revolver, Mordecai skulks low between the seats to the rear exit, diligent as to not step in the rapidly widening pools of crimson around his former pursuers. Unseen from without as chaos unfolds, Mordecai unlatches the door and slips into the masses, joining civilians fleeing the gruesome scene of a double homicide that will make the papers in just a few hours. 

A Shadow in St Louis: Double Murderer Disappears Without Trace from Overnight from NYC!

[bronx-bomber87]

Happy Tuesday evening lovely fandom :) The work flirts continue on and in front of EVERYONE at the station might I add in this one. Like they’re not even trying to hide it at this stage in their relationship. God I love s4. Lets get this started eh?

4x03 In the Line Of Fire

We first catch Tim talking to Grey in the locker room. (Lucy did appear earlier but was for SL don't care about with Nolan ha) Wade suggests a Sergeants aide to him. Tim being Tim sees it as a sign of weakness. Like he can’t handle his workload. He is defensive and says he doesn’t need one. Grey knows where his head is and says it’s not weak to need one. They're short staffed it makes sense to. I LOVE LOVE LOVE Wade suggesting Lucy to him.

He’s not wrong they’re seamless together. They miss riding together (not that either will admit this) It makes perfect sense on paper. You can see the wheels turning in Tim’s head above as he considers this. Now I think his immediate gut reaction is Lucy. Not a doubt in my damn mind. But as he continues to mull it over he sees the cons of it. If you’re not in tune with Tim you might not get his motives for not choosing her right away.

We will delve into that later in the episode. But I know when he thinks on it more it’s because he wants to protect her. On multiple levels by not choosing her. I love this about him. His first instinct is to protect Lucy above all else. Emotionally, her career, you name it he’s protecting it. Love this man.

Friggin Nolan overhears this and jumps the gun. What else is new? Foot in mouth disease is his go to. He is causing unecessary friction because he can’t keep his mouth shut. (I mean it leads to a delightful episode for them but I have to give him shit.) It's setting both Tim and Lucy up for failure with the aide news. Nolan telling Lucy that Tim is going to pick her to be his go-fer with such certainty does just that. Saying he heard Grey tell Tim to do so. Getting her all excited he’s going to choose her.

When Tim picks Webb instead Lucy is CRUSHED. Tim is looking in her general direction too which is even more misleading. Her actions above are screaming very loudly how upset she is. I love how much Lucy uses her hands when she is upset. She fidgets and doesn’t know what to do with herself at all. I’m Italian so I can relate haha I feel like she is going through so many emotions in this moment. Hurt he didn’t choose her, agitated that he chose Webb, confused why he would choose anyone but her and lastly pouting because he didn’t choose her.

Petty Lucy is born in this moment and I love it. It's like being told your crush is gonna ask you out and then doesn’t…. You also know she’s going to be jealous and try and lure it out of Tim why he didn't. Because well Lucy LOL She’s doing all these things while Nolan is catching Grey up about his case. Having a loud pout session front and center for Tim and all to see haha Makes me laugh so much. She is deeply upset and everyone will know about it haha

Lucy gives Nolan more grief (as she should) about misreading the Sergeant-Aide situation. Now she’s in analysis mode. Trying to break down why he did what he did. Nolan stating the obvious that it's bothering her Tim didn't pick her. (Duh. You should be a detective. Oh wait....) Lucy explains why this opportunity would be beneficial to her above. She’s not wrong but she is also refusing to beg. Wants him to come crawling to her. Admit he wants her there not the other way around. Oh petty Lucy you are hilarious to watch.

Doesn’t want to give Tim the satisfaction of having her ask. Or having her fate in his hands again. Wants him to be the one to give in and want her around. To Lucy she’s earned that spot with him. Wants Tim to recognize she should be his aide. Nolan should be smart enough to stay clear of this couples spat. But it is Nolan so…he is dealing with her going off haha Lucy finishes off her rant telling John if there is one thing she knows its Tim is definitely missing her right now.

We cut to Tim having a blast with Webb LMFAO They're talking about the game last night. How Webb has season tickets to both the Dodgers and Angels. That he can hit him up anytime for some. You can tell Tim is having a good time with Webb. If Lucy could see this interaction right now it would break her heart. Not really missing her at the moment haha He’s in sports heaven right now.

The way Lucy is reacting to Webb being Tim’s aide is so funny. She literally stomping her foot like but that’s my Tim and my position. Minute she sees Webb at the food trucks she’s on him. Lucy is so jealous they’re having a good time. The way she says 'Really? that's....awesome' (Sure it is..) Sabotage becomes her next play.

Asking Webb if he’d like to know how to stay on Tim's good side. She checks behind her to make sure Tim isn't catching her trickery ahaha She knows he wouldn't like these 'tips'. Smh. Lucy Chen you are playing dirty…. Transparent as a glass house my dear. They get interrupted by a sniper shooting a car that crashes into their lunch spot. So we don’t get to hear these ‘tips’ of hers. All we know is it won't end well for Webb.

We cut back to Webb and Tim in their shop. Talking about the weird case they have right now. He starts going on about his cat personality. Tim’s face. I’m dying. Eric is the king of expressions and I'm laughing so hard. He is so uncomfortable. When Webb asks Tim what his is? It's then Tim knows where this is stemming from. He immediately asks if Lucy put him up to this? Knows his wife too damn well. Like he wasn’t going to figure that out ASAP. Or maybe that was part of her plan. To torture him and have him know she was the reason behind it. These two are ridiculous and I love it.

So begins the ridiculous childishness that is these two in this episode. (I'm loving this BTW) Well Lucy was already there. Been living there for a hot minute heh. Now that Tim knows she wants the job it’s game on. Because why talk about this like adults? When they can work flirt this to death. LMAO Not only that but torture each other along the way. Be more married you two my god. They clearly miss riding with one another but won't be the first to blink. Their competitive nature not letting them yield any control.

The amount of flirting going on in this scene. My god. And it's happening in roll call of all places. Shamelessly flirting in front of the entire station. Tim calling Lucy out for wanting the job. Her innocently saying 'What?' Like she didn’t just sabotage that man out of insane jealously and pettiness LOL

Tim straight up calls her out on it. Saying the cat personality was ALL her. Lucy continues her clueless act with the hint of a cocky smirk. She’s trying so hard not to break this battle of wills they have going on. Her body language betraying her so badly. Tim is onto her and it’s so damn funny. Tim thinks he has the upper hand in this conversation. Knowing she wants the job and is very aware of her sabotage. Thinks the scales are tipping his way right now.

That is until Lucy crushes him with her words and flirting. He’s stunned into silence. You know this man loves it when she does this stuff. He’s mad he likes it. Lucy drives him insane and he goes back for seconds every time. I love how Tim is so caught up in this flirt he forgets where he is. The way he double checks behind him is hilarious. Like she said something dirty to him in public and he’s red baha Also making sure no one else is hearing this convo of theirs. How she just owned his ass during it. Can you spot the married couple?

To continue the petty childish run they're currently on Tim gets back at Lucy quickly. Saying he wants to spread the love. Give someone else a shot at being his go-fer. Her face in that second gif LMFAO. Lucy could not be more smug if she tried. The way she pumps her eyebrows at him. Thinking she has won this battle of theirs. He’s going to pick her. Game over. She's wondering what to him so long. Then he picks someone sure to get under her skin. Smitty…

He makes sure to look her in the damn eye as he says it. The audacity of this man. He knows EXACTLY how to get under her skin. Looks her in the eye, smiles that devious smile, and says Smitty. Such an ass lmao but he’s her ass. Drives her just as insane as she drives him. I’m sure the room is thinking. ‘God just make out already’ LOL Damnit love them so much.

Lucy notes her frustration very loudly. Grey may not totally understand what’s going on but knows it’s something. Calls Lucy out on it. Asking if she has a problem? She is immediately defeated with a ‘No….’and ends with a even sadder ‘sir….’ Tim has won this round and she can’t do a damn thing about it. These two are so ridiculous and I love them for it. It’s like she forgot their little feud was in front of Roll Call and Grey had to bring her back to reality poor girl. lol

Lucy gets her's in the end though. Smitty being Smitty. Tim is regretting his decision so much already. He's telling Tim all the things he can't do. Lucy hangs back and is enjoying the show. Her smugness returns quickly as Tim has to load the war bags cause of Smitty's 'bad back' LMAO

I love how the scene starts with her eyeing him across the bullpen. She come over and asks why Smitty isn’t doing the paperwork? Tim says he claims to be allergic to paper LMFAO. Lucy's smugness continues. Tim tells her it’s not funny.... Leads her right into her convo with him. Saying he should’ve just asked her instead. Tim replying he was trying to do her a favor. That people might view her riding with him again as a step back. Now we can loop back to why he hesitated in the first place in detail.

You can hear the hurt in her voice. The way she feels offended that he would prefer the station to know he’d rather ride with Smitty than her. When its anything but that. I talk about Tim always wanting to protect Lucy. Whether that is physically or emotionally. His first gut reaction is to shield her. That’s what he was doing in this moment. He respects her so much and thinks so highly of her as an officer.

The last thing he would want ANYONE in the station to think was she didn’t earn it. He definitely didn’t want to be a proponent of that either. Tim has seen how hard she's had to work to get to a good place in her career. Last thing he would want to do is jeopardize that with people thinking otherwise. Just because he wants her back as his partner. I love that so much. He’s guarding her career in this moment. Doesn’t want her to endure any unnecessary BS for being his aide. Refuses to be selfish and puts her first.

Also I think he is aware people know of their dynamic. That people will think she got it for unsavory reasons. Reasons he would never allow but people will think it anyways. His intentions are so very Tim Bradford in how crazy honorable they are. Lucy is listening intently and understands why he’s doing it. But she can’t help but fight against it. Saying screw what others think. Voicing how archaic it is for people to just assume it's something untoward cause she's a girl and he's a boy.

Tim saying he’s very handsome boy to her LMAO It’s ok babe she knows you are. Painfully aware of it really. He needs that validation from her and it cracks me up. Not the first or the last time he does this either. Lucy’s ‘oh gag’ Oh please woman. You’d jump his bones in a heartbeat if you could. That look in 5x12 alone when she is checking him out once his shirt is off contradicts this moment so much. Showing what a lying liar she was. But sure let’s pretend you think he is ‘Oh gag’ biggest lie yet my friend haha

This next section is my favorite part. Their battle of wills continues down to the friggin wire. From Lucy calling it aide and Tim saying go-fer. HA Then her battling back with why she wants to be his aide (not go-fer) I LOVE the way he is looking at her while she passionately defends why she wants this. Careful Timothy your feelings of admiration/love are showing. Lucy wants this so badly. People and their thoughts be damned.

She’s impressing him once again and it’s written all over that devilishly handsome face of his. Lucy saying what she could get out of it alone is worth putting up with him and his ways. (Like you don't want to be doing this anyways) D and I talked about how this before. How part of her wanting to be his aide is more than just a promotion. Do I think that is truly part of it? Yes. I have no doubt about that. I also think part of it is the safety and familiarity of Tim.

He supports her in a way she will never get with Nolan. Jackson is gone and all she has left emotionally is her person. Her safe space. So her ‘putting up’ with him again is her really just missing him. Craving that familiarity. They both miss each other and this is a way of getting that back. I think Tim’s initial instinct when Grey brought her up was an immediate yes. Then he got his in his head and wanted to protect her instead of what he wanted. Which was to ride with her again.

Before we continue let’s first note how sexy his biceps and forearms are in this part. The way he crosses his arms in a way that just does things to me. Sex on a stick. Just his arms. Also the forearm porn is fantastic. I’m in a river of drool at this point LMAO Man is so fine it’s unfair really. No one should be this handsome and sexy doing something so simple .*ahem* Anyways I do adore Lucy mirroring his body language. Crossing her arms as well. Still not willing to give into him. Look at the stare down in the third gif.

She is smirking because she's on the verge of victory and knows it. Making Tim be the one to break and go for it with her. It’s funny to think about with S5. Because he HAD to be the one to go for it. They were gonna stay in a holding pattern unless he did. Took the leap and the risk. Just like he does here. He’s contemplating holding out longer. The way he taps his fingers on that delicious bicep deciding. He cracks and says ‘What the hell. Let’s do it.’

Lucy lights up like a Christmas tree. Heart eyes galore for him. Tim tells her to show up to roll call an hour early. That way he can go over new procedures and such with her. Lucy thanks him all smiles and so grateful. She throws down one last work flirt as she is leaving about paperwork. He is just as flirty back with his signal for her to go haha Gah I love these two so much hurts my soul lmao. So much chemistry it blows my damn mind. They’re so into each other and don’t have a damn clue. Ah idiots in love. Truly.

Last bit I adore her shirt ‘Tell your dog I said hi' I would so wear this shirt. Very fitting for Melissa. Love Lucy wearing it. Damn I love that episode one giant flirty moment . S4 truly is a gem. All this suppressed UST/love streaming through 22 episodes.

Side notes-non chenford

I love Aaron and Nyla bonding in this one. I’m so glad she chose James. He was the obvious winner between the two. I love watching them develop they so cute. Aaron fixing things at the end was very lovely.

Thank you as always to those who like, comment (oh how I love the comments) , reblog and such. You are the real MVPs. Shall see you all in 4x04 :)

[monmelia]

Monmelia Analysis Part 5: Stepping Back to Move Forward (21x02-21x06)

Okay this blog took way longer than planned, but it does bring us up to date with all of the current eps at least, because I thought it made sense to tie together all the Season 21 Monmelia scenes so far (since, admittedly, they’ve been pretty limited). Let’s start with 21x02, where our girlfriends girlies are reunited. Amelia has been reinstated and we can assume that it’s Monmelia’s first interaction since Amelia asked Monica to go out. The first thing I noticed when I watched this scene was how Monica instantly directs her attention from her patient’s scans to Amelia. She’s literally mid discussion with Levi and Mika, but as soon as she hears Amelia’s voice, she’s distracted. It’s as if everything else fades, giving serious “I’d know that voice anywhere” vibes. On Amelia’s side, her body language reads as awkward and perhaps a bit nervous, at least until her professional demeanour kicks in when Monica asks her to take a look at the scans.

The scene, however short, further highlights Monica's trust in Amelia's expertise and subtly reinforces their dynamic as equals who complement each other professionally. Monica clearly respects Amelia’s skills to figure out the right approach when she can’t herself. For a character as composed and confident as Monica, admitting uncertainty—and asking Amelia for help—is significant. It not only shows her professional humility but also hints at the personal comfort she feels in Amelia’s presence. This brief exchange is layered: Monica deferring to Amelia suggests an unspoken acknowledgment of her talent, while Amelia’s willingness to shuffle her plans to help hints at her continued interest in Monica, even if it's veiled in professionalism.

This is further explored in the next scene. Amelia’s suggestion of a coordinated dual approach is a bold, innovative solution, and her turning to Monica to gauge her opinion underlines their collaboration and trust. By asking Monica directly if she thinks the surgery is too risky, Amelia isn’t just seeking approval—she’s inviting Monica to weigh in as an equal partner in a complex and high-stakes decision. They have the balance of Amelia offering a solution and Monica making the call to proceed.

This scene not only moves the medical plot forward but also continues to build the subtle undercurrent of their personal dynamic—one based on mutual admiration and respect and their growing comfort in working closely together. 

The seamless teamwork between them continues during surgery where they successfully remove the tumour on Cal's spine. Their joint collaboration achieves a challenging goal, and we see once again how well they work together. How many times can this show reinforce that fact but not have them date or at least kiss, come on! When they later discover that Cal has a malignant tumour in his brain and doesn’t have long to live, the devastating reality of their work hits hard.

This revelation sets the premise for their final scene of the episode, where Monica and Amelia find solace in each other. And should I mention the fact that the song playing in the background of this scene has the lyrics "I see your face, and then I am okay. So pin me to the floor, give me something to long for." Sharing a quiet moment over Chinese food, their interaction becomes a way to process the day’s events together. It’s not just about the loss of Cal, but also about how they subconsciously lean on each other for strength. We see Amelia willingly opening up about her personal life, talking about Meredith and her family life alongside her professional challenges.

Amelia’s line about catching two interns kissing in the elevator is a light-hearted attempt to shift the mood, but her reflections on their days as interns reveal a deeper vulnerability. She’s yearning for a time when things felt simpler, when the future seemed full of possibility. Her honesty about feeling directionless after everything that’s happened—both professionally and personally—shows how much she’s struggling, especially with the upheaval in her department. But fear not Amelia, because for every case your department reassigns, there’ll be a case of Monica’s that she trusts you enough to collaborate on.

It could also indicate a deeper significance in that Mika and Jules, the interns in question, are unapologetically embracing their relationship, diving headfirst into the risks and rewards of being together (at this point anyway). This stands in stark contrast to Monica and Amelia, who are holding back, cautiously navigating their connection. While Mika and Jules symbolise spontaneity and seizing the moment, Monica and Amelia seem weighed down by their personal histories and fears of vulnerability. Amelia’s reflections on being an intern herself—when “everything was possible” and life felt brighter could also hint to a longing for a relationship as bold and carefree as Jules and Mika’s. She can remember being in relationships like that when she was younger, but now she is in a dynamic that is full of potential, yet held back by timing and the weight of past experiences. 

This isn’t a personal reflection on Amelia’s relationship with Monica, but rather a natural trajectory of being older, where decisions are often more cautious and considered. Unlike the carefree intensity of youth, Monica and Amelia’s connection has the benefit of maturity, allowing them to approach each other thoughtfully. In the long run, this measured pace could actually be a good thing, creating a strong foundation built on understanding, respect, and shared values rather than impulsivity. Taking the time to move slowly allows their relationship to grow organically, and it may ultimately deepen their bond, providing a more lasting connection.

Monica’s response, while brief, is meaningful. When she hands over her food and says, “I do,” it’s not just about knowing what to do next—it’s a quiet affirmation of her steadiness and willingness to be there for Amelia. It’s a simple gesture that speaks volumes about the comfort and understanding they’ve found in each other. Monica’s calm, grounding energy contrasts with Amelia’s uncertainty, reinforcing how they balance one another.

And can we talk about the food sharing in general? Because I don’t know about you guys but, I don’t share my food with just anyone. I love my food, so I have to really like someone to share it, so either Monica is just way nicer than me or she really likes Amelia (let’s go with the latter).  Sharing food is a universal gesture of care, and in this moment, it becomes a quiet but powerful way for Monica and Amelia to connect. After an episode filled with weighty decisions and emotional strain, this moment strips away the professional layers, leaving just two people finding comfort in each other’s presence.

Ultimately, this gesture encapsulates the quiet intimacy that defines Monica and Amelia’s relationship at this stage. It’s not flashy or overtly romantic, but it’s meaningful, showcasing their shared respect, understanding, and willingness to be present for each other in the moments that matter most.

My point here is that as much as the little screen time between them this season has been frustrating, and the slow burn is burning a little too slow, their dynamic still continues to build in meaningful ways through their brief moments together. Each interaction, no matter how small, adds another layer to their relationship, whether it’s through their impeccable teamwork, shared vulnerabilities, or quiet moments of connection. These subtle developments reinforce that their story is steadily unfolding, laying the groundwork for something deeper and more significant over time.

Or I’m just delusional.

But if you want to carry on being delulu with me then let’s talk about 21x05, an episode where they did actually get a good amount of screen time, and my favourite Monmelia episode so far. We begin with a Winston scene, but as far as those scenes go, I’m going to call it a win for us (no pun intended). It’s just yet another example of how Winston is purely a plot device for Monmelia. His role isn’t about building his own story but rather highlighting the unresolved feelings and growing complexities in Monica and Amelia’s relationship.

This scene also reinforces again, the fact that Winston and Monica’s relationship is casual and non-committal. The first thing that highlights this is Winston’s comment about not seeing Monica in a while, which suggests they haven’t hooked up recently. This shows that their dynamic lacks consistency or depth—it’s more of a situational relationship, convenient and light. The discovery of the lingerie, which doesn’t belong to Monica, adds another layer, implying that Winston is hooking up with multiple people. However, the way Winston and Monica laugh off the mix-up without any jealousy or tension further solidifies their casual connection. There’s no possessiveness or emotional investment, indicating that neither of them sees this relationship as serious.

The scene shifts, however, when Amelia enters, and we see an entirely different dynamic. Amelia’s facial expression—a mix of what appears to be confusion and hurt—suggests she’s caught off guard. It’s possible she feels awkward and unsure of how to process the situation, especially given her growing feelings for Monica. Her hurt expression likely stems from interpreting the scene as something it’s not. To Amelia, this interaction may read as Monica being closer to Winston than she actually is, leading to feelings of rejection. When Amelia asked Monica out, Monica’s justification for not pursuing it was that she was going through a divorce. Knowing Amelia, she likely perceived this as a rejection regardless, but now, seeing Monica acting shifty with her former brother-in-law and lingerie hanging out of her pocket, the rejection feels even more pointed.

We, the audience, know that Monica is pursuing Winston because she knows it doesn’t have the risk of turning serious, a point I explored in my last blog. However, Amelia doesn’t have this context. From her perspective, the girl she likes appears to be entangled in something with Winston, adding to her sense of vulnerability and rejection.

Monica’s reaction is equally telling. Her awkwardness and immediate decision to hide the lingerie reflect discomfort with Amelia seeing this interaction. Monica’s sheepish demeanour suggests that she’s worried about how Amelia perceives her, and her quick switch to professional mode could be a way to diffuse the tension and regain control of the situation. This reaction shows that Monica is aware of Amelia’s feelings, even if she hasn’t acted on them. By hiding the lingerie, Monica likely doesn’t want Amelia to know she’s hooking up with Winston, as it’s something she views as insignificant and not worth causing Amelia hurt over. She probably feels even more mindful given the fact Amelia asked her out and she didn’t say yes. This suggests Monica recognises the potential for her actions to affect Amelia emotionally, even if she isn’t fully ready to confront what that means. Her attempt to shield Amelia from this moment reflects a desire to protect her feelings, further emphasising the growing awareness Monica has of their dynamic and the weight it carries.

This is further evidenced in the next scene, when Monica attempts to address the situation. This reflects her awareness that Amelia may have interpreted the earlier situation with Winston incorrectly. Monica likely feels the need to clarify because she values her connection with Amelia and doesn’t want this misunderstanding to create a rift between them. This further suggests that Monica recognises the weight of Amelia’s feelings—or at the very least, the importance of their relationship. The fact that she even attempts to explain, despite Amelia shutting it down, signals that Monica cares what Amelia thinks. It could just be that she doesn’t want to hurt her, or it could represent Monica’s own feelings for Amelia. More on that later!

One thing I noticed is that Amelia’s behaviour in this scene is very standoffish, a stark contrast with her more open, warm demeanour in previous interactions with Monica. This shift reinforces the idea that she feels hurt and rejected after seeing Monica with Winston. Amelia’s decision to keep things strictly professional—delivering a quick update and immediately trying to leave—shows she’s attempting to protect herself emotionally. Her defensive response, “None of my business,” is likely her way of shutting down further explanation to avoid hearing something that might hurt more. It’s a classic self-preservation tactic: feign indifference to maintain control over her emotions.

This scene captures their emotional misalignment perfectly. Amelia feels rejected and retreats into professionalism to shield herself, while Monica, perhaps sensing this retreat, feels the need to reach out and explain. However, Monica’s hesitation and Amelia’s defensiveness create a barrier neither is ready to breach. The tension highlights their mutual discomfort and growing awareness of each other’s feelings, setting them up for further development.

But in the next scene, we see another shift, as Amelia steps in to support Monica under pressure. Monica’s visible struggle as she tries to reassure Ofelia’s parents showcases her emotional investment and the immense responsibility she feels for her patients. However, the weight of the situation becomes overwhelming, and for a moment, Monica appears to lose her composure, as though dissociating under the pressure. I actually have a theory about this particular situation and why Monica may have reacted this way, but I talked in depth about it in my last blog so I’ll link here if you want to check that out.

Amelia’s response is instinctive, all of the earlier awkwardness with Winston is irrelevant now and Amelia favours supporting Monica and reassuring the patients over guarding her own vulnerabilities. It’s as though Amelia subconsciously senses when Monica needs help, stepping in with a calm, reassuring tone that reorients the conversation. Amelia’s words—acknowledging the parents’ fear while emphasising that Monica’s team is ready to act—bring the focus back to the expertise and readiness of the medical team, something Monica seemed momentarily unable to communicate.

What’s significant here is the way Monica looks to Amelia for support before admitting they’ve lost contact with the helicopter. This silent exchange, followed by Amelia’s intervention when Monica struggles, reflects the trust and understanding between them. Monica’s reliance on Amelia in this moment isn’t just professional—it’s deeply personal, as though she knows Amelia will step in when she falters.

This once again demonstrates how well they balance each other: Monica brings steadiness and leadership most of the time, but when she falters, Amelia’s ability to take control with empathy and confidence shines through. It’s a powerful reflection of how their relationship—both professional and personal—has evolved and how they can be pillars of support for one another.

The rare dynamic of Monica losing her composure and Amelia having to stay strong to support her continues into the next scene. Monica’s reaction here is raw and unguarded. Her spiralling thoughts—fixating on the worst-case scenario—reveal how deeply she internalises the responsibility of her role. Her behaviour here suggests a struggle to maintain composure, as the weight of the situation overwhelms her.  It also speaks to the tremendous pressure she places on herself to protect everyone under her care, even in situations beyond her control. This moment starkly contrasts with the calm, collected Monica we’ve seen previously, reinforcing her humanity and the emotional toll her profession takes.

Her admission that she “had to go to the worst case scenario” offers insight into her psyche. This pattern of thinking likely stems from past trauma, programming her to anticipate the worst to emotionally prepare herself. My own theories aside, I hope we get to see more of Monica’s backstory soon to unravel this. This tendency to anticipate the worst could explain her hesitance to explore something deeper with Amelia. If Monica has experienced significant losses or emotional disappointments in the past—such as the breakdown of her marriage—it’s likely that she’s programmed herself to keep relationships at arm’s length to avoid further pain.

This may also explain why she’s momentarily chosen Winston, a low-stakes, casual connection, over Amelia, whose potential as a serious partner would require Monica to confront her fears of vulnerability and risk. Subconsciously, Monica might be projecting this “worst-case scenario” mindset onto her dynamic with Amelia, fearing rejection, failure, or emotional hurt if things don’t work out. It’s a protective mechanism, keeping her from fully investing in something she knows has the potential to be meaningful but also more emotionally challenging.

Amelia’s steady and empathetic response in this scene is significant in this context. By meeting Monica where she is emotionally and offering advice about accepting situations “at face value,” Amelia is gently challenging this mindset. She’s suggesting, whether consciously or not, that Monica doesn’t always have to brace for the worst—that sometimes, taking things as they come can allow for forward movement and growth. This moment subtly reinforces how Amelia could help Monica break free from these patterns, opening the door for a healthier, more open connection between them.

Additionally, Amelia’s words offer insight into her own experiences, making her advice carry even greater weight. When Amelia says, “I’ve experienced enough that I always go to the worst case scenario,” she’s revealing that she understands Monica’s mindset on a deeply personal level. Amelia, too, has been shaped by trauma—losing loved ones, battling addiction, and navigating grief—and has likely developed similar coping mechanisms of bracing for the worst. This shared tendency connects them, as both of them have used this mindset as a way to maintain control in situations where life feels unpredictable.

However, Amelia’s advice to “accept the situation at face value so you can keep moving forward” reflects her growth. While she acknowledges that she still struggles with this instinct, her words suggest that she’s learning to balance the need for emotional anticipation with the importance of staying present. Her willingness to share this wisdom with Monica subtly positions Amelia as someone who could help Monica navigate her own struggles with control and vulnerability.

On another level, Amelia’s advice carries a poignant double meaning. It not only applies to Monica’s crisis but also seems to mirror Amelia’s own efforts to accept her feelings for Monica and move forward despite what she perceives as rejection. Amelia likely views Monica’s interactions with Winston and her reluctance to act on their connection as signs that she isn’t ready or interested. Yet, Amelia’s ability to stay present and offer emotional support in this moment—despite her own feelings—shows her maturity and capacity for empathy. It’s as though Amelia is applying her own advice in real time: accepting the situation at face value while continuing to show up for Monica when she needs it most.

This dual-layered moment reveals how both of their pasts inform their present behaviours and how their connection could become a source of healing for one another. Monica, who fears emotional risk, and Amelia, who understands the pain of vulnerability but still chooses to offer her support, create a relationship rich with potential for growth and understanding.

This scene provides a nice parallel to the Gem Crush scene, but with a deeper emotional intensity. In both cases, Amelia instinctively knows when Monica needs someone to steady her, but this scene highlights a growing emotional intimacy between them.

While the Gem Crush scene hinted at their chemistry and ease with one another, this moment takes it further, showcasing a level of trust and vulnerability that wasn’t as overt before. Monica isn’t just frustrated; she’s overwhelmed by the emotional weight of her responsibility. Amelia stepping in while Monica visibly struggles shows how their dynamic has evolved from casual camaraderie to something more personal and supportive.

What’s fitting in all this is the song choice in the background of this scene (Breakdown by Ships Have Sailed). Everything means something to me so I looked into the lyrics and the meaning of the song, and the way it just fits them??? The band’s frontman describes the song as “an exploration of our lowest moments, the times we’re broken, exhausted, completely tapped out and we just need a lifeline.” He goes on to say that it was born from conversations with his co-writer where they talked about how hard it can be to admit that they needed somebody to hold them upright during those difficult times. This is representative of the fact Monica showed her vulnerability enough to confide in Amelia, and though she might have found that really difficult and seeking comfort from someone might not come naturally to her, she relents and lets Amelia in. It could also foreshadow a dynamic in which Amelia helps Monica through even bigger things in life, i.e. her divorce, past traumas etc.

With lyrics like “We’re all looking for a lifeline, a way to make it through the storm,” the music reflects both the literal storm affecting the helicopter’s journey and the emotional storm Monica and Amelia are navigating. Monica’s visible breakdown and Amelia’s role as her “lifeline” highlight the song’s central theme of finding support amidst chaos.

Read that again. Amelia Shepherd is Monica Beltran’s lifeline. 

The repeated message of breaking down captures Monica’s current state, while the song’s hopeful tone suggests that breakdowns can lead to breakthroughs—a sentiment that applies both to Monica’s struggles and to the progression of her relationship with Amelia. Additionally, the lyric “I’ll hold on, I won’t let go,” mirrors Amelia’s actions. Despite her own internal conflicts—her perceived rejection by Monica and witnessing Monica’s dynamic with Winston—Amelia chooses to stay present, offering steady support instead of retreating. 

This scene not only deepens their individual character arcs but also solidifies the connection between Monica and Amelia. The parallels to earlier moments, combined with the song’s poignant lyrics, emphasise how their relationship is slowly but surely developing.

Now to the final scene of the ep, one that will have people saying it’s the end of their chapter and it’s them giving us closure. Well, I don’t think so. And here’s why…

I’m starting with acknowledging Monica’s recognition of Amelia’s role in calming her down, because it’s an important moment for them. Up until now, we’ve often seen Amelia supporting Monica in subtle ways, but this is one of the first times Monica openly acknowledges it. By admitting, “I was freaking out and you calmed me down,” Monica demonstrates an emotional vulnerability that mirrors Amelia’s earlier willingness to step in and provide support. This moment shows how their relationship is not one-sided—they both bring value to each other, creating a dynamic where support flows both ways. Remember in my first blog when I said I wanted Amelia to find a lasting, healthy love who challenges her and embraces her flaws, and loves her for exactly who she is. But I want her to do that for them in return, and to show up for her partner in ways I know she’s so capable of? Well Monica Beltran was clearly the answer here.

But then we have Amelia’s response; “It’s the irony that you would see if you knew me better.” This line is deeply reflective of Amelia’s character and highlights a gap in their understanding of each other. Amelia’s history of impulsivity, struggles with addiction, and emotional volatility likely make her see herself as someone who is far from a calming presence. The irony she mentions stems from this self-perception—she finds it almost laughable that Monica, someone she clearly respects, would view her as a grounding force. It subtly suggests that Amelia doesn’t feel fully “seen” by Monica yet, and while their connection is growing, there’s still room for them to learn more about each other on a deeper, personal level.

This line also hints at Amelia’s emotional growth. While she may not see herself as someone inherently calming, the fact that she successfully supports Monica during her breakdown shows how far she has come in her own journey. It’s a reminder that Amelia is more than her past struggles—she is capable of being a supportive, reliable presence when it matters.

Monica’s decision to bring up Winston for the second time is very telling. As I said earlier, once could be interpreted as Monica trying not to hurt Amelia’s feelings, but twice feels deliberate. This repeated effort to clarify that her relationship with Winston is “just casual” could mean a couple of different things. On one level, this could be a sign of deeper feelings—Monica may subconsciously want to keep the door open with Amelia or ensure that Amelia doesn’t misinterpret her actions. Alternatively, it reflects Monica’s growing awareness of the emotional undercurrents between them. Her insistence on explaining herself shows that she deeply values Amelia and she's adamant this misunderstanding isn't going to affect their connection.

Amelia’s response, while calm and less defensive than earlier, feels like a subtle shift in her perspective. Telling Monica that she doesn’t owe her an explanation reflects her acceptance of the situation and her effort to take her own advice: to “accept things at face value” and move forward. While it’s clear she still cares about Monica, Amelia is choosing to respect her boundaries and keep their dynamic intact rather than risk alienating her. Her willingness to say, “You and I are good,” and move on shows her maturity and her ability to prioritise the connection they already have over her personal feelings.

However, this doesn’t mean Amelia doesn’t care—her earlier defensiveness and her body language in this scene suggest that her feelings for Monica are still present. She may be acting as though it doesn’t bother her, but the fact that Monica feels compelled to explain herself again hints that both of them recognise the unspoken tension between them. Amelia’s choice to step back rather than push reflects her respect for Monica’s situation and her desire to maintain their connection, even if it means setting her feelings aside for now.

One thing to pay attention to is Meredith’s voiceover that overlays the scene. The line “We tell ourselves we don’t care” directly overlays Amelia walking away from Monica, making it a clear reflection of her internal state. Throughout the episode, Amelia has been trying to convince herself that she’s unaffected by Monica’s connection with Winston. Her standoffishness earlier and her calm but emotionally distant response in this final scene are classic examples of someone faking indifference to protect themselves from further rejection. This line perfectly captures Amelia’s defensive strategy: she’s putting on a façade of not caring to maintain composure and to keep Monica in her life in some capacity.

“The old saying goes fake it till you make it, because sometimes pretending you have confidence helps you find the real thing. When it doesn’t work, when life doesn’t give us second chances or dress rehearsals, you can walk away or you can go all in. We tell ourselves we don’t care. We can try to hide our doubts and fears. Or we can accept the unknown and dive in. The real thing is better anyway.”

- Meredith Grey (21x05)

However, Amelia’s consistent effort to stay composed shows how much she does care. By choosing to be supportive rather than retreating entirely, Amelia demonstrates her ability to prioritise the connection she has with Monica, even if it’s not in the form she hoped for. This moment shows Amelia “faking it” emotionally to keep moving forward, just as the voiceover suggests.

If we look at the voiceover as a whole, it’s interesting how it encapsulates the overarching trajectory of Monica and Amelia’s relationship so far:

“Fake it till you make it”

Both Monica and Amelia are faking something to maintain stability in their lives. Monica is “faking” a connection with Winston, using their casual relationship as a distraction while avoiding the risk and emotional vulnerability of pursuing something serious with Amelia. For Amelia, her “fake” indifference toward Monica’s situation is a defence mechanism, helping her stay grounded while dealing with her feelings.

“When it doesn’t work, when life doesn’t give us second chances or dress rehearsals, you can walk away or you can go all in.”

This speaks directly to the choice that both women face. Monica is at a crossroads—she can keep walking away from her feelings for Amelia by hiding behind her casual dynamic with Winston (a blatant dress rehearsal), or she can confront her emotions and take the leap. Amelia, too, faces a choice: she can maintain her façade and protect herself emotionally, or she can let herself be vulnerable by staying open to the possibility of something deeper with Monica in the future.

“We tell ourselves we don’t care. We can try to hide our doubts and fears.”

This mirrors both Monica and Amelia’s actions. Monica hides her fears of commitment and rejection behind her relationship with Winston, and Amelia hides her hurt feelings by pretending to be unbothered. However, this pretence is a temporary fix—it’s clear from their interactions that these unspoken emotions are shaping their dynamic and will likely need to be addressed eventually.

“Or we can accept the unknown and dive in. The real thing is better anyway.”

This line hints at the potential of Monica and Amelia’s relationship. While both are currently navigating fears, doubts, and external baggage, the voiceover suggests that “the real thing”—a meaningful connection between them—would be worth the emotional risk. It foreshadows the possibility that they might eventually “dive in” once they’re ready to confront their feelings.

This final scene of Monica and Amelia appears to be part of a larger, intentional framing of relationships in the show. Like Monmelia, the other characters featured during the monologue—Levi and James, Jo and Link—are all grappling with external factors or internal fears that impact their relationships. James just told Levi about his husband that passed away and how Levi is the first person he’s properly dated since then. Jo and Link are overwhelmed and scared at the prospect of having twins. For Monica, it’s her divorce and her fear of vulnerability; for Amelia, it’s her fear of rejection. The contrast with Lucas and Simone, who are unburdened by the baggage of age and experience, emphasises how much emotional weight the other couples carry. It’s a stark reminder that emotional baggage and life’s complications often dictate how relationships evolve—or don’t. They come into shot just as Meredith talks about accepting the unknown and diving in, as if to represent what all three of the other couples could be if they too followed this mantra.

This scene and the voiceover capture where Monica and Amelia stand right now: caught between fear and possibility, faking stability while navigating their deeper emotions. It beautifully sets us up for what could happen if they both choose to dive in and accept the unknown, rather than walk away. 

That’s why I’m not too worried about the lack of scenes between them in 21x06. Of course I wish we had them, but I’m not concerned, I think it’s just part of the build up. I actually think it was good for both of their characters, in fact, it’s a crucial step in their individual growth. Relationships, especially ones with potential for depth and longevity, often require both people to build their own foundations before fully committing to one another. This episode provides the space for Monica and Amelia to focus on themselves, which is something I’ve always believed is key to their relationship working in the long run.

For Monica, we see her thriving in her career, succeeding in her surgeries and driving her professional arc forward. This is an important aspect of her character development—she’s finding her footing again after her divorce and proving her competence and value in the surgical world. By focusing on her own growth, Monica is laying the groundwork for being emotionally ready to invest in something meaningful when the time comes.

For Amelia, the episode allows us to see her in her role as a mother, spending time with Scout and highlighting the centrality of her son in her life. This not only reinforces Amelia’s identity outside of her professional life but also reminds us of the responsibilities she brings to any relationship. Seeing her embrace this part of her life demonstrates her own emotional growth and her commitment to balancing motherhood with the other areas of her life. Monica would have to accept this part of Amelia should she want to pursue a relationship with her.

Together, these arcs show that Monica and Amelia are taking the time to grow as individuals, which is essential for their relationship to flourish. Rather than rushing into a relationship before they’re ready, both of them are focusing on their personal needs and priorities. 

There are a couple of key parts we could focus on too. When Amelia is talking to Jo about her relationship with Link, we could draw some comparison to Monica’s current dynamic with Winston. Monica may not be "forcing" anything in the same way, but her casual relationship with Winston could stem from a similar fear of facing deeper emotions. Just as Link may have been using his relationship with Amelia as a way to avoid confronting his true feelings for Jo, Monica could be using her casual connection with Winston as a way to delay or avoid the vulnerability that pursuing something with Amelia would require.

This suggests that both Monica and Link might be acting out of a fear of change or emotional risk, staying in situations that feel "safe" even if they lack authenticity or longevity. Amelia’s insight here could reflect how she perceives Monica’s dynamic with Winston, whether she’s consciously drawn the connection or not. While the context is different, the emotional dynamics align, but this time Amelia has switched roles. She is the "Jo"—the authentic relationship with Monica, representing depth and genuine connection, rather than the one who is used as an escape or a distraction.

In the very next scene, Monica makes a comment during surgery about her patients: “I think it’s sweet. They know what they want and they’re not holding back.” This line could easily apply to her own dynamic with Amelia. Monica has been hesitant to fully confront or act on her feelings, instead retreating into the safety of a casual relationship with Winston. If Monica were to take her own observation to heart, she might realise that holding back isn’t serving her—and that acknowledging what she truly wants could lead to something much more fulfilling.

Similarly, Amelia has recognised that Link’s dynamic with her was rooted in fear and avoidance rather than genuine connection. If she reflects on this, she could see parallels in Monica’s relationship with Winston. Just as Link was using his connection with Amelia to avoid confronting his deeper feelings for Jo, Monica may be using Winston as a way to avoid addressing the emotional risks that come with pursuing something real with Amelia. Recognising this could give Amelia some clarity and help her see that Monica’s actions aren’t necessarily a rejection of her, but a reflection of Monica’s own emotional struggles.

It’s fitting, then, that both Monica and Amelia reflect on sentiments in this episode that could help them if they took their own advice. Monica’s admiration for her patients’ authenticity and Amelia’s emphasis on honesty and vulnerability are precisely what they need to embrace if they are to move forward together. These reflections highlight the emotional barriers they’re each grappling with and offer hope for what could happen if they both find the courage to not hold back.

This season so far has been all about the slow, careful build for Monica and Amelia, and while it’s easy to get frustrated at the pace or lack of screen time, the groundwork being laid feels intentional. Every scene, no matter how brief, adds a layer to their dynamic, revealing the emotional complexities both characters are navigating and setting us up for something long term.

What’s fascinating is how both Monica and Amelia are mirroring each other in their struggles with vulnerability and fear. Monica, hesitant to confront her deeper feelings for Amelia, hides behind the safe, casual dynamic with Winston, while Amelia, feeling rejected and uncertain, chooses to protect herself by pretending she’s unaffected. Yet despite their missteps, we’re seeing a connection that continues to grow organically through mutual support, professional respect, and those small moments of quiet intimacy that mean everything.

What stands out in all of this is the potential they have—not just as individuals but as a team. Their ability to balance each other, to step in when the other falters, and to provide emotional stability creates a dynamic that is both deeply compelling and rich with possibility. The show has been slow-burning their relationship for a reason: these are two people who need to grow individually before they’re ready to take the leap together. But when they do, it will be worth the wait.

For now, we’re watching Monica and Amelia navigate their own arcs, finding strength in themselves while still holding space for each other. Whether it’s through Monica’s acknowledgment of Amelia’s calming presence or Amelia’s ability to support Monica without letting her feelings get in the way, their connection feels like it’s steadily building.

As much as I want them to just dive in already, there’s something satisfying about watching them take their time. They have to step back to move forward. But until then, I’ll be here, overanalysing every look, every line, and every shared carton of Chinese food. 

Let’s carry on being delulu together! <3

[calistico]

The original question on the Days Gone Reddit: What do you think Ellie would think of Deacon and the other way around? Would they get along or become friends even?

Me: Initiate analysis mode and add on to the answer of the question, while creating a whole alternate universe

Considering, in my mind, Joel is old enough to be Ellie/Deacon’s dad, Joel is confirmed to be 52 in part 1. (Especially if we plop Deacon smack dab right into the start of TLOU, no not the outbreak flashback, but the first mission or somewhere around that point where Joel meets Ellie. But if we want a seamless inclusion into TLOU; for Deacon to be in the late 20s to early 30s range like in Days Gone, Deacon would have to be a child during the outbreak, but he could have all his memories of the Mongrels MC, if they’re a faction like the Fireflies and he’d get his fear of water from somewhere else because the military is a no go here)

I think Deacon would get along best with TLOU 1 and early TLOU 2 Ellie. Don’t call me evil, but I honestly want Deacon (if he were to get stuck with Joel and Ellie) to subtly and slowly form an attachment to both. A sibling, older brother-younger sister, relationship with Ellie, it would come along slowly like with Lisa; Deacon slowly becoming protective of Ellie. Then a respected, mentor or brotherhood with Joel, seeing how the Cordyceps Virus lasted much longer (20+ years) than the Freaker virus (2+ years) in Days Gone, meaning Deacon would have to be either taught (If you some how have both viruses in one world) or re-taught, how to handle enemies (Deacon is actually enduring the TLOU plot not a crossover). Knowing Deacon’s personality it’ll be rough at first, but since Deacon’s not immune like Ellie; a few close calls “should”straighten him out. After all that is set and done, when TLOU 2 kicks in, the emotional impact of Joel’s death is stronger, basically a Sarah 2.0 for Deacon, except worse because he knows Joel is truly gone (only for the crossover). Strengthening the protectiveness Deacon has over Ellie, but their sibling like relationship may be put to the test, as Ellie spirals.

Extra:

I thought about including Boozer too, like same mechanics as Deacon, but his story would not necessarily change? I don’t like how his arm gets yoinked early in the game but it made sense to progress Deacon along with his path to becoming human again.

[lokisgoodgirl]

The gusset is good, but I'm still stuck on the Ragnarok pants. I'm certain they unbutton/unzip like this. It's just less obvious. And I will die on that hill.

I mean...just look at this.

Clearly, there is some kind of fastener at the hip area. There's a gap on each side you could stick your fingers in... 😏 And my kinky little brain won't stop screaming about it.

He wouldn't even have to pull them down. Then you could hold onto that leather clad ass while-- okay, this is going in Realmwalker somewhere. It must.

Sorry for that brief interruption. Carry on with your day. 🤭

Apols its taken me a minute to reply to this @lokikissesmyforehead I just kept meaning to produce my....visual aids.

Behold, a fairly technically accurate Ragnarok costume within my possession.

So the leather pants in this speciman have, as you surmise, a concealed zip down the hip/thigh area. You are also correct that one would hypothetically not have to remove the trousers fully in order to...engage.

Now, whether Loki would be faffing around with something as uncouth as a zipper on his Ragnarok leathers is debatable. I like to think that they fasten to him like Dr Strange's cloak. Seamless. Complete with sassy personality.

This is probably more in depth analysis that you wanted but hey, that's what you get with me👍and I fully endorse you including your theories in Realmwalker 🤣

Also if anyone ever writes a fic about Loki's adventures from the leather pants pov I would like to be tagged thanks

FYI: @gigglingtigger @maple-seed @simplyholl @fictive-sl0th @coldnique @mochie85 @cheekyscamp @currish-rosewolfe