#and got it right on the first try

[bunnieswithknives]

As much as I love angst I think it would be funny if he just didnt give af

[tititilani]

I can't stop thinking about if Simon had taken Edwin's offer

Like Charles finds Edwin in the hallway as ever but this time there's another boy there too, cowering against the wall next to him. Maybe the dollhead spider doesn't care about Simon, too busy focusing on its favorite target, so Charles is left standing in the hallway with Simon when Edwin is taken.

They get out of hell, but Edwin doesn't confess due to Simon hovering behind his elbow. He doesn't want to confess his emotions in front of his killer, who he probably hasn't even properly figured out how he's feeling towards yet.

The Night Nurse is pissed they came out with an extra soul but Niko's same loophole still applies and Simon stays.

"This is Simon," Edwin says when it's all said and done, finally introducing the boy that's been hiding behind him since the door closed. "He was a...classmate of mine."

"He saved me," Simon says, looking up at Edwin moony-eyed and Charles knows that look and something settles heavy in his stomach.

"Glad to have ya, mate," he tells him even though the words taste sour. This other boy knew Edwin when he was alive, the thought is slightly terrifying to him.

Simon settles in fine with the agency even if the agency feels a little crowded now with five people in it but he continues to moon over Edwin and Edwin just...never tells anyone how they actually knew each other. He reasons it just doesn't matter, that he can't find the right time, whatever.

Charles never really warms up to him, though he tries to hide it, but he sees the looks Simon gives Edwin, a soppy smitten look that is somehow worse than anything Monty or the Cat King ever tried with Edwin because of all of them, Simon arguably knows the most about like Edwardian courting. That, like Edwin, Simon has also survived hell. Charles hates the idea that someone could potentially understand Edwin more than he does.

He hates it so much that nothing further happens between him and Crystal because the idea of Edwin being left alone with Simon bothers him so much. He sees Simon adjusting Edwin's collar one (1) time and it makes him feel sick.

And then there's the fortune-teller.

They only go to her sometimes for cases because she never fails to freak Charles out but her prophecies tend to be accurate like 60% of the time which is pretty good for a fortune teller. She looks at the two of them at the end, because it is just the two of them for once, and then looks just at Edwin.

"How kind you are," she says, the words a compliment but the tone snide. "To house your killer. Pray tell it doesn't come back to you."

"What." Charles says. "The fuck."

Charles is furious, of course, and it takes Edwin a long time to talk him out of smashing Simon's face in with the new cricket bat.

"He's like me," he insists in that quiet but firm voice. Charles wants to scream that Simon is nothing like Edwin - that he doesn't have a fraction of Edwin's kindness or pissiness, that his blue eyes are not nearly as beautiful as Edwin's green - but before he can even open his mouth, Edwin continues. "He...He likes boys, Charles. He likes me."

Oh. Oh.

Charles stares at Edwin who is looking back at him, trying and failing to hide the fact he's terrified, and Charles doesn't give one shit that Edwin likes boys because he's his best mate forever. He's still pissed that Simon is apparently staying but he has to hug Edwin at that. "I'm still pissed you didn't tell me about him," is all he says, swallowing back the other words he wants to say.

Charles grows even more paranoid about Simon being around, who has to get used to the fact that Charles takes to swinging his cricket bat ominously every time he comes within ten feet of Edwin. He finds out that adjusting clothing was an Edwardian courting thing and wants to break something. The very idea the very person who killed his best mate is now trying to put the moves on said best mate pisses him off.

It also makes him think of numerous times Edwin had readjusted his collar or jacket in the past and it makes his non-existent stomach flip.

Eventually, Simon decides he's ready to move on to his after-life and Charles keeps his hands from fisting when he looks at Edwin with that same soppy look. He knows Edwin has forgiven Simon by now but Charles has always been better at holding a grudge and he knows what is going to come out of Simon's mouth before he even asks. He knows that if Edwin says yes, he won't stop him.

Charles also knows that if Edwin does, there is no way he is going to find any kind of his own afterlife.

"You could come with me," Simon says hopefully and the moment after is the longest in Charles' life.

"Thank you, Simon," Edwin says kindly and Charles has to keep himself from crying. "But I have no interest in going anywhere without Charles."

He steps back - away from Simon and back towards Charles. Ears suspiciously pink, Edwin links their hands and they watch as Simon follows the Night Nurse.

[iwritenarrativesandstuff]

I always have a soft spot for characters who have a protective streak for another out of gratitude for their kindness towards them, but Charles’ protectiveness towards Edwin really hits a particular way because it’s so so apparent that it’s specifically about wanting Edwin to feel as safe and as comfortable around him as Edwin made Charles feel in his dying moments. I’m going to shatter like glass.

[yuwuta]

you ask yuuta if he wants a bite of your food and when he says yes you offer your plate to him, but he’s just sat there looking at you with his dumb big bambi boy eyes and his mouth slightly open and he will not look away or blink or close his mouth until you lift your fork to his lips to feed him and then he grins like shit’s sweet and hums about how good the food is like nothing happened like he’s not ridiculously attractive. gonna chew on steel

[fascinationstreetmp3]

I have what you're looking for. High quality. Befitting a man of my tastes. I have a room over on Divisadero, not too far a walk.

[quillyfied]

There being two movies now in the Benoit Blanc world, and both movies sharing some recognizable tropes and archetypes to build its flavor, there’s a specific type of character that I’m struck by, particularly as a white woman, in both Knives Out and Glass Onion:

The Sympathetic White Woman.

In KO it’s Meg. In GO it’s Whiskey. They both bond with the (WOC, very important to emphasize) protagonist by being less crappy to her than the rest of the cast, and both signal to the audience that they’re trustworthy as far as the protagonist goes. They tell the protagonist that they’re on her side. They try to be supportive. They’re sympathetic to the audience.

Then comes the moment when the Sympathetic White Woman’s security is threatened.

(Brief added interruption to just say: please dig through the notes and replies on this baby for some additional excellent thoughts from other people, including the very important distinction that Marta is a white Latina and not a woman of color (my mistake thank you for the corrections), and more thoughts on Whiskey’s actual/additional betrayal moments!)

For Meg, it’s her mom telling her she has to drop out of school if they don’t get the inheritance money. For Whiskey, it’s Duke dying. In both cases, the protagonist reaches out—Marta tells Meg she won’t let that happen, she’ll support Meg with whatever money she needs; Helen tries to soothe a hysteric Whiskey by telling her she doesn’t need Duke and he deserved what he got (not realizing Duke is dead, of course). It’s a slightly different moment in each movie, but the basic framework is the same: the woman of color protagonist reaches back to the Sympathetic White Woman, and notably, reaches DOWN, offering the support the Sympathetic White Woman offered earlier.

Only…the Sympathetic White Woman was never intending to be the one the protagonist had to reach down to. So she snaps. Meg tells her family about Marta’s mother and they use it to threaten her. Whiskey latches onto the belief that Helen killed Duke and tries to kill her with a spear gun in what she thinks is self-defense. The Sympathetic White Woman Heel-Turn.

Meg and Whiskey both also sort of try to make amends after their Heel-Turn moments, but…the trust is already broken. The protagonist knows better now. The Sympathetic White Woman is not to be trusted.

Why this sticks out to me personally is the very obvious callout that feminists of color have been making about white feminists for literal decades: that white feminism lacks any true support or compassion for non-white people, that it’s empty promises of support and when the chips are down, white feminism upholds whiteness over feminism in an act to protect itself. And whiteness…is a damn difficult thing to even see when you’re white and raised in an overwhelmingly white community, let alone begin to pick apart and unlearn. It’s reactionary, how Meg and Whiskey turn on Marta and Helen to protect themselves.

It would make Meg incredibly vulnerable to support Marta fully, the way she promised to back when she thought she had the resources for it, but Marta is that vulnerable every day just existing as a Latina woman in America. Whiskey’s Heel-Turn moment is a little more immediate trauma based, but when looking for someone to blame, she doesn’t hesitate to blame Andi (Helen), scrapping together the few pieces of information she has—Andi hates all of the Disruptors, Andi got screwed over by them, Andi fought with Duke just minutes before he died, Andi was in their shared room tearing it apart when Whiskey came in distraught. She’s looking for an outlet. There’s Helen red-handed and in view. Boom. Whiskey grabs the spear gun instead of talking it out with the person she admitted just hours ago to feeling sympathy for.

Growing up white and steeped in whiteness causes defensive reactions when that whiteness is brought up, or, god forbid, challenged. It’s a knee-jerk thing for people who haven’t begun to deconstruct it for themselves; even for people who have, to see just how far and deep in American society that reaches is troubling. Humbling. Enraging. The Sympathetic White Woman archetype is, to me, a warning to not let whiteness overrule sense and morals. To be smart about it. And, crucially, to check myself for condescension, especially when interacting with non-white folks in any capacity.

(Also why the presence of Benoit Blanc is so important. He is also sympathetic, he also offers his own support, but crucially, he just uses his whiteness to clear a path for the WOC protagonist to take her place and do what she needs to do. He doesn’t speak over her, he doesn’t turn on her, he just listens, and presents the truth for her to do with it what she will. Or, in one case, hands her highly volatile crystal hydrogen for when she’s really ready to tear the Murderer’s crap down.)

[the-woman-upstairs]

You’re laughing. Armand made himself a fledgling with more swag, a sharper mind, and bigger fangs than him and you’re laughing.

[crunchchute]

my attempt at a bunch of my fav artists styles :] idea by sootnuki!!

i would love to do more but this was already a huge challenge

if any artist here dislikes this/is uncomfortable with it/any reason i can take it down or turn off reblogs etc. otherwise i hope its ok 🫡 im not gonna tag anyone just gonna let it do its thing in the wild lol

[tottyfebruary6]

First post....hello everyone.......💝

[poorly-drawn-mdzs]

Get Souped!

[dykedvonte]

I genuinely don't think Curly would be as caring for Jimmy as some people depict him in aus where Jimmy gets stuck and burned rather than Curly.

I feel like the realization would truly hit in that moment of what Jimmy did and how bad it was as Curly desperately tries to get him out of the cockpit. He's trying to break in to save Jimmy, but is he? All the thoughts in his head; Jimmy's trying to kill them all, Jimmy's trapped in the cockpit, Jimmy raped Anya, Jimmy's going to die trapped in the cockpit, Jimmy trying to kill them all because of what he did to Anya, and sort of a final Jimmy did this. Is he trying to save him or trying to figure out why? Trying to finally make him take accountability? You can't hold trial for a dead man. Does he want Jimmy to die? Not really, but it'd be easier than figuring out where they go after this. After they drag him out and get his set up in medical and Jimmy refuses to look at anyone but him.

He's the only one who is truly willing to care for Jimmy. I don't think he's keeping him alive for the same reasons, just he can't bring himself to put him down. He wants answers, he wants to be mad. This is the first time he can talk to Jimmy and not have anything spun back at him but he can't get a response. He's never really been able to but for the first time Jimmy actually has to listen and he'll never know if he's actually listening to him this time. It reminds him too much of not understanding Anya. Anya has to care for him and he doesn't want her too, she shouldn't have to but they can't just let him die, can they? Should they? It's easier than hearing him in pain but that's a reminder he did this... even if Curly allowed it to happen.

No one seems to have thoughts on it but him and Anya. They know the reason he crashed the ship but they don't get the logic. Anya does actually, but Curly has to admit he does to. Has to admit he's always known Jimmy's logic behind things, things that need to be "fixed" but he's always taken responsibility and fixed it himself. The first time he really let Jimmy take responsibility and he couldn't, he can't fix anything and Curly know he can't either. He looks at Jimmy and sees every mistake but now he's wondering how many of Jimmy's he's been tacking on to his own. How different are they?

What should he had done to stop it? Maybe this should've happened to him...

Curly doesn't like those thoughts and how they only come when he's stuck with Jimmy, like he's always done to himself. He's way too gentle when he gives Jimmy his pills, too mindful of teeth that always gave him hollow smiles. A tongue that always told half truths, while he held his own. He holds his jaw too kindly and thinks about all the times he's clenched his and smiled for his friends sake. For Jimmy's sake. Jimmy still swallows the pills and struggles, whines like it's not his fault.

He hoped it hurt.

And he's a little scared that he's a little too okay thinking that.

[starcurtain]

Sometimes I think about Aventurine in the moment he first discovered his Pathstrider abilities. The moment he first realized he could shield not only himself but also others. The very first moment he realized he could be a source of safety, rather than a burden--than a curse.

Sometimes I think about the hatred he must have felt for himself in that instant.

Where was this power when their camps were burned to the ground with every last one of their meager possessions? Where was this power when his mother died begging as he cowered, playing dead in a bath of the blood of everyone he knew?

Where was this power when his sister stood tall, a silhouette against the lightning, and used her body as the shield? Where was this power in the maze, when it could have spared the screaming child who was the first to die?

You could have saved them. You could have saved them. You could have saved them.

[starry-bi-sky]

more incorrect quotes for the stillborn danyal au - dpxdc

---------

Student: so like,, *gesturing to Plasmius* is he like,,, your dad or...?? Phantom: he would be if he wasn't such a BITCH Plasmius: excuse me Phantom: YOU HEARD ME

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Under the Bleachers: Danny and Dash smoking in solidarity Dash: Danny: Dash: do you have notes from Lancer's class today Danny: since when do I ever have notes from Lancer's class Danny: I can ask Tucker but only if you have notes from Abernathy's class Dash: deal

-----------

Sam and Tucker: *making s'mores with Danny's lava hair* Danny, as Phantom: >:I Sam: you're just mad because you didn't think of it first Danny: yEAH

-----------

Danny, freshly ghosted: .... Danny: well. at least i dont need to waste money on lighters anymore

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Tucker: with how long your hair gets we may just have to start calling you rapunzel Danny: don't you dare Sam: rapunzel, rapunzel, let down your lava hair Danny: NO

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Danny's hair tie breaks in the middle of a fight Danny: fuck Skulker: language child Danny, pushing lava bangs out of his face: fuck you! just for this im turning your suit into molten slag Skulker: waitholdonwecantALK--

----------

Danny: you know, by your logic Maddie is equally as guilty for abandoning you as Jack. She also never visited you while you were in the hospital. Vlad, had put his infatuation with Maddie aside but still kinda had feelings for her: Vlad: you're right Danny, not used to an adult agreeing with him: I-- huh, I am? Vlad: yes. If Dr. Walker had cared about me -- even if only as a friend, she would have tried to remain in contact with me. But she didn't. She is also as equally guilty for the accident that took your life too since she also failed to properly check over the portal for flaws and any improper wiring. Danny: wait- wait, i mean-- Vlad: this means only one thing Danny, bewildered: ??? Vlad, extinguishing all lingering feelings: I have to kill her too (somehow) Danny: nO.

[peachyutdr]

i finished it, was kicked out of the game, and then spent the next 10 minutes drawing this. i will now go take a shower, most likely cry, and then go through the emotional turmoil of convincing myself to reset so i can do a geno run. i hate it here :D

[marblerose-rue]

braixen

(request)

[flowercrowngods]

based on this concept of steve and mike coming out to each other

🤍 also on ao3

The sun is setting in beautiful hues of pink and purple, tinging the town of Hawkins, Indiana, in a light of serenity and beauty it doesn’t really deserve. Steve’s hands are gripped tight around the steering wheel as he carefully scans the road and the houses he passes.

He almost misses the bike where it’s lying on the curb, carelessly discarded by the looks of it, and a tinge of worry shadows his frown. Worry that doesn’t quite dissipate when he spots the figure sitting on the roof, almost black against the lilac colour of the sky, but he breathes a sigh of relief. He considers grabbing the radio to let the others know he found Mike, but decides against it. Something tells him that maybe they’ll take a while. Something tells him there’s more to Will’s stunned silence and Mike’s sudden departure from where they were all hanging out at Steve’s after another successful Hellfire session. 

With a sigh, Steve cuts the engine and gets out of the car, keeping his eyes on Mike the whole time — ready for him to take off again, ready to go sit a while and wait for him to come back. But Mike doesn’t move, even after he shuts the door and approaches the Wheelers’ house. He doesn’t acknowledge Steve when he pulls himself up to the roof, easier this time than the first time he did this. 

There’s a snide comment in the air between them, a version of Mike that would have lashed out at him, made fun of and insulted him. But this one just sits there, hands in his lap, frown on his face, and stares ahead. 

“What do you want,” he asks eventually, though it doesn’t have the kind of heat that Steve expects. He barely even sounds like a teenager. Just sort of… dejected. Steve aches for him; just a little bit. 

“Just making sure you’re alright,” Steve says, shrugging, looking ahead as well so Mike doesn’t feel watched. Or seen, maybe. 

Because the thing is, Steve does see him. He sees the way he looks at Will sometimes, and the way his eyes fill with something that can only be described as yearning, or aching, followed by regret and fear. Which always, always turn into anger. Into frustration. Into snide comments and rolled eyes and walls that keep getting an inch added to them each day. It’s never directed at Will, that anger, and rarely at the rest of the Party, but Steve still sees it. Gets the worst of it and takes it, because he knows something about how that feels. 

He knows something about looking at someone like that, about feeling that fear, that regret, that worry that come with it. He knows something about never really daring to meet someone’s eyes for fear of what they would see. 

“I’m alright,” Mike says, sounding anything but. There’s a bitterness in his voice. Frustration in the way his thumb is picking at the skin of his fingers. Confusion in the tension of his shoulders, and Steve feels like he only needs to make one wrong move, say one wrong word, make a single sound that’s off key to the melody of this moment, and Mike will jump off the roof and take off again with his bike. 

So all he says, after a moment’s consideration, is, “Cool.” Like he believes him. Giving Mike room to breathe, room to pretend. He knows something about that, too. 

He knows and he sees and he feels. 

And suddenly he wants to say something he’s never said before, something he didn’t even get to tell Robin because she knew and saw and felt, too, taking something from him that he hasn’t yet been ready to reclaim for himself. 

And maybe it’s because he sees something of himself in the way Mike holds himself, in the way he snaps at anyone willing to listen, in the way he frowns in regret and barely meets anyone’s eyes except when it’s in challenge — and, most of all, in the way he never, never meets Will’s eyes. In the way he looks away when the other boy turns to him, and in the way his eyes will snap back and take in everything about his best friend when he’s not aware of it. 

Maybe it’s because the sky is pink and lilac and purple above them, allowing for a certain magic to happen, allowing for a bravery that doesn’t come easy to him; but as he sits on the roof next to Mike Wheeler, the only one of the Party he never really connected with, he closes his eyes against the breeze that catches in his hair and opens his jacket a little further, slithering beneath the fabric as if in a brief embrace, a nudge, a sign to take this leap, and takes a deep breath. 

His heart is picking up its pace inside his chest, taking this leap along wit him, and pulls up one of his legs to wrap his hands around it — just to have something to hold onto. 

He opens his mouth once, twice, three times, but the words never really come out. They don’t know how, and he’s beginning to tremble a little with it, tension building in his chest where the words are still locked away, hidden among layers of truth. 

Mike looks over with a frown and eyes him warily. It makes Steve want to laugh, this sudden change of pace, but he just keeps staring ahead; even when Mike asks, “Are you alright?” 

“Yeah,” Steve says. And then then dam is broken and breaking further, and with another deep breath, still not meeting Mike’s eyes, instead focusing on the tree tops in the distance that shine in hues of purple, he finally says, “I’m kind of dating Eddie Munson.” 

And just like that, it’s out. He’s out. 

He doesn’t know if the world still spins, if time still passes, if he still breathes, because for a moment there is only silence. Mike stops picking at the skin of his fingers, Steve stops trembling, and neither of them moves. 

It’s both anticlimactic and momentous, this silence between them when their eyes meet. When the words unfold and grow wings, when Mike understands, his eyes growing big with something that Steve can’t quite read with how tense he is despite his best efforts. 

The silence stretches between them, surpassing comfort and overstaying its welcome, and suddenly it’s Steve who feels like he’s about to take off if Mike so much as twitches his brows. 

“You… What?” 

Forget it, Steve wants to say. Nothing. 

But also, I’m in love with Eddie Munson. And I used to be in love with Nancy. And that’s okay. Both of that, it’s okay. 

He ends up repeating his words, though, because they know what it’s like to be spoken now. “Eddie. I’m kind of dating Eddie.” 

“But…” It’s Mike now whose mouth is opening and closing without saying anything. Mike who’s blinking, trembling a little, twitching, picking at his skin again, moving further along his hand this time to pinch the skin between his thumb and pointer finger. Steve almost reaches out to stop him, but he doesn’t really dare to. 

“But?” he prompts after a while, not quite comfortable with this loaded kind of silence. 

“Eddie’s a boy.” 

But Tammy Thompson is a girl. 

“I know,” Steve says, his tone carefully neutral, wanting to see, to wait where Mike takes this, to hear what’s on his mind, to watch the wheels turn and the gears shift. He feels awfully raw and open, vulnerable with someone who hasn’t been treating that with care yet. But there’s something about this moment that feels bigger than his own fears, bigger than the light nausea settling in his gut; far more important than the way he wants to run and hide, away from the scrutiny. 

“And…” Mike continues, still battling the words inside his head. Steve wonders if there are too many or none at all. “But you… You loved Nancy.” 

Ah. Smart boy. “I did,” Steve says with a small smile. “And it was never a lie. But I found that… Yeah, I can kinda like boys, too, y’know? And that’s, like, okay.”

A beat. A frown. A confused, hopeful, small, “It is?” 

Steve just nods, smiling in reassurance and relief at equal measures. Silence settles once more, now that the sky has darkened into a deeper, darker blue; but it’s not as loaded this time, not as tense. It’s an invitation. An offering. A promise of I’m here, I’m with you, you can take as long as you need. To get down from the roof, to come back, to come out of wherever you think you need to hide from the world. 

Mike takes it. He stays, pulling up his leg, too, mirroring Steve’s pose and staring ahead, but not as far away. He seems alert, seems to be thinking rather than dwelling, seems to be gearing up for something. Steve watches and sees and knows, remaining patient beside him, his chin resting on his knee as Mike learns to deal with this new world that has been presented to him. This new world that comes with opportunities and chances and possibilities that are scary and big and difficult to make. 

“Y’know,” Mike starts at last, interrupting the silence, playing with it, his voice hushed and quiet to keep it from disappearing completely. “Lucas, when he had that championship game? He told us, Dustin and me, that we didn’t have to be the losers this time. The nerds. The outcasts. Different. And all I wanted was to scream at him, because…” 

Mike swallows his words, keeping them from tumbling out of his mouth, and Steve aches for him again. He wants to reach out, wants to say it’s okay, tell him it’s alright, to take his time. But he waits in silence, lets Mike find the bravery he needs on his own, and waits. 

“Because how could he say that, you know? How could he, when… Will wasn’t there. And all I did, all I ever did anymore, was miss him. And I loved El, I knew I did. And she was gone, too, but…” 

He trails off again, and this time Steve picks it up. To let him know he’s not alone. To let Mike know he understands what he’s saying. He understands. “But she’s not Will. You needed Will.” 

“But I shouldn’t!” Mike explodes suddenly, riled up because Steve adds fuel to the fire, because Steve has that same fire, too; and because they are so, so similar when they want to be. “And now he’s back and it should be fine, I shouldn’t be feeling like this, it doesn’t even make sense! How can I…” 

Steve looks at him, at his expression that is nothing but lost — completely and utterly. He’s seen it on the bathroom floor at the mall; high out of his mind as he was, he’ll never forget the way Robin looked at him, the sheer crestfallen expression. All that confusion, all that fear and frustration and, in the end, resignation. He’s seen it in the mirror, and he’s seen it in those pretty brown eyes that he just can’t get out of his head anymore. 

He offers, gently, “How can you need him when he’s right there? How can you love him when a year ago you loved El?”

And Mike just looks at him before he deflates completely, his shoulders falling along with his face. He nods. Shrugs. Looks away and hides his face behind his leg. 

Steve sighs softly, watching the boy and speaking the words he wants to say the sixteen year-old version of himself. “I don’t know,” he says truthfully. “I really don’t, and it sucks sometimes, having this need to, like, decide. Or understand. Or stop and be like the rest of them.” Like Robin and Eddie, or like the rest of the world. “But I like to think, sometimes, that maybe it’s a good thing. That there’s just… I don’t know, it sounds corny as hell, but like, there’s just so much love to give, we can’t even stick to only boys or girls, y’know.” 

“That does sound real corny as fuck, man,” Mike says, and back is that long suffering tone of his, back is that eye roll and the twitching elbow, ready to nudge Steve in the side. It’s still tinged with that vulnerability, not quite Mike yet, but it’s an offering.

One of many tonight, it seems.

Steve grins, a bit lopsided and raw, shoving Mike gently as he remembers something he overheard once. “Sorry, mister Heart of our group, but I don’t think you have any leg to stand on here.”

That makes Mike freeze, though, and he stares at Steve wide-eyed; caught. Exposed. Reminded.

“What did you say?”

“Uh,” Steve falters, not sure where he went wrong — or if he went wrong at all. “I overheard Will calling you that, talking about you to, uhm. Someone. I don’t know. Why, what’s— What’s wrong?”

“Nothing,” Mike says, way too quickly, pulling away again with everything he has, hiding behind those walls once more, and Steve feels whiplash from it.

“Mike,” he says, his voice quiet and gentle as he turns to face him completely.

“No.”

“It’s okay,” Steve says. Promises, as much as he can.

“Shut up!”

“You’re not wrong or bad or broken. It’s okay, you’re okay.”

“I said, shut up, Steve.”

“You should see the way he looks at you, too. You should go talk to him. You—“

Mike lashes out, finally coming out from behind those walls again, only to shove at Steve, to push him away — hard enough for him to lose his balance and almost fall off the roof, clenching one hand on the edge, the other in the rainwater gutter with a bitten-off curse.

“Shit, I’m sorry!” Mike reaches for him immediately, snapping out of whatever anger Steve caused, and pulling him back until he’s safe again, apologising over and over, dead to Steve’s promises that it’s alright. “Fuck, I’m so sorry, Steve, I’m so—“

He pulls Mike against his chest, finally reaching out to hold the boy who always pushes people away when they get too close — quite literally, too.

But he doesn’t shove this time, doesn’t move out of Steve’s grasp as the mumbled apologies become heaving sobs.

“It’s okay, you’re okay, you’re so okay, Mike,” Steve tells him over and over as he holds him. The sky above is almost black now and Steve lets Mike cry into his chest.

It takes a while for Mike to calm down, but Steve just holds him through it, ready to let go whenever Mike wants to pull back and snap out of it again — but he never does, and Steve feels a certain kind of affection for the boy that is usually reserved for Lucas or Dustin.

At last, when he’s calmed down, Mike pulls back a little. “Do you really… Does it… Is it really okay?”

Can it be okay? Can I really like both? Is that not just me, being broken and wrong and bad? Will I get the chance to not be alone?

Steve swallows hard, and his voice is hoarse when he says, “Yeah. It’s really okay. ‘N’ I’m with you, yeah? If someone gives you shit for it. Or if you need a reminder.”

And Mike — puffy eyed, snotty nosed, so, so young — looks at him with those trusting eyes and nods, like he believes Steve. Like he trusts him. Like he hopes.

“Just don’t fucking shove me off your roof again.”

Ans just like that, the spell is broken, the tension is lifted, and silence has left them, as Mike almost chokes on a laugh and shoves at him again, lightly this time, before jumping off the roof so Steve can’t retaliate.

“Asshole,” he mutters, shaking his head as he, too, jumps off the roof, dusting off his pants as he watches Mike grabbing his bike. “Hey, Micycle,” he calls, cackling when Mike flips him the bird. “You want a ride back?”

Mike stops, considering as Steve casually flicks his keys into the air and catches them expertly. “What kinda music do you got?”

“The Clash, ‘cause Eddie hates them.”

“Yeah, that’s because they suck!”

Steve snorts, opening the driver’s side door. “Y’know, they’re one of Will’s favourites, actually.”

He watches Mike freeze with a grin on his face, knowing there’s no way the boy would take the bike.

“You’re so annoying,” Mike sighs as he brings his bike close to the garage and carefully lays it on the grass this time before hurrying over to Steve, getting in on the front, rolling his eyes when Steve cackles. “I don’t know why Eddie would date you—“

His words are drowned out when Steve turns up Train in Vain, drumming along on the steering wheel with a shit eating grin. Though the atmosphere is wildly different now, the spell broken and the bubble burst, it’s undeniable that something happened between them. Something big, something important.

Something that makes Mike’s annoyed, long-suffering expression be broken by the smile he’s trying to hide. It makes Steve laugh, elated and feeling something that’s much, much bigger than he himself ever could be.

It’s going to be okay. So, so okay.

Before they know it, they’re pulling up to Steve’s and he turns off the car, is about to get out when Mike makes him still again.

“Hey, Steve?”

“Hm?”

“I think it’s cool. You and Eddie.”

He smiles, relief and fondness washing over him. “Yeah?”

“Yeah.”

“Thanks.” He reaches over and ruffles Mike’s hair — a wild mane these days, but they could make it work with some care and some products. “Now go get your man, lover boy.”

“God, you suck so much, you’re so annoying!”

Steve’s cackling again when the passenger door slams shut and Mike lets himself into his house.

He spots a figure in the dark, their face lighting up when they take a drag of a cigarette — and Steve’s heart stumbles in his chest. He scrambles to get out, attempting to look calm and collected, even though Eddie always manages to see right through him.

“Hello, stranger,” he says, leaning against the wall beside Eddie, hiding away in the dark, where the world won’t see their shoulders touch, or their fingers tentatively playing with each other before they can’t take it no longer and lace their hands, holding on tight.

“Hi,” Eddie breathes. “How’d it go?”

“Fine, I think. But, uhm… I told him. About me. About us. That, uh. That okay?”

Even in the dark, Steve can feel eyes on him, but he just stares ahead, opting instead to give his warm hand a squeeze. He smiles when Eddie’s thumb begins to draw patterns on his palm.

“Hmm. Very. You think they’ll be okay?”

“Yeah,” Steve breathes, stealing Eddie’s cigarette from his mouth and pulling it between his own lips. “Yeah, I think they will be.”