#for everyone asking yes this goes both ways

[lunion]

Thinking about Shadow X Rouge and Shadow X Amy ships, while I love both of them, one thing that I have a feeling is that the person who is more likely to end up with Shadow is dependent on how many troubles Shadow is facing.

Rouge is one of Shadow's first allies and, quite honestly, the one who will always by his side. Every time there's something threatening either Rouge or Shadow, they ALWAYS have each other's back. They spend the most time around each other when they need to support each other.

Which is not frequent, given how self reliant they usually are, but if anything seems to creep out of their scope, they immediatly go to each other.

However, Rouge is very wary of Shadows boundaries to the point she doesn't reach out to him unless the situation demands, seeing him as a perpetually grumpy person she cares about, but feels there are some limits in how far she can reach.

Amy, on the other hand, is someone who shadow rarely associates while in moments of distress, but if we're to take their interactions outside of the main games as any hint, Shadow adores spending times of peace with her. But anything goes wrong, while he (seemingly) doesn't doubt amy's strenght of character, he seems to not want to involve her in anything he's doing.

But as far as Amy's initiative go, she sees the positivity in Shadow that even he doesn't acknowledge it, so she's the one always inviting him to do things, despite his grumpy reputation and Shadow, to everyone's surprise, says yes.

Based on these things, if any of these ships were to happen, they way I see it is:

After some grueling times together facing a lot of conflicts, Rouge and Shadow keep relying on each other and bond even further and Rouge, perhaps in a moment of needing emotional reassurance, asks Shadow to be with her more permanently. Shadow, autisticly coded emotionally avoidant as he is though feeling very much the same, agrees. It's a genuine relationship between two people who have a hard time talking about their feelings in earnest, but would face hell and heaven to keep each other safe and quite possibly, happy.

After a prolonged time of peace, Amy continues spending time with Shadow. They keep going out and having fun and she gradually keeps sneaking into Shadow's heart. Shadow loved Maria for her enthusiam and her forwardness. These are qualities Shadow doesn't have, but greatly admires and seeing those in Amy it's hard to imagine him not having any fondness towards her. Sonamy's incessant "will Sonic finally confess to amy" debate aside, Shadow is not one to openly handle his feelings, but I feel, blunt as he is, there would come a treshold where either he would awkwardly spit something out or would kind of always support amy no matter what, conveying his affection to her non-verbally until SHE said something to him first, which then would force him to verbally acknowledge his feelings as well.

TL;DR: Despite not thinking any ship will happen, if you ask me, whichever ship would happen first would depend on how much shit Shadow is thrown through: A lot leads to Shadouge, a little leads to Shadamy.

[majimaisms]

on majima's relationship to power, dignity and freedom

a friend of mine was recently talking about a character from a movie, and whether or not an emotional response (specifically, anxiety and obligation over a loved one needing help) was something that character could "effectively discipline and draw from" or "something that will always threaten to overflow rational boundaries" and posed the question as: "does he make use of it, or does it make use of him?"

this, i believe, is how majima approaches quite literally everything in his life, up to and including, if not especially, his own emotions.

i think it's an anxiety over their agency and freedom that compels a person to ask this question about everything. because they're terrified of being used against their will, without their knowledge, of waking up one day and realizing they've been a slave to something because they refused to examine their relationship to it. and i think it takes 1. someone who is naturally very emotional, as in, inclined to make decisions based on emotions rather than rationalizations, and can't afford to be this way for whatever reason and 2. someone who has been robbed of their agency and freedom in the past, to develop this anxiety. majima more than fits the bill on both counts.

it's born out of a need to maintain power over this fear. it's literally pathological. his need to make tools out of everything. it's a disease. either hes wielding it, or being wielded as a tool by it, whatever "it" may be. its a binary, black and white choice, and it's not really a choice at all, because he absolutely refuses to risk the latter happening against his will. he needs to have control over himself, his life, his decisions, all the time or he feels like hes stuck, cornered, he panics and cant keep a cool head (all of y0, '85 flashbacks from y4). he freaks out. and he cant risk that, he cant stand it either.

but it's not even about that. it's about dignity. majima tries to navigate the entirety of those situations, where he's robbed of freedom, where he's cornered, with dignity. because it's all he has. and when even that is stripped from him (the hole, y0), he seeks out the most dignified way to deal with losing your dignity -- willingly letting go of it (the lord of the night).

we see him put to impossible choices in other games (y5 comes to mind) and he handles that just fine without freaking out even when he's cornered. the difference is that in y5 he had a dignified way of resolving that situation. what actually makes him "freak out" and lose his cool is being robbed of a dignified solution. the dignity in following his principles, not betraying himself, is something he goes ballistic at the thought of losing.

it's not just that he can't "risk" not being able to keep a cool head, or that he can't "stand" freaking out, its that he can't stand the humiliation of it. of not being perfectly composed and in control of himself all the time. he's too proud. and this is why mad dog is so therapeutic for him, because its a character who doesn't give a single fuck about how hes perceived, wielded by a guy who cares excessively about how hes perceived. he learns so much from mad dog over the course of the series, i genuinely think mad dog saved his life. because i was thinking about all of this going, my god. youre in the YAKUZA???? and youre living like THAT?? no fucking wonder he had to invent a persona to larp as just to not shoot himself.

but thinking more about it, it's like. of COURSE he is. of COURSE hes yakuza. because!! as a civilian, you're just slave to the same system everyone else is a slave to. you have to bow to it, and you don't even get a choice. so... what does he do. he makes his own choice. if hes going to be a slave in a system, it's going to be a system of his own choosing that he can respect, however flawed. yes, he's not "free" in the yakuza, and that is something he struggles with, but it's more about freedom of choice for him.

like. what a fucking thing to say. you cant attach a price to my life. you cant make USE of my life. you cannot USE my death as a TOOL to further your own ends. because that's what ibuchi is saying, that he'll kill majima and his death will start a war which he will benefit from. and he refuses to BE that for anyone.

...other than, of course, shimano and the men he respects, of which there are SO few in the tojo. (hello kiryu. hello saejima. this guy is in desperate need of people he respects and he will follow them around like a dog because he really wants to surrender power and "bow his head" because he's so exhausted from having to maintain it against himself and the world 24/7.)

look at his face in this scene. he's completely distraught. over having been used in some scheme without his knowledge. robbed of his autonomy. i have never seen him look like this at any other point in the series.

true resignation. utter defeat. this is partly what birthed mad dog, nihilism incarnate. sure, it takes being faced with the possibility that makoto will never wake up to finally "awaken" mad dog, but this is where majima is drawing his strength from -- this ability to tap into a state of complete indifference. this void. death.

even sera is surprised. but this is the moment he understands exactly what kind of person majima is. because yes, of course he would. majima, and people like majima, will jump at any chance to make their deaths count, because they're constantly living with the guilt of all the terrible shit they've done up to that point. having the opportunity to die for a good cause, knowing it won't redeem them but get them at least a little closer to it, is a blessing. they don't have to think twice about it. this is the death drive he's tapping into.

above all, majima wants to be useful. i think this need characterizes his relationship with kiryu, who is someone he respects. he's basically begging to let kiryu help him throughout y3. he agrees to go back to the clan because kiryu asks, twice. he's willing to die so haruka can live, because his death can accomplish something good. it's no choice at all.

but i'm far more interested in how this manifests in his relationship with shimano. this excerpt from an rggo story comes to mind.

i think shimano was, in a lot of ways, a tether for majima. the "leash" imagery is very accurate, but it suggests an entirely negative reading of their dynamic. the truth is majima likes being leashed. not only that, he needs it. he's just very discerning about who he will let leash him. he needs purpose in his life, needs to know hes useful, and for that he needs to devote himself to someone. and it needs to be a person, because he's too cynical to believe in a cause.

what that excerpt tells me is that he lost his respect for shimano. and when he died, majima became untethered. from the world. in the absence of saejima, or anyone else who could be that for him, he's adrift and aimless. lost.

it's not a coincidence he leaves the clan immediately after shimano dies. it's because of this, because of terada (he won't bow to someone he doesn't respect), and because he has, on some level, completed a large part of his duty to saejima by establishing his own family. he is without purpose. and i think it's maintaining this state of existence for years that turns him into the depressed, defeated man we see in y5.

he got burnt out, because it's exhausting being in this kind of active conflict with yourself all the time in the name of maintaining a sense of personal power and agency. over even your own emotions. he's truly relentless. but sooner or later, it was going to catch up to him.

[pennylane-dreams]

Apple Scruff Carol Bedford’s “relationship” with George Harrison Part 2

After returning to London in May 1970, Carol’s story becomes more “intimate” I would say as her “relationship” with George continues. The Apple scruffs witness the break up of the Beatles and the drama between everyone and even describes an incident where reporters physically attack George outside the studios and the scruffs help remove the reporter and get George to his car to escape, also making sure no one else attack the other members when they leave the building.

There are a few odd interactions with Mal but he was known for hitting on the scruffs. Margo warns the others that Mal uses your interest in one of the Beatles to make his own pass. I’m aware those incidents are described Living the Beatles Legend.

After staying almost all night outside the studios, the scruffs decide to call it a night and head home. Carol states on her way to where she’s staying, George’s car pulls up beside her. During this interaction, George gives her a book; The Autobiography of a Yogi by Yogananda. There's been a few people that have said that George would give out this book to friends and family.

“I want you to remember something that will help you,” George said, seriously. “God is in you and everyone. We all have God in us.”

The next day, Mal finds Carol and asks her if she read the book yet and said that George was “anxious” on her opinion of it.

There’s interaction Carol and George was when Carol was heading to her bus stop after leaving the studio. George’s car pulls up beside her and offers her a ride home, which she says yes to. It’s sad conversation, both of them are talking about depression and he talks about the pressure of being a Beatle and his lack of privacy. Carol offers him a number to a clinic where he can talk to someone about his depression. I can see one of them venting to a fan or to someone who will listen especially with everything that was happening during that time. Unfortunately, Carol just had to tell the others about the car ride and the talk they had which she shouldn’t have done. It’s not their business.

“This is special. You’re the only one of us to get close to one of them. […] I’ve had loads of conversations with Paul but none that personal. George was treating you like a friend. […]”

Jumping ahead to the day where Mal asks the girls to come into the studio. Entering the control room and are played the song Apple Scruffs for the first time which they was in awe. They thank George for the song and even gift him flowers later.

The 1970 Christmas party part was a little crazy to me. Carol sent George a letter, thinking he was making fun of them by coming out of the studio saying how “warm” it was in there and it’s cold outside. (No one making camp outside girly. That’s on you lol). During this conversation, it almost feels like a "confession" scene that George says while drunk.

“He [George] gently pushed me into a narrow area where the filing cabinets made a small box square. […] George stepped in front of me and leaned against the wall. He then pulled me closer in front of him. […]

'If you think of me, I'll be there. I'm with you always, in here.' he tapped my breast gently and removed his hand. 'I'm not sure what you mean by that. it would be impossible to "get over you." Every time I turn on the radio, I'll hear your voice. [...]". “I’ll [George] always be with you. We’re apart of each other. I wrote a song about us the other day. It goes like: I, I, I love you. You, you, you love me. We’re together always. We’re in each other. You don’t need to see me walk out of a building, do you?”

Who knows what happened at the party but drunk men can say pretty wild stuff.

As the story goes, Carol continues on with her small moments with George and her relationship with the other scruffs.

One of the craziest things she said in this book is implying that George wanted to start an affair with her by moving her into a LA apartment so he can visit her without the media finding out which of course doesn’t sound like George at all but this is Mal telling her that this is what George wants, only for Mal to force a kiss on her. So either Mal was telling the truth or wanting her to be vulnerable to make a move on her.

After this, she decides she needs to stop “waiting” outside the studio for George and move on with her life which is understandable. She does what she can to avoid him and the last time she saw George was when he entered the A&M Records (where she was working at the time) when he was creating his own label Dark Horse Records.

I know people don’t like Carol’s book and say she lied about most of the things in her book but I found it interesting and I’m not taking it to heart. I remember reading something about George being upset about the book, but I can’t remember where.

It does at first feel like reading someone’s diary but it takes a turn half way through. It does read a lot like fanfiction and if it was, it would probably do well on Wattpad to be honest.

Excerpts from Waiting for the Beatles and photo from fellow fan.

[celestial-hieroglyph]

knew i had to edit this when i saw this template on pinterest

[lem-argentum]

i once saw someone contrast miko.fuu by claiming that f.uuta’s individualistic while mi.koto is not, but i would argue that miko is the one who puts himself first in his mind in most situations…….??? ?

[sungwoonha]

i’m

[cicerfics]

#see also: james bond#cicer + bishy will make better tagged stories#i’m here to give them a nudge (via @foxsoulcourt)

[justgivemeabookplease]

Shrek 2, while a cinematic masterpiece, is also an interesting look at queerness and comp het.

Fiona is married so it's time to reunite with her parents. But instead of marrying a prince, she's married to an ogre. Not just that, but she's also an ogre. (Yes everyone knew she would sometimes be an ogre but that was when she was a child, she didn't know she would be an ogre for the rest of her life, and besides once she met the right prince she would stop being an ogre. She was supposed to stop being an ogre.)

But okay they're both ogres. We can still ask about when they'll have children because even if they're ogres they can still have kids, right? That's what married princes and princesses do so naturally that's what everyone does. Even if ogres might not be great parents (I've heard that ogres eat their young, is that something you people do?) it's still something that should be discussed.

And okay you can stay in Fiona's childhood bedroom filled with all the reminders that hey, everyone thought she was just a princess and princesses marry princes. Her toys left out from the last time she played with them. The prince slays the ogre. The princess offers a token of gratitude for slaying the ogre. Fiona wrote Mrs. Fiona Charming a million times in her diary because what else was she supposed to grow up to be?

And Harold you have to fix this, your country can't be ruled by ogres. You were unfit to rule when you were a frog but I changed you, I made you better, I made you a prince. You know how this works. Think of your daughter's safety.

Shrek goes to the Fairy Godmother and oh honey, ogres don't live happily ever after. It's just not done. It hasn't happened in all of fairy tale history. You have to change the both of you to be happy. You have to present as a prince and a princess. It will be better. You'll fit in better that way. You'll be accepted that way.

[snekdood]

ik we talk about "karma" in the sense of "whatever you do will come back to bite you", but in a more realistic sense it just means action. every action has a reaction, etc. which is why its incorrect to blame your god/gods for the way you're mistreated in life bc 1. everyone has free-will and 2. they dont have control over the wheel of karma (at least not in hinduism), so when you're mistreated, you shouldn't ask "what have I done to accrue karma in the form of mistreatment" you should ask "why do these people suck so much", lol. it's not your god/gods punishing you, its other people exercising their free will and choosing to use it in a way that makes them suck as human beings 🤷 dont let people get off the hook by blaming the gods or some sort of nebulous "karma" you cant pin down, blame the people for being pieces of shits, dont let them think they're not actors in this and are just dutifully mistreating you on behalf of the laws of karma, bc they aren't, thats not how karma fucking works.

[pomefioredove]

the overblots (+ rook + lillia? if thats okay) reactions to you calling them your husband…………..

saw the words lilia and husband in the same ask and got so excited I blacked out

*ੈ✩‧₊˚ calling them your husband

type of post: headcanons characters: riddle, leona, azul, jamil, vil, rook, idia, malleus, lilia additional info: romantic, reader is gender neutral, reader is yuu, established relationship

Riddle "we're not married" Rosehearts, everyone. and he says it so matter-of-factly too! like, of course, you know that. you were just trying to be sweet and romantic. he figures it out eventually, though (the realization hits him like a truck two hours later, and he apologizes with roses and a slice of tart. Ace makes fun of him for weeks)

*ੈ✩‧₊˚

Leona is so smug about it actually. unlike Riddle, he's socially aware enough to know that you don't mean it literally. he's like, "damn right I am" and will defo make you say it again. especially in front of the other housewardens. and his family, and random people on the street (he likes it)

*ੈ✩‧₊˚

I think Azul would try to actually marry you after that. he is reading way too much into it. I mean, you basically just said you love him and belong to each other in the most intimate and loving way and want to be together forever!!!! (he's already thinking about your wedding rings)

*ੈ✩‧₊˚

"your boyfriend 😑" THANKS JAMIL. it's not that he doesn't understand what you mean, it's just that he's having NONE of that. thinking about the future scares him he's just a realist!!! and then he fucks up and calls you his spouse without thinking one time... you never let him forget it

*ੈ✩‧₊˚

Vil likes it. he's just sitting there all smug like "😌 yes that's me" definitely also calls you his spouse when you're alone. to him, it's just a symbol of your commitment and a promise of a loving future together. very cute very sweet 10/10

*ੈ✩‧₊˚

Rook lights up like a kid on Christmas morning the first time you say it. it's just so!!!! he thinks about it for the rest of the week, and absolutely starts referring to you as his spouse. will sign all of his love notes with "your husband" from then on

*ੈ✩‧₊˚

Idia is going THROUGH it. tells you you're being cringe while his face and hair are cherry red (which means he likes it!) definitely going to think about it while in bed staring at the ceiling for months. Ortho overhears and starts calling you his sibling-in-law :)

*ੈ✩‧₊˚

Malleus. MALLEUS. someone save this poor man. he's unwell. pacing around his room all night, trying to figure out what you meant by that. are you trying to tell him you want him to propose?? you want to marry him?? right now right this second-

you'll have to tell him you meant it as a term of endearment, which both relaxes and disappoints him (say it again, please please pl-)

*ੈ✩‧₊˚

Lilia doesn't really have a reaction. not on the surface, anyway. he just goes on with the conversation (he is fighting demons in his head rn). he decides he likes it, though, and he'll introduce you to everyone as his spouse from then on

[corkinavoid]

DPxDC Recount Your Kids, Batman

[A loose continuation to this post]

Talia doesn't visit the Wayne manor. At least not regularly nor officially. All the batkids and Batman know she comes sometimes, just to check up on Damian and maybe bother Bruce from time to time, but this is the first time she has ever shown up to a dinner.

And, as they all take their seats, she gives Damian a long curios glance. Then, she looks to Bruce.

"Is that everyone?" She asks, easy and lighthearted. One might think she is simply not acquainted with the number of Wayne children or that she is teasing Bruce on the sheer amount of them. But Damian is looking down to his plate, and Tim knows for sure Talia keeps up with Wayne's head count, and Dick is fairly certain Talia would never tease Bruce, at least not so subtly.

It could have been some sort of a hint at Jason. If he was not here, that is. But he is, for once, so this is really all the family at one table.

"Yes?" Dick tries, looking around the table just to make sure. Steph and Babs are not here today, but that's definitely not what Talia could have meant. Bruce also looks just a little confused, which is a nice change of pace since he looked guarded and on edge from the very moment Talia showed up.

The woman hums, her eyes studying Damian. The youngest bat keeps his gaze down on his empty plate. No one really understands what's going on, but they all feel like there's something important and heavy hanging in the air.

Then, Talia stands up and turns to Alfred, "We will be dining later. It has come to my attention that kids are a lot more secretive than I thought," she explains cryptically and smiles at Bruce, "Beloved, will you come with me to the training grounds? I have something to show you."

Bruce doesn't move for a long moment, and Talia's smile becomes almost gentle, "It's about your son."

At least that makes the man move.

When they get down to the Cave - since Talia insisted this was not a matter that could be resolved in the manor's training room - it's not only her, Bruce, and the little bat there, of course. The whole family was way too intrigued, and some were even alarmed.

The most alarming part, though, was the fact that Damian had been uncharacteristically quiet on their way down. Yet, when Dick looked to Cass, she just shook her head slightly. The boy was not worried. To Cass, he looked almost resigned, if a bit displeased.

"Your sword, Damian," Talia commands, and the boy presses his lips into a thin line.

"This is not necessary, Mother."

"It is," the woman looks amused, but there's an underlying layer of concern to her tone.

"...Yes, Mother," Damian nods his head on what feels like surrender and takes his katana. Not the training one, the real blade. Bruce makes a soft, alarmed grunt, but Talia waves him off.

"Not to worry, Beloved. I will not harm our brethren."

She doesn't take a stance, nor does she pick out a weapon, simply lunges for Damian as soon as they are both on the mats. Two daggers seem to appear in her hands out of nothing, and, contrary to her words, her aim is towards Damian's neck. The boy blocks, jumps away, and blocks another attack.

Tim steps closer, "You can't just-"

"Step away, Drake," It's the first time Damian has spoken to them since they've sat down for dinner. His voice is tense, but not derisive. If anything, it sounds a bit tired.

Talia lunges for him again, faster, meaner. Metal clings against metal.

"You understand this can not keep going, my child," she tells the boy, startlingly gentle on the contrary to her definitely dangerous strikes.

Damian doesn't answer.

The rest of Batfam are forced to simply watch the encounter: Damian is mostly on defense as Talia goes for him, harder and harder with every hit. Until, without any warning, the woman strikes for Damian's arm, making him drop his katana, and-

A few things happen at once.

Talia lunges for Damian's throat. Bruce jumps onto the mats so fast that he almost trips. Tim yelps.

But Talia's blade doesn't strike.

A figure of another child, eerily similar to Damian and wearing the League of Assassins uniform, is standing in front of the littlest bat, two crystal clear blades in his hands, blocking the dagger.

Bruce halts midstep. The rest of the family holds their breath.

But Talia simply smiles and drops her daggers, backing away and looking at the boy between her and Damian with a fond gaze.

"Danyal," she greets, and the boy huffs, lowering his weapons. He doesn't drop them - they simply dissipate in the air, turning into tiny snowflakes.

"Mother," he greets back begrudgingly, and his voice is the exact replica of Damian's. A clone? No, because Damian reacts to him nothing like he had to the clones, simply clicking his tongue and rolling his eyes.

"You could have simply asked, Mother," he comments, taking a step forward and stading near the other boy. Danyal. When standing side by side, they look nearly identical - same facial features, same posture, same hair, even if Damian's is a little more tame.

But Danyal's eyes are just a few hues off. Still green but lighter than Damian's.

"I assumed if you have spent years living here and never bothered to mention your brother, I would need a little more than asking, my love," Talia doesn't laugh, but it sounds like she wants to. Both boys roll their eyes, perfectly in sync.

Hold the fuck up, brother?

"Huh. I thought you died," Jason mentions offhandedly, and the whole family whips their heads to him. Yet, before any of them speak, it's Danyal who answers.

"I mean, I did? Kinda?" He waves his hand in the air and shrugs, and he acts so unlike Damian while also simultaneously having his face, that it makes Tim shiver a little.

"You-" Bruce starts, seeming to finally find his voice, but the boy cuts him off.

"I'm not actually yours," he snorts at Bruce's facial expression, "Yeah, I know I look like I am. Blame the ghost sewers, Chronos, and my stupid ass for making decisions while not being fully awake."

There is so much to unpack in that sentence that no one has the barest of ideas on where to start.

Damian curves his lips down in a sneer.

"The longer you stay there staring, the colder the dinner will be when we return," he reminds them, and Danyal suddenly perks up.

"Dinner? Can I join? It's been ages since I've had anything home cooked," he smiles, like there's some kind of an inside joke in that sentence. Damian rolls his eyes.

"The food doesn't come alive in this household, Danyal."

"Bummer," the boy looks a bit disappointed, but not too much. "And it's Danny, for the thousandth time."

Talia picks up her daggers, hiding them somewhere in her clothes in an unnoticeable motion. Then, she gives Bruce a small, if a bit sly, smile.

"You can not call it 'family dinner' if not all your family is there."

[how-the-feathers-have-fallen]

Dumping the start of the tags here cause tumblr has a tag limit of 30 :/ sorry op

Okay hold on

also more things I couldn't fit in. after cuddy bails out choreman chase gets assigned a bunch of clinic hours as Punishment TM. But mom-dad wilson (house is dad-mom) keeps him company till house gets angsty and comes to bail him out pick him up.

More I couldn't fit in at the end so I dumped here outta order:

wilson teahces the ducklings to paint since obvi house passed down his musical talents

rich kid chase got assigned clarinet at age 6. he's ok but has 0 heart. house jokingly points him towards a lyre in a music shop and he takes to it instantly. house go to tease him (baby angel lookin-) but chase looks so overjoyed and he says something like "look just like David played for Saul" so he melts on the spot (and convinces wilson to by him a kinnor so he doesn't know its his idea. he sings like a screeching alterboy tho)

I think cameron can sing but she's quiet and stumbles so she refuses to get formal training. she's tear rendering on a cello tho. surprisingly she can dj like all hell too. she had a wild college life before her 1st husband

foreman can sing smooth as silk. but he can't play an instrument to save his life (no patient for it). his dancing though? stage worthy. can be convinced to show off after a couple drinks.

Obsessed with the whole vibes of early season one of House. The ducklings have the energy of dysfunctional siblings along with their insane Vicodin-addict father. Wilson isn’t shown to have an office yet so he just lingers at House’s side while constantly and giving him fuck-me eyes. Wilson will just sit in on diagnoses and give his advice like he doesn’t have any responsibilities in the world. When the team needs to (illegally) shrink a patient’s tumor so it’s small enough to operate on, Wilson just says “alright” and does it along with Cameron. Chase does a silly American accent to fool a patient’s mother and it WORKS. Foreman is new and already despises everyone. House comments on how fuckable Wilson looks when Wilson is simply wearing a green tie and nice shoes. An old woman says that House has the same bedroom eyes as Ashton Kutcher. At one point the team, House, Wilson, and Cuddy all gather together in the small lab room to discuss a patient and are all basically brushing shoulders. Wilson reads a love poem out loud in the middle of the hospital to House. House eats tomato sauce that the team suspected was killing the patient. Wilson ditches his wife on Christmas Eve to go hang out with House and it shows a montage of them laughing and eating take-out. Cuddy greets House and Wilson by saying “hi, boys” like they’re kids. Foreman and Cameron are tasked to search a patient’s home and Foreman eats the ham he found in their fridge because he was hungry. The first scene with House shows him and Wilson walking down the hallway literally brushing hands and shoulders despite the hallway being huge. One of the first things Wilson does is lie to House. Wilson asks House — who rarely ever takes cases unless he finds them really interesting — to take a case and House just takes it. When asked why it was so easy, House just looks at Wilson with a smirk and says “you know why” and then they both smile at each other. This is all in the span of the first eight episodes.

[makkir0ll]

you were minding your business while you were out driving, on your way to the grocery store, when you hear sirens behind you blaring. you look at your rear-view mirror to see the flashing red and blue lights, you tense up and pull over. you weren't even speeding, just going five over the speed limit. everyone goes five over the speed limit.

you try and calm yourself down, maybe he'll let you go easy.

you hear a tap on your window and look over to see a familiar broad chest in front of your window, with the familiar badge number and name tag on his chest. sawamura daichi. it read. you roll down your window and he bends down to get to eye level, you could recognize those brown eyes from anywhere, even if they were hiding behind a pair of aviators (that you bought him).

"hi ma'am, may i see your license and registration." he tilts his aviators down to get a better look at your face. you smile at your husband's antics.

"yes, officer" you say as you lean over to your glove compartment, going along with his silly act. you grab your registration and open your wallet to hand him your license. he takes it from your hand, making sure to brush his hand against yours.

as he's examining the two items you handed over he asks, "are you aware why i pulled you over ma'am?" he looks back down at you, handing back your license and registration.

"no officer." you say with a smile, trying hard to contain your laughter. clearly he's going with the bit.

"you were speeding, that's going to cost you." he pulls out his ticket book and a pen to write it down.

"but officer i was only going five over!" you plead, no way your own husband was about to write you up.

"five over it still speeding ma'am, not going to let a pretty lady like you that easily" he smirks, tearing off the ticket and handing it to you. "it'll cost you one kiss."

"really?" you quirk an eyebrow, all this for a kiss?

"yes really" he bends down into an uncomfortable position, cupping your cheeks and you lean into his calloused hands. he pulls you closer, head out the window as you kiss him deeply. hopefully this will keep him going for a while. you pull away, both of you smiling ear to ear at this dumb act. you pull him down by his collar again for another one, for good measure of course.

"is that enough officer?" you cheekily ask.

"yes ma'am, have a good day." he replies, pulling his aviators down the bridge of his nose to give you a wink before he walks away. you wink back at him.

"bye officer!" you yell at your husband as he walks away, rolling up your car window. you look at the ticket he gave you and you see that he scribbled the words:

we're out of milk

you roll your eyes as you open your phone, going to the contact labeled with daichi ❤️ to send him a text.

you: if we needed milk you could've just texted me

daichi ❤️ : now where's the fun in that?

@cottonlemonade , this one’s for you

[luveline]

(𝐢𝐭’𝐬 𝐧𝐨𝐭 𝐥𝐢𝐤𝐞) 𝐡𝐞’𝐬 𝐦𝐲 𝐛𝐨𝐲𝐟𝐫𝐢𝐞𝐧𝐝 | 𝐬𝐭𝐞𝐯𝐞 𝐡𝐚𝐫𝐫𝐢𝐧𝐠𝐭𝐨𝐧

Steve hears you wrong, thinks he’s your boyfriend, and begins to act accordingly. You try your best to go along with it until you can’t anymore. 3k, fem. requested here ♡ 

cw shy(ish)!reader, misunderstandings, steve being a huge sweetheart, fluff, hurt/comfort, bonus fluff scene 

˚ʚ♡ɞ˚

The arcade is loud and brisk this evening, doors thrown open to allow for the constant ebb and flow of younglings, the machine music turned up to account for so many voices. You’re lost in a sea of rainbow flashing lights and the ticklish smell of sugar. Without Steve’s hand behind your shoulder, you’re pretty sure you would’ve gotten lost and trampled half an hour ago. 

A candy necklace pinwheels past your heads like a torpedo, forcing you closer together, your shoulders tight with a flinch. 

“We can leave,” Steve says immediately. He’s weirdly thoughtful. Before he asked you out you had no idea he thought so much about other people, but he’s always thinking about other people. You could argue he thinks a little too much, like you. 

“I wanna see Max.” 

“She has to be here somewhere.” 

That theory proves less and less likely. Steve’s hand falls away from you, tugging through his hair in a marker of stress as you circle the Palace Arcade for the tenth time. “Maybe she quit?” you suggest. 

Steve’s eyebrows pinch together as he gives the arcade another sweep. Max’s rough patch freaked him out, as it freaked you out, because ‘rough patch’ is a kind way to describe it. She could’ve got a whole lot worse; she was suffering, capital S. It’s nice to see her returning to society, but not if she isn’t actually settling in. That’s the whole reason you’re here. 

Steve frowns at you worriedly. 

“Who died?” asks a new voice.

You breathe out a sigh of relief. “Max!” Steve cheers. 

“That’s me,” Max says, looking at you both sceptically. Her ginger hair is pulled into two tight braids either side of her face, her cheeks flushed red. Mascara paints her usually pale lashes a darker brown, and a rosy tinted chapstick shines on her lips. 

“Hey, the uniform looks good on you,” he says affectionately. “You look like a valued member of society.”

“A society in need of better labour laws. I’m pretty sure this is child abuse.” She rolls her eyes. 

“Is it awful?” you ask. 

“It’s fine. Better when your stupid friends aren’t here making themselves sick on candy like they’re nine years old,” she says pointedly to Steve. “Are you going to throw up too? You look–” she grimaces in place of insult. 

“Who’s throwing up?” you ask. 

“Dustin. He’s outside.” 

Steve sighs and gives your shoulder a kind squeeze. “I’ll be right back,” he says, squaring his expression. “Goddamn kids.” 

He sounds like an old man, you think to yourself with a small smile. Disgruntled, he still goes to make sure everyone’s alright. He’s nice, even when that nice is begrudging and tiresome and plain gross sometimes. 

“Why are you smiling at him like that?” Max asks.

You school your impression. “Like what?” 

“Like you like him.” 

You shake your head. “Tell me about work, Max. What’s it like here? Are they giving you your breaks?” 

She drags you over to the counter to sit in the seat waiting behind. She glares at any kid who approaches, but besides that she seems in good spirits. The job isn’t hard, it’s just a job. She’d much rather be at home reading, but wouldn’t everyone? “And I get this sweet uniform,” she says, pointing at the embroidered icon on her shirt pocket. “What’s with you and Steve?” 

“Nothing,” you say, though it’s something. You’re mortified to have been caught having feelings. 

“Looks like something. Are you dating?” 

“I mean, this is a date,” you say, almost whispering as heat floods your face. “But we’re not together.” 

“He was touching you a lot.” 

“Max, he’s really nice. He’s a really nice guy,” you say gently, “and we’re not together, but if he does ask me out eventually, maybe I’ll say yes.” You realise what you’re saying and attempt to backtrack —you do like Steve, but Max doesn’t need to know that. “It’s not like he’s my boyfriend,” you say strangely. 

“Ew,” Max says with a laugh. 

“Not ew,” you correct. You hadn’t meant it in a bad way, it’s— 

“Not ew,” Steve says from behind you, his arm a heavy weight across your shoulder. 

You look wide-eyed up at his face, surprised by his huge beaming smile, an intense loveliness about him as he gives you a half hug. 

“What’s ew about that?” he asks you softly. 

Oh, boy, you think. 

As it turns out, being Steve’s girlfriend is kind of nice, but you aren’t ready.

From that afternoon at the Palace Arcade onward, he treats you like you’re made of gold. And it’s great, he’s so kind, he brings you flowers and takes you out for breakfast, where he pays the tab without any flourishes and talks to you as casually as always. You almost hope he hasn’t got it wrong at all, and that his soft tone a few days ago had been down to a brief overwhelming fondness. You’d get that. You have your moments with him, you’re falling for him, and it’s only a matter of time before you’re desperately in love, you’re sure, but then the waitress asks if you need anything else and he says, “Just a water for my girl,” and you realise you’re not getting off easy. 

Dating is sort of like being good friends; you’d planned to spend the day together anyways. You enjoy his company. It’s clear he’s eager, optioning off the day’s agenda as you return to the car, the bottom of your face hidden in your bouquet. 

“We could go to the movies,” he says, opening the passenger door, his smile seemingly permanent as you climb inside. “No science fiction, I promise.” 

“I kind of like sci-fi.” Petals press fragrant to your top lip.

“Well, we don’t have to go to the Hawk. We could go into the city. I bet they’re playing any movie you wanna see.” He checks that your leg is properly inside the car before he closes the door, jogging around to the driver’s side and practically throwing himself inside. He’s giggling like a kid. “Shit, I’ll see anything you want to.” 

“Steve.” 

“Or we can go do nothing? Until dinner.” 

“Steve,” you say again, thinking you’ll tell him. Nothing good ever comes from dishonesty. 

“What?” he asks. 

His eyes are so brown. Billions of people with brown eyes and you swear you’ve never seen anything like it before, their centres like hot honey, the sweetheart shape to them when he smiles 

You sigh. His smile is contagious, even while your stomach hurts. “Nothing. Let’s go see a movie.” 

“Are you okay?” 

“What?” 

“What do you mean, what? You sounded weird.” 

“I sounded weird?” 

“No!” He winces. “I mean, yeah, you sounded weird for you, like you… I don’t know. Sorry.” 

You feel bad, then. His apology is earnest, his hand resting open on the console for you to take if you could manage the flustering heat of it. 

“I wanna go to the movies,” you say, ‘cos you really do. 

“Alright, good. It’s just, I think my last relationship, I– I didn’t pay enough attention, and I want to do that better this time around. So yeah. Sorry.” 

Oh, Steve, you think. How are you supposed to tell him now? You’re gonna have to pretend to be ready for a relationship with him until you really are, it seems. He doesn’t deserve to have his heart played with twice. 

“Don’t be sorry,” you say gently. “Let’s go watch a movie, okay? I want to go, with you, we’ll watch a shitty daytime flick and then get dinner after. It’ll be fun.” 

You aren’t lying to him about what you want. It’s clear to everybody, Steve and his friends and especially you, that you like him, that you want to be around him and make him laugh. Maybe being his girlfriend won’t even be that different to being his something. 

After all, what’s romantic about seeing a movie? 

“You good?” he asks, half an hour later, your agony prolonged. 

You’re at the back of the movies where the seats have the most leg room, more popcorn and candy than you could ever eat at your feet and a litre cup stuffed into the armrest between you. Steve is tucking his shirt back into his jeans, his head parting the light of the projector and leaving a silhouette in the previews. 

“Steve,” you advise, gesturing for him to lean down out of the way. 

He leans down, further and further, face to face with you with his hands on his hips. A flirtatious teasing makes its way onto his lips. “What?” he asks, amused. 

“You were in the way of the light.” 

“That what it was?”

“Seriously!” you whisper-shout, laughing despite yourself. 

“You’re so cute,” he whispers back. “Want to take your jacket off?” 

Your lips part at his good suggestion. You hold your arm out and start to peel from your jacket, but he takes your sleeve and helps you out of it before folding it and sitting in the seat next to you, your jacket on his thigh. “How’s that, babe?” he asks. 

“It’s good.” 

“Okay, perfect.” He beams at you. He’s always smiling when he’s with you, like you’re the best thing since sliced bread. Like he loves you. “Tell me if you need something, yeah? I know you’re kinda shy.” 

He settles back in his seat with your jacket still in his lap and no indication that he might want to move it. Your knees touch as he relaxes, your knuckles as he puts his arm on the rest between you, a picture of contentedness as the movie begins and the opening credits play. “That’s us,” he says without looking at you. 

Two people walk down the street holding hands as the title of the movie blazes in yellow font with thick red outlines. A Day In Paradise! 

You bite down on a slither of the inside of your lip until it stings. You try to fight it off but the longer you sit there, the more your eyes burn, thinking about Steve and what he deserves and how unfortunate this whole thing is, and yeah, you’re overwhelmed, too. You aren’t ready for so much sweetness all at once. You don’t deserve it, he doesn’t deserve this. 

You force the tears away. The movie goes on and on, the lights low, the chatter of moviegoers and the occasional popcorn crush not nearly loud enough to cover the sound of Steve’s breathing. 

He pushes his hair out of his face. Somebody on screen makes a joke, his hand brushes against yours, and then takes it gently as he laughs. 

You pull your hand away and tip your head down, a frantic tear flicking from your lashes. 

“You okay?” he whispers. 

You try to answer. You whimper instead, a terrible, sorry sound stuck to your throat —you can’t hold it in anymore. It’s too much. 

“I’m sorry,” you mumble tearily, looking up, a tear rolling fast down the bump of your cheek. 

Steve sits still in moderate horror. “Why are you crying?” he whispers.

The thing about Steve that people tend to forget is that, while he takes care of people the best that he can, he’s really young. He doesn’t always know what to do. He stares at you now like you’re a foreign object, hand tucked back into his abdomen. 

A tear drips onto your lip. It tastes salty. “Sorry,” you say. 

“Why?” he asks, dumbfounded.

“I really like you, Steve.” 

He stares at you. “…But?”

“But I–” His frown hurts your heart. “I don’t know if I’m ready for all of this, I never– never had someone like me like this, I don’t know why I’m crying.” You say that last part to yourself rather than him, scrubbing your cheeks with your hands roughly before hiding your face completely. “It’s not you.” 

“I thought…” And of course he did. 

“I know,” you say. “I’m sorry, Steve. I thought it wouldn’t matter but everything’s going so fast.” 

He touches your arm gently. “I’m sorry,” he says. “I thought you wanted this. You– you said I was your boyfriend, to Max? I thought you liked me.” 

“I do like you,” you insist, meeting his eyes. 

“Can I wipe your tears away? They’re everywhere,” he says. You struggle to read his expression, but there’s no resentment or anger there for you. He looks quite serious. 

“Yeah.” 

Steve bends in his seat to wipe your tears off of your face gently. They really are everywhere, on your cheeks, your top lip, your chin, even down the arc of your neck. “I don’t understand,” he says, going back to your cheek for a missed streak, “but you don’t have to be upset. Please. I won’t do anything you don’t want me to do, I promise.” 

“Steve, when I was talking to Max, I said,” —you wince— “that it’s not like you’re my boyfriend. She was asking me about you, and I got all panicky because I like you, but I’m too weird about this stuff, I’m panicking now–”

“Don’t.” His hand lingers on your face, before a sorry flash of dejection passes over him, and he drops your face altogether. 

“I didn’t mean for this to happen. Please believe me.” 

“Of course I believe you.” He grimaces at you, and the heartbreak turns to something more manageable, like he’s brushing himself off. “I’m sorry. For getting the wrong idea.” 

“I like you,” you whisper. Your voice is nearly lost to the rustle of popcorn and drinks. 

“I like you too!” he says loudly. 

A few seats down, somebody turns, an angry whirl of hair and clicky nails. “Can you guys shut up?” 

You and Steve leave your mountain of snacks behind to stand in the theatre hallway, where the winter air is cool on your flushed skin, and the silence is stifling. You lean against a wood feature wall and try to calm down, because he’s the one who should be upset (or maybe he’s not that fussed about you). He stands a half foot away with his arms crossed, looking down at his shoes, though occasionally he glances at you for a split-second and looks away again. 

“You okay?” he asks tightly. 

“I’m sorry.”

He pokes his cheek with his tongue. “So you don’t want to be together?” 

You don’t know. He deserves the truth, even if you barely understand it yourself, and it stings to say. “I do, I like you, but I… I want to take things slowly.” 

He stands there without talking for a while. When he does talk again, he’s laughing, that achy awful sadness he’d worn a far off memory. “You’re this upset because you want us to take things slow?” 

“I didn’t want to hurt your feelings.” 

“You haven’t,” he promises. “That would never hurt my feelings. I knew when I heard it that it was too good to be true.” He scratches the back of his neck. “I guess I gotta earn the title like everybody else does. Is that… cool?” 

You nod vehemently. 

Steve blows a relieved breath of air up his face, his hair ruffling off of his forehead. “I thought I was gonna lose you completely,” he says, smiling. “This is fine. I can work with slow. Slow’s my middle name.”

—♡—

The sun is a blistering heat today. “Can’t believe it’s only spring,” you murmur, eyes covered by the back of your arm. 

A weight sits down on the blanket beside you, the sound of dry grass crushed underfoot. He brings the fresh scent of lemon slices with him, the zest sticking to his hands.

“I think I might melt.” 

“I’d never let that happen,” Steve says, laying down beside you. 

“You can be my parasol.” 

“Your what?” 

“It’s a sun umbrella.” 

“Like this?” he asks, gently laying himself across your front, his face on the slip of your stomach that’s bare, his arms sneaking behind your thighs to hug them as you bring them up. 

You reach down to stroke his hair, taking your fingers through the silky lengths of it, fingernails scratching ever so slightly at his scalp. “Thanks,” you say.

He kisses your naked leg. “You’re welcome, honey.” 

If he’d done that at the beginning of your relationship, you’d have frozen up; not because he would’ve done it differently, not because he wasn't always your handsome sweetheart, but because being comfortable with someone this intimately takes time, and that’s okay. 

“Your face is digging into my hip,” you murmur. 

He shifts back, his ear above your belly button. “Is that better?�� 

“That’s perfect.” 

“Are you falling asleep?” he asks softly. 

“No… I’m thinking.” 

“Nothing good ever comes of that.” 

“I have something I want to talk to you about.”

“I love talking to you,” he says. He sounds as though he might fall asleep himself, his tongue heavy in his mouth. 

You stroke his hair away from his face by touch alone. Long, warm minutes pass without conversation. You aren’t scared to tell him how you’re feeling. He’s proved to you over time that he’s someone you’ll always be able to trust, and that whatever you have to say will hold weight. 

“It’s a question.” 

He turns in your hold to face you. You raise your arm, greeted by the image of him sun-kissed and lazing, laid out across you without a care in the world. 

“Don’t tell me then,” he says, rolling his eyes. “Jesus, you’re terrifying.” 

“Would you wanna be my boyfriend?”

He narrows his eyes at you. A myriad of emotions pass between you both, until he’s smiling, and you know he’s sitting up for a kiss seconds before he actually does. He presses his lips to yours carefully. “Baby,” he says as he pulls away, voice as mild as his soft kiss, “I think we’ve passed that point.” 

“I realised I’d never asked you, is all.” 

His hair falls down into his eyes. You tuck it behind his ear. It’s pretty clear now you’re together, even after such a bumpy start. 

“Can I get it in writing this time?” he asks, rubbing the tip of his nose against yours, your eyes fluttering closed in tandem. 

“Give you anything you want if you kiss me,” you murmur. 

His laugh fans over your lips. He cups your cheek, your heart a hummingbird drilling at your ribs as Steve moves in to kiss you properly. Your lips part under the pressure, your head tilting a touch to one side to accommodate him as he searches down for you, melty hot pleasure and nerves that never seem to fade arising as his thumb moves up your cheek, a semi-circle of touch. It promises undulating care whenever you want it. 

You tip your head aside to catch your breath.

“Better late than never,” you joke. 

Steve talks into the soft skin beside your mouth. “You weren’t late, babe. I was early, and I didn’t mind waiting.” 

˚ʚ♡ɞ˚

thank u for reading!! pretty please like/reblog or comment if you enjoyed cos it means so much to me and inspires me to write even more!!! but either way i hope u enjoyed❤️❤️❤️

[evanhereonearth]

The Insidious Cycle of the Abuser Who Says They Love You: Mythal and Solas

Likely goes without saying, but Veilguard spoilers all under the jump.

I have been absolutely wrecked by the end scenes in Veilguard for weeks now, and I want to do a deep dive into Solas's relationship with Mythal and how it absolutely reeks of abuse. Long post incoming!

CW for heavy discussion of cycles of abuse, trauma response, and abuse tactics.

When I finished my first playthrough, this moment hit me like an absolute freight train. His visceral response to her presence and the way he instinctively retreats and flinches back/puts out a hand to protect himself is a full-blown trauma response.

And then she starts talking and moving towards him, and it gets worse.

Solas curls in on himself; his body goes even further into self-protection mode. His face is downcast, not the way he bowed to his vhenan moments before with a straight back and open posture, but shrinking.

And then as she advances, he cowers.

He completely folds inward. He crumples; he shakes, he hyperventilates, and the moment she reaches for him, he fumblingly offers her the lyrium dagger to kill him with.

Is this shame? Yes, of course, but it's far, far more than that.

For the sake of brevity, I'm going to limit this list to the four most widely recognised trauma responses:

Fight

Flight

Freeze

Fawn

As someone whose primary trauma response is fawn (wooo CPTSD), which is intensely common among people who experience complex trauma, especially through emotional and prolonged physical/mental abuse where their needs are discarded, pushed aside, or otherwise steamrolled, I felt this right alongside Solas. My own body responded to seeing it. This is, quite frankly, one of the most visceral and realistic (and extreme) fawn responses I've seen depicted in media.

Mythal in this scene is...phew, something else.

"She was the best of them," Solas tells us in Trespasser.

But she was not good, everything tells us in Veilguard.

Let's look at his regrets in chronological order.

Through Solas's memories of regret, we see this germinate in his foundational regret: leaving the Fade to take a physical form.

He does not want to do this. He tells her he does not want to do this. From the conversation, it's clear it's not the first time she's asked.

And the way she asks? Outright coercion.

"You have so long observed the world. Why not consider joining it?" [I want you to do this thing, so I will frame it as logical for you to make the choice I want you to make.]

"But I have no desire to live as humans. Besides, this talk of taking on a solid form. I think you underestimate the danger." [I don't want to do that. It does not feel safe to me.] "When you took the glowing stone to build your body, did the earth not shake?" [This is dangerous and selfish.]

"The lyrium gives us the strength we had when we were of the Fade; we are the best of both physical and Fade." [It makes us powerful, so I don't care about the risks.] "I need your wisdom, Solas, to withstand the louder voices like Elgar'nan's who would go too far." [If you do not come with me, a tyrant you abhor will make others suffer.] "I need you."

"This is madness. You must know that." [I don't want to do this at all. This will hurt me. I don't want this.] "I will always follow where you go." [Because I love you and trust you.]

Mythal's words in this part are classic abusive framing. When appealing to his natural curiosity does not work and he expresses strong rejection of her logical thought process (just because I have observed this place does not mean I want to go there, echoing his comments to the Inquisitor in DAI: "Many Orlesian peasants dream of travelling to exotic Rivain. But not everyone wants to go to Rivain!") and expresses that there is significant danger to continue to build bodies out of lyrium, she changes tactics.

Her second tactic is that it gives them power--she implies that he is limited and not enough for being only of the Fade. If he follows her, he will be the best of both, like she is. She clearly already sees herself as above him.

Her third tactic is pure emotional blackmail: "I need you. I will give in to the tyrants without your wisdom, and having your counsel in the Fade is not enough. If you don't go against your own nature and desires, people will suffer...and it will be your fault for not being by my side."

She doesn't say those things outright, but they are implied by everything she is saying. He says again he doesn't want it--that it is madness and that she must be aware of that despite her ignoring any suggestion that she actually is. All she is seeing is power and her desires: for Solas to do what she wants him to do.

So he agrees. Because she is his friend, and she says she needs him.

As far as core wounds go, this one is a doozy. It's absolutely brutal, because it's irrevocable. It's a point of no return. It's the first in what will become millennia of regret, of her ignoring the Wisdom she coerced out of the Fade to do what she wants regardless, to continue to push him to twist his nature under the guise of the greater good, to continue to cede to Elgar'nan and enable the very tyrants she promised him to balance.

This regret was deeply painful for me to watch. The nuance here is easily lost if people don't understand abuse tactics and how this sort of manipulation is used. It also serves to bind Solas to Mythal, an enormous sunk cost fallacy in the making--once he has made this choice, there is no going back.

And you see Solas curled in on himself in anguish and regret from the trauma of taking a physical form. It is in deep, painful contrast to his open, free wingspan as a spirit of Wisdom; he will never be the same.

"Have you created what we need?" From the outset Mythal is framing this as his idea as much as hers, when from everything he says, that is not true.

"With this, the proper ritual will sunder every Titan from its spirit. But you must know, those severed dreams will certainly be driven mad, a disembodied blight of pain and anger. It--is--awful what we are doing."

"And the only way to end this war."

Again, Solas offers the wisdom she claimed she took him from the Fade to listen to. He warns her, again, of the danger. He does not want to do this. Just like he warned her of the earth quaking when they made their bodies--they, the Evanuris, started this war by taking what they wanted regardless of who it hurt. He never wanted to participate in it, but now he is in the middle of that war. Mythal was one of the initial perpetrators of this war; she brought Solas into it against his will because he loved her, and now he's stuck. He is past his point of no return. And she is still using his heart against him. She has isolated him from everyone he knew in the Fade; he has no one to support him. He. Only. Has. Her.

This is another classic abuse tactic; if the person being abused has no one else, they will continue to enable that abuse even if it harms others, because they cannot see a way out. If you don't do what I say, it will destroy our children, our family. If you don't do what I say, this war will consume all you have, and you no longer have a home to return to. If you don't do what I say and hurt yourself and the Other, more will suffer, and it will be your fault.

Again, his posture, curled up and broken, appearing to cradle a now-tranquil Titan beneath him--and be embraced in return. This is an interesting artistic choice here, one that aches. It speaks to the depth of his own wound and how much it rent his own spirit to follow through with Mythal's wants here; that it sundered him from his spirit as much as it did the Titans.

"You cannot do this, Elgar'nan! You swore we would give up our commands when this war was over!"

"Our people need our leadership. If you are unwilling, leave."

From Elgar'nan, this is expected. From Mythal?

"Our people must rebuild. And we must help unite them."

Solas, once again, betrayed. He put his trust in Mythal and in the other Evanuris to follow through with their promise. Everything he has done thus far is poisoned in this moment; had the Evanuris indeed stepped back rather than stepped on necks, perhaps Solas could have healed, found a way to live with what he had done, maybe even to make amends. But this starts his war anew--and Mythal is standing with his enemy despite her promises, despite every wheedling word she's used to get what she wants from him over the centuries and longer, despite him turning from everything, everything, he loved to love her. This is the moment where he understands that he has only been a tool to her all along.

"So we did not fight for freedom, but to conquer this land and our own."

Let's pick apart Solas's words.

So we did not fight for freedom: He truly believed that he was fighting for freedom, that no matter how bad it got, that he could bear it for freedom.

But to conquer this land: Literally the land, I think, because of the Titans. To subdue them at all costs. This was not what he came for, but he believed Mythal.

And our own: Our own, our people, more spirits we gave bodies for this war, more who may not have wanted to leave the Fade. Our own, our people. To Solas, he is one of them. In this moment, he realises how much Mythal holds herself above all of them.

Elgar'nan's words are all too telling: "We fought to win. And now the Evanuris are as gods. I do not answer to Mythal's annoying lapdog."

They all--all--see him thus. As her pet.

Because he is. She has, until now, controlled him utterly with her manipulation and "need" for him.

"The people are afraid. They must believe in something." Mythal does not even stand up for Solas here; she does not reject Elgar'nan's perception of him. All she does is further distance herself.

The people are afraid: The Evanuris made them. They are as controlled as Solas and more.

Elgar'nan asserts, "They need strength."

"And wisdom." Mythal has the absolute gall to attribute this to herself, when Solas is the source of the wisdom she "needed" for so long. (Belated addition: And another level here: she may also be saying again that she needs him, but doing so in a way that doesn't require her to stand up for him directly. Honestly, fucking gross.)

"They need gods who can protect them," Elgar'nan continues.

"We are not gods. You will learn that." Solas's voice here is pure defeat. The scales are falling from his eyes.

"Every lapdog holds a wolf inside," says Elgar'nan.

Solas knows that Elgar'nan's "protection" is hollow, based on subjugation. And I think in this moment, he learns that Mythal's is based only in her belief that she is better than those beneath her, who cannot possibly handle themselves.

So her lapdog becomes the Wolf.

"I was not certain you would come."

Solas's opening words in this regret show the distance between them already and how much he has realised he does not know this woman who called herself his friend.

And her response is to instantly blame him.

"You are the one who walked away. I never turn my back when my friend needs me."

In putting this post together, this line absolutely sucker punched me. I've watched these several times already, but the absolute audacity to blame him for standing up for his principles for the first time against all her manipulation? Hoo.

She blames him for doing just that, "turning his back when his friend needed him." She needed her enabler, and when he stopped, she turned bitter. Just like any abuser.

That he goes straight into "The Evanuris seek the magic of the Blight" instead of engaging, honestly shows that he's still Wisdom. That is one battle that is unwinnable, trying to stand up against an abuser's bullshit like that.

"Impossible," she says. "The Blight is safely sealed away forever."

Gaslight, girl boss, gatekeep.

"Though I wish I could believe you." [You have lied to me so many times.] "I have sensed the breaking of the wards."

And her answer is patronising. "I will investigate your claims." [I don't believe you.] "If they forget the danger of the Blight, I will endeavour to remind them."

Solas knows this is futile. "What if, instead, you left the Evanuris and remained with me? Do you not wish for freedom from this struggle?"

He asks her, again, to veer from the dangerous path. He desperately wants to believe he was not completely wrong about her, I think. If she were to leave, he could heal somewhat, for not having so thoroughly misjudged her character.

Am I enough for you? Was I ever enough? is the unspoken question here when he asks if she will remain with him.

And in return, he gets back even more patronising bullshit and hubris. "Be at peace, love. I will stop them."

(Can you tell Mythal pisses me off?)

She calls him love. What an unbearable insult after everything, to go on telling him she cares for him whilst ignoring his wisdom--the very wisdom she coerced him into leaving the Fade so she would have by her side--and consolidating her own power at the expense of his people.

"As you must," he says. "The Blight is our mistake."

Might be unpopular, but I do not think Solas bears a split fifty-fifty custody for whose fault the Blight is. Could he have said no about the dagger? Could he have pushed then? Maybe. But by this point, he'd already had probable millennia of complex trauma and a deeply abusive codependent relationship, probably also a level of magical bond. Like, sorry, Trick and BioWare, if you want to retcon everything you shared with us in Inquisition about being in service to the Evanuris ("You have given yourself into the service of an ancient elven god! You are Mythal's creature now. Everything you do, whether you know it or not, will be for her.") AND Mythal casually overriding her servants' will and Solas burning her vallaslin off his face and leaving a scar and devoting himself to freeing the elven people from the Evanuris's domination, fine, but I don't buy it. Even if there was no magical compulsion on him all this time, that is immaterial.

Complex trauma literally rewires the brain to survive. She spent lifetimes programming him, isolating him, stripping from him every bit of agency he had. This man did not have the capacity to say no.

When our no is trampled even for a few months or years, we stop trying to use it. We comply. We, as mortal humans, cannot begin to comprehend the compounded trauma of millennia of this happening with the stakes of worlds in the balance. Solas, quite simply, has lost the entire ability to consent. No one of us can even imagine.

Yet he managed to walk away from her somehow, when she chose Elgar'nan. This man is stronger than anyone gives him credit for.

The dagger was clearly Mythal's idea. The plan to sever the Titans from their dreams, clearly her idea. To end the war. For there to be "peace". For there to be "freedom". Except that never came.

His loyalty was to her and to their people; hers was only ever to herself.

And again, she walks away and lets Solas suffer.

What a good friend.

[screaming from the general direction of Scotland]

She put her trust in monsters instead of her oldest friend, and the monsters ate her face.

Anyone surprised? I'm surprised. (I'm not surprised.)

And on top of this, Mythal finally, finally giving Solas one tiny breadcrumb that she had any principles remaining? I think that cemented his bindings to her forever. Not just that the Evanuris killed her, but why they killed her: because after millennia, she listened to him.

For someone that deep into trauma and abuse? Well. We know what happened.

It cannot be overstated that with his imprisonment of the Evanuris and the Blight, Solas saved the entire world. The entire world. Every living being in Thedas had a chance at life because of him. Only because of him.

Morrigan says it early on in the game, that for all the consequences of the veil (which, it also must be said, was not supposed to be global!), "his imprisonment of the Evanuris was just. Had he not done so, all of Thedas would have fallen to the Blight."

And the world has hated him for it.

He woke after sleeping for millennia, exhausted by this immense act of magic, to discover that not only had it gone horribly wrong, but that it had cost his people everything. That Tevinter had come in and enslaved them, released a trickle of the Blight after breaking into the Black City, used so much blood magic that the veil itself all over Thedas has been in tatters--not least because in releasing the Blight, the survivors had had to face down and kill the dragon thralls (archdemons) of the Evanuris, rendering five out of seven of them mortal, and with their deaths over the intervening centuries, the veil had grown threadbare with only two Evanuris sustaining it.

The risks were catastrophic, the price unbearable.

Everything he'd ever done to protect the world could still come crashing down...and in a sick twist of fate, he would be alive to see it.

And, shockingly, so would Mythal.

Mythal, whose fragment has just been chilling in a swamp for centuries in human form. Mythal, whose abuse of him lasted through the entirety of the world's history. Mythal, who, due to the Evanuris's betrayal and her abusee's abandonment, has become little more than retribution.

Mythal, who could have set him free at any point in all this time and didn't, because he was hers.

Mythal, who is the only remaining person with the power to do what he feels must be done.

I find it interesting that they chose not to use the post-Inquisition dialogue at all. Interesting also that they used Mythal's voice actor and not Flemeth's. This feels like a retcon, but we'll go with it. Whatevs.

"I knew that you would find me soon enough. You need the power of a god, the strength that I alone still carry."

She's still asserting her own godhood.

He's not having it. "The blighted Evanuris will soon break free from their prison. I must make a stronger one that can contain them."

He's not wrong. Not even a little bit wrong. And he's also right that she won't help him. Why would she? She never has.

"While the prison is important, it is not the only goal you seek."

"Why should I not tear down the veil? And bring back immortality to all the elven people? They deserve it."

And this is where I get even more raging, because Mythal's answer is this: "The elven people of today do not deserve to see the world they love torn apart to salve your conscience."

I'm sorry, what?

The world they love? The world that has offered them nowt but literal genocide for thousands of years? The world where in Tevinter, they're chattel slaves and worse, fuel for blood magic without a thought? The world where in the "civilised", slaveless nations to the south, they're either confined to alienages and subjected to repeated genocide (that's what a "purge" is, if anyone isn't clear on that) or the remnants of the Dales, who are the descendents of another enormous genocide? The world where elven magic has been pillaged but elven mages in human settlements are confined to Circles and abused or made tranquil or also genocided by Templars invoking the Rite of Annulment? The world where they're called "elf savage" and "rabbit" and "knife ear" and cannot participate in Thedosian religious life because the Chantry erases every instance of elves from even the Chant of Light? The world where it took the Inquisitor installing a perpetrator of genocide on the Orlesian throne (both Celene AND Gaspard fit this bill) and either having Celene reconcile with Briala (Briala and Celene's relationship could be a whole other post. Boak.) and blackmailing them to give a single elf lands and a title? That world????

What the fuck, Mythal, die faster.

I got real mad there for a second. I'm fine. I'm fine!

Solas, once more, simply says, "I must fix what I have broken. I am sorry."

More than she deserves, frankly. Man's a mess, but at least he tries. She's been chilling in a swamp and pulling puppet strings for ages and abusing her kids. Nudging history like it's some sort of hobby, because it has always just been pieces on a board to her. They have never been people in her eyes like they are in his.

"As am I, old friend."

Aye, get tae fuck. Friends don't treat friends the way you treated Solas. The closest thing to an apology Solas will ever get from her is that she pretty much just lies down and dies when he comes to kill her. And she still won't set him free before he does. Has to continue to twist her own knife.

This scene has me riled.

And this takes us back to the beginning of this post.

To her essence showing up to release him from her service.

In what is, to me, the least accountable, bare minimum non-apology (she never actually says she's sorry) I've had the displeasure to witness in a videogame, with Solas literally cowering before her and offering her a knife to kill him with since this is the first time he's seen her actual, non-Flemythal face since she died.

This was never a friendship of equals. Ever.

She got one thing right. She did break him. But she knew it all this time, and she never took a single step to put it right until pushed. Her corner of the Crossroads, which he built for her in the desperate hope that she would show a glimmer of the friend he believed she was, notably has a pair of wolf statues. Both beheaded.

She's spent all this time punishing him further.

He never went to visit her? I wouldn't either. I could not blame him.

This has gone to an angry place. So let's conclude with what is, I think, the entire point.

Grace.

"I lied. I betrayed you."

"I forgive you."

Has anyone--anyone--in all his long life, ever said those words to him?

I'll say that again: has anyone--ANYONE--in all his millennia of existence, EVER said those words to him?

I forgive you.

Mythal certainly didn't.

The world certainly didn't.

He has shouldered all the blame of an entire pantheon, a war that broke the world, a blight, everything, always, and while people have come alongside him to help him, I am not sure anyone (certainly not anyone he cares about) has given him the grace of forgiveness.

The beauty of this final scene for me wasn't just Ilaana, wasn't just Ilaana reuniting with the man she has loved for a decade who has spent all that time pushing her away so he couldn't--in his mind--inevitably poison the love of the only person who has seen his spirit and cherished it without twisting him.

It was the slow realisation that Rook trusted his love enough to try.

It was Morrigan, who carries all Mythal's memories and her own of Flemythal's abuse and machinations, who responds to Rook's question about her views of Solas with: "Or do you mean to discover if I would stand directly against the Dread Wolf, were there a need? I shall aid you in any way but that. What has passed between Solas and Mythal...I beg you: do not ask this of me again."

Morrigan knows. She will not raise a hand against him. She will not try to stop him. She will let the veil fall. She will not fight with Rook. Because she knows this being whose memories she holds has harmed him enough.

Solas, in these final moments, even before Mythal shows up to gut punch him, realises all these people have somehow, somehow, banded together to help him.

Not work for him.

Not be his agents.

Not worship him.

Not follow him blindly.

To help him. To help Solas. To help him, after all this time, take the first steps towards himself. Towards his own essence, so long twisted into something he never sought or wanted.

The Inquisitor and Morrigan certainly understand what it's like to be seen only as the symbol others raise in your image. Rook will learn that someday, but is still naive.

But even with that naivete, willing. Present. Able to put aside being a chess piece on his board. Able to see that they would never have succeeded without his help. Able to trust two people who know him better than they ever will.

Able to offer him grace.

And when they produce Mythal's essence, how that must brutalise him; to think that perhaps all this has been to let his abuser kill him back. He clearly thinks that's what's happening. He breaks. He fawns. He offers her the blade that has caused so much pain.

Her release of him is the bare minimum she owes him. I've already railed about that.

What is transcendent here, transformative--it is the mortals.

The mortals offering grace to a god who never wanted to be a god.

It's them together showing him a way out of an endless cycle of trauma and abuse. No one of them alone is enough. Without Rook, they wouldn't have Mythal's essence; Morrigan can't go get it, and she can't do what is needed because she's not actually Mythal, only has her memories. Without Morrigan, who can stand there with those memories but from the compassionate perspective of someone who has watched them in horror from the outside. She's far from objective, but she can do this one thing to help.

Without the Inquisitor (romanced or not, still someone he let know him as he most desperately wanted to be known--the Fade-walker, the Dreamer, the humble mage who desperately needed a friend). The Inquisitor, who kneels before him to comfort him. Who sees his hurt and responds.

If romanced, without Lavellan, who kneels to repeat back words he once shouted at the Nightmare in the Fade after Adamant.

"Dirth ma, harellan. Ma banal enasalin. Mar solas ema mar din." (Speak, traitor. Your victory was fruitless. Your pride gives way only to your death.)

To which Solas replied, "Banal nadas."

On the surface, nothing is inevitable, but can also be taken to mean that nothingness is inevitable, entropy, the final void. (Thanks to Dumped, Drunk, and Dalish for this excellent long post on this scene.)

And here is Lavellan, kneeling beside him with those words. "Banal nadas ar lath, ma vhenan."

Nothing is inevitable but the love we share, my heart.

I see everything you are, all you have done, and I love you. I forgive you for the pain you have caused me. I understand, see, and forgive.

No one has ever shown him grace like this.

Ever.

And Solas, this shattered man, sobs.

He sobs.

Someone has taken the trouble to isolate his voice in the video. This man has nothing left. And, after millennia of this trauma cycle repeating over and over, he is finally free to make the choice he wants to make. It's not the outcome he wants; that has to be said. He doesn't want to leave the veil up. He doesn't want to be bound into prison forever with no hope of seeing the world he fought for ever return.

But he is done.

In the Fade after Adamant, there is a cemetery with the worst fears of every companion scriven on shrines and stones. Solas's is dying alone.

After all of this, he is willing to face just that--and would, if not for her.

She knows his deepest fears. She has faced the demon Mythal made of the man she loves. She has given unwitting comfort to the spirit of Wisdom still within. She has seen his sweetest self. Nurtured him, cherished him, and has been nurtured and cherished in return.

Does she want to leave the world behind and spend eternity in a Fade prison? Probably not her first choice. It's not my Ilaana's; she has been on his side all this time, dreaming of a world where the spirits she loves can be reunited with the world in peace and ready to make that happen.

But it was not supposed to happen this way. It did happen this way anyway.

He has sacrificed everything--everything--including his own spirit self, his soul, his life. How could she not offer him what no one ever has? A friend forever, a lover willing to walk the din'an shiral by his side, a companion to ward off the forever alone.

Together, the two of them can begin to heal, with their counterpart who has always seen through the burdens of the world to the soul within.

This is the only thing I've ever had any faith in. Grace I know you carry us Grace And it was such a mess Grace I don't say it enough Grace You are so loved

[mandarinmoons]

hi! i have an idea ive been thinking about for a while. spencer and the team (plus reader) are at a bar and reader goes off to get a drink/dance/talk to someone and either a girl or a group of girls come up to spencer and start flirting with him. the first thing she/they ask ofc is "do you have a girlfriend?" and spencer (not realizing they are flirting) is like yes!!! her name is _____ and she is amazing and i love her so much.... and he goes on like a 20 minute rant about reader. reader finally finds him talking to these girls/girl and has to recuse them/her from his ranting about herself and explain what they actually meant.

sorry that was a lot but i wanted to make sure understood what i was envisioning. thank you so much!!!

“Spence, please!”

Spencer kept pulling you closer as he tried to nuzzle his way into your neck and leave a few kisses behind your ear. He wasn’t one for PDA, but after a few shots he was puddy in your hands and everyone had to witness what a mess you made of him in this state.

“I just wanna be close to you,” you could feel him pout as his lips were pressed against your neck, his thumbs rubbing over your waist.

“Looks like you’re not getting out of here anytime soon, huh pretty girl?”

Derek chuckled as he took pleasure seeing his younger brother of a coworker finally have a girlfriend, especially with how clingy he was being at the moment. It was as if Spencer would follow you if you were to leave for only a minute, which he had done approximately half an hour ago when you excused yourself to go to the bathroom and somehow he still had enough brainpower to talk about how hand-dryers could actually spread more germs and not remove them. He’d even taken it upon himself to take some paper towels and dry your hands for you, making sure to even dry the spaces between your fingers.

You had had only one drink and you were not going home unless you had a second one. Spencer had already downed three in that time, and looking at the state that he was in, it was obvious that he wasn’t going to get served any more tonight.

“Spence, I'm going to get a quick drink, okay? Stay here.”

Prying his hands off of you, you quickly slipped out of Spencer’s grasp before he managed to put his hands on your waist again.

A few minutes later, Penelope pulls Derek to the dance floor while Emily comes across an old friend and excuses herself to have a word with her, leaving Spencer all by himself at the booth, his tongue sticking out from the side of his mouth while fidgeting with his fingers. He was too deep in thought that he didn’t notice a group of girls come over and sit next to him, their intentions clearly not innocent.

“Hi! You’re here all alone?”

“Oh, I’m not! I’m here with my girlfriend and team mates!”

“I don’t see any girlfriend around.”

“She went to get a drink. Oh, she loves an aperol spritz, she’s got great taste, in general not just in drinks.”

The girls watched in amazement as Spencer kept talking about every small thing he could come up with about you, from your favorite color and the psychological meaning behind it to your Myers Briggs personality type and how you’re both compatible.

As the endless line at the bar finally came to an end and you managed to get your drink, walking back to the team’s spot you noticed the unfamiliar girls surrounding Spencer and your stomach churned in nerves. The closer you got however you noticed their bored and confused faces and that’s all you needed to know that Spencer had most probably pulled his book smarts out on them and left them speechless.

“Oh and this one time- Y/N, you’re back!”

Spencer pulled you in for a hug, nearly knocking the drink out of your hands. Managing to put it down on the table, you rested your hand on his back as you turned your attention to the strangers, them clearly on the edges of their seats and ready to bolt at any moment.

“We’re gonna go, nice to meet you both.”

Your eyes followed them as they quickly got up and made their way to the other side of the bar, even from a distance you could see the red hue on their cheeks, embarrassment written all over their faces.

“Spence, what did they want?”

“They came over and asked if I had a girlfriend.”

“That’s it?”

Spencer nodded as he nuzzled into your stomach, “And I talked about how great you are and how I’m going to marry you one day.”

Laughter erupted from your mouth as you heard the answer, also because of Spencer’s fingers practically digging into your sides that it was tickling you.

“Sweetie, I don’t think that’s what they meant by that.”

“What do you mean?”

“Usually when someone asks “Do you have a girlfriend/boyfriend?”, it’s their way of asking “Are you single?”

Spencer blinked his eyes, your words not yet registering in his head.

“They were flirting with you.”

“Oh… really?”

Nodding along, the conversation was put on halt as everyone made their way back to the table.

“You guys had to leave him alone, huh?”

“Why? What happened?”

“Some girls came up to Spencer and tried to hit on him.”

“Oh, pretty boy’s got game now, huh?”

The team chuckled, but Spencer kept burrowing his head more into your embrace. It was clear that no matter how many girls tried their luck with him it would inevitably fail, as you were his home that he would come back to every time.

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