#goddamn will i dream about it

[bipolareffigy]

Currently obsessed with Grey Jedi Deadpool and Jedi Knight Howlett (with lightsaber claws) who are forced to work together during the Clone Wars. Like actually this has consumed my entire morning thoughts.

[stefisdoingthings]

silence

also this is from Wolfwood's POV (in case it isn't clear) i have 0 normal thoughts (every song ever is VW)

[novelconcepts]

wait wait wait, so we had: a gorgeously diverse, complicated story about the folly of the Jedi, set against the backdrop of truly fascinating Force witch lore and a potential deep-dive into the real fallout of suppressing emotion, complete with totally rad lightsaber fights, grayscale characters all around, and the coolest fucking helmet in the history of the franchise, all tucked into the world of Star Wars, which makes money simply by existing--and they cancelled it?? i am going to explode

[littlestkoi-n]

the rage I feel when reading Blood of Olympus chapters 45-56 is almost equivalent in magnitude to the absolute joy I experience when reading The Last Olympian chapters 1-23.

remember when percabeth was good? when they meant the world to each other but had other people they cared about (nico, for one. both of them. so much), other worries and other storylines aside from their romantic plot? and when nico's completed arc wasn't repeated for no reason other than to dump more trauma on the youngest character in the series? when background characters were included in the story not for all the unnecessary last minute romantic subplots but because they were fun and fascinating to learn more about? and were actually friends with main characters? remember when grover was percy and annabeth's best friend forever? and antagonists were actually interesting and intimidating and had compelling goals? and the story revolved around friendship and family and loyalty? and death was definite and loss was palpable and battles were thrilling?

yeah. good times.

[morsmortish]

evan accidentally cuts his finger with a scalpel and draws blood, and barty starts salivating and foaming at the mouth, staring him up at him with wide eyes and begging to ‘kiss it better’. evan looks at him with utmost horror and doesn’t remove his surgical gloves for two weeks out of fear.

[blu-ish]

Guy's you will not believe what I dreamed about last night--

[triglycercule]

which sans aus do i think would believe in climate change challenge GO

horror: really sans (and by extension any classic variant) would believe in climate change due to being former scientists. like what type of scientist DOESN'T believe in climate change. so horror would believe in climate change but he'd be really damn pessimistic about it (because he's an asshole!) like he genuinely wouldn't care at all. sometimes on bad days he purposely litters. on really hot/cold days as a result of climate change he'd complain and start considering bring environmentally friendly. but he never does. horror wouldn't care at all

killer: he would believe in climate change but he similarly to horror wouldn't care. because he simply has more important things to care about (kities :3 nightmare :3) he thinks those things are somehow above climate change (dumbass!!!! nightmare would melt like wax because of climate change) but when faced with the reality that things are actually being affected by climate he'd be like damn.... this shit id actually happening and i'm contributing to it.... but then he'd immediately move on and get back to more important business

dust: climate change believer but he just does not care. like he tries not to be wasteful and litter and he probably properly uses a recycling bin but in the end he doesn't really give a shit if his efforts are really helping. also he kinda forgets sometimes and that's really not helping the globe. dust would bring it up in fights that he recycles and then people (horror an killer) would shit on him for A. being a pretentious stuck up dick who thinks hes better than everyone for being environmental and B. because he's a goddamn hypocrite that doesn't even stick to his own recycling goals. goddamn asshole

nightmare: he's smart enough to know that climate change does exist but he purposely pretends that it isn't real to piss people off (and get those delicious delicious negative emotions :3) and he'd do it so confidently and he'd belittle you so much that either you get so pissed off and irritated at him or you start questioning yourself and if climate change actually IS real? he'd make up fake sources for climate change being fake and site the mtt as his source because they used to be scientists 💀💀

ink: this fella doesn't even know what day of the week it is do you think they would remember climate change??? absolutely not. anyways ink probably has it scrawled down on his scarf: CLIMATE CHANFE EXISTS. IT WILL KILL THE CREATORS/CREATIONS. but then he still doesn't manage to remember it!!!! but if they could genuinely remember everyday i think ink would try to use less earth harmful stuff for his art and try to be environmentally friendly. key word TRY. this is the guy that goes around teleporting and fighting with ink they would litter the substance everywhere

dream: he really really struggled with grappling with the concept that YES climate change exists. YES there is enough trash out there to kill the earth. YES there is not much he can do about it. like every moral dilemma question about climate change was asked by dream (to swap) and he's very upset about climate change prior to maturing. but after maturing he knows that he can't do much to help climate change but he is FERVENTLY environmentally friendly and tries to remind everyone around him to help the earth (without shoving it down their throats because he's nice like that). if dream had the time he would probably start a nonprofit for helping the earth. he would start a nonprofit for everything actually. modern au dream where he has several nonprofit organizations to help various causes. someone out there's gonna love this idea

swap: he does. i think he would make a joke about it at first when being asked like CLIMATE'S CHANGING? I HOPE HER NEW OUTFIT LOOKS GREAT! or some dumbass fucking joke like that but this guy is even more environmentally friendly than dream. he goes to RALLIES for the environment. he would use environmentally friendly soaps and even fucking kitchen utensils. this guy is just here for saving the earth. he wants to really really believe that big corporations don't mean bad with pollution but he knows. theres no convincing himself that big corp wants to save the earth. even someone like swap who always has hope can't convince himself of that shit

cross: he would obviously believe in climate change. i actually don't know if theres someone here that i don't thinm believes in climate change yet. anyways cross would and he'd recycle regularly and try to be good at it. but accidents happen and he messed up his recycling sometimes and then he feels bad for it because the goddamn earth is gonna die if he doesn't at least contribute his part. cross is baffled by people who don't believe in it the same way i am at flat earthers. like HELLOthe rising temperatures are right there!!!!

error: doesn't care. he lives in the antivoid climate change doesn't effect him. also it would just make his job easier :3 error LAUGHS in the face of rising temperatures

now you may ask why did you decide to post this. but what you should really be asking is why not shouldn't i have posted this. the question was clearly on everyone's minds. i was just the only one brave enough to step up and determine if these fictional characters would care about our world melting to death (OBVIOUSLY)

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[eddiemunson-reader-shame]

Eddie Munson would dead ass be a chubby chaser that’s it that’s the post.

[badn3w]

"finally"

I've convinced myself Mac wasn't aware of his crush on Dennis until his dream in PTSDee. It's all in his eyes when Dennis first goes in to kiss him, even if it's only a moment concocted by Mac's unconscious mind. His eyes tell us everything.

So much is said in the way Mac looks at Dennis here. It's like something clicks. Dennis is holding onto Mac's face and Mac sinks into Dennis' touch, realizing this is something he has been wanting to experience for a while, even if he has not always been consciously aware of it. While I do believe Mac has had feelings for Dennis long before this dream, I don't think these feelings had ever been fully realized until now, even after coming out.

But then Mac wakes up from his dream as if it were a nightmare. It's as if the idea of having feelings for Dennis shocks him awake, causing him to gasp for air. He is being suffocated by his own realization.

He wakes up in bed with Dee and Old Black Man. This is how he knows he's no longer in a fantasy. In his dream, he was back at the apartment, waking up in his own room. He was back to living with Dennis, the pair of them alone together. Mac looks around for Dennis but finds that Dennis is not in bed. He gets up to search for Dennis, ultimately finding Dennis practicing his dance in Dee's living room, just like he had been doing in Mac's dream.

Mac watches Dennis dance, confused yet intrigued. It's like he's waiting to see what will happen, or more likely he's waiting to see if his dream will come true. Dennis dances towards Mac and throws his hands up on the doorframe. Mac's no longer looking at Dennis in confusion but rather in desire. He knows what he wants now. He knows he's always wanted it. Mac smiles when Dennis comes closer, evidently excited at the prospect that Dennis will make a move. He wants Dennis to kiss him.

But then Dennis doesn't. Instead, he slams the door shut in Mac's face. His dance wasn't meant for Mac. Mac's dream would not come true, at least not entirely. Dennis doesn't love Mac, but hell, Mac certainly loves Dennis.

[transingthoseformers]

Seeing the slight differences in Ratchet between tfp, rid15, and RBA actually tells us an amazing story about healing.

Also the idea that he's easier on cybertronian younglings than he is on the adults.

[ethemreal]

"an untitled portrait by Van Dyck, 1621"

(watercolor on paper, 9"x12", 2024)

also on ao3: https://archiveofourown.org/works/57560983

inspired by this post/fic by @cuubism

https://cuubism.tumblr.com/post/699751218188353536/a-van-dyck-dream-drawled-dragging-a-light

https://archiveofourown.org/works/42802623

[carnivalcarriondiscarded]

Thank you for feeding us the laughingstock <3

you're so Welcome! its entirely Voluntary! i have Every Choice On The Matter!

[becauseplot]

Anyway for entirely justifiable reasons (<-is a glutton for angst) I need Chayanne and Tallulah to be present when the hummingbirds come around or a note about the 'wise old crow' appears in their house, causing qPhil to have one of his derealization/reality-questioning episodes. I need it. I need it to happen SO bad. Because they’ve seen Phil get roughed up in a fight, they’ve seen him angry, they’ve seen him wary and even nervous, but they have NEVER seen him doubt like that.

People have already made posts talking about how the cage-for-a-cage/child-of-the-sky stuff has been particularly rough on qPhil, who relies heavily on his constant vigilance, keen senses, and hyper-awareness of his surroundings for reassurance. He's the kind of guy who walks into a room and has already charted at minimum two escape routes by the time he takes a seat, you know? He sees and processes and stores information on everything, at all times, and he uses this to act in the best interest of his and his loved ones' collective survival.

His kids see this side of him too, most significantly in the ways that he looks after them: always keeping an eye on the back of the group, never far from Tallulah, and constantly analyzing Chayanne's fighting style to give helpful critique to optimize his attacks. Chayanne and Tallulah know that everything he's ever done was to protect them. Also, he's always there to offer them advice when they're feeling lost, and even if he doesn't have all the answers they need, he gives enough reassurances and promises to put their minds at ease. Phil is confident in what he knows. In their eyes, he is strong. He is a fortress, safe and impenetrable.

You could say that about a lot of children's perceptions of their parents/guardians/mentors. The older, guiding forces in our lives always seemed strong and infallible to us as kids. That's why it was always unnerving to see them get sick, or get stressed, or cry. Observing weakness in those people felt so, so wrong because we never considered the fact that they were capable of it; it was just impossible.

So, the situation: Phil is suffering in a way that makes him question the very same reality that he was a master of not too long ago. Whenever it happens, he goes quiet, looks around, mutters to himself, breathes shakily, fidgets. He is visibly unnerved and uncertain.

If Chayanne and Tallulah are there, they're gonna notice---they're perceptive, just like him. I'd imagine they'd try to ask him if he's okay, and he'd reassure them that he's fine, and maybe that's enough the first time. But, as more incidents arise, and as time goes on, they start to see more of this out-of-nowhere uneasiness, fear, from him, which is worrying, especially because he won't tell them why.

NOW. Phil has been upfront about a lot of things with Chayanne and Tallulah in the past. For example, during the height of the code attacks, Phil told them everything he ever learned about the codes, every single new development, to ensure that his kids were well informed and prepared. He was frank about the threat on their lives because to sugar-coat anything would be doing them a disservice. It was important they knew all of the cold, hard facts, even if it took away even more of their precious childhood innocence. He values their happiness, but safety comes first. It has always come first.

But this is different. It's not cold hard facts. Phil doesn't know what to believe anymore. When the hummingbirds come around and his reality comes into question, he doesn't know what is real, what he can trust, what is fact. His senses have been compromised. Hell, he's still trying to convince himself that he's not going crazy when all evidence seems to suggest that he's losing his goddamn mind. He doesn't know what to tell his kids, so he tells them nothing.

So now here stands Chayanne and Tallulah. There is something that is scaring their dad, and he won't tell them what is, so on top of the knowledge that their unwavering father is, in fact, capable of true, genuine fear, he's suddenly keeping things from them. Their dad is keeping things from them because he is scared. And I can't imagine a realization more terrifying than that.

[cuubism]

"Nice place you have here," says Desire, sliding into the booth opposite Hob.

Hob, unfortunately, recognizes them by voice alone. Desire speaks with the melody of an arpeggio, smoothed into oblivion by the sustained press of a piano pedal. Drag without release, in comparison to Dream's resounding deep notes.

"Never seen you here before," Hob says, instead of get out of my pub. He doesn't actually need to start a fight.

"I've decided to respect my brother's play set for now," Desire says archly, as if this is a huge consideration on their part. "He's been through so much recently, after all."

"And you've been so much help with that," Hob says.

Something dangerous flashes briefly in Desire's eyes, and Hob remembers how fickle they can be. Like fire, Dream had said.

Then it subsides. "Careful, Robert," they say easily, leaning on their hand, "one might think you've chosen a side."

No thinking about it, Hob thinks. "Families shouldn't have sides."

"Oh, ours isn't supposed to," Desire agrees. "And yet."

And yet. "Is there something in particular that has you breaking your self-imposed generosity today?"

It's one day before his and Dream's usual meeting, after all. That can't be a coincidence. Technically, they meet all the time now, but they always keep June 7th for nostalgia's sake.

"I simply enjoy the atmosphere," says Desire, leaning back in their chair. They thrust out a hand, and a rainbow flag flutters off the wall into their grasp, drawn by their whims. Desire drapes it over their shoulders.

"I guess that makes sense," Hob says.

Desire raises an eyebrow.

Hob gestures at them. "Desire. Isn't that your thing?"

They give him a crafty smile, a little teeth, that suggests Hob's going to learn something he may not entirely like. "Well, it is certainly of interest to me."

"Of interest," Hob echoes. Might as well say fire was "of interest" to a pyromaniac. "Isn't that what you do? Dream makes dreams, and..." he trails off.

"I am Desire," they say. "So, in a way, I feel all desires at all times. Yes, even yours, Robert." They pat him on the cheek, and wink. "I know what you feel."

Hob's cheeks heat, but Desire doesn't linger on it, thankfully.

"But, my own desire? Hm, no, not in the way you would think."

"But you--" Hob doesn't know how to phrase the confusion in his mind.

Desire runs their tongue along their lower lip. "Are you calling me a slut, Robert?"

"Would take one to know one, I suppose," Hob says before he can even think about it, and Desire laughs, bright and loud.

"You are so cute. You would be delicious if you weren't obsessed with Dream. But, no. I can feel desired," Desire says, emphasizing the past tense. The objective nature of it. "But that, while certainly tasty, is not quite the same as feeling it oneself, now is it?"

What might it be like, Hob thinks, feeling a pang of sympathy for them despite how they've treated Dream, how he'd automatically marked them as an enemy in his mind, to be surrounded by wanting and not be able to feel it?

"I... guess not," he says. "So you don't want anything?"

Desire shrugs. "I enjoy things. But if I can't have them, it simply passes like--" they pull off the flag and let it flutter to the floor "-- a gust of wind. And I move on to something else. Otherwise, I chase others' desires. Your inn is full of them. Desires for peace, for belonging, for change and magic and-- yes, lust, too, but more of an undertone. It is..." they run their tongue over their teeth, thinking. "Aromatic."

"What does desire 'taste' like?" Hob asks.

"Why don't you tell me," Desire says.

"I'm not going to lick you," Hob says, and Desire cackles.

"Open offer," they say. "Be all metaphorical like Dream, then."

"Alright, fine." Hob decides to indulge them, because he has actually learned something interesting today. "It's like... the smell of a good meal. You don't quite... taste it, exactly? But you can imagine tasting it."

"Good answer," says Desire, and steals his drink for a sip. "I knew I could count on you to listen, Hob."

Hob's not sure if it's the tone, like something long undecided has now been settled, or if it's the use of his old nickname, but suddenly the afternoon tilts, and Hob realizes with a swoop in his stomach that they're here for a purpose, and not just poking at Dream.

The Endless almost never communicate directly, Hob knows this. Goddammit.

"I've spent a lot of time in these sorts of places, you know," Desire says, gesturing around. "They are right--" they interlace their fingers in example "--in the center of my realm."

"Depending on the year, I would have thought you and Despair together," Hob says, wary now that he's realized this is coming to some sort of point.

"A common assumption," Desire says, nodding like a teacher whose student is getting on the right track. "See, people often think my twin and I are opposites. Desire, Despair." They hold out both hands separately again, then clasp them. "But they don't have it right. Hope is the opposite of Despair. Do you know what the opposite of Desire is?" They reach across the table to tap their sharp nails against his sternum. "Shame."

"And that's... part of your domain, as well?" Hob guesses.

"Indeed. Who could know shame as well as one who desires? They both--" they lay their hand flat to his heart "--live here."

Hob supposes he himself has had plenty of desires over the years, and plenty of shame too -- though not necessarily over the same matters.

"Hence," they spread their hands wide, "my presence. The duality of Desire."

"So what do you do?" Hob asks. "When you're here because of shame, I guess."

"I am always both," says Desire. "But." They smile sweetly, and it actually does look sweet, for once. "I am merely here to hold your hand."

Hob must look at them with an expression of vague disgust, for they snort and roll their eyes.

"Not you, Robert. You!" They gesture broadly at the entire inn. "Death is always going on and on about serving humanity. I know how to do my job too, you know."

They frown at him, at the idea he might think otherwise, and it's-- it's actually kind of sweet, how much they care about this. It really is.

"That's sweet," he says, and Desire grumbles. Hob can't help but smile.

"I take the charge of those who live in the heart of Desire very seriously," they sniff. Their gaze slants over Hob's shoulder, watching something across the room. "Relatedly, if that man at the bar follows through on his desire to say something homophobic to those children on their date, I am going to shoot him."

"Ooookaaayyy," Hob says, snapping his fingers in front of their eyes until their attention turns back to him. Hob's bartender will handle any issues; he would really rather not have an Endless making a scene.

Desire smiles placidly at him. "What was I saying? Ah, yes. Desire and shame go hand in hand. Almost like dreams and nightmares, you might say."

Hob goes still again, on instinct. "Right."

"My sister and I are very close, even if we are not, actually, opposites. Dream and I were close, once." They drag their finger around the rim of Hob's glass. "Wanting. Dreaming. So similar, and yet, so different, too. It hurts, to really let yourself want what you've dreamt of. It hurts to desire, don't you think? It's sharp, like a blade."

"Yes," Hob says. "It is."

"Mmm. But shame... shame is like a heavy, warm blanket. It makes you want to just--" they mime pulling fabric over their head-- "disappear. My brother and I have a very complicated relationship. Perhaps, one day, we will be on better terms again, and he can tell me about his desires, and I can tell him about my dreams. I would love to know what it feels like."

Hob isn't sure if he's putting the pieces of this meandering conversation together correctly, but whatever he is picking up on, he doesn't like the sound of.

"Dream is always going on and on and on and on about the importance of dreams and it's so annoying but you know what? I'm starting to think he's right." They give Hob a warning glance. "Do not tell him I said that. But, yes, I'm afraid that desires without dreams hand in hand are just--" they slide their hand across the table and let it stop at the edge. "Impotent. Static. And god knows what good dreams even are without desire but Dream will never admit that."

"So you're what," Hob says, even though he knows this is not what this is about, "trying to mending fences?"

Desire smiles sunnily. "I just want him to call me. I'm bored, and he's spent far too much time in my sister's realm recently."

Then they stand in one fluid motion.

"What are you saying," Hob asks. He feels sort of faint, whiplashed.

"Oh, I've said nothing, I'm doing nothing. I merely don't want to have to fill an empty seat next June, that is all. I'll be far too busy." They wink, and then they're gone.

Hob sits still for a long time, after. He's still not sure he understood... all of that. He understands that the Endless aren't supposed to interfere in each other's affairs and that sometimes riddles result.

What he does understand is that if Desire, of all people, has decided to be helpful, then he definitely has something to be concerned about. Something he needs to do something about.

He shakily drains the rest of his glass, then stands. Hob has never gotten anywhere by being static.

Time to go try to do something about it.

[spocksgotemotions]

my mom tried to baby trap me … with my sister’s baby. She said maybe my plans had fallen apart and changed so I could keep living at home and help take care of my sister’s baby. My sister. Who lives an hour and a half away.