#me: says 'think' three times in literally just this one ask

[crimson-and-clover-1717]

When I watched OFMD this year, I literally knew three things:

It was called Our Flag Means Death

It was a pirate comedy

It had been cancelled

I didn’t know Rhys Darby (‘that Murray bloke from Conchords’) or Con O’Neill (‘the weird guy from Chernobyl’) were in it until they came on screen. And please don’t stab in me in the face, but I had never heard of Taika Waititi. I’m very much not the target market for this show. Although I will say I think it’s universal in its exploration of the human condition. So if you’re human, the show is for you.

I knew nothing about budget cuts, editing decisions, or even at this point any circumstances around why it had been cancelled. I had not an inkling it was a romance. I had no notion it was going to overtake my life to such an extent.

I watched one episode a night for 18 nights (I know, I know… I binge-watched it immediately afterwards over two days, and haven’t stopped since). I also had no-one to talk to about the show as I watched the 18 episodes. No-one I knew had ever heard of it. I really was a blank canvas.

And this is what I thought. Other than finding Calypso’s Birthday a little uncomfortable on first watch (and that’s largely because I find torture, even the OFMD variety, difficult to engage with - I always skip the opening of 206 now), I saw no difference between the seasons in terms of artistic merit. It’s possible that because I didn’t experience an 18-month hiatus, and build up my own version of what season 2 should be in my head, I didn’t have any expectations to be knocked down. I just engaged with what they asked me to watch.

I fell in love with this show at ‘My name’s Stede. I’ll be your robber here today.’ I fell in love with Stede Bonnet when he did his little Scrappy Doo air-punch in episode two.

With regard to season two, The Innkeeper affected me so much I honestly think it altered my brain at a structural level. More so than The Chain sequence which is when I think this show started affecting my brain chemistry.

I also loved the development of Stede and Ed outside of their personas. The couch scene in Fun and Games made me believe in them as a couple in ways I hadn’t quite in season one because they were growing and being real with each other. I thought their arguments were so well-written. Man on Fire has one of the most authentic representations of couple miscommunication I have ever seen on tv. And I think Mermen is really good in doing what it needed to do, and did it well. How do you end a tv series that gives a satisfactorily emotional ending, but doesn’t give away everything in case there’s another season?

Ed’s journey in particular just ripped my heart out and then glued it back together. And seeing Stede continue to develop his very nonlinear understanding of the power of his earnestness and gnc self, whilst still sometimes wrestling with notions of traditional masculinity… I needed to grow a second heart.

When I learned of the financial and time constraints later on, I was shocked they had achieved such a high standard of tv.

Imagine my shock when I discovered the Canyon…

It’s fine if you don’t like season 2, or season 1, or OFMD at all for that matter. But if you want me to say season 2 isn’t any good, or as good as season 1, then you want me to say something that I have never felt to be true. When you experience it holistically like I did, it all hangs together beautifully.

[pinklemonslices]

little tiny fic, a missing scene of sorts? just after niko outsmarts the night nurse near the end of episode 7 🫶

—

“Oh, did you guys know, zombies are real,” Niko says, and Charles is sure he would be more intrigued by that if she had said it at any other time, after any other event. He’ll have to ask her about that later. For now, he settles for a little sound of astonishment.

His mind is more occupied with what she did just before that, having managed to buy him and Edwin more time on earth — together — via outsmarting a literal transdimensional being.

“Thanks,” he breathes out, shock still bouncing around inside him like a pinball. Niko might really be an angel, he thinks. There should really be a halo floating above her head, to match her inhuman kindness.

Edwin shifts beside him, “Yes, thank you, Niko.” His voice is shaky. Charles looks over, and Edwin meets his gaze. The sight alone could kill Charles a second time, if that were possible. Despite being back in his nice, unbloodied clothing, Edwin looks just as broken as he did on the stairs, with watery eyes and an expression of clear exhaustion.

He makes a face, which Charles realizes is a sorry attempt at a smile, and his heart aches. “And thank you, Charles. For coming to get me.”

Without saying anything, Charles makes a move toward Edwin, pulling him into the tightest hug he can manage. Edwin tenses for only a second, before he wraps his arms around Charles in return.

“Always, mate.”

Charles feels Edwin melt into him, like butter in a saucepan. His head finds a place to rest on Charles’s shoulder, as he releases an unsteady sigh.

And god, Charles means it when he says ‘always.’ He couldn’t live (figuratively speaking, anyway) without Edwin beside him, Edwin sighing in his arms, Edwin rolling his eyes fondly when he cracks a bad joke, Edwin solving cases with that clever brain of his. He wouldn’t be able to stand it. Maybe he would just dematerialize, or something.

He would go to Hell a million times, if he had to. He’d run up and down that staircase a million times and throw however many molotov cocktails it took to get Edwin out safe.

There’s not one thing he wouldn’t do to stay with Edwin.

Charles holds him a little tighter. He’s not sure he’ll ever be ready to let go. Hopefully Edwin won’t mind; it might be a little hard to solve cases this way, but they could make due.

They will have to, because Edwin is solid and real against him, and they are not in Hell anymore, and it’s all Charles ever needs. Since he died, he has not wanted Death or The Night Nurse’s Heaven. He found his thirty-four years ago, and it is greater than anything they could offer.

With mild difficulty, Charles manages to pull back just far enough to make good eye contact. Edwin’s eyes are gray and green and they hold the whole world in them; Earth, Heaven, and Hell displayed in hues fit for an angel, a holier trinity than anything the bible could ever fathom.

Edwin takes a shuddering breath, and Charles wants to cry — wants to go back in time and take Edwin’s place.

“I’m glad you guys are okay,” Crystal says, after what feels like years. Charles tears his attention away from Edwin in his arms, to look at her. He thinks he should probably feel bad for not allowing her to go to Hell with him, but it was no place for her.

No place for Edwin, either.

“Me too.”

Niko nods, “Me three.”

Charles cracks a smile. “Glad we’re in agreement.”

Edwin squeezes Charles’s arm tightly before letting go of him and taking a small, singular step backward, and Charles mourns the loss instantly.

They have time, thanks to Niko, he reminds himself. Literally forever.

He hugs Niko next.

[hotvintagepoll]

Vintage movie recommendations for getting through these dark times? 🙏 Looking specifically for anything joyous, especially if it's queer/progressive for its time. Thanks!!

ooh ok! that's a big ask, because queer/progressive doesn't always show in the ways we expect in older movies. still, joyous i can do, and as poly as I can I'll try for:

the talk of the town (you knew i would say this). jean arthur, cary grant, ronald colman are all tangled up in all sorts of ways, legally but also including in each other's pajamas. it's free on youtube and tubi last time i checked!

singin' in the rain (you also knew i would say this). cosmo brown, weird little third wheeling queerplatonic ideal that you are. gene kelly, debbie reynolds, and donald o'connor have fire chemistry and all three of their characters love the other ones so truly and with such joy they break all of hollywood with the power of song. (it is gorgeous and sublime that the story is built so only these three ever actually engage with the musical format—the format that is, in universe, the way of the future—structurally equating music and musicals with love. no one else gets a song or a villain number or a little ditty that's not a literal musical number. only these three break the story and heal it at the same time.)

the adventures of robin hood—i swear to god will scarlett is good for nothing else besides being robin's hot little friend. will alone makes this movie queer for me. also, watching a movie about a socialist uprising against a cruel and unjust government sure feels apt! for no particular reason! (this one is also on tubi.)

the philadelphia story—jimmy katharine and cary are absolutely a threesome in this movie and it's a crime they didn't just make more of this movie, again and again, forever. is there a plot? they're all by a swimming pool, it's hot, there's champagne. what else do you need for a film. oh yeah there's some discussion of autonomy and women's rights and wealth and class and marriage, some of which i disagree with, but i think mostly it's katharine hepburn in an evening gown and jimmy stewart in a white terry cloth robe and cary grant standing there not minding in the least. (content warning: there is one instance of a racial slur [not directed at anyone but still there], and one shove. also on tubi.)

the lady vanishes—i love this movie, so much, couldn't tell you why (i can: michael redgrave is here being hot). there are two bit characters who read as queer coded (they are also obsessed with cricket and are mocked for being english by the narrative, which is nice), and there's a weird plucky joy in michael redgrave's performance that feels like a departure from your usual Solid Very Serious Male Heroic Main Character. this movie does trend mildly xenophobic in a very England-in-the-30s type of way—there are shady "foreign" characters and other batshit stereotypes—but nothing I think that would cause direct offense. (let me know if I'm wrong on this though and I'll tag accordingly). this one is free anywhere and can be watched on youtube.

the wizard of oz—i know you've probably seen this before but it's worth seeing again. yes you're allowed to cry at the end i always do

[raointean]

I actually love the idea that Billy and William fused instead of just body-hoping. William would have died if Billy didn't come in and they fused! I love him saying that he has a mom because adoption right 🎉

Yes! The alternative is just too sad for me. As for the adoption thing, it's NOT just this fandom that struggles to understand bio vs. adoptive parents. I'm in the Star Wars fandom and there are SO MANY PEOPLE that refer to Anakin and Padmé as Luke and Leia’s "real" parents. Meanwhile, Owen, Beru, Bail, and Breha are called kidnappers or just ignored entirely (yes, I loved the Obi-Wan show. Why do you ask?)

I think the same problem is sometimes happening in this fandom too. We know Wanda and Vision as characters and we want them to be a happy family. We do NOT know Rebecca and Jeff Kaplan nearly as well, so there's a tendency to want to take the child from the characters we don't know as well and give him to the characters we know, like, and want to be happy.

On a slightly happier note, here's all my headcanons about Billy Kaplan's life (not Billy Maximoff or William Kaplan, but the entity that is both of them)

As William's heart stopped, his soul separated from his body and was on its way to wherever Jewish people go when they die

Billy M's soul, at the same time, was fleeing because it didn't have a body to support it

He found William's body easy enough to get into (because a soul had just left it) and close enough to alive to be fixed

However, William's soul was in between Billy M and the body

Billy M could have gone around and been the only soul in the body, but he was scared, okay?

Poor guy was only a couple days old, alone for the first time ever, and his mom had just kinda killed him and the rest of his family

Long story short, Billy M crashes into William and drags them both into the body

Billy M fixes the body just enough to keep living, but doesn't bother too much about the head injury

Meanwhile, William is stuck to Billy M like silly putty when you have two different colors and, by the time they get to the hospital, the two colors have blended entirely to form a new color

There's no way to differentiate one from the other

Billy Kaplan is born!

Because Billy M didn't fix the head injury, they both have amnesia

Billy K wakes up and it's literally "no thoughts, head empty"

(Except for some lingering sensation of loneliness... like there should be something someone? else there)

But not for long because he soon discovers he can hear other people's thoughts!

Which is really funny because he doesn't know that other people can't hear his thoughts

Poor guy genuinely thinks that humans communicate via telepathy for a solid 24 hours before he gets enough weird looks that he puts two and two together

(His parents are totally aware of this

There's only so many times your kid can answer exactly the thought going through your head without you catching on

Also, this is the Marvel universe!

Shit like this just... happens sometimes

They figure he'll come to them when he's ready, and until then they'll think nice thoughts and be supportive)

Billy K spends a solid four months trying to remember who he was before, stealing memories from his parents' heads, and pretending to recover from the amnesia

(Rebecca and Jeff try so hard not to make him feel like they're just waiting for their old son to come back but...)

Four months in, Billy's at the mall with his mom on some errands and that's where he sees it

Hot Topic

He begs his mom to go in there, and it's the first really normal teenage thing he's done since the car crash so she lets him

For the first time in four months, Billy forgets all about car crashes, and memories, and hospitals, and expectations

All that exists is spiky jewelry, ripped black skinny jeans, and a million of those cheap and hilarious pins

Over time, the family settles into his "new normal" and chalk most of it up to teenage experimentation

In that three year period though, Billy can't shake the feeling that something's still missing

He feels out of place in his body, even with the new aesthetic

(He sees that one tumblr comic about the coocoo bird and cries-- a lot. It's the closest he ever gets to telling his parents about his out-of-place feeling)

He doesn't tell them though

Instead, he digs and digs into the weirdest, darkest, most demented corner of the internet

Reddit

[ai-the-broccoli]

in which Light and Misa discuss Celebrity RPF

(based on this thought)

Misa: *holding her laptop* Hey, Light. Light: What? Misa: *cheerfully* So do you think RPF is okay, or should we start killing people for writing it? Light: ... What are you talking about? Misa: RPF! Real Person Fiction. It's like fanfiction of real people. Light: Oh. Well, that isn't a criminal activity. We don't need to kill people over fanfiction right now. It's still too early for that sort of thing. Misa: Oh, okay! *glances back to her laptop* --Wait! Why are there 5 shipping fics about YOU?! Light: Me? Oh, yes. People do seem to like to write wildly implausible fanfiction of all sorts about Kira. There are thousands of them online, you know. (Last time I checked, every single one that I could find was unbelievably horrible and out of character, and one of them even depicted me committing the illegal act of cannibalism, which is a crime and masterfully confirmed to me once again that the world is rotting and only I can save it. But now that I've confirmed the state of things for the time being, raising my blood pressure repeatedly for no purpose will not aid me in becoming the god of the new world, so I set a password to restrict my own access to the three fanfiction websites.) Misa: No! I mean, yes, duh, but that's old news. Of course I know thousands of Kira ship fics on every corner of the Internet. But these five are not fics about "Kira". They're tagged with "Light Yagami"! Light: ...What? Misa: Yeah. And-- Light: *frowning* Misa, hang on. Why are there 'RPF' fics about Light Yagami? Misa: That's what I was asking! And also-- Hey! I'm not shipped with you in any of them!! Why?! GRRRR this isn't fair! Light: Wait. You haven't told anyone about my relationship with you, have you? Misa: Of course not! Misa wouldn't forget about her promise to you! Light: Then it's just natural they wouldn't write about us. Misa: But I'm literally in this fic?! Yet you're dating-- wait-- EW! Him?! ALL him?! Light: ...Who? *finally turning around to look at Misa's screen* A-

Looking for the Golden Light: A Hideki Ryuga x Light Yagami fanfiction, by xoxo3gossipgirl we never go out of style: A Light Yagami x Hideki Ryuga fanfiction (ft. Misa-Misa), by xoxo3gossipgirl And I'll Write Your Name: A Light Yagami x Hideki Ryuga fanfiction (ft. Misa-Misa), by xoxo3gossipgirl Grave Repercussions: A Yagami Light x Ryuga Hideki fanfiction, by xanaxLOVE28 lightning strikes every time she moves: A F!Hideki Ryuga x F!Light Yagami fanfiction, by xoxo3gossipgirl

Light: *inhales sharply, horrified* HIDEKI RYUGA?! [Light Yagami takes -100 damage] Misa: Yeah! God, my new manager never stops trying to pair me with him. It's getting on my nerves! Light: ...What? Misa: I don't even understand why. I mean, everyone in the industry knows Ryuga swings that way! And I told her I got a boyfriend. Light: ....... Oh. Oh, yeah, uh, right. Yeah, of course. I knew those are all about that Hideki Ryuga. The popular actor. Right? Misa: Huh? Yeah. Of course? What other........ wait................OH. Ryuzaki -- L -- also used it as an alias one time, didn't he? Light: Exactly, Misa. Obviously, these fics had nothing to do with him, but I thought we should make sure for safety's sake. Just as I thought, all this is indeed about the actor. Misa: Huh... Well, yeah. *turns back to the screen* This is definitely about the actor... and this one too.... and-- Wait a second! *gasps* Why does this fic say that I'm a- a- Light: A what? Misa: Light! *inhales sharply, horrified* What is "l-l-lesbian Misa-Misa" supposed to mean here?! [Misa Amane takes -100 damage] Light: ...Huh. Hm. Misa: W-wait... *stares at the description* Misa is here in this fic because she's in a fake PR relationship with Hideki Ryuga here... and apparently we're doing it so we can both... *squints, incredulous* "pretend to be straight"... together??? Light: Oh? That's... ridiculous. Misa: RIGHT??? I mean, who would ever DO such a thing??? That's stupid. Light: ...............Misa, you said earlier that your new manager keeps trying to pair you up with Hideki Ryuga -- that actor Hideki Ryuga. And you say Ryuga -- I mean, the actor, the real Ryuga Hideki, not L -- he's known in your industry for being gay? Misa: Yeah- ...Wait. *gasps, horrified* My manager really thinks I'm a l-les... bian?! Because--I never told her who my boyfriend is?! What! *screaming* She can't be SERIOUS! [Misa Amane takes -100 more damage]

[demigod-shenanigans]

Psssst. Can I maybe get something about Jaspn going to the movies for the first time? Either on a date with Leo or as a friend thing with all three of them?

Making it lost trio for now because in my head Leo and Jason always take forever to get their shit together and Jason having to wait that long for his first movie theater experience would be kind of sad. I may or may not sprinkle some valgrace in there tho 😌

I just know they spent literally forever trying to decide on a movie. Leo kept trying to push some movie from a franchise that he’s fixated on and requires a whole universe worth of knowledge to really enjoy insisting that it’s not that complicated and he can totally explain the lore of a bazillion shows and movies and/or make Jason watch all of those so he can still enjoy it (think Marvel or Star Wars or something). Piper vetoes that and suggests a horror movie (her main motivation on this is Jason and Leo are both cowards and she wants them to hold hands about it, and also she doesn’t really get how they’re scared of fictional monsters when they’ve literally faced worse, but whatever, lmao)

Jason kind of wants to see a romcom but he knows they’ll both tease the shit out of him for that so he doesn’t say it.

In the end he just picks something based on a title that sounds okay.

Piper gets chips and ice tea, Leo gets a huge bucket of popcorn that’s larger than his head and a soda. Jason gets a large water and asks cautiously if he can try popcorn without sugar or salt. Piper and Leo promptly say they’re both unfriending him. In the end he just grabs trail mix and Leo heaves this deep sigh and him and Piper spend the movie pestering Jason to try their snacks. Jason doesn’t dislike their choices necessarily but says he’ll stick to trail mix (Heroes of Juno Jason and his snack tendencies are canon to me now I’m sorry) and they’re both affronted.

The movie they see turns out to be a heist movie. They mostly have a good time but Jason does ask “isn’t that illegal” at least three times during the beginning until Piper kicks him in the leg and Leo tells him “don’t make me shut you up” (Leo blushes furiously because he meant, like, shut him up with tape or a hand over the mouth, not make out with him, but it definitely comes out like he meant making out and neither of them is able to look at the other for the rest of the movie)

Jason gets very attached to all of the characters and is extremely upset when one of them is captured. He also definitely doesn’t get that this is setting up a sequel and Piper and Leo have to comfort him about it for at least half an hour

Leo somehow finishes the whole bucket of popcorn before the movie is over and Piper and Jason just stare at him because what the fuck how

This becomes a semi-regular thing for them whenever they have the time. They take turns picking movies so everyone gets what they want eventually.

[saveyourblood]

Pretty Boy - Ch 2 (Evan Buckley x Reader) (Eventual Buddie x Reader)

Summary: You can feel Buck staring. When your eyes meet his, you realize he’s staring at your hand, which is still on Eddie’s knee. You slowly retreat, which makes Buck turn his attention to your face. You smile softly. He just looks out the window. The one where you’re an advanced paramedic, Buck and Eddie are firefighters, and you think you might be in love with both of them.

Ch 1

A/N: This is such a niche story and I am desperate for validation, please tell me if you enjoyed reading! Word Count: 3.4k Warnings: descriptions of gun violence, mental health issues/suicide ideation (nothing overly graphic IMO)

Unlike some people who work in this building, you know how to take orders. So, instead of dragging your feet and prolonging the inevitable, you go to Bobby’s office the second you get back from the call. Hen tries to say something to you, but you’re so focused on having this conversation behind you that you ignore her. 

Despite the door being cracked open, you knock a few times. 

“Come in,”  Bobby says. 

You step in. He looks up. 

“Ah,” he remarks as if it’s a surprise to see you. “You can close the door behind you.” 

You close the door and lean against it. 

“Have a seat,” Bobby instructs as he files through some random papers. 

You let out a sigh. You were hoping to be in and out, but Bobby clearly has other ideas. Still, you do as you’re told. 

“I wanted to talk to you about what happened with Buck.”

As if you’d be in here for anything else. 

“Are you gonna write me up?” You ask instinctually. You’ve never been formally disciplined, so the question is gnawing at you. 

“Buck wants me to.”

You snort. “Buck wants a lot of things; most children do.”

“You’re a year younger than him,” Bobby points out. 

It’s true—Buck is 26, and you’re 25. But in this context especially, age is just a number. You’re a 25-year-old advanced practice paramedic with 3 years of experience who acts their age. Buck is a 26-year-old firefighter in his probationary period who acts like a frat boy.

“Are you going to write me up?” You repeat. 

Bobby gives you a look, then sighs with a crooked smile. “No. But if you do anything like that again, you’ll be hearing from me and Sergeant Grant.” 

“Fair enough,” you cede. 

There are a few silent beats in the conversation. This is why Bobby made you sit—he has more to say. 

“Why does he bother you so much?” Bobby asks.

“Literally everything I told him: he’s wreckless and he’s gonna get someone killed if he doesn’t change.” 

“So why not teach him to do better, to be better?”

“Trust me, Cap, I’ve tried,” you chuckle. “I mean, even earlier today, I taught him how to clear an obstruction in a neonatal airway. And honestly? For a few minutes, when he was running down the stairs with that baby in his arms, I thought, ‘Hey, maybe he isn’t so bad after all.’ And then he yells at Sergeant Grant, and he proves me wrong. Again.” 

“I’m talking to him and Sergeant Grant about how everything went down,” Bobby says. 

“I’m not telling you that to get him in trouble, I just…” You take a deep breath through your nose and let it out as a sigh. ��It felt like no one was holding him accountable. And I’ve tried playing nice, and I’ve tried teaching him, and he still had the nerve to pretend that he can play god. And I just… lost it, and thought that maybe if I treat him like a man would, he would finally listen to me.”

Bobby nods, taking in everything you’ve said.  

“You think I don’t hold him accountable?” He eventually asks. 

You let out another sigh. “If Buck worked under any other LAFD Captain, they would have canned his ass about three months ago.”

“But is that the right thing to do?” Bobby counters. “This job is tough, and it isn’t something that can be taught overnight. Buck has potential—he could be an invaluable asset some day.”

“Is firing him the right call? Honestly, Bobby, I have no idea,” you admit. “But if people have to get hurt in order for Buck to be good at his job, then it isn’t worth the price.” 

Bobby ended up firing Buck a few days later. It wasn’t for what happened with Sergeant Grant; it was because, apparently, Bobby caught him having sex with some girl on a roof. He used one of the fire trucks to drive there. The moron didn’t realize they have GPS trackers. You got all of this information in a text from Hen. 

You turn the corner to the locker room, planning to put away your keys and wallet before starting your shift like you always do. You didn’t expect to see Buck sitting on the bench in front of the lockers. 

You plan on opening your locker, throwing your stuff in it, and leaving before Buck can say anything. The second you lift the lever, though, Buck turns his head towards you. 

He doesn’t say anything, and you definitely aren‘t going to break the silence. 

“So you heard, huh?” Buck says. 

You close your locker and spin the lock to scramble it. “Yeah, I did.” 

“Aren’t you going to say anything else?” 

“Tough break. Sorry, man,” you say with a shrug. You turn on your heel to leave.

“That’s it?” Buck says with a laugh. “A few days ago, you were slamming me against an ambulance, and now… nothing? Aren’t you supposed to say, ‘I told you so’?”

Buck doesn’t even work at the 118 anymore, and he still has a way of getting under your skin. You close your eyes, hoping you can gain some composure before you say anything.

“I’m sorry for pushing you; that was unprofessional,” you say and make your second attempt at leaving.

“But that’s all you're sorry for,” Buck says, rising to his feet. 

You turn around and eye him from head to toe. His chest isn’t puffed out in that hypermasculine way it normally is. Buck shifts his weight between feet, and when the pressure of your stare becomes too much, he breaks eye contact. 

“It’s like Sergeant Grant said: I didn’t say anything that wasn’t true,” you eventually reply.

“Then say it: you’re happy to see me go.”

Jesus Christ, he can be such a baby. 

“Okay, fine, you wanna go there?” you retort, taking a step forward. “You wanna know the worst thing about you, Buck?” 

He just looks at you. 

“You. You’re the worst thing about you. Because you could’ve been good. You’ve got decent skills, and you have heart, but you have no discipline. You can’t take orders, and you can’t look at a woman for more than thirty seconds without having sex with her. You’re a 16-year-old boy trapped in a 26-year-old man’s body, and ever since you started, you haven’t done anything to change it. You get in your own way and are too busy flirting or running your mouth to even realize it.”

You take another step towards him to ensure he hears what you’re about to say. “You could’ve been good. And I hope that shit haunts you. Because maybe, it’ll finally make you grow up.”

You start to make your exit again but linger in the doorway. You turn back around; there’s one more thing you want to say.

“I’m not happy to see you go, Evan. In fact, I was really hoping you would prove me wrong.”

And with that, you’re gone. 

You and Hen go out on a ‘shortness of breath’ call that ends up being a STEMI — a heart attack. You get him to the nearest hospital in five minutes, and if they can get him to the cath lab, he has a really good shot at surviving it. The patient’s wife hugs both you and Hen, thanking the two of you for doing such a wonderful job. You savor the feeling; most calls don’t end this way. 

When you pull into the station, there’s an engine missing. At first, you think it’s no big deal: the boys are probably out on a fire call. Then you see Bobby standing where the engine’s supposed to be.

“What’s going on, Cap?” Hen asks as she closes the door to the rig. 

“There’s an engine missing.”

“Yeah, clearly,” you chuckle. 

“There were reports of a residential break-in on Lambert Street in Winnetka,” Bobby continues. 

“Damn,” Hen whistles. 

You both heard something about that over the scanner on your drive back to the station; there was a suspected hostage, a young girl. Last you heard, the subject was trying to flee by motorcycle. 

“All of the 118 firemen are accounted for,” Bobby concludes.

You and Hen share a look. Who has a track record of borrowing engines without permission?

The truck pulls up and slowly backs into the garage. You catch a glimpse of the driver in one of the rearview mirrors. 

“Pretty Boy,” you say simply. 

Buck steps out of the truck, still wearing the jeans and long-sleeved grey shirt you last saw him in. “I know what this looks like.”

“Looks like you took the engine out in your street clothes,” Bobby says as he approaches the younger man. 

“I didn't really have time to change,” Buck counters. He doesn’t say it in his normal cocky tone, though. Frankly, he looks nervous. 

“Athena Grant called me, wanted to tell me what an asset you are.” Bobby continues. “Told her she was half right.”

Buck frowns. “Are you giving me another chance?” 

“You’ve used all your chances; so have I,” Bobby says, “because somehow I have failed to communicate to you how lucky we are to do what we do.”

Bobby starts to walk away, but Buck isn’t letting him get away that easy. 

“You're wrong, Bobby. I absolutely do get what a privilege it is to serve here,” Buck says, “and you know what? You were right to fire me.”

That makes Bobby stop dead in his tracks.

“I was a punk,” Buck continues, “still am one. But I'm a punk who understands what he lost. Just… needed you to know that.”

“I hope you mean that. Now go get dressed.” 

Buck stands cluelessly for a second, then turns to you and Hen. “I think I’m not fired.” 

“Your shift’s not over yet,” Hen points out. 

You go to follow her, but Buck stops you by calling your name. 

“I just wanted to tell you, uh…” Buck says, wringing his hands together. “I’m gonna prove you wrong.”

Normally, words like that coming out of his mouth would set your skin on fire. Between the tone of his voice and the look in his eyes, though, something in your gut tells you to hear him out. 

“Yeah?” You ask simply, waiting for him to elaborate. 

“Some day, I’ll be good,” he says, “but until then, I’ll be better.”

Buck extends a hand for you to shake. It’s the most chivalrous thing you’ve seen him do since you met him. You look at his hand, then at his eyes. There isn’t a trace of humor in his gaze. You take his hand and shake it. 

“I look forward to seeing it.”

Your first call of the shift is to an amusement park where one of the rides malfunctioned. A rider was thrown from the ride as it was moving, and it sounds like he’ll be DOA. When the operator deployed the emergency breaks, though, it meant the rest of the train stopped at the top of a loop, which one rider is now dangling out of. 

Buck is the first to volunteer to climb the ladder and harness the passenger. You’re not surprised. He’s grown a lot in the last few weeks, but he still jumps at every exciting opportunity, no matter how dangerous it may be. Maybe that’s just how Buck is. 

“Hey, he’s asking about his friend,” Buck radios once he’s at the top. 

“Chimney, how’s the kid on the ground?” Bobby radios. 

You look up and shake your head. 

“We lost him,” Chim radios back. 

“All right, I don't need the people up there seeing that. So, do me a favor... He survived, right? Get him on a gurney. You know the drill,” Bobby instructs.

“Copy that,” Chim replies. 

Once you and Chimney get him on the gurney and out of everyone’s sight, you look up at Buck. 

“Come on,” Chimney mutters encouragingly. “Come on, Buck.” 

After a painfully long minute, you see the man’s grasp on the rollercoaster falter. Then, you watch him let go. You close your eyes before you see him hit the ground, but the sound will echo off of your eardrums for a while. 

You go the rest of the night without seeing Buck; you don’t share another call, and when you’re not out in the field, you’re asleep in the bunks. It’ll probably kill you in the long run, but these days, you learn to sleep whenever and wherever you can. 

When you wake up for morning report and breakfast, Buck is already sitting at the table. You wipe the sleep out of your eyes and get a cup of coffee before sitting across from him. 

Bobby was nice enough to make breakfast; he knows how hard these calls are. No matter how many you get, it’ll never get easier. 

Bobby sets a plate in front of Buck. 

“I’m not hungry,” he says almost instantaneously. 

“This is America, Buckaroo,” Chim replies as he sets some silverware on the table. “Eating has nothing to do with being hungry.

“Man, I was right there. You know, all he had to do was reach up and grab my hand,” Buck says instead.

“People do funny things at times like that,” you offer, sipping your drink. “ Sometimes they just freeze up.”

“I’ve never lost anyone before,” Buck says quietly. He looks up at you. “Does it get any easier?” 

Bobby answers for you. “No.” 

“Look, people die, and that’s part of the gig, right?” Chim says as he sits next to you. “See, your problem is, you're looking at every job like it's a long-term relationship. They're one-night stands, man. In that moment, they mean everything to you, but once the morning comes... it's on to the next one.”

“How silly of me to think you’d say something productive,” you roll your eyes.

Chim furrows his brows. “What?”

“You’re such a man,” you say to Chim, then turn to Buck. “Look, dude, we all go through it, and you just have to figure out a way to deal with it,.” You pause. “You know why we wear these uniforms?”

“Sex appeal?” Chim answers, which earns him a quick kick to the shin from you. 

“So people can easily identify us,” Buck responds. 

“That’s true, but… I don’t know, I like to think it’s because when we take it off, we can leave it all behind us. Right now, you’re firefighter Buckley, but when your shift is over, you’re Buck. It just… symbolizes letting go, I guess.”

“I see his face every time I close my eyes,” Buck says. “Does that happen to you?” 

“It’ll pass,” you promise. 

“And if it doesn’t?”

You stare at Buck for a moment. It’s hard to imagine that this is the same man who mouthed off to a police Sergeant mere weeks ago. 

“Then you talk someone,” you eventually say. “A friend, a therapist, a bartender… you find a way to let it out, and then you let it go.”

 

Once again, you don’t see Buck for hours. You heard on the scanner that the 118 responded to several rescue calls, none requiring an RA unit. You spent the rest of your shift bouncing from call to call and ER to ER, seeing everything from stab wounds to childbirth. It’s shifts like this that remind you why you do what you do. It’s chaotic, stressful, and bloody, but it is fun. After a certain point, you don’t even have to use your brain; the adrenaline in your veins kicks your brain into autopilot, and your pounding heart is just along for the ride. 

You step into the communal locker room, completely exhausted. You still have to change, and considering everything you’ve witnessed, you should probably shower too. Most of all, you want to go home and crawl into your bed. 

Buck is sitting on the bench in the locker room, similar to how he was a few weeks ago after he was ‘fired.’ Just like you, he’s still wearing his uniform. His head is bowed between his shoulders as his elbows rest on his knees. This time, his head doesn’t perk up when you open your locker. 

“I heard you used The Manuever today,” you spark the conversation. “Nice save.”

Buck finally looks up and then chuckles quietly. “Yeah, if only I could’ve done that a few days ago.” 

You take a seat next to him. “Still thinking about Devon, huh?” 

“I’m trying not to, I just…” Buck says, then cuts himself off as he shakes his head. 

“It’s easier said than done,” you conclude. 

“Yeah.” 

“Yeah,” you agree. 

Both of you sit in comfortable silence for a few moments. You open your mouth a few times only to close it. You don’t want to tell this story; you hate even thinking about it. But if you’re going to sit here and tell Buck that he has to let things go, you have to do the same. It’s only fair. 

“The first person I lost… her name was Katherine Vanec. She was 17 years old, wearing a University of Washington shirt, white shorts, and black Converse High Tops. We got a call from her mother, who was at work when she started getting strange texts from Katherine. It was supposed to be a welfare check, and when the cops got there, they found her locked in her bedroom. When fire and rescue broke down the door, she had a .22 caliber revolver pressed to her temple.”

“Jesus,” Buck mutters. 

“Katherine had a history of Borderline Personality Disorder and suicidal ideation. She figured out that her high school sweetheart had been cheating on her for almost a year. They made plans together, I guess — they were gonna go to the same school, find a place off-campus to live together. He pulled the rug right out from under her, and she couldn’t take it.”

“So what happened?”

You smile sadly. “By the time we arrived, a negotiator had been talking to her for almost ten minutes. They thought she was in a good spot that all she had to do was put the gun down, and we would swoop in and 5150 her.”

“Involuntary admission,” Buck says. 

“Yeah,” you confirm. “That didn’t happen. When the negotiator asked her to set the gun down, she lost it. She kept talking about how every time before, she chickened out, and she couldn’t let that happen again. She turned the gun on us.”

“Suicide by cop.”

You nod as a few tears well in your eyes. Even all these years later, that case haunts you. “Her finger wasn’t near the trigger; she didn’t want to hurt anyone. She just didn’t want to be alive anymore, and she couldn’t think of another way out. I can still hear the sound of the bullets tearing through her.” 

“Why are you telling me this?” Buck asks softly. 

You wipe at your eyes and clear your throat. “Let it out and let it go,” you answer, then nudge his shoulder with yours. “Your turn.” 

Buck smiles; the expression is bittersweet. “I keep replaying what happened. I can’t shake this feeling that there’s something else I could’ve done. Maybe I could have grabbed his arm, or maybe there’s something I could’ve said differently.”

“Or maybe, no matter what you did, it was always going to end that way,” you suggest quietly. “Maybe he felt the same way Katherine did—like he had no other way out. We can try to rescue people, but we can’t make them want to be alive. Some people just don’t want to be saved, Buck.” 

“That really sucks.”

You laugh. “Yeah, it does. I guess that’s why we have each other; it makes it suck a little less.” 

“‘Each other’ as in you and me?” Buck asks in a lighthearted tone. 

You roll your eyes, but secretly, you’re thankful for the change of pace. “‘Each other’ as in the 118, which technically includes you and me.” 

“Sounds like a copout.” 

You laugh and clap a hand on Buck’s shoulder before standing. “Have a good night, Buck.”

You make it to the doorway before he says your name. You look back at him. 

“Thank you,” he says softly. 

You bite your lip, but it isn’t enough to conceal your smile. “Anytime.” 

[its-all-papaya]

oh no don't feel bad about not being able to update before spa!! writing should always be a way to let creativity flow, not make you cry! love your writing but don't let yourself be pressured by thinking you're disappointing someone. i'm looking forward to the sequel and tbh i'd rather read it knowing you're happy and satisfied with it, than unhappy, stressed and rushed. take all the time you need!! plus f1 summer break is coming, so whenever you're ready!! we'll be happy!! sending you a hug!! (if you want one) can i get one more snippet for the word game? maybe there's "think" in there? <3

"maybe there's 'think' in there" plz :,)

if there's one thing about anybody, nowhere lando, that boy is THINKIN. so far (~3.2k of stuff I don't despise) "think" is in there 29 times + six "thought"s just for fun. I picked my favorites for you <3

It’s bargaining when he speaks again. He thinks of grief and wants to laugh at the irony.

and

If he was a better man, his vision would blur with the intensity of the thought; he can think of Oscar now, or he can think of Oscar every time he looks at that P1 trophy for the rest of his life.

anyway ughhhh I've spent like 4-5 combined hours trying to decide what to do with the middle of this sequel and I think I'm just stressing myself out now and it's making me forget english. literally all of anybody, nowhere (minus the final part in lando's driver's room) and also the start of AN2 came so easily to me that idk really how to fix this bc I didn't have to fix anything until now. I think (me /handshake/ lando) that once I hit on a structure I like for it, I'll be back in the zone, but it's just taking a bit to get there.

I appreciate your words so much though, and this really does help ♥️ unfortunately the reason I like writing lando is because I am inside his head a bit... which is to say that there's a healthy amount of self-imposed pressure making this whole thing much worse rn. I'll get there with it, I think, but yeah. Perhaps after Spa.

thank you, hug accepted, you're so kind, i'll cry in a good way instead now abt this ask

[oceanwithouthermoon]

ive been unhealthily fixated on kubosai for the past few weeks, i just have no idea how to put it into words. kuboyasu aren and saiki kusuo are in love btw

[guinevereslancelot]

applied to a bunch of jobs! 😅🙏

[batsplat]

casey also talks about sepang 2015 what do you think of that

oh in that podcast? uh... lemme listen again...

yeah idk it's not really anything new I'd say? he's said basically all the same stuff in more interesting and extensive ways elsewhere. I think casey inevitably has a very 'well feuding is bad and helps nobody' point of view, has expressed that before in the past, does it here again, and he's also drawn a parallel between himself and marc on several occasions. which... well, of course there's similarities in terms of public discourse or whatever, but the parallel really falls apart whenever casey argues the feuds cost valentino. like, I do think it's sometimes important to just. keep in mind. it's interesting that casey draws this comparison in his mind but that doesn't necessarily means he's right about this. I'm not sure how you'd argue that starting a feud with casey cost valentino anything competitively? you can argue it didn't help him I guess, and then we can have a debate about the ins and outs of the 2008 season. we can also have an argument that in a hypothetical world where casey isn't ill in 2009, valentino doesn't break his leg and casey isn't on a piece of junk in 2010, and valentino isn't on a piece of junk in 2011-12, then actually maybe valentino sparking open animosity with casey COULD have cost him. but we don't know that! didn't happen! I wish we could have found out, but we never got the chance! as it stands, the tally on this is pretty straightforward: casey won the title when things were reasonably civil between them in 2007, and valentino took control of the following season at the exact moment he worsened the relationship between the pair of them in 2008. obviously, it's all more complicated than that and casey would of course argue laguna didn't negatively affect his subsequent performances... but it certainly didn't help them. like, at the very worst valentino escalating tensions in 2008 is a complete net neutral. after 2009, them being bitchy to each other every other tuesday was completely competitively irrelevant beyond maybe affecting how they approached occasionally fighting for a podium position. hey, maybe casey used that feud to fire himself up through sheer spite throughout the later stages of his career, but that doesn't actually support his anti-feud stance - it's basically the exact same thing as what valentino does. they're both quite similar in that regard! always so hungry to prove a point, to show how someone else is wrong. kinda half the point with this feuding business is to get yourself going, get yourself motivated, yeah. he straight up openly admits to using yamaha's repeat rejection of him as a way of giving himself motivation, and at the end of the day that's really not all that different?

anyway, what else does casey say... oh yeah, that him and the other aliens were already kinda prepared for this and had learned vale's tricks. that valentino had only been able to get into the minds of the previous generation. welllllll *wiggles hand* sure, I mean, he did clearly have to change his approach... he couldn't just use the exact same playbook to get to them, either on-track or off-track. but that's why he did change up the playbook... again, whether you want to believe valentino won his final two titles 'in the head' rather than just through pure pace kinda depends on how you assess the evidence, but it is at the very least a debate. and, y'know, it's always worth remembering that valentino's most important mind games with casey didn't happen in a press conference... it was on the track. and the on-track stuff really is just embedded in how valentino approaches winning. speaking of aliens, this is what dani and jorge have said:

like, valentino's entire approach to his riding, even to the way he's setting his bike up, is deliberately about directly fucking with you... he's not actually always trying to be faster than you as much as he's trying to give himself the tools to make your life miserable, to pressure you into mistakes, etc etc... and again, especially with casey (if anything because he was so mentally sturdy), the off-track stuff was really just window dressing. (I know they bicker a lot after 2009 but it's just so fundamentally irrelevant to actual on-track competition.) so you can be aware of those tricks, but it also doesn't necessarily help you when someone's being nasty to you on-track in a way you just fully do not enjoy. which is what it was like for casey! for casey, a lot of this comes back to the truly unpleasant context of how he was perceived by the public, how he was treated as mentally weak or 'broken' or whatever partly because he had the misfortune of coming up against a bloke who had the reputation for breaking rivals. I think it's quite natural to end up with a bit of a hardliner 'actually I've never been mentally affected by a result in my life' stance - and of course casey is a lot tougher than a lot of people give him credit for. that being said. sometimes your rivals affect you, shit happens, it's part of the game. it's fundamentally a nice idea to think that valentino's tactics weren't just morally wrong but also ineffective, which is kind of the appeal of this narrative, right? you want to believe you're above that, you want to believe you were adequately prepared and wise to valentino's tactic. it's unsurprising and understandable that casey does tend to tell the story that way, but again it's *wiggles hand* also hard to describe it as completely factual

uh. what else. oh I'm thrilled casey does canonically know valentino and marc were friends, he has said he wasn't following motogp too much during that time period so you couldn't be sure of that. does this mean anything? does it tell you anything? well, no, but it's just a pleasing thought to me. I like that. oh also 'provoking particularly aggressive riders isn't a good idea' is kinda a funny take from casey? like, he of all people would hate the idea of being cowed by someone's reputation like that... casey's right that provoking fast riders can potentially be dangerous, but y'know I do think that's probably not news to anyone almost nine years later. um. that's all I've got I think

[kissmefriendly]

*checks notes* Hey lads, how’s that romantic vs platonic love thing coming along? Anyone find out the difference yet?

[hightaled]

my schedule and my classes are so fucking awful and i am filled with more contempt and vitriol than ever this year

[daydream-draws]

.

[mieltelecheycrema]

confession done that was so easy (covered in sweat and took two days)

[painted-bees]

A quick, sloppy little comic about Magritte

[OC's]

(image description under the cut)

[Image Description: It's a vertical comic strip of 14 panels arranged one under the other. The style is realistic, done with sketchy lines in a dark burgundy. It is not colored or shaded and there is no background. The comic features the interactions of a couple, Magritte (also called Margie) and Rafael (also called Raf). Magritte is a young woman, she is wearing a baggy armhole tank top with a tight fitting black top underneath, shorts and boots. She has a messy bun and a small messenger bag slung over her left shoulder. Rafael is her partner, wearing baggy pants, sneakers, fingerless gloves, V-neck t-shirt and an open button-up jacket with a hoodie and the sleeves rolled up to his elbows. His hair has short side with long top bangs and a short goatee.

 (First panel): There's only Magritte visible from the waist up. Off screen, Raf says to someone else: “Magritte has our tickets.” Magritte is excited, looking straight forward. Her left hand in on her bag's strap, her right hand rummaging inside her bag. Magritte says: "Yeah! Even made sure to put them in my wallet so that I wouldn't- uh..."

 (Second panel): She is beginning to look concerned, now with her face turned to her back, both left hand holding the lip to open the bag wider and her right hand still rummaging inside. Magritte says: "wouldn't forget.... Hang on, it's not on it's usual pocket. Haha." The last is a nervous laughter.

 (Third panel): Magritte is kneeling on the ground. Rafael is standing to the side and behind her, only his feet visible. Magritte looks frantic, searching inside her bag. Her right arm is forearm deep digging in her bag. Magritte says: "It's definitely here-! It's the one thing I never forget 'cus I never take it out of my bag!" Rafael says, firmly: "Margie, when you took it out to put the tickets in, did you put the wallet back in the bag?" The letters are bolded, with the word "back" underlined for emphasis. Magritte says: "Give me some credit, there's no way I'm that stupid." The last three words are underlined for emphasis.

 (Fourth panel):  The scene has changed and now Magritte and Rafael are in a car. We see them from the passenger's side. Rafael is driving, looking straight ahead at the road. Magritte is hunched forward, hugging herself with the left hand. Her right hand is holding her head. She is looking out the passenger window, avoiding Raf.

 (Fifth panel):  Rafael turns slightly to look at Magritte.

 (Sixth panel):  The point of view is now a side profile view from the drivers side. Rafael has his left arm leaning on the open window, his right hand on the wheel. Magritte is hunched over facing the passenger window. Rafael says: "I'm not mad at you, if that's what you're worried about." Magritte says: "I can literally feel your disappointment."

 (Seventh panel): Back to the passengers side, Rafael is looking at the road. Magritte is frustrated, no longer leaning her head against her right hand and instead her hand is palm upwards. Rafael says: "Well, yes. It is a disappointing situation, but-" Magritte interrupts: "You'd think I'd be able to do the one thing I was asked to do-! That I'd at least learn from the last billion times I forgot shit. Rafael says, quieter: “that's not where I was going with this...”

(Eighth panel):  Magritte has her right hand holding her face with the palm on her cheek, left hand placing the tips of her fingers on her left temple and eye brows. She is frustrated and angry. Magritte says: "It's not like I've got anything more important rattling around in my brain.  But, for some reason, if it's not my music, or like.... food or something, then it's just not a priority. I can't make myself care enough to make it a priority!"

(Ninth panel): She now has both hands in front of her, elbows bent, finger extended in a vague hand gesture as if there was something in front of her. Magritte says: "I'm an adult in my 20s and I still manage my responsibilities like a child. I'd be more dependable if I could just stop and think for a second, but I'd probably forget to even breathe if it weren't for the..."

 (Tenth panel): Her frustrated expression turned to confusion. Her hands are still in the air in the same position as before. Magritte says:"... why are we parked?" Her noticing this stopped her rant.

(Eleventh panel): Magritte straightens up and faces the window entirely, left hand crossed over her body to lean on the car door. Rafael, off screen: "Margie." Magritte says: "Oh." Magritte's inner thoughts are written around her. "He stopped the car to scold me. No, not ‘scold’. Don't be a child about this. He's disappointed and just needs to make sure you understand so you can do better next ti-"

 (Twelfth panel): Magritte is still looking out the window, but now with a shocked expression. Rafael reached with his right hand, and its now resting gently on her upper back. Rafael interrupts her inner monologue with "I need you to stop repeating the shit your parents and teachers and such yelled at you growing up. They were wrong, and nothing you just said makes sense."

 (Thirteenth panel):  The perspective switches back to the driver's side profile. Rafael says: "A poor memory isn't synonymous with poor priorities. Nor does it speak to a lack of maturity. The priority was there, we just have to build a better habit of checking things before we leave the apartment. Both of us. It's gonna take time. You afford everyone else a ton of patience, all the time. Can you please afford some for yourself? The situation sucks, we were both looking forward to this. But it's not the end of the world. We didn't forget things on purpose. So let's take it easy and try to end the day on a good note. Alright?" Magritte says: "Okay... c-can we um...."

 (Fourteenth panel): Magritte has turned to face Rafael and her eyes are filled with tears and they're running down her cheeks.  Rafael looks startled, lifting his arm off Magritte's back. Magritte says: "Can we get some ice cream on the way back?" Rafael says: "O-of course!" End of description.]

This description was written and provided by Hiwi.