#one was unbearably sad

[artsekey]

Check it out! These are my grandparents!

My grandpa fought in WWII and stole nazi clock pieces from the streets to hand-build all SIX clocks that still ring out in our house every hour. He was a soldier and a wood-worker who never got his high-school diploma but made an amazing life for himself and his family. He’s in a museum, actually, as one of the few survivors of one of the most dangerous battles in WWII, and he received a purple heart for his service.

My grandma was a typist/secretary who traveled the world with him during his time in the military after getting her Bachelors Degree (!!!!! In the mid 1900’s!!!) . They met on a blind date not long after the war was through, and they were married sixty-seven years. She’s the epitome of etiquette and an amazing hostess! She has two daughters, one born in Austria and one in the U.S., and I’m their only grand-child.

You might be thinking, “Artsekey, what’s this all about? This isn’t the usual content!”

Well, I’ll tell you what it’s all about! My grandmother just celebrated her 100th Birthday! She’s been alive since 1923! The same year the radio became commercially available!!!

She’s amazing, and I’d like everyone to know it!

[napping-sapphic]

I just want to fall in love with someone who makes me feel safe like even when we’re angry or sad or upset i just want to know that both of us are still going to be okay

[petrichal]

I think part of the tragedy that is Ace's relationship with Roger's legacy is probably the fact that if Roger had been alive and was there to raise his son, he would have 100% doted on him and spoiled him rotten

[spinostarz]

when the piece of media has sad old man

[puppyeared]

I can teach you how to be just like me

crying all night, sleeping till three

[padfootastic]

my sirius & harry thought of the day:

harry kept that firebolt alive for all 137 years of his remaining life through sheer willpower and magical strength. he did not let a single twig of it die off. not only was he absolutely unhinged about taking care of it, not letting anyone near it after 5th year, but he also basically single-handedly reinvented the field of broom-crafting just so he could keep his godfather’s gift to him alive. he didn’t do anything with this skill, basically driving everywhere who knew him spare bc !!! ‘harry do u know what u just did? most brooms don’t last over 6-7 years, not even a fraction of that if used at the pace and frequency as u. if u could just—‘

and he just flat out shuts them up bc how does he tell them that the reason his firebolt is still alive is bc sirius’ love runs thru it and harry would die himself before he let it bc he can’t lose the last piece of sirius he has left. he cannot perform this miracle on any other broom, tho he can probably make the single best non-sirius-gifted broom that the WW has ever seen just bc of how extensive his knowledge is now

and the thing, right, is he doesn’t keep the firebolt locked up in some display like some artefact. sirius would’ve never wanted that. his dad would’ve hated it. brooms were meant to be flown. so fly, he does. wonderfully. it’s forever his primary broom and he puts it thru all the paces, keeping up with all sorts of newer, flashier, pro models w utter ease.

it’s like this: when he uses this firebolt, it feels like perhaps he has his godfather back for just a second. and harry is forever weak to that feeling.

[im-trying-my-best-yall]

my brain connected dots of George losing an ear being foreshadowing for Freds death and im going to VOMIT

Like all pairs, there's supposed to be two. you rarely see just one without the other in the context they appear in. And just like ears, twins are a pair.

George lost half of a pair(his ear) and then lost the other half of his pair. He lost his other half

this may be a stretch but the possibilities for symbolism is making me feel like im going to sob till im nauseous

[carefulfears]

top 5 (or 10 if you have em) scully taking care of mulder moments <3

she said IF i have 10 😭😭😭

1/ sein und zeit

i fear i have talked about this television scene more times than anyone has ever talked about a television scene....like. one, two, three, four, i was even foolishly invited onto a podcast to talk about it more...

my tags here:

she gets down on the Ground. there's something so primal about it. there's such a lack of pretense and sense of desperation about it. the way he hits the table. we so Rarely see him lash out like that. but it's just too much to Bear. like everything in him is just Breaking the only thing that he's even remotely been able to hold onto amidst all of the unbearable loss and trauma in his life has failed. he's fumbling around for anything that might make it better. that audries fic describing him in this moment as an 'addict out of a fix' with 'newborn anger.' “this is the world? this is it?” it's the way that he spends this whole ep cooking up some elaborate mythology about missing children and how they can be found and then the last shot of the episode is that wide shot of all of the children's graves. sometimes he's just wrong. the world is so much fucking darker and uglier sometimes than the way he sees it. and that's what is crashing down around him in this moment. and she's sitting in the wreckage holding him tight.

this is such brave, brave love. i keep thinking about CSM in the following episode, standing in scully's apartment, warning her. "allow him his ignorance, it's what gives him hope."

she doesn't know what will happen to him, to her, to them, when she breaks down the only method of coping that he has. his mother lost her bedrock too, and she didn't survive. from the moment scully enters, you can watch it break her. she does it anyway. she gets down on the ground, and she cries, and she holds him. god, it all just would've been so different, if there'd been just 1 person, 27 years ago.

(thinking about mulder reaching up to hold scully when missy died, and these tags asking: did anyone hold him, when it was his sister?)

i love the show's message on grief (and trauma), in that this is all that is necessary for "closure." there is no "Truth," (and there really isn't any closure, there's no "beyond" the sea). but it matters that someone knows. it matters that someone bears witness. it matters that someone tells you the truth, even when it fucking breaks their heart. sits in the destruction with you.

the exhaustion in her voice the next morning, when she tells skinner, "it's been a hard night for him." she's still wearing her work clothes from the day before. she was up all night. she's tired, and she's scared, and she's sad. it's been a hard 7 years. it's been a hard 27 years.

it makes me tear up every time i see it, the way she blocks him in the doorway. she's not moving. this is just so scully. it's not even starbuck, it's just so scully. she would keep him in that apartment where she could cover him and control what touches him forever, if she could. (she can't, so you're not taking him anywhere without her. the way she looks her boss in the eye and tells him he better book her a flight too. brave love.)

2/ demons

god, this one just makes me sad. this might be the one that makes me saddest. she's dying. she doesn't have it in her, anymore. i talked about this in my newsletter (and i wrote a fic about it once) but this is like...the only time where she never calls him out on what he's doing. she never yells. she never rolls her eyes. she never gets frustrated with him. she doesn't have it in her. she's dying. he will be alone. she won't be here the next time. what can she even do about it?

i always think about this post:

and you know she is thinking about how if she hadn’t been there he would’ve died. and how the next time he does something like this, she won’t have enough life left in her to keep them both alive. she might not even have enough left for herself. and she’ll give whatever she does have left to him, but it won’t be enough to save either of them. she’ll die cold and pale and he’ll burn himself out. and what can she do but hold him? who will he have when she’s gone? what will he do to himself? who will he call?

and these tags:

this is so cautious and tender and apologetic. sorry for all the pain he feels constantly. and sorry that nothing can ease it. and sorry that she is dying and leaving him like this.

she started writing to him as soon as she was diagnosed, begging. begging forgiveness, begging courage, begging grace. begging for him to not feel there was anything more he could've done, to not become the next cause he is lost in. for him to keep going, as she needs to know he's "out there."

but she's seen him hold a gun to himself too many times, and she knows he's coming down with her. and it's such a loss? this is a person she gave up everything, including her life, to follow, because she believed in him and what he wanted to do in the world that much. but things are different now. he won't survive this. he won't be "out there" saving the world.

what can she do? go to rhode island at 5am, wrap him up. stay quiet, stay still, but scream and thrash at anyone who's careless with him. sink down next to him, cover him, hold him. "maybe we need every answer in the world to survive a single question: how long do we have each other?" (x)

(also, her memento mori journal, in general. she sat in that hospital alone, for days, knowing she was going to die. and she wrote letter, after letter, after letter, to him. so that he would have something. so that he wouldn’t be left alone with nothing, again.)

3/ the end

"as mulder appears. the look on his face is of a man who's seeing, smelling, and tasting the loss of everything he has worked for. it's the look of utter defeat. angle on scully at the door. she sees only mulder right now...she moves to him now. putting her arms around him, holding on to keep him from breaking. off this, we fade out. the end." (script)

i think so often about the script notes of this scene. the description of mulder, as absorbed in destruction. everything that he's worked for, literally reduced to (cigarette) ash. scully only focused on him.

in the final angle of the season, you can really see how she's standing in front of him. her fingers clutching him. but when she first grabs him, it's so tentative. it almost feels like she's trying to see if he's still there, if he exists, if his work doesn't.

this is...the whole thing! there's a reason why this was "the end." the final image of this iteration of the series, before everything changes. this is what it is all about. it's mulder walking headfirst into the devastation of the world. drenched in loss. seeing it. smelling it. tasting it. surrounded by it. and it's scully knowing what he'll find even as he's still moving (this script note, from the hallway: "reverse on scully. returning the look. knowing what mulder is going to find. and what it will mean.")

following behind. eyes on him, while he takes in the ash. just holding on for dear life; trying to keep him close, whole.

(also, i love the moment before the fire, at his apartment, after diana was shot. the way scully tells skinner that he can reach her at mulder's if he needs her, because that's where she'll be. he doesn't even have a bed, or anywhere for her to stay!! she's not leaving him.)

4/ paper hearts

oh, starbuck. we are really in it now.

paper hearts is an ahab and starbuck episode, yes. but mostly it's about grief. mostly it's about harsh awakenings. mostly it's about confrontation with fear, scully's included.

one of the most haunting moments of the series, to me, is when they speak to the father of the 14th victim, twenty-one years after his daughter went missing. and through tears, the father says, "i used to think...that missing was worse than dead, because...you never knew what happened. now that i know, i'm glad my wife's not here. she got luckier."

in that moment, as mulder looks over at the photos on the mantle, missing is not worse than dead. it is not worse than knowing. and later that day, in his first scene, roche calls it exactly as it is: "i understand you take this very personally, mulder."

i've written about this scene in the hallway so many times, because it's truly the crux of this episode (my favorite episode).

from my newsletter:

There’s something so viscerally deep about this episode that’s hard to put into words, but to me, it is most palpable in the moment in the hallway when Mulder asks Scully if she believes that his sister was abducted by aliens. And you can see in his face that he knows the answer, and he’s challenging her to come out and say it. You can see in Scully’s that she would rather admit to anything else.

he's challenging her. he's taking their entire dynamic, and throwing it in her face. not to be cruel. not to disrupt. but just to say...so what now? isn't this what you believe?

i don't think that they've ever been so fragile, as in this hallway, honestly. they rarely threaten to break it all down. their entire lives are built on him walking up to tragedy and saying: it was aliens. it was XYZ. and her following behind saying: no. it was a killer, it was a man.

what does that mean? what is she really saying?

this episode is hard on scully. mulder has never been more haunted. there has never been a bigger reminder of what they are actually doing. they are not just chasing little green men, having adventures, studying sewer worms. they are trying to make sense of something that will never make sense. they are trying to find a "truth" that they do not want to know. they are living their lives in mourning, in bereavement, in remembrance, of a missing little girl, and scully is terrified that they'll find her. that it will be exactly like roche threatens. that missing is not worse than dead.

and there is no one else. there is no one else that even knows how haunted he is. how stuck he is, in that childhood bedroom, like he said all those years ago. how deeply sad it is.

it's all of the little things. it's the "you did good work, mulder" in the beginning. it's the way she asks if he's okay to go tell the 14th victim's family. it's way she exclaims "oh my god" when roche says that he just wants to see mulder's face, when he finds samantha's body. one of the few times that we ever see scully lose control, but she just stands up and screams, opens the door and wordlessly waits for mulder to get up and get out of there.

it's the way that she hears "help me, scully" and digs in the dirt, with her bare hands.

(you can tell in his eyes here that he's been crying, and it really gets to me. there's so much that we don't see.)

in the end, they're back in the basement. nothing left but one scrap of tattered fabric, one more lost failure. it's over. she just comes down to check on him.

the progression of scully's face in this last scene is just unbelievably gut-wrenching to me. her smile, when she tells him to get some sleep, and he laughs. the way it disappears when he holds her, and can't see her anymore. with his mother, flashing that smile and hugging her was all that it took to convince her not to worry. when he repeats the same actions with scully, she looks like she could break.

this post:

Episodes like this make me think how alone - not just lonely, but truly alone - Mulder was before her. Nobody lost sleep over him falling apart under the fist of decades old trauma. Nobody grappled with him, let him wrestle his grief against them, and still stayed. Nobody visited him in the hospital, flew to Alaska, lied for him, stayed by his bed for days straight without an extra change of clothes. Nobody else knew he was suffering or wanted to, knew it more than he knew. That end of Paper hearts where she tells him to get some sleep, he laughs at the ridiculousness of it, but also out of incredulity at having someone to wish for better on his behalf. The heartbroken look on her face as he’s laughing into her waist seems to be her coming to the same realisation; “Who looked after you before? How long did you feel like this on your own?”

she is heartbroken. there is so much grief, in being starbuck. there's grief in being needed. there's grief in following ghosts. there's grief in loving someone who is so encased in pain, in loss. he will not go home and get some sleep. a well-placed joke, that smile, a hug, does not convince her that he's okay. he hurts so much, for so long, and he has one person who knows it. and all they do is keep moving: closer and closer to that breaking point that she is so afraid of, and they can't stop.

5/ redux ii

remember when dana scully lied on her death bed and looked up at mulder as he told her that he was not willing to jeopardize skinner to save himself, and she replied, "well, then, you have to lay it on me."

the way he smiles and shakes his head, chokes out "i can't...i can't do that." through tears...they are so kind to each other. all that she has left in the world is her reputation, and she says: take it. take it all. take everything.

she cries when he won't do it.

6/ herrenvolk

okay, i wanna get into some slightly lighter ones, so y'all remember when she nearly fully knocked skinner into the wall, because mulder came in with a (checks notes) scratch on his face?

this is just so scully.

she is so panicked. she just wants to slow him down, to stand between him and the world for even one moment longer.

these tags:

she's almost begging him not to go in. the extent of her worry is heartbreaking. she loves him. it frightens her to know what awaits him.

one of the biggest conflicts of scully's character is that she just cannot stop him, she cannot shield him, she cannot protect him. the way she leans up here, and pulls him to her shoulder. covers him with a blanket. this is what she can do.

there is so much grief in being starbuck!! in loving someone who walks blindly into a world that you do not trust. in following someone into the worst night of their life: over, over, over. years, years, years. in being first mate, holding the responsibility on your shoulders of having to steer in a safe direction, only having one to choose from.

(i also think it's really special, all of the little moments where she checks in. in the previous episode, in the hospital hallway, the way she says "are you okay?" so softly.

in paper clip, when she makes him stop, and says "no, wait, hold on a second...i don't think you've had time to process everything that you've been through."

remnants of the girl who told him she'll cover for him and he should just go get a beer, take some time for himself, after jersey. who suggested he talk to someone, when jerry lamana died. she's always wanted so much for him, but she understands more now. there's still room to pause, for a moment, before he carries on.)

7/ anasazi

ladies, would you shoot your man with a gun, to keep him from endangering himself, while he was being laced with LSD, and then drag him across the country singlehandedly, while he was unconscious, despite him being twice your size? and this, too, is taking care.

the way she says, "i was certain they would have killed you, mulder." and the fear in her voice, his hand on her knee. (she is so young. she really doesn't know what to do, not as often as she seems like she does). the way he says, "thank you. thank you for taking care of me." they are so kind to each other. it'll break your fucking heart.

(i remember asking y'all a few weeks ago, if mulder and scully ever say "i'm sorry," if they ever apologize to each other. and we came up with a couple of times. i'll tell you what, though: not as often as they say "thank you.")

8/ fire

girlbosses when they singlehandedly solve serial murders, to get their best friend's shitty ex away from them!!! okay, i put this one on here because we were talking about it yesterday, but scully really does handle the entire situation with phoebe so perfectly, and that's hard to do, when you're dealing with friends and abusers.

trish, i loved this part of your post yesterday:

scully gives him the space to talk about it, never says too much but she says enough. her phrasing is SO important. she repeats what he just told her in a way that frames it as wrong.

she's a little rabid, lol. we can see it on her face when she's alone, or when mulder's not looking. but around him (around phoebe too) she's calm. she listens, she addresses what he tells her as bad, without pressing. when he tells her that she's off the case, that he doesn't want to expose her to what phoebe is doing, she asks one time: are you sure you don't want help?

he says yes, and she does it anyway. she catches that fucking murderer so that this woman can go home. just, like, an inspiration to us all.

trish's tweet:

really, truly, genuinely. scully solving the case in fire was the absolute best course of action she could have taken. get that woman out of here, an ocean away from mulder. (give him freedom, let him heal, teach him what real love feels like)

(her eyes locked in on him here, phoebe behind her. the way that when phoebe leaves the room, scully says, "you alright?" instantly.)

meeting phoebe just a few months into their partnership made her so fucking crazy like...i make fun of her for being sick in the head in regards to everyone he meets (men and women alike) and never wanting anyone around him other than her but like, my god, can you blame her!!! he's such a gentle person and people are so cruel and it makes her eyes bug out of her head.

yeah, i really don't have much else to say here, you guys. she solved a murder herself, a case that she wasn't even supposed to be working, so that his old gf would go away and stop being mean to him. she doesn't play!!

(also! while we're on the subject of abusive exes, honorable mention to scully cornering diana into an empty room and telling her to "just think" about who mulder is, who he was when she met him, compared to where he is now. "and then try and stand there in front of me. look me in the eye. and tell me mulder wouldn't bust his ass trying to save you.")

9/ deadalive

oh, you guys remember that time she raised him from the dead, right?

scully at 8 months pregnant, sitting in that hospital chair, holding his hand, for days. knowing he can’t feel it, knowing that there’s nothing that says he’ll ever wake up. that it’s impossible. that there is no science…yeah. she just sits there and holds his hand.

i love the moment when she finds out, and she comes barreling through that hallway. she hits skinner first, and starts yelling, “i want to see him. no, i need to see him,” slams her fists into his chest.

then she moves onto doggett. repeats, “i need to see him” through tears. and the way doggett says… “i know. but i wish you wouldn’t.”

she’s loved. they want to protect her, protect her image of mulder as she knew him. but they also both know she will fucking plow them down.

i always think of this fic and feel so ill:

“I pulled you six feet out of the ground,” she whispers, dangerously low. “Because I couldn’t live without you. I gave birth to your child.”

she fed his fish while he was in a casket. she planned a funeral and decorated a nursery alone, at the same time. she ran herself ragged all over the country, trying to keep his work going. she raised him from the dead.

(i also feel that i can throw in here, as related, the time that she busted him out of prison and then abandoned everything in her entire life including her career, her family, and everything she owns, to go on the run from the law and live secretly in seedy motels for years to be with him.)

10/ fight the future

there are too many contenders for my last spot, so i’m gonna keep it simple, and go with the most special movie moment. (of all movies).

from my newsletter:

“Mulder watches the spaceship as it flies overhead, his face glows with a heart-melting grin of childlike wonder and awe.”(x)

That’s exactly what it feels like to me, it’s an innocence and excitement that was so present in season one, that was all over him when he told Scully to come look in the second episode, but that’s rare to see in the later seasons. It’s rare to see at this point in their story, after all that’s happened. They are stranded in Antarctica, both of them injured, both of them freezing in the cold, and they are holding each other and gazing up at the sky. What a perfect thing in their big momentous feature, to bring it all back to what it started with.

there’s such a reverent sentimentality to it, in the simplicity. she had stopped breathing, a few minutes earlier. but when he passes out, she pulls herself up, and grabs onto him. keeps him alive, keeps them both alive, just by holding him close. that’s really the heart of it.

(also, i find it so moving that this film is the only time in the franchise that scully considers leaving, not working with him anymore, and it’s because she thinks she’s not good for him. that she’s holding him back. she never considers him as anything other than wanted, something worth believing in.)

some honorable mentions to: little green men, which i’ve written about here. (especially her secret-signaling him to their secret meet-up place, just to ask if he’s okay). the erlenmeyer flask, which i’ve talked about here. (she literally stops him in the street to tell him that she should have listened to him, and she’s sorry, because she should have trusted his instincts. that means so much, you guys). her telling colton she hopes he falls on his ass after he was making rude comments about mulder in squeeze, screaming at a serial killer that she’ll gas him into hell herself and no one will stop her, if mulder isn’t okay, in beyond the sea….she has threatened and shouted at and smacked around so many people for fucking with him, and this too is care!! (anger meaning you’re worth being angry over, etc etc)

how desperately she became frantic to find their son, after 17 years resigned to never ever looking for him, never ever endangering him that way…because she became convinced that it’s the only thing that would help mulder.

and how important samantha is to her. it matters. it matters, that sam is remembered. that someone else in the world knows. someone knows that they played baseball in the summers, that they fought over the television, that he’s looked for her in every room he’s ever been in. someone else cares about her; not as a white whale, not as a photo on a desk, as a little girl who broke her collarbone because she played on swings too hard. scully listened to her journal, and cried. listened to how much she suffered. how much she just wanted to see her big brother. (scully kept a journal like that, too, once. underwent those same tests. almost died at the hands of those same men. wrote her testimony to that same person.) it’s taking care of mulder, to love samantha. and she does.

[siriuslygay1981]

MY ROMAN EMPIRE!?! YOU WANT TO KNOW MY ROMAN EMPIRE!!!???

'Despite what he had said to Regulus, he wishes he had told Barty he loved him, even just once.'

' I'm really sorry we only got to love each other for three seconds'

“He didn't leave any note, me and- Me and Everly wrote it.”

'Perhaps it’s the sound of the knife clattering to the floor that finally makes her realise, that Evan is never going to reply again.'

'Eventually Barty learned to live again, he learned to go to class, learned to breath, learned to eat, drink, sleep, all of it; but he never learned how to love again.'

[good-beanswrites]

Haruka getting possessed and while he is he’s causing chaos and he throws Shidou like a rag doll

👀👀👀 Ohhh this got my brain spinning... (I went for ghost possession scene before hearing your angel/demon thoughts, but both have so much potential omg) Thank you for the ask pal!!

Shidou rolled over in his sheets, perfectly prepared to continue sleeping until the shadow staring at him from outside his cell jump started his pulse.

His hand instinctively shot to the side of the bed before he realized he wasn’t in his home, and this wasn’t an intruder. “Wh-what –” the hell? “What is the matter?” Thanks to years of practice his voice stayed entirely steady.

There was only silence in reply.

He placed a palm on his chest, taking a steady breath. He squinted at the shape of the silhouette against the bars. “Kusunoki-kun, is that you? Is everything alright?”

Her head shook. 

“...Okay. Can you tell me what’s wrong?” He got out of bed, looking around for his first aid kit.

“It’s Haruka-kun,” she said, her voice hushed. It was as if she were afraid to be heard, but they both knew the warden was asleep by now.

“Is he injured?” It was a good sign that Muu hadn’t seemed frantic, but middle of the night doctor calls were never good. 

“He… hasn’t been himself. The way he’s acting, the things he’s doing…” She paused, trying to choose her words. “Muu is scared…”

Grabbing his supplies, Shidou joined her in the doorway. He placed a hand on her shoulder, offering a warm smile. “I know. I’m sorry. It’s always frightening when someone you love is going through this. Depression and stress often cause people to act in strange ways. They seem like they’re entirely different people.”

Muu shook her head again, this time with more urgency.

“Shidou-san. Do you…” she looked like she was getting up her courage. “Do you believe in ghosts?”

“Ghosts?” He blinked. “If Sakurai-kun is saying it was something otherworldly that hurt him, he probably wants to spare you the pain of the truth. That he –”

“– That wasn’t Muu’s question!” She clasped her hands together, looking over her shoulder at the empty panopticon. “Do you believe they exist?”

Shidou frowned. He wasn’t the spiritual type. As any grieving man, he’d catch glimpses of his son around the prison now and then. It was a natural, neurological response to the guilt and distress they were under – even Kazui admitted to thinking he saw his wife around the dark corridors. 

Shidou opened his mouth to reply. 

A scream echoed into the dark. Yuno’s. 

Muu ran into Shidou’s cell as he tried to leave, pushing him back. “It’s not him!” She cried as Shidou tore himself away. “It’s not Haruka!”

He burst out, making it only a step or two before he froze.

Haruka stood a few feet away, an arm raised post-strike. Yuno scrambled away from him on the ground. She made it to her feet, running to Shidou. She had no visible injuries, but her eyes had never looked so panicked before.

“I just wanted to help. I saw him struggling and I just – and he –”

Muu’s arm reached out from the cell and pulled Yuno inside. Shidou let her go, turning his attention back to Haruka. The others were just coming to their doors to see what the screaming had been about. 

“Friends… All these friends…” Haruka’s breathing was heavy. Shidou cursed himself for letting Muu’s words cloud his judgment, but it truly did sound as if it wasn’t his own voice, as if he were playing a part. “All these friends and it still wasn’t enough? Greedy… You’re so greedy…”

Psychological breaks look different in everyone, Shidou reminded himself. Haruka was scared. That was why he hit Yuno. That was why he was speaking strangely now. He was doubting who was friend or foe and lashing out regardless. Shidou had seen this countless times. 

He didn’t know why he felt the need to rationalize things.

“Why…” The boy was hugging himself. “I was your friend… so why?”

Shidou stepped forward. Haruka’s head snapped up to look at him. “Stay back!”

“Sakurai-kun, it’s alright. I’m going to come a bit closer.” He placed the first aid kit on the ground, showing Haruka his empty hands. “I’m not going to harm you. It’s dark, so I would like to get a good look at you. I want to be sure –”

Haruka howled with laughter. It was unbearably bitter, and quickly dissolved into more heaving breaths of rage. “That’s what this has always been about! You want to look? LOOK!”

The floor beneath Shidou trembled. The lights in the panopticon flickered. The guard’s tower in the center, which had laid dormant along with Es, now rumbled to life. The huge spotlight moved on its own. It flashed through the room, the blinding beam landing on Haruka.

He certainly didn’t look like himself, either. His eyes were wild, and the light reflected oddly in them. His body was held with more confidence. More anger. His frown twitched, as if he wasn’t used to using those muscles in that way.

Shidou was having a harder time rationalizing things. 

“I just want to help you.”

“That’s all I ever wanted!” He shrieked. He balled his hands into fists. “All I ever wanted was to be there for him! And look what happened to me!”

 He screamed once, and the prison bell rang along with him. It shouldn’t have been ringing at this hour.

Then, a sudden calm settled over him. His arms dropped at his sides. The tower light flickered once, then shut off. The prison was plunged into complete darkness. The others, who’d been watching in stunned silence from a distance, gasped.

“It’s what will happen to you, too.”

It was the last thing Shidou heard before he felt something slam into him from the side. His feet left the ground. Haruka hadn’t laid a hand on him, nor would he have the strength to throw him like that, and yet he careened through the air until connecting with the guard’s tower.

His head throbbed. He couldn’t draw himself up. He groaned in pain. The prisoners called to him, and he heard running footsteps.

Shidou made a sound of protest as Haruka’s hands wrapped around his throat. 

Not-Haruka spoke again. “If I wasn’t good enough for him, no one is.” 

“You won’t look at him ever again.” 

[theheirofthesharingan]

Mom? Dad? Are you there? I finally made it home.

[pureanonofficial]

LES MIS LETTERS IN ADAPTATION - The Heroism of Passive Obedience, LM 1.2.3 (Les Miserables 1934)

The door opened. It opened wide with a rapid movement, as though some one had given it an energetic and resolute push. A man entered. We already know the man. It was the wayfarer whom we have seen wandering about in search of shelter. He entered, advanced a step, and halted, leaving the door open behind him. He had his knapsack on his shoulders, his cudgel in his hand, a rough, audacious, weary, and violent expression in his eyes. The fire on the hearth lighted him up. He was hideous. It was a sinister apparition.

[roobylavender]

im really sorry if this question ends up being repetitive: but, if not for bruce’s over reliance on dick to regulate his thoughts and emotions, why would dick grow up into feeling like he needs to repress his emotions so much and his eagerness to act as people’s support? i know youve spoken about wolfman and his altering of their relationship but if ntt is generally an accurate portrayal of an adult dick, to me this nevertheless sounds like the consequences a parent-child relationship where the responsibilities are titled too much towards the child

i suppose this could also segue into asking for recs that would help me better understand your interpretation of their relationship 👀

not repetitive at all! to me the irony of wolfman's depiction of dick lies in that it is simultaneously something you can logically ascertain from prior canon but not for the reasons actually presented by wolfman. if that makes sense. he does extra work that isn't actually necessary to help explain why dick would act the way that he does because there's plenty of reasons for it without rewriting his history with bruce to have always been suppressed and edgy and dark. to me it makes far more sense to capitalize on the inevitable disconnect between bruce and dick as an adult and a child. batman: full circle is a good example of that dichotomy (and although it was published in the early 90s it built on mike w. barr's prior understanding of the relationship between dick and bruce that he wrote into the early 80s). bruce's primary concern for the people he works with is never standards or finesse but safety. he worries constantly about others coming to harm under his watch and with a child in particular those worries were exacerbated. he ran a tight ship not because he believed dick had anything to prove but because the only way dick could keep being robin was if he went about it safely. that was obv easy for an adult to understand. but not so much for a child

to bruce these worries were practical and par for the course (as well as an expression of his love and protectiveness) but for dick their consequences formed the crux of his entire world. as a child he idolized everything about bruce. his heroism. his work ethic. his skill. his resolve. his preparedness. if dick couldn't live up to the standard he set for himself in idolizing bruce then what could he ever hope to amount to? that was the thought constantly going through his head. and it's why the bulk of his childhood and primary tenure as bruce's partner was so precariously protected by the fact that nothing bad ever really happened during it (and admittedly this framing is convenient because even chronologically speaking nothing very significant happened in their history with each other until dick left for university in 1969) (i know dixon opted to write that whole shtick with dent in his version of events but personally i never found it necessary to do so). there is enough there in the idea of dick working hard for the course of a decade to embody who he believed bruce to be that lends itself to it eventually being difficult for him to healthily express himself once the rift between them actually began to emerge

because what about bruce was there to actually see that was broken and dark before dick became an adult? i know a lot of dick fans hate batman #408 because they don't like that it enforced "retirement" upon dick (which i personally believe is a conclusion they come to because of the way batman #416 re-framed the same scene) but to me that's an inaccurate reading of the text. batman #408 was about bruce (admittedly far too belatedly) recognizing that he could not in good conscience continue to ask dick to go out and be a vigilante on what he considered to be his own "orders". he viewed dick's close call with death at the hands of the joker as something directly of his own making. although their tenure with each other had been wonderful if dick wanted to continue to be a vigilante it had to be on his own terms and of his own volition. obv that was logical to bruce and it was something dick managed to accept in the moment. but it's still hard to go from always having a purpose alongside someone you idolized to finally being entrusted entirely to forge your own

in general i like the idea of dick the adult becoming privy to all of the personal problems and conflicts that come with being a vigilante. he was conveniently shielded from a lot of those problems as a child because all he had to do was be bruce's partner and hope to live up to the title. bruce had no reason to trauma dump on him or talk about his worries and concerns at length with him because it was never supposed to be dick's job to field those worries and concerns in the first place. he was a child. the only thing bruce wanted to do was to help channel his emotions through an outlet and provide him with a home to grow up in. but when you become an adult often that dynamic shifts. you're still not responsible for fielding those worries and concerns but you can perhaps be trusted with them. that's why i like the framing in batman #408 of dick now being a man. it's a subtle way to frame the double-edged sword of adulthood. the world is in your hands now but so will be the horrors that come with it. coming to terms with the real world that bruce lives in should be hard for dick. coming to terms with who bruce is when he's not perfect should be hard. coming to terms with how quietly bruce kept his grief because he did not see fit to overwhelm a child with it should be hard. that dichotomy of dick both wanting to be bruce's brother and his son should form the crux of their conflict with each other because you can't hope to be someone's equal and someone's protected at the same time in that kind of relationship. for dick to transition into the position of equal he has to expose himself to the fact that bruce is not in fact an idol but someone irrevocably human. and that should interfere significantly with his head and his own standards for himself

[lunar-years]

New 1989 outfit is fugly (I’m so sorry Taylor) but very reminiscent of 1989 tour (when many of the costumes were indeed also fugly 🫡)

The acoustic set outfit is also worse :(

Combining folklore and evermore is meh tbh like I don’t love that at all but I also completely see why it had to be done

I stared at the “this is not Taylor’s Version” t shirt for an embarrassingly long amount of time trying to figure out what on earth she was trying to say and I still think it’s not something that makes much sense out of context/accompanied by a side explanation and it was a weird choice for the shirt lmao.

ttpd set goes incredibly hard 100/10 NO NOTES.

her coming out in that same freaking reputation jumpsuit after changing every other outfit in the show was peak comedy (she’s so funny and we can never talk about that enough)

the entire shape of the show has changed imho so I think it’s fair for fans to be sad about missing last years half or missing this years half or about not getting to see certain songs or about not getting tickets at all to a show that was incredibly difficult and expensive to get tickets to in the first place. It feels like two separate shows. And we are allowed to express sadness or fomo without being dubbed immediately ungrateful/bad fans (obviously there’s a limit and legitimately complaining/getting mad at Taylor for doing her own show how she wants to do it/threatening to no longer go [lol, plenty of fans are in line to take your tickets] is goofy deadass, but)

I do wish she’d just done a separate ttpd tour (even if we had to wait several years and the tour was combined between ttpd and the next potential album) but I can also recognize that I’m mostly saying that because of how desperately I want to hear ttpd songs live and the knowledge I won’t be able to

I also think her deciding to add it now, combined with the general length and scope of eras tour, is evidence that she is planning to take a long break from touring once it’s over (NOT in the weird ‘she’s going to retire to have babies’ way!!! Just in an ‘I think she’s planning to take a touring break’ straightforward way)

I’ve seen some people already taking the transition from but daddy I love him into so high school as confirmation that their theory that the last verse is actually about Travis is correct. But as someone with song literacy, I merely take it as confirmation that Taylor saw the theory, thought it worked fabulously, and enjoys retconning her own songs to aid her own whims and happiness (which is so beyond real of her and also incredibly funny)

Playing so high school as the only anthology song for kicks and giggles was so cute of her she’s down soooo bad for that man

Midnights body suit is hotter than ever and she herself is also hotter than ever

Loml as the surprise song at THAT show after I’d made that post….you have to laugh LOL 🙃

If anyone has near face value tickets for sale for USA or Canada shows later this year I will genuinely offer you my firstborn child plus the money in exchange god bless

[katfreaks-hidyhole]

[thatonemouseykid]

anyone have any comic recs for Roy Harper?