#please stan them

[scurvyboy]

relativity falls but fidd is a member of the losers club or something

[emilnikos]

the sleepy snoozers

[frenchublog]

Steal their look 👗

[lotus-pear]

i miss them......please come back........please come home :((

[bacchuschucklefuck]

class swap design masterpost for convenience (from top to bottom: bard!riz, cleric!gorgug, sorcerer!kristen, barbarian!fig, artificer!adaine, and rogue!fabian)

[theearloftophats]

Save me mystery trio save me...

They are genuinely the only thing keeping me from losing it. world's most mentally ill group of friends. I genuinely forget they're not canon sometimes and then I get so sad when I remember.

And as a bonus, a mini concept for my big fiddlestan fic. I cant wait to write this scene but first i have to get through so much other shit. I think i'll post the second chapter tomorrow maybe? we'll see.

Im also writing a separate oneshot about Ford meeting a fiddle and stan from an alt universe?? i like how its coming out but idk if anyone would read that....lmk ig??

[boomposhpow]

you’ll be positive though it hurts

[cup-o-stars]

Posting this before I forget.

(Plus these shitty first attempts)

[urdadsceilingfan]

Gravity Falls spin off but it’s just Stan and Ford hanging out

[hyunjining]

skz loves to clown on each other but as soon as it’s time to say something heartfelt about their members they pull out the sappiest lines you’ve ever heard…. and that’s on true friendship

[knockknockwhosthereartistism]

Ford loving his 6 fingered cat cause I’m tired of his mis-characterization

[misteria247]

Fiddleford slowly helping Stanley get used to touching. Like-

Stanley's only really known the kind of touches that involve a fist to the jaw or being grabbed roughly and shoved. Touches meant to do harm to him rather than being kind. And Fidds he notices the way Stanley seems to expect these rough touches from literally everyone other than Ford and Fidds. So he starts small.

Gentle pats on Stan's shoulders or back. Brushing up against his arm with his. Just gentle touches that won't set him into fight mode. Then Fiddleford moves onto things like gently grasping Stan's arm or giving him a hug. It keeps going, with each new touch seemingly doing something. And Stan's just conflicted because other than his twin, he's never really had anyone treat him with such care and kindness when it comes to physical things and affection.

Slowly Stan can't help but want to be near Fidds all the time, to feel his gentle hands on him that ground him when he feels lost or about to break. It's these touches and kind, tender hands and signs of affection that make Stanley fall hard for the nerdy scientist. And Fidds he falls in love seeing Stanley open up, and showing the same type of tenderness in return. Something that he sees constantly displayed towards Ford and now him.

Soon those touches become something they both cherish and do subconsciously. An instinct that they can't fight. Always near one another to feel each other's presence. A rock for the other, a home that's tender and kind and full of warmth.

Just ughhhhh do you get what I'm putting down???

[rystiel]

shipping chart thoughts

(billford always happens and they always break up. ford was obsessed when bill was his muse, then bill is obsessed after they’re no longer together and he realizes what he lost) (this dynamic is just canon, really)

(fiddauthor is always present at some point but in one route they end up together after canon events, and in another route fidd moves on) (it’s possible that they had a thing in college but consider it “typical college experimentation” because it’s the 70s and denial is strong. they still go through canon events)

(fiddlestan only happens during the fiddlestan route. otherwise canon events stay the same and they barely actually interact with each other. in the fiddlestan route they work together in the 80s and grow old together)

(billstan isn’t really romantic but it is a one-sided obsession. bill just can’t stop obsessing over the stans… for very different reasons…) (dare i say an unrequited kismesis dynamic?)

(ford and stan are brothers. that’s it. leave them out of the shipping dynamics.)

(fiddlebill isn’t really included here but i feel like the only way this would happen is if bill was possessing ford and wanted to fuck with fidd by using his crush on ford against him) (this one’s basically only possible if it’s fiddauthor-adjacent)

[hellsquills]

Disclaimer: I know about the duffle bag Filbrick threw at him, but you can ignore that if you want

My thoughts below the cut! (this turned into a whole ass fic lmao)

My personal headcanon is that Filbrick is as much of a coward as he is of an asshole. Therefore, he wouldn't have kicked Stan when he did in canon. Probably not for a while after that.

However, he does try to send him to military school. He keeps talking about how this kid needs to learn discipline and respect, and if he's not gonna bring money to the house, then he should at least bring some honor to his family.

Stan obviously does NOT want to go. Not only because it's a pointless war ("what've the vietnamese done to us anyways?") but because he remembers his mother's face when Shermie got drafted and he will NOT make her go through that hell again. Also, he doesn't wanna die!!!! Hello?????

He talks it out over the phone with Ford, who's obviously just as against it as he is. He tells Stan that, if he gets into a PhD program, he could skip military. Stan laughs in his face. It'd be easier to jump off the plane without a parachute.

And so, he comes up with a plan. When he goes to take his physical, he tries his best to botch it. If he is bad enough, if it looks like he can't do it, maybe he won't have to. Unfortunately, the recruiters are far too used to this by now, and they don't buy it. Stan goes home with a recruitment letter hidden in his jacket.

Everything goes downhill after that. He runs away from home, changes his name several times, does some crime here and there... The military is after him, and it doesn't take rejection kindly.

Stan stays out of contact with his family for a few years. He can't risk getting them involved in this mess. They don't deserve it. So he just leaves, without saying a word, in the middle of the night. No phone calls, no notes, nothing. Not even he knows where he's going. But if it just looks like he abandoned them, maybe they'll hate him. That will make them sound more believable with the police. They aren't covering for him, because they genuinely have no idea where he is. It's the best way to keep them safe.

In that time, Ford doesn't stop looking for him. He finds him every once in a while, but only his phone number, and he knows that could give away his brother's location and get the family in trouble. So, against his deepest instincts, he doesn't call.

One, three, five, seven years pass. Stan has been around almost all the country, and is genuinely considering leaving it. Maybe going to Mexico, or Colombia. Those sound nice. Maybe they'll be nicer to him.

He's passing his time and thinking about this in a small town restaurant in wherever he's in (somewhere he's not banned from, yet), when a family enters. He doesn't make eye contact, but he can't help but stare at them: a man and a woman, probably in their 50s, with 7 kids; one must be older than him, the second one around his age, the third one a little younger, the fourth one a teenager, and the last three between 10 and 15, no more. Except for the last three, they're all taller than him, even the mother, and they have various degrees of blond hair. Their clothes (overalls and plastic boots) suggest they must work in one of the farms he's seen around the state. They don't wear any accessories, except for the glasses that the father and four of the kids have. They're talking loudly and laughing. They look exhausted from a morning of hard work. They seem happy. They... look nothing like his family, and yet, he can't help but think about it.

He can't help the sob that comes to his throat. It's loud and messy from trying to suppress it, which obviously makes it worse. He covers his mouth immediately, and at that point he notices the tears that have run down his cheeks. "Great", he thinks, "that will make it easier to hide, for sure".

He doesn't move. He wants to escape, but that will draw even more attention to him, and he hasn't even paid for the food yet (normally he'd leave without paying, but the old waitress was kind enough to give him some extra food when she saw how little he ordered). He settles for not moving, lowering his head and covering his face, hoping that no one heard (unlikely) or cared (very likely).

"Ya'lright, son?"

The voice startles him. I wasn't very deep, but it was close enough to send his body into immediate danger mode. He looks up at the man towering over him, who's standing in front of him at a prudential distance.

"Y-Yeah, yeah, no worries."

He hates how broken his voice sounds. He's spent more than enough time sweet-talking his way out of trouble, he should be better at this by now. The man looks about as convinced by it as he is himself.

" 'lright then. Can I help ya?"

Damn villagers and their welcoming demeanor. If he wasn't a wanted man, he would appreciate it. But right now, it couldn't be worse timing.

"Come get ya food, kids!" The waitress' yell yanks him out of his thoughts.

"No", he blurts out, and he turns to the man. Least he can do is show him some respect and look him in the eyes. "I'm fine, thank you."

The man smiles lightly and nods. "Okay. Welcome to the town."

Stan watches as the man goes back to his table. He wishes he had been more polite, the guy was just worrying about him, but he can't afford it. They already know his face, he can't risk anyone else recognizing him-

"Sweet Mother of God almighty."

Stan turns to his right. One of the kids, the one about his age, is looking at him like he just grew a second head. He's frozen in place, his eyes wide as plates behind thick glasses. He doesn't say a word, and it's getting increasingly unnerving. Was the bruising on his face still visible? Maybe it's more apparent in broad daylight than in the shitty light that last motel had in the bathroom.

"I'm sorry, I- Can I ask your name?"

The fuck?

"No", answers Stan. Considering how nice his dad was, this guy is pretty rude.

"Son, leave him alone." The mother seems to have manners too, good to know.

The guy does pretty much the opposite. He comes closer to him, until he's right in his path, blocking his exit. That can't be good. Stan feels trapped.

"Are you Stanley Pines?"

Well, that's about it.

Stan tries his best to stay still. This guy doesn't look like a cop, not even an undercover one. But he knows his real name, so maybe someone in his family or friends works in the police; or worse, in the military.

"Listen man, I don't know who you're talking about, but that isn't my name. See?" He reaches for his wallet. He pulls out an ID, with a very clear Jackson Cage on it. He makes a mental note to change it soon, just in case his hunch is right and this guy has connections. "Now, if you excuse me, I'd like to pay for my food and leave. Move."

Stan is already on his feet, but the guy hasn't moved. Stan looks him up and down, trying to appear threatening despite his face probably still being a little red from before. He also gauges how feasible it'd be to escape if things turned bad; the dude is taller than him, sure, but he's also as thin as a toothpick, and by the anxious look on his face, he doesn't seem eager for a fight. The real problem would be evading the restaurant's staff and the other costumers, which include eight carbon copies of the guy in front of him. Probably better to try to de-escalate the situation.

"I- I can't let you leave. Please. I know who you are."

This man is making it really difficult to believe he's not a cop.

"No, you don't. I'm new in town. Move."

"Listen, I-"

"Move out of my way."

"I know your brother."

The words are like a bullet between his eyebrows.

"You look just like him-"

Against his better judgement, he quickly grabs he guy and pins him to the wood in between the booth benches, arm to his throat. If he knows Ford, he knows too much. God he just wanted to have lunch.

The commotion is immediate. He doesn't break eye contact with the guy who's grabbing his arm, whose strength is frankly surprising. He can hear, however, the screams from the dad and the siblings, as well as a couple of gasps from the other costumers. This is not going to go well, but fuck that. He's escaped worse.

"Stop!", the guy shouts as he keeps Stan's forearm from blocking his airway. "Don't hurt him! Don't get closer!"

It takes Stan a second to process what he said. The first part, sure, who wouldn't shout 'stop' when you're being attacked? But the second half doesn't make sense. Is he protecting him? The attacker?

Whatever it is, it works. The family stops in their tracks, still very ready to attack if needed. Out of the corner of his eye, he can see the three younger kids moving closer to their mother. For a split second, he feels a pang of remorse for the scene he just caused.

"Hang up the phone, Clarisse, it's okay. Please."

Stan looks in the direction the guy was talking to. Right behind him, the waitress reluctantly puts the phone down.

He looks back at the guy. He looks a little shaken up, probably from the impact his back (and his head?) made with the wooden plank, but he doesn't look scared. He almost looks... sympathetic? Stan is confused as hell.

"I know who you are", the guy whispers, low enough for Stan to hear alone. "You're Stanley Pines, and you have a brother named Stanford. I know him, okay? He's my friend. I met him a few years ago in a quantum physics congress and we've been talking ever since. He told me about his family in New Jersey, and about you. About how he hasn't seen you in years, and how he was trying to find you, to no avail."

Stan is gradually loosening his grip on the guy's neck, who takes a deep breath. He should know better, but- shit, hearing that Ford was looking for him was not what he expected. Even if he doesn't know yet if this guy is lying out of his ass, it's enough to make him doubt.

"I know you were called to Vietnam. He told me. I spent a week with him in his place when he found out, he was unconsollable. When you ran away, he called me. He knew what it meant for you and he thought he'd never see you again, whether you got caught or not. All because of that stupid war." Stan is now trembling a little, he knows it. This guy must know it too, with how close they are. If he stays here any longer he'll break down, but he can't move. Anything to hear his brother's name a little longer. "I know what it's like. Three of my cousins were drafted last year, and I know at least one of them won't be coming back home. Please... let me help you."

Stan meets his eyes. They're green and brown-ish, not unlike the immense fields he's seen in his last journey, the one that led him to this town. With the years, he's learned not to trust beautiful eyes, because they are better at hiding. These ones, however, seem serene and honest, just like his words, and he can't help but believing them. This guy, whoever the fuck he is, knows just about enough.

Stan lowers his right arm. The guy still has his hand on it, but this time is much less defensive and much more comforting. He doesn't complain.

"My name's Fiddleford McGucket, and I'm gonna help you find your brother."

______________________________

Essentially, after this Fidds calls Ford as if nothing happened (per Stan's request, since he's still paranoid about the police tracking his calls) and asks him to come to Tennessee. Ford argues that he's very busy and all, but Fidds convinces him in the end.

Obviously the twins have a dual breakdown and cry their heart out. In this AU they're much less emotionally constipated lol

Ford tells Stan that he's gonna build a house in a small town in Oregon as a part of his research, and asks him to move in with him once it's finished. Stan, of course, accepts.

In the meantime, Stan stays in the McGucket farm and helps them out as a way of laying low. He has a great relationship with his family, and they're very proud of him for what he did (i believe that the McGuckets are hippies at heart, and they're VERY anti-war, especially when it already took three of them)

I don't know how much of the canon storyline would this AU follow, but it's pretty much your average Mystery Trio AU with some different backstory

[divine-draws]

Take me to the docks, there is a ship without a name there And it is sailing to the middle of the sea The water there is deeper than anything you've ever seen Jump right in and swim until you're free

[imfromthemiddlekingdom]

I don’t understand the fandoms love for Daemon, by all rights he should be as hated as Joffrey was. Not only did he do almost everything Joffrey did, he also did worse. Even Tywin wouldn’t hold a candle to his cruelty. I understand liking a villainous character, I do too with Cersei and Tywin, but I’ve never went out of my way to whitewash their characters. I love them because they are villainous and practically irredeemable, if team black stans liked Daemon for his villainous actions before and during the Dance of Dragons I wouldn’t have any problems with it. But the fact that they go out of their way to defend him killing Rhea Royce because “he was forced into a marriage he didn’t like!!!!” As if she wasn’t too. And the fact that they defend him sending Blood and Cheese to psychologically torture Haelena and kill Jaehaerys due to “a son for a son it’s only right” when they despise Alicents moment of madness when her son was denied justice, makes me want to hurl.

It’s alright to like villainous characters, it doesn’t make you a bad person if you like them. But you know what makes you a moronic person? Whitewashing everything that makes a character compelling because you want to like them without seeming like a ‘bad person’. Your opinion on a character does not determine your own morality, it doesn’t make you better or worse than someone who hates them. But what it does, when you erase their entire identity as a rouge to make them more palatable to you, is make you seem moronic, stupid, and lacking any critical thinking and reading comprehension skills.

Rhaenyra is a compelling character because she is entitled and spoiled and lacks any political experience, she shows how badly Viserys fucked up when he tried to compensate for his guilt of murdering Aemma. Alicent is a compelling character because she is a mother who is trying her best to protect her children from the reality that if Daemon took the throne for Rhaenyra, he would kill all of them because they are a threat. She is even more of a compelling character in the books because of her ambition and cunning and want for her family to rise far above the ‘station’ of being a noble house in the Reach (as if house Hightower aren’t the oldest house in Westeros who could trace their lineage back to both the Garth Greenhand the high king of the first men and the Andal Kings that came afterwards). Daemon, for all that I dislike him as a character, is compelling for his ruthlessness and shortsightedness in his pursuit of the throne. He didn’t raise an army for Viserys because he thought he was a competent leader, he did it because it raised his own standing within Westeros, he groomed Rhaenyra not because he loved her, but because having him in her good graces means that he stood a better chance of being king after she was named heir. His ruthlessness is compelling. Taking it away to make him into a ‘malewife’ or a ‘loving father’ or a man who is lacking any ambition beyond wanting a valyrian wife is taking away his agency. It makes him seem like a Gary Sue who only wants the throne because his brother said Rhaenyra was heir. It makes it so that he is so completely white bread like that not even I, someone who loved the more morally bankrupt characters in ASOIAF can find him agreeable in any way shape or form.

Daemon is a fundamentally morally bankrupt character and he should stay that way. If you like him you should acknowledge and accept that he is one of the ‘bad guys’. Just as Cersei fans acknowledge and accept that she is fundamentally a morally bankrupt person who is selfish to the extreme. We like morally black characters because they are morally black. To make excuses for their actions is to take away their agency which makes them unlikable and very hate-able.

Daemons actions aren’t justifiable, blood and cheese would never be justified. A son for a son is akin to the visceral disgust the fandom had to Alicent when she asked for Lucerys’ eye, yet I bet when season two comes out and Blood and Cheese happens we’d see Daemon fans applauding and trying to justify it as ‘not that bad’ and ‘team green deserved it because of Aemond’s actions’ when little Jaehaerys, a boy of 6, was as far removed from the incident as can be. It would be akin to Team Green saying that due to Jaehaerys’ death, Aegon III or Viserys II deserved to have their head cut off in front of Rhaenyra.

Let morally bankrupt characters be morally bankrupt. You aren’t morally bankrupt because you like said character, it’s a fictional story loosely based on Empress Matilda. It’s not that deep. Like the characters you like without trying to justify their actions. They might be monstrous but you aren’t because you like them. It’s not a measure of your own character because you like said character. But it is a measure of your intelligence when you try to change said character’s entire personality to make it so that they are more digestible to you and everyone else.