#post b-day scene

[wildlife4life]

8x01 Fuck-it Friday Coda

I'm back!!! The writing beans came to me and I had to write a post b-day scene. Hope ya'll enjoy!!! (Using this as my Fuck-it Friday as well!) Posted to A03 as well.

Tommy tried to apologize, tried to offer to help clean up, and suggested to give Buck a ride home. 

“Don’t” was Eddie’s first response before the apology could even get past the older man’s lips.

“I’ll deal with it later.” Was his second.

And Buck, merely shook his head and lead the pilot to the front door, hugging him in the doorway with too soft words Eddie doesn’t even try to catch.

He stays seated on the couch, laptop still closed, cone hate crushed in his fist and the stupid noise maker at his feet. Another birthday passing through a lagging computer screen. Another person he loves upset and angry for his choices.

Except there’s silence that echoes around him instead of the bustle of an army encampment. His body isn’t weighed down by miliary gear and the ever presence fear of dying in the sands of war.  Eddie is no longer that man in his early 20’s, running from his problems. Now he’s just a man in his mid-thirties, watching his son run away from him.

The couch dips to his right and warmth seeps into his numb body.  It spreads around his back and over his left shoulder.  The band of muscles around him, flex, pulling Eddie deeper and pushing the numbness further away.

Eddie doesn’t even try to fight it.  He closes his eyes, tipping his body sideways and burying his face into his best friend’s shoulder.

Buck doesn’t say anything.  He doesn’t try to apologize or offer to help clean, and he doesn’t suggest leaving Eddie to wallow alone. Because he doesn’t need to say any of those things.

Apologies from Buck aren’t going to salvage the failed birthday surprise.  Offers to clean the dollar store decorations and store-bought cupcakes will in no way make a dent in the disarray that is Eddie’s relationship with his son. And Eddie knows better than anyone, Buck is never going to leave him alone in this mess.

Side by side they sit in the silence that has been lingering since Christopher left for Texas.  Eddie breaths in the mixture of Buck’s cologne, laundry detergent, and something that is just uniquely Buck.  He takes breath after breath, and Buck matches each one with his own. Same rhythm. Same speed. Same heartache.

They sit there for minutes, hours, maybe even the rest of evening. The time didn’t matter, but this moment did, and Eddie needed to stay in it for just a little longer. He needed the line of warmth from Buck to chase away the remaining ache. He needed just a few more deep breaths with Buck’s scent lingering in the back of his throat. He needed Buck to keep holding onto him. He needed the silence to try and remember the echoes of previous birthdays where Christopher didn’t scoff, but smiled and laughed and returned his father’s hugs. He needed his son back.

But at this moment, his son didn’t need him.

It sobers Eddie, admitting that and he comes back to himself, breaking the bubble he secluded himself in with Buck.

He pulls his head from Buck’s shoulder and with a squeeze of his hand to Buck’s knee, Buck drops his arm, but the strength of his support remains. And when Eddie rises to his feet, disconnecting himself from Buck’s side, his warmth, his love, clings and doesn’t allow the numbness to return.

The silence is still there. The hurt and echoes of laughter’s past still resonance around them. There is still a mess. But Eddie isn’t alone with any of it.

Buck grabs the trash bag he laid out earlier and plucks the crumpled party hat from Eddie’s laxed grip. It makes the slightest rustle when dropped in the bag and again when followed by Buck’s red one.

“No cone hats next year, they’re uncomfortable.” Buck states as he tosses Tommy’s discarded blue hat in.

He reaches for the noise maker on the floor and Eddie manages to allow the smallest spark of hope to erupt with a tiny smile, “What do you suggest instead?”

The noise maker disappears into the trash bag and Buck’s eyes catch Eddie’s, lighting up with giddiness, “Depends.  Disney has the mickey ears, but what about universal? Shrek ears? Troll hair? Minion bald caps?”

A grand birthday plan is already in the works for Christopher’s 15th. Because Buck could see past pool clubs and renovation talks. He is seeing past the tangles in Eddie’s and Christopher’s distant relationship, beyond the anger and sadness.  His hope is larger than a single spark and one day, it will charge Eddie’s own.

One day, but not today.  So, Eddie shakes his head at Buck’s hat contemplations and makes his way over to the cupcake stand that is only missing one. “You’re baking these next year.” Eddie says softly.

Buck comes up behind him beaming, “You’re helping.”

Exactly what he needed to hear.

Tagging for fuck-it friday (no pressure): @colonoscopys @mattsire @bigfootsmom @tidesreach @kitteneddiediaz

@inell @pansysgothgf @smilingbuckley @shitouttabuck @dangerpronebuddie

@bucks-daddy-issues @tizniz @aroeddiediaz @cal-daisies-and-briars @lemonzestywrites

@diazsdimples @daffi-990 @diazheartsbuckley @transboybuckley @rainbow-nerdss

@theotherbuckley @lover-of-mine @jeeyuns @watchyourbuck @exhuastedpigeon

@spaceprincessem @starlingbite @glorious-spoon @jesuisici33 @hippolotamus

@prosperdemeter2 @try-set-me-on-fire @homerforsure @bekkachaos @honestlydarkprincess

@thekristen999 @sibylsleaves @mellaithwen @lonelychicago @tawaifeddiediaz

@fruitydiaz @monsterrae1 @elvensorceress @gayhoediaz @captain-hen

@eddiebabygirldiaz

[poorly-drawn-mdzs]

Look what we've become.

[First] Prev <–-> Next

[thepastneverforgets]

felt the need to sum up my feelings on a current fav crackship with a low rent edit.

[stardust-moth]

In order to fully understand why it was so hard for Mike to express how deeply he loves El, and why his speech at the end of season 4 was one of the biggest, most important moments for his entire character, we need to look at not just who Mike is as a person, but also everything that has happened since he met her.

Every single time he opens up his heart to her, something horrible happens to her or she's taken away from him almost immediately afterwards.

1x08; he's an awkward little ball of feelings that are way too big for a boy so young. He makes a nervous attempt at confessing and asking her out on a date; when he can't find words that she'll understand, swoops in for a kiss instead. She lights up immediately and smiles. It's a brief moment of hope and pure happiness. Maybe they can have some semblance of a normal life and be normal kids after this is all over.

Minutes later, all hell breaks loose-- they're almost shot, El pushes herself too far until she can barely move, she's almost taken away by the Bad Men, the Demogorgon appears, and she uses the very last of her strength to sacrifice herself to save him and their friends.

He has to watch helplessly as she disappears.

He spends a year caught between believing she's dead and hoping she's still out there somewhere (but if she is alive then why won't she talk to him anymore...?). Kept silent under threat by the lab, he can't confide in anyone or even acknowledge her existence, not with anyone except those involved... but everyone else is keen on moving on and pretending it never happened. He can find some solidarity in Will, at least, who is in a similar kind of emotional turmoil... but it's not the same and it's not enough.

2x9; he is finally reunited with El, and she runs into his arms like she missed him too. She tells him that all those nights he called out to her, she heard him; she was there reciprocating his feelings the whole time.

In a burst of emotions that he's been forced to suppress for an entire year, he lashes out at the reason they've been kept apart (Hopper), screaming and sobbing. It's a massive catharsis for him, and for once an adult is understanding enough to hold him and not punish him for it.

Minutes later, she is going to go headfirst into a pit of monsters, the place where Mike had just firsthand witnessed dozens of people (if not more) get ripped to shreds only hours earlier, and she is going to attempt to close the Gate-- a feat that he knows may take every ounce of her power, just like last time. He cries. He can't lose her again. She promises he won't, and before she can seal that promise with a kiss, they're pulled apart again.

He has to watch helplessly as she drives away.

3x1; all seems to be okay now. He and El are happily together, and he feels comfortable enough to be playful, romantic, and intimate with her. It's the most emotionally open we've ever seen Mike thus far.

For reasons he can't understand (bc there's no way Hopper explained himself beyond "I'm in charge so do as I say or else"), Hopper is angry about it and threatens to never allow him to see her again: the one thing he fears most.

He panics big time and fucks it up in the process by lying to her. During a frantic attempt to apologize while also abiding by Hopper's rules, he runs into her at the mall. He panics again-- if anyone finds her here, and knows that he was here too, it's all over, and Hopper surely won't hear reason. El dumps him cold on the spot, spurred on by Max and her rebellious attitude (and without any context of course). He isn't given much opportunity to respond. He knows he's in the wrong for lying to her, so what could he even say...?

He has to watch helplessly as she drives away.

It's a hard blow, and he retreats back into himself, unable to get any joy out of playing D&D (which he clearly hasn't lost interest in), back to the deadpan sarcasm and accidentally snapping a little too harshly at anyone whom he feels would take El's place.

3x6; no one seems to understand the danger El is putting herself in. Everyone is berating him for worrying about her safety. He's seen firsthand what these monsters do to people, he's seen firsthand how El pushes her abilities too far. No one is listening.

The words "I love her and I can't lose her again" burst out in his desperation, perhaps before he's even had a chance to realize how deep those feelings run, despite whatever protective walls he's tried to build around his heart to keep it from getting broken again.

Soon after, all hell breaks loose. El is nearly killed several times over, her leg is ripped open, she pushes herself so hard that she breaks herself and loses her powers completely. Her father is taken from her. She's shattered by all of this, and there's absolutely nothing he could do or say to make it better.

She tells him that when he admitted he loves her, she heard him, and indeed she loves him, too... But now she's leaving.

He has to watch helplessly as she drives away.

4x1; they've been apart for a few months, and write letters back and forth to each other. El's letters paint a picture of an ideal new life: she and the Byers family are doing well; she's starting school and it's going well; she's made new friends, she likes her new home, everything is going well. She seems to be thriving. She sounds happy, maybe even happier than she had been living in Hawkins. Maybe Max was right, maybe she's better off being her own person without him, and maybe the respectful thing to do is step back... It's a small insecurity that creeps up subconsciously. In his replies he holds back, afraid of clinging too hard.

Though there's little logic in it, he's afraid that if he tells her he loves her again, another disaster might strike and this lovely happy life she's finally found might get taken from her. After all, that's what always seems to happen when he does.

4x2; after months of waiting, they can finally see each other again. He wears her favorite colors, picks a handful of flowers for her, and falls happily back into step with how they used to be. Soon that same day, however, reality becomes clear and the facade crumbles. People he was told were her friends show up to torment and publicly humiliate her. She had been lying. She isn't happy here, she hasn't healed, she is right at the edge of a breaking point that he doesn't see coming at all. He can't believe she would lie to him, she's not the kind of person to lie... especially not about something like bullying, something that she was always so understanding about with him.

On that logicless subconscious level, he wonders if it's all his fault-- he should have known somehow, he should have been there for her. She protected him from his bullies, he should have protected her from hers. He tries to come to her rescue. She runs away from him.

He's helpless to save her, again.

4x3; after a night to process everything that happened-- and deciding that the betrayal he feels from her lying to him is nothing compared to the turmoil she must be going through right now-- Mike approaches her in the gentlest way possible, wanting to listen and trying to understand. El, however, isn't receptive at all to his attempts at reassurance. She is at an all-time low, she's given up. She believes she is unlovable, irredeemable, a monster, just a thing that doesn't even have those superhuman abilities to compensate anymore. Mike can't believe what he's hearing-- doesn't she know that she's always been so much more than her powers? She's always been so much more than what she lacks in quote-unquote "normalcy"... None of those things matter, they have absolutely no bearing on whether she's worthy of being loved, because he loves her, completely regardless of any of these things. He always has...

El starts flinging his restrained words back at him, the products of his insecurity and trauma-induced fear. That fear takes hold yet again, and he stumbles, afraid of saying too much or not enough, because surely both could result in pushing her away-- she's retreating, hearing none of it; nothing he tries to say consoles her.

Moments later, local police come knocking. She's taken away in cuffs, and she's so broken inside that she won't even look at him when he chases the police car down the street and promises he'll get her out somehow...

Once again, he has to watch helplessly as she drives away.

4x8/4x9; after days of driving through the heat and dryness of southwest desert, having narrowly escaped being shot at with military-grade assault rifles, witnessing the death of and burying a man whose last words were that El is in danger... After watching dozens of people get mowed down by a sniper in a helicopter, and watching that same helicopter be smashed into the ground in a ball of flames...

There she is. Just as powerful and beautiful and alive as she's ever been. When he runs to her and embraces her, she looks at him like she can't believe he's real. She's beaming a smile right from her soul and it's like all the insecurity and self-doubt that have plagued them both just vanish from existence now that they're in each other's arms again.

Like always, however, the universe comes crashing down soon after. Max is marked for a gruesome death and all of Hawkins is in danger. They're miles away and helpless, and the only possible way for El to save everyone is if she goes in alone. She's stronger than ever, but so is her foe. Once again, she descends to face all the demons of hell on her own, and Mike can't do anything.

She's losing. She's choking. She's dying. He's helpless.

He must be cursed. He must be. Being with her, loving her, allowing himself to admit he loves her, it always brings only pain and suffering and loss. His heart is so full that it's aching, it's bursting out of his chest, and he can't contain it any longer.

She's going to die and it's going to be all his fault, because he fell in love, and it's cursed her.

Just before it all crumbles into utter despair, the earnest support from his oldest and dearest friend-- one who's always shared and understood his feelings of helplessness-- sparks a light of hope in him: "You're the Heart." You're not helpless. You can save her.

The words that come spilling out of Mike's mouth are truer than any he's ever dared to speak before, and it's the most terrified he's ever been, but he has enough courage for this moment. Despite all of the fears that have been building, stifling, choking him to death for years-- fears that the light of his life will inevitably disappear again, and there's nothing he can do to stop it-- despite it all, he pours out his heart to her.

He loves her. He's always loved her. He loves everything she ever was, is, and could be. He can't imagine a world without her in it. She saved him, in every way a person can be saved. And he needs her to live. He believes in her.

And it works. It's music to her ears.

[unproduciblesmackdown]

the interlude in rotk of frodo exerting all effort against the strains of woodwinds to drag himself a meter or so further up mount doom

[uzi-x33]

happy birthday ranpo, have some angst!!:3 and ranpoe😸

[dykedvonte]

I think the most baffling thing about the Tulpar as a vessel to me is the fact that the ship really did only have a one way communication system.

I know it was cheap but even the most basic of vessels regarding major transport would have some way, shape or form for outside communication. Not only that but there was absolutely no form of innate emergency signal to show they may have been offline or in trouble despite clearly having a system to dock credits if they went off course. It's another factor that really shows that bad situations are made to get worse by design. One person who is required to relay all information to the crew and make all the choices without feedback. No way to update or call for help in case of a dire situation. No way to inform of inner personal conflicts and acquire procedures accordingly.

It really is like they are all in some sort of fucked up solitary confinement. They have their own world with strict roles that are meaningless in the end, as long as the cargo makes it, it doesn't matter what happens on that ship to the company. They don't want to hear anything and will come to conclusions on what happened based on how much pay they can withhold from the workers. Even what they do send is short, sterile and corporate to the extent it was likely written and sent out with a command by some random unmanned computer in an office.

There's something to be said about how unfair it is to force absolute power and control onto one person when you as an entity could do so much more to offload it but I've said it many times before so I won't again.

[sci-fi-disney-prince]

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A post shared by James Frain (@jamesfrain2)

jamesfrain2: Ok. Onto TRON:Legacy. Here’s Garrett Hedlund in the make up trailer. A lovely guy as I hope you can see here #tronlegacy

[cern1cal0]

♡♥︎

[torchickentacos]

who needs encouraging fathers when you can get fortune cookies that tell you you're doing a good job and that it'll all be okay

[lover-of-mine]

I hate to be right, please tell me I’m wrong...

[poorly-drawn-mdzs]

Thank you all for an incredible 500 days of love and support. I offer you: answers to questions that no one has asked.

(As always, more can be found in the tags <3)

[traggalicious]

Y’all I am STRUGGLING. Idk why my ass decided to go for smth more realistic here but. I did. Anyway which one looks better I feel like the right is kind of lacking SOMETHING and idk what. My solution honestly might be to draw it out traditionally and see what happens there.

(Also the mouths are straight up KILLING ME)

[compacflt]

wip wednesday: trying to solve my narrative issues by spending a fuckton of time mapping them out

[unproduciblesmackdown]

5 years later ghost posting from jason sweettooth williams: "In honor of Halloween and all things ghostly, here is the picture I took of a ghost from the stage of the Lyceum Theater on Broadway. I was on stage in the middle of tech and looked up and spotted this. I think about her often but especially tonight on Halloween! #happyhalloween #ghost #theater #bemorechill #broadway"

[sskk-manifesto]

٩(๑❛ᴗ❛๑)۶