#why do i always get these ideas and then have too many things to want to do at once??

[dreamsteddie]

AITA Steddie Au Part Three

Part Two

Hello! Sorry for the delay! This week was very busy with student conferences and my own midterms so I haven't had a lot of time to work on this. This is more of an interlude building up to bigger things, but I hope you enjoy it!

Also! Get in the comments if you have any ideas of an actual name for this series so I can stop calling it AITA Steeddie Au. I can't think of anything good 😓

------

Eddie takes Steve on that second date.

And then a third and a fourth and eventually he stops counting because he's seeing Steve as often as he can between their jobs and other responsibilities. He feels high off it, giddy with possibility and hope for this new thing that he's never had before.

Eddie has done relationships before, a couple of times. A small handful of boys and girls he took out on dates and tried his best to woo all went up in flames one way or another, but none of those relationships left him feeling so gone so fast. He felt like he was always holding himself back from giving himself up completely, too afraid of falling without a safety net to reach for that deep devotion he's always craved.

Steve makes him feel like they're plunging into that unknown together.

Still, no matter how much he's been trying to avoid it, the looming specter of what the hell to do about his friends is looming over his head.

------

"Are you fucking serious right now dude?" Eddie asks, a complicated mix of righteous anger, humiliation for himself and Steve, and complete disbelief at Gareth's unwillingness to back down from this making it increasingly difficult to keep his cool.

"Look man, all I'm saying is that Steve is like, the complete antithesis of literally everything we stand for. He's a nepo baby business major who's never had an original thought in his life! I would know! I've read one of his papers." Gareth says, forced nonchalance coloring his tone and riling Eddie up even more.

He rears up, shoulders pushing back and hands grasping at the air like he could pull down his frustration from the either and condense it into a solid ball he could lob at Garteth's head to finally knock some goddamn sense into his brain.

"Hey, hey, hey. Okay, Eddie, I'm really sorry about this. It was a fucked up idea, I don't know what we were thinking." Jeff interveins before the frustrated banshy noises Eddie is letting out turn into another yelling match that won't get anyone anywhere.

"I think we just got too caught up wanting to help you get out of this rut and it all turned into something completely insane. You don't gotta forgive us Eddie, but if there's anything we can do to try and make up for it, we'll do it. Isn't that right Gareth?" Jeff pointedly asked with a look that says agree with me right now or else.

Gareth doesn't say anything.

The thing about all of this that Eddie just can't wrap his head around is the why. Why would his friends, his sheepies, do something so cruel? He knows none of them have ever looked kindly at people like Steve. Too many traumatizing high school humiliations behind them all to trust when someone who looks so much like all the guys who bullied them in high school tries to reach out, but Gareth and Jeff have never tried something like this. In fact, it's used to be Eddie doing most of the anti-jock revenge planning back in the day, even if nothing ever actually came from it.

He thought, incorrectly it seems, that they had grown out of the worst of it by now. It's been three years since Garteth graduated, and five since Eddie made his final attempt, and leaving their hometown behind did a lot to heal old hurts.

So why this? Why now?

"Is this seriously how it's going to be man? You won't tell me what the fuck any of this was really about and you're not even going to try and apologize? Seriously?" The righteous anger is starting to seep out of him, leaving behind a bone-deep exhaustion.

Gareth just continues to stare at him defiantly, not saying a word.

Eddie pinches his nose and takes a deep breath, "You know what? Fine. Whatever. If this is how it's going to be then I'm out. Jeff, I'll talk to you later, probably not for a little bit though. Gareth?" The other man lifts his head from where he'd been looking down at his shoes. There were tears in his eyes, just a little bit but enough for Eddie to clock it. Face red from some unnamed cocktail of emotions Eddie doesn't have the energy or desire to interrogate right now. "Call me when you're ready to grow the fuck up. I've got a second date to plan."

With that, Eddie turned on his heel and made for the open garage door.

"What about the band, man?!" Gareth called.

Eddie kept walking.

-------

That was over four weeks ago.

He hasn't spoken to Gareth for most of that time. The first couple of days he blew up his phone with angry to half-apologizing texts that Eddie promptly ignored. After the second day, he sent a single text back letting him know he didn't want to talk unless he had a real explanation and apology to give both him and Steve and that he was going to block his number for a little while. He could let Freak know if he was ever ready to talk like adults. Eddie trusted him to tell if Gareth was being genuine.

In other news.

Waking up to strong arms secured around his naked waist is fast becoming Eddie's favorite way to start the day. He and Steve slept together for the first time last week, and since then it's like neither of them can get enough of each other.

"Hey, baby." Steve rasps in his ear, tilting his head down to smear sleepy kisses onto his shoulder. The hand that was resting against his ribs meanders its way down to the trail of hair under his navel, scratching just a little and making Eddie feel like a contented mutt. He's not sure if he should feel horny or like he could sink into the mattress and sleep for another full 8 if Steve keeps holding him like his.

"Mornin' sweetheart." he says deciding that a couple more hours of sleep is definitely the way to go. Steve, it seems, has other idead.

"What you thinkin' about this early in the morning?" He asks, hand continuing to scratch lazily at Eddie's stomach like he's not completely destroying Eddie's will and ability to focus on anything but the warm body behind him.

But it's been a long time coming, and as much as he doesn't want to, Eddie needs to start thinking about what he wants to do about his friends? former friends? estranged family? band and Steve deserves to be a part of the conversation.

Eddie sits up, bringing Steve up with him to rest against the headboard. "I've been thinking about the band. Gareth and Jeff, that is." He pauses, waits for some kind of reaction that doesn't come. Steve looks concerned, but not in the way he thought he would.

"Ok." Steve responds, waiting for more.

"I guess I just don't know what to do." He looks out into the middle distance of Steve's bedroom. Takes in the display of swim, basketball, and baseball trophies displayed proudly on a shelf, catching the early morning light. "I'm still so fucking mad. It's honestly kind of irritating how mad it makes me to think of what they did. It was so fucking stupid."

Steve hums a little, letting Eddie get it out.

"But at the same time I can't help but fucking miss them. Miss the music and the campaigns and everything else." It's honestly been eating him alive, the mix of anger and longing he's been feeling for his friends. The constant longing to go back in time and stop them from concocting this shit show but also, like, stalk Gareth to his 8 AM Business class so he can run into Steve and they can fall in love at first sight or some shit.

Silence.

Steve shifts. Moves so he can look Eddie right in the face. He looks thoughtful in a way that Eddie had to get used to. Sometimes when Steve is thinking hard about something, he scrunches his face in such a way that it makes him look like he's judging you. He isn't, it's just an unfortunate fact of life that his baby has a resting Judgemental Face™.

Steve heaves out a big breath, bringing Eddie back down to earth. "I mean, I don't want to, like, cloud your judgement or whatever but maybe you should try and talk to them one more time. Jeff appologized right?"

And, ok that's definetly not what Eddie was expecting to hear. It must show on his face because Steve is suddenly looking away, embaraced.

"I just..." He trails off, taking his own turn staring out at the dull shine of his old acomplishments. Eddie watches as his face once again turns pensive as he stares harder at the remnents of his high school acheivements.

"I used to be a pretty shitty guy. Did the same kind of shit your buddies did a couple of times." This isn't necessarily news to Eddie. They've talked a little about who Steve was in high school and how much work he put into himself before he decided to go back to college. It's still a bit of a shock to hear, though.

"So I get how someone can make a mistake like that, y'know? So if you want to try and talk it out, I won't be offended. I know we're in this together, now." Peace said, Steve reaches for Eddie's hand and gives it a squeeze.

It hits Eddie again, just how good Steve Harrington is. It hasn't been long, not really, since they got together but they've fallen together so completley, so easily, that it's easy to forget that there's still so much they have to learn, so many layers for Eddie to peal back. Behind every judgemental remark and complaint about the frequent phone calls he gets from chuldren he used to babysit in his hometown is a man who cares deeply and is capable of great forgiveness, even if it hasn't been earned yet.

Eddie squeezes his hand back.

"Are you sure?" Eddie asks.

"Yeah, it's not we have to totally forgive them, right? But I think you need to get a real answer from both of them about why it happened. Maybe you can find a way past it, maybe they'll say something that puts the nail in the coffin." He responds.

Eddie takes a deep breath, and thinks.

Steve is right. Eddie isn't satisfied with any of the answers he got last time, and he knows that there has to be more to the story than "trying to get Eddie out of a rut" and he's not going to be able to put any of this to rest until he understands.

"Ok, yeah. I'll call them." Steve gives him an encouraging smile at that, rubbing the back of Eddie's hand where they haven't let go yet.

"Good, I'm glad. And I can come with you if you want. Hit em from both sides." he says. Eddie think's he'll take him up on that offer, but right now he had more imporant things to do. Namely, tackling his sweet boyfriend onto the mattress and having a mid morning tousle.

"We'll see. Right now I've got more imporant things to do." He says in his best aproximation of a sultry voice. He doesn't know how good it really is, but it seems to work based on the way Steve's eyes get hooded and he looks down at Eddie's mouth.

Gotcha.

Before Steve can lean down and kiss him, Eddie snaps his hands down to his boyfriend's sides in a well executed tickle atack. Steve immedietly jolts and starts howling with laughter, yelling between breaths that Eddie is "a fucking asshole" as he continues his relentless atacks.

Eventually, Steve manages to regain his bearings and go on the offence, turning them over and trapping his boyfriend's hands beneath his knees so he can atack Eddie's equally ticklish sides.

Once the late morning has passes into early noon and they've both settled back into Steve's signifigantly more rumpled be, Eddie takes one more moment to think about the furute to come before he shelves it. He knows that whatever conversation is to come, it won't be easy, and even if things go as smoothly as possible with Gareth and Jeff, things will never be the same between them all.

Looking down at Steve, who is sporting the most outrageous bedhead in human history, laughing at the stream of reals Robin sent him in the middle of the night, he thinks he'll be okay either way.

Tag List

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[dalliancekay]

And it is All. Aziraphale's. Fault.

NO IT FUCKING ISN'T HIS FAULT

First of all: I'm pretty sure every time we see Az and Crowley in the past, Crowley is wearing whatever is the height of fashion while Aziraphale wears things that are well made but several decades out. Meaning he is wearing them for a good while. Swapping his clothes around when they become maybe too worn, maybe too conspicuous.

Walking the clean, gas-lit avenues with Crowley and Elspeth, Aziraphale is oblivious to the privilege he has in this world.

Really? Was he born yesterday? He has no idea how the world works?

the angel spouts trite pontifications created by the rich to justify poverty. He genuinely believes Elspeth has more opportunities for goodness.  After all, look at Wee Morag. 

It wasn't invented by the rich. It was 'invented' or used rather by the church that got used by the rich to keep the poor in place. There is no way you can blame Aziraphale for this. All he wanted is for Elspeth not to end up in Hell. Which Crowley wanted too, after he saw how upset it made Aziraphale. That's not fucking wrong. And you can't tell me either that rich have more opportunities to do good. Or that they do so. Or that more of them go to Heaven.

The inequality in humanity? Well, Adam and Eve had nothing. We have caused all this bullshit to ourselves. Nothing to do with Aziraphale. Or Crowley.

He respects her goodness tremendously.  It proves to him his “rightness.” 

Did you mean to say, he's glad she's not heading for Hell.

And so he sabotages Elspeth’s attempt to sell the body she dug up in her attempt to support Wee Morag.  Dalrymple gets no body, Elspeth gets no money, and Aziraphale believes he’s saving her soul.

He WAS saving her soul. Remember? Heaven and Hell being real places you go to when you die in GO?

Selling stolen bodies puts good in the world.  He’s all for it now, and goes back to encourage Elspeth.  Good heavens, he’s even willing to help this time!

Maybe next time try to be a bit more condescending to someone who just learned something new. And IMMEDIATELY changed his mind about it. Plus, Crowley had no idea digging up bodies could be spun to be a good thing either. He was learning just as much as Aziraphale. But I haven't seen one single FUCKING META about how Crowley was completely disinterested in Elspeth and her life. Only in having his usual argument with Aziraphale. Until he didn't. (And as I pointed out, he wasn't right about - you have start people off equal, people did start off equal, we are just assholes)

But, as we know, it all goes wrong.  Wee Morag is shot by a grave gun, and dies of her injuries.  Elspeth steals laudanum, and plans suicide. 

In other words, everyone makes their own choices, things go badly for Wee Morag. Maybe re-watch the ep and see how Elspeth doesn't blame Aziraphale (or Crowley) for what happened. So why do you?

Crowley drinks the laudanum, saves her in a compassionate Scottish frenzy, and is stolen away by hell because of his kindness.  

Is he? Or is he taken cos he sent two guards directly down to Hell, alerting them?

And it is All. Aziraphale's. Fault.

(I deleted what I wrote here)

He considers all of the money he casually spends on fine clothing and expensive tailoring.  He wonders how many lives could change if that money was better spent on helping to relieve the poverty that surrounds him. 

There's absolutely NOTHING in canon to support this. We can HC whatever we want sure, I for example think that Az wears things, as I said above, that are stylish but always out of fashion because it takes him time to find the right things and then he wears them for decades and decades. Because that's what is suggested by the canon, by the care he puts into his clothes and how well loved they are. The fact that 'male' fashion got less flamboyant down the centuries was not Aziraphale's decision. I for example HC too that Azi, when building his bookshop, and using his own, earned money as you rightly say, was spending miracles on making sure his workers didn't injure themselves, that he spent miracles looking after the street urchins in the very poor neighbourhood he has chosen to settle in (as opposite to say Mayfair). And that when Gabriel told him off for using too many 'frivolous miracles' in 1792 he got mad and decided to go to Paris like the stupid angel he apparently is and get, say, ravished by his enemy who would surely find him helpless and not able to save himself in a prison.

What would Crowley do, if he were free to be kind? And so Aziraphale changes.

Yes, because Aziraphale is an asshole who cares about nobody, and nothing, right?

the angel who took too long justifying a life-saving miracle for Wee Morag

Because he's NOT ALLOWED TO INTERVENE.

who hesitated to give Elspeth his 90 Guineas

Do you think he should have just worked and worked and give all his money to poor people? Is that the answer to all the world's problems? Making Aziraphale poor?

willingly and freely gave Maggie forgiveness for thousands of pounds of debt

Why wouldn't he. It's his property and I am sure he lends it to Maggie for significantly less than anyone else would have. Definitely less than those 'gentlemen' in the book who come and try to persuade the angel from time to time to sell his bookshop.

I'd love to know what else he's done over the last 180+ years!

He's been the kind, big hearted angel he always was. Looking after his shop, his tenants and anyone else who he could. Saving babies in prams and making sure shady men never came back. Looking out for Crowley, trying to keep him out of trouble, worrying about him, keeping an eye out to see if he's not doing something reckless. Finding out the demon wants to rob a church, handing him the one thing that could take him away forever with the heaviest of hearts. While of course, Crowley was doing the same thing. Not giving in to Aziraphale's princess act in the Bastille because he knew it would not ultimately end well for them. Understanding when Aziraphale said no to a date in 1967, not surprised since he remembered well what happened in 1941 when they were seen together.

*** YES if Aziraphale did absolutely nothing on the graveyard, Wee Morag would have probably lived a bit longer. How much longer though... and they would very likely end up in Hell, because they would have had to do much more crime down the road. Maybe even get hanged for graverobbing. Also see: Aziraphale just wanted to help. Did you never make a mistake??? He didn't mean to hurt anyone. If he did nothing, he'd never have learned yet another way the world is complicated and not black and white. Crowley was going to do nothing at all, just have a laugh at someone robbing a grave. No one cares. He's a demon. He stopped Elspeth from killing herself and everyone applauds, yes, it is super kind of him, and dangerous for him too, but it is the right thing to do. He didn't want her to go to Hell either.

The people who think they would have figured everything out before any events happened at all...well, good luck in your life.

And people who think Az should have done nothing - okay then. Let's just all do nothing at all, hoping we avoid all the bad things. Also: Changing the world is not done via charity but via changing the society, creating better welfare systems, housing, medical care, education. Those are things one lone angel (and his husband) can't do. And it's not their place anyway. I have like 5 pounds in my bank account (I hope) and yet I am not blaming someone well-off for that. It's the systems that are failing us. Much like the systems failed Aziraphale and Crowley. Putting two wonderful beings through so much pain because - that's how it is done.

And as I have said a million times before, Aziraphale is not learning some morality lesson in GO (HE IS A WONDERFUL, GOOD, KIND, GENEROUS, BRAVE BEING ALREADY), he doesn't need to get off his high horse, he doesn't need to finally 'see things clearly'. He knows how fucked the system he lives in is. He's just trying to help. Even Crowley says (in the book) that Heaven is the better option over Hell. However fucked it is.

Aziraphale learns from Crowley that he can question things, yes. But not in some, oh he's so blind and stuck and deep in some dogma bullshit. NO. He was always told things will happen a certain way. That Earth gets 6000 years tops. That God Herself made a Plan. It may be Ineffable, but it is a Plan.

I'm sorry, if you think you are far smarter than this and you would have figured out that God is telling porkies, good for you, I'm glad such intellects exists.

Because Crowley also didn't know the Plan could be changed until the end of S1. Yes he asked Az to try stop Armageddon but I don't think he really believed they could. He just wanted to give it a go. Cos - well what did he have to lose?

And they did change it. They held Adam's hands and they told him to be himself and when Gabe and Beez wanted to go ahead anyway Az confused them by asking about which Plan said what. So yes, he learns to question things. And he learned that from Crowley. And Crowley? Who was abandoned by the one Being who was always supposed to love him? Well. Crowley looks into those blue eyes and trusts.

The Night That Changed an Angel (or, why does Aziraphale still wear that shabby vest?)

Mini-Meta Musing (#4)

I've been brooding for a long time about, of all things, Aziraphale's worn velvet vest and the long cream jacket he's kept in "tip top condition for over 180 years now." I love the sweet familiarity, but this is the same angel who popped across the Channel and almost lost his fluffy-topped head in 1793 for dressing like an aristocrat.

"I have standards!"

He's the height of elegance, extravagance even. A dandy. We've seen the same at the Globe Theater 1601, Edinburgh 1827, and even as a Knight of the Round Table in 527 Essex, where he's wearing a glorious pelt across his shoulders! However, sometime after Edinburgh 1827, Aziraphale's stylish extravagance ends. He adopts the dress of distinguished but modest gentility. No seamstresses strain their eyes for days hand stitching ruffles and trims for him any longer. When we next see him in 1862, his clothing is refined, simple, and serviceable. It becomes his uniform, with only minor replacements. Why? What happened to change him?

Edinburgh 1827 happened. And his encounter with tragedy ran over his sensibilities like a locomotive.

Aziraphale had, we were told, saved his earnings over time and had bought land, invested wisely, and became quite well off. He used real money, not miracles, to build the bookshop, paying the builders well and taking care of bills honestly. He built himself up to a more than comfortable lifestyle, from nearly nothing. And his clothes are real, not miracled from nothingness like Crowley's. (source: original showrunner)

Aziraphale's wealth allows him to afford luxurious tailoring and fancy shoes and ruffles and trims. He'll certainly pay the cobblers and tailors and seamstresses well for their labors. It will be a substantial expense for the era. (The linked post gives a wonderful perspective on 1793 lifestyles and costs.)

https://agoodflyting.tumblr.com/post/753227014283083776/why-aziraphales-white-satin-pumps-are-ridiculous

The angel's Edinburgh multilayered and trimmed top coat, soft leather gloves, matching scarf, jacquard vest, silk cravat, etc., look entirely out of place in the back alleys where the poor huddle. Walking the clean, gas-lit avenues with Crowley and Elspeth, Aziraphale is oblivious to the privilege he has in this world.

As he strolls along in philosophical banter with Crowley about the "blessing" of poverty, the angel spouts trite pontifications created by the rich to justify poverty. He genuinely believes Elspeth has more opportunities for goodness.  After all, look at Wee Morag.  He respects her goodness tremendously.  It proves to him his “rightness.”  And so he sabotages Elspeth’s attempt to sell the body she dug up in her attempt to support Wee Morag.  Dalrymple gets no body, Elspeth gets no money, and Aziraphale believes he’s saving her soul.

It’s a poignant moment, though, when Aziraphale cradles the jar containing a tumor from a seven year old child who died because there wasn’t enough medical knowledge to save him.  Turning point number one.  It becomes Real, not a philosophical debate.  Selling stolen bodies puts good in the world.  He’s all for it now, and goes back to encourage Elspeth.  Good heavens, he’s even willing to help this time!

But, as we know, it all goes wrong.  Wee Morag is shot by a grave gun, and dies of her injuries.  Elspeth steals laudanum, and plans suicide.  Crowley drinks the laudanum, saves her in a compassionate Scottish frenzy, and is stolen away by hell because of his kindness.   And it is All. Aziriphale’s. Fault.

Turning point number two.  Another watershed moment where Aziraphale’s world changes again.

One of Crowley’s last earthly acts, before getting plunged into hell, is to have Aziraphale give Elspeth all of his pocket money.  What is pocket money to the angel is a fortune to her, one that can set her up for a better life.  I have no doubt that in the aftermath of the traumas of that night, missing and worrying about Crowley, Aziraphale thinks about all of this.  He considers all of the money he casually spends on fine clothing and expensive tailoring.  He wonders how many lives could change if that money was better spent on helping to relieve the poverty that surrounds him.  He wants to help, and to try to make amends for the harm he caused.  What would Crowley do, if he were free to be kind? And so Aziraphale changes.

I’d love to know the story of how it all played out.  Did he sell his fine clothing and donate the proceeds?  Did he become involved in charitable foundations?  Did he buy the clothing of a simple gentleman and decide to preserve it, however worn it became, as a reminder to himself of his past blindness and vanity?  We see in Season 1 how important it is to him to preserve that coat. (Sure, it's also a fantastic opportunity to flirt and flutter those angelic eyelashes... But, nonetheless!)

By Season 2, the angel who took too long justifying a life-saving miracle for Wee Morag, and who hesitated to give Elspeth his 90 Guineas, willingly and freely gave Maggie forgiveness for thousands of pounds of debt. I'd love to know what else he's done over the last 180+ years!

Whatever happened, it began that night in a graveyard.

[dissapointu]

hiii can i request a fic of the reader having a crush on viktor but theyre too dense to realize that viktor reciprocates the feelings so they try setting him up with someone but viktor only wants them? <3

“Just a bit Dense” (viktor x reader)

You had always been the kind of person who focused on fixing others rather than yourself. Whether it was patching up bruises or tweaking machines, you were always the one in the background, quietly doing what you could. Viktor, however, was the one constant in your life, the one person whose intelligence and determination captivated you. He was kind, brilliant, and compassionate, and he had always taken the time to notice the small things about you.

But you didn’t see it. You were too thick-headed to realize Viktor’s subtle glances, the small touches that lingered just a bit too long, or the way he leaned toward you during conversations. You were too busy convincing yourself that you were just friends—just colleagues. That’s what you told yourself every time your heart fluttered at his smile, or when your face grew warm after a few too many innocent exchanges.

You noticed, of course, the way others seemed to admire Viktor too. His brilliance, his charm—how could anyone not? And that’s why you had a plan, an idea that had been brewing for weeks: if Viktor was going to be swept off his feet by someone, it might as well be someone who would appreciate him like he deserved.

So, you decided to play matchmaker.

One evening, while you two were working late in the lab, you casually mentioned someone you’d been thinking about. “You know, Viktor, I met someone today,” you said, carefully watching his reaction. “They’re really nice, and I think you’d get along great.”

Viktor paused, his pen still in hand, his attention fully on you. “Is that so?” His voice was soft, almost amused. “And who might this person be?”

You described them, knowing full well Viktor wasn’t quite as perceptive about relationships as you were. “They’ve got this brilliant mind, and they share so many of your interests. I think you two would make a perfect pair.”

Viktor set his pen down and looked at you, his eyes sharp with an intensity you didn’t understand. “I see.” There was a moment of silence as he watched you, and you couldn’t help but shift under his gaze. “But… what if I’m not interested in them?”

You froze, blinking. “Oh, come on, Viktor, don’t be shy. You’re a great catch. They’re a great catch. I’m just trying to make sure you’re happy.” You laughed nervously, your heart racing as you shifted in your seat. You weren’t sure what to expect, but Viktor’s reaction didn’t seem to match the excitement you’d imagined.

He leaned back in his chair, his hands folding together, his lips curling into a faint smile. “You’re quite the matchmaker, aren’t you?” He leaned in a little closer. “But the thing is… I’m not interested in anyone else.”

Your heart skipped a beat as you gave him a confused look. “What do you mean?”

Viktor’s smile softened, and for the first time that night, you saw something in his gaze that you had never noticed before—something almost shy, but incredibly sincere. “I’m only interested in you,” he said quietly, his voice steady despite the warmth that spread across your cheeks.

You blinked a few times, your mind racing. “Wait, what? Me?” You couldn’t fathom what he meant. “But… I’m just your friend, Viktor…”

He shook his head slowly, leaning forward now with a hint of vulnerability that sent a shiver down your spine. “You’re more than that to me. I’ve been trying to show you for some time, but… you seem to be rather dense about it.”

You were caught off guard. You couldn’t believe what he was saying. All the times he’d touched your arm, the gentle conversations late into the night, the way his eyes lingered on you—it all clicked in your head like a jigsaw puzzle finally coming together.

You opened your mouth to speak, but no words came out, and Viktor chuckled softly, reaching out to gently brush your cheek with his fingertips. “It’s alright, my dear. I know it’s a lot to process. But I’m not looking for anyone else. Just you.”

Your mind raced, but your heart… your heart was already telling you what you wanted, even if your brain was still catching up. You bit your lip, feeling like an idiot for not realizing sooner. “I’m sorry, Viktor. I didn’t… I didn’t realize…”

Viktor smiled, a mixture of amusement and warmth in his eyes. “It’s alright. I’ll give you some time to process it.” He pulled back slightly, but not entirely, his gaze still focused on you with an intensity that made your heart flutter. “Just know that I’m not going anywhere.”

The weight of his words settled in, and you finally allowed yourself to breathe again. Maybe you were a bit dense, but with Viktor, you knew you were safe to be a little slow to realize the obvious. And in that moment, it felt like the world was finally in place.

Viktor had always been the one who patiently pieced things together—his machines, his plans, and now, maybe… your heart.

[heavensoutofsight]

types of kisses with billie eilish ˚ʚ♡ɞ˚

synopsis: as your very loving girlfriend, billie likes to give you all kinds of kisses...

tags/warnings: established relationship, fluff, it's a little suggestive toward the end but nothing outwardly explicit!!

word count: 1,106

author's note: i am entering finals week soon so i haven't had much time or energy to write much 💔 but i am working on longer fics! i wanted to just throw this out here bc the idea came to me randomly in the middle of the night and i just had to make this so here we are 😭 i really hope you guys enjoy!

taglist: @brat-at-the-disco, @hannahluvsbillie, @karaeilishh, @rhearipley-69, @bilssturns, @bla1rxoxo, @billiesrighthand, @weluvwbb, @belleishot, @floweiralie, @natbelovasblog

(if you would like to be removed, dm me! <3)

Hurried kisses

These types of kisses are usually given on the days where Billie has a busy schedule; the days where you cling to her in bed like a koala, refusing to let her leave your side, craving the warmth of her body. Billie often made herself late to her whatever interview or photoshoot she had scheduled for that day, kissing every inch of your face while standing in front of the door, her brother blowing up her phone and begging her to hurry up – but Billie could never leave the house without completely smothering you in quick, chaste kisses. On the days where she was really in a hurry, quickly grabbing any necessary belongings on her way and not even bothering to eat a quick breakfast, she could only afford to give you one little peck on the lips, but even that was enough for you.

Surprise kisses

Billie gave you surprise kisses all day, every day. One of her favorite things to do is sneak up behind you while you're doing the dishes, folding laundry, or doing any other task that keeps you distracted, and wrapping her arms around your waist, her lips quickly making contact with your cheek. Every time, it would startle you, and Billie would always run off, leaving you a flustered mess, her contagious giggles filling the room. Sometimes, her surprise kisses would catch you off guard in other ways – there have been countless moments where you'd be in the studio with her, sharing your opinion on what she should add or change about a particular song, and in the midst of you speaking, she'd briefly interrupt you to kiss you. If you asked why she felt like doing that all of a sudden, she'd always say, “Because you're so cute. And I love you. Sorry.”

(And if the cute little grin on her face was any indication– you knew she wasn't sorry. And that she'd do it again. But you couldn't even be annoyed. You loved her too much).

Sneaky kisses

These kisses tend to be the most fun. These are the ones that Billie will give you in her dressing room as she's about to go on stage, the door closed but unlocked, the both of you feeling the thrill of possibly being caught. Sometimes, she'd have to be on stage in just a few minutes, but even then she'd never pass up the opportunity to have you to herself even if just for a small moment. Even during rehearsals, when you're off to the side watching Billie warm up her beautiful voice, she'd always plant a kiss on your lips in between songs every now and then, the quick pecks acting as motivation for her to get through the rest of the practice. She also loved sneaking in kisses at the afterparties for award shows. As much as Billie loved the loud music and crowded rooms, sometimes she just needed to pull you outside or to the bathroom just to kiss you breathless, smudging whatever lipstick you chose to wear that night in the process. She wasn't afraid to show you this affection in front of others, either. Paparazzi was everywhere, but that didn't stop her from sharing a kiss with you under the strobe lights.

Long-distance kisses

Whenever Billie was away, she'd still find a way to smooch you. You spent many nights alone in her house (not completely alone with Shark keeping you company), facetiming Billie while she was in some other city miles and miles away, alone in her hotel room. Even if it was well past midnight, she'd never forget to call you and ask you how you've been doing, listening attentively to how your day went and everything you did. She'd always smile at you fondly while you were speaking, staring at you like you hung the moon and the stars. Often, the two of you fell asleep on the call; but on the nights where you actually remembered to end the call, Billie would always send you flying kisses, making the mwah sound extra dramatic and loud, making you chuckle. As cheesy as it was, you always pretended to catch them, sending her kisses back.

Long-distance kisses also came in the form of photos. If you were at work, bored out of your mind, you would conveniently receive a text message from Billie. Upon opening it, sometimes you'd be greeted with a slightly blurry photo of Billie making a kissy face to the camera, with an accompanying message saying something along the lines of: I miss you. Love you so much. Can't wait to come back home so I can kiss you for real ♡

Those messages always got you through even the busiest of work days.

Passionate kisses

These kisses were always reserved for when the both of you were in the privacy of Billie's home. These were the kisses that she'd give you if she was away on a tour for a while and you couldn't come with– perhaps because your schedule didn't align with hers or because you had some family emergency. When she'd come home, you were quick to run into her open arms, and Billie wasted no time in showing you how much she missed you through one long, slow, open-mouthed kiss, one that made strong feelings of desire pool within you and your breathing uneven. During these kisses, Billie's hands would never stay in one place, caressing every dip and curve of your body, gripping you tightly in certain places, and the possessiveness of her touch always made you swoon.

Sharing a passionate kiss with Billie was also a common occurrence after date nights, when the both of you had the time for those and it had been a while since you two spent quality time together. There had been many moments where you'd be sitting across from Billie at some high-end restaurant, and she'd be sitting across from you, eyeing you hungrily like a wolf stalking its prey. You loved wearing specific clothing items that would drive Billie crazy, like a distracting, low-cut top. She'd keep it together for the remainder of the date, of course, but the second the two of you got home, she was pouncing on you, kissing you with so much need and want that it was enough to make your knees weak. It was always straight to the bedroom those nights, where Billie's lips would trail further and further down, leaving no inch of skin unkissed.

In short, being in a relationship with Billie meant more kisses than you could handle. But you were certainly not complaining about that.

[jaypelt]

Normally I'm the sorta person that puts things in the tags, but it's difficult to deliver the thoughts I want without it just running on too long. I'm personally not in the position to make sweeping judgements of how *audiences* prefer shows, as I've kinda tapped out of that whole thing and pay less attention to takes on media. Although expecting instant trauma and emotion sounds ridiculous. - In the Fullmetal Alchemist manga they don't even show the big Human Transmutation Moment until like... 23 chapters in. It's just dripfed up to that point. - You don't understand all of the specifics as to why Mr. Harrier Du Bois drunk himself into amnesia until you piece it all together from experience throughout the whole game. Culminating in Dolores Dei on the last day. - Kurapika's ice cold demeanor is as disturbing as it is because you've seen how much kinder he can be, and how far he's fallen since earlier in the story. It's not simply the things that happen to him either, but the actions he DECIDES to take. All of these examples present characters who clearly wear some kind of Big Shit on their sleeves, yet it isn't all given to you immediately. And with proper leadup to their emotional moments. Granted, they come from media outside of strictly western TV shows, but I think the lack of patience from both writers and the audience can represent themselves in any media. The goal is to make you *feel bad*, or feel at least feel *something*. And the idea is that this makes a story or character more compelling. How do you hook an audience? You hit em where it hurts. And sometimes it feels as if there's a certain gut punch feeling they're looking for. But there needs to be something of substance to actually CARE about. You need to build up your characters, your world, your story, before you start making people feel something. Especially in the case of characters, you need to establish who they actually ARE and what they care about. It doesn't always have to be the trauma. And trauma can take many, many forms. Negligence, despondence, listlessness, etc. The way they respond to it is often informed by the kind of person they are, even if that part of them may irrevocably change afterwards. Some may not even realize they've experienced it to begin with and are unaware of how it has shaped them. Characters are the beating heart of any story. Any good one is more than just all the trauma you can load them up with. Your plot can be mid as fuck, yet people cherish it anyway because the characters are good. Which, by god, can take form in more ways placing them in cold drop dramatic moments or delving into their backstory from the get-go. And every story needs a little time to breathe. Space out the big moments, build up to them when appropriate. Too much is emotionally exhausting at best, and feels insulting or manipulative at worst.

Man is it just me or are a lot of TV shows nowadays are written to have big emotional episodes in scenes with very little build up.

[dykedvonte]

I hate the stretch lines in the front of Curly's uniform because that means the devs rushed to make a model in like a month or so and thought "They gotta at least know he has huge knockers, gotta know he's got back pain." Cause like what is the thematic importance of his tits having overhang?

What responsibility is that representing? Breast reduction? It shows an inherent greed in his character due to the excess and heshouldletmeholdone and that he clearly is blinded cause if he tries to look down his damn ladder all he's seeing is his own cleavage.

[lafaiette]

So, the localization file of Veilguard was found thanks to datamining, and it contains Some Stuff about Solas, Solavellan, and some cut ending stuff.

No idea if these lines were cut because of budget/resource reasons, if they are old scraps left of Joplin or if the writers simply changed their minds. Please keep in mind they are in jumbled order/there are different responses, probably due to different choices and the dialogue wheel.

Under the cut because of spoilers.

Solas and Fen'Harel

"I must hold back the blight! My wolf will distract Elgar'nan while you take the dragon!" "Did I see that right? The Dread Wolf is a separate spirit from Solas?" "Nice. Why does he get to be part wolf?" "Yeah. Seems like Fen'Harel is a merging of the two."

It seems like Solas and his wolf self are two separate spirits - perhaps similar to Falon'Din and Dirthamen, who are confirmed to be the same spirit who split into two different aspects.

Final dialogue with Solas (Solavellan edition)

"The blight is its prison. The world is safe." "Until the Veil collapses, and demons kill thousands of people." "If there were another way…" "There [i]is[/i]. Let the Veil stay in place." "The elven people must be restored. They do not deserve what was done to them." "Neither did the Titans." "Neither did Mythal. Either time." "Those are my mistakes. Only I can correct them." "I'm here to help you." "You think you have to do this alone. But you don't." "Every time, it has come down to my choices." "Are you a god?" "I am the furthest thing from it." "Then stop acting like one. Let someone else help you." "Do the right thing." "You want to be a hero? Then save the world. Right now." "The restoration of the world as it was meant to be…" "That's not saving the world, that's saving your pride." "Is that why you think I am doing this?" "I think you're doing this because you think that you have to. But you don't." "You have to forgive yourself." "You know how I got out of the Prison of Regrets? I let it go." "Varric's death was never truly your fault." "And you didn't cause every problem. You tried to fix them." "And every time I failed." "The world's still here. You got some of it right." "I cannot. To stop now would dishonor those I've wronged to come this far." "Even if those you wronged asked you to stop?" "Vhenan. And… Morrigan?" "One appellation among the many I wear, Dread Wolf." "I have been advisor to Orlais, Witch of the Wilds, daughter of Flemeth… and once, long ago, an old friend." "Mythal…" "You never would have left the Fade and taken on that humble form had I not been the one who first convinced you." "The things that I have done…" "Are not for you alone to bear, my friend. The many wrongs we did, we did together." "It is not too late to stop this. Banal nadas. Ar lath ma, vhenan." "My life force now sustains the Veil. With every breath I take, I will protect the innocent from my past failures. " "The Titans' dreams are mad from their imprisonment. I cannot kill the blight, but I can help to soothe its anger." "What I've done, I will atone for." ""But you do not have to go alone." "Thanks to you, I can see the way."

Rook and Solas' final confrontation if Rook tries to convince him to stop was apparently supposed to be much longer, with Solas mentioning the elven people and the Titans, Varric's death, and Rook acknowledging he always did try to save the world.

It seems there was also one more line Solas would say to Lavellan after her "But you do not have to go alone." -> "Thanks to you, I can see the way."

The Inquisitor's happily ever after

"So you have to stop Solas, but not in a way that prevents him from stopping the blight." "Let Solas put the blight into its nice new prison, then we'll put him in there with it." "So with Solas and the elven gods out of the picture, where does that leave us?" "Nothing. He didn't deserve his little happily ever after." "If there's anyone who can reason with the blight, it's him." "The Inquisitor believed in him. [i]She [/i]deserved her happily ever after, even if that's helping Solas fix his mistakes." "And so the Dread Wolf shall spend eternity in the knowledge that he stood at the precipice of disaster and was saved by a mortal's wisdom." "Then why maneuver matters so as to deliver it to him?" "Elgar'nan and Ghilan'nain were villains trying to conquer and blight the world." "Solas did terrible things, but he was trying to help. I can understand that." "He was wrong, not evil." "She waited many years for him. You are kind indeed to ensure those years were not in vain." "I am surprised less that he would seize upon such a chance for redemption, and more that you would offer it. " "The Inquisitor earned it." "He's working off his debt. After all, I don't think there's anyone else alive with the power and perspective to try to heal the blight." "Few would react with such compassion to the Dread Wolf's trickery. What merits him a fate fairer than Elgar'nan or Ghilan'nain?" "True. Even had I Mythal's full power, she and I often struggled to mend feelings we might have broken." "'Twould not be the first time he accomplished something Mythal herself thought impossible." "And so the Dread Wolf is stopped by, of all things, love." "Surprised?" "He's fixing his mess."

Lines for the different ways Rook can handle Solas' fate. Rook and Morrigan discuss Lavellan and Solas' chance at happiness, with Rook deciding to help them reunite despite Solas' trickery; Rook deciding to lock Solas away with the Blight; probably a line referencing a friend Inquisitor or Rook themselves ("Solas saved by a mortal's wisdom") and one referencing Lavellan ("Solas saved by love").

Epilogue

"It may mean nothing. Or everything. What matters is that the Solas is content, and we need no longer fear him tearing down the Veil." "So, Rook, what's the plan?" "[i](Sighs)[/i] Damn it." "Thank you." "Then it sounds like you have work to do. I'll leave you to it." "Good luck, Rook. Enjoy the adventures to come. " "I'm sorry, vhenan. If there had been another way..." "And now he'll spend who knows how long trying to heal the blight? What does that even mean?" "I can think of few things he'd have hated more." "He made a cage with bars made out of his worst weaknesses. He's not getting out on his own." "And we're certain there's no way for him to escape?" "Trapped forever in a prison with the blight." "Elgar'nan and Ghilan'nain are also both dead. 'Tis no great loss there, the blighted fools." "So, Rook: How does it feel to have saved the world?" "Honestly, I have no idea." "Don't be so shy with your feelings, Morrigan." "We were all young once, were we not? 'Tis from such humble seeds that great things are grown." "Tell that to Mythal." "When the next aspiring deity lays claim to our world, you are the woman who shall remind them that even gods can die." "You are really bad at inspiring speeches." "Despite these rough edges, you forged a team that saved all of Thedas. Precious few can claim that." "I notice you left out one elven god—the only one still here in any capacity." "When the next aspiring deity lays claim to our world, you are the one who shall remind them that even gods can die." "You're leaving me to handle this?" "Were Mythal younger, she might have wished to rule again. Were I younger, I might have agreed with her." "Hey, the world is still here and isn't blighted or covered with demons. I think we did okay." "Says the woman carrying the god who made most of the mess I had to clean up." "And prepare yourself for whatever storm next clouds our skies." "I did save the world." "Who else? Make no mistake, you could do with a finer touch in matters of politics. " "You're not very good at this." "Even with Elgar'nan and Ghilan'nain dead, the Venatori remain a threat, as do the Antaam and darkspawn. "

It seems there was supposed to be an additional scene after the ending, with Rook and Morrigan discussing the future. The dialogue would change depending on Solas' fate/Rook's choice about him.

That "Solas is content, and we need no longer fear him tearing down the Veil." probably refers to the ending with Lavellan, while it's not clear if that "I'm sorry, vhenan. If there had been another way..." is supposed to be there (maybe Solas apologizing again for bringing her to what he believes will be a terrible place?) or if it's referring to another scene.

The lines about him being stuck in a prison made out of his worst weaknesses, being unable to get out on his own, and spending a very long time trying to heal the Blight, something he hates, all sound like lines that would fit his bad endings.

One last mission

"Rook gives the team their seventh pep talk after the Finale." "We're sticking together. The gods might be dead, but there's more to do in this world." "We'll find Harding or Davrin. Somehow." "The eighth pep comes after nearly all content has been completed." "Weird shit is going on. What are the clues we have? The Executor, the Devouring Storm - what does it mean?" "We don't actually know. But it sounds bad. So we need each other more than ever." "On return to Rivain Island, defeat the Executor and collect the Memento for Davrin/Harding"

There is a cut scene + mission with Rook talking to their team after the ending and going to Rivain for one last mission. It's pretty much confirmed the cutscene was supposed to take place in the Lighthouse, there are old files and flags for it. If you pay attention after the ending sequence, you will see your Rook appear in the Lighthouse for a millisecond, the only trace left of that scene.

[eerna]

i was one of the people who saw the early leaks post and i remember trying not to read too much of it but i had a moment of being like wow this cant be real but also it definitely could be. i remember reading about the damn caitvi sex scene and i thought to myself thats so ass why would they do it in a prison and then i realized the writers probably thought it was some meaningful parallel or something about vi being able to transform being imprisoned with something good

then the act dropped and i saw the damn parallels with cait finding her in the cell and i was like ok yeah. they basically had that as an idea. amanda overton was talking about it in a watch party and said they love their parallels and it was meant to symbolize vi addressing her trauma and im like. i see what they were going for and i get it I GUESS narratively but i really feel like this is such monkeys paw shit like we got this scene at what cost. and like the scene ITSELF was very good and sweet and lovely but like could it not have happened ANYWHERE ELSE?

i feel like the biggest problem with arcane s2 was that the creators rlly wanted to push the bar with animation storytelling. amanda talked about this too and like i feel like it kind of highlights the problem. where bc this show is so amazing graphically the animators wanna highlight that with as much action as possible instead of focusing on smaller scenes and more intimate quiet moments. i watched arcane s1 all at once after it came out and there were def parts that felt a little rushed in certain acts but it was nothing like s2. it just feels like they had all these story beats they wanted to hit but didnt give it the time it deserved and it sucks bc they said they always meant it to be 2 seasons so like why does it feel like this. they wrote them back to back around the same time what happened between s1 and s2. i just feel like the caitvi sex scene is a microcosm of the larger problem. they had these emotional beats and story moments that in isolation are really powerful but its almost like we didnt get a proper A to B transition. its like we skipped several steps for sooo many story beats.

such complex characters with real ass lives causing real ass problems. cait's privilege being an issue, how gratifying that could be to have explored. viktor's experience being explored more in depth. just so much more about zaun. like all of it was there in tiny slivers but it was never given the depth to GROW or properly BREATHE bc five million action scenes and plot points had to be squeezed in.

ultimately i love arcane overall. i think it has broken boundaries and done some amazing things. but its blemishes are really... painful at the same time. and knowing how the writers did such a good job in s1 makes me just like. cmon guys. you had it. YOU HAD IT

anyways sorry for blowing up your ask with so much rambling i just... idk. what are your thoughts on this stuff do you agree with my assessment or do you think the culprit is something else

No prob, welcome to the symposium~ Yeah, I totally get what the writers were going for with Vi. Which is why I am so shocked they thought it was a good idea. Like, okay, she is addressing her trauma in the sex scene... But why should her trauma get addressed by being locked in a jail cell by her sister, who just spent days being wrongfully imprisoned in there by the girl she's about to have sex with, and who then told her she was gonna off herself. If anything, the thing I was feeling was pain because it happened again, a Zaunite was thrown in jail by the Enforcers after she helped and saved them without any rights, and she was reminded she was less than them and her life is worth nothing... Mmmmm, the perfect memory to overwrite prison abuse!

I too felt s1 had some strange pacing choices, Vi and Jayce teamup comes to mind first, and that was, surprise surprise, a fight scene. But those were pretty minor, and still left time for other scenes to develop properly. It only becomes a real problem when it happens scene after scene, character after character, until no one is acting in character and you constantly feel like you have skipped a scene or two. I too remmeber them saying they wrote the seasons back to back, but. Dare I say it. I think s2 was so majorly rewritten by the time it went to recording that only the bare bones remained. In fact, that might be why we feel this way - maybe they DID have a frame they wanted to follow, but the rewrites warped and twisted the characters so intensely they ended up making no sense in the context of that frame. That's right, I'm talking about the way they decided to more closely follow and collaborate with LoL in s2. Jayce's final speech to Viktor only makes sense for game Viktor, and goes completely against s1 Viktor. Vi deciding police brutality doesn't really matter all that much makes sense for game Vi, and foes completely against s1 Vi. Jinx giving up on ever being loved or accepted by others makes sense for game Jinx, and goes completely against s1 Jinx.

So yeah my thesis is: Arcane knows it looks good, and sometimes it prevents it from being well written. It also decided to throw in its lot with LoL in s2, and no amount of good intentions from the writers could have saved it from crashing and burning.

[estupidapendejaestupida]

My selkie Batfam AU! Where selkies are not only seals/aquatic animals, but can be other animals. Born with their pelt, and if they are separated from them since their birth it doesn’t really hurts them, but it makes them feel very empty, like they are missing something very, very important, but they don’t know why (kinda like Crack baby, by Mitski).

Bruce: lion (black) like his parents were.

Dick: wolf (grey)

Barbara: human

Jason: bear (brown)

Tim: human, but not really (lynx).

Stephanie: human

Damian: lion (brown) like Thalia.

Cass: tiger

Duke: human

Alfred: human

Who else should i have?

Ideas so far:

• Tim being mocked by Jason (during the attack at TT) and Damian (during his murder attemps) for being the only robin to be human. And btw, he isn’t living in the manor, he stays in The Nest.

• Damian being taught that he was bigger than his other soul and animal instincts, that if he wanted to be strong and worthy he had to control his animal soul and stop needing it or using it.

• I think I like the idea of Steph being a rat or something small like her mother, and her dad being all like “you useless fuck, ofc you had to be something weak and insignificant, you are weak just like your mother and blah blah blah”. Tell me what you think about it, and well make a decision together.

• Babs being human and not understanding selkie’s at all when she first began working with the bats, but then when she finds that B and Dick are both selkies she just becomes a master about their selkie cultures and habitats and how to treat with them and learns what to do and what not to do. So when another human of the pack needs help understanding one of the selkies, they ask for her help. Except Tim, tho. He kind of always got them at the first try… weird, huh?

• Alfred has to raise young selkie Bruce Wayne all alone after the Waynes' death, and as a human, he tried to teach him how to be a selkie. But a mere human is not really a good mentor for a selkie.

• Slade taking Dick’s pelt away when he was training him, and Dick suffering through feeling like half of his soul had been snatched from him. Feeling it so close, yet too far. And being forced to obey Slade’s every order, until he manages to take his pelt back and scape.

• Jason’s pelt getting burned in Ethiopia, and Bruce keeping it locked away, so when Jason comes back to life he is easier to manipulate by Thalia saying that Bruce threw away his pelt after he replaced him. And Jason blaming that on Tim when he attacks him on TT.

• SPOILER ALERT: Tim’s mom is a selkie, but since she got pregnant with Tim, she stayed as a human and hid her pelt away. She was hoping for Tim to be born completely human, and instead, he was born a selkie. She hid it from her husband, thinking that this way, taking his pelt since birth, he would grow to not need it and could live a normal life just like his human father. She did write a separate testament from his husband, way before she died, where she left a box for Tim. Inside the box is his pelt, and a letter explaining everything. Tim only gets to that box after she dies, and his dad enters a vegetative state after the accident overseas. The thing is that Tim never quite opens the box. He just leaves it somewhere well hidden in his old room at the Wayne manor. And since he never stays the night in his old room anymore, he just never got around to open it. One day, he will, tho.

Please tell me if I should keep this up? I already have a draft done, so if you guys like this idea, I'll publish it :3

I'll write many fics for every character, so it's not very 'one character centric'

[endereies]

BREAK UP DRUG - MS - PART 2

No Nut November - Day 23

NNN Masterlist...

-➤ When you stay over at the triplet's house, you confront Matt

Part 1

“He what.” You were sat down in between Nick and Chris, tears forming in your eyes anytime you uttered his name.

“He didn’t even say why! Just that he couldn’t tell me. Did I do something?” Solemn gasps pass your lips as you begin to sob once more. It didn’t stop. I couldn’t stop. Skin had been scratched on your wrists, a sign of the failed grasp you had on him. It was just too much now.

The brothers gave a knowing glance to each other while you sniffled into your jumper. For the first time in months, it wasn’t Matt’s.

“D-do either of you know why…?” The look on your face shattered them, of course they knew why, but like Matt, they couldn’t tell you. “I’m sorry, we have no idea, we can try and talk with him?”

Nick’s voice was promising, a chance to get an explanation, anything. That was enough for now. Chris quickly got up to grab some tissues and chocolate he had stored in the fridge and handed it to you. With gratitude, you smiled up at him. Your voice couldn’t be trusted to be coherent.

Eventually, you fell silent, laying against the cushions of the couch. Sniffles grew quiet and you just stared at nothing. Chris and Nick were alongside you the entire time but they knew you needed space.

“Hey…kid? Do you want to sleep in my room tonight?” Soft eyes looked up to Nick as he offered you a safe space. “Shouldn’t I get home, what about Matt?”

“He said he was busy tonight, but it is up to you.”

The nails of your fingers protruded the underneath of others as you came to a decision. It was like part of you wanted to leave this place and never come back, but it was all you knew. Your home felt a little too empty, too quiet. “Yes please…”

“Alright, you know where everything is, I’ll see you in the morning.” The triplet just looked at you pitifully, not envying you situations.

Hours flew by and by surprise, you fell asleep. The comfort in familiarity brought you to ease. Until voices woke you up.

“Are you fucking serious, Matt! You love that girl. You didn’t think to talk to either of us about it?” It was Chris, angry. Matt’s name sobered your thoughts, and you sat up quickly. Surely you were still dreaming…

Nick lied peacefully beside you, his glasses shining against the hallway light. It fell silent until Matt spoke up.

“Of course I love her, do you think I fucking stopped? I was prepared to do anything for her, so I did.” He didn’t sound like himself, it was sharper.

“So, you thought that shoving her away and into the dark was the best choice?”

“It was either that or Arlo would do some shit, he knows about her Chris. I let the relationship get into my head and I’ve jeopardised her safety.” It was obvious it was about you, one thing that Matt wasn’t was disloyal.

“You chose your little drug group over her; do you know how pathetic that is.”

That made your chest ache. Drugs? He was always clean; he never gave you a reason to think otherwise. Matt was always so adamant about not letting you near them. Maybe it was because he knew what it did to people first hand.

“That is one of our only incomes, but that’s not the point.” The voices grew louder as you grew closer.

“Then what is! Tell me Matt, because I have spent the past three hours consoling her because of you.” Matt stammered before responding.

“She is! Y/n is the point, if she was kept near me, she’d become a target, you know what they are like. If they find out that she is the reason why I’ve fucked up so many times… I don’t want her hurt.”

You now stood at the entrance of the kitchen, staring at the two brothers. Chris was pissed, and disappointed. Although that was easy to tell by their voices. Matt had a stray tear fall down his cheek. You never saw him sad, not around you at least. Was there a reason?

“Matt?”

Both the boys perked up at your voice. Chris was more stunned than Matt was, he smiled at you before walking out the room, grabbing a stray can of Pepsi as he left. Matt just looked at you, so gently. Why did he have to look at you like that?

“Drugs? What is going on, am I finally going to get any information from you.” You didn’t want to cry, but his own tears made your body choke up.

“Baby… I-“ The nickname didn’t even shock you; you were too attached to throw that away.

“I don’t want lies, Matt”

“I ended things…to keep you safe, protected.” He watched your eyes, how they were expectant for more before he gave in and spoke again. “Yes, drugs. It’s so stupid, I know. But it’s income. I swear on my life I’ve never touched them, I don’t use, baby.” His voice quivered and it broke you, the tears visible on your faces from the light above.

“Protect me? Matt, you hurt me.”

“Y/n, let me explain. I sell drugs, with a few other people. I hadn’t meant to but my had revolved so much around you that I started fucking up my job. It was my last chance to pick between you or my work. I chose my work to keep you safe. They know all about you, they can hurt you, you don’t understand.” He rambled continuously, spewing words at me. Both his hands talked with him, and it was almost hard to keep up.

“You didn’t mean to revolve around me? What am I, some sort of side piece to you?” He hadn’t meant it that way, you both knew it but it was just so hard to understand each other.

“No wait- I didn’t mean it like tha-“

“Don’t Matt. I- I’m not in the mood.” Walking away felt the same as before, as cold at least. You left him again in the dark, alone.

Just as last time.

@melliflws @yuhayeee @st7rnioioss @sturn-bugz @bueckerrss @worldlxvlys @raysmayhem-72 @patscorner @y0urm4m @bernardsbendystraws @junnniiieee07 @luverboychris @jnkvivi @rac00ns-are-c00l4 @shorthairchris @colorthecosmos444 @anabethinking @zay-sturns @anyaa2s @emilyfaith2003 @jassturn @imjusthereforthesturniolosmut @sturniolosiphone @ribread03 @slutf4rmatt @spaghetti835928383 @flouvela

© ENDEREIES 2024

[peatorice]

This will be an analysis of Arcane's conclusion mostly from a thematic standpoint, and stablishing one of the keys to this: Jinx is alive, if you also interpreted it like that you can skip to the next paragraph, otherwise here’s why I think that’s the case: Cait has the monkey head of the grenade and is looking at the projects of the place where Jinx blew up (implying she didn’t found a body) and has a little smile when she notices Jinx probably fled, and there’s also a pink trace right before the explosion. One of Powder’s first lines is saying "one day I’ll ride one of those" looking at an airship just like the one from the ending (a take that seems very random otherwise), and the "the end" card has her aesthetics, all of that right after a speech that ends with "Our story isn’t over yet", I don’t even see it as ambiguous to be very honest.

Jayce says that Viktor has always been trying to fix what he deems as "imperfections", characterizing his lack of self-acceptance as what fuels many of his actions, which is similar to Jinx: labeling herself with the nickname that reduces her to her mistakes, a self-destructive way to take agency over her own self-loathing, and as "Silco" puts it in her hallucination when imprisoned, it became a box that confines her sense of self. Jinx and Viktor can’t handle flaws, one reduces herself to them in desperation, and the other wants to sacrifice everything else for "cleansing".

Jayce and Ekko stand opposite to Viktor and Jinx as contrasting views about the core of Arcane, very clearly put in Viktor’s speech at the end of Act 5: The good and the bad often come from the same source, be it in the sense of emotions, intentions and the capability for them or in the form of cycles and causality, opposites are what enable each other, and this friction is what makes us human even in the most basic level, like trying to balance reason and emotion. Viktor and Jinx see this negatively in their own ways, while Jayce focuses on how this makes us human, and Ekko focuses on how even with this conflict there’s always space for the good to flourish, the basis is pessimism vs optimism in the face of the world’s inner workings.

Ekko here also stands opposite to Caitlyn’s words to Jinx, about how there’s no way to erase your mistakes (another unhealthy way of dealing with imperfection), which reenforced an idea Jinx already had and surely enabled her suicide attempt (that also carries her hopelessness for the state of the world in general, as framed in her hallucination with Silco saying the cycle started way before him and Vander).

When Ekko comes to stop her, he carries with him the fact that things didn’t have to be that way, that there’s still a human being beyond the storm inside Jinx’s head. She notices the monkeys on his device while he says that "it’s never too late to build something new, for someone worth building it for", just by that she at least understands that she has something to do with Ekko’s words, and that to him she is the one worth building something for, like Vi is to her, and ultimately it’s for Vi that she comes back (she tells her "Even worlds apart, I'll always be with you", implying that Ekko did told her what he lived and she's carrying all of it with her). As always human connection is the key to everything she does.

Her conclusion is bittersweet: She’s able to get rid of the "Jinx" identity, to take a leap forward while leaving some things behind, to search for a new path... But she doesn’t think she could do that in Zaun or Piltover, as she noticed Vi will never let go of her, and there she’s already a symbol with too much history and mistakes, she breaks the cycle of conflict not by dying in a literal sense, but by leaving her old life behind and starting anew, far from the rotten soil where she grew in.

This also parallels the alternate Powder’s conclusion, she says she doesn’t want to “lose what makes her herself” (talking about the life she had at that moment being what keeps her from using her talents for greater things), but when witnessing Ekko’s departure, everything they talked about resonates in her heart. To me the take of the gemstones she has kept implies that Powder will use them to fulfill her potential, accepting to take a step beyond the “identity” that became a box, and accepting reality’s imperfection of this step having a cost. “To take a leap forward you have to leave some things behind” really summarizes the conclusions of both of her versions.

Jinx’s decision of trusting her own potential to help (a direct contrast to her trauma of always ruining everything when trying to help) is what allows Piltover to resist, and for that and her bringing more zaunite forces, Zaun ends up receiving a seat at the council.

The social struggle isn’t over, it isn’t that simple (and to somehow end it the show would need way more seasons focusing solely on that, this is not a story about a cathartic revolution for a model society, even with the critiques of how things are being essential), but Jinx did manage to help Zaun get a louder voice, a better path to the future than by Viktor’s "cleansing", and politically a more realistic step considering the story’s scope and focuses (and how things work on our own world, with all the unfairness that comes with it. The final speech makes it clear that the remaining problems are treated as problems, they don't need to be thoroughly solved to be framed critically, one of the main messages is exactly how things will never be perfect but that doesn't mean that they're hopeless).

Viktor’s mistake was trying to erase everyone’s identities as a way to eradicate the existence of flaws, Jinx’s mistake was confining her identity to flaws, when both of them become able to accept imperfection as part of their own humanity and look at a possible future despite of it, they achieve the necessary balance in their hearts.

Arcane is bittersweet, full of opposites that rarely get everything their way, an ending that’s fully happy or fully tragic wouldn’t fit as well as this one did. I loved what we got and can’t wait for this team’s next project exploring this universe.

[arisewanekosuki]

travelers helper AU where is the reason why S/O is oblivious to all the men liking her is because every single time she showed an interested in a hot guy. They turned out to be gay, so she’s convinced herself that all of the men are gay and possibly even dating each other. (Couples she thinks are real are Alhaitham x Kaveh Cyno x Tinari Zongli x Childe Kaeya x Venti Nuvilet x woirthslie ) and I watched their reactions to finding out that she thinks they’re all gay

Ok this idea is funny xD But to anyone who like those ships, pls don't take it as some kind of hate towards those ships or something. --------- The guys are devastated after learning you think that they are into... each other. All of them wondering where did they make a mistake? Kaveh found it ridiculous, him and Alhaitham?! He wondered if you think so because they live in the same house? But there are many people who are friends and share homes… You even invite all your friends to live in your Teapot!! He really couldn't understand from where this idea came from… Is it because they bicker so much? But it didn't make sense to him!! Kaveh was anxious… do you not see him as a man or something? He is overthinking this whole thing. At this point he is debating whenever to show you his plans of the house he wants to make for you both in future.

Alhaitham was more clam about it, analyzing from where this idea may come. It's not like he and Kaveh were affectionate to each other and he couldn't recal any moment that could make you think like that about them. He will state that, no, he is not interested in Kaveh in such way (or anyone else, both guys and girls, that are not you) And yet you still say "That's okay! I won't judge! I will support whoever you love!" At this point Alhaitham may confess his feeling to you but the problem is that there is always someone by your side…if not Aether then other guys. And the worst thing is Kaveh always appears too, making the misunderstanding even worse.

Cyno at first thought this is some kind of joke. But after seeing that you're not joking he was bewildered. Why would you think so? "You two sometimes look like parents of Collei" Parents? But when they were in Mondstadt he was sure you heard how he and Tighnari bickered who would be the 'older brother'… right? Cyno was silent. Trying to come up with something that will make you believe him that he is interested in you. Because whenever he would say that, you would be "ah Cyno! Please don't joke like that!" he would never joke about things like this... The General Mahamatra for now tries to avoid talking to Tighnari when you are close…

Tighnari only furrowed his brows. Him and Cyno? Big nope!! Just imagining that he would hear more jokes from Cyno if they were together already gives him a headache. The Forest Ranger was getting more and more irritated that you for some reason don't want to accept when he says that there is nothing between him and Cyno. So he started to approach this in different way. Thankfully Cyno already was avoiding him when you are close. So he can now start to be even bolder with his affections towards you. If you still refuse to believe that he is attracted to you, then you may expect to hear a confession soon.

Zhongli asked you if you can repeat yourself. Oh? Him and Childe together? In romantic relationship? Zhongli was thinking where this came from…Is it because he often uses Childe's mora to buy things?But that was only that… and that Childe often bothers him so they could spar. Ah. Maybe this was the reason, maybe you think that 'sparings' are something different. Humans are truly interesting. He will ask you why you think so, patiently listening to your explanation. He is amused by this.

Childe laughed, but after seeing you are not laughing he stopped and said "Wait...are you serious?" He will say that there is nothing between them, even says that he prefers girls (to hint that he likes you) but you responded with "It's okay! You don't have to hide it! I accept you and I'm sure your family will accept this as well!" You're cute…. but why don't you want to believe him?! Should he shower you with more gifts? It would be better to invite you for a date but with Aether being around it's not that easy….

Kaeya was amused, but he didn't expect that you will think that Venti is his boyfriend. One part of him wanted to joke about it but other part was worried that you will take it too seriously and he will lose his chances with you. The cavalry captain doesn't worry about it too much. He will simply tell you that you're wrong and he will continue showering you with affections.

Venti was a bit hurt by this. Were his love songs and poems dedicated to you not enough? Or maybe this is your way to tell him that you're not interested in him? He can't really understand this… he never was affectionate to anyone else like he is towards you. But after learning he is not the only one that you think is into guys, he felt relieved. At least you didn't think that he and that block head are into each other.

Neuvillette was confused by this. There are already many things that he can't understand about humans. But he was sure that you will realize that he is trying to court you… not the Duke of the Fortress of Meropide… After that for some days it was raining in Fontaine. He decided to tell Furina about it, hoping for some advice in this situation. But she only started to laugh. After she calmed down she promised to help him to clear this misunderstanding.

Wriothesley already knew how oblivious you are but he never expected that you might be this oblivious. He will say that there is nothing like this between him and the Iudex and if you still insist about that then well…if there will be a chance for you two to be alone you can expect him to kabedon you, making you look into his eyes and he won't let you go till you stop thinking that he is interested in anyone that is not you.

[icewindandboringhorror]

I made a few new wax seal stamps out of clay (like the ones I did for my worldbuilding stuff forever ago), this time just of random symbols that I thought might look good done in the style of painting over the raised part of the wax or etc. :0c Some of them aren't carved deep enough to really show up that well, but overall they worked okay for being clay lol

[sonkitty]

Okay, I read all 8 posts and then I went back to this one first post. I have gone over every cut for this scene. I have made my own images with their own brightness and increased saturation. I have logged notes for my own sake and general curiosity.

This puzzle is one of the most intense ones I've found shared by other fans, and it was incredibly difficult.

You have clearly put a lot of thought, time, and energy into this theory.

But you were the one who was tricked from the start, right here. You were set up. You found a very elaborate red herring, and it was definitely thoroughly set out to trap you or anyone with this line of thinking.

The irony, the joke on you, is that you were the one who was misdirected, and this puzzle even told you that.

I don't blame you in the least because I am very used to being tricked by the games in this story, so I knew to be wary of this idea and why. I also know what to look for and what questions to ask because of how many times I've been tricked.

I will break it down because this puzzle is just way too good to pass up. Solving it is an excellent learning experience on how to solve the really advanced puzzles in this story. This thing is top tier. Bravo, Crowley. I cannot believe it was solvable, but I should know better by now.

That person is definitely not the Metatron. It is almost certainly the same person the whole time, and the story did make sure to give you clues on how to determine that while very much deliberately misleading you to your conclusion, except the chess thing. The story wants you to find and play its own original game, Earthly Objects, not chess.

This puzzle requires checking things cut by cut, not just frame by frame. It is extremely advanced.

Let's start with where you started because the clues are there if one knows what to look for. Here is my version based on the first image you provided:

Here is part of the text you provided: "White hair."

White hair?

Let's check that a bit closer, shall we? Look closely. Really, really closely.

There is a little bit of white hair at the bottom, and as you go up, you can see that the hair is darker on top. That is a darker gray. It is not white.

Here, let's compare this exact cut with my estimation of the exact frame you captured with similar angles for the Metatron:

And just in case we think the lighting is too favorable even in the bookshop, let's darken the Metatron portion:

You know something? I'll try and match the original better. I'll crop them all and brighten the original some. Then for the Metatron versions, I'll lower the scale, cut off the left ear, and try to get a decent match on the darkness of our brightened person in the coffee shop.

If you don't see it, the Metatron's hair does not progressively darken from the bottom up to the top. His white hair is white so it rather follows where the light itself hits the hair. That was a lot of effort to even make the comparison.

The Metatron's hair is also very slightly longer just above the neck, yes, even if his head were bowed slightly. Here, we can find the slightly bowed down look as he and Aziraphale make their way to the pub doors for the elevator:

Oh, now we can also see more clearly that the white collar would have to be much more defined to match the person in the coffee shop.

Let's take a look at the human you refer to as the "slim man" from the initial cut with his phone lit:

In this lighting, his hair does look more white at the bottom and darker at the top.

He doesn't always look like that.

This guy has a blue bag, and because I do play Earthly Objects, I happen to know where to find him shortly before this scene.

In this particular screenshot, he is near the post and obscuring Justine.

Here he is with the screenshot now cropped:

Well, his white hair doesn't look like it darkens either. We're seeing him from the right profile. We just saw from his left profile that in the lighting of the coffee shop scene itself, that's what his hair looks like in that setting.

If you look really hard in episode 5, you can find him without his bag here:

You might still have trouble seeing him, so let me emphasize where he is:

If you watch the whole cut, you'll see that he is in Crowley's and Aziraphale's line of sight. That means it is plausible they know what he actually looks like already.

Now if you zoom in, you can see that while you might be able to find a patch of lighter hair from the back, there is enough of a gradient that it's like what we see in the coffee shop. The hair is lighter at the bottom than at the top in this lighting as well.

Another super subtle difference in the hair is that the Metatron's hair is a little wavy in the back. This human's hair is straight in the back and on the sides, not wavy.

The main reason this coffee shop scene provides this hair clue is so that you don't start making excuses once you figure out the other clues based on his apparel.

Speaking of apparel, here is the next part of the text you provided: "dark overcoat."

You can find that is not a dark overcoat in the image below with the white box I've placed below the credit card stickers and to the left of the OPEN sign:

The Metatron's coat reaches to his knees. The human's jacket reaches below his butt and above his knees. You can tell through that blue inside the coffee shop and near darker colors that the upper clothing is the human's jacket, not the Metatron's overcoat. You are seeing the separation of the jacket from the pants, and it will come up again later.

You also say "rounded shoulders."

I disagree and think overall, he looks slender here, but let's move on because there is still more to be found.

For the blue area near where one can find out that the jacket is a jacket, is that blue then the blue bag? No, it is not. We can actually then find the blue bag because we now know where it is not.

Here is the cut in motion:

Watch the area above the judo sticker.

If you can't see it because it is too dark, here is the a picture shown earlier for the part I want anyone interested to notice:

This time, look at the white box near the judo sticker. That is the blue bag. We have now confirmed that we are indeed seeing the same human we saw before this supposed switch.

It was never the Metatron during this entire cut.

You were most certainly set up to believe so if you didn't check the earthly objects that could be used as clues more closely.

Note the red shoes on his back during this cut.

...

The entire scene is like that. It is constantly testing you every step of the way.

For example, here is more text from the original post: "Well, how come we never see the slim cell phone guy again?" you may wonder.

I see someone already noticed the same thing I'm going to note. If one checks the scene very thoroughly, I don't have to wonder at all. You actually circled it for us even if you didn't realize it.

Again, it helps to watch the clip in motion:

Now here are a few cropped screenshots for me to show you where to find it in the exact same cut you circled it for us:

It is no longer lit, but it is still there. You can find it by its darkness over the shirt of the human with the orange shirt and that darkness extending out from the clothing.

This cut is also the one being referenced with the following text:

"Because he's facing sideways, we can tell that this man is not slender like the man with a cell phone and blue bag. The man we see now, in this photo, wears a long coat that comes straight down in the front. It's not a jacket, it's an overcoat."

Nope. You were tricked. Quite deliberately.

The sticker on the door just below the cell phone we just found is obscuring where the front of the jacket shows its separation from the pants.

Look further down near Nina's elbow, and you can see that the person in the coffee shop is stepping forward, so yes, his pants would meet his jacket behind that sticker.

In the next cut where you can see this person is when this puzzle shows you how you were just tricked.

This cut is for Nina saying, "You and your partner?"

That's why I said it's a cut-by-cut puzzle.

Let's take a closer look at this person:

You still might not see it, so I'll tell you what's happening and that you really do have to look extremely closely yourself, even with enhanced effects to clarify the image.

At the start of the cut, there is a small pocket where the jacket is meeting the pants just above the blue part of the door. As the person we are watching slides over to their left during the cut, this pocket is obscured by Nina's arm and so it ends up looking like an overcoat instead of a jacket. That's to help you know that if something is visually in the way of the jacket meeting the pants, it will look like an overcoat due to the limited lighting available and color of his clothing.

I'll box it from a video frame early in the cut, but I know you might not be able to see it because it's small and difficult to see, but I have checked quite thoroughly that it is there:

That's a jacket, not an overcoat, and the right side of the jacket is still obscured, this time by the door side panel. Crowley is giving us a clue here because we can see Crowley's jacket taking up a lot of space in the screenshot while also showing the red of his collar.

Still yet the next cut of this person in the coffee shop shows it more plainly:

After that, the clues shift to showing a gap between the legs above the knees.

The legs near the shoes are visible enough that you can see that the legs align with that gap.

But there's still more to this trick.

Here is the cut in full motion where you are declaring that is not a jacket, it's an overcoat. It's the part I said the jacket separating the pants was hidden by the sticker. Nina says, "You been together long?"

Did you notice the shoe moving over by Nina's left elbow? That's another clue. The Metatron wears baggy clothing. His pants run down to nearly his heels. This guy wears pants with cuffs rolled up above his shoe. You can't really tell the colors easily, but you can actually figure out that this pant leg over this shoe is a better match to the human than to the Metatron because it's too slender and tight near the ankle to be the Metatron.

Here is an image I made for reference:

I won't go over the rest of the cuts of this person in this setting where this trick is happening, but I hope you get the idea.

To close out the whole thing and even tell you that you were dealing with a red herring, here is part of the last cut of the trick:

That is a red light on one of the passing vehicles in a reflection passing over the red shoes on the door.

I didn't get the whole thing because it's long.

If you watch the whole cut, you'll even see the red of Crowley's collar again, more red lights, and red clothing on nearby humans.

I then checked the entire scene to be sure that such a red light was avoided on that window pane the whole time otherwise. It was indeed. I mean, looking at this post, there is technically a more subtle one than the type that I mean for when the human slides lightly to his left. I did mean something more defined like what is here. That's part of what I mean for how I'm tricked too. The scene waited for an audience player to check the whole thing all the way to the end of the trick to notice this clue.

If you go through the present day scenes where you expect to find humans on the street, you'll only find this human this easily in this episode. He's not one of the more easily findable repeats. He was absolutely set up for this trick into misleading someone that he might be the Metatron shown at this time.

...

But anyway, speaking of misdirection, let me leave you with a joke I found through trying to solve a different puzzle.

How do you trick an elevator? With misdirection.

The Metatron Misdirection: Nina's Magic Trick (A New Final 15 MetaTheory)

Part 1 of 8 in the Chess Moves Theory Set by @wistfulnightingale

**I believe it is new -- I haven't found it anywhere else.

Misdirection is a key element in the most skilled magic tricks. It's more than mere distraction, wiggling one hand while the other hides the ace. Misdirection in Magic means that the magician isn't "hiding" the trick; they are allowing you to think that you are looking at exactly the right moment, while convincingly focusing your attention away from the moment when 90% of the trick actually happened. Magicians Penn and Teller are quoted as saying, "The strongest lie is the lie that the audience tells itself."

This article on What Is Misdirection in Magic tells exactly how it's done. Check out the 7 Types of Misdirection in the article, or in my Chess Moves Theory Master Post. They're used easily and often in the final episodes of Season 2.

I think there might be a major misdirection in Episode 5 that set up the events of the second half of Episode 6, and makes sense of some of the crazy-weird scenes and out-of-character behaviors we see, both in that scene and later. But, it'll seem absolutely bonkers... so please, keep breathing, and hear me out, and please check out all the interconnected 8-Parts that help support my reasoning.

I include photos below, and I admit they're not clear enough to be "proof" on their own. But the idea itself would explain why Azi abruptly left Nina, and why Crowley babbled. Some of the other parts of my overall theory add some additional possibilities as well. (Interestingly, the photos are from videos that used to be available free on YouTube Prime Video, but have been removed from the Good Omens playlists in recent months.

In E5, while we were watching Crowley stammer, and listening to Nina puzzle out relationships, and when our belief in the Ineffable Marriage was shattered by Crowley's answer -- Nina was (without her knowledge) participating in the biggest Misdirection of Season 2.

I suspect The Metatron was already in the Coffee Shop. I know it sounds nuts, but I strongly suspect that Episode 6 was not his first visit. I believe that I can show you reasonable evidence (added up from here and from other parts of my Chess Moves Theory-series) that the Metatron made a "trial run" the day before, during this scene in Episode 5. Crowley and Aziraphale were each shocked to spot him through the window behind Nina. Misdirection made him almost impossible for us to see.

Almost. But I think he's there. At least, there's a guy in a long dark overcoat, who looks like he's talking to another customer. Possibly a coffee-confused celestial gentleman getting help from a good samaritan? Let me explain how I think it was done, and I'll show you what I think is the Metatron.

This screenshot (let's call it Photo #1) is untampered, basically what we see in the episode. Aziraphale was happily chatting with Crowley about the nonexistent pen of his nonexistent aunt's nonexistant gardener... Then Nina emerges, has "things to say" about Neighborhood Christmas lights (that's the moment in this screenshot)... and Aziraphale abruptly hurries away. Within minutes, Crowley is stammering as if he'd never had a moment's thought that he and his Angel could have a committed, romantic relationship.

How...? What...?! Crowley, really, dude, what the...??! (Please refer to An Old Married Couple for my thoughts on this!)

But when we take that same moment, come in closer, brighten and sharpen it, make it more vivid --

Photo #2. There. In the red oval. The white hair, the dark overcoat, rounded shoulders. The Metatron. We didn't expect to see him there. So we didn't.

Hold on! -- I don't expect you to be convinced yet. So I went through moment by moment. There are more photos. (I recommend that you also check the brightness of your own viewing screen -- it helps!)

Nina is used in the scene to perform a concealment and switch, a replacement (magician's call it a Change), and then a distraction -- A Magic Trick. Nina is a huge part of why we're not easily able to spot the Metatron.

Magic Trick Step 1: There's magical sleight of hand going on, even once you know what to look for. We are visually warned. When we first see Nina, as our Ineffables are talking about impossible French, she literally emerges from the shadows (see photo below). Remember, this is significantly Before talking about "Christmas lights" in Photos 1 & 2.

Magic Trick Step 2: If we do happen to look at the customers in the shop as Nina emerges, there's a white-haired man in line who is NOT the Metatron. Note his height compared to the orange-shirt guy. He's taller, and he's fairly slim. We can see his pants or denims, so he's wearing a short jacket, not an overcoat. He's also holding a lit cell phone and carrying a blue bag. I didn't brighten this photo at all. We're supposed to see this particular fellow. He's part of the magic trick, planted there for the switch, just in case we do notice a more significant white-haired man later.

Here's the same photo, brightened. You can more easily see that he's wearing a short jacket -- we see his legs as he steps forward.

(Pay attention to the man in the orange shirt. He's very visible with that bright color. In later shots, he stays near the Metatron, and helps us visually track them both, when both are blurred by distracting window reflections.)

Magic Trick Step 3: Next, Nina steps into the light. As she steps forward, she says, "Bravo! Just enjoying the show." Again, we are given cues that there's a show in play. She bends over to wipe a table, completely blocking our view of the slim white-haired man.

Magic Trick Step 4: The camara cuts to Azi, and that's the last we see of the slim man with the cell phone and bag. Presto-Change-o, Abracadabra! Like a disappearing act with a magician's silk cloth, or like Azi's trick for Nefertiti with the 3 cowry shells, the switch (in magic, called "the Change") has been made! The slim man is gone.

Magic Trick Step 5: When the camera returns to Nina, it's the first photo I showed you, with the Metatron in it. The man in orange isn't at the front of the line anymore. (Was he undecided about his order, and stepped aside?) We can see a sliver of his shirt to the left of the doorframe, just inside the oval, but he's almost entirely hidden. Nina's talking about the Christmas lights. "I have things to say."

It all happens in less than 30 seconds.

"Where, then, was the Metatron?" you may ask in disbelief. There's a big rectangular pillar in the middle of the floor behind Nina, just to the right of the line. There is a mural on it, so it's camouflaged. On the walls behind the pillar are menu boards -- we see them in the "How's your naked man friend" scene in E1. It's likely that the Metatron was behind the pillar, looking at the menu options.

"Well, how come we never see the slim cell phone guy again?" you may wonder. The tables at the far edges of the shop are never seen. If he sat down, especially at our far left, he'd be out of view.

Here's that "I have things to say" photo again --

That's when Aziraphale sees the Metatron. He's suddenly distracted. His response is brief, and odd. Just --- "Yes." We don't often see our Angel speechless. He walks away without another word. That. Is another out of character moment. He's gone from his "I'm having so much fun doing this" smile to the fake, nervous mask he puts on for the Archangels.

His eyes are wide and his expression frozen, until it fades into worry as he walks away. Azi nervously checks behind him for Crowley. Hoping he'll follow, away from danger.

Crowley hasn't spotted the Metatron yet. It's not until he starts to follow Azi, then stops for Nina, that he's at the right angle to see him. When Nina says, "You been together long?" Crowley's completely distracted. He just noticed the Metatron.

"Who?" he ridiculously asks. This made zero sense -- Azi was just here! However, on our far right, over her shoulder, we can see the Metatron, facing sideways towards our right. He and the orange-shirt man are on the far right, positioned as if talking to each other (maybe he's asking how this coffee-selection-thing works?).

Because he's facing sideways, we can tell that this man is not slender like the man with a cell phone and blue bag. The man we see now, in this photo, wears a long coat that comes straight down in the front. It's not a jacket, it's an overcoat.

The Metatron is almost the same height as the orange-shirt man. His dark coat nearly makes him invisible as the reflections in the window break up his outline and blur the orange-shirt man. The two have stepped back from the counter, closer to us. We can see his rounded back, white collar and hair.

Short height, rounded back, long overcoat, white collar. NOT the same as the first man we saw. That's why I believe we're seeing the Metatron. That, and Aziraphale and Crowley's strange behaviors.

When you look closely at Crowley, he's staring intently into the coffee shop window as Nina asks her question. His head is not at the same angle when he returns his focus to her. It's not just the cute little neck scrunch -- he literally turned his head slightly to his right to look at her and answer her question. Crowley is concentrating on what he saw inside, and is mentally scrambling.

After Crowley says, "Who?" the camera returns to Nina. "You and your partner," she clarifies. Meanwhile, the Metatron has turned and is now standing at the end of the coffee line.

You can see three men in line, facing the counter, with the orange-shirt man in the middle. He's the colorful backdrop to frame the padded shoulders of the Metatron's dark coat.

Nina does a lot of "patter" here, a classic magician's Misdirection technique. Lots of rapid, distracting questions. They keep our own minds as occupied as they do Crowley's -- we struggle to keep up, and share our demon's outrage about Azi as "a bit on the side!"

I had to do a lot of reduced videoplay speed, constant pausing the frames, and careful photo brightening and sharpening to make these images somewhat clear. There are also frames where the reflection of vehicles and passersby’s obscure our view. The distractions come and go. It's all designed to split our focus.

So I was astonished when I discovered that, in the moment where the Metatron is standing alone, not clustered with anyone else, Nina is almost looking DIRECTLY AT THE CAMARA. It's only a moment. It's the only shot I had, of Dozens(!) of micro-moments, where the Metatron is in full view, although still difficult to see. This is how it looks in the episode.

Here's the same photo, brightened and sharpened for definition.

There is almost nothing on the right side to reflect or distract in this moment. The lighting effects allowed a much clearer view.

Nina goes back inside, and has to deal with a busy line and a new customer, a posh older gentleman in an overcoat. One who doesn't know about human coffee shops or how to place an order, and who probably consulted orange-shirt guy for coffee-selection advice. He's confused, he's asking odd questions... She doesn't have time for this...! So when he comes back the next day, she warns him not to do it again -- "Order accurately and fast..." (For more thoughts on this, see The Metatron's Second Coming)

Meanwhile, Crowley stands there bewildered as worry sets in. The Metatron is dangerous. Why is he here? This could be very bad for them both, but especially for Aziraphale. Crowley's main concern in the conversation was to SAY NOTHING that gave away their relationship. "Just... an angel... I know."

(**There's interesting implications about the Final Fifteen if Crowley is concerned that the Metatron has the ability to hear him from inside the shop. Azi often gestures as if the Metatron could hear them from outside.)

Crowley leaves in the opposite direction. I wonder if he hung around near the cafe, monitoring where the Metatron was. That's why he's morose and worried when Azi returns to the cafe (see more in my post Ineffables In Check). Crowley is also now worried that Gabriel is actually NOT memory-less. Is he there to spy on them for the Metatron? Crowley aggressively tries to find out.

He'll do Whatever It Takes to protect his Angel.

Please check out the rest of my 8-part Chess Moves Theory Set at @wistfulnightingale to see how I believe all the moments fit together in this Life or Death Chess Game. The 8 Parts support each other -- I broke a massive idea into parts, and you'd need to read all 8 before you can decide for sure if I'm wrong, or totally bonkers! It's a crazy ride, and I'll be happy to have you along for it!

The 8 Chess Moves MetaTheory Set:

1 - The Metatron Misdirection

2 - The Metatron's Second Coming

3 - Ineffables in Check

4 - A Hefty Jigger of Death

5 - Nothing Lasts Forever

6 - The Circle Kiss Theory

7 - The Nightingale DID Sing

8 - Aziraphale's Jubilant Smile (Not the crazy elevator grin)

Also: The Chess Moves Theory Set, Why Chess & Magic?

[dykedvonte]

wanted to say I appreciate your nuanced takes on MW and especially Curly. i don't get the claim that the fandom is full of Curly apologists when majority (esp yt and tiktok) say he's worse than Jimmy. Yes there's commentary about bro culture defending people, he def messed up in trying to placate Jimmy (tbh "we'll fix this" sounded more like trying to keep someone prone to outbursts like Jim calm and not hurt Anya/himself) but I don't think he did nothing to help Anya, since she continued to confide in him and he had less than a week to resolve it before the crash (I also don't get everyone saying he knew for ages when it seems like Anya told him that same week). I get Jimmy's a pos but saying stuff like Curly should've known he'd crash the ship or that Jim had a criminal record he ignored, reducing them to obviously horrible villain and willfully ignorant sidekick feels like a disservice to the game. If your best friend turned out to be horrible, what would you do in a confined space in the span of a few days to respond? I'd say some of the horror comes from trying to do good but ultimately failing, Curly's state after the crash is meant to be tragic horror not revenge/punishment

Thank you and this is what I want to get across.

A lot of information we have to supplement when it comes to how long things have been happening on this current ship. I think people try to add on to the horror and negligence by making things more obvious so it can feel like it was easier to avoid when, true to life, its not. Jimmy clearly didn't deserve or appreciate what Curly did for him in getting him the job, but do you think if Jimmy was that big of a menace on Earth he would've given him a position where he could have that level of power over people's lives? There's something in the fact he specifically chose to pick a position so close to himself where he could watch Jimmy.

I hate the bro code argument because that is a whole can of worms people really don't get. That sort of mentality is born from the general respect and preference of male matter over female ones. Curly is clearly not that guy, he is absent minded about the issue and inadvertently dismissive but he clearly believes Anya, he just can't understand what she's going through. It's an onslaught of information that no one really reacts right to. Additonally, the entire discussion of her assualt plays to heavy into the idea that there is fault outside of the perpertratior when it comes to SA. It's too close if she only did this or if Curly had protected her better but the fact of the matter is Jimmy did what he did. He did it before any of the conversations with Anya about it and it's why her behavior seemed to change so drastically in those last two days.

He has other conflicting thought and while his role as a Captain should've taken over, people act like it's not a very human thing to have such a toxic presence cloud your judgement. It is never easy to separate friend from coworker once that connection is formed, you want to help them, especially if they were friend first and for a long while like in this case. It's not right, but people act like it would be easy when the game clearly points out that no choice is easy to make, especially when you have to make it for more than one person. You have the weigh the consequences, look at all the options and make a plan. People can headcanon and decide how long things where happening, but if we look at what we were presented through the characters eyes, the only person given time to do that was Jimmy.

He waited two months after the crash to appoint himself Captain. Every time a problem was brought up he immediately took action and refused to sit on it and find a better solution. I think it's important to look at the warped way Jimmy takes initiative where Curly didn't as it works as a good contrast of why you don't just run in to "fix" things. The quickest and easiest option may not be the safest or most beneficial. I think some thoughts on the game suffer from the black and white thinking the game doesn't operate on along with us being voyeurs. We see what exactly led to what but the characters don't. They don't have the hindsight and foresight we do and even ours is scrambled by the non-linear story telling.

Like it's hard to talk abuou those grey zones without sounding like an apologist because you're explaining why taking responsibility isn't easy. It's not and it's weird to act like it would be in a scenerio that led up to the events of the game knowing what we know. We see all these characters in such isolated moments with various things before, in between, after and even during we aren't privy too. The idea that Jimmy is worse than Curly heavily banks on the words Jimmy was saying to Jimmy before he crashed the ship. That whatever happened on the ship was his responsibility to bare, which is true due to his position. But, are they not still not responsible for taking the actions Curly then must bare?

Like i feel like people think that these are situation that become easier with age or when you are in a postion of authority and they aren't. You don't lose your biases or gain some sudden knowledge that makes it easier. It just becomes more tiring as you keep dealing with it. I would be first in line to say Curly fucked up and should've done more but the idea he knew how bad it could get or he really saw the worst in the people around him and ignored it pretty much ignores a huge aspect of his character and the game.

[lilacerull0]

they'll try to convince you you need to be Cold Hearted to be a scientist, but realistically you need to have that Spark and Passion™️ if you want to make a discovery or inspire others to explore the world of science