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If You Were My Coworker

A poem

If you were my coworker I wouldn’t care That none of our interests Are things that we share I wouldn’t resent you I’d just leave you be Content that you’re just not The work friend for me

I’d talk about Minecraft And Lord of the Rings You’d brush my tastes off As just strange, nerdy things You’d moan about men Who have all done you wrong I’d smile and nod And then just move along

I’d silently judge when You’re late for your shift You’d tell those who listen That I’m a cold bitch You’d have lots of friends I’d have very few But that’d be okay Because I’m not like you

You don’t have to like me I’d earn your respect By speed and efficiency While I’m on deck And while I might think You’re obnoxiously loud Your skills would be needed To handle a crowd

Maybe I’d like you And then, maybe not But we’d keep it civil While we’re on the clock And if you annoy me I’d simply hold on The good ones all stay The rest don’t last long

If you were my coworker It’d bother me not That I cannot trust you With my deepest thought Why would I resent that When I can expect I’d know your name briefly And then I’d forget?

But see, you are family That’s why it burns I try to give intimacy You haven’t earned And when you reject me It feels like death’s sting For it says I’m a horrid Unlovable thing

I wish it was better Wish we didn’t butt heads I wish that I liked you (I wish you were dead) I wish we were close Hell, your blood’s in my veins But you’re just an acquaintance You’re not worth the pain

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I’m Leaving Tumblr: A Farewell to my Followers

I haven’t been very active on this blog lately. If you’re observant, you’ve probably noticed it. If I really wanted to, I could probably just leave it that way; everyone would eventually take me off their followed list as an inactive blog and absently wonder where I went. But I don’t really want to do that.

In his poem “The Hollow Men,” T. S. Elliot wrote, “This is how the world ends: not with a bang, but with a whimper.” In my case, though I’m not a popular blog by any stretch, and though this arguably isn’t a website that deserves the fanfare, I don’t want to leave with a bang, but at least with a whisper: “Thanks for the memories. I’ll be on my way now.”

To do that properly, I have to take you on a little ride. 

Keep reading

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If only he had an umbrella.

Wait a second, am I tripping balls?

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The fragility of substituting humanity with machinery: the horror of automation in Captain America The Winter Soldier

I wanted to elaborate a bit on what I touched in this post, I’ll just quote it for your convenience:

My life changed the day I realized that when Pierce says “your work has been a gift to mankind–you shaped the century, and I need you to do it one more time” he meant ‘one time’ literally, the Winter Soldier was going to be put down once the helicarriers were up and running and Zola’s algorithm implemented. Project Insight was going to make the Winter Soldier obsolete, the whole point was that the human used as a machine was being substituted by an actual machine, human orders were going to be substituted by a computer algorithm (not a coincidence the algorithm was created by a man-turned-software…).

CATWS has this horror subplot about automation, turning humanity into machine, substituting humanity with machine, and it’s not talked about much because there’s plenty of other things to talk about, but it’s so interesting.

I used the expression “horror subplot” for the narrative about automation and technology in the movie because I believe it is crafted like a horror narrative of sorts. I have a certain interpretation of the Winter Soldier’s psyche that is probably a minority in the fandom (especially since CACW completely retconned it) but I think it’s pretty close to Sebastian Stan’s own interpretation - I recall an interview where he described Bucky’s experiences as a sort of nightmare you wake up from to find out it’s real, and I generally interpret his acting choices as expressive of an awareness in Bucky of what’s going on, of what Pierce and Hydra are doing to him and in general - there’s anger, there’s resentment, there’s bitterness, he’s simply trapped inside a mechanism made of his own body and brain and mind. It’s like he’s living a nightmare, where it feels like you don’t really make your own choices but you sort of follow the dream plot, dream!you acts in a way that they can’t really control but is directed by the dream and can make you feel scared or frustrated. That’s something pretty close, imo, to how Sebastian plays Bucky under Hydra’s control. And it’s something horrific.

Bucky is basically trapped inside a mechanism that allows Hydra to use him as a tool, as a machine. A perfect machine, that moves with ease and confidence, and yet is a human that is just a fragment of memory away from becoming erratic and unstable… which means human, not an automatic machine.

The Winter Soldier is the automatic version of Captain America. What Hydra 1.0 did to him is the exact same thing that the SSR was doing on the other side of the ocean… but the Americans planned to build an army of volunteers, while Zola experiments on expendable prisoners until he finds the perfect formula on the perfect specimen, and we know the rest. In a way, Zola was (horrifyingly) smarter - supersoldiers that choose to fight for you, and have their full agency, can revoke their loyalty to you. And that’s what happens with Steve and Shield. You can get defeated by the same weapons you crafted. Instead, if you want something whose loyalty can’t be revoked, you need the take the agency out of it. And that means taking the humanity out of the soldier, turning the soldier into a machine.

But it turns out that you cannot turn a human into a machine after all. The point of the Winter Soldier subplot is that he is still a human, no matter how trapped in the mechanism. And eventually the humanity undoes the mechanism - that’s the plot of the movie, humanity undoes the mechanism.

As soon as the Winter Soldier is treated like a human being, that’s the end of the nightmare, and he revokes the artificial loyalty to the system that used him as a weapon.

The automation of the Winter Soldier, with its psychological horror, is paralleled to the automation of intelligence and special warfare, and that’s the political horror. Because the special warfare of the era of agents and secret soldiers is obsolete - ironically, the “man out of time” in this movie is not just Steve, but everyone that still operates in the “traditional” way. The Black Widow, the Winter Soldier, they’re the kind of agents that are just useful until the point where the new methods are implemented. Once the helicarriers are up, secret warfare won’t be done by individual agents doing stuff the old way anymore, but by computers and algorithms. But algorithms are made by people, too - the problem is, people further in the shadows.

(Who writes the algorithms that rule all the stuff in our daily lives? Do we know? Do our governments know? We live in an age where the state is having its powers eclipsed by the private corporations that write the algorithms that run technology. The modern state is dying and social media corporations are killing it…)

Just like Bucky Barnes got robbed of his free will by Zola, citizens are getting robbed of their free will by Zola’s algorithm, i.e. the fictional representation of the technologies that are subtracting agency to people and states. Democracies are undermined by the algorithms that control our lives in subtle ways, citizenship is being emptied of meaning because we’re robbed of the free will that it requires. “The 21st century is a digital book, Zola taught HYDRA how to read it. Your bank records, medical histories, voting patterns, e-mails, phone calls, your damn SAT scores. Zola’s algorithm evaluates people’s past to predict their future.” Political horror indeed.

Let’s get back to our movie. The moral of the machinery subplot is that machines are powerful because they’re efficient, but they’re also “fragile”, so to speak, because humans can hijack them for their ends: Fury was all proud of Shield’s helicarriers, but the helicarriers were fragile because Hydra could just slam a fancy algorithm on them and take them out of Fury’s control completely (not a coincidence Fury gets cut out of the security system… except for the most “damaged” part of himself which Hydra had not considered when they took his ‘normal’ retinal scan out of the system - humanity and its imperfection trumping the perfection of the machine).

On the other hand, the point is that if Hydra can hijack the machine for their own hands… you can play the same game. The final battle is not about taking down the helicarriers (or the Winter Soldier, like Steve says in his conversation with Sam before the battle), but the plan is to reprogram them. They just replace Zola’s algorithm with their own new algorithm where the targets become the helicarriers themselves. And similarly, Steve “reprograms” the Winter Soldier by replacing Zola’s conditioning with shared memories of theirs.

It’s meaningful that their fight on the helicarrier is extremely human. The fight on the helicarrier is filmed very differently from their previous fight where Steve wasn’t aware of the Winter Soldier’s identity. It’s way less acrobatics and fancy moves and more punches and grunts and gritty moves like choking and grabbing and pulling (that… sounded more sexual that I intended but maybe that was the point…). At the core of the whole big fight between Captain America’s team and Hydra, is two humans fighting each other in a very human, almost primeval way. By the end of the fight they’re both wounded and in pain, either of them can barely stand, all technique is totally lost, heck Steve just stops fighting at all. Bucky lashes out from the upsetting emotions evoked by Steve’s attempt to reach out to him, and the “mission” seems more of a pretext to get rid of that guy that’s causing all the confusion and pain.

On the highway, it was machine against machine (interestingly, Natasha even uses a recording of herself on a phone as a “replacement” of herself and that helps her almost take her opponent down, again human machine machine human…), now it’s two human beings being human.

Captain America (less of a machine than the Winter Soldier, but not that less - just less to snap out of the mechanism on his own) drops the shield, becoming Steve Rogers and nothing else. And the same happens to Bucky.

Their journey over the movie is a journey of reclaiming their humanity against the system that had made them into machines, into gears of a dehumanizing, free-will-robbing mechanism.

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the thing about fandom’s framing of steve as this rebel without a cause type of reckless idiot who is just incapable of following orders is that, like “angry chihuahua” pre-serum steve, i get where it comes from. it’s funny and meme-able, and, most importantly, it’s a way to distance steve from the boyscout image so many people associate him with, and that so many of his fans hate.

but, just as angry chihuaha steve, reckless idiot steve is also upsetting because it takes the most sincere, earnest, good things steve has done in the mcu and twists them to be not the actions of a noble hero, but the stupidity of a manchild who challenges everything and everyone for no reason. it bastardizes the very core of steve’s character, and, above all, equates making steve more cynic/less idealistic with making steve better and cooler.

and that sucks because, no, he’s not a boyscout, but, guys, the very core of steve’s character is cheesy. steve as a character represents an ideal, and he does so in the most sincere, earnest way possible. steve’s superpower is his heart and his bravery. he’s a hero because he’s a good person, not because he’s snarky, because he’s a genius, because he’s super powerful or because he was chosen by fate or a prophecy. he’s just… the ultimate Good Guy. it doesn’t get much cheesier than that, unless your name is Clark Kent. 

and if that isn’t interesting to you, it’s cool. anti-heroes are the norm in the mcu and in most superhero movies for a reason: they’re fun to watch and very relatable. but, i’m sorry, steve is just not one of them. steve is that guy who walks old ladies to cross the street, not the guy who cracks a bunch of jokes while kicking a villain’s ass. and you’re free to find this boring and lame as much as you want to, but that’s IT. that’s the character. and i feel like a lot of people are not comfortable just letting steve be that way - they need to twist his actions to make him seem much more of a rebel badass than he actually is, and since i’m so attached to this stupidly sincere portrayal of sheer goodness and bravery, it becomes upsetting.

like… streve crashed the Valkyrie into the water not because he’s an Extra™, Dramatic Bitch or whatever, but because it was the only chance to land the plane without killing tons of innocent people. TFA is the ONLY origin movie in the mcu that doesn’t end with a triumph, but with a tragedy, and fandom somehow thinks it’s fun to turn steve’s sacrifice into a laughing stock, to act like he did so because he’s stupid or missed bucky’s dick too much or anything of the sort, instead of seeing the fact that steve did what he did because he valued other people’s lives above his own, because he valued doing the right thing over getting what he, personally, wanted.

and i guess to me it’s upsetting because this is something that resonates so deeply with my values and the person i want to be, and so to see fandom turning it into something small and petty just hurts, even if it’s just a joking shitpost. because when you act like steve is just some insolent dude who challenges everything and everyone just because he can, you end up turning his character from a hero to an idiot with poor impulse control. when you make headcanons of his friends being annoyed and bored by his constant idealism and desire to do the right thing, you turn him into a burden to sam or bucky or natasha or whoever, ignoring how he’s actually a leader and an inspiration to the people around him - you ignore how he broke through bucky’s brainwashing through sheer loyalty, how he made sam want to suit up for the first time in years, how he gave natasha trust when no one else would have. 

basically, you take away the beautiful things about his character and turn into something that, yeah, might be funnier, but it’s just so cynical it’s almost depressing. it turns something that is genuinely idealistic and optimistic into a pessimistic, shallow thing, and that’s just not what steve rogers is meant to be.

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Fun fact: imagining Bucky punching his way out of the glass box in Civil War is a great way to make yourself punch boxes with no regard to the skin in your knuckles.

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I want to shout it from the rooftops

But I can’t because it’s a personal thing

How do you explain the battle with which you’ve made peace?

They either talk about it too much, or they don’t talk about it at all, but nobody is talking about it right.

And you did, you finally did. You stripped it of its shame and laid it out in the open and now it belongs to the light, and the darkness doesn’t have power over it anymore.

You’re free. You said, “This is me”, and it was accepted, understood. You were taught, and you understand.

How do you explain making peace with yourself?

How do you explain a breakthrough on the deepest level?

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Anyone want to hear another wholesome story about my dad?

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Where Do We Go from Here?

So. Let's take stock.

I was born with miracles under my belt simply by the way my parents met and the stories they had to tell. I grew up in a legalistic church that somehow managed to instill in me an awe, respect, and enthusiasm for the power of the God that I serve. I grew up knowing, somehow, that I had a special connection with this mysterious, powerful, wonderful God, and He and I were going to do great things together.

I fell in love—philios love, storge love—with a girl I'd never trade for the world, and as two years went by and her brain deteriorated far away across the ocean I held on tightly with all the love and stubbornness I had in my bones. I saw my childhood crush raped, I saw my mom as an abused child, I saw the rug pulled out from under me in almost every way possible, but I held on until I was almost stripped bare down to my skeleton.

And now, I look up, and I survived. But it's not only that I'm not sure where the ship is going, but that I'm not sure if I even have a ship. All I see are broken timbers, a mast like a cobweb, and where there once was armor all I have is the shreds of clothes on my back. We who were invincible are, suddenly, vincible.

And the question becomes, were do we go from here?

How do I begin to rebuild the ship? I was given it from birth. I did not build it. I don't know my way around the timbers and ropes, because it's always sailed without my help, and I don't know where to start to restore it.

How do I begin to get back on course? I don't know where we were headed in the first place. I had an idea, when I was little, but as I got older the dreams of a quest for the fountain of youth seemed smaller and less realistic than simply making it to the next port. Maybe that was just a matter of survival, of making it out alive in the storm. But now that the storm is gone, what do I do? How can I continue as I was?

Where do I go from here?

We seemed indomitable, with the Captain at the helm in all His glittering, golden glory, and the splendid hat with the feather in it, and the twinkle in His eye, and all we needed as crew were Him and me. And now it feels that I'm alone, shipwrecked on an island, my arms curled around my knees as I sit on the sand, look out at the grey, crashing waves, and wonder where I went wrong.

And I suppose the only consolation is when my Captain shows up—not in his blue coat with the splendid gold trim, and not with the hat, no, but in torn grey rags that hardly fit Him anymore, like me. There's a belt of rope tied around His waist, and His clothes are soaked though, and His feet and head are bare, and His nails are frayed, and He plops down on the sand next to me and just sits, His arm propped on His knee, and watches the waves.

He seems exhausted. Just like me.

And I say, “I don't know what to do anymore.”

And He says, “I know.”

I say, “I don't know where to go from here.”

And He says, “I know.”

I say, with tears choking my throat, “We were going to take on the world.”

And He turns to me and smiles, and though it doesn't quite look right, there's still the twinkle in His eye. He's sad, but not defeated. And He says, “I know.”

I bury my chin in my knees, half hoping the crashing of the waves drowns out my voice.

“There's rumors of mutiny on the ship,” I mutter.

I needn't say more. There's only the two of us. The two of us, and the insidious little sea monster inside of me, the one that seemed so quiet when He was around but now screams so loud, loud, loud.

And He says, His voice low, “I know.”

I look up at Him, and I don't quite know what to say. “I love You” doesn't quite encapsulate it. There's grey in the uneven beard of a few months of waves too rough for Him to shave, and He looks haggard and weathered, but eternally young, somehow. I feel I'd trust Him with my life—here, the both of us, on an unknown, uninhabited island, with nothing but the clothes on our backs and timber to our names.

I love Him. And it is a fierce love, born of being in this place before, and knowing when He had nothing to gain and all right to leave, He reached His hand down and pulled me where I could not climb out myself.

But I am afraid. I am afraid to leave this island. I am afraid that the next storm will be a hurricane just like this one. I am afraid that next time, I won't walk out alive.

I am afraid because He is my Captain—and although I want to trust Him, where He led me put us right in the path of a storm.

He knows this. There is no way He doesn't know this. Hat and coat or no, He is the Captain, and He knows me like He knows everything else.

He stands and walks away towards the distant timberline.

“Where are You going?” I ask.

He stops and smiles at me, though He's only taken five steps, His footprints deep in wet sand. “We'll have to build a shelter. We'll be here for a while, won't we?”

His smile is sad.

I can't speak. I try, but I fail. Surely He knows that we have to get back on the water. Surely He knows that we can't stay. This is His quest, isn't it? How can He be satisfied when we spend months no closer to where we're headed? How can He be satisfied when we're not on the sea?

I've stumbled upright, trying to follow, but He's returned, caught me, and pulled me to my feet. And, knowing my fears, He looks deep into my eyes with empathy and sadness, sets His forehead against mine, and shuts His eyes.

We are still. It's quiet. There's sand between our toes and saltwater lapping at our feet and we are alone, alone with the tides and the gulls and the storm clouds moving overhead.

And it's just above the whisper of the waves that I hear another voice, soft and nameless, but familiar like I know my own name.

And it says,“I am here. That is enough.”

Perhaps it is then that I understand—not fully, perhaps, but a little—that the Captain is not His hat and coat, but the tattered rags and the calloused hands also. Perhaps it is then that I understand—not fully, perhaps, but a little—that as long as I am where the Captain is, I am on the journey, and I needn't fear that we are no closer, because as close as I am to Him, that's how close we are.

Perhaps it is then that I understand—not fully, perhaps, but a little—that whether the wind is in our sails, or the white cloth hangs limp and full of holes, that it matters very little as long as He is here with me.

Perhaps the solution is, just as it has always been, not to get up and fix it and slay my monsters—but to be very still, be very quiet, and listen to the words,

“I love you.

I am here.

That is enough.”

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🌱🔥

Hello and welcome to my kidge Ted talk. We’ve wrapped up season 8 and I’m sure everyone who wants to see it has seen it by now.

I figured I’d make a little post dipping into pidge and Keith’s relationship through the entirety of the show.

To my fellow kidge fans, we hear a lot of “kidge? They hardly interact.” Which is… not true. But even if they didn’t, why hate on creativity? I’m here to compile the moments that really set the kidge shippers into motion.

I’m on mobile, so unfortunately I won’t have too many pictures, but I’ll try my best. (I also have no idea how to insert a read more on mobile so I’ll apologize in advance)

The obvious

Keith and pidge are often depicted next to one another.

Since the beginning of the show, the animators make it a point to depict them near one another. This is an obvious, as for half of the show they’re the “arms of voltron”. It makes sense, in the same way lance and hunk are depicted next to one another. However, after Keith is no longer piloting the red lion, these two are still always kept in a close proximity. Without getting too “shipper goggles” I’d like to point out that this displays a closeness between the two.

Now that we’re past the basic, surface level observation, I want to get a bit more into their character arcs.

Parallels

Keith and pidge have one thing in common as kids: bullying. Pidge is picked on by kids in her class for being a nerd. Keith is taunted for being “emo” and the loss of his parents.

But they both have something else in common

They both have a similar “comfort person”. Pidge finds this in Matt (her brother). While Keith finds this in Shiro (someone he has regarded as being like a brother). These people inspire them and make them want to excel and do better, despite the bullies or feeling lonely.

Another big parallel is that these people who mean so much to them go missing and propels them both forward to start their arcs.

They become obsessed with finding them

While Keith finds shiro in the first episode, his journey is not done there. While pidge is looking for her father and brother, Keith is trying to discover where he comes from and how he’s related to the galra.

He ends up finding his mother around the same time pidge is reunited with her father. These arcs resolving around the same time is very harmonious and gives them both a sense of peace that makes them stronger characters.

Now that all that’s out of the way, let’s look into the big interacts they’ve had.

S1

We get the Paladins learning to work together, which gives us this excellent “go loose, pidge!” Scene. They work well together from the get go. They are the arms of voltron, after all.

But there’s a dissonance when pidge tries to leave the team. Keith is furious. And I think this is more than a “The team won’t function” right sort of thing, but an abandonment issue. Keith has lost people. Being the arms of voltron, they are a team. If pidge leaves, Keith is alone in that regard and I think it’s evident in how happy he is that she decides to stay.

S4

In the beginning of season 4, keith leaves voltron. They all go to hug him and pidge expresses how much they’re going to miss him. This is another display of closeness. As pidge is on the verge of tears at the idea of him leaving and he gives her a very soft smile that we rarely see from him. (I don’t have a picture of this my bad).

S6

Keith returns to voltron. When he is down pidge helps him up. Not much to say about this but I liked this moment.

S7

This is the big daddy of kidge moments for the show.

We gonna start with the obvious when they get captured. Lance is the first to move, being immediately taken down by Ezor. This is also huge for plance shippers, but I won’t get into that right now. Keith yells for them to let her go. He’s angry and panicked, but they have some sort of blaster pointed at him, showing that they deem him as a threat. He can’t do anything. This will connect to a point I’ll be making for season 8.

We get this cute little moment when pidge asks “what’s that?” And Keith tried to gently explain the drills to her, with a soft smile. This is behavior Keith doesn’t usually display. Zethrid was completely right when she says the team has a soft spot for pidge. Keith is no exception.

There is the scene when they’re fighting the Druid. From Keith’s vision we see him look from Kolivan to pidge. These are people he wants to protect and keep safe.

While they’re floating in space, throwing insults at each other, no one has anything to say about pidge. Because they don’t have negative feelings towards her.

In this same episode, we get the famous scene of pidge grabbing Keith while he’s hallucinating. I’ve talked about this in another post, but I’ll reiterate it here as well. Pidge is on the tail end of the chain when Keith starts swinging. She jumps up from the very end and goes to grab Keith, breaking the hold hunk has on him. This immediately snaps Keith out of it. The animators made it a point to have the person farthest away from him be the one to pull him back. Animating isn’t easy so this is something they had to have gone out of their way to do.

It’s another display of closeness. Much like in the scene with the Druid when he looks to pidge, this is someone he cares about.

S8

Pidge and Keith didn’t get a huge focus this season (which I’m fine with. Gotta let the others shine). But there were two significant scenes that the kidge shippers lost their marbles over.

Not only do we see them sitting together through most of the season, but we get this cute lunch scene during episode 7. Judging by how most of the people kinkade and razavi interviewed were intruded on, I’d say this is probably no different.

There is a moment where Keith is looking at pidge, even afters she’s finished talking. He only stops when Razavi calls out to him. Through his portion of the interview, he visibly becomes more annoyed. At the end he’s asks “is this interview over now?” (Or something along those lines) indicated that he felt intruded upon.

Keith and pidge had seemingly planned to enjoy lunch with one another but were intruded upon, this accounting for Keith’s long look and continuos annoyance.

Then we have the hand grabbing scene. Keith could have reached for anyone; lance, hunk, allura. But as usual, pidge was closest to him. His focus in this moment doesn’t seem to be entirely on the team, but mostly in pidge. They’re clinging to each other and he’s trying with all of his strength to pull her back up.

When the Paladins finally disappear, Keith falls to his knees and begins banging on the ground in distress. Much like the scene with Zethrid and Ezor, Keith gets very panicked and upset when he can’t help those he cares about. He feels helpless.

But an important thing to note is that pidge is holding onto Keith as much as he’s holding onto her. This a mutual bond between the two. It comes back to the scene in space when she grabs him. They’re a figurative lifeline for one another. Both literally and figuratively trying to pull each other out of dispair.

Whether romantically or plantonically, I think it’s important to regard how close these two actually are. As Bex said and the writers and animators have indicated, they “secretly adore each other”.

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The year is 1944.

No.

Wait.

1945?

He isn’t sure anymore. Time seems to move in a slow syrupy crawl at some times, in fits and starts at others. He can’t think; can’t focus. He rarely knows where he is, and only registers motion when the flickering lights above the cot they’ve strapped him to streak by overhead. Some days he can’t stop shivering, and others he feels like he’s on fire and screams until his throat is raw or they jab something into a vein to shut him up. 

He thinks his arm is infected. Well. The place where his arm was. They keep unwrapping the stump and poking at it and the smell makes him want to retch, and he can’t tell if they’re speaking another language or if he’s just lost the ability to make out words as his brain shuts down.

He waits for Steve to come, like he did in Azzano. 

They tell him Steve is dead. Show him a headline from an English paper and an obituary his sight’s too blurred to read. 

He screams again, and they shove that shit into his veins again, until there’s nothing but the dark.

-

He doesn’t know what year it is.

-

He hears voices.

He hears… English?

“Buck?”

Keep reading

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tweet meme special edition: captain america: the winter soldier 

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Real footage of me enjoying Steve’s happy ending while the shippers fight in the background

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[Oh, may I?]

“So Wikipedia says that my, uh...grand-nephew is an actor.”

Steve looked up as Bucky walked into the room, scrolling down on a smartphone. “Yeah?” he asked.

“Yeah,” Bucky answered. “Becca’s daughter married someone—something Stan—and...look.”

He turned the phone screen around. Steve was sure that he was looking at a colorized picture of Bucky from the War, until he noticed the modern outfit.

“Oh my god,” he said, eyes wide.

“Right?”

“Spittin’ image of you.” Steve shook his head, amazed. “What’s he in?”

Bucky turned the phone back around. “Uh, let’s see. Some Broadway, television shows, ‘I, Tonya’, ‘I’m Not Here’, ‘We Have Always Lived in the Castle’, that’s a long name…‘Hot Tub Time Machine’?”

“Rhodes mentioned that one.”

“Sounds weird.”

By this time, Steve couldn’t help a wide grin. “He looks exactly like you. If they made a film about us—”

Bucky snorted. “God, I hope not.”

“You should meet him.”

“No.”

“Buck, c’mon.” Steve tried to put on a winning smile. “He’s family. Plus, Sam would lose it when he sees there’s two of you.”

“Exactly why I’m not gonna meet him.” Bucky stuck the phone in his jacket pocket.

Steve snorted and leaned back in his chair. “Got the metal arm and all’a the sudden turned into a wet blanket.”

“Y’know what, punk?” Bucky asked, grinning like a hyena, and shook a fist in his face.

Steve just cackled.

⚠️ Avengers: Endgame SPOILERS! ⚠️

This is an important topic we need to talk about.

[eloquence-uncensored]

Petition for people to stop asking Sebastian Stan about Bucky and for Sebastian Stan to stop making me cry 2k16