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the best thing about ofmd is that absolutely nobody on the show is cool. blackbeard and jim can manage to pretend to be cool like maybe 70% of the time but at the end of the day ed is someone who says things like "you're a killer, bro" to try to psych himself up and secretly wants his hobbies to be sock-folding and planning talent shows, and jim's idea of a cunning distraction is knocking cups off the table like a cat. everyone else is an enormous gay dork and our hero stede bonnet is 90% pure cringe by volume. and the show says you should love them anyway because there's actually nothing wrong with being cringe. what's so great about being cool anyway. maybe you should try being happy instead.

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Bucky, trying to be a politician and realizing how inefficient it is at stopping bad guys quickly: Welp. I can't debate, diplomat, or deposition my way out of this one.

Bucky, loading his explosive disc launcher: Detonate it is.

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cant wait for the confirmed domestic stucky after credits scene in thunderbolts

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i mean in context gwen is saying no to including rhys in the shenanigans but it DOES look like she is telling him not to try and fuck her fiance. which would be on brand both for jack and for torchwood as a show

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nat says that they shouldnt play with their food if theyre not gonna eat it

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the kiss

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— TORCHWOOD (1.13) END OF DAYS

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Guys?

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That's what he gets for bringing his co-captain a very nice breakfast in bed with a bitten toast and a beautiful twine!!

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The Emperor’s New Groove + Letterboxd Reviews

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"Leave her be", a voice in the darkness interrupts just as the monster is about to sink its teeth into the princess. Both the beast and the maiden turn to look as a man in armour steps from the shadow into the moonlight, drawing his sword. "Let her go", the knight says, "it's me you want."

The monster barely hesitates before shoving the princess away, to rush towards the knight. Falling on her knees on the ground, the princess can only helplessly watch, tears running down her rosy cheeks, as the monster and the knight begin violently making out.

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(insp.)

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So Ted keeps in touch mostly with Beard and Rebecca. Sometimes he and Roy text, or he and Higgins call, but it's mostly Beard and Rebecca.

He hasn't heard from Trent. Trent hasn't reached out, and Ted... Ted isn't sure what he'd say to him. So, sleeping dogs and whatnot, right?

And he asks, sometimes. "Hey, how's Trent?" The first couple of times he asks Rebecca, she changes the subject so smoothly he (almost) doesn't notice. Beard always has a reason to rush off the phone when he brings up Trent. Roy just doesn't reply. Higgins...gags. The one time Ted asks him about Trent.

(They're protecting Trent. Ted doesn't realize it, but they're running interference. Trent isn't ready to hear about Ted or talk about Ted and they're respecting that by keeping Trent's mourning private.)

(None of them realized just how in love with Ted the man was (except for, somehow, Higgins, who was surprisingly prepared for the fallout.))

So Ted doesn't hear that Trent's publicist is insisting that he do a leg of his promotional tour in the states. Because no one tells him. He doesn't find out about it until he sees Trent on a late night (American) talk show, discussing his time there.

And suddenly Ted needs to see him. It's been months. He looks up where Trent will be and sees Trent has a talk, has a book signing, at Wichita State. They've asked him there because Ted coached there, once upon a time.

Henry's got school that day, so Ted takes the drive. Lingers in the back of the auditorium where Trent gives his talk--his interview--the one asked questions, for once.

And is Ted imagining the way Trent pauses before he says his name? The way his voice seems to wobble a little every time?

He gets in the back of the line for an autograph, newly purchased copy of Trent's book tucked under his arm. (He never did finish it.)

And Trent's on autopilot. Ted gets to the front of the line, Trent asks him, "Who can I make this out to?" Doesn't look up.

Ted hesitates, long enough that Trent starts to glance up, before blurting, "Coach Ted Lasso. From America."

And then Trent freezes, does look up. His glasses are different. Ted gestures. "I, uh. Like your glasses."

Trent takes them off. "Ted. What are you doing here?"

"Getting my book signed."

Trent looks at his face. Ted doesn't know what he's thinking as he nods and starts to sign the title page.

"You got any plans after this?"

Trent doesn't answer at first. Shakes his head after a second.

"You hungry?"

They go to a place Ted frequented when he worked there. No one remembers his name or his order, but the food is still good.

They talk about everything that doesn't matter. Dance around what does. When dinner is over, Ted walks Trent back to his hotel. When Trent invites him up, Ted says yes.

"I'm sorry," Ted says, after two tiny bottles of scotch split between them, "that I couldn't say goodbye to you."

Trent shrugs and doesn't meet his eyes. "I was hardly your priority."

And Ted doesn't like that. It's not true at all. "If I had said goodbye to you in person I wouldn't have left."

If you had asked, I would have stayed.

Ted doesn't realize how true it is until the words are out of his mouth.

Trent's mouth is hanging open. He licks his lips. Ted watches him do it.

"It would have been nice," Trent says carefully, "to have one last chat. I loved our chats."

And Ted leans over and kisses him.

Trent's gone when he wakes up in the morning. Off to wherever he's signing books next. But Ted isn't upset.

He picks up his phone. Texts Rebecca.

I think I made a mistake

His phone buzzes with a reply almost immediately.

Fucking finally.

Yes, you fucking did.

When are you coming home?

And Ted is smiling, really smiling, for the first time since he left England.

Before Trent gets back.

He has things to work out, sure. But, as he slips Trent's forgotten hair tie on his wrist, Ted believes.

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In Loving Memory by rnlaing

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