#1800 words in

[lilacthebooklover]

fallen hero headcanons & theorising my beloved

[flowerytale]

Jane Austen, from Sense and Sensibility

[marley-manson]

the topic is Trapper and the army as foils, you have three hours, go

In no small part the satire of Mash, particularly in the first half of the show, is tied up with gender performance.

The army represents traditional, stifling and violent masculinity. This is shown through everything from freudian jokes about guns (eg Frank and Margaret's flirtations in The Sniper or The Gun), to Margaret trying to cajole Hawkeye into performing a more traditional standard of masculinity while treating him like a soldier in Comrades in Arms Part 2, to many jokes and comments about (usually) Hawkeye not being a real man in contrast to army standards and various specific army personnel (eg Lyle in Springtime, Flagg in White Gold), to Frank and Margaret's worship of the masculinity of the army ("He's twice the man you'll ever be," re: Flagg and Hawkeye, Margaret's lust for MacArthur, Frank pursuing the sniper in The Sniper in an attempt to be a "real man" in Margaret's eyes, etc) to many jokes positioning the military as a sexually aggressive man pursuing Hawkeye ("Sure, the sun the moon the stars, your high school letterman jacket. Same deal I promised nurse Baker." "A receipt please, and promise you'll go out with other doctors," etc.)

In contrast, the main characters all fail to perform traditional gender in some way, from crossdressing to immaturity to indecisiveness to peacefulness to Margaret's masculinity and Frank's pathetic failure to live up to his own masculine ideals, to just about everything about Hawkeye. His cowardliness, his jokes about not being a real man, his jokes about taking the feminine role in sexual encounters with men and women, even multiple double entendres about his average at best penis size.

Trapper is the most traditionally masculine of the main cast. He still subverts masculinity in some subtle ways here and there, such as the occasional feminizing joke and mentions of not being in great shape, but overall he's the more butch counterpart to Hawkeye's fem. He plays the role of boxer while Hawkeye plays the role of diva in their respective manager/star roleplaying episodes. He's broader and buffer and plays football, often seen playing catch with someone while walking around the compound, while Hawkeye disdains sports and doesn't participate. He reads Field and Stream which Hawkeye derides in Alcoholics Unanimous while making a wry comment about shaving his armpits. A past lover nicknamed him Big John.

And there are many, many jokes about Hawkeye and Trapper being sexual partners. The recurring Uncle Trapper and Aunt Hawkeye gag, if my father sees this you'll have to marry me, for me? only if you put those on, your father and I will tell you what we did to have you, that's when I fell in love with him, etc etc etc. It's constant. In these jokes Hawkeye usually takes the feminine role, though not strictly every time ("Me and the missus," is one exception in As You Were, the dance in Yankee Doodle Doctor is another).

Trapper's masculinity is differentiated from traditional military masculinity in a few ways. Most obviously, Trapper abhors the military's violence. He never uses guns and mocks Frank's obsession with them, he's a healer rather than a soldier, and he's disgusted by the results of military violence on the men on his operating table.

He's also secure in himself. The military's brand of masculinity is strongly characterized by insecurity and overcompensation. Frank is the main representative of this military insecurity - a coward who insists he's brave (The Army Navy Game), a man who clings to a phallic gun to compensate for his sexual and gendered inadequacies (a main theme of The Sniper, perfectly mirrored when the army itself comes in with a vastly disproprotionately powerful automatic machine gun on a helicopter to shoot down one sixteen year old), a homophobe repressing his own attraction to men (As You Were, the original script of George), etc. We also see this in Flagg, who implicitly sublimates sexual urges into violence (seen when he suggestively caresses his gun while describing how he wants to torture a boy in Officer of the Day).

Trapper doesn't need to overcompensate. He's well-endowed physically, he's portrayed as a competent and considerate lover, he's a brave man who doesn't mind being seen as a coward, and he may or may not be attracted to men but either way he's not a homophobe (George) and he doesn't express his sexuality through violence. When Margaret proves herself stronger than him, his response is to be impressed rather than offended (Bombed). When he dances with Hawkeye for a gag, he doesn't mind letting Hawkeye lead.

He's also differentiated in terms of tradition, with the mliitary representing a more propagandic 50s traditionalism, and Trapper representing a 70s, countercultural freedom from tradition. We see this in the way Trapper has plenty of sex despite being married, while adultery is a court-martial offense in the military. It's notable that he's open and carefree about it, while Frank and Margaret are surreptitious and hypocritical in their affair. This lack of traditionalism is also shown in his disrespect for authority, often in direct contrast to Frank and Margaret's worship of it, and his allyship to George who the military would persecute for his sexuality.

So ultimately we can see that while Trapper and the military are both examples of masculine performance, Trapper's masculinity differs from the military's in being more flexible, less violent, less traditional, and more secure. The military's masculinity is far more toxic than Trapper's, particularly in the context of 70s counterculture media, which aligns womanizing with sexual liberation rather than a lack of respect for women, accurately or not.

This contributes to their respective dynamics with Hawkeye.

Hawkeye, we've established, is usually more feminine, and there are a myriad of jokes characterizing Trapper as his sexual partner, as well as the military as a sexual pursuer.

The jokes Hawkeye and Trapper make about their relationship tend towards cozy domesticity. They're Radar's "aunt and uncle," they directly roleplay marriage ("Martha, we're going to have to move, the people upstairs are impossible,") and less directly behave as though married (the bickering in Alcoholics Unanimous, the discussion about naming their pony in Life With Father). Occasionally they're treated as a healthy couple in contrast to Frank and Margaret's toxicity ("While I'm gone, promise you'll go out with other doctors," vs "Touch anyone else and I'll cut off your hands" in Aid Station).

In some instances the jokes lean towards predatory - "If you're trying to get me drunk, it'll work," or "Who is this man in bed with me?" "I followed you home from the movies," but they're always playful, always fond. If Hawkeye takes on a submissive or victimized role in these jokes, it's one he has fun with and discards just as easily in the context of the rest of his relationship with Trapper.

So, it's important to note that Hawkeye and Trapper support each other and look after each other in an equal, enthusiastic friendship. From Trapper ensuring Hawkeye gets to sleep in Doctor Pierce and Mr. Hyde, to Hawkeye supporting Trapper when he wants to adopt a child, to Trapper right at Hawkeye's side as they attempt to procure an incubator, they are there for each other every step of the way. If their relationship is a marriage in some ways, it's a healthy, strong, and non-traditional marriage, an equal and open partnership free of jealousy and insecurities.

Compare that to the military's relationship with Hawkeye. In jokes it's characterized as powerful and predatory, far from an equal partnership. Sometimes it approaches positive - in Carry on Hawkeye, much of the humour is derived from Hawkeye and Margaret's gendered role reversal as she assumes military command of the unit. Hawkeye playfully calls her sir, seductively lies on her desk like a secretary in a porn film, and most notably treats an immunization shot as sexual penetration in a prolonged gag about sexual role reversal. Hawkeye has fun playing a sexually submissive role to a representative of military authority in this episode, but it is a submissive role.

Several of the one-off jokes have a similar sensibility, such as the double entendre of "My bellybutton's been puckering and unpuckering all day," in response to a representative of MacArthur assuming their excitement over the general's arrival to the unit, or Hawkeye's "Okay, take me, I'm yours," to Colonel Flagg. They demonstrate a willingness to play the receptive role on Hawkeye's part, but they also, pointedly, disturb the object of the jokes.

When Hawkeye makes these jokes that sexualize military authority, he's attempting to be provocative as well as defiantly drawing disruptive attention to his own powerlessness as a drafted surgeon. The power dynamic between Hawkeye and the authority of the military only goes one way, and Hawkeye gets a kick out of pointing it out in ways that perturb the representatives of that authority, but it's a power dynamic that takes its toll on him.

Many of Mash's plotlines revolve around Hawkeye rebelling and attempting to seize some scrap of agency back from the military. Adam's Ribs, for example, in which he starts a mild riot over the food he's being fed and spends the episode attempting to procure barbecue ribs from Chicago (which Trapper procures for him), or Back Pay where he tries to charge the military for his forced labour. A particularly notable example is Some 38th Parallels, in which Hawkeye complains about being paid the equivalent of a nickel per operation, and his frustration manifests in impotency until he can perform a gesture of rebellion against the military.

One unfortunate consistency of these episodes is that the army ultimately retains its power. When Hawkeye achieves his goals, it's only in small ways that do little more than satisfy his own need to assert his sense of self. Often, Hawkeye doesn't achieve his goal at all, but is thwarted by the army, such as in For Want of a Boot. In every instance he remains powerless in comparison to the authority of the military.

So the context in which Hawkeye makes these sexualized jokes about the military literally fucking him is one of abject helplessness. In a sense, all he's capable of is pointing out what the military is doing and putting it in his own, audacious terms. He's not capable of preventing it. His jokes usually have an edge of bitterness to them in delivery, and when they don't, that tone is imparted anyway by the greater context.

With Trapper, Hawkeye can play-act a marriage or an assault, but in either case he's an enthusiastically consenting, equal partner. Trapper's performance of masculinity allows for Hawkeye to take any role from victim to wife to husband, and enables Trapper to respond in kind from a position of equality and respect. The military, in its insecure, domineering performance of masculinity, is a dictatorial authority, never allowing Hawkeye perform any role but a feminized, victimized one, and only ever giving him the choice of whether to perform with a wry smile or a sneer.

In short, Trapper is the cool, considerate service top to the military's insecure domineering boyfriend.

I'm tagging everyone who enabled this lol, share the blame. @beansterpie @majorbaby @professormcguire @rescue-ram

[faeriekit]

Health and Hybrids (XXVIII)👽👻💚

[I can't remember the original prompt posters  for the life of me but here's a mashup between a cryptid!Danny, presumed-alien!Danny, dp x dc, and the prompt made the one body horror meat grinder fic.]

🖤Chapter navigation can be found here🖤 Click to browse previous updates.

💚 Ao3 Is here for all parts 💚 (now featuring mediocre mouseover translations, only available on a computer)

Where we last left off... Danny has another hashtag breakdown! Man, we've got a lot of these, huh? It's YJ's fault this time; whoopsie doodles! ¯\_(ツ)_/¯

Trigger warnings for this story:  body horror | gore | post-dissection fic | dehumanization (probably) |  my nonexistent attempts at following DC canon. On with the show.

💚👻👽👻💚

“Danny,” Diana says from the door.

Danny looks up from his place in the book. It’s definitely aimed at younger kids, but it’s a pretty wordy picture book; there are a couple paragraphs he can’t quite parse, but he’s making pretty good progress on the words he can’t recognize.

It’s a story about a cat who misses its mother. Danny tries not to relate to it too much.

“Hm?” he asks, flipping the front flap of the dust cover over his current pages to mark his place. The book goes back onto the nightstand, beside his space shuttle; Danny uses the railing beside his bed to support himself stepping up and out of his wheelchair, leaning on the railing until he can figure out…wait, where’d he leave his old people walker?

“This walk is long. You will want your chair.”

Well, then. Couldn’t she have said that before Danny did all that pulling? Danny falls back into his chair, kinda peeved. “Fine.”

Diana smiles. She doesn’t have to wear the mask around him anymore— Danny’s pretty sure that his injuries have been declared as clotted, or sealed, or whatever at this rate. They for sure swabbed his ectoplasm and came to some kind of conclusion, anyway, which means he only looks gross, but isn’t, like…actively leaking fluids.

On the one hand, gross! But, well, you know. Nothing for it but bandaids and time.

And her face looks nice. Danny hadn’t known what she’d looked like, before. She smiles when she sees him. Her light eyes crinkle, and her lips turn up… She’s nice. Danny’s sure that she’s only there to be in charge of him in case he gets scary, but she’s in charge of him and she’s nice. She doesn’t have to be nice; lots of people have been in charge of him and been mean about it. There was that one guy who kept holding him—with the taser—

(Time slips away from him, a little. When he gets back to the world in front of him, Diana is carefully looking at his face, the back of her hand stroking the back of his.)

Danny’s in his chair. He’s not…there. He’s in his chair, on a big space station (????) with a bunch of really colorful fighters on it, and Diana is touching his hand (that’s so much weaker and slower than it used to be) and he’s not hungry and he’s only scared because of memories. He’s safe. He’s not being pinned down by the neck so that they can strap down his wrists and hips to the table—they’re not shocking him—he can move his fingers, he’s not stuck in his core—

His core throbs. Danny bites into his bisected lip, and tries not to cry.

“Are you alright?” Diana asks, voice gentled. The soft touch of her hand doesn’t stop. “We can wait. There is no—“

Danny shakes his head, and takes his hand away so he could wipe at his eyes. It’s fine. Bad memories are everywhere: in the walls, in the floor, in the ceiling, in the hands of people taking care of him. That’s not… There’s nothing Danny can do about that. That just. Takes time.

…He think he might have that time. Now. He thought he would die for good in that five by five box, waiting for something that would finally end him instead of just keeping him in a cycle of injuries he never fully healed from.

But now he’s not. He’s here.

He wants to keep going.

“Alright,” Diana says, slow and careful. “Hold on.”

Danny doesn’t hold on—or, well, you know, he engages his core muscles and all that, but he doesn’t cling to his arm rests or to the frame of his chair because he knows that Diana is really, really strong, but she also really, really doesn’t want to hurt him.

She rolls him out of the medical wing and into the space station proper. Danny feels like he’s been here before, but he doesn’t remember it super well. Maybe it was when he was sick or something? Either way, a lot of different people wave at him as they go by—or just straight up stare, if they’re rude—and Danny generally just watches people rush by, carrying all kinds of equipment, and a potted plant, and a…starfish in a jar…?

Oh, the starfish waves at him???? Danny waves back because?? What??

Danny rolls to a stop at a smooth, cylindrical elevator. It looks like a giant test tube.

…Oh boy. Danny takes a deep breath, and holds it. Reflexively. Sure, this elevator probably isn’t like being dunked into water to see if his body absorbs ambient oxygen from the atmosphere or if his biology is truly not oxygen-based, but the memory is. Bad.

They go upwards. Nothing happens but Diana’s pushed button.

Danny exhales.

They get off at a section of the base Danny’s never been to, and it's essentially just a long, somewhat narrow hallway. The walls are actually painted a creamy off-white here, and there’s…like…decorative panels towards the base of his wheels trailing down the hallway? An orange ceiling, too?

Huh??

The rooms are numbered, but they’re not plain steel like in other areas downstairs; some of them have stickers, or drawings, or marker written straight onto the door itself. They look...cozy...? Danny thinks so, anyway, compared to the rest of the ultra high tech space base.

They roll to a stop in front of a door. It’s got a number on it, same as all the others, but there’s a box cutout taped to the front of it. The—

—The print is of the same style of space shuttle Danny keeps next to his bed, inked onto glorious cardboard medium.

Danny stares.

“Gegrapa,” Diana urges, so gentle. Too bad that, uh, Danny doesn’t know that one. He looks at her. She mimes touching the door— Oh. Got it.

Danny leans forward just enough to touch the door with his fingertips.

The door says something in a robotic voice, but the synthesizer is too mangled for Danny to make out the words. The door slides open horizontally into the wall, instead of the way the other doors open like portals or from below, and it’s kind of cool?

Inside is a bedroom. Danny stares.

…No, it’s actually a bedroom. Not a medical wing, not a cot, not a repurposed conference room or—it’s actually got a bed in it. Like. A real one. There’s a wooden headboard and it’s got a mattress on it that’s thicker than a VCR.

There’s constellation sheets on a bed big enough to curl up on.

There’s a nightstand, a small desk on the far wall—there’s a little lip where the bedroom dips into a tiny sitting room, a small television on a table and a small table and chair. It’s kind of…it’s kind of like a little hotel suite.

Danny’s mouth goes dry.

He doesn’t move, and Diana doesn’t wheel him in. “It’s okay,” Diana says, and—Danny almost flinches when she touches his hair, but it’s only Diana, who’s never hit him, and they’re fine. He’s…safe. It’s safe. He’s safe here. “Do you want to go in?”

Danny doesn’t move. His hands don’t touch the wheels. They’re shaking; he puts his hands in his lap and he tries to breathe. “…What?” he asks hoarsely.

“A rum for my Danny,” Diana murmurs, quietly. Danny’s heart throbs at the possessive. “You are healthier now. You do not need doctors every hour, but only sum hours. You cuðe spenda more time here, all ana.”

Words go by so fast even at Diana's smooth, unhurried pace— and Danny licks dry, split lips. He looks around the room—and the room is small, sure, but they're in space. Space will always be a premium. Even in this small room, though, the furniture is sparse and placed distant from each other…distant enough that Danny can wheel around freely in his chair.

There’s a Moon clock display hung on the wall over the doorway, and Danny can faintly see the outline of what he assumes is the current lunar phase as seen from Earth.

Having the lamp isn’t exactly the same as glow-in-the-dark-stars, and thank goodness for that. If it had been, Danny might have cried.

(Or, he realizes, something burning in his eyes that isn’t ectoplasm, maybe he is crying.)

“...Me?” Danny asks, terrified to know the answer. Is this room for him?? Is he getting a room here? Is he supposed to stay here? On the moon?! Is he supposed to stay with everyone here, in a tiny room, where there’s nowhere to go and nowhere to escape?

…It’s a bedroom. It’s already so much more than the stupid guys in white ever gave him.

“Yes,” Diana says, and lets go of his hair. “Use it, or do not. Sitta here, or sitta in the medical bay, but now you have two choices.”

Okay. So Danny has choices. He swallows his feelings—they taste a lot like snot—and rolls himself inside to inspect the room.

There’s another little fridge inside the sitting area. It’s not right next to the bed like it is beside Danny’s cot, but it is the same style of fridge. When Danny pops the door open, it has the same styles of snacks. Fig Einsteins. Peanut butter squeezies and applesauce squeezies and yogurt squeezies. Protein shakes in bottles. Pedialight. Hummus packs.

Danny might still need someone to open the snack packs for him. That’s kind of a high dexterity food, if he thinks about it.

“If you wish to sitta here, we will visit you all you like. There is a belle at your bed,” Diana says, and walks in with all her purple scrubs and tied-up hair to point to a little button on his nightstand. It’s red. It’s got a little smiley face sticker next to it, and Danny thinks he recognizes the style from one of his nurse’s bestickered name tags. Belle is probably a direct cognate for bell. He’ll be able to get everyone to come up here if he needs help.

…Okay, that’s kind of nice. To have personal space. He hasn’t had that since… Danny’s eyes squint as he thinks; he rubs an eye. Wait, when had he been squatting under a conference table? Was that a real memory??

Diana is very tall, even in the little space, but when she ducks her head, the gesture makes her a little smaller, a little more manageable for Danny’s lower-than-usual-gaze. Now that he can see her expression, she looks soft, and even uncertain, even though she looks stone and strong on the television when she goes out to fight. “Do you like it?” she asks.

Danny fidgets.

He—does. He likes it a lot. The room doesn’t have any windows, but if Danny moved all his things in here, got used to being able to come and go, and people coming in and out…this space could be just another space. It’s quieter than the medical ward. More peaceful.

…The room is utterly devoid of other people.

(Danny thinks of The Box. Danny thinks of being in The Box.)

(Danny doesn’t like remembering The Box.)

“I am scared,” Danny admits to his twitching thumbs, his fingers itching for a fidget toy or one of his physical therapy tools. Diana’s face immediately drops.

“Why are you scared?”

I’ll be alone Danny wants to say, but he doesn’t know the word for alone and he struggled with phrasing. “No…people here.”

“That is triewe. You would have more dīegolnes here,” Diana agrees, and straightens out of her crouch. “Is that good, or bad?”

It isn’t good and it isn’t bad…? Danny isn’t sure how to phrase it. It’s neither. Being alone is just scary.

“You not hurt me,” Danny tries, knowing he’s missing some connecting word in the middle. He ignores how Diana comes back to kneel beside him, because if he looks at her, he won’t say anything. “Do not.”

“No,” Diana says, from beside and below him, gentle, careful. “We do not.”

No. They don’t. Danny swallows. “Bad…hurt me.” He doesn’t know the word for Earth or planet or even downstairs, so he just meekly points downwards.

Diana stills. It’s like watching Vlad’s Maddie cat spot a bird to hunt down. Danny tries not to feel pinned. “On eorþegearde?” she asks, still light, still gentle. Danny can hear a shadow of steel, though, and he counts himself lucky that she’s never treated him like an enemy. Danny quickly nods. His eyes squeeze shut.

“Who?” Diana asks feather-light.

Danny doesn’t want to tell them what he is. Admitting the name of the agency hunting him itself would be given in.

…But maybe if he doesn’t say the name…and they...and they promised they'd help hide him...

He wants to be right. Danny wants to be right that they're nice, and that they want to help him. Danny wants to be right that they want to protect him. As long as he never, nevernotevernever tells them he's a ghost...

Maybe someone will help him. This time.

“Bad,” Danny repeats, because he genuinely has no idea how to translate?? “Wants…hurts me? For…” WHAT WORDS DOES HE KNOW? Danny gives up and just draws a y-shaped autopsy incision on his chest. It goes down from his collarbones to his belly button.

Diana watches. Her eyes are sharp.

“Do you feel safe with the staff dunstæger in medical?” Diana is quick on the ball with the question and Danny nods quickly—he’s never alone there, and no one’s ever hurt him, and people whose job it is to help people are always coming in and out, and Medical helps them too.

“Good,” Danny whispers. “Talk…talks to me.”

“Ealne weg,” Diana affirms firmly. Whatever that means. “We will cepa you safe.”

You safe and we is all Danny needs to hear. He could probably cry by himself, but Danny wants the comfort anyway; Diana lets Danny take her hands into his, and he lets tears fall into someone else’s grip instead of his own.

*

Bruce is halfway to the monitor room before he feels himself be picked up from underneath the armpits.

Usually finding himself at inappropriate heights involves horseplay from Clark. No one else would be so bold as to actually put their hands on him within the professional setting of the Watchtower—and Bruce has worked very, very hard on maintaining a reputation that keeps the handsier of his fellows at bay.

The culprit is not Clark this time. Bruce finds himself looking downward at Diana’s tearstained face, fury and resignation warring in her expression.

Bruce is careful not to sigh. “Wonder Woman. What is the matter?”

“Someone,” Diana grits out, voice carefully modulated to cut out her own pain, “Hurt my charge.”

On the one hand, the situation with their patient is exactly as Bruce had expected. The circumstance is tragic. The circumstance was predictable.

On the other, Diana's new upset means that Bruce now has more information to work with than ever before.

Bruce can work with this.

“Tell me everything.” Bruce’s voice is just as firm—even held midair like a cat. “I will help you in every way I can.”

[bigbrotherlouis]

i would love to hear more about mcstrome 🫡

realistically i'm sure it's the age-old story of two kids end up in the same place and become best friends because of proximity and then once they leave being in each others' presence and grow up into adults that friendship fades away but there's still fondness there.

however fictionally? alexa play ribs by lorde

you are fifteen years old. you are fifteen years old and you have been drafted to a new team in a new city in a new country. you are the youngest person on your team and you are probably the best person on your team and you are eight hours from home, granted special exception to be drafted a year early into the OHL and you are proving yourself against boys two, three, four years older than you, but despite it all your team finishes almost dead last. you are rookie of the year.

you are sixteen years old. you are sixteen years old, and the second best player in the draft, the draft that should've been yours but wasn't, is coming to your team. you know him. you meet him in the summer and you're already friends, fast friends, and you've been dreaming about being teammates again. he talks fast and he's fiercely loyal and he keeps up with you on the ice and he reminds you of home. he is not your best friend yet but he will be. he invites you home during the summers and asks if you want to play street hockey with him. you come and you sit on the sidelines, already conscious of the worth of your body enough that you know this is not something you should be participating in. he doesn't care, though, captain of a team, yelling at mitch marner who is an awful goalie and keeps letting in goals, and winning that summer. you go to the beach together, pale and stretched out on the sand, and now you are best friends.

you are seventeen years old. you are seventeen years old and they have just named you the captain of your team. you're wearing the letter with pride but people are talking about you like you're the second coming of hockey jesus. they've been talking about you for a while now, but this feels like more. this feels heavy. you break your hand in a fight in november because you are, after all, still a teenage boy. you sit out and watch as your best friend lights up the ice. he is the best person out there when you're on the bench and it shows in the stats and the points. he can tell you all the stats and the points because he's good at remembering those. he says he can remember every single play he's ever made and honestly? you kind of believe him. the haunting specter of the draft covers your entire year, looming in the corners of your vision, colouring every interaction. you are good, and he is good, and there is no chance of being drafted together, no matter how much you secretly hope. the calendar is a countdown clock towards your end, but you make him promise you will stay best friends because you don't really know what you will do without him.

you are eighteen years old. you are eighteen years old and edmonton has already made your jersey even though the draft hasn't happened yet. the graveyard of first overalls and rumors of a curse after gretzky left. you're the next gretzky and you're the next coming of hockey jesus and the entire city is waiting for your salvation. he goes third. phoenix, which is the literal opposite of edmonton. you hang off of him the entire weekend before, realising that this is the crescendo. you will never be otters together again. there's little chance you'll even be teammates again, so you cling tight even as you're so breathlessly excited for the moment your name get called first. you trip off the stage in a jersey that doesn't quite fit right but has your name on the back, and quietly ask if you can watch this next pick before you go backstage. you twine yourselves in a hug when he follows behind and it feels awfully like a goodbye.

now.

you are eighteen years old. you are eighteen years old and your best friend is drafted number one overall. you always knew he was better. you always knew he was made for more, so it doesn't hurt. you're happy to follow in his footsteps because you are his best friend and nothing will ever change that. besides, third is still a good number. amazing, even. they send you back to erie but you expected that. no one makes it to the show unless they are exceptional or a team is desperate, and edmonton is both. he scores his first nhl point in his third game and you are named captain of the otters. life is good. he breaks his collarbone less than a month in, shattering his rookie dreams. he comes home to you, in erie, because no one else understands him like you do. no one knows how to manage him when he's broken and angry, but you have patience and a lot of love and loyalty. you lie in your big bed and take up most of the mattress, two grown boys in the dark, and you don't kiss him. you could, but you don't.

you are nineteen years old. you are nineteen years old and he is named captain of his nhl team, also at nineteen. he is the youngest captain in history. thirteen days later, you score your first point. a month after that, arizona sends you packing back to erie. this time it hurts. you were doing your best and it wasn't bad and your best friend is captain of the oilers and you are playing with your high school team again. they make you captain for the second year in a row, but it's not the oilers and it's not the coyotes, so does it actually fucking matter? you are determined to prove everyone wrong and so you drag your team to the memorial cup. you win and it feels like a fuck you and it is maybe the best moment of your goddamn life. your phone is quiet. you haven't had any texts from edmonton for months.

you are twenty years old. you are twenty years old and this is finally your goddamn year. except-- you go pointless in two games and arizona decides that's not good enough. you've aged out of the otters so you pack your bag for tuscon instead. you spend your winter bouncing between the nhl and the ahl, sometimes so fast it makes you sick. winter in the desert feels weird, feels barren. you lie on your floor under the a/c and deliberately do not think of the time you almost kissed your ex-best friend. he's your ex-best friend because he's got a new one up there, draisaitl who also went third but the year before you. he can keep up with him, even better than you can, because he's not being bounced up and down. you wonder if draisaitl ever wants to kiss him. you wonder if draisaitl ever has.

you are twenty one years old. you are twenty one years old and you are a draft bust. they've been calling you that for years but now they're right. arizona trades you to chicago for practically nothing, which is embarrassing, but it's alright because you've got an old otter, brinksy, there on your team. you're nothing special, but you're nothing bad either. if only you hadn't touched the hem of hockey jesus as a teenager. if only you hadn't known what greatness tastes like. when you face off against edmonton, he won't meet your eye. he slides out of the centre dot and draisaitl steps in and wins the draw.

you are twenty three years old. you are twenty three years old and you have a girlfriend now, a pretty one, and it's-- good. your team makes it to the weird-ass playoffs in august, because there's a pandemic now, and you get trapped in a hotel in edmonton. your girlfriend tells you that she's pregnant right before you leave, like right before, and you can barely care about anything else. you barely care that he is two floors below you and the last message in your texts was a happy birthday! three years ago. unimaginably, you knock him out of the playoffs on his home ice. in the handshake line, he offers you his palm and his eyes skate over you like you're a stranger.

you are twenty five years old. you are twenty five years old, and on yet another new team. that's good, though, even if he will always be so much better. your fiance asks if she should send an letter to an edmonton address and you hesitate. you are no longer friends anymore. you haven't been for years and years, even if you lie when the press ask. but you loved him, once. you loved him so much that you were part of him and he was part of you, and the teenager on a shared bed in the dark will not let you forget that. you put his name down on an envelope.

so.

you are twenty five years old. you are twenty five years old and a wedding invitation arrives at your front door. you slide your fingernail under the flap and freeze when you see the faces on the front. there's a secret you will never tell anyone, not even on your deathbed, but you think of it now. it takes up so much space in your lungs that you can barely breathe. and it hurts. your girlfriend, who you love very much finds you shredding paper into a wastebasket and asks if everything is alright. you lie. you can't imagine not lying and so she doesn't catch you at it. you tell her that you've always wanted to go to manchester, england. you tell her that you should plan a trip for the summer, and you end up on a plane to a different continent while your ex-best friend is getting married back home.

you are sixteen years old. you are sixteen years old and flat on your back at the beach, listening to the water lap up on shore. beside you, he drops to the ground to stretch out too, his bare arm pressing up against your own. it dawns on you, as consuming and as present as gravity, that you are in love with him. it dawns on you that maybe you always be.

you're the only friend i need / sharing beds like little kids / we'll laugh until our ribs get tough / but that will never be enough

[tricorderreading]

Star Trek: Planet of Judgetment foreword, by Joe Haldeman (1977)

[lizardinkart]

I know Rain isn’t Southern but he should be, and he is to me.

Because of this, he needs to get invited to a Team Barbecue at Victoria’s house. He needs to get hype all week about some pulled pork, ribs, other smoked meats, if they’re ketchup- or vinegar-based bbq sauce folks (not mustard, she’s not a heathen obv), only for Victoria’s Northern WASP ass to pull out some fuckin burgers and hotdogs.

It would be Civil War 2 Electric Boogaloo in that yard, and it would only be the second worst BBQ Victoria’s ever had.

[without-ado]

Self-Portrait l 1887 (x)

"I don't know if I'm extremely sensitive or if life is unbearable." —Vincent van Gogh

[piningpercussionist]

Kimona doodles!

I enjoy both versions, so I figured, why not?

[shalom-iamcominghome]

Is it too early for me to feel jewish rage because I'm still thinking about the rededication of a shul that two members of my shul are going to. I mentioned this in the tags of a previous post, but know why it's being rededicated to the jewish community? They had to sell the shul to the catholic church. That shul has existed for over a hundred years and a significant portion of its existence has been under ownership of the catholic church. And only now is that jewish community able to buy back their own shul. Maybe it hits harder now because I am in love with my shul, maybe it's because I know how hard it is to find a shul no matter how big the city is. Maybe I just think jewish things deserve to be with jews. Maybe I'm crazy!!

I'm just upset about it. And I know this is, like, 80% of jewish history, but it still makes me feel things.

[vaxxman]

I just had another comic idea and I refuse to start another draft about it, but Medic carrying Studentenfutter with him and just snacking it together with Archimedes-

[flowerytale]

Hans Christian Andersen, from The Little Mermaid

[diana-andraste]

Diagram from Oliver Peirce, The Grammar of the English Language (1839)

[kraviolis]

someone liked one of my TOH headcanon posts from earlier this year and it reminded me about the specific headcanons i have for exactly what types of games the hexsquad plays and how they play them.

luz is obv an RPG fantasy fan. anything with a juicy story and a character creator and complex lore she’ll love. she definitely plays series like elder scrolls and baldur’s gate and final fantasy. she also plays final fantasy 14 and has her character as the good witch luzura and she isnt good at playing it like an mmo is supposed to be played but she loves the story. when endwalker came out luz couldnt stop sobbing to the point that camila was actually worried about her. also enjoys roguelikes such as hades or binding of isaac even if she can only play for so long before getting too frustrated. she also 100% plays genshin impact and gets into arguments online with other genshin fans.

amity is a fighting game girl. she is highly competitive and practices combos with her eyes shut. she prefers the tekken series but when luz wants to play with her they play guilty gear bcus luz likes it’s art style the most. she also likes fantasy RPGs but is way more picky about which ones she plays. she likes fire emblem. she also plays ff14 with luz and is actually good at the game (she carries luz sometimes) but isnt a huge fan of MMOs. she also is the one in the friend group with the NASA ass PC rig with a custom case and the most organized wiring you’ve ever seen with the lcd screen on the liquid cooled cpu and the azura figurine inside the case. she also does custom wraps for all her consoles.

hunter likes games that are very much like, micromanagement sims. like civ5 or cities skylines or factorio (i dont know anything about it but ive been assured by my sister that hunter plays modded factorio) but he’s also a fan of like, old school FPS games like doom and half life. i can see him doing speedruns of those games. (also he 100% once got addicted to some game like fuckin. galactic pinball or something to the point where he was staying up all night and not sleeping so he could play more pinball. in order to get him to stop playing so much and actually get some sleep, gus used illusions to make hunter think he was hallucinating about pinball and scared him into not looking at a single screen or monitor for like three weeks.)

gus is a very chill gamer but he likes games that he can sink hours and hours into. instead of playing a wide variety of games he has a select few that he dedicates his time into learning every last mechanic, but there’s also some games he just plays casually. like with pokemon games he’ll put hundreds of hours into them and carefully curate his team and does like nuzlocke runs but when he plays on his and willow’s shared-custody new horizons island he’ll just walk around and catch bugs and shit and not really worry about upgrading his house and make matching fits with his favorite villager.

willow prefers cozy games, like slime rancher or stardew valley or the aforementioned shared new horizons island, but she’s also a fucking menace about them. like she goes HARD on the min-maxing and automation and shit. while gus is wandering around their island catching fish, willow’s busy rearranging her fully upgraded mansion up in the hills and harassing any villagers she doesnt like with nets and deciding what hybrids to plant in front of her bell trees (she only has bell trees for the aesthetic. gus isnt allowed to harvest them) she would also be running the most high profit slime ranch ever but the way she treats her slimes makes hunter upset whenever he sees her just fuckin throwing them off a cliff the second they arent useful to her anymore. (meanwhile hunter names each one of his slimes and always feeds them their favorite foods and cried over casey & beatrix)

vee enjoys survival/strategic horror games, like DBD, resident evil, deadspace, or even FNAF. she’s the type of person to see the goriest most violent death in a video game ever and just go “ew yucky” then carry on. masha and her are often playing DBD together while in a call and are the most annoying pair of suvivors ever. she also likes games such as original katamari and pikmin 1 and chulip. she's also the undefeated DDR champion of the friend group.

and of COURSE they all play video games together. they all have a terraria world they play on together where they all are focused on their own little projects while still working together and are slowly building up their own village/mansion/castle/fort but luz keeps rushing ahead of everyone just bcus she's so excited and she definitely somehow ends up summoning the wall of flesh accidentally

they DID have a modded minecraft world for a few months with both tech mods and magic mods but while hunter, amity, and vee all focused on their factories and computers and technology, gus, willow, and luz fucked around with all the crazy magic and accidentally found out by blowing up a factory. this is where heightened tension between the the warlocks & the scientists began. this spark eventually turned into a full fledged war that lasted two months before it ended in mutually assured destruction to the point where no one could actually load into the server without their game crashing.

bonus: camila isnt much of a gamer with one exception-- when she was in college manny introduced her to WoW and got her hooked. it was Their Game that they played together all the time. they made cosplays of their characters together. they had several dates in game. they optimized their characters to perfect compliment one another when they ran dungeons with their guild. even since manny passed camila still plays every so often and keeps in touch with their guild members. for the longest time luz has 0 idea that camila plays WoW at all and only finds out after the whole secret nerd confession.

[lttledog]

Auguries of Innocence by William Blake.

[fullofobsessions]

"Burr, when you see Hamilton, thank him for the endorsement."

Aaron, are you Alexander's letters to Eliza?

Because you just got burnt!