#interview verse

[yesimwriting]

i NEED to see Louis having the biggest crashout of all crashouts over reader. He don’t play about the people he loves in his life.

Also, Im so curious about how he reacts/talks about her without her being in the room. We know he’s caring and funny to her face, but I want Daniel to notice Louis indeed does have someone close to him in modern age and ask him about her. Will Louis show Daniel her paintings Louis has in his home? (anonymously purchased with the highest offer, just so his bestie racks in some dollars. Bc we all know bestie reader would give him her work for free)

a/n i can't put into words how much i love this. louis is so lighthearted around reader, but he becomes so deeply un-chill the second something reminds him of her mortality.

omg the interview potential is too good 😭. i love that you used the word 'notice' bc i think daniel would pick up on a vibe (similar paintings all over the penthouse, louis periodically looking at his phone and smiling, louis occasionally using phrases that feel gen-z) so when reader actually comes up daniel's like yeah. there it is.

anyways, here's a fic that explores both louis talking about reader and louis crashing out over reader and her mortality :)

----

There's something about the painting serving as the living room's focal point, and the smaller piece in the foyer, and the art work decorating the guest room. Not necessarily a style or a specific theme, but some underlying quality that conveys a sense of unity between them.

"Are you recording yet?" The prompting is small and far from an accusation. Daniel still finds himself shifting slightly, his gaze tearing away from the painting as if he's been caught staring at something not meant for him to notice.

"Uh--yes." It takes him a second longer than it should to meet Louis's stare. "That's an interesting painting."

The corner of Louis's mouth tugs itself upwards at that, not quite a smile but something that feels incredibly warm. He turns his head slightly, looking back at the painting as if to re-experience the details of it. "It's from a dear artist of mine."

Daniel's immediately thrown by the phrasing. His attention shifts away from Louis and onto Armand, whose lips are pressed together but is otherwise giving no indication of how he feels. "...An artist of yours?"

"Don't get him started." Armand's warning feels much too tired to be amused.

Louis halfheartedly glares at his companion before returning his focus to Daniel. "There's an artist, and she's..." Louis trails off, his eyebrows drawing together as he thinks through the best way to make his point.

"His very best friend in the world," Armand finishes for him, the words flat in their blatant sarcasm.

"Stop it," Louis sighs, the defense so halfhearted Daniel has to believe that this is an argument they've had regularly enough. "She is my friend, but it...it sometimes feels so much more important than that."

Okay. So Louis has a friend--an important friend--that Armand doesn't seem to like. It's hard to imagine them embracing other vampires these days, but the thought of a human girl so casually and openly important to Louis and disliked by Armand is even harder for him to grasp.

"Yes, she's like you," Louis offers after a beat, "And it's not like that. She's--like family to me." Daniel's questions are distracting enough to dull the usual annoyance he feels when Louis enters his mind. "And Armand's a lot more accepting of her than he'd ever say."

Armand's gaze flits towards Louis. His lips are still pressed together, but he's not exactly frowning, and there's something behind his eyes that almost feels thoughtful. It's not so much his expression as it is his blankness. It's a neutrality that almost feels methodical. "Clearly."

Daniel reaches for his pen. This 'friendship' seems like the kind of thing that might warrant a few rewrites of the more current chapters. He'll need extensive notes for the sake of continuity.

"So," Daniel starts, "This artist..." Louis provides your name. Daniel writes it down, making a mental note to look you up online before his revisions for the sake of accuracy. "How old is she?"

"Twenty-two." It's not the most surprising thing. They've mentioned other friends and acquaintances in passing, and they're often close to the ages they resemble...but Daniel's never seen evidence of them in their home. And Louis has never spoken so fondly of a human before.

Daniel looks at the painting again. He still hasn't been able to decipher what makes your work feel so cohesive, but he's starting to think it might be feeling. For the briefest moment, it's almost enough to make him wish there was a way to keep someone he doesn't even know away from them.

"I know," Louis says flatly, something behind his eyes briefly hardening. "But we're...careful. I ne--"

"Does she know?"

For whatever reason, the question seems to remind Louis of his fondness for you. "She knows." Daniel resists the urge to sigh. Twenty-two and willingly running around with vampires. He's not exactly in a position to judge, but it's difficult not to.

Louis relaxes slightly, his hand moving to rest against his knee. "She even knows about you."

"Really?"

"Please, they don't go long enough without speaking for her to not know anything." Another passively-aggressive comment from Armand. Still, there's relevance in what he's implying. How close are you and Louis? And why does he choose to spend so much time with you?

Daniel hums once in acknowledgement of Armand's words as he finishes writing down his last thought. "Why?" The question feels like something crafted by a very bad journalist. Daniel tries again, "Why her? What about her made you want to be her friend?"

Louis is quiet for a long moment, and to Daniel's surprise, Armand allows it to pass without any sort of comment. "When I'm around her, I can almost remember what it felt like to have sunlight touch mortal skin."

There's an affection there that's impossible to deny. If Daniel didn't think you needed to be a part of this before...

"She sounds--nice."

Louis eases at Daniel's tentative approval. "She's funny, too." He relaxes, allowing his shoulders to slouch as he leans forward. "And talented--during her gallery debut, an anonymous bidder paid a hundred-thousand dollars over asking price for her first piece." Daniel writes down the detail. "I've got more paintings I can show you later."

Daniel has a feeling this isn't as much of an offer as it is an inevitability. He agrees anyway, "Yeah, later." He turns to a new page in his notebook, writing your name at the top before drawing a bullet point beneath it. He'll need to figure out where you fit within the larger narrative. "So how did you meet her?"

----

Interviewing vampires isn't that different from interviewing humans. Not when you disregard the lack of effort it'd take them to end your life if they dislike your line of questioning and focus on the stiffness that characterizes the beginning of each interview.

When individuals, human or otherwise, are made to dissect their thoughts and memories, they tend to be slow to share until they've answered a few questions and start to feel like they're having a genuine conversation. Daniel's used to the phenomenon, used to the shallowness of the answers provided earlier in the evening. What he isn't used to, however, is Louis's irritation.

"It felt like what you'd assume it'd feel like." The answer is so nondescript, Louis might as well have not said anything at all.

Daniel's instinct is to ask for elaboration, but Louis gives him a look that feels like a warning not to. Daniel glances at his notes, thinking through his latest line of questioning. Is this...a sensitive subject?

"Don't mind Louis." Armand's responds, answering the question that Daniel has yet to ask out loud. "He's beside himself because his darling angel hasn't answered him in almost two days."

Louis turns his head to look at Armand. "I'm not beside myself." The correction is sharp, but Daniel can't help but feel like Armand might have a point. Louis straightens to face Daniel again. "It's not like her. She either answers or tells me she's going to be busy."

It's a concern that's almost unnerving to witness. "...The artist?" Louis dips his chin downwards once in silent confirmation. "She's twenty-two, she probably just forgot--"

"She wouldn't forget me." There's a harshness to the interruption that Daniel sometimes forget Louis is capable of.

"No," the response is more a result of an instinct for self preservation than a genuine attempt at agreeing with him. "I didn't mean it like that." Surprise aside, there's something interesting about Louis's defensiveness. "There are a lot of reasons for someone to not answer their phone."

Louis's quiet for a moment, his expression slowly morphing into something more neutral. He's not exactly easing, but it's a step in the right direction. After another second of silence, Louis parts his lips. Before he can actually speak, he's interrupted by the ringing of a cell phone.

Louis picks up the phone from the couch. He accepts the call so immediately, Daniel already knows who's on the other end. "Give me a minute," Louis mumbles as stands up.

Daniel sighs, leaning forward to pause the audio recording. At least Louis has a reason to come back in a better mood.

----

"No texts, no calls, you turned off your location--"

"I didn't want you to freak out."

The response only amplifies Louis's irritation. You didn't want him to freak out. What do you think he's been doing for the last day and a half? And what could possibly be so bad you needed to cut him out completely to keep it a secret?

Louis resists the urge to scoff. "What happened that was so bad you needed to keep it a secret from me?" The words are sharper than he usually is with you, and his phrasing isn't exactly fair, but he's not feeling very patient right now.

"It's not a secret--I just needed a second to deal with it before telling you." The vagueness only annoys Louis further. "I hurt my wrist." You pause, thinking through your wording, "I was out with a friend, and someone tapped the back of his car and I instinctually put my hand on the dash, and the pressure snapped my wrist."

What. "You were in a car accident?"

"No, it--" You cut yourself off with a partial sigh as you think through how to proceed. "It was a total fender bender. Josh's car isn't even totaled."

That's nowhere near as assuring as you think it is. "Thank God for that. Your arm's broken, but Josh's car is okay."

"My arm is fine." The defense means very little to him. "It's only my wrist." Louis rolls his eyes at the technicality. This is what he gets for leaving you alone. "But it's in a cast now, and in four to six weeks it'll be off."

The thought of you existing in New York by yourself, even more vulnerable than usual leaves a pit in his stomach. "I'm scheduling a flight."

"You don't need to do that." There's nothing surprising about the protest. "It's not a big deal, I've been checked out and the only thing wrong with me is my wrist." When Louis doesn't respond right away, you continue, "A lot of people break things."

Louis has never liked that kind of argument. You're not meant to be lumped into such a general category. "Those people aren't you."

The directness of the comment seems to soften you. There's a moment of hesitation, and then a reluctant sigh. "You're busy, you've got your book thing, and Armand--"

"If he has a problem with it, he can come, too." This should be enough to make the suddenness of their trip seem a lot less dramatic to you. Armand and him visit you semi-regularly, and they are over due for a trip. The thought of Armand being there might even be easing to you.

There's a brief stretch of silence, and then a careful, "You guys don't need to stop everything because I'm accident prone."

It'd be fair to argue that this isn't a result of your clumsiness. You were in someone else's car, and they weren't paying attention to the roads enough to keep you safe. Josh--you've mentioned him a few times in a variety of contexts, and Louis has yet to find a reason to be a fan. But that doesn't matter right now.

You're alone and even though you're not complaining, Louis can't help but imagine the pain you're probably in. You don't need to be lectured, and you don't need to hear anything that might make you worry about Josh. After a moment, he offers you something small, "Not your accident."

He wonders if there's a chance that you're injured in any other way. You said that you only broke your wrist, but that doesn't mean the accident didn't result in any superficial injuries. "Thanks." The word feels small. "I didn't call during a bad time, did I?"

Louis briefly thinks of Daniel and Armand waiting in the living room. "It's never a bad time to hear from you. Even when you're calling to tell me you've been in an accident."

"I considered texting, but I didn't want to give you a heart attack." He can hear the smile in your voice. "I really didn't like not talking to you."

It'd be easy for him to hold onto his worry, onto his anger, but he can't stand the thought of you being physically and emotionally wounded. "I didn't like it either." It didn't take much to hide this from him. There are so many ways in which you could be hurt, in which something could happen to you that he'd have no way of knowing about. "I also don't like the thought of you all alone."

There's the briefest crackle of static and then a soft sigh that feels like a yawn. "You sound like my mom."

"She's not wrong."

You sigh, the sound so familiar in its exasperation Louis is almost comforted by it. "You two have been on each other's side since Christmas."

The memory of meeting your mother when she came to visit you during the holiday season is one he's extremely fond of. It had been a brief shift, a small window into who you were before him, but everything about it had made him feel so normal. "I can't help that she's always right."

The crackly hum of movement briefly returns. Louis can picture you adjusting your hold on your cell phone. The thought is so tangible it only adds to the weight of your absence. "Why don't you come here?"

"Really?" He can hear the excitement bleeding into your voice. You recover quickly, the gentle static of movement briefly taking over the other end of the line. "You--you think that'd be okay? You have that writer over, and you're doing your--"

"Daniel's fine." In all honesty, Louis isn't sure if Daniel will mind another person around, but it doesn't matter. Injured or not, he can't imagine ever telling you to stay away from him. "He may even want to ask you a few things." That's true enough. Daniel was intrigued by the thought of Louis having a mortal friend. You'd be a good way at rounding out the modern era.

You're moving again. It isn't difficult for Louis to imagine you in your bedroom or on your couch, a heavy throw blanket on your lap. "I get to talk about you to a journalist?" The words are much too amused. "I'm going to tell him about the--" You're interrupted by your own laughter. "The club in Milan, with the LSD guy that smelled like--"

"Don't," it's a halfhearted attempt at stopping you, "We said we'd never tell anyone about that."

"I don't know, I think it's a story that deserves to be immortalized."

It's only an expression to you, but the reminder of the concept of permanence tarnishes the little peace the conversation has managed to bring him. Without intervention, you'll eventually vanish and leave him the sole holder of your shared memories. If he's not careful, that day might come sooner than it needs to. However, with intervention...

He pushes against the thought immediately. The prospect of turning you, of separating you from your soul for the sake of keeping you here is one that he only considers when he is at his most selfish.

Besides, he doubts he'd be able to bring himself to turn you himself. Armand is repulsed by the idea of having a fledgling, but there's a chance that he'd come around to the idea if you were the one to ask him. For all of his complaints and your shared bickering, something about the way that Armand never attempts to retaliate against you makes Louis think he might have a greater soft spot for you than he'd ever admit to.

Still, if Louis is allowing himself to imagine a completely self indulgent reality, the thought of Armand turning you doesn't fully fit into his ideal version of your transformation. Not when Armand's blood doesn't flow within his own veins. He banishes this thought more immediately than the last.

"Maybe I could be convinced to let you share that story if you agree to something."

You sigh in a way that's so incredibly telling. "You're not flying to New York to help me fly to Dubai."

Louis's not sure if he's more amused or irritated by your ability to read him. "I don't like the idea of you traveling by yourself, especially with a broken wrist."

He can practically feel you rolling your eyes. "It's this or no trip."

Louis doubts that you're extremely firm in this position, but he's willing to let you have a win. "You wouldn't do that to me."

You yawn, the sound low and tired. "Tough love."

"I'm not keeping you up, am I?" It's not particularly late, but there's a chance your body's exhausted. He'll have to read up on human injury before you get here. "You sound tired."

"The doctor gave me some pain killers for my wrist, and they make me kind of drowsy."

Great--you, all alone in your apartment, with a broken wrist, and painkillers in your system. The sooner Louis can get you here, the better. "You should get some sleep, I'll send you the flight information as soon as I have it."

"Okay." Your lack of questioning reveals more about your drowsiness than your words ever would. "Do you want me to send you my credit card info?"

"I've got it."

You let out a small breath that indicates resistance. "Louis."

There has to be a line somewhere. "It's this or no trip." He means the echoed phrase as much as you meant it, and Louis is convinced that you can that you can tell.

His hollow threat works. After a second, you give in with a small, "Okay." Wow, you must be more tired than you're letting on. "How long should I pack for?"

Louis isn't in the mood to think about your eventual departure. Fortunately, there's one topic that almost always works as a distraction. "Pack light, we'll go shopping when you get here."

"You so get me."

Louis smiles at that. "I know." The silence that follows feels a little less like a choice on your end. "Get some sleep, I'll send you the flight details tonight and I'll call you tomorrow." And then, just because he's not ready to let go of all his worry just yet, he adds, "Please answer."

"I was trying to spare you."

He doesn't doubt that at least some of your motivations were noble, but he also knows you, and he knows how you feel about his general wariness of the world around you. "That was the opposite of sparing me."

"Fine." You let out a breath, and Louis can practically feel you rolling your eyes. "My beloved Louis de Pointe du Lac, I promise to never intentionally ignore your calls again." The sarcasm in your voice isn't enough to taint the sentiment. You really do mean it.

Louis is nearly overwhelmed by his fondness for you. Things will be better, easier when you're here. "That's all I ask." You're quiet in a way that makes it impossible to not feel your drowsiness. "Goodnight, love you."

"Goodnight," you echo, "Love you. Tell Armand I said 'hi'."

"I will," he says, "Now get some sleep."

You mumble a response he can't fully make out before hanging up.

----

It's earlier in the evening than Louis wants it to be.

You're asleep in your own apartment, but it's difficult to not think about things much more gruesome than that. You kept the accident from him so easily, and you're at a greater physical disadvantage than you usually are.

You're also alone, not that you're safer when you're with others. The thought of the boy that allowed the accident to happen only adds to Louis's irritation. Josh. Josh, who crashes vehicles. Josh, who must have done something to make you think the accident was your fault in some way.

Louis pushes against the feelings. Josh, the details of the accident, the state that you're in. There will be time to deal with all of it later. He just needs to get through tonight. You'll be here tomorrow.

"It's still early," Louis's words are sulkier than he wants them to be, "We could go out for a bit."

"If you want to." Armand's response is slow and almost painfully nondescript in a way that suits the way he's been all evening.

Louis lets out a partial scoff. "What is it?" Armand angles his head to the side slightly in a display of synthetic confusion. "You've been passive aggressive all evening. What is it?" Armand doesn't respond. "Was it my worry? The phone call? The fact that I can't leave her alone like that?"

"You shouldn't have left her at all." The response is surprising enough to briefly silence Louis. "I told you it was only a matter of time before something happened to her."

The novelty of Armand almost expressing concern over you fades, leaving an unstable irritation in its wake. What right does Armand have to accuse Louis of abandoning you? Maybe if Armand didn't treat you like a puppy he didn't want, you would have wanted to live near them. "I didn't leave her--she chose not to move."

"You could have tried harder."

Louis blinks, his surprise clouding the potential anger. "Maybe if you didn't threaten her after every comment."

Armand's eyebrows draw together as if the possibility of you not enjoying your halfhearted spats had never occurred to him. "I have never once attempted to hurt her."

The distinction means very little to Louis. It's a statement that doesn't need to be made, because if Louis had sensed so much as an inkling of actual malice towards you on Armand's end, Armand would have never been allowed to be alone with you.

"We're different than her." The words are directed at Armand, but Louis's thoughts still latch onto the ways in which they apply to him as well. "After awhile, it has to be off putting to always be reminded of that."

Armand notes the thinly veiled self hatred immediately. As exhausting as it is to constantly hear about the poor saint cursed to be surrounded by such vile creates, it's even more draining to watch these sentiments impact Louis...and you.

He stands from his spot on the couch slowly, approaching Louis with slow, measured steps. "If you believe she's afraid of either of us, you are severely underestimating her."

Louis eases, the corner of his mouth tugging itself into something that comes close to resembling a smile. "You're not wrong about that." Armand extends an arm, placing a comforting hand on Louis's shoulder. Louis reciprocates the gesture, his hand coming to rest against Armand's forearm. "It's just hard not to worry."

To Armand, the response is a painful understatement. Louis worries about all that could happen in his absence, he worries about all that's wrong about his presence. Things would be so much easier if he'd get over the paranoia of 'ruining' you.

"You wouldn't have to worry so much if she was here more." Armand drags his thumb against Louis's shoulder. "Maybe this visit should be a little longer."

Louis's expression softens at that. "I'll do what I can to keep her here while she has a cast." He's never once asked you to leave, but he's aware of the temporary nature of your visits. You start missing your home and the access to whatever you need to create whatever you want. "But she starts to miss her home, and her studio."

"There's space here," Armand offers carefully, "You could give her a room." Louis's eyebrows pull together at the suggestion. "You're different when she's with you." Armand continues to trace patterns against Louis's shoulder. "And it's important we preserve that."

Louis's eyebrows draw together again, his confusion a little sharper this time. "Preserve it?"

"Human emotions are fleeting. The more time she spends away from you, the more likely she is to find more permanent relationships." Armand doesn't have to meet Louis's gaze to know that the implication has served its purpose. "And if she finds other people, falls in love and gets married, you can't expect things to stay the same between you."

Armand squeezes Louis's shoulder a little more firmly, a gesture meant to convey something comforting. "As your companion, I'm capable of grasping your relationship and even then, sometimes it's difficult to accept. Do you think some human boy would have the same patience? The same understanding?"

Louis frowns. Worrying about losing you to your mortality is a simple thing, but accepting the fact that he could just as easily lose you to change is nowhere near as easy. "I'm--I'm not going to make her do something she doesn't want."

Armand has to work at keeping his expression neutral. Louis's obsession with your free will is often a limiting thing. "Then we'll make sure she wants to."

----

manipulation is a love language, i promise <3

[ohmyoldheart]

PLEASE 🙏 I FORGOT TO POST MY LAPTOP STICKERS, HOW COOL ARE THEY!!!! 🥳

[bogboy-armand]

Daniel being a bit snarky and bitchy calling Armand a twink to see what happens. Armand being pedantic and also a little behind the times. "I am not a teen, i am not white and i am in fact in to several kinks"

[livwritesstuff]

Tommy POV, wc: 2890, full version on ao3

Tommy Hagan is not jealous of Eddie Munson.

He’s not.

There’s nothing to be jealous of, in his opinion, and Tommy probably wouldn’t be thinking about him at all if Eddie wasn’t the most publicly well known member of his graduating class – well, he hadn’t actually been in his graduating class, Tommy supposes.

They had been seniors at the same time, though.

If Tommy happened to be jealous of anything – and that’s a big if – it would probably have something to do with the famous thing. Everyone has a small part of them that wants to be famous at least in some capacity, he’s pretty sure, even if Eddie isn’t really, truly famous – not like the red carpet celebrities. He’s a writer. Even the most well known writers never get all that much attention, but Munson has his own Wikipedia page, and that’s more than anybody else from Hawkins, Indiana can say. Hawkins itself barely even has a Wikipedia page, and it’s only because of all the atrocities that happened in town in the mid-eighties.

Tommy hadn’t been around for the end of it all – the earthquake-slash-serial killer situation that never made any sense to him. He remembers his mom calling him at his college dorm when the deaths first started. He remembers her asking, “You went to school with that Munson boy, right? Do you think he could do something like this?”

And Tommy had been twenty and a total moron, so he’d said some dumb shit like, “Yeah, he’s into freaky stuff like that. Somebody should’ve put him on a list ages ago,” even though four years of experience told him that Eddie was all bark, no bite. Tommy hadn’t been surprised at all by the statements that later came out clearing Eddie's name, and by then his parents had already high-tailed it out of Hawkins so it all sort of became irrelevant to him.

Tommy never even returned to Hawkins one single time after he left for college (barring his high school reunion, obviously), and twenty years after graduation, he doesn’t really think about those years all that much.

He doesn’t love the person he’d been in high school. He was whiny and immature and had his priorities all messed up. Most of the memories he has of his teenage years, he looks back at and cringes, feels a whole lot of shame and embarrassment, but also some pride at how much he’s grown over the last twenty years. He also knows he’d been kind of a dick in high school, but that he’s less ashamed of. It’s normal, he knows, for kids to be mean, that it’s a standard response to being untreated kindly in other ways. Like, his dad had been an asshole to him as a kid, always on him about his grades and his smart mouth and how he’d no longer been a standout on any of his sports teams after starting high school, and Tommy had coped with that by poking kids beneath him at school. 

It’s just the pecking order of high school. It’s normal.

Even now, when Tommy’s son had dealt with some pricks in the year above him shoving him around, he had come home from school and tormented his little sister for a while – it’s normal, no matter how much his wife had tried to convince him it was something that needed addressing. It’s just kids being kids. They grow out of it eventually, just like Tommy had.

Occasionally he wonders where the kids he’d spent all those years with in the Hawkins public school system had ended up, but these days the internet makes that pretty damn easy to figure out.

He’s learned Tina got married and had kids real young. She still lives in Indiana. Carol, who he’d split up with before heading off to college, lives in Alabama now and she’s got kids and a husband too. Jonathan Byers is a photographer in California – Tommy isn’t into all that art-y crap, so he has no clue if he’s any good, but he definitely recognizes some of the organizations he’s worked for and if that’s any indication, Tommy would wager he’s not too shabby. No wife, though, he noted, so he’d either been right about Byer’s being a queer, or women just found him repulsive (admittedly, Tommy leans more towards the former – he’s a photographer). Tammy Thompson still lives in Tennessee, though it doesn’t seem like she does music anymore (husband, kids, blah blah blah). 

If he’s honest, the only person Tommy is actually interested in tracking down is Steve Harrington, and he’s the one person Tommy can’t find a single trace of online. No MySpace, no Facebook, no weird blog thing, nothing.

Vaguely, he wonders if Steve might be dead. A truly massive proportion of Hawkins had died over just a few short years in the mid-eighties. Maybe Harrington was one of them.

Tommy doubts it. 

He would have known. 

Steve’s parents would have made sure everyone knew if their son had died. Funnily enough, Steve’s mom is actually on Facebook, and pretty actively too, but there’s no sign of Steve anywhere on her page. 

He hadn’t even shown up for their high school reunion in the winter of ‘04, which is odd because Tommy had been certain he would.

He doesn’t obsess over it – he really doesn’t. It’s just a thought that pops into his mind every now and then – where the hell is Steve Harrington?

In the late spring of 2007, he gets his answer.

“Tom,” his wife says, “That guy from your high school is on the cover of this magazine.”

He knows without asking for clarity that it’s Munson – no other person makes sense – and when he eventually gets his hands on the magazine, he finds that he’s correct.

Eddie Munson is on the cover of a magazine because, apparently, he published another book. 

Truthfully, Tommy already knew that. 

It’s his fourth book (which, for the record, Tommy hadn’t known until he knew it because it’s not like he’s keeping tabs on this guy or whatever), and it’s been getting a whole bunch of mainstream attention after a controversial landing on the top of all those book charts Tommy doesn’t follow despite featuring a gay love store amidst all his normal fantasy crap. It sparked a whole debate about banning books and everything (dumb, Tommy knows, because if he learned anything in business school it’s that if you really don’t want something to exist, the best thing you can do is not funnel money and attention into it). 

Tommy does, in fact, watch the news so he’d already caught wind of all this – it’s part of the reason he can’t shake the guy – and it’s why Eddie Munson is on the cover of this magazine (because, seriously, nobody gives a shit about writers until it hits the news).

He allows himself a moment to look at the cover, to look at Eddie, who apparently goes by Ed now. Tommy is loath to admit it, but he looks good. His hair is normal and he’s grown into his frame, not all long and lanky and gangly limbs like Tommy remembers from school. He looks well-fed, confident, happy.

He looks good.

Tommy thumbs through the first few pages of the magazine until he reaches Eddie’s interview, and, again, he allows himself to look over the photo of him that takes up nearly three-quarters of the first page even if he has no intention of actually reading the article itself because, again, Eddie looks good (and maybe there’s something about the scruff of facial hair along his jaw that Tommy's eye gets stuck on). Tommy’s allowed to say that men look good when it’s true – it’s 2007, as his wife likes to remind him whenever it’s convenient for her, and if she’s allowed to say that Angelina Jolie looked good in that CIA movie, then Tommy is allowed to say that Eddie Munson looks good here.

When Tommy flips to the next page, he’s met with a photo that stops him in his tracks, has his feet frozen to the floor because –

Jesus Christ, that’s Steve Harrington.

Fuck, okay, so he’s reading this fucking article.

It takes Tommy a long time to get through it, honestly. Eddie comes out in the article, which might be a big deal, might not (and he doesn't care to be enlightened, thanks). He keeps getting distracted by the pictures scattered throughout it.

The pictures of Steve, mostly.

Because, well, if Eddie Munson looks good, Steve…

Steve looks alive.

Tommy didn’t realize it until this exact moment, but Steve had existed in his head for the last two decades as the eighteen-year-old he’d been the last time they were in the same room together. It hadn’t exactly occurred to him that Steve’s been aging this whole time too, just like Tommy has.

It’s undeniable that Steve is older. 

His hair is starting to go gray at his temples (it’s the only thing that’s changed about his hair since he’s still styling it the same as he did in high school – because why mess with a good thing, Tommy supposes) and he’s got just the hint of crow's feet around his eyes when he smiles. He’s smiling in all the photos – every damn one – and it has Tommy struck by how unbelievably happy Steve seems. It’s an effect that somehow both takes years off the age Tommy knows he is and shines a light on just how good those years must have been for him. 

There’s no solo shots of him like there are for Munson – though according to the article, it's actually Harrington now – and only half the photos are in color. The rest of them – the more candid ones – are smaller and left in black-and-white. 

The one that caught Tommy’s eye first – because it was meant to, he’s pretty sure; it takes up half the page – is right in that sweet spot between staged and candid where Steve and Eddie both know that they’re being photographed even though neither of them are actually posing. Eddie is grinning at Steve in a wicked way that still feels familiar to Tommy even two decades since he’d last seen it on him (probably swaggering around the cafeteria like a total jackass – not that Tommy would know anything about that). Steve is grinning right back at him with a smile Tommy doesn’t think he’s ever seen before.

Or maybe he has, but not on this version of his face, not since Steve was as young as his oldest daughter.

Just as the author of the article said, the photos don’t show the faces of Steve’s children, either leaving them artfully out-of-focus or choosing shots where they’re turned away from the camera, but they’re still present, and it makes the whole spread almost feel like a photo album in a way, like it should be private but instead was published for the whole world to see.

Steve has three of them – kids, Tommy means. He didn’t know that Steve was a family kind of guy. It makes sense though, when he thinks about it. Steve’s parents were kind of a nightmare — present in the worst ways, and absent in the worst ways too (though it hadn’t seemed that way when Tommy was a teenager looking for a failsafe party house). He'd always felt kind of bad for the guy. Like, Tommy's dad had been a total piece of work, but they'd at least been around, and he'd stuck around long enough for them to sort out their issues at least most of the way, and these days he's a pretty kickass grandpa to Tommy's children.

Tommy wonders about Steve's parents now, wonders if they maybe came around like his own parents had, but then he remembers Mrs. Harrington's Facebook page and how there's not a damn trace of her son on there, never mind three grandchildren.

Tommy isn't sure he wants to touch that.

Steve is probably a really good dad, Tommy decides. He’d been kind of that way when they were friends — Steve used to say he wasn’t all that bright, but he always had a freaky sixth sense for reading people, for caring about them in exactly the way they needed.

There's one photo where Steve is managing to holding his youngest daughter — a tiny little baby still — and her bottle in one arm (that's a level-three dad hold, Tommy knows). The bottle is angled in a way that obscures her face, and Steve's other hand is being tugged on by another daughter, this one with a mop of curly brown hair remarkably similar to Eddie's when it was still long.

That's another thing Tommy won't let himself think about, (because he knows if did he'd start wondering if any of those kids were half-Steve).

Anyways, Tommy doesn't need glance to see that Steve wears fatherhood like a favorite sweater.

There’s something about this, about seeing these pictures, about the way Tommy is getting an answer to that question he’s had for years about where his childhood best friend has been all these years, that is making him feel like his ribcage is being split open, bones splintering and shattering as everything vulnerable inside his chest in suddenly out for display.

He probably should feel uncomfortable, right? Like, a guy he’d been seriously close to growing up — sleepovers and gym locker rooms and all that shit — had turned out to be gay. If his own son came home from school saying that his best friend came out or whatever as gay…well, again, it’s 2007, and Tommy doesn’t think his wife would allow him to denounce the friendship entirely, but there certainly wouldn’t be any sleepovers anymore. He thinks that’s pretty reasonable.  

What was the likelihood that Steve had been, like, into Tommy?

And that should be an uncomfortable notion too, and in a sense, it kind of is, but not necessarily in the way he would expect. 

He just doesn’t understand why all this feels so much like a loss because he knows that he hasn’t really lost anything – not since he got his hands on the magazine, anyways. Steve Harrington hasn’t played any sort of role in Tommy’s life since their final falling out in 1984, and as far as he’s aware, having a falling out with a close friend is pretty much a guaranteed part of growing up. His wife even experienced something similar when her own grade school best friend suddenly stopped answering calls and stopped reaching out after they’d started college – and his wife is basically the nicest person Tommy has ever known, so…it happens to even the best.

It’s just…Steve had always continued to exist in Tommy’s life in a way, even if he wasn't physically present, and maybe Tommy had figured it could be the same for Steve too, that maybe he sometimes wonders where Tommy is, wonders what he’s up to.

This article and these photos makes it pretty fucking clear that Tommy doesn’t even exist in the same galaxy as the life Steve is living.

And that’s not to mention the Eddie fucking Munson of it all.

Tommy had been kind of ignoring the Eddie of it all until he couldn’t ignore it anymore, because he doesn't care about Eddie Munson.

He'd never cared, but he'd spent years seeing the guy's face and his name everywhere, and now it feels like a sick joke, like he's the piece of Steve left in Tommy's life.

If the article is accurate (and he has no reason to believe it isn’t), Steve and Eddie have been together for longer than Tommy has even known his wife. Steve has been with Eddie for longer than Steve was ever friends with Tommy – not by a lot, but still more. That’s a long fucking time, and it’s clear as day on both of their faces that they’re just as in love with each other fourteen years in as they were on day one.

It’s not just Steve, and it’s not just Eddie, and it’s not one more than the other. It’s both of them.

There’s one photo in particular – a small black-and-white one that keeps pulling Tommy’s attention.

It’s another candid shot, taken from a bit of a distance. In it, Steve has Eddie boxed in against the counter in what has to be their kitchen. Eddie is leaning back against the edge of the granite countertop and looking at Steve with something sappy and fond on his face, and Steve’s hands are this close to grabbing Eddie’s waist as he looks at him the exact same way.

It’s shit out of a fairy tale or something, and sure, maybe someone could argue that they’re laying it on thick just for the sake of the magazine or whatever, but Tommy knows Steve Harrington and that look on his face is more real than Tommy had ever seen in all the years he'd known him.

So maybe Tommy has a reason or two (or three or four) to be jealous of Eddie Munson.

[syndrossi]

I keep telling myself "just one more part of Regret AU, and then it's back to Resonant and the buffer..."

Behold the first stirrings of the Daemon-Willam team-up.

“Nor do you know what sorcery was worked upon me,” Prince Daemon said. Willam shook his head. “I do not. I saw the glow of the candle, but that was all. I can only guess that it worked as it did with the children: you were drawn into a trance of some kind, and they were able to separate you from your dragon.” Their sorcery is designed to ensnare dragonriders. That seemed the most logical explanation. Felydas had confided to him that he too merely found the candle disconcerting. “The warlock must die first, then,” the prince growled. “I agree,” Willam said, “but he is well-guarded at all times. We will require more than mere surprise to ensure our success.” Willam would likely get but one chance. If they failed, the Volantenes would almost certainly strive to keep Prince Daemon in good health, but they would not hesitate to cut him down. And without Willam, it would be all too easy for the Volantenes to keep their royal prisoners subdued.

[bronzeriot]

One of my favorite traits of Louis’s is when he turns full doe eyes, that nose rub of destruction and begging while being manipulative. He def uses bottoming as a tactic to get these vampires to what he wants.

Helen of Troy

[stars-dust1]

benji and sybelle doing that tiktok trend of giving parents a list of brainrot words to say out loud with armand

[hainethehero]

Omega Louis de Pointe du Lac fics

I'm genuinely tweaking rn because WHY ARE THERE ONLY 14 (FOURTEEN!!!!!!) OMEGA!LOUIS FICS?????

How can anyone look at this face 👇

THAT FACE 👆

AND NOT THINK BEAUTIFUL SUBMISSIVE SWEET OMEGA BOY WHO IS IN DESPERATE NEED FOR A CAPABLE AND VIRILE ALPHA (see the rat king Lestat) TO BED HIM DOWN AND MAKE HIM A MOMMY AND GIVE HIM BABIES?????? LIKE, howwwww???? The entire show - matter of fact- even the books paint a very good story of how very omega-like Louis is.

THIS IS WHAT'S WRONG WITH SOCIETY!!

[waywardangel-wilds]

I'm really milking the Katniss-is-short thing:

“That’s her?” The boy with dreadlocks whispers to his friend. He tugs somewhat nervously on the red vest of his grocery store uniform. “But she’s… short.” “Remember those videos from Mr. Drysands class? That’s her!” the other boy, the one with the face full of acne, insists. “She shot down that hovercraft like it was nothing.” She hastily turns away, throwing Peeta’s toothpaste for sensitive teeth into her shopping cart and hustling down the walkway in the opposite direction. They’ll just have to live without milk for the week. She’s leaving.

[paintaboveyourbones]

Them : Book Louis is boring! He’s so bland! Match Armand and Lestat’s freak? He could never!!

Meanwhile, Book Louis :

[yesimwriting]

Phantom Lurking

A/n This is a story set in the bestie reader verse that I briefly mentioned in an ask, but there's no specific context needed outside of the fact that reader and louis are extremely close best friends

Warnings: nothing too crazy (especially when compared to the source material) but there's mentions/implications of someone putting something in reader's drink but, within the fic, reader is never actually in danger of being physically hurt, reader feeling sick/anxious, Armand being emotionally manipulative as a way of expressing affection

Summary: After an argument with Louis, you decide to go out with an old friend. Once you're home again, you're forced to deal with two realizations. The first is that you feel a lot worse than you should, and the second is that Armand isn't the worst at being helpful when he wants to be.

----

The world feels flat, like one of the three dimensions you're used to being able to perceive has slipped into nonexistence. You frown, letting the thought inch its way up your spine.

You blink. Once and then twice, as if the familiarity of the gesture will be enough to remind you of what you were doing--of the reason for the phone in your hand.

"Woah," the voice is sharp enough in its happiness to jab at your stomach. You lift your head, ignoring the rigidness of the movement as you look to the source of the sound. Grace--your friend, Grace. A part of you is almost complacent enough to be eased by the realization that she's here. "You look so sad."

You can feel your eyebrows draw together. Do you? And then, as your fingers tighten around your cell phone, a second thought latches itself onto the first: Are you?

"Don't worry," she says, voice so chipper it almost stings. "He'll be over it tomorrow."

Right. On instinct, you let your head fall downwards. You unlock your phone, eyes narrowing at the screen's brightness as you open your messages. No new ones. Just the last texts you managed to send to Louis before you started feeling too nauseous to type: Not feeling. Okkay.

The lack of response presses itself into your lungs, making it impossible to breathe right. Louis was upset , but you can't imagine him ever being mad enough to not text you back. "But Louis answers."

Grace watches you for a second, her head tilting curiously at your phrasing. "Maybe he's sleeping." When the suggestion doesn't seem to sway you, she places a hand on your bare shoulder. Your mind is aware enough to acknowledge the intentions behind the contact, but her skin is so warm and sweaty against yours it's nearly nauseating. "It's late."

Louis keeps different hours than the general population, but that's not something you can fault her for not knowing. Besides, maybe it is so late that the night is morphing into morning. It wouldn't be the first time you and Grace lost an entire night to partying, and it would explain why you feel so incredibly out of it.

And...if Louis was really upset, he might have gone to bed early. He mentioned once that sometimes vampires enclose themselves in their coffins to avoid dealing with discomfort. It sounds deeply dramatic to you, but it's possible he's doing something similar.

You exhale, nodding so slowly the motion feels like more of a caricature of a human response than anything else. She laughs, the sound full in its certainty. Your stomach doesn't know how to digest her easiness.

"You'll feel better tomorrow." Grace's hand pulls itself away from your arm. "Okay--keys." When all you do is stare at her, she sighs. "First, I have to stop you from going home with that weird guy you met while waiting for the bathroom..." She trails off as she reaches for your purse. "And now you don't even remember where you are."

Hm. Grace's chastising gives you something to focus on. You blink, lifting your gaze as you glance around the building. The pale walls and warm lighting are familiar...this is your apartment building. How did you get to your apartment building?

Grace rifles through your purse, the contents of your bag clinking together as she searches through it. After a second, she seems to find what she's looking for. She turns away from you and towards the door.

"Okay," she hums triumphantly, "We're in."

You take the words as a sign to step forward. Your thoughts don't align with your movements. The delay is enough to make you stumble, your foot missing the base of your heel.

Grace is next to you in a second, her hands latching onto your arms to keep you stable. "How much did you drink?" The question lacks her earlier amusement.

You're not sure you're meant to respond, but you think about it anyway. It didn't feel like that much...but you don't exactly remember every moment, every drink--and you were mad at Louis.

She watches you for a second, her eyes wide and much too focused. "Are you okay?" It's a question your mind refuses to dwell on. Of course you're okay. "Like--okay to be left alone."

"Mhm," the answer feels hollow, "Yeah." Grace continues to stare, her lips pressed together in a way that conveys her uncertainty. "I'm just gonna go to sleep."

She studies you for another beat, and then sighs, "Okay--but straight to bed. And no more texting." Easy enough to follow. Grace lets go of you slowly. "And maybe try to drink some water--and--and try to sleep on your side."

You nod blankly, your hands reaching for the door in front of you. "Water, side, no texting."

Grace sighs as she walks forward. "And call me in the morning, okay?"

You squeeze the side of the door in an attempt to feel more stable. Tomorrow morning feels so far...so impossible. "Okay. Yeah."

She turns her head to look at you one last time before continuing down the hall. You step into your apartment before shutting the door behind you.

The darkness of your apartment immediately pushes itself to the front of your mind, blending into your unease in a way that's dizzying. You exhale, letting your weight rest against the door. You shut your eyes, inhaling as you force yourself to focus on the concrete. The ground beneath your feet is steady, the wood against your back is stable.

"You turned off your location."

The tension that takes over your body is so sharp, so heavy it briefly leaves you paralyzed. You open your eyes, pushing yourself further against the door.

Wait. The voice. You know that voice. The recognition doesn't ease you until a familiar figure pulls itself away from the shadows enshrouding your living room in darkness.

"Oh my god," you manage a second too late, the words devoid of the necessary bite needed to turn the phrase into a warning. "I thought you were a serial killer."

Armand doesn't care about your reaction. He just continues walking towards you with slow, even steps. Your mind is too foggy for his theatrics. "What..." Your questions feel too inadequate for you to make them mean anything. "Is Louis--is he okay?"

He stills at that, but it doesn't really matter. He's close enough now that the darkness isn't obscuring his features. For a moment, you think the question might have softened his expression. "Now you can find it in yourself to worry about him? After the way you spoke to him?"

Of course Louis told him. The haziness clinging to your thoughts has turned everything into sludge. Your lips part, some barely coherent defense-apology hybrid attempting to crawl its way up your throat. All you can manage is a slurred, "He was--dramatic, and I--" You push a hand against the door in an attempt to make yourself stand on your own. "I'm sorry." You're not sure why you're apologizing. It's not like Louis can hear it.

Armand continues forward. You don't think about where he might be going until you feel his hand on your arm. He's a lot less careful than Grace was, but something about the feel of his skin against yours is also a lot less overwhelming. If anything, the coolness of his touch is almost alievating.

"I don't--" You're not sure there's much point in explaining anything. Not when the only thing tethering you to consciousness is your nausea. You can't remember ever feeling so separate from yourself. "I don't feel good. If you're gonna lecture me, do it tomorrow."

Tomorrow. It feels more like a concept than a date. Things would be so much better if you could just fade out of existence until then.

Armand pulls you away from the door. Your limbs are too stiff to protest. His eyebrows draw together, and something behind his expression shifts. "I'm not here to lecture you."

"Then why are you here?"

His thumb moves out of place, brushing against your skin soothingly. "After your argument--Louis came back to me, he told me about what you said, how you treated him, and then he went to bed. Hours later, you sent him a message saying you didn't feel well..." He squeezes your arm a little tighter. "And you turned off your location."

It had been an extremely petty move, but in the moment, a few drinks in, it had felt so reasonable. If Louis was going to see you as fragile, you'd have to show him that you felt no interest in being looked after. "I was mad."

"And now you're experiencing natural consequence." His hold on you morphs into something that borders on uncomfortable, his nails pressing into your skin. "Do you know what people see when they look at you?" You can't do anything but stare at him. "You refuse to acknowledge your vulnerability, and then you stumble home like this."

Okay--you're drunk, but not--not horrible. You’re standing (mostly), and you haven't said anything weird to him. "You're not clueless." The words almost feel like a compliment. "How much did you have to drink?" You don't have an answer. "You don't know? Because I've seen you with Louis, and even when alcohol makes you sick, it's never like this."

Your limbs seem to grow heavier at the implication of his words. Did someone drug you? There was that one guy that hung around you and Grace a little too long, but he never got you a drink.

"Maybe you'll learn to appreciate Louis's warnings instead of running off with the first girl that offers you something simple."

Louis--when he learns about what happened, when he learns that you tried to call him...and that he wasn't there. "Don't tell him."

He angles his head towards you. "You're asking me to keep a secret from my companion for you?"

Ugh. "No." You didn't mean it that way, or at the very least, you didn't want to mean it that way. You can't make sense of things for yourself let alone for another person. "I don't know." Your head is starting to ache. "I just don't--I don't want him to feel bad."

Armand lets go of you slowly, his fingertips brushing against your arm as he straightens. "We'll worry about him tomorrow." There's a certainty there that leaves no room for argument.

The thought of delaying your worry doesn't feel as simple as he's making it out to be, but you can't find the words or energy to disagree. You're not sure what you'd be arguing for, anyway.

He turns with no warning, walking down the hall like this is his apartment. His decisiveness might have bothered you if it didn't make things feel a little easier. Even with Armand serving as a guiding force, your mind seems to buffer. It takes you a second to think to act on the desire to follow him.

It shouldn't be surprising that Armand seems so comfortable moving through your apartment. He's nowhere near as familiar with this space as Louis, but you find it hard to imagine Armand uncomfortable anywhere.

He finds your room. A more coherent version of yourself would have had the energy to worry about the last minute outfits you rejected and didn't have time to put away sitting on your desk chair.

The familiarity of your bedroom is enough to get you to move forward. You approach your bed, half-sitting-half-stumbling onto the mattress. You're not given the chance to settle before your muscles slump out of place. It's an unraveling of tension that offers you no peace.

Dread pools in your stomach. You blink, screwing your eyes shut before forcing them open again in an attempt to fight against the drowsiness blurring your vision. It's too sudden, too heavy.

"You can't fall asleep like that." The words are gentle enough to reach you through your panic.

You want to tell him that you can't be falling asleep, that falling asleep doesn't hold this kind of weight. Instead of struggling to piece your thoughts into something intelligible, you lift your head slightly and mumble a flat, "I'm not."

Armand's back is to you, his attention focused on your dresser. When he turns to face you again, he's holding a familiar piece of fabric. One of the oversized T-shirts you sleep in.

It takes much more focus than it should for you to press your elbows into your bedding. The edges of your vision grow spotty as you stand. You're managing, but everything about your positioning feels circumstantial, like the slightest shift could push you into unconsciousness.

He hands you your shirt. You squeeze the fabric between your fingers. Before you can think to do anything else, Armand's hand finds your wrist. You still at the contact. He moves towards you with slow, deliberate steps.

Armand stops directly behind you. He sets his palm against your shoulder, his thumb smoothing patterns against your shoulder. His other hand settles against your upper back. Something about the contact makes it a little easier to breathe.

You're just getting used to his proximity making things feel easier when he pulls his palm away from you. Before you can overthink the shift, you realize what he's doing. The zipper of your dress has been tugged out of its place.

Armand's slow to release you, his fingertips dragging against your skin as he steps away from you. He walks forward until he's in front of you again, his attention firmly focused on the wall. It takes you a moment to realize that this is him offering you privacy.

You pull the T-shirt over your head with a tact that feels similar to that of a toddler dressing themselves for the first time. You adjust the shirt's hem before pulling the straps of your dress off of your shoulders and down your arms. The material pools at your feet. You step out of the puddle of sequined fabric.

You tilt your head downwards, frowning at the discarded dress. You need to pick it up.

"Sit." The instruction is presented with a directness that leaves no room for resistance, and yet all you can bring yourself to do is blink at him. He turns to face you again. "The last thing you need is proximity to the ground."

His voice is implying a level of irritation you can't handle right now, so you step away from the dress and move to sit on your bed. Armand walks forward. He bends down, picking up the dress before approaching your desk. He lays the dress over the back of your desk chair neatly.

He approaches your bed again, this time sitting down next to you. The return of his proximity is strangely easing. When he doesn't say anything else, you give in to the need to break the silence, "Thanks."

Armand nods once in acknowledgement of the sentiment. "Lie down." The thought immediately digs at you. If you lay down, if you lose consciousness, you'll be letting go of the little control you still have. Anything could happen to you, and--and you'd be so alone.

When you don't move, Armand straightens, his arm extending towards you. His hand finds your shoulder. "I can stay..." The offer feels fragile, like the slightest mistake on your end could force it to crumble into dust. "But only if you listen to me." He turns his hand over as you let his words sink in. He drags his knuckles against your arm patiently. "Are you going to listen to me?"

You nod, if for no other reason than to keep him here. If your acceptance means anything to him, his expression gives no indication of it. "Lie down."

You give in with a sigh, pushing your bedding back as best as you can from your position on the bed. You move beneath your sheets before relaxing against a pillow. After a second, Armand begins to shift. You're not sure what he's doing until he's lying down next to you. The return of his proximity is unexpected, but not unwelcome.

He adjusts your comforter just enough to expose your forearm. Before you can think about the change, he begins to trace patterns against your inner arm. The gesture is oddly grounding...and considerate...which, even in your current state, you can tell is odd.

"Can I ask you something?"

He continues to drag his fingertips against your skin. "A lack of permission has never stopped you before."

A fair point. "Why are you being so nice to me?"

He tilts his head slightly as he considers the question. "Am I usually cruel to you?"

That's not exactly the difference. Armand is never particularly cruel to you. He's never made you feel like you're in physical danger, which means a lot when considering what he is. You've never even had much of a reason to fear arguing with him. However, you can't recall him ever being so understanding.

"No," you find yourself hoping he can feel how much you mean the answer. "But you're usually less patient."

His hand briefly stills against your arm. "I prefer a fair fight."

The sentiment roots itself in your chest, leaving your skin a little warmer than it was a moment again. "We can have one tomorrow."

"I don't doubt it," he says, voice much flatter than before.

Hm. The comment isn't exactly aggressive, but it implies an annoyance that doesn't suit his actions. Something uneasy wedges itself between your lungs and ribs. "Are you mad at me?"

You turn your head as best as you can, staring at him with an openness that a more sober version of yourself would have never allowed. "Mad at you, the darling sun?"

You sigh, letting your eyes fall shut. "Don't start."

"I'm not starting anything," his defense, though already weak, is further softened by the easiness of his tone. "I'm only recognizing what you are."

Opening your eyes, you turn your head to face him again. "What am I?"

He's quiet for a moment before angling his head towards you. It's a subtle shift, but something about it seems to amplify his proximity. Armand's eyes look a little softer than you remember them being, his irises closer to a brown-tinged ember than their usual amber hue. Maybe it's the limited lighting.

"Worthwhile suffering."

The answer feels much too soft to be considered an insult. You're not sure what to think of it. "You're very dramatic."

His hand stills against your arm. "I'm dramatic, when you're the one that turned off your location."

You don't have a decent response. Even as a teenager, you knew better than to completely turn off your location without letting anyone know where you were going during a night out. You're lucky that Grace was there and aware enough to get you back home, but things could have gone so much worse.

The thought of how incredibly stupid you've been burrows itself into your stomach, adding a sharpness to the underlying nausea you've almost been able to forget. Knowing that you're wrong and Armand's right isn't helping things, either.

And Louis--your Louis. Who cares if sometimes he worries so much it makes you feel like burden? At least he cares about you.

"I was mean to Louis."

Armand's hand stills against your forearm, his fingers pressing into your skin in a way that somehow feels both reassuring and resentful. "He'll let it pass."

You let out a self deprecating sigh. There's no reason to believe that Louis won't forgive you, but that doesn't make things okay. "He shouldn't."

"Don't be a martyr." His dismissal isn't enough to diminish your angst. You frown, shifting away from him so that you can lie flat on your back. He's quick to counter your resistance, adjusting his position so that he's sitting up a lot more than you are. He's practically leaning over you, and all you can think to do is stare.

"He loves you," Armand's voice is a lot quieter than you thought it'd be, "There isn't a single thing you could do that he wouldn't forgive."

His certainty is enough for both of you. After a second of blankness, you find it in yourself to nod. The gesture is stiff and uneasy, but it seems to be enough for him. He relaxes slowly, moving to rest his head against your ribs.

His closeness is more of a surprise than it should be. You and Louis have fallen asleep like this more times than you can count. The shock takes a moment to subside, but once it does, you realize that you're... not uncomfortable.

Slowly, as if approaching a wounded animal, you move a hand to rest against his upper back. Neither of you move.

"You should go to sleep," he whispers after what could be a long or short stretch of silence, "You'll be yourself in the morning."

The suggestion is a lot less overwhelming now. Maybe it's because you feel a lot more concrete now. You shut your eyes, but before you can try to find rest, you remember where you are and who you're with.

"Wait," you mumble, "The window--" You're not managing the urgency you feel. While your room isn't exactly flooded with light in the morning, the sun does reach your bed in the mornings if you don't remember to fully shut your curtains.

"The curtains are fine." Armand shifts slightly, his hand settling against the arm not bent against his back. "Rest."

You close your eyes again, this time finding it in yourself to relax fully.

----

@joong-of-gold this is the fic i mentioned having in my drafts a little while ago!!

[lochallthedoors]

Noel Interview With Radio X, 24 November 2017

Summary: Noel discusses the composition and accidental recording in Ireland of "Dead in the Water" in 2015 as well as why he decided to include it as-is (without re-recording it) as a bonus track on Who Built the Moon?, which was released in 2017.

Kennedy: And there's actually a bonus track called "Dead in the Water." Noel: So--at some point during the Chasing Yesterday tour, we had a--we had a big break, and the--the first thing back was a gig in Ireland. So I'm at that--or there was something going on in Ireland--so I'm at the RTÉ studios in Dublin, and I'm doing a radio session for RTÉ Radio, and, uh, the single at the time was "The Dying of the Light," so I'm doing an acoustic version of "Dying of the Light," which is on YouTube--brilliant version. And, uh, in between the takes, some guy's faffing around with a microphone, and, uh, at the beginning of the track, you can hear the engineer saying, "Oh, I'd love it if you could do it one more time." And he's fannying around. And I--about no more than a few days before, I'd written this song called "Dead in the Water"--fell out of the sky. It took me--my wife and the two lads were away in Scotland, and I wrote that song in under two hours, and, uh, and I hadn't played it to anyone--I just sang it at home. I thought, "Eh, it's good." So I'm on the set with headphones on, and the sound in the room was so amazing, that while he was running around with this mic, I just started singing it for myself. And my keyboard player was kind of over on the other side of the room, and he's one of those annoying people who can't help but play along with you, all right? And I'm kind of in the moment, and I'm willing him to shut up. I'm kind of like, you know? And, uh--but he's really brilliant, and he was kind of working the chords out as we went along. He'd never heard it--he didn't know what was going on. So I'm singing this song, and at the end of the thing, he says, "Is that new?" And I'm like, "Yeah." And he says, "Oh, it's great." And I said, "It'll do," you know, kind of thing. Then we go into "The Dying of the Light"--forget all about it.

Fast-forward, we're in the office, the album [Who Built The Moon?] is being finished, the inevitable question goes, "Have we got any bonus material?" And I'm saying, "We didn't do any B-sides." There's a lot of stuff left over, as a matter of fact--there might be another five or six tunes left over that never got finished, but there's no finished songs. One of the guys in my office, Raymondo, who happened to be there in Dublin, and he said, "What about that song you did that day in Dublin?" And I was like, "What--what song?" And he went, "The one about the water! What was it? The water!" And I went, "Oh, yeah." I said, "No, I'm not recording that. That's a different thing. It's like--" And he said, "No, no, no, they recorded it that day." And I was like, "Get out." And he said, "No, I'm sure they recorded it." So he got in touch with the studios, and they said, "Oh, yeah, we recorded it."

So they sent it to us, and, honestly, my jaw hit the floor when I heard it. And what is special to me about that song is I'm singing it for myself. I'm not--I'm not aware it's being recorded. So it's a real personal moment for me, whereas if I--if I know it's being recorded live, you're kind of singing it for someone else, and…. So it starts off really slow--I'm not sure of the words at the--in the first verse. And then it kind of gets into its stride.

And as I was listening to it, I was thinking, "It kind of has to go on the album because I want to play it live." And, um, David [Holmes, producer of WBTM] was like, "Hm, well, it's not really part of the thing, though, is it?" And I was like, "No, but, still, you know, my name is on the front, so it's literally got nothing to do with you." And, uh, so it was--it's just--it's live. It's as live as live can be. It's as pure an expression of what I--it's the complete opposite to everything else on that album, which is about the production, and the vibe, and the take after take after re-take, and fiddling, and knocking it into shape, but starting again. This is just one-take, pure expression of like a quiet moment. Honestly, when I heard it, I was like, wow. You know, I was like, "If I wasn't arrogant enough already, my God."

Kennedy: (laughs) But it's interesting because at the end of it, um, your keyboard player does ask you, "Is that--is that done?" and you--your reply does sound quite humble, I think. You say, "Yeah, yeah." It's-- Noel: He says--he says, "Is that new?" Kennedy: Yeah. Noel: And I say, "What?" and he says, "Is that new?" and I say, "Yeah," and he says, "Good?" And I went, "Yeah, it'll do." Kennedy: Yeah, yeah. But you see, the way you say that seems unlike you in the--or the presentation you bring to us-- Noel: Look, if I thought-- Kennedy: --which we love. Noel: If I thought that these millions of people were going to listen to it, I'd be saying, "And isn't it incredible!" You know, so--that, when you listen to it, you're--if you're at all interested, you're catching me that's really as I am, you know what I mean? I'm not--I'm not playing it for anyone. I'm not playing--uh, I'm not playing the part. I'm just a guy from a council estate, with a guitar, who's written this song, who's singing for himself. And, uh, it's a perfect moment. And the temptation has been, or was while we were at the time, is to re-record it. And I was like, "You know what? Moments like that do not come along in recorded music, and they should be embraced." If I went to re-record that song, with all the bells and whistles, you know, I'd ruin it.

And it's interesting that--I've--some Oasis fans, you know, when--when I put out, uh--what was it called, that brilliant song I wrote? Uh, "If I Had a Gun" and "The Dying of the Light." They're all, like, "They're overproduced, and they should be stripped back," and blah, blah, blah, whinging. And, uh, somebody said the other day, "What have you put that on the record for? Why didn't you record it properly? You couldn't put the bells and whistles on it!" I'm like, "You know what?" I feel like strangling these people sometimes. It was like, "I tell you what. Here's the thing--you go make an album, you know?" And they see how difficult it is.

But, um, I'm not gonna re-record it. I'm gonna resist, I think. It's just gonna be a moment--a live moment. I'm gonna perform it live, it's live on the record, and that'll do for me.

[hotdaemondtargaryen]

TOM GLYNN-CARNEY TALKING ABOUT EPISODE 1 & 2 OF 'HOUSE OF THE DRAGON' S2 FOR DECIDER MAGAZINE.

DID TOM GLYNN-CARNEY INTEND TO MAKE AEGON SO HILARIOUS?

“Well, look, I find him quite manic.”

“And I think, rather than playing humor — which is always a terrible idea because it always ends up not being funny when you play humor — I want to sort of bring this sort of frantic energy of him and kind of the nonchalance of his approach to being king these days.”

“I think it’s important to find levity at the beginning of something. You know, we’ve got to give him somewhere to go. And I genuinely think he is quite funny.”

TALKING ABOUT THE DEATH OF JAEHAERYS AND HIS CHARACTER IN THE NEXT EPISODES.

“The loss of Jaehaerys is huge. It’s momentous and it’s one of those things that just stains. It affects you on an atomic level now. It’s something you don’t ever fully digest and make sense of and kind of shake off.”

“So, yeah, it informs a lot of his decisions going forward.”

“I always had it in my head that he was kind of rebuilding the person he would have wanted to be through him.”

“I think he saw in Jaehaerys a part of himself.”

The actor explained that Aegon wanted to give Jaehaerys the “love and attention” that perhaps his parents didn’t.

“He saw elements of himself in [Jaehaerys] and it was a kind of a new start for him in a way. And now it’s been snatched from him.”

Without Jaehaerys, Aegon leans into his worst impulses. Aegon accelerates war plans, hanging every ratcatcher in the Red Keep in the hopes of nailing the one who abetted Jaehaerys’s death and firing his cautious grandfather Ser Otto Hightower (Rhys Ifans) as Hand. Ser Criston Cole (Fabien Frankel) will now be Hand, ensuring more blood will be spilled.

Nevertheless, Tom Glynn-Carney’s descent into Aegon’s dark state of mind is never without a hint of humanity.

You understand that it’s grief propelling these choices. Grief for Jaehaerys, Aegon’s son and heir, grief for the “good” king Aegon could have been, and grief for the way his family has failed him.

TALKING ABOUT THE SCENE OF ALICENT FINDS AEGON CRYING BY THE FIRE AND INSTEAD OF COMFORTING HER SON, ALICENT WORDLESSLY LEAVES HIM.

“There’s a great poem: ‘They fuck you up, your mum and dad. They may not mean to, but they do.’ It goes on with it. But, yeah, it reminds me of that,” Glynn-Carney said, quoting Philip Larkin’s “This Be the Verse.”

It’s a poem that, like George R.R. Martin’s books, bemoans how, “Man hands on misery to man.”

Trauma begets more trauma, a theme House of the Dragon‘s interpersonal drama is excavating this season.

[j0celynh0rr0r]

Yes 🧛🏻‍♀️🩸

[syndrossi]

It's a shame that Daemon isn't a better liar. He could probably pretty convincingly sell Volantis on being willing to commit treason (aka serve as a dragonrider for them in exchange for power/prestige) because of his brother constantly undervaluing/dismissing him.

Like, he does definitely feel resentment toward Viserys right now, with the wound very fresh, so not much faking is needed there. The hard part is claiming that he doesn't care about what happens with House Targaryen and that he would allow himself to be commanded by the triarchs of Volantis.

[saltykoalamusic]

Whats a hot take you have that would make the fandom bring out the pitchforks?