#it just. makes no sense!! who the hell wrote and greenlit this shit?

[creeperthescamp]

for as big as the oblivion crisis was, it's super weird that Skyrim doesn't even touch it beyond a few dialogue mentions :/ like it was a pretty fuckin violent tamriel-wide event, it's gotta have some more far reaching consequences over generations of people than just 'well that's the end of the third era'

having just finished the oblivion main quest, npcs talk of celebrating dagons defeat with new songs and broken oblivion gates dot the landscape. martins dragon statue serves as a somber reminder of all the friends you had that are now dead

in skyrim where are those songs? the oblivion gates? the graves? martin? the written and oral histories of the crisis itself and the aftermath? for a province known for its bardic traditions there's nothing about any historical events newer than 'ancient as shit' and it's really quite disappointing playing oblivion and knowing that none of it actually matters

i could understand bethesda wanting to distance themselves from the cheerful tone and style of oblivion in order to be able to appeal to GoT fans and in line with the popular gritty and '''''realistic''''' style of early 2010s media, but like. honestly. marketing is stupid af and not sticking with the Basic Lore of Literally The Previous Game's Main Quest really shows a lack of imagination and backbone on the writer's part. Like you want gritty and dark? There's an apocalyptic event right there and you could write about how people have been dealing with it!

man don't even get me started on the whole 'mages guild broke up cos people thought they were involved with the oblivion crisis' thing. common oblivion npcs literally talk about mythic dawn and knew what was going on. fucking come on man

och just a painful reminder that these games could be so good if they were actually like. good

[aoitrinity]

Why Do I Have to Feel Like a Fucking Conspiracy Theorist -- OR -- How I Find a Semblance of Peace on Sunday Night

I’m also going to start this out with a GIANT DISCLAIMER.

I am about to theorize about what may have happened to the SPN finale. I have absolutely no insider knowledge. I am merely speculating here based on the panels and a bunch of Twitter and Tumblr posts that I have been reading over the last few days. If you are not in a good place to read such things, TURN BACK PLEASE. Go take care of yourself and your mental health. You and your feelings are valid and deserve to be handled gently right now.

Additionally, if you are here to give me shit for being unhappy with the ending, please walk away as well. I am here to reach out and share my feelings with people who might be struggling to make sense of something that upset some of us in very deep-seated ways. I am not here to bother you or critique you or tell you that you’re lesser because you liked the ending. If you felt it was good, then go enjoy it.

Long-ass post beneath the cut, everyone.

Alrighty folks...I debated whether or not to do this because I have been spiraling down the hell that is the SPN finale since Thursday. The travesty of what happened to our show--to this beloved show that seemed to have been so perfectly and precisely written for at least four years that it had basically already paved its own tarmac on which to land its plane and we all thought we knew exactly what we were going to get. And then we didn’t. We had a nigh Cas-less and entirely Eileen-less ending. We had no goodbye between Cas and Jack. We had Dean dying young after finally finding his freedom, only to ascend to heaven with no one but Bobby. We had the weird, weird, weird incest-y death scene. We had the bridge crane shot thing because...sure. You do you, Robert Singer.

It was so terrible, so truly awful, and I couldn’t seem to square any of it with anything we had known going in. I tossed and turned and cried and didn’t eat or sleep all weekend. I spent hours just reloading tumblr and twitter, going to the Misha panel, reading and reading and listening and trying to figure out what the fucking hell is going on because I needed to know exactly where to direct my anger. And after a fuckton of talking with @winchester-reload, I think we have at least a very plausible theory about what happened here--I’m laying it out below as much for my own peace of mind as anything else, because otherwise all of these thoughts are going to continue to spin around in my head for weeks and I won’t be able to do jack shit.

Now to start off, unfortunately I do think Dean was slated to die from the beginning of this season. I don’t know WHY they thought that was the best way to go, and I wish they had listened to Jensen on this one. Part of me wonders if it was an order from on high based on the discussion between Becky and Chuck earlier this season--the writers knew it wasn’t a great choice, but they were trying to signal to us that we should feel free to write our own endings to the story because they’d be better (I can wax poetic on the signs of why many of the writers probably wanted Dean to live, but that’s another post). I’m not defending that choice by any means, just laying it out there that I think they didn’t necessarily all want to kill Dean like they did.

However, what I THINK I can explain now is what happened with Misha and why we got so jerked around with Cas’s story. Consider what we know (I can’t immediately source all of it, but I did my best):

At the end of episode 15x19, Lucifer has been returned to the Empty after being killed AGAIN. He talks with Cas. Maybe harasses him a bit about Dean, idk. But then...Jack shows up. New God Jack. And he picks up Cas and pulls him out of the Empty, leaving Lucifer behind, because seriously. Fuck that guy (also leaving behind his abusive father is character growth for Jack, so yay for that).

-Misha was contracted to film 15 episodes this season. He was only in 14.

-Misha told Michael Sheen he had to go back to film 1.5 episodes after the shutdown in March. (Starts at 6:13)

-Misha was in Vancouver during filming of the finale.

-Mark P said at Darklight Con that the last scene he filmed was with Alex and Misha (and Mark P was only in episode 19).

-Misha implied that he was present for various filming moments, including Dean’s death (start at 35:15), and said that it felt like a “mini-reunion.”

-Various sources have mentioned that Jimmy Novak was supposed to be in the finale.

-After episode 18, Stands tweeted a fan who was angered and hurt by Cas's death that they could talk about the “bury the gays” issue after the finale aired.

-In episode 19 we know there were takes of the parking lot scene where the only thing fans observing could hear was Dean yelling “CAS” at Chuck (fuck I can’t find this one right now, but it’s definitely out there)

-Also in episode 19, we had a very strange, awkward montage at the end of the episode.

-In episode 20, we know there were a FUCKTON of missing scenes

-We also had no opening montage, but three other separate montages.

-Carry on My Wayward Son was played TWICE, back-to-back at the end of the episode.

-Episode 20 was shorter than normal and had surprisingly little dialogue. The pacing was VERY strange.

-The cast and crew has been almost completely silent about the finale since it came out. When they have spoken, it has been with an awkward excuse of “Uh...COVID?”

-Samantha Ferris has specifically noted that, despite the Harvelle’s being back in play and a big heaven reunion having been planned pre-COVID, neither she nor Chad Lindberg received any such invitation to return.

-Cas and Dean POP Funko figures were pictured together in a replica of Harvelle’s in 15x04.

NOW with all of this in mind (and I’m probably missing some stuff too because there is so much--feel free to add on to that list), please bear with me because here is what I think we were SUPPOSED to get POST-COVID (after it was determined that the reunion couldn’t happen because of the virus):

In episode 20, we start with our NORMAL OPENING MONTAGE, like always. It traces everything that happened during the season. We are reminded of Cas. The confession. Rowena. Eileen. Jack. Billie, God, the Empty, all of it. 

Things then follow along in the episode where they did up until Dean dies and wakes up in heaven. After his conversation with Bobby, he drives off to find Cas (who, in the script, was listed as “Jimmy Novak” in order to protect against script leaks--who wouldn’t want to do their best to avoid spoilers about the finale with the wrapping of a fifteen-year show?). He does indeed find Cas. We get Dean’s end of the confession. Hell, maybe we even get a kiss. And then Dean sets up his new heaven home in the recreated Harvelle’s. Maybe Cas even fucking moves in. 

Years pass. We get Sam having his life on Earth (still can’t explain why they cut Eileen and couldn’t even have Sam signing vaguely to the blurry brunette in the background; if anyone wants to take that on, go for it). Eventually, Cas tells Dean that it’s almost Sam’s time. Dean takes Baby and goes to meet Sam at the bridge. The cover of Carry on My Wayward Son plays during this much shorter sequence. End of episode.

But that’s not what we got. Instead, much of what I just wrote about was excised from the episode. The remnants were stitched together after shooting had been wrapped. Filler was added in the form of montages and long, unnecessary extra shots to get the episode to something approaching a reasonable length. 

But why? Why would they spend all that time and money and quarantining on Misha, only to almost completely cut him out of the finale? I struggled with why the fuck the CW would want this mammoth show to go down as the greatest queerbait in TV history when they had the chance to do something truly beautiful and monumental with it? It couldn’t just be sheer homophobia, right? Well, I think that factored into it, my friends, but here is where my head is at right now.

It was about cold, hard cash.

Now I could be wrong, but this is what I’m thinking at the moment: Supernatural is going off of the air. Supernatural, the CW’s cash cow for fifteen years. Sure there is still money to be made on blu-rays and merchandise and cons...but they need people watching their shows. They need that sweet advertising revenue. And you know what show they have about to premiere? A show that could, potentially, bring with it a chunk of that SPN revenue?

Walker.

And if any of you know anything about the original Walker Texas Ranger, you know that the show was predominantly a show about a very heterosexual white man being very excessively heterosexual. And for SOME REASON over the years, many of the execs at the CW still seem to think that this show, Supernatural, is really attractive to a lot of middle-American white men...whom they desperately want to watch this new show with this guy from Supernatural that they already know.

Now here’s where COVID fucked us. I think Destiel was greenlit by TPTB, at least in SOME form, before COVID. But then the pandemic happened, and they panicked. They got the cut of the last two episodes and watched them in their original, probably queer form. And then, the execs at CW looked at the economy. They looked at their cash cow, about to make its journey to the great beyond. And they looked at this new little calf Walker that they were so desperately worried about. And they made a choice.

They decided that it would be too risky to take the step with Destiel. They were worried about frightening off their ever-so-valuable hetero male demographic with the possibility that a traditionally masculine man in his 40s could be in love with another man in an overt way. It was homophobia mixed with greed, spun up by fear for their revenues because of COVID.

So they called in Singer, possibly Dabb, although I wouldn’t be surprised if they went straight to Singer. They told them that Destiel had to go: executive orders. And the only way to make it go in a way that removed any trace of what had been there was to rewrite what happened to Cas and cut him out from the last two episodes entirely. It was too late to reshoot anything. They had to just cut and stitch and fill with bullshit montages. 

They removed the scene at the end of 19, probably because Cas and Lucifer discussed Dean. All that was left of Misha there was his voice on that fake phone call. They may have cut other things too, but I would bet my life that they cut a scene from the end of the episode and replaced it with that very strange montage. Then they moved onto 20. They cut out every scene with Cas. And left in only two platonic mentions of him, neither made by Dean. They tried to imply that Cas might show up in Dean’s heaven at some point, but that was as far as the editors could go in the time they had. They filled in with montages, awkwardly long shots, anything they could do to fill all of those missing scenes.

And they even had to take the opening montage, because literally everything in it pointed to Cas being there at the end of it all. They wouldn’t be able to leave out his scenes, they were too critical to the season. They couldn’t cut his confession without raising eyebrows. So they cut the whole thing and moved “Carry On My Wayward Son” to one of the newly-added driving montages at the end. Which is why we awkwardly had both songs play back-to-back--again, such a strange choice unless they were out of options and couldn’t exactly buy rights to a new track or compose anything else.

And so we were left with the shadow of the finale that we deserved, that Cas and Dean deserved. We were left without resolution or happiness or words. Bobo told us the most important thing about happiness is just “saying it” and our characters were silenced without anyone ever knowing the truth.

I think the writers might have known and been given the new party line that “Misha never filmed, he couldn’t, sorry, it was COVID, no one’s fault!” But I don’t think most of the cast even knew it had happened until they watched the finale on Thursday with us (though they might have been confused why the bit from 15x19 was sliced, they could reasonably have assumed it was a time thing and also BL episodes don’t make sense anyway). Why do I say that?

Well, first of all, Misha started sending out a bunch of excited texts to fans with some old BTS pictures about an hour before the show started airing on EST. He also wanted his children to see the episode, his YOUNG children. Why would he show them such a traumatic episode if their Dad wasn’t in it? What if it was because he wanted them to witness what was going to be a monumental moment in queer television history that their DAD got to be a part of? And then that was all dashed.

Which is why I think the cast and crew went almost completely radio silent the next day. I don’t think they knew. And based on how they have been acting on social media since then, I think many of them are absolutely furious, but they have been silenced because of NDAs, because they want to find work again in a cutthroat industry, because they don’t want to bring down the hellfire of Warner Brothers Entertainment upon themselves. So the most we have gotten is a little acknowledgement from the MERCHANDISING COMPANY trying to validate our pain (god bless Shirts, she is a LIFESAVER) and a response to my salty tweet about keeping good stuff in the closet from Adam Williams (the VFX coordinator) that seemed to acknowledge the validity of my complaint.

Then there was a scramble behind the scenes, I would bet my life. Talking points were fed to the boys who had panels today, to CE, to all the cast and crew:

Toe the party line. Misha never filmed. This was always about COVID. Do not mention Destiel. Do not mention Dean’s feelings for Cas. Do not promote the Castiel Project or anything that validates the idea that this was anything less than a superb ending.

And that is why we have heard so little from the cast on this front, and what we have heard has been muddled and contradictory. That is why the writers are saying nothing. That is why we have been left adrift.

Now before I close this out, I do want to say that I really, genuinely do not think this was on the writers at all. I feel like they tried to give us the best ending that they could, in a writers room that we know is notorious for splitting along party lines about the overall story (BL and Singer, who have always been about the brothers and their man-pain vs. Dabb and the rest who always seemed to want more for them and for Cas). I think they did everything in their power to at least end with Dean and Cas happy together. If they could give us nothing else, they wanted to give us that. And then the network took it from them. From us. From everyone.

For the sake of fucking money. 

And the WORST PART OF IT ALL, for me, is that in the wake of this disaster, the fans have been left to try and figure out what happened. We have had to wade through a mire of conflicting information in the midst of all of our collective anger and grief over this garbage ending of a show many of us have loved and even relied on for YEARS, all the while wondering if we’re just fucking crazy, if we have all fallen collectively into the hole of conspiracy theories. That hurts ESPECIALLY badly because we have taken so many hits over the years from other groups on social media saying we were crazy for seeing things that weren’t there (especially Destiel), for writing meta and analyzing tropes and believing the evidence of our eyes and ears. The network has made us relive that entire nightmare WHILE processing our grief for a show we wanted so badly to celebrate and which instead we now have to mourn.

So again guys, I cannot prove that this is exactly what happened at all; this is simply my idea of what may have happened. But right now, it’s the most sense I can make from this mess, and to be honest, the act of typing it out has helped me enormously in my processing of it all. I feel like I can see more clearly, like I know where to target my outrage and where to direct empathy. I feel like just fucking maybe, I might be able to do my job tomorrow without bursting into tears at random moments. 

I really hope that this post has helped some of you to, in some small way, process this too. We get through this the way that Misha told us at his panel this morning, the way the writers have told us to do all season long...we throw out the story God gave us and we make it better. We write our characters the happy endings they deserve. 

We save them.

One last thing--if you have not already, please consider channeling your rage into a donation to one of the five causes our fandom has put together to pay tribute to our beloved show and to mourn the ending it should have had:

-The Castiel Project

-Dean Winchester is Love

-Sam Winchester Project

-The National Association of the Deaf

-The Jack Kline Project

[stilestilikeslydia]

Takotsubo Cardiomyopathy: Part Two

so I’m almost never on tumblr anymore, but in case any of you remember my old fics, I wanted to come back to let you know that I FINALLY finished the second part to this fic that I wrote for the Stydia Big Bang almost four years ago haha

there’s also some excellent art for it that @wellsjahasghost and @sydrianssage made for it way back in 2017 that you can check out here and here if you would like :)

enjoy!

(Rated M)

“I can't believe I've been a ghost for ten years, and nobody thought to tell me about the new Star Wars trilogy until today. ”

“Stiles, nobody even knew you existed until last month.”

Kira slapped Malia’s knee—lightly, because Kira was still incapable of giving an actual reprimand. “Well, we’ve told you about it now,” she said, offering him her brightest smile. “What did you think?”

“I think… I miss my blissful ignorance from eight hours ago, when I didn’t know that George Lucas greenlit this absolute garbage fire,” Stiles whined. “I mean, don’t get me wrong, The Force Awakens started out with a lot of potential, and the cast is full of extremely hot and talented people, but what the fuck?! My only regret is that my death tree wasn’t transformed into a desk in the writers’ room for these movies, or I could have haunted those dipshits until they figured out how to write a plot that actually made sense.”

“Your only regret, huh?” Lydia asked, keeping her tone dry and incredulous.

“No, you're right,” Stiles said, his expression instantly transforming into the biggest shit-eating grin Lydia had seen since before he'd died. “I also regret not inventing ectoplasmic grocery stores before my death. It’s unfair that I cook for all of you and don't get to eat any of it.”

“Not our fault you actually enjoy cooking,” Malia pointed out. “And depleting Lydia's bank account.”

“I am going to strangle you,” Lydia said. “Werecoyote strength or not.”

“But then who’s going to sit next to you in bars and make fun of everybody we see?”

“Yeah, you need her for that,” Kira added. “I’m terrible at judging people, and so is Scott.”

Scott toasted her with a grin, looking relaxed and comfortable against the armrest of the oversized couch he was currently sharing with a ghost and a realtor. Stiles took one look at him and snorted.

“Scott’s a terrible judge of many things,” he agreed. “People… the distance between a car bumper and the curb… movies…”

“Movies?”

“Yes, Scott!” Stiles crowed, now fully recovered from his initial disappointment. “This trilogy may have been a mess, but in order to watch it, you must have seen the other two trilogies too, and that means you have to know how great they are! Admit it, Star Wars is amazing, you were wrong, and I was right! Not watching it with me earlier was the biggest mistake of your life!”

“Maybe not the biggest,” Scott said, the grin on his face slipping a little. Lydia’s fingers tightened around the stem of her wine glass. “Anyway, I already knew the Star Wars movies were good. I watched them junior year.”

“Junior year?! ” Stiles squawked, so surprised that he started sinking into the couch. “And you never told me?! What the hell, man, all those times you pretended not to get my references and you—”

“Of college,” Scott clarified, and the room went silent.

Lydia set her wine glass down on the coffee table with trembling fingers. The tapping of glass on wood sounded like a gunshot, a bullet to the lungs. There was a crescent moon outside. For one heart-shattering moment, Lydia swore she could smell wolfsbane.

“I’m going to go get a glass of water,” she said, voice too harsh to her own ears, bouncing off the walls and clanging in her skull. Another bullet to the lungs.

The next thing she became aware of was the press of a cabinet knob against her back, the solidity of a hardwood floor underneath her body. She was leaning against the kitchen island, eyes level with the cabinet that Stiles had poked open over and over again to entertain Brooke all those weeks ago. Tonight, though, when she opened it herself, there was nothing inside.

Lydia clung to the knob anyway and tried not to cry.

It wasn’t Stiles who came to check on her after a few minutes, or Scott, or even Kira. Instead, Malia was the one who tugged the cabinet door out of Lydia’s hand and dropped to the floor, flinging her legs out to one side and meeting Lydia’s eyes without flinching.

“Kira started talking about BB-8 again,” she said. “Scott looked like he wanted to change the subject.”

Lydia pressed her lips together, looked away, and settled her hands on her knees with careful precision. “That was nice of her. I’m sure he did.”

“He told me, you know,” Malia continued without missing a beat. “About what you told him. About Stiles wanting you to sell the house.”

Lydia’s fingers clenched around the hem of her dress. “Yes.”

Malia narrowed her eyes. “Are you going to?”

“I have to,” Lydia said, “or Yvenne will just find another realtor.”

“Okay, maybe,” Malia said. “But who are you going to sell it to ?”

Lydia froze. “I don’t know what you’re talking about.”

“Oh, come on,” she said. “I know you’ve been considering it. You’ve been eyeing the curtains in the living room like you can’t wait to change them all night.”

“Maybe I just can’t believe Yvenne expects me to find a buyer for this house when it’s been decorated so poorly.”

Malia rolled her eyes. “You don’t have to lie to me. I’m more observant than you think, and I’m not Scott or Stiles. I’m not going to try and stop you.”

Slowly, precisely, Lydia tilted her head and met Malia’s piercing gaze. “You know what you’re saying, right? Scott and Stiles would try to stop me.”

“Yeah,” Malia said. “And that matters, because Lydia Martin always does what people tell her to do. And I had a normal childhood. And math was my favorite subject in high school.”

After a long moment, Lydia stood. Malia mimicked the movement. “I just think we’ve already lost enough people,” Lydia admitted. “I don’t want to lose him twice.”

“Like I said. I’m not going to try and stop you.”

For a while, Lydia told herself that she hadn’t made up her mind. She let Stiles cook her every meal and listened to him relive memories from high school and the two years of college he’d gotten to enjoy, doing his best to help her appreciate the times they’d shared together without losing herself in them. She fell asleep on the couch with him while they watched movies together and pretended that she didn’t know he’d been playing with her hair when she woke up. She allowed him to teach her how to cook and change the oil in her car, life skills that she’d always expected him to handle in their relationship, life skills he wanted her to master before he moved onto wherever he expected to go once he stopped being a ghost, but—

But then, on a Thursday afternoon a week before Yvenne’s deadline, Lydia’s phone rang.

They were in the middle of making stir fry, but Stiles nudged her with the spatula he was using—one loophole he’d found for their inability to make physical contact—and told her to answer it “just in case.” “It could be important, Lyds.”

That was precisely why she didn’t want to answer it, but with a long-suffering sigh and a pointed glare, Lydia wiped her hands off on a paper towel and picked up the phone. “Hello?”

“Hello, Lydia Martin? This is Shea O’Malley.”

Predictably and irksomely, Lydia’s heart rate increased. “What can I do for you, Shea?” she asked, smoothing on her realtor’s smile even though Shea couldn’t see. Between the way Stiles’s eyebrows were raised and the way his head was tilted so he could hear Shea’s half of the conversation, Lydia needed the extra armor.

“Well, Ben and Piper and I have been shopping around the neighborhoods near that lovely red house you showed us, but we simply haven’t found a place that compares. After a long discussion, Ben and I have decided that there’s no use searching any longer. We would like to place an offer on that red house.”

Lydia’s head was all white noise and bloodstains and terror. She tried to picture saying goodbye to Stiles and watching him dissolve into whatever dimension the rest of their dead loved ones had ended up in. She tried to imagine handing the keys over to the O’Malleys and leaving the red house for good. She tried to convince herself that it was possible for her to move on.

But like the O’Malleys, Lydia discovered that it was no use.

Once upon a time, it might have been possible for her to move on. But now Lydia’s heart was inextricably entwined with this red house.

The only difference was that Lydia had the ability to hold onto it.

“I’m sorry,” she said, the white noise fading to a treacherous whisper. (So, basically nothing. Treacherous whispers were old friends in Lydia’s mind.) “You’re too late. The red house has already been sold.”

Stiles froze. Lydia froze, judging his reaction. Over the phone line, Lydia heard Shea’s breath catch, and then she sighed. “Are you certain there’s no chance of the buyer changing their mind? I mean, if we could place a counteroffer—”

“I’m afraid that there’s no amount of money you could offer that this particular buyer wouldn’t match,” Lydia said with as much gentleness as she could muster. The O’Malleys really were a nice family. “They’re quite dedicated, have a substantial savings account, and are at least as attached to the house as you are.”

Shea’s second sigh was only slightly less audible than the first. “Well, that’s it, then,” she said tiredly. “Thank you for all of your help, Lydia. We all thoroughly enjoyed meeting you the other day.”

“If you still haven’t found a different house in the next few weeks, let me know and I’ll help you keep looking. Free of charge,” Lydia blurted, because she was going to keep the house and Stiles and therefore she could afford to offer a little kindness to the family whose dream home she had just poached.

“Why, that’s very kind of you,” Shea said, oblivious to Lydia’s silent betrayal. “We may just take you up on that offer. Thank you again.”

And after the exchange of a few more pleasantries, she hung up.

“What the fuck?” Stiles said into the resulting silence. “A buyer made an offer on this house, and you didn’t tell me about it?”

Lydia set her phone on the counter. “You don’t really want me to leave.”

Stiles dropped his spatula. “What?”

“Come on, Stiles,” Lydia said. “Who do you think you’re talking to? If you really wanted me to move on, you never would have opened your mouth. I would have walked into this house on that first day, sold it, and walked right back out without ever knowing that you were here.”

“I—” Stiles spluttered. “I was surprised, and I just—”

“Maybe,” Lydia replied. “But that could have been it. I told you not to make it difficult for me to sell this house, and instead you scared off buyer after buyer until I figured out who you were. You say you want me to move on, but you’re here, Stiles. You’re standing right in front of me, and I’m never going to move on when I could have this instead!”

“What do you want me to say?” Stiles demanded. “Do you want an apology? Because I know you deserve one. I—I—I’m sorry for talking to you, I’m sorry for cooking you dinner, I’m sorry for being here! I didn’t mean to make this harder for you, and I’m sorry that I did! Is that what you wanted to hear?”

“NO!”

It wasn’t a banshee scream, but it left Lydia hoarse and aching all the same.

“I don’t want you to be sorry,” she whispered. “I just want you to want me to stay.”

“Well, I am sorry, Lyds. And I can’t give that to you.”

“Stiles—”

“Pick up the phone, Lydia. Call the O’Malleys. Tell them the buyer changed their mind.”

Lydia took a deep breath and looked at the man who was the love of both her life and whatever came after that. “No.”

“Lydia.”

“No, Stiles! I’m not going to do that! These last few weeks have been the happiest weeks of the past ten years. You can’t honestly stand there and expect me to give that up.”

“That’s the thing, though,” he said. “I’m not actually standing here.”

“That doesn’t matter to me.”

“But it should.” Stiles reached out, brushed his fingers through a loose strand of her hair, and then stepped away. “I might not be able to stop you from buying this house, but that doesn’t mean I have to give you a reason to live here.”

There was a whoosh, as if he was opening up that interdimensional doorway again, and then he disappeared.

On the stove, the stir fry began to burn.

(read the rest on ao3)