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Charles Xavier & Erik Lehnsherr + chess
1. X-Men (2000) 2. X-Men: First Class (2011) 3. X-Men: Days of Future Past (2014) 4. X-Men: Dark Phoenix (2019)
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“‘Splendid’ my arse,” the mutant mutters, firmly pushing Steve to sit down on the make-shift chair (and frankly the fact that he can push the ex-super-soldier like that is cause for concern). He shifts in the seat until Erik’s shadow falls across his face instead of direct sunlight, and the mutant resists the petty urge to move. 
“Fine, I’ll move your car.” A very put-upon sigh. “Where do y— sheisse.” He instinctively jumps back as Steve empties the entire contents of his stomach onto the filthy concrete between them, just about managing to avoid acquiring another reason for an urgent shower. “You know you could have just admitted I was right – you didn’t need to make a big show of it.” Lips curl in disgust at the mess on the floor. “Stay here while I go move your fucking car, Selene will be here soon.”
A moment to open his mind and connect with the telepath’s, quickly summarising the situation, and then he’s off to move the vehicle. It’s the work of only ten minutes to find Steve’s car, levitate the damn thing to some fancy looking street a couple of miles away, and return to the warehouse. By the time he returns, Bennet is already there, silently leaning in the doorway as his eyes flick between Steve and, Erik assumes, the bound criminals within the building. The teleporter has always been wary of strangers – a category that apparently includes national icons if they haven’t spoken before – so the only greeting he delivers to Erik is a dip of his ruddy chin, and similar-coloured fingers that tuck dark hair behind his ears. Returning his nod, the metallokinetic’s gaze flicks over to the ex-super-soldier. “Steve? How are you doing?”
A gentle snort at Steve’s proclamation of success, amused both at the decision to announce it, and the idea that, after all the two of them have done throughout their lives, they are now at the point where today’s activities rank as felonies instead of just a normal Tuesday afternoon. They are getting old.
However, that amusement shifts to concern at the sensation of Steve’s hand lingering on his shoulder, and the sight of him shielding his eyes against the very mediocre sunlight. Was this fight too much for him? He is older than Erik, after all, and the mutant has no idea how long the other man’s once-frozen genes will be able to keep up with his own mutant ones. (Being honest, he has no idea how long his mutant genes will be able to keep up either.)
A frown creases his forehead. “Is it wise to drive in your condition?” Steve will deny it, of course, but hopefully the ex-super soldier isn’t stupid enough to endanger others just because he’s stubborn. Erik reaches up to grasp Steve’s forearm, feeling how unsteady he is, how warm his skin is even through a lawyer of fabric. This feels like more than just old age. “Sit down a moment,” – so saying, he drags over a metal barrel with his mutation, and moulds it into a chair, basic, but sturdy – “we can move your car later.”
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X-Men: First Class dir. Matthew Vaughn | 2011
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Charles Xavier Aesthetic: have hope.
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MAGNETO in X-Men ‘97
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Unoccupied hand lifts to grip hers where it rests on his chest, over his heart, gently covering it with his own. Erik wishes he could do something to help his lover sleep – while more than capable of helping her body relax, he cannot turn off the thoughts that plague her in the dark hours. They are, both of them, scarred by their memories, by the journey through the past to the present – though Erik has had decades to heal and regain his strength, while Maria has had mere months.
A sigh of contentment as Maria tangles their legs together, and his hold on her tightens slightly. “I’m fine.” His heart rate is already steady once more, and sleep gently tugs at his mind; thankfully the dream was much kinder than others have been in the past. “I was dreaming of Nina, and my mother.”
Everything is unclear, like he’s surrounded by a thick mist. Nina is there, and his mother, but for some reason he can’t force his feet to step towards them. There’s a voice in his ear – part Frank, part someone else – but whenever Erik turns there’s no-one there. A heavy weight plants itself on his chest but no matter what he tries he can’t actually look down to s—
He wakes with a jolt. Reality bleeds back in slowly, in dribs and drabs: the softness of the blanket, the hint of a streetlight beyond the curtains, the gentle hand against his jaw. Maria. He allows the breath he’s holding to escape between his lips. They are together, and warm, and safe.
“Did I disturb you? I’m sorry.” Eyes drop to the outline of his lover’s figure in the dark room, reaching out with one arm to pull her close against him and press a kiss to the top of her head. “Thank you for waking me.”
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somewherebetweenrage · 2 months
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We want the same thing.
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somewherebetweenrage · 2 months
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"You can't protect everyone."
I have to try.
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X-Men: First Class
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You can find the original blank alignment chart here.
Many thanks to @gallusrostromegalus for creating the chart!
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somewherebetweenrage · 2 months
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The Killer (David Fincher, 2023).
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James McAvoy in X-Men: First Class | 2011
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