Saw a post about Danny calling Dani his little Comet, this one, and then I had an idea to and mix it with a favourite Hozier song, Work Song. Feel free to add or whatever if it strikes you!
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"Ah, shh, shh little Comet, it's ok, I've got you."
The attempt at keeping his voice steady didn't really work, but he was sure he was keeping a good hold on his emotions at least, since Ellie was calming down in his hold. It didn't mean he wasn't panicking inside at the situation but he was managing. He only had to make it a few more weeks before the others could come, then everything would be safe.
He got her settled in his bed, sleeping and calm now. He had a crib for her, and Jordan too eventually, but he couldn't really stand the thought of them to far. So bed it was.
Both clone and future self had been deaged due to the damage taken, done at Frostbite's direction to heal and better stabilise both. Jordan's injuries had come in defence of both him and Ellie, and, like a weird mirror, Ellie's from defending him and the injured Jordan when he was to weakened from injuries to fight. Ellie had just been deaged from it Dan, who he decided was going to be called Jordan too give himself some separateness, was reverted to his core. In an effort to protect and give him time to heal, he has him inside himself, next to his own core. He'd been warned it meant that Dan would likely take on more of being like his child than his future self, but he just wanted him alive, not like he didn't have the risk of it anyway, at least this time it was under his control.
There was no hope of returning to his dimension, it had been clear at that point, but they had been trying to free all the ghosts they could and get all liminal people and their family rounded up to safety before the GIW got to them. Danny, as the heir prince-until he was of age for the throne at 100-was sent ahead to bridge trust with another dimension, this one in fact, to see it they could bring their people, his people, there.
Clockwork and the Ancients and Observants worked with his parents and the others from town, and other liminality touched people, to get everyone into the ghost zone, which he had leaned also got called the Infinite Realms, safely and cut off that dimension from it.
Apparently that's what most magical creatures had done to that one anyway, long ago. He'd even met the descendents of the witches that had been hunted by, and thus placed the curse on, his family back when Amity was a village.
They'd lifted the, severely weakened by then but still present, curse after apologies were made and explanations done. It was a relief, even though it is likely what had even held him tethered to life enough to become a halfa at all, but he felt more at ease now without it.
All in all, it led him to where he was now though. A new world, a new set of rules, similar but still so different, and two kids that were essentially his.
The sudden crash outside his window on the alley side had him rushing over, ready to defend as best he could, still healing from the injuries in the last fight with the GIW, in case it was a villain attacking.
Only to pause at the sight of the, now likely unconscious, blue and black clad vigilante in the dumpster below.
"Fuck... Well can't leave him, who knows who'd find him there."
It took a bit of work, and mild use of his weak but still present powers, but he got him up stairs and into his apartment onto the, comfortable if he said so himself, couch.
Once there, he checked him over for injuries, careful not to take the domino off and keeping him as clothed as possible, but tending to his wounds as best possible. Doing so, he realised the other was probably only about 20-21, close to his age at least. It made him wonder how long the other had been a hero, and made a thought to ask later.
For now he settled in to make some food -that hopefully wouldn't accidentally come alive again-and keep an eye on his daughter and the hero.
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Can we talk about The Dying Swan moment in Coda? As someone who was once a very serious ballerina, I need to talk about the Dying Swan. Here's your context --
CHAKOTAY: Harry's clarinet solo was okay. I could have done without Tuvok's reading of Vulcan poetry. But the highlight of the evening was definitely Kathryn Janeway portraying the Dying Swan.
JANEWAY: I learned that dance when I was six years old. I assure you, it was the hit of the Beginning Ballet class.
Have you seen The Dying Swan? It is dramatic.
Here, take a minute:
First of all, this dance is much too advanced for a six-year-old, even if they’re doing it in demi pointe. (Six-year-olds emphatically should not be in pointe shoes btw.) The dance is almost entirely bourees and arm movements done to very subtle musical cues, not the foundational ballet moves typically taught in Beginning Ballet.
This is a very vulnerable, dramatic dance that is effective because of its subtleties. The performer would need to embody that vulnerability in some way for a convincing performance. It's short, but it's a solo piece -- all eyes on you. I mean, it was choreographed for a prima ballerina, BUT THAT'S NOT MY POINT
Can you imagine our unflappable Captain Janeway willingly getting in front of her crew to do this ballet? I get that it’s thematically relevant to the plot of Coda, but since Janeway is only vulnerable in front of her crew when it means putting herself in harm’s way, it seems like a wild decision. She tends to hold herself apart from her crew, maintaining the professional distance of the captain. Further, when she does any creative pursuit, it is almost always in private, since her sister was the artist in the family and she was the scientist. As a captain, she commands Voyager in a much different way than she would as a dancer with this piece. I'm not saying she never shows vulnerability because she definitely does, but not necessarily in this way. Then when she talks about it with Chakotay, she just casually brushes it off with a laugh like no big deal.
There’s also the question of costume – would she have gone full tutu? Done it in her Starfleet uniform? An impeccable yet flow-y white suit? She does get into costume and command a performance in Bride of Chaotica!, but Coda is still kind of early days for our captain. Arachnia aligns more with what we know about Janeway's character.
Granted, it is Chakotay laying down these complements about her dancing ability and he is clearly biased. To be fair, Neelix does too before they leave in the shuttle. If she did this dance and performed it poorly or amazingly, I feel like the crew would look at her a bit differently afterwards.
Canonically she did The Dying Swan, but I certainly have trouble picturing it happening.
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i’m rewatching ep 10 and suffering instant brain damage bc i took a second to really look around the captain’s cabin after ed came back from the privateering academy without stede and it is a heartbreaking FEAST (honestly the continuity in this show.. chef’s kiss)
the scene is fairly dark but most things lying around the room seem recognizable, like stede’s blue jacket that he was arrested in that is now a pile of blue silk on the floor next to a chaise longue (something stede would probably have nightmares about) and stede’s yellow robe (i think!) draped over the couch that also has a bed pillow on it which could mean ed slept on it, curled up and wearing the robe or more likely covered with it (same as in the bathtub scene). moving on, because i can’t linger on that thought or i’ll disintegrate into tears, ed obviously brought his old leather outfit back from the academy and you can see parts of it discarded on the floor/tiny chair as if he either dumped it out of the bag, or more likely tried to put it back on and then decided against it seeing as it didn’t fit him anymore, littering the clothes around as he took them off again
a real kicker, though, is the bed and the garment on it. it’s bright blue silk mixed in with the sheets that are rumpled as if the bed had been slept in, pillows arranged in a way as if someone was hugging them. we know from ep9 that the entire room was clean and tidy before they left (meaning the bed was too), so unless izzy had been sleeping in it (very unlikely), that mess has to be ed’s. it’s literal confirmation that he slept in stede’s bed crying into the many pillows on it and hugging silky covers/clothes and i for one am losing my mind about it
once ed goes on a cleaning spree you can see the bed is neatly made with blue silk folded on top (and his leather jacket has upgraded from floor to chair)
(and it’s so tidy like he really enjoys folding stuff and i find that breathtakingly endearing)
anyway, back to my previous point about ed ditching his old leather, his grey pants and white shirt that he got from the academy (continuity!) are thrown over the ottoman next to what appears to be his purple shirt and the discarded leather and black shirt (on the floor). those are the only clothes that we know he owns and both options were clearly a no before he decided on some random 18th century version of sweatpants (that i still wonder who the owner of is because it’s clearly not stede) and stede’s red flower banyan
and lastly (as presented in the 2 pictures above) there is an ungodly amount of discarded marmalade jars all around the room. or what i assume are jars but some could also be big white candles, but let’s go with all of them being marmalade jars because we know stede had unlimited amounts of it and it was one of the first things he’d shared with ed so of course ed would fixate on it to soothe his broken heart, it’s quite literally the sweetest memory of stede and my man was drowning in it
IN CONCLUSION, i’m feeling deranged about all of it. thank you for listening!
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It’s 3pm on a rainy Wednesday, and Hob is sleepily grading student papers, when Death of the Endless appears in his flat, lies quietly down on the couch, and rests her head in his lap.
Hob stares down at her for a long moment, hands aloft in indecision, because this is not... something they do. By now he can say he calls Death a friend, and they get drinks together sometimes and chat, but this...
“Everything alright, love?” he asks, finally resting a hand on her shoulder.
“I don’t mean to disturb your peace,” Death says quietly. The TV Hob’s left on as background noise—some silly cooking show—nearly drowns out her voice entirely.
“Nothing peaceful about trying to find nice ways to tell my students they can’t write for shit,” Hob says, pushing his papers away. He can’t see Death’s face well like this, but he doesn’t like the uneven sound of her voice, not when she’s usually so level. “Disturb away.”
After a long moment in which they both just listen to the TV program host blather on about crumpets, Death says, “I am not affected by deaths.”
“…Alright,” Hob says, though he’s not convinced.
“I am…” Death continues, but trails off on a breath like a whistle of cold wind. “May I... stay here awhile?”
“‘Course.” Hob carefully pets at her head, strokes her hair. Worry is building, but he doesn’t think Death needs him to pull her words out of her the way he sometimes has to with Dream. She will speak when she’s ready. “Do you want to hear some truly fascinating attempts at historical analysis? Or is peace and quiet what you’re looking for?”
“You can speak if you wish,” Death says, still in that quiet tone.
So Hob tells her about some of his students, the ones who truly seem to have some promise in the field, and the others who he’s pretty sure are just mangling their papers together from sentences out of one of those AI things, if the originality is anything to go by. It’s disappointing but does make for humorous reading. Though really, Hob’s not sure whether to laugh or despair when he has to read lines like War has negative effects on people in an actual university academic paper. Wow, you don’t say.
He does manage to get a few chuckles out of his friend, but none with her usual humor and enthusiasm, and eventually he trails off, and they listen quietly to the background noise of the TV.
“Is there anything I can do?” Hob asks quietly.
“Can you control the future, Hob?” Death asks, a rhetorical question without any of her usual lightheartedness.
“Can’t even control the present,” Hob says. He just keeps his hands on her, one on her shoulder, one on the top of her head. Grounding, he hopes. And he thinks on what she’d said.
Hob knows that Destiny is the only Endless that operates in the future, but he has wondered, now that he understands them a bit better, if Death may not have a foot in that direction as well. She must know, some way, how to be where she must when she must.
Death has never seemed overly burdened by the past, even though history is a tower of bones a hundred miles high. Hob had asked, once — do all those terrible things ever bother you? you were there for them all —and all she had said was, “It has already happened,” with neither pleasure nor pain, just acceptance.
The future is another matter entirely.
“Is something going to happen?” he asks.
“I will not burden you with knowledge that is not yours to carry,” Death says.
So, that’s a yes.
“Maybe I could do something about it,” Hob suggests, though he suspects where that query will lead.
“You could not.”
“What about you, then?”
“That is not my place,” she says, though she sounds less certain about it than she usually is when discussing her function.
“You sure?” Hob asks.
“Were I to change fates for some, what excuse would I have for not doing so for all? Unfair things happen hourly, and always will. If I upend the balance, there is no telling how things would tip out of control down the road.”
It must be hard, Hob thinks, to be so powerful and yet so powerless.
“You did spare me,” he points out.
Death huffs, almost a laugh. “In truth, I shouldn’t have done that. Although I suspect Destiny had it written in his book for other purposes entirely.”
Huh. Well, that’s probably something Hob shouldn’t think on too hard for the sake of his own sanity.
“Well, I’m certainly not complaining about it,” Hob says, and Death chuckles.
“Is there anything I can do for you?” he asks, when they’ve been sitting for another few minutes in silence.
“I… do not have many friends,” Death says. Common family trait, then, Hob thinks. Not that it’s really so surprising. Death is very personable, but most of her interactions with people are, well… fleeting. And it can’t be easy to make normal friends, when you’re as expansive a being as one of the Endless.
“Stay for a while then,” Hob says. He pulls a blanket over her and tucks it around her shoulders. “Until you have to go.”
“Thank you, Hob,” says Death, still sounding incredibly weighed down by her function, but given a slight reprieve, perhaps.
Hob rubs her shoulder and thinks about these endless creatures he’s chosen to love. Do they have anyone else to worry about them? He doesn’t think so. It’s just Hob, and he doesn’t think that’s anywhere close to enough, but he’ll just have to do his best.
“Any time, love,” he tells her, and means it.
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