so i've been thinking about this premise for so long but it wasn't working for obikin (which of course i took as a challenge) and i think i finally got it where i want it so
au where 35 yo obi-wan is a music sensation across the world but he's recently divorced and going on tour again after releasing a very cutting, personal, and well-received album
and 19 yo anakin joins his tour with his very small band of two other people (ahsoka, padmé) to be his opening act - they have a small but loyal following, a pretty big social media presence, and there are even people who ship anakin and padmé which you know means these are die-hard fans
anakin has definitely looked up to obi-wan and his music for a good portion of his life and he's like. beyond excited that he's going to tour with The Obi-Wan Kenobi - this is big, not just for his music career but also for himself and the little boy he was listening to obi-wan's music for the first time!!
i'm just imagining like....obi-wan and anakin meeting after a few days of rehearsal for opening night, and it's not the most auspicious start because obi-wan's going through like 20 different emotions at any given moment (he's on tour, he's divorced, he's tired, he loves the music, he can't be the person he was in his twenties when he was first on tour but that's a whole different matter, he has all the media training and charismatic instinct to cover up these less than savory emotions with flirtatious empty words) and anakin is just like. sorta starstruck sorta shy sorta eager sorta awkward so:
"i'm uh, i'm a singer it's nice to meet you. hi yeah. hello. i'm on tour. as well. with you. actually."
"ah no, are you one of my backing vocal artists? we can't have that - you're much too gorgeous and my ego is much too dependent on the audience focusing on me."
"um 😳"
so it's a relationship that begins with a lot of flirting and being flustered and progresses through moments of vulnerability and honest emotion which turns into mutual affection which turns into anakin's celebrity crush becoming very real....meanwhile obi-wan googled anakin and the opening band after the first show/introduction and finds all the stuff about him and padmé being together and that's. that's fine. young love. how sweet. any sort of disappointment obi-wan feels is because he's recently divorced and bitter about it and he's going to have to spend at least half his tour watching the lovebirds snuggling up together.
and even when all the misunderstandings about relationship statuses have been addressed and the pretense has fallen away to leave just attraction, both have to think about their careers - it's all well and good for obi-wan to date someone sixteen years his junior, post divorce, but that's an image he's never wanted to deal with or be associated with. and this is the biggest shot of anakin's career - his best chance to make it in the music industry. in the words of his bandmate, is he really, honestly thinking about risking it for a chance to sleep with The Obi-Wan Kenobi?
but what his bandmate doesn't seem to really understand is that for anakin, obi-wan hasn't been The Obi-Wan Kenobi in a long time. he's just been obi-wan. and that makes a world of difference.
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Eddie starts a live stream by sticking his head into the living room where Steve is looking for something to watch on Netflix like, “Do you want to go on an adventure with me?”
Steve is reluctant to go because Eddie won’t give him any details about it but ultimately gives in because well, it’s Eddie. His reservations return when he gets in the car and Robin is sitting in the backseat, and when he asks about it Eddie just says that she’s there for ‘damage control.’
Like, “What the hell does that mean? She’s not calming and have you seen her walk? She is the damage.”
“Hey!”
“Rob, I love you but that’s true. She’s here for emotional support.”
“What does that mean?!”
Eddie tells Steve to trust him and Steve gives in because well, again. It’s Eddie.
Steve would accompany Eddie to Mount Sauron, or whatever, any day of the week. So he puts his seatbelt on and gears up the playlist they made for when it’s the three of them in the car, and they drive.
Eddie explains to Steve and to his live-stream that he’s doing an impromptu meet-and-greet at a mystery location. He’ll drop some hints over to the course of the drive and if it’s your area and you can figure it out, come out and meet him.
Steve thinks that’s actually a pretty cool idea and thinks it’s great that Eddie is interacting with his fans again after all the death-threat drama. He pokes Eddie in the arm and tells him, “That’s really cool, babe.”
Eddie flashes him a grin that doesn’t quite gel with the nervous tapping of his fingers, but that thought slips from Steve’s mind when Robin punches him in the arm and points, “Look, cows.”
Steve smiles, “I’m naming that one Kirby.”
“It looks more like a Janine.”
Other highlights of the road trip live stream include the three of them absentmindedly singing along to Iris by the Goo Goo Dolls, the three of them singing passionately to Girls Just Wanna Have Fun, rest-stop stopping so Ozzy can get out and run around for a bit, and Steve outlawing Punch Buggy after Robin and Eddie punched him in the arm three times in a row.
The whole time Eddie keeps dropping vague little hints like ‘taking it back to where it all begins’ and ‘we’re treading old territory’ and Steve initially thinks that they’re heading to the bar in Indianapolis where Corroded Coffin was discovered. So maybe he didn’t really pay attention to the rest of Eddie’s clues or maybe he’s really bad at connecting the dots because he feels winded when they come upon the Welcome to Hawkins sign.
He feels increasingly more winded when they turn down streets that have changed a lot but feel the same. He doesn’t notice how the car went quite or how Eddie keeps sneaking glances at him, just the streets they’re taking. Every turn they take that he’d taken a hundred times before.
“Eddie,” Steve breaths out like he’s just taped the pieces to a treasure map together and discovered ‘X’ was home all along. He inhales in time with the click of the blinker as they turn onto Loch Nora, “What’s going on?”
Eddie doesn’t actually answer that question until after they’re parked outside of Steve’s childhood home. He doesn’t answer until after he gets out of the car and circles the other side, and he holds Steve in his arms.
He says, “You told me that you will never work through this thing with your mom until you understand why she’s like this. If she won’t come to you, babe, then you gotta go to her. You gotta do this to get peace.”
Steve is always shaking his head no because he can’t. He can’t just walk up to her door after twenty years and asks her for an explanation. He doesn’t even know how he’d – he doesn’t –
Eddie tilts Steve’s head up until they’re eye to eye and he tells him like he can hear all those half-formed questions in his head, “You are Steve fucking Harrington, baby. You fight monsters and you save the world, and you are brave beyond words. There are worst things out there than this, so you got this. You can do this.”
“It’s not going to be easy,” Eddie continues. “But it has never been easy, and… This is it, babe. This is the last battle you got to fight and then we leave it all behind. I’m sorry I tricked you, but you wouldn’t have come if I told you.”
Steve takes a deep breath and then another, and maybe a third. He shakes the nerves out of his fingers and he hugs Eddie as tight as he can without hurting him, and he says because he knows he’ll mean it later, “Thank you.”
“Take Oz with you,” Eddie tells him and kisses him in broad daylight like he was never able to do on this street. He tells Steve that his meet-and-greet is at high school, and that Robin’s going to stay here with the car, that they’re going to Hopper and Joyce’s after, “If you need anything, call me immediately.”
Eddie stays with Robin to watch Steve walk up to the door and knock. He doesn’t move an inch until the door is answered, and then he smiles at Robin, “That went better than expected, right?”
Robin asks, “Did you end your live stream?”
“Shit.”
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hey folks who interact with creative works online! just a tiny PSA
If you don't like a character, that's totally fine! If you have a different reading of a situation in a show & have issues with stuff that's going on, that's also fine.
What is NOT fine is to ACTIVELY SEEK OUT fans of the characters you don't like and talk shit about them, the characters they have feelings about, or the content they've posted b/c you, Freddy McHatesalot really needs to tell everyone how much you dislike a...fictional character.
You are totally welcome to consume content in your own space in whatever way you see fit. It is disrespectful of the fandom space to try to drag other people into your space and interact with you if they don't want to. And dunking on a character in writings or art of them is fucking rude as hell to the person who put work into into the creation they made out of some feelings they were having.
Also. side note, it is possible to enjoy a character who is Wrong About Some Things or Isn't Doing The Right Stuff In The Right Situation. Sometimes it's possible to like a character and disagree with them, and shitting on people b/c you can't see what they see in a character is pretty trash garbage and is 90% of why I just make silly little art for me and my own silly feels and hope folks get a chuckle or some enjoyment out of it too.
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The Anya-Twilight interaction in the middle of this chapter is pretty interesting.
The Anya side of this interaction seems clear enough in that she's trying to obfuscate when asked about her exposure to classical language. The fact we don't see her face as she claims she doesn't remember makes me think she very possibly *does*, but doesn't want to talk about it. And, of course, as I've seen pointed out already, her face when she's first asked is very reminiscent of how she looks in the recent 'Ania' short chapter. She has thoughts/feelings about her past and they've clearly affected her, but they're not for the audience to see yet.
However, the Twilight side of this? I'm a bit stunned at how obviously he does not want to be asking this question of Anya. We know he's considered there's some reason in her past for her knowledge of classical language. We know he's a chronic overthinker. Even last chapter, he was thinking of this, but didn't ask. Anya getting second place though basically removes any plausible deniability. If he doesn't ask now, he's neglecting his duty. But still, he has to work up to it, almost leaves the room before he decides to broach the topic, and when he does, he *mumbles* it. Twilight doesn't really *act* with Anya when it's just them. His mumbling is not an act; it's reluctance.
His reluctance to ask the question of Anya is, in some ways, more egregious than how easily he drops the topic once Anya claims she doesn't remember. Not pushing her further and bringing the topic up later is a valid tactic (and likely one we may see), but we can see that he knows there's more to it. Unlike the audience, he can see her face, after all. And for now, he's indicated he won't push further despite that knowledge. By choosing to back off and patting Anya instead, he's (in a very low-key way admittedly) prioritising Anya over the mission.
It's just so neat how this one interaction showcases so much about the both of them. It hammers in Anya's trauma about her past, without spelling it out in words, but at the same time, it shows how Twilight's approach to fatherhood vs his mission are coming increasingly into conflict. We've had something similar on a larger scale with the recent Yuri-mole arc, with his role as Yor's spouse vs the mission, but it's still playing out on a smaller scale in scenes like this. And it's fascinating how the mission isn't always the clear-cut winner anymore. Sure, early on, we had Twilight sabotaging the Eden entry interview, but that was a moment of passion inspired by his whole "not wanting children to cry" deal. In other words, fuelled by some of his own trauma. In the recent chapters though, he's had time to think and justify before he acts. But the pendulum is still swinging towards his family when given the chance.
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Something I realized (which was obvious to me subconsciously) is that... The family that vehemently didn't accept me when I first came out but now do accept me are still the same family that I am most unwilling to be open about things I feel protective over.
I remember that my dad reacted so poorly, not to my coming out, but to my transition specifically that my therapist was the one to ask if I wanted to put it on my file that I wanted nothing to ever be shared with him about my health after I broke down multiple times due to my anxiety that I would never transition. While there are and were protections for me, I was incredibly fearful at the time because I was a minor, and I was so worried that he would have prevented my transition that I couldn't have said for certain what (if any) lengths he would have gone to to prevent that.
He's grown a lot as a person, and made some commendable strides. But he didn't find out from me when I medically transitioned the second I turned eighteen, and I think that's among the things that truly made him realize the scope of the issue.
I'm not here to guilt trip parents, guardians, or other members responsible for the care of the children or teens or young adults in their care.... but this is a cautionary tale. You aren't saving the people in your care when you do this, you simply reinforce an idea that you will never care for them, never want them as they are, would rather them be shoved away.
When you give people reasons to be secretive, they will behave secretively. When you give people reasons to doubt their safety around you, they will become sneaky, defensive, and withdrawn. When you give people reasons to doubt that you value their life, they will believe that you don't care if they live or not.
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