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hitlikehammers · 3 months

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on the radio

rating: t ♥️ cw: criminal-levels of softness, love beyond the boundaries of what it even meant to love before the spring of ‘86 ♥️ tags: established relationship, rockstar!eddie, teacher!steve, rockstar husbands, tour dates coincide with summer vacation because Eddie can't sleep without his Stevie thank you for your cooperation with this policy, soul-deep love, slice of life, softness

for @steddielovemonth day fourteen: Love is being late to work because you can’t ever say goodbye in a reasonable amount of time (@sharpbutsoft)

more codependent rockstar!husbands of the je ne regrette rien variety, you say? oh, well, I mean: I guess ♥️

Steve can fucking taste freedom, he swears.

He looks at the list of student records he needs to close out to transfer to the high school before he can pack away the last of his office and sign the hell off for the school year—and start the summer tour cycle with his husband through the Midwest, up and down the East Coast, and then they’re fucking breaking Europe, got signed on to a couple festivals, and Steve is goddamn vibrating with excitement and shit, just: are there parts of your heart that like, fit together? Like bones where they connect and shit, or is it all just one piece?

Steve thinks is more like one piece, but he is gonna go with that it’s more like stitched together or something, just so he can fucking say exactly what he feels, which is that his whole goddamn chest—heart and ribs and lungs and all the other fucking bones and shit there—all of it’s seriously bursting at the seams just with so much fucking pride, okay, because his Eddie’s goddamn made it. This dream of his isn’t just gold records; it’s a plane across an ocean to play for tens of thousands of people who don’t even all speak their language and that’s…that’s just like…

Steve’s so goddamn proud he’s split between wanting to scream about it from the top of the school and maybe sob about it with all kinds of sappy declarations peppered in as he messy-cries, so: bursting at the seams. Heart in his chest so full it’s primed to just explode like a goddamn confetti cannon.

Though time has kind of served as testament to the fact that that sensation’s less exclusively about Eddie’s music, or his success, and more just about Eddie.

Eddie, and loving him beyond the boundaries of any understanding Steve ever had about what it meant to love before the spring of ‘86.

He’s almost through the ‘V’s at the end of his alphabet of names when he notes the time—shit, he almost missed it.

He reaches for tiny radio in the corner of his desk that literally just lives there for the purpose of Eddie and the boys doing interviews on local stations every so often, and tunes it in 93.9.

…elcome to most of the infamous lords of midwestern metal, Corroded Coffin, the DJ’s introducing and good, Steve sighs and flips through his…fifth-to-last folder—just in time, he can listen to the interview the guys are squeezing in before hitting the road, then he can get home while the band’s getting their flight to the first venue in Chicago, they’ve got a couple of days there and he and Eddie are planning to look at some houses; Erica’s out of high school they’re ready to make the leap, and Steve will take the 6:10 flight and head straight to the show like the often do, it should work perfect; it’s great to have you guys back but Jeff, I gotta ask, the maybe most…colorful?

You can say obnoxious, Lenny, if anyone knows, we do, Jeff’s shooting playfully, and Steve snickers, distracted by closer folder-number-five and flipping open number-four.

I would never, the DJ gasps theatrically to laughter, and Gareth’s muted holler almost like he’s here! and then he continues on; that does open the line of inquiry, though: where’s your notorious frontman, Mr. Munson?

Steve’s hand slips on the folder; he barely catches it before it falls to the floor.

Eddie…Eddie’s not, not there?

Steve tries to talk down the adrenaline response that’s never wholly died at the idea of the love of his fucking life gone missing, and worse, the idea of something happening to him while unaccounted for: Jeff was playful. Gareth was teasing. They have to at least have known somethingabout Eddie’s absence, Steve talks down his racing heart to something just a little anxious as he listens for clues, and doesn’t have to mine little hints or anything even, it’s clear and plain:

Eddie’s got a sore throat, so like the diva he is, he’s resting it before showtime, Dougie chiming in and yeah, two points to that: one, the only reason Eddie’d have a sore throat would have been fine by sun-up, yeah, and it was, because Eddie was all sunshine and manic energy when they parted ways that morning, and then two: Steve actually knows these guys well enough to be able to tell when they’re talking out their asses.

And Doug is maybe the worst liar of the three on-air.

Steve’s chewing hard on his Bic, trying hard to keep a level head about this: if anything drastic had happened, he’d have heard, they all have his office number, they all know where he is, it would—

Steve startles when he hears rubber squeaking down the hall outside the office; as far as he knows, though, he’s the only person here—everyone else takes at least a week free from this place after classes end, but Steve has a timeline, and a flight to catch, so y’know: sacrifices must be made and whatnot.

He barely gets to turn in his chair to consider getting up to check when the culprit and his perpetually-trashed Reeboks skids to a halt in the doorway.

“Sweetheart,” Eddie beams at him, a little breathless, hair a fucking mess but smiling so big, those dimples popped so deep: shit, if Steve’s heart hadn’t been quick already, that’d fucking do the trick.

“Eddie,” Steve stands, and meets him in the middle where Eddie’s already crossing to him, kissing him immediately and hungrier than the maybe-five-hours since the saw each other really fucking merits. “What, you, why aren’t you at the station?”

Eddie’s eyes flick to the radio as he clocks the question and of all the reactions Steve could predict from him, the fake-sheepish grin with the glimmering fucking eyes?

Probably could have guessed that one.

“I forgot something.”

“You forgot something?”

“Yeah, something important,” he nods fervently and Steve frowns.

‘Babe, you could have called, I’m meeting you at the arena, I could drop it with security if needed to,” he offers, argues: but not really, and not like it fucking matters, because here Eddie is, and the boys were planning to run straight to the airport from the interview, both of which are in the city but Steve’s not, and Eddie’s gonna have to be fucking quick, here, if he doesn’t want to be late for his goddamn flight; did he already swing by the house for whatever it is he needs, it—

“Nope,” Eddie pops the denial like a bubble; “can’t leave it with security.”

Steve squints at him, because now it’s a puzzle. Now it’s Eddie being…kind of a little shit.

And Steve doesn’t even begrudge him the momentary panic before; he’s too adorable. Steve’s too fucking in love.

And now he’s curious.

“You kissed me goodbye.”

“Oh, always,” Eddies almost offended by the suggestion he could have forgotten that. As in: ever.

“Said you loved me.”

“Bigger than the universe,” Eddie says exactly what he came up with that morning, like he does every morning, some new outlandish way to describe the scope of his affections and Steve rolls his eyes but eats it up every fucking time; “and the universe is always expanding so I love you bigger than what it’s expanded to since this morning, too.”

Steve can’t help but kiss him for that, because; well.

Because.

“What the hell else then?” Steve asks, because Eddie has a fucking timeline here and then his husband’s grin stretches slow, and sly, and then he’s drawing Steve in, and kissing him deep, licking as far as he can reach and wrapping his arms around Steve’s waist tight, knocking him a little off balance by design and Steve goes with it, because he fucking loves it, and then—

“Goddamnit, Edward,” Steve growls between them into Eddie’s shit-eating fucking grin as he smacks Steve’s ass, again, and keeps his hand there to squeeze while he pecks at Steve’s lips with feeling.

“It’s good luck, baby, for the journey!” Eddie protests between kisses. “It would curse the whole shebang if I left without showing the appreciation duly accorded to a goddamn masterpiece,” and then he leans in and goes deep one more time, draws a moan out and drags it slow from Steve’s lips before breaking away to declare emphatically:

“Unthinkable.”

And Steve…Steve fucking loves this man bigger than the whole expanding fucking universe or whatever, so he kisses him back until Eddie’s the one moaning, then pushes him away, kinda hard.

“Get out of here, you fucking lunatic,” but then he’s quick to drag Eddie back for one last kiss to mouth against him: “have a safe flight, I’ll see you tonight.”

And Eddie smiles against him, and makes to actually listen, but.

Not before Steve slaps that ass as it makes its way out the door.

Turnabout’s fair play.

Or whatever.

tag list (comment to be added): @pearynice @hbyrde36 @slashify @finntheehumaneater @wxrmland @dreamwatch @perseus-notjackson

♥️

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eizneckam · 11 months

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reblog for positive thinking

#suki na ko ga megane wo wasureta #or beyond the boundary perhaps #who can tell

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crithaus · 1 year

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Been seeing so many tweets abt it and I wanna get back on yonder soap box for a second cuz I have my own musings

I had always wondered if Vax would show up when Vex was drowning in Dalen's Closet and then when he didn't I wondered why and mused that barring the above table reasons of this being a game with set rules and Matt can't just deus ex machina their way outta all their scraps, that below table the Deal Vax had already made with RQ for Vex's safety was all the flexing she would allow him to do and then voila Vex comes back anyhow, and I think it's important to note that as Vex was dying Liam slipped out of Derrig's character, something he doesn't do much, and into Vaxbrain ("We had a deal, Matt.") to Express how unhappy he was that Vex was drowning and the deal he'd made was being routed and I think that's proof enough that Vax would if allowed absolutely come down there and rescue his family from any and all scrapes if he was able to,

Now with this latest episode, We saw Otohan bedecked Paragon's Call with RQ's symbols, we know Otohan has the poison that prevents you from being rezzed which is an affront to RQ's domain and position if I've ever heard one, we know the attack on Kiki was on purpose and possibly to get RQ's attention, get her looking and all, and this whole situation with Ludinus is the biggest threat yet faced to all the gods and all their domains,

And that's why she let Vax through the gates this time, just in time to wrest that permadeath dagger away from the heart of the love of his life. I don't think Vax could have been there without the requisite chips falling where they did, without RQ letting him, I think the thought that he busted through all of those gates unprompted and w/o permission is a little disingenuous because Vax would want to do that for any and every one of his family members every day all the time forever, but it makes perfect sense that as the Raven Queen's champion he would be sent down to stop Ludinus from freeing Predathos and it makes perfect sense for Vax to veer off from his official business, to shirk his responsibility and use the opportunity given to go to her, to do such a grand and meaningful gesture for his one true love, and tl sound so unclouded and present while doing so, I mean

This is Vax we're talking about. The guy who looked death (death herself both times y'know, Otohan and her dagger and RQ, two sides of a coin or something) right in the eye, twice, clutching his girls to him and telling that nigh all powerful entity to fuck right off cuz they can't have these girls he loves more than life? Peak Vax behavior. To know he's been watching Keyleth for so long finally seized his moment to help her, and did so with gusto? True love. The purest kind, the Vax-iest kind. Not even death can stop his love for her, for Vex, for Vox Machina.

And I think after this all is over they need to renegotiate the terms of Vax's service so he can stay back past the gates with the rest of his family cuz RQ is a stingy bitch and should have been MUCH laxer with gate-crossing privileges, I mean Vax has more than earned it now

#critical role #critical role spoilers #otohan thull #vax'ildan #c3ep51 #ludinus da'leth #the bells hells #vex'ahlia de rolo #keyleth of the air ashari #the moment was beyond sweet and painful and keyleth deserves so much more than just a glimpse of him but im tired of seeing the #smug 'vax broke past all the gates *only* for her' like kiki is the only person vax cares about like vm is just about romantic love and #it makes me sad cuz vm is about love that transcends all boundaries and borders and he'd do #did and will do again that for all of his loves his and kikis relationship is so much deeper and richer in the whole context of vm rather #than just their romantic partnership

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littleesister · 1 month

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Tickle rp - green and red flags

Hello dears, I’ve recently had a few conversations with my new lers and lees. And I wanted to make a checklist on how to stay safe during rp

Remember consent is given before, after and during all types of intimacy, so here are a few examples:

Before:

Age and pronouns

What names and nicknames may be used

Ask about boundaries

Decide what spots are going to be tickled

Spots that are gonna be avoided

What tools to use or avoid

Restraints, pinning and how close the lee and ler should be

If both parties should have a safe word

During:

ONLY tickle or mention spots that have been chosen

ONLY use tools and nicknames that have been chosen

Regularly check in and ask questions

Give options for breaks and changing position or technique

Respect safe words and boundaries

If someone changes their mind about a spot stop and talk about it

After:

Cuddles and reassurances

Relax and talk about calming things while both parties recollect themselves

Don’t evaluate instantly since both parties are still full of dopamine and the brain needs time to come down from a high and flustered mood

After a few minutes or even the next day evaluate how the session went for both parties

Stay in contact and don’t just disappear after you’ve gotten what you wanted

Tips for the ler:

Remember you are in a position of power and it’s your responsibility to be in charge since your lee is in a different headspace at the moment. Be carful not to go with the flow. The lee might say yes or keep giggling if you ask them something but afterwards they might regret it. In a flustered headspace you can’t think straight nor consent to a new thing. So that’s why boundaries were sett before. Stick to the script!

Tips for lees

Be on the lookout is your ler asking for boundaries, checking in and staying on track. Are they prioritizing your wants and needs? Do you feel safe to be vulnerable or does it feel forced? If you at any point get an icky or uncomfortable feeling, use a safe word and speak out. You can change your options before, after and during. But remember it’s harder to change something afterwards so speak up. And if you feel like you can’t be open with your ler, then why are you with them!

Please stay safe and rember people lie all the time online and in real life about their age, personality and intentions. If at any point someone feels disingenuous you have two options:

confront them

ignore them

A few last tips

Don’t laugh at or make an overstepping of a boundary into a joke, you’re valid to sett a stop and guidelines so don’t discredit yourself.

If an apology is mostly self centered and not taking your feelings into account it’s not genuine.

You don’t owe anyone anything: no pictures, no roleplay, no reactions and no time.

Be aware of gaslighting, manipulation, narcissistic and psychopathic tendencies and how to spot these actions.

Say no, use safe words, speak up, ignore, ghost, leave behind and move on, you deserve only the best

If someone makes you feel uncomfortable they aren’t worthy of your time and that’s period!

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loccorocco · 8 months

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Tunnel in the map boundary (CS assault)

#counter strike #counterstrike #my art #another piece to my series #wondering about places beyond the map boundaries

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aishiteru-kenshin · 1 year

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Kyoukai no Kanata | 境界の彼方 | Akihito & Mirai

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piosplayhouse · 10 months

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This artfight "discourse" goes around every year and it's seriously like beating a dead (disk)horse at this point but truly if you get FREE art of your OCs that someone made you in their free time and you purposefully ignore or even worse shittalk it because it's not "quality" enough for you you are truly a miserable person! I would rather take 1 headshot done in crayon by an artist trying their best than a million professionally rendered pieces done by a popular artist drawing with no passion just because they want a ton of free art in return

#atp i almost treasure captions more than i do the actual art #fanart can be rendered outdated after a redesign but a 'i loved your character so much i really wanted to draw them' is eternal #not to say the art isnt also important though i love art !! and im not trying to say that like if youre more skilled your art is worth less #or anything like that obviously . just that human intent behind art is so hugely important to the impact of a piece #beyond just the boundaries of the canvas . the feefees and whatnot #whatever your skill level if youre authentic and passionate and appreciative and understanding it will come thru #and you and your work are loved #artfight #art fight

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drconstellation · 6 months

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Lifting the Veil on the Bentley

Because I’ve been talking about the Bentley being Crowley’s black horse of late, I’ve had a nudge to talk about the number plate. I know it’s explained as an easter egg in relation to Monty Python, but I think we can explore it a bit further than that.

It’s worth having a quick look at this older post from @fuckyeahgoodomens where they explain the inspiration was from an animated scene from Monty Python's Meaning of Life .

youtube

The following is from the linked article.

As a nod to Terry Gilliam, who once tried to do a movie version of Good Omens, Gaiman and Mackinnon threw in a little reference to Gilliam’s origins doing animation for Monty Python. “The license plate of Crowley’s Bentley is ‘Curtain’ backwards,” Gaiman said, because of the writing on the mausoleum in the suicidal leaves section of Monty Python’s The Meaning of Life. “Curtain backwards, like it’s the final curtain,” Mackinnon explained.

Before I get into all the connotations of “curtains,” there should be two things you notice about the “CURTIN” written on the mausoleum. The first is the spelling itself. It’s shortened to look like the Irish surname Curtin, so the mausoleum appears to belong to a real person. Curtin is an anglicized version of Mac Curtain, which means Son of the Crooked, or Son of the Harp, as the ‘crooked’ refers the hunchback shape of the Irish harp. I wouldn’t read too much into that, its probably more just a way of getting an actual curtain reference into that scene.

The other thing is that is not just backwards, it is mirror-image, as if you are looking at it from the other side of the mirror. So we should ask ourselves – which side are we looking from? And why does this matter?

While director Mackinnon mentions it referring to the “final curtain,” we need to start even further back than that to understand what the final curtain is, because even that has two meanings, even if only in a general sense. But because this is the GOmens AU, you can guarantee we’re going to find out there is more to it than that.

We need to go beyond the veil.

To go “beyond the veil” has become a euphemism for passing into death, or that unknowable place people go once they die. It was originally a figurative reference to the area in a Jewish Temple that was separated from the main body of the Temple by decorative curtains, called veils. The veils were specially woven, often with the image of a Cherubim woven in by a skilled worker; it was not allowed to be sewed on or added later. Each panel of the veil would display a different face of the Cherubim, such as the lion on one side, an eagle on the other, and so on. Only the priests could go past the veil into the most holiest of places. The veil was symbolic of separating men and their sins from the glory of God.

The word ‘veil’ can be translated into English as ‘curtain,’ so the two words are almost interchangeable in respect of this discussion. I was interested to see that the word veil comes from the Latin word velum, which also means ‘sail,’ as in “to move, to drive a vessel or vehicle forward.” I have previously commented that the Bentley should probably be a “she,” as traditionally all ships were female, and that’s a tradition we still see carried into the modern day, thousands of years after its origin. I’ve even seen modern day space probes – little ships sailing the solar system – referred to as she! But I’ll not be pedantic about it, don’t worry.

Keep your hands off my bitch, bitch.

So the curtain, or veil, is the boundary between life and death. Only – we are seeing it from the other side. And in the GOmens AU this “other side” is very real, and one Aziraphale and Crowley walk through with both ease and without much thought. They are agents of those on the other side of the veil, yet they walk with Humanity in a solid reality on the surface of the Earth. They know the other side is real. When wee Morag complains about Elspeth’s body-snatching activity that the ones she digs up and sell won’t be able to go to Heaven because they will be cut up, Aziraphale tries to tell her it’s not like that, but she's not listening:

WEE MORAG: Aye. Tell that to the poor souls who will not get into heaven 'cause their bodies are all chopped into wee pieces. AZIRAPHALE: Well, that isn't how it actually… CROWLEY: Heaven isn't all it's cracked up to be, you know. WEE MORAG: It's no right. I'm telling you. CROWLEY: Yeah.

For humans, though, there is supposed to be no return once you cross that threshold.

When we, the viewer, see the two worlds meet, it's usually signaled by the presence of fog, mist or smoke. When Lesley the delivery driver meets Death, the fog arrives, as he is no longer in the living world. When Aziraphale and Crowley leave Tadfield Manor, we have smoke telling us we are seeing two different times and places at once - the past and the present are overlaid on one another.

The Bentley must exist in both the Human and subliminal worlds at the same time - how else can it drive like it does? It doesn't really need Crowley's hands on the wheel to guide it. It couldn't have started out like that - it was made by humans, but we all know the Bentley is more than just a car now.

It chooses the music to play on its radio, it refuses to speed when taking Aziraphale to Edinburgh until Crowley yells at it, it tries to follow the angel after he gets out at the end of the journey. How it got like this we will probably never find out, but we figure its become an extension of Crowley by close association, much like Aziraphale tends to influence the world around him without effort as well.

In terms of it being a black horse - well, now we get into some interesting stuff!

Horses have been companions to humans for longer than cars have been around, so there is lots of lore and symbology associated with them. Previous metas around S2 have focused on "dark horses," as they were specifically mentioned twice in the script. But a dark horse is not necessarily a black horse, and vice versa, so lets look at some of the aspects of black horse symbology in particular that could be relevant to the Bentley and it role in traveling between worlds.

Horses were the original vehicle of the ancient world. While Famine was supposed to ride a black horse (the others were white, red and pale green for pestilence,) the black horses could also be messengers of death, a demon bringing death or a guide to the afterlife. In the Illiad, Achilles sacrifices four horses on the funeral pyre to accompany Patroclus to Hades.

[Edit: I've just put myself through the pain of watching S2E6 again, for reasons, and realised why the ethereal lift is in the entrance to the Dirty Donkey - because a black horse is a guide between worlds! Of course!]

They became associated with the Devil during the Middle Ages as the church tried to break the link to old pagan rites. The broomsticks witches ride are supposed to represent horses. And then there is the sexual connection to horses...which leads in a round-about way to the practice of nailing horseshoes up for luck and protection. Although perhaps the burning horseshoe on Jasmine Cottage is more directly linked to the story of St Dunstan tricking the Devil and making him promise he would never cross the threshold of a house that had a horseshoe nailed to the door.

Our favourite Bentley has been beyond veil and returned. Though it was kept valiantly alive through the sheer will of Crowley to escape the unnatural flames of the Sigil of Odegra, it expired at the Tadfield airbase once Crowley arrived and finally released it. It was only appropriate that Crowley took a moment to acknowledge its service.

Then Adam restored it the next day. Resurrected it, one could say.

Time for the "final curtain" to wrap this meta up.

To "face the final curtain" is another euphemism for facing death, or at least an ending. It's the final curtain of a theatre show, after the encores are done. Its the final fall of the curtain at the end of a run. Sometimes we might say its just "curtains" for something or someone, meaning it will be ending, as a shortened form. But both Aziraphale and Crowley knows death isn't the end; its a beginning as well. Its just matter of perspective to them.

I've seen other writers associate this final curtain with the first Armagedon't, and now we appear to maybe be facing the "big one" in S3 - the Second Coming. I think that is too simplistic an association, especially for GO. The reversed side of the veil could be so many things: the final battle, the ability of our ethereal heroes to move between worlds, it could even be Crowley returning from the "death" of being one of the Fallen. As always, the meaning will be need to be considered within the context of the scene, and which side of the curtain we are looking from.

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