Okay Yes We Know That Andrew Sprinted, Dashed, HURTLED Even, When He Saw Neil On His Knees Even After

I want someone to write what would’ve happened if Logan hadn’t managed to break the door down when he did and Wade did manage to grab the other thingy (my brains blanking pls forgive me) and like Logan having to deal with being the anchor person in a whole new world without anyone again

I need a fanfic where Wade and Logan are soulmates but they don’t know until Wade kidnaps him from the bar.

Wade is trying to make things work with Vanessa but she knows he doesn’t really want to be with her because there’s someone better out there for both of them and she breaks up with him. Logan goes his entire life thinking he doesn’t have one. He’s been alive for 200 years so surely he would’ve met her by now and he thinks he doesn’t deserve anyone to be happy with after what happened with the X-Men anyway.

Then they meet each other when Wade kidnaps Logan from the bar and they realize that they’re soulmates. It turns out the reason neither of them had met their soulmate yet was because they’re both from different universes. Wade wants to talk about it but but hey the world is ending in three days and this bald lady and this evil British man are both trying to kill us, so we should probably go deal with that first. Wade keeps trying to bring it up as they go on their road trip but Logan doesn’t want to talk about it. After they have their fight in the Honda Odyssey, Logan tells Wade that he doesn’t want to have a soulmate, especially not him.

The rest of the movie happens, they adopt a dog, and after the time ripper blows up B-15 explains that they survived because of soulmate magic or whatever. At the end when Logan gets up from the bench to walk away Wade calls him Logan for the first time then Logan turns around and runs back and kisses him. They go back to the apartment and Wade introduces him to Blind Al as his boyfriend and then they actually have sex in the Honda. The end.

I must sleep. Sleep is the mind-healer. Sleep is the big-life that brings total ability to fucking do anything. I will face my bed. I will permit the blankie to pass over me and snores to pass through me. And when sleep has gone past I will turn the outer eye to greet the new morning. When the sleep has gone there will be everything. Energy and will to live will remain.

something something Logan is the worst Wolverine because he let the world (aka his family) die and he's consumed by guilt something something Wade went through hell and back but what finally, finally broke him was losing Vanessa something something both of them hit rock bottom when their worlds died but none of them can die and they find comfort in the immortality of the other something something they're made for each other and they're so broken their pieces fit together like a little fucked up puzzle

your random blorbo who happens to die is not doomed by the narrative. edith keeler is doomed by the narrative.

I could literally KILL for an Aziracrow edit with "Like real people do" by Hozier

Alright I’m now convinced this was intentional

Guys buckle in cuz it’s time for another installment of Kirk judges someone for doing something morally questionable for possibly good reasons and then finds himself doing something similar/faced with the same dilemma several episodes later.

First round it was the Menagerie and Conscience of the King

Kirk was mad at Spock for lying and hiding why he took the ship off course with Pike and then literally the next episode Kirk hides his intentions with Kodos as he takes the shop off course until he is confronted. Another fun contrast between the two is everyone except Kirk thinks Spock is acting weird in the Menagire before he explains himself, while in conscience of the king, only Spock notices Kirk is acting off and has to do digging on his own to figure out what is going on because Kirk refuses to explain.

Second round was a taste of Armageddon and the Errand of Mercy.

In the former, Kirk was pissed at the locals for fighting this war on computers, condemning 3 million to die every year, instead of going to the negotiation table and working this out. So he destroys the computer (their weapon of war) to force them to negotiate.

And then in the latter story, the locals of a planet take away Kirk and the Klingons’ ability to fight via disabling all their weapons across the entire galaxy in order to force a negotiation that both sides are hesitant to start.

And round three is Tomorrow is Yesterday and The City at the Edge of Forever.

In the former, after the enterprise accidentally time travels, Kirk kidnaps some pilot b/c said pilot has seen their spaceship and could change the future. The pilot tries to escape several times to get back to his country and wife, not caring about the consequences, much to Kirk’s annoyance. And the episode ends with them erasing everything, even the events themselves so the timeline is restored.

And of course, in the latter story, Kirk is faced with the dilemma letting the woman he fell in love with die in order to restore the future, or saving her and condemning millions to die in a changed future. He chooses the former, and is so wrecked by this he curses for the first and last time in the whole tv series. And the episode ends not on a shot of the enterprise sailing away to its next location, but lingers on the time portal.

Edit: This one really gets me cuz that pilot was willing to break the timeline to be with his family, something extremely selfish, while Jim was able to let Edith die, sacrificing his personal happiness, saving the timeline.

Big picture is we can watch Kirk both see these dilemmas or actions from an outsiders perspective, and then later he either does the same thing or faced with the same situation personally. In short, it humanizes Kirk in a way that doesn’t make him an asshole.

I love this so much and I hope it continues.

Edit: so it didn’t really continue but I still really like this. You learn what kind of a person Jim Kirk is based on how he interacts with each given episode plot and how he deals with said plots in comparison to other people rather than him just monologuing about himself.

You know what else drives me crazy about The Naked Time? This exchange:

It isn't just because of Spock saying, "Jim, when I feel friendship for you, I am ashamed" or "Understand, Jim. I've spent a whole lifetime learning to hide my feelings." Although, that absolutely is part of it, the fact that Spock is locked into his regret over not telling his mother he loved her and his shame at realizing that, despite all his work to adhere to Vulcan principles, he still feels love. It's that gap between duty versus desire, between expectations versus wants, and what remains in spite of the pressure. (I realize his words parallel a love confession in any other context, between any heterosexual couple, and that fandom looks to his shame as a confirmation of internalized homophobia, but the biggest issue for Spock is that love, sorrow, shame--all powerful emotions--still exist for him. He is not a Vulcan if he feels these emotions and gives into them. He is only a half-Vulcan and half-Human, caught between worlds and the judgments and expectations of two very different societies.)

It's because Kirk changes his phrasing of "We've got to risk a full-power start!" to, "We've got to risk implosion!" Implosion, like many words, holds multiple meanings. The intended meaning is "a violent collapsing inwards," the opposite of explosion. But implosion can mean integration, a coming together towards a single center point. We've got to risk coming together. We've got to risk integration. And Spock responds, "It's never been done." They repeat these lines twice. Repetition is a device to call attention in writing. Why have Kirk say they have to risk a full-power start twice before only to change it to implosion and repeat it twice? The two phrases mean something different, but it's important enough to bear repeating. (One could argue it is sloppy writing, or perhaps a case of actors failing to remember their lines, but what are the odds it was either of those, especially with someone as thoughtful as Leonard Nimoy. Either a writer is a professional who understands the power of words, or everything is somehow coincidental, holds no actual meaning, and writers don't think carefully about word choice and meaning, especially in an era where nuance can make or break a story on the screen.)

In the 1960s, during the time of the Hays Code, of course, two men couldn't be together as a couple on TV or in film, not even in space, in a time set centuries beyond our present. But damn if the dialogue can not hint at it, dance around it in plain sight. Again, Kirk and Spock's relationship must exist in the margins, between the lines, encased in nuance and multiple meanings, because to use explicitly clear phrasing would mean it all gets cut.

Hence, this bit of dialogue. The slaps become Spock catching Kirk's hand and holding it steady--direct sustained contact, a coming together, implosion. Spock is torn between regret and shame and love, while Kirk shouts about the ship being destroyed and ending the lives of the crew, their shared duty to the ship. The dialogue is Spock's turmoil writ large--do what must be done, accept two separate halves becoming a whole (is it Spock's two halves or Kirk and Spock? I'll leave that up to you), or remain apart and give into despair. But Kirk tells him their only chance is to risk implosion, to come together, and they have to take that chance.

The way Neil Josten switched into Nathaniel in order to process and handle the abuse and trauma of being found by his father's people and the reality of his looming death will never not fuck me up, he literally said I can't handle this but maybe the Butcher's son could. And then. And then!! The way those two versions of himself coalesce into Neil Abram Josten (legally recognised) after Nathan is dead and the truth is out? The Neil Josten we see in The Sunshine Court has all of the attachments of Neil Josten, the slow unraveling of family and care but all of the hard edges of Nathaniel, unflinching from the reality of the world he lives in and the decisions he has to make to keep his life. Nathaniel would never have stuck around long enough to care about Jean Moreau and call a hit out on his abuser. Neil would never have trusted those resources available to him (or potentially the trail it could leave) in order to deal with the problem in one brutal but efficient move. But Neil Abram Josten reforged could, would and did.

andrew interacts with neil like he's playing episode with no diamonds