Human After All

I present to you: older brothers who work with the government and their neurodivergent little brothers.

divine wrath

Sobbing at this

Nick and Ellis Imagine #4

TW: blood, death

“You’re safe.”

Nick caressed Ellis’ cheek with a bloody hand as he held him close to his chest, not wanting to accept the fact that his reason to live was dying in his arms. “Shh, shh. You’re safe, I’m here now,” The older man whispered with a smile of reassurance while Ellis wheezed. His life was slipping out of him, but he held tightly onto Nick like he wasn’t ready to die. “Ni…” He cuts off with a cough, blood leaking from his mouth as he tried to avoid suffocating on it.

“Don’t talk, love. Just go to sleep.” While his voice started to crack, Nick gently rubbed Ellis’ cheek with his thumb — the grip on his jacket becoming weak as he gave his lover’s cheek a desperate kiss before smiling with eyes blurred with tears.

“I love you.”

Nick had spent his final moments listening to Ellis’ hitching breath until he can no longer hear it, and he planned to follow him in the afterlife by simply pulling the trigger.

nothing sexier than that picture with the italian players on top of eachother after the win and the english ones going through the 5 stages of grief in the back

One of the things I liked about Due South that I also see in Ted Lasso is how the shows play with knowledge.  In both shows, we, the audience, see the main characters (Benton Fraser and Ted Lasso) more holistically than than the other characters on the show.  

They are both struggling with a deep seated fear of abandonment that’s rooted in childhood trauma (Fraser: the death of his mother and semi-abandonment by his father; for Lasso it’s his father committing suicide while he was alone with him in the house).  Along with this, both characters are strongly adverse to showing “negative” emotions and have a basic inability to emotionally rely on others.  While I think it’s fair to say they wear a mask in public, I also think it’s equally right to say that the face they show to others, while partly performative, is also very true.  Both are genuinely caring people who find meaning in helping others.  What they show to others is truly who they are but not fully who they are.  Fraser uses his politeness and general mountie-ness to distance people.  Ted does the same but with relentless positivity.

Both are hiding a world of hurt underneath that exterior.  Hurt that others around them cannot easily see, but we the audience do because we see them in their private moments.  Moments were, for Fraser, we see his bitterness come out in his conversations with Diefenbaker and later the ghost of his father, both functioning as a kind of “safety valve” for his dark thoughts and moods.

On the other hand, we have the scenes of Ted home alone.  For a character whose constantly in motion and spewing out wit and charm (ranging from really good to pretty dorky), Ted’s behavior when he’s alone are slow and quiet, understated.  He seems shockingly sad in comparison to when he’s among others. He drinks far too much. He has trouble sleeping.  Without a safety valve like Fraser, Ted suffers panic attacks throughout the show.

One of the ways the both shows build tension is in watching other characters slowly over time realize the issues Fraser and Ted have.  we the audience realize it sooner,, so the dramatic irony comes from what the other character don’t know and only slowly become aware of at a slower rate than us.. Kind of like how we the audience might be shown where a bomb was and then watch the characters racing around looking for it, all while we audience is chanting “look under the bed!”  There’s a tension in us knowing and understanding these character’s pain and other characters only slowly getting a grasp on it. 

We get this in particular with Ray Vecchio in Due South as, by the end of S2, Ray’s calling Fraser out on his lack of emotional honesty.  We are also seeing this play out in Ted’s relationships with Rebecca and Beard.  Neither understand the full extent of Ted’s problems and not even Beard may know the cause, but we’ve seen them slowly start to understand Ted’s in a hell of a lot more pain than he’s willing to admit or show.

It’s MY birthday and i can draw as self indulgent of an art as I want! Get off my back okayyy????

This is an ace lives au btw. Like a continuation of that absolutely awful (🥺) short comic Oda drew for them.

Ive seen a bunch of post-war cuddles with these three, but I think that Ace and Sabo deserve to just talk with each other.

You are officially part of the crew now, Sanji

Galas were energy drainers, which was a well known, established fact.

Bruce isn't a solid believer that people are born bad; The person in front of him seems adamant to prove him wrong.

"Those are very big words you're throwing around, Mr. Wayne," Bruce is sorely concerned if 'climate change should be acknowledged and regulated' can be considered ' big words', "Care to define them?"

Bruce would, truly, but this jerk already wasted half of his night by being condescending, so why bother?

" I've enjoyed myself, but,--"

" I did too. Truly, its nice to be listened to. You could teach my wife a thing or two...Among other talents. Maybe we can speak more over dinner?"

Discomfort churns and batters Bruce's insides. He's not good with sleazy.

He thankfully learned to camouflage disgust at arrogance and tackiness and nastiness,-- but sleazy? His hands sweat, hungry to hit, punch. His tongue is heavy and bit to blood.

A long shadow covers them both, and everything bad vanishes from Bruce's body in a relieved breath.

" Oh...Thank you for the invitation. But...You'll have to ask my boys."

A gulp from the other.

There's Jason, his Goliath of a son, Bruce's bruised sunshine. On his shoulders, not clothed by a restricting tuxedo like the rest, but by a red hoodie instead, Damian holds a butter knife close.

Tim, arms folded, mimics Bruce's nauseated snarl. Ah. So they heard, then.

Dick, as always, stands at the forefront, both shielding his siblings, and establishing himself as top threat. A pure leader, no doubt behind it.Bruce would lie if he'd say the spark of pride isn't there.

"What time?"

I suddenly need the Mentalist/due South crossover where Patrick Jane and Benton Fraser sniff corpses, lick evidence, and spin wild plans to solve a crime. (All of it not competitively, not competitively at all, of course, solving a crime is not a competition even though they both absolutely need to win with every fiber of their beings.)

I feel like Jane would treat Fraser a little like Lisbon, in that he would delight in tweaking Fraser's lawfulness. (And I can just see him sourcing a Mountie costume and showing up in it one day...) And Fraser would be all polite polite polite polite polite pol--oh, thank goodness he's gone. After managing to do one grand outfoxing of Jane at the end, anyway, in what is absolutely not revenge for the teasing.

I'm torn on whether Jane would be able to read Fraser like a book or if he'd be stumped. I'm also not sure if Lisbon and pick-your-Ray would enjoy commiserating or become very defensive of the eccentrics they babysit.