everyone’s like “he’s my comfort character! he makes me so happy, he deserved sm better” and the whole time, it’s a grown ass man who’s racked up at least a half dozen charges and felonies, is likely to be arrested for crimes against the state and has enough daddy issues to be willing to do that shit all over again.
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I actually love it when people go up and bring more cultural American stereotypes to me. Like, yes! That's me! I'm the Southern Gal! I'm the East-coast Girlie! Been all over from New York to the Midwest, from Texas to Virginia.
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gender of the day: they/she/xe nonbinary goddess. angelic, untouchable, wielding a scepter that can alter every person's perception of the world just slightly to the left. a petal pink mullet too.
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The Pea
I'm very hung up on the symbolism of this dish, particularly with how it pertains to Eddie and his episode of severe emotional distress.
Eddie was all alone in his post office when we found him. Although he refused to state this outright, it was clear he was feeling excluded and forgotten by his neighbors. We have often seen him pushed to the margins of the community, only sought out for his utility to the others.
Barnaby openly delights in scaring and tormenting him, Howdy overworks him without sparing a second thought to his needs, Julie only calls upon him when she someone who's easy to drag into a game, Sally refuses to address him by name and treats his attempts at social connection with disdain, Wally and Poppy only have fleeting interactions with him, and Frank hides his burgeoning fondness behind a facade of cordial indifference.
The pea is alone, too, isolated on the stark white backdrop of the plate.
"Take care not to place them too close together." Even if there are more "peas" at this party, Eddie sits alone in Home's chair, denied the basic creature comforts of intimacy as he watches the others mingle.
The pea is also a pittance to Eddie. It is presented to him right after Sally's single, small attempt to show him goodwill, which she only bothers to do because it's a holiday.
She still does not address him by his name. The gesture, the pea, and the seat are all mere crumbs – too little, too late for a neglected outsider who struggles to make sense of the lonely, awful torment of his life in this Neighborhood, one which he cannot properly articulate for fear of sounding ungrateful.
Home stares him down from his lonely seat. Its presence is monolithic and ominous, a towering figure that only makes him feel more small and alone.
Is it intruding on his mind on purpose, trying to hurt him? Personally, I don't think so, though it still remains to be seen. His words to Frank at the end are telling, though. "I want to go home."
Whether it means to or not, Home torments him with its very being. It's both the elephant and the room. Eddie is an outsider. Eddie can't remember where he's from. Eddie sleeps in a post office after thanklessly running himself ragged every day. Home is the very reason for this holiday, and Eddie is homeless. It's staring him down because it's a symbol of everything he aches for, but cannot have.
Eddie is the single pea on Home's plate. Take care not to place him too close to anyone else.
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cw. none, except for satoru being disgustingly cute.
to outsiders, your relationship with satoru is as much a blessing as it is a curse. it’s a blessing, because even your mere presence causes satoru’s talking to drop by a hefty 80% at the very least. it’s a curse, because satoru only stops his chattering to cling to you.
he wraps his arms around your waist, and nuzzles into the crook of your neck. he holds your hands, and cups his own face with them. he tucks your hair behind your ear and squeezes your cheeks together. he’s so utterly enamoured with you, that words suddenly feel unnecessary. and you let him be.
it’s his way of recharging, of finding little bits of peace in a stressful day. so, you allow him to do as he wishes, and simply continue whatever conversation you are having—as if satoru wasn’t currently biting your finger. you dismiss the looks of disgust people throw at him, finding the way he clings to you like a baby koala oddly endearing.
it’s a custom, by now. a custom that’s loved by the both of you, and only the both of you. so, yes—a blessing and a curse. satoru is quieter when you’re around, but in exchange for a (not so) healthy dose of pda.
pick your poison, as one would say.
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Saw someone describe Scar’s luck as being “installed upside-down” in that he could survive falling from a plane with no parachute no problem but dies 50 times on his way to the supermarket, and honestly yeah I think that’s the best descriptor.
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Prompt 131
Okay, so first of all Dan would like to say it’s not his fault. Ellie was the one to bring some unknown object into the speeder and Jazz was the one driving. Or had Sam been driving- didn’t matter! It wasn’t his fault, he wasn’t the one shooting at them, he wasn’t the one to break whatever, he was not the one to open a stupid portal, and so it wasn’t his fault!
So why is he now like, five years old, and why is the speeder crashed in some sort of corn field. Why is everyone- except for Jazz whose now like six- also like three at most?! And- oh fuck the door just opened and… okay that’s a kid. Like, nine at most.
A kid and an adult, who he hadn’t noticed at first so again, it’s not his fault if he hissed at them and tried to hide his not-siblings behind him. It’s also not fair they’re apparently stuck to ghost speak for who knows how long, but at least they can understand the people.
“Martha, get some blankets, it’s happened again!”
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