Kids, get off my lawn!

Back in my day, we used Livejournal.

[finelythreadedsky]

When women speak truly they speak subversively - they can’t help it: if you’re underneath, if you’re kept down, you break out, you subvert. We are volcanoes. When we women offer our experience as our truth, as human truth, all the maps change. There are new mountains. That’s what I want - to hear you erupting. You young Mount St. Helenses who don’t know the power in you - I want to hear you. I want to listen to you talking to each other and to us all: whether you’re writing an article or a poem or a letter or teaching a class or talking with friends or reading a novel or making a speech or proposing a law or giving a judgment or singing the baby to sleep or discussing the fate of nations, I want to hear you. Speak with a woman’s tongue. Come out and tell us what time of night it is! Don’t let us sink back into silence. If we don’t tell our truth, who will? Who’ll speak for my children, and yours?

Ursula K. Le Guin (1929-2018), Bryn Mawr Commencement Address (1986)

[emeraldbirdcollector]

If Harry had gotten a less conventional, but more loving adoptive family...

Dear Minerva,

Thank you so much for your kind letter of the 17th. It is always a pleasure to hear from you. I do appreciate your waiving the rules about familiars to allow Wednesday to bring little Homer - she dotes on that spider, and I don’t think she could consider Hogwarts home without his company.

We were delighted but completely unsurprised by the children’s Sorting. Of course Wednesday is a Ravenclaw - she has always had a brilliant mind, and it is rather traditional for the women in our family. Slytherin might have been a possibility, with her cleverness and ambition, but sadly (and quietly, between friends) I must admit the wrong sort have rather taken over that House at the moment. Death Eaters are so vulgar. Gomez, naturally, is over the moon about our little Harry being a fellow Gryffindor - the world does need more dashing, brave, and reckless men. They make life so interesting for the rest of us, don’t you agree? And I am certain he will be safe under your care, after his rather difficult start in life, poor child. That aunt and uncle of his are just too terribly common to protect him adequately - I am grateful Albus saw sense and left him with us rather than her.

I appreciate your bringing to my attention the small difficulty between Harry and Draco - I shall have a word with Narcissa. (Lucius is still being terribly silly about that little peacock incident, and refuses to speak to Gomez at all. Men can be so ridiculously proud. And they really did look so much better in black.) Really, though, Harry was only defending his friend. I probably should warn you that Wednesday writes that she is teaching young Longbottom a few of her more subtle defenses - I sincerely doubt Draco will trouble him in future if he uses those. I assure you, none of them cause permanent damage, only temporary discomfort, and she is well aware that they are only for self-defense, not mere childish aggression. Addamses do not start fights, but we do finish them, and Wednesday has always looked out for her brothers.

At least that little incident allowed you to see Harry’s flying skills in time to recruit him for the Quidditch team. I think he shall be an excellent Seeker - he was always the best at bat-spotting on summer evenings, and then there was the time he “borrowed” Gomez’s broom to rescue Pugsley’s pet octopus Aristotle, who had developed an unaccountable taste for tree-climbing, but had neglected to learn how to climb down. It was a successful rescue, even though he was mildly hampered on his descent by Aristotle clinging to his face in terror, the poor darling.

Please send my apologies to Severus for that unfortunate incident in Potions class. I should have warned him that Wednesday was experimenting with, shall we say, some variant recipes. I am quite certain, however, that Miss Parkinson’s hair will grow back normally, and that the snakes are only a temporary embellishment.

My best regards, and do drop by for tea if you ever happen to be in the neighborhood. Thing has perfected your favorite shortbread recipe - I do believe he has a little crush on you. Or perhaps it is merely that you are the only visitor we have had, outside of family, who is sensible enough to shake hands with him without flinching.

Yours truly,

Morticia Addams

[grifalinas]

You know what I think the problem is?

People are mixing up the definition of ‘ship’ and ‘romanticize’

So when someone says “don’t ship x/y because it’s problematic”, what they mean is “These two/more characters have a dynamic that in real life would be harmful, so please don’t romanticize it and ignore the harmful aspects of it”.

But the trouble is, people like creepyships. I ship Director/Wash, and I one hundred percent ship it because it’s a creepyship, and I also one hundred percent make sure that it’s very clearly presented as creepy, from the cw’s to make sure I tag anything from that verse so I don’t inadvertently trigger someone.

And that’s shipping. It’s not always pretty, because sometimes you just want to explore the darker sides of humanity. It’s not wrong, because the characters aren’t real, they’re fictional. And fiction is and always has been an outlet for people to explore things that it wouldn’t be healthy for them to explore in real life.

In canon, Locus and Felix is an abusive relationship. There are loads of aus where their dynamic is reimagined, because people want to explore their relationship through a different lens. They’re not wrong, either. They’re taking characters they enjoy reading about and considering how things might be different if the setting was different. That’s the beauty of au’s. You peel away everything but the iron core of a character and see what’s left. A relationship that works in one verse won’t work in another. A relationship that works in one verse could be horrible in another.

All of those are shipping. Shipping is a very broad term: it literally just means “considering two or more characters in a romantic or sexual relationship” (it can also mean other kinds of relationships, but without any prefixes or modifiers that’s almost always what it means in this context).

Romanticizing is something very different. Romanticizing is looking at a ship and saying “hashtag-goals”. Romanticizing is looking at Felix and Locus’s relationship as it exists within canon and saying “that’s what I want, that’s what everyone should want”. Romanticizing would be looking at “not the right shade of blond” and saying that the Director’s behavior is correct, that it’s right, that it’s excusable.

But shipping =/= romanticizing, and not everyone ships a thing because they think it’s ideal. Sometimes people just want to enjoy their creepy ships. Some people just want to explore alternate dynamics. Some people just want to see i they can make something work. 

Stop telling them not to.

[widgenstain]

*dances-the-dance-of-yes-and-this*

[lefaym]

And sometimes shipping can be a way of exploring an unhealthy - but compelling - dynamic in a safe setting -- through fiction, rather than living it out in real life. And fandom is the best place for that -- because this is a place where we DO have discussions about what healthy vs unhealthy relationships look like, because we have discussions about the relationship between fiction and reality, and how stories can shape the way we think. Fandom, at its best, allows for exploration of all the messed up dynamics we’ve absorbed and often identify with -- but it allows us to do so while also reflecting critically upon what we produce.

[gffa]

I HAVE TALKED A LOT ABOUT LUKE’S CHARACTERIZATION IN THIS FILM, I’ve swung back and forth a lot, I’ve picked up insights from other people, I’ve put things together with some of the supplementary material, I’ve found things I like and things that just don’t work for me, re: the idea that Luke Skywalker would say and do the the things we’ve seen in The Last Jedi. But there is one way in which Luke’s characterization makes utter sense to me: That is some straight up Depressed As Fuck behavior. As someone who has struggled with depression for a very long time, who tries to be positive and have a good outlook on life, let me tell you, I recognize a whole hell of a lot of myself in those scenes of him thinking everything is doomed to failure, hiding away from the rest of the world even when logic tells you to get back in the game, to End It All because it’s just going to get fucked up again. I have been there and it is a goddamned hellhole to climb out of, even when you have someone literally smacking you in the face to get back in the game. - Throwing away everything that meant something to you?  Luke’s X-Wing at the bottom of the sea, throwing his father’s lightsaber away, saying he’s going to burn the tree and texts down? - Telling everyone to go away but not actually doing what you genuinely could to get them to leave, because some part of you wants them to convince you back? - Twisting around everything so that it’s bad and your fault?  Saying the Jedi were responsible for Palpatine and Vader?  Saying he was responsible for Kylo? The literal changing story about what happened that night Kylo turned because point of view and mindset makes everything so, so much different? - The Visual Dictionary tells us that he’s wearing his Jedi robes when Rey finds him because “Luke sees it as his last rite to end the Order”.

Whether he means through suicide or simply to wait out the end of his years, believe me, I have been there, I have felt that.  I’ve poured myself into the belief that things will get better, that I can make a difference, then they crash down again, and I think that it’s all pointless, it’s all my fault, it’s my family’s fault, it’s my friends’ fault, everything is our fault.  My perspective on things is skewed because that’s what depression does. Depression lies to you and makes you think these things and keeps you from being able to get back up again.  Depression warps your point of view so you believe these things legitimately are your fault, even when they’re not.  Depression can even make you angry and bitter, to believe the world is better off without you, that people will do better without you. Depression makes it seem like nothing is worth anything anymore, the entire world is just gray, nothing can bring you joy anymore, nothing can be saved from all of this, just let it all end. And, if I take that view, I absolutely can accept this characterization.  No one is immune to depression striking them, even if they were capable of handling things before without falling into this pit.  Luke Skywalker in this movie just looks like how I have felt at so many points in my life, as I struggle with this.

[mswyrr-deactivated20181203]

I totlaly think that they were trying to, as much as you can in a kids’ movie, depict him as someone with serious depression. Not a weird, grumpy mentor, a mentally ill man.

Which I appreciated because most of the mental illness metaphors in SW are of people who are violent, and most mentally ill people are more like Luke Skywalker and their disease only really hurts themselves.

[lefaym]

I really love this reading of TLJ Luke.

[mrchandlerbings]

[skywalkerr-deactivated20240601]

mood: missing carrie fisher

[dailyskywalkers]

Over the course of forty-something years, people have identified with Princess Leia. You actually walked in her shoes. What do you think makes her such an identifiable or interesting character? She can boss men around, she can do anything she wants, she’s very powerful, she’s witty, and she doesn’t take any shit.

[biscuitsarenice]

Actress, Miriam Margolyes: When you know your worth, you know your worth.

[auroranibley]

She is beautiful and I love her.

[babyyodamom]

Millennial Reflections on Teri Hatcher's Lois Lane

There’s a lot of positive energy on my timeline even amidst all this horrible political arena about Teri Hatcher appearing on Supergirl. A lot of older millennials in their late 20’s/early 30’s seem particularly emotional about it.

As I recall, when Teri Hatcher agreed to appear on Smallville in what turned out to be a very emotional scene as Lois’s late mother, Erica Durance said that she burst into tears in the middle of the set when they told her she was going to appear. Erica Durance was an equally good Lois Lane as Hatcher was and very much has her own beautiful legacy now that other actresses have to live up to. But she was emotional about it at that time.

I have a special place in my heart for pretty much every Lois actress as I do think they all brought it for their respective era and time and so it’s hard for me to ever pick a favorite. I loved Erica Durance with all my heart as she was both fierce and warm. I feel extremely attached to and protective of her. Margot Kidder was a force of nature in the 70’s alongside women like Carrie Fisher and Karen Allen breaking down walls before I was born. Dana’s voice work is infamous and fantastic. Noel was a legend. Amy Adams has poured her heart into a franchise that hasn’t always repaid the favor and her passion for Lois has never failed. Adams is another one I can’t help but feel protective towards bc she tries so hard. So what is it about Teri Hatcher and “Lois and Clark” in general that makes older millennials like myself so damn emotional?

I think it’s because “Lois and Clark” sealed what we, as women, had known for a long time….what Jerry Siegel himself knew as early as 1938….and what a misogynistic comics fandom often driven by men for men has tried so hard for so long to deny and fight. That Lois Lane is the alpha and omega of Superman. That there is no Superman without Lois Lane. That Lois Lane is the beating heart, the soul and the blood that runs through the myth’s veins. Remove her and it dies. Marginalize her and the house comes tumbling down. Kill her and your narrative is automatically a bleak dystopia or AU wherein hope is lost and life is colder, harsher and Superman as both myth and Man is forever changed.

See…kids.It’s not that we didn’t KNOW this before “Lois and Clark.” We did. People were mad that Superman turned back the world for Lois Lane in 1978. They were mad he was willing to give up his powers in Superman 2. There was already Superman media there that made misogynists really really angry. But “Lois and Clark” took it even further. It was created by a woman. It was written for women as the target audience. And her name came first.

I once saw someone describe that the power of “Lois and Clark” was that the name was not a misnomer. It really was about Lois first. Her feelings. Her emotions. What does Lois want? First off? She wants justice. Her drive for justice is strong and Superman is the only one who can even remotely keep up. She hates corruption. No patience. She showed up to get the job done. The entire love story plays out dictated by her timetable with Clark Kent adjusting himself to her wants, needs and desires. Lois dictated when they first went on a real date. She dictated when they first kissed. She dictated when he was allowed to go further. Her consent and desire drove Clark Kent and he reacted to it. We always KNEW what Clark wanted. He wanted HER. But what did SHE want? That was the series. When Clark proposed to her on but she wasn’t ready yet? She said NO. When he did something that disrespected her? She dumped him. When they eventually reconciled….it was because he gave her the space to decide when it was time. It was eventually Lois who actually proposed to Clark. When she was ready. In her time.

She dictated the timing of their sex life too. He was a virgin. She was not. After being shit on by men, she wanted to wait to have Sex with him until their wedding night (or ABC owned by Disney wanted that most likely) …he waited. She didn’t want to change her name? Fine. No biggie. Kids? She wasn’t sure she wanted them. She was heard and he married her knowing her feelings. She was enough. Later, they found out they maybe couldn’t have kids. He validated again that she was enough. It changed NOTHING as painful as it was for them.

This is not to say, by the way, that Cain’s Clark Kent was some kind of lovesick doormat because he was not. He was strong willed, funny, a damn good reporter, expressed what he wanted, made mistakes, had to apologize for those mistakes and didn’t always agree with her. But unlike other narratives where things always seem to happen on the man’s timeline….he did not and could not dictate her life. Her feelings and POV drove the show. Her timeline was her own. Her life was on her terms. Not his. Saving her life did not give him any claim over her life. And that’s pretty much a direct quote from the series.

I think this is part of the reason why a lot of older millennials get emotional about “Lois and Clark” and why Teri Hatcher as Lois brings out these kinds of emotions. It’s not because she was the “best” because there have been a lot of “best” Lois lane’s just depending on the timeline and they were almost always wonderful. The role has been blessed several times over. It’s that for a generation of girls (and boys too in many ways) Hatcher’s Lois was and is symbolic of a rare time way before the superhero boom of the last few years and even before Smallville and the CW where women were the target audience and had ownership over a legacy that had so often eluded them. Misogynists hate “Lois and Clark” because the show refused to cater to this inane and sexist idea that Lois is “just a love interest” or “replaceable” and it embraced her tenacity for her work and her “nasty woman” attitude that we celebrate more in 2017 than maybe people did in 1993 and showed the most powerful man in the world head over heels, down on his knees in love with her. It was a show co-led by a woman that revolved around her feelings. And it opened a door to Superman for an entire generation of girls that has never actually closed. They showed up for Smallville. They showed up for Man of Steel’s opening weekend making it the highest female demo at that time for a superhero film. They showed up for the Lois YA novels. They proved that women can and will sustain the Superman franchise if you give us a reason to show up. And Teri Hatcher did that.

[lefaym]

Here are a few more reasons that Lois and Clark is awesome:

Superman only ever really saves Lois when she’s in a situation that requires super-powers. If she’s able to get out of a situation on her own using regular human powers, then she inevitably does so. (And there are plenty of times she saves Clark/Superman too!)

When Lois is affected by a love potion, Clark repeatedly turns down his advances, because he isn’t interested in false consent. The two men who harrass women because they’re affected by the same love potion face consequences for their behaviour. And the two people who spend 48 hours fucking like bunnies in the photocopier room... turn out not to have been sprayed with the potion at all. They were doing it because they wanted to!

When Lois has amnesia, and she asks Superman about his love life, she says, “Do you have a girlfriend or a boyfriend?” (Remember, this was the mid-90s.)

Also, honourable mention must go to the amazing cheesy visual metaphors in the episode where Lois and Clark are forced to go on a stake-out instead of their planned date.

[coach-taylor]

“I am interested in the lives of all people. And how the telling of their story adds to the general understanding of how the world works. This is storytelling and that is where the strength is. In terms of my career, I’ve found people really do need stories to help them interpret the difficult terrain of life. This is a powerful experience to realise, to feel you are mining that vein that is common to all men. Whether that be playing the good guy or the bad guy, positive or negative. I want to have my hands on the glue.” - Harrison Ford

[lefaym]

I note that young Harrison Ford is wearing several layers in this picture. I have a hunch that @fuckyeahferafestiva has some very interesting ideas about what should be done with all those layers of clothing.

[roane72]

For the prompts: Luke/Han #18 From very far away (I was so tempted to choose #5, just sayin')

From very far away

(I kinda hate you because there’s only one answer for this one…)

Luke knows the exact moment it happens. 

Han has spent the last thirty years insisting that the Force is a mystery to him, something he has nothing to do with and has nothing to do with him, but Luke has always known better. He and Leia talked about it through the years, eventually deciding not to argue with him. But Han’s always been too lucky. He’s too intuitive, and beyond that, Luke and Leia both have always felt his presence much too clearly.

Through the years, that’s been a blessing. Until now. Now he can feel that moment when the bright spark of consciousness that has been part of his soul for decades now starts to fade. He can feel the bravery, the resignation, the sorrow. He can feel Han’s last thoughts, and knows that they’re of Leia, of his son, and of Luke. 

In those last moments, Luke can only reach out with comfort, with his own sorrow, and across the distance.

An answer comes back across lightyears, a single fading thought: Love you, kid.

And then it’s gone.

[lefaym]

IT’S OKAY, IT’S NOT LIKE I NEED MY HEART TO LIVE OR ANYTHING.

[coach-taylor]

[pacificwanderer]

My fucking hero forever.

[lefaym]

Ah, I miss her so very much.

[amandaniday]

drowned in moonlight, strangled by her own bra

[reanimateobjects]

I picked up a worm, and it wrote something in my hand with a tiny pencil. Unfortunately it was too small to read. An autograph? A spell? An angry note?

[sake-pls]

@reanimateobjects I’ve decided to line up with their writing and whatever they wrote appear to be…. phallic. I don’t how to break the news with you, but, I think that worm drew a penis on your hand…. Congratulation?

[reanimateobjects]

Ooh! Thank you for this valuable contribution to the field of worm linguistics and/or art. It is still unclear to me if it’s meant as a rude message to me, if it’s just putting its tag there, or something else. Further research is needed!

[anraich-deactivated20181203]

I think the idea of it being a penis is anthropomorphism. I mean, the worm doesn’t have a penis itself, nor proper eyes with which to see one. No, I’m afraid this is something far more interesting: a self-portrait. You have been touched by an aesthetic annelid, and now your life will never be the same.

[reanimateobjects]

Now I will forever try to communicate with all the worms I find, but I worry that I’ll never meet this one again.

[rollerskaq]

My name is Werm I liv in ground And thru the darck I skwirm around

The peepl tell me All the tym I’m farr too yuck With too much slym

But I think Werm Is gud to be. I find a styck

I draw a me

[albindraws]

“i don’t need luck, i have you”

they’re so married. like married for thirty years and still going strong married. i love them. saved star wars. saved 2016

[rex-luscus]

I ship Reylo, but I’m like BARELY in the Reylo community. Partly, this is because while I love fic/art of Rey and Kylo, I could give a shit whether they get together in canon. But the bigger reason, I think, is that Reylo in general has taken the pairing in a direction, with respect to tropes and overall emphases, that I just can’t connect to, that in fact works against all the reasons I ship it in the first place.

This isn’t a “y’all are shipping it wrong” post. I don’t believe it’s possible to ship something wrong. This is more of a “am I the only one who ships it this way?” post. Cuz I’m looking for folks I have something in common with.

See, the reason I don’t ship much het is because het ships tend to be dominated by this…emphasis on sexual dimorphism, let’s call it. There’s “the boy” and “the girl” and the fic and art never lets you forget which is which. The boy is big, the girl is small. The boy is dark, the girl is light. The boy is hard and armored, the girl wears flowy dresses. The boy is wild and angry, the girl is gentle and innocent. Beauty and the Beast, Hades and Persephone, etc. etc.

And like, it is FINE if you are into that! I just happen not to be. And Reylo fandom’s love for these tropes surprises me, because TFA’s subversion of these tropes is what made me ship Rey and Kylo. TFA deliberately refused to make their relationship have anything to do with gender. That was such a goddamn relief to me.

Like, there are early moments in TFA when we see that familiar beauty-and-the-beast imagery. Kylo chasing Rey through the forest. The “bridal carry”. But as soon as Kylo takes off the mask and their contest of wills begins, all of that goes out the window. We realize a couple of things:

Adam is big and Daisy is small, but when the Force is involved, size matters not. So the Force becomes this way of eliminating the physical strength disparity between a male and female character in a way that’s, well, really satisfying for me. Their contest of strength is ONLY about strength of will. And Rey has a very strong will.

The sequel trilogy isn’t going to be a story about a woman soothing a man’s rage. Because Rey is PISSED at Kylo. The first thing she thinks about him is that she wants to kill him! And that only intensifies as the movie goes on. This will be a story about Rey fighting the destructive temptation to hate Kylo and managing her OWN rage, not about her exerting a civilizing influence on Kylo. If anything, REY is the wild one.

You wanna see what the ship is, for me? THIS is my Reylo.

Like, the moment I started shipping it was when Rey beat Kylo’s ass in the snow. When she slashed his face and knocked him on his back, I fell in love. That was so sexy to me. Not cuz I hate men or something. I love men. Too goddamn much. Also, I completely identify with Kylo. Idk what that says about me, but there it is.

I think I’m just thrilled by ships that are dominated by passionate anger. Not cute faux-anger but actual, mouth-frothing RAGE. Usually, you find that more in the slash ships, which is why most of my ships have been slash. And usually, when there’s anger between a male and female character, it emerges from their romantic history together. It’s rarely just because they’re on opposite sides of an ideological conflict. And when they are on opposite sides - if the man is the villain - there’s an inevitable moment when he uses the woman’s gender against her. TFA never goes there - again, to my intense relief. When Rey takes for herself what Kylo sees as his birthright, he doesn’t look at her with wounded narcissistic rage, he looks at her with awe and admiration - and fear. Omg I nearly came. It’s so easy to make villains more villainous by making them sexist. Thank you, TFA, for not doing that.

Also: Rey’s costume is totally gender-neutral? And she’s dirty and doesn’t look made up? Whereas Kylo is kinda maybe wearing a flowy dress, but still looks like a big tough guy? Even their looks are nicely mixed up with respect to gender-coding. I love it.

I have nothing against folks who want to put Rey in a flowy dress, literally or metaphorically. It’s just not my particular jam, and I wanna know who else out there prefers their Reylo in a more femdom/gender-trope-subversion flavor. That’s all!

[roane72]

THIS. All of this. What attracted me to the ship to begin with was the absolute rage between them. I loved how the tropes got flipped. And I am ALL ABOUT femdom Reylo (in case anybody missed that). I never really got into ships that had so much anger and rage before, but this one got me.

But basically yes. All this.

[lefaym]

YESSSSSS!

For me, it’s that moment in TFA when Kylo Ren thinks that she’s at his weakest, he’s invading her mind, but then she FUCKING FLIPS THE TABLES ON HIM, and suddenly he’s the weak one. That moment of transition, that moment when she shows him that she’s the one with the power, that is the moment that makes me ship it.

[wildehacked]

Han/Luke/(Leia),  “Oh my God. You’re in love with her.”

“You’re in love with her,” Luke accuses. This is years before he has anything to be angry about, when he and Leia are only twenty and Han is still claiming he’s only waiting to be paid before he leaves them. “Who said anything about love?” Han says, grimacing. “This ain’t nothing to do with love, kid.” And it may be only an eyeblink since they met, before Bespin, before Tattooine, before Ben, but it’s still an outrageous lie. Luke scoffs. “I mean it,” Han insists. Luke rolls his eyes, and then says the first thing that comes into his head, in that reckless, stupid way only the very young have. “Prove it.” Han raises his eyebrows, looking wronged. “Prove I’m not in love with her?” Luke shrugs elaborately, like this is a thing anyone might request of his friend, while also managing to imply that if Han refuses, it will prove his point. Han glares at him, reading his body correctly. “Fine,” he says, and abruptly reaches out for Luke and shoves him into the wall. Luke opens his mouth in amazement, and then Han is brusquely kissing him, fingers digging into Luke’s shoulders. Luke makes a surprised sound into Han’s mouth, his hands flying awkwardly to Han’s ribs, and then sort of melts against him. The kiss began as a point of argument, but it can’t withstand Luke’s head tilting back into the wall, the arch of his chest into Han’s, his hands coming up to clutch at Han’s back. It turns gentle, too sincere. When they break away to breathe, Luke’s mouth is red and enormous and Han’s face is soft and shocked. “That,” Han starts, and clears his throat. His arms are still bracketing Luke like a parenthesis. “That prove anything to you?” Luke stares, and then blurts out another truth, still careless with them. “I’m in love with her,” he tells Han, the words almost brushing Han’s lips. “I’m in love with Leia.” There’s a short silence, and then a familiar bitter smile takes over Han’s mouth. “Like I said,” he says, carefully. “Love’s got nothing to do with this.” He kisses Luke again, before Luke can utter some other devastating truth, before Luke can begin to put together the pieces of the truth, and because Luke is twenty and has no sister and has no brother and has never loved anyone at all before, he lets him. 

[ineptshieldmaid]

Paging @lefaym

[lefaym]

GUH, THIS HITS ME RIGHT IN THE MIDDLE OF ALL MY FEELINGS.

@roane72, @ambiguityisnoonesfriend