That one reddit post where the guy moves into a new apartment building but hasn't met his neighbors ft. sladejay.
The nice thing about having brothers is that they're obligated to help you move into your new apartment. Not so nice is having to listen to said brothers' opinions on the legitimacy of the building because it's clearly a front for something nefarious and not up to code and did Jason even vet the place before signing his lease?
"Desperate times, desperate measures." Jason says, using his elbow to hit the button for the lift. Suspect as it is, the start and stop ride gets the adrenaline pumping; it hasn't failed them yet, so the place isn't too bad.
"Because you were so hard pressed living comfortably at home with no expenses and no expectations." Tim quips back at him, deadpan. The sarcasm and sass is hardly appreciated, though Jason likes to imagine it's just Tim's way of lashing out at Jason for leaving him at the manor to fend for himself.
"It's called independence, Timothy." Jason says, raising his shoulder in a lackadaisical shrug as he teases, "You'll understand when you're older."
"Nothing says 'independence' like Bruce paying your rent." Tim intones, unbothered by the wicked read until Jason hip checks him in retaliation and he stumbles into a wall. When Tim threatens to drop Jason's shit, Jason dares him. Jason will drop him, the punkass.
If only because Dick would usually have intervened in their shenanigans by now, Jason looks over his shoulder at him. Tim follows suit and they both frown as Dick stares at the elevator, jaw set.
"You good, big bird?" Jason asks, wandering back to Dick's side. When Dick continues to space out, Jason knocks their shoulders and tilts his head to better catch Dick's gaze.
With Dick's attention on him, that quiet intensity from before softens some, but there's still trepidation. It makes Jason purse his lips, sulking, "Hey, you're the one that supported this."
Dick grimaces, caught out, "I do support you, just—does it have to be here?"
Jason's sulk devolves into a pout. He argues, "Your first apartment wasn't much better."
Before Tim can interject with commentary on how Dick didn't have daddy dearest paving the way for his independence, Jason turns on him with a warning scowl, trying and failing to not be endeared as Tim cackles under his breath. Jason flips him off, pointedly turning back to Dick who, frankly, looks antsy as fuck.
"Stay with me instead." Dick bargains. "You can take the spare room until another unit opens up."
"Hard pass."
On cue, the elevator chimes and the doors screech open jerkily. Only while Tim shuffles his way inside, Dick stays resolutely in place. He shoots Jason a look that's equal parts pained and pleading. "Then take my place. I'll stay here."
"For fuck's sake, it's not that bad." Jason groans, bumping the boxes he holds against the ones Dick has in hand and corralling him back into the elevator. "You're being dramatic."
Tim scoffs and Jason sneers at him, backing and squishing his brother into a corner and keeping him there with his bulk.
Bickering and bantering as they all are, they don't notice the hand that catches the door before the lift can close, only how it pushes the door open and how they all look up and oh. Hot damn.
The moment Jason's jaw drops, Dick smacks it back closed with an aggrieved and impatient huff. Like hell Dick's temperament could be of any consequence to Jason at the moment though because an actual beefcake terminator saunters onto the lift and fuck, Jason can't stop staring. If this is his neighbor, he definitely moved to the right place. Fuck what anyone else thinks.
Just as Jason is appreciating the man's imposing stature, he hears a gruff, "Sit down."
The order sends a trill up Jason's spine like a live wire and without thinking, like the fool he is, Jason sits.
It's only as he kneels on the floor, eyes still caught on broad shoulders and strong arms that he only wishes would throw him around, that he sees the dog at the man's heel. Because the man was talking to his dog. Not Jason.
Oh.
As the elevator starts moving up through the floors, jarring in its sudden fits of movement, Jason jerkily raises his head to make eye contact with his neighbor, a pretty blush burning hot across Jason's face.
His neighbor looks after him in turn, amused and appraising before he smirks and oh, it's sinful. A low chuckle escapes the man, drawing another shiver up Jason's spine. While he pats his dog's head, his eyes don't move from Jason when he says, "Good boy."
Fuck. That's—oh.
To be so humiliated and turned on—fuck this old man. And by that Jason means let the old man fuck him. Please and thanks.
Before Jason can make the suggestion, the man's gaze shifts to Dick and he teases, taunts, "He one of yours, Grayson?"
What.
Betrayal is Jason's first petulant thought, followed by a more reasonable sense of dread because this man isn't Dick's type, but Dick knows he's Jason's [type] and—
No, no no. This is why you never have brothers help you move into your new place; to be blue balled after Jason has had arguably the most cringe of meet-cutes, too!
But Jason can see from the set of Dick's shoulders and the tilt of his chin that this potential romance is dead in the water. For whatever reason, Dick is intent on that. Unfortunately for him, Jason has never been the best at minding him. In fact, Jason will throttle him for this, the killjoy.
"He's my brother." Dick says, terse. "Don't fuck with him, Slade."
Slade's gaze sweeps over Jason, a fleeting once over that leaves heat trailing in its wake. There's a sharp nudge to his lower back—Tim, reminding Jason that he's still sat on the floor like an idiot; so embarrassing.
"That's asking a lot of a man." Slade drawls. He looks to Dick with a crooked and biting grin, so charming that Jason might swoon a bit. "What would I get out of this?"
Dick's expression shifts into something so damn petulant that Slade laughs again, pleasantly low and husky. It's such a nice sound that Jason can't even be bothered by the fact that he's missing some sort of crucial detail to explain the tension going on.
Dick and Slade know each other, somehow. And Slade irritates Dick in a way that Jason never knew was possible, too.
When Slade tilts his head to the side, the large dog at his side springs forward, tail wagging happily as it jumps up to rest its large paws on the boxes Dick holds—licking at Dick's cheek like he's seeing an old friend again. It undermines Dick's authority considerably and Jason marvels the exchange.
The lift door opens and Slade turns back to Jason. Appraising him before he smirks, "Welcome to the building, boy."
=====
And then they all get out together and realize that Slade really is Jason's neighbor and reactions are mixed ahahaha.
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Most South Park Fans and what they think they are: Accepting and respectful people who believes that stereotyping is wrong.
Most South Park Fans and what they really are: Racist, sexist and antisemitic hypocrites that engages into misogyny towards the girls for doing and saying things that the boys have also been guilty of saying and doing, clearly only like Tolkien and Nichole together for a completely racist reason (though not all of them are racist), only want fully fleshed out characters so they can make them as one-note stereotypes, uses the double standard that toxic straight couples are bad but toxic LGBT couples are good and (oftentimes indirectly) support the myth that being a homosexual is a choice.
You said it! They'll complain about Stendy because of its unhealthy traits, but then they ignore the unhealthy traits of Style, which in turn is technically more toxic than the unhealthy traits of Stendy, while giving Dip a free pass even though Damien set Pip on fire. And when it comes to which fourth grader ship that is currently canon is the most unhealthy, Clybe takes the cake, since Bebe used Clyde for free shoes, Clyde downright refers to Bebe's texts as "stupid shit" while, of course, using ChatGPT to text her, and unlike with Stendy, neither of these two made up after the whole ChatGPT thing. Despite that, Clybe gets a free pass but Stendy doesn't.
And the South Park fandom also gets butthurt when people merely criticise their headcanons or ships. If you feel personally attacked by the slightest of criticism of your headcanons or ships, that's a you problem.
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Mulder Would Never Let Scully Walk Away with Words Left Unsaid
I could never understand some fics/meta where Scully and Mulder dance around their feelings until Scully feels wounded, won't communicate, and splits their relationship with silence. And the problem doesn't have too much to do with Scully (aside from the fact that she faces hardship head on with shoulders squared, not backing down from personal problems.) The problem, really, rests with Mulder's characterization.
Mulder, with all his flaws and fixations, would have too much righteous fury to let Scully walk away with words unsaid.
Not in a bad way, either:
In Ice he spits out "I want to trust you." In Beyond the Sea, he yells "You could be dead right now!" In One Breath, he rails against Scully's coma, her family's decisions, the men that were getting away with her abduction and impending death. In Anasazi, he confronts Scully over her perceived treachery ("taking your LITTLE NOTES.") In Elegy, he snaps that Scully withheld information from him, implying that she owed him more because of their trust and partnership. In All Souls he admits his heightened fear that Scully was being emotionally manipulated by what Father Joseph(?) was saying. And pivotally in FTF he ran into the hallway when Scully was literally walking out of his life, pinning her on her misunderstandings and telling her how wrong she was by confessing his love in the most Mulder way possible. His intensity and fervor isn't threatening: it's raw, intense vulnerability-- with Scully, with informants, with his parents, with his boss, with his friends, with his enemies. This continues the rest of the series (Triangle, One Son, Milagro, Field Trip, En Ami, Closure, etc.)
The only time Mulder has ever let Scully leave something unsaid is because she was fragile in the face of another trauma, giving her space to recover before he probed the issue further: the almost rape in Genderbender, Scully's second kidnapping in Irresistible, her injury in Fresh Bones, her prison jump scare in The List, her bristle in Never Again, her avoidance in Memento Mori, most of her health scares in Elegy, her daughter's death in Emily, her Pfaster part two in Orison, etc. His deep care for her revolves on the axis of trust: he will let her recover, but he inevitably needs her to be transparent with him.
This is a core part of Mulder's character from day one: David Duchovny talked about how he portrayed Mulder as an intense, morose character, narrow-mindedly searching for the Truth to the detriment of everything. He often incorporated that fallen-from-a-pedestal quality in Mulder's reactions to Scully, making him disagreeable, taciturn, and more human. And Mulder made his intentions clear from the first time he met Scully, baldly telling her he knew she was a spy each and every step of the way until she earned his trust with her guileless, morally impeccable behavior.
Mulder is a man who sniffs something buried and digs and digs and digs at it until it's brought into the sunlight and exposed. He has always treated-- will always treat-- Scully the same; and she respects that about him, trying to answer as transparently as she can in the moment (mostly honest, yet not always vulnerable.) Whenever Scully has withdrawn, Mulder has pursued. (That's also why Scully was so confused in Three Words when Mulder was listless in the face of many unanswered personal questions-- his trauma festering until he is given an enemy to pursue. But that's a post for another time.)
This perception of Mulder not only tramples on MSR's delicate balance with their layers of communication but, more importantly, it portrays Mulder as someone who would let Scully go years without addressing THAT THING just because he wouldn't want to lose her. And while it's true that Mulder and Scully don't talk about THOSE THINGS openly, it's not because he's afraid (or she's afraid) he'll lose his partner: far from it, he's too certain she'll put up with all his nonsense and come along anyway (and all the shenanigans she's endorsed-- and will endorse-- prove him right.) In fact, Mulder's lesson was not to brush Scully aside and not to too easily abuse her sacrificial nature ("selfish and narcissistic", "mystery of the heart", "life on this planet".) He just didn't want to talk about THOSE THINGS yet; because he couldn't "settle down, ...approach something of a normal life" while Samantha was still unrecovered. But that's another story for another time~.
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Top Final Sentences of 2022
I was everything I needed.
Xoài Phạm, from “The Greatest Pleasure”
He helped me find what I truly craved and identify what had been there all along: an unwavering sense of self.
Jennifer Chowdhury, from “In Pursuit of Brown-on-Brown Love”
Such an old, old memory, why should it make me cry?
Lloyd Schwartz, from “The Two Horses (A Memory)”
“I love you,” he whispered again, against the top of her head.
Mary Balogh, from Thief of Dreams
And he paused, in the space between inhalation and exhalation, and invited magic in.
Freya Marske, from A Marvellous Light
“Nothing I didn’t already know,
deep down.”
Dante Medema, from The Truth Project
It was a fine cry - loud and long - but it had no bottom and it had no top, just circles and circles of sorrow.
Toni Morrison, from Sula
For just a little while more, I think, let me hide here.
Jonathan Robbins Leon, from “The Same Kind of Monster”
In search of, an approximation:
desire of, love of.
Iliana Rocha, from “Elegy Falling Forward & Down“
I still crave the comfort of a hand in mine, the warmth of being claimed in the daylight.
Laura Bogart, from “A New Kind of Heroine”
And it is you, it is you
she is holding like an open book, well-loved, in her hands.
Eve Alexandra, from “Heroine”
We survived to whisper our names to each other even if we could not yet confess them to anyone else.
Anna-Marie McLemore, from “Roja”
And this is the story of how I am caught.
Margaret Owen, from Little Thieves
I’m trying to hold on to this rope, and I’m trying to let go.
Melissa Faliveno, from “Tied, Tethered, Unfettered, Free”
Imagine you don’t fit anywhere, not even in your own head.
Bassey Ikpi, from “What It Feels Like”
I look to the sky and feel her ghost.
Colton Haynes, from Miss Memory Lane
It would be nice if we could talk about how we went online, driven by some sort of longing, and why we stayed there, pushing that want outward, over and over, until it couldn’t be ignored.
Kaitlyn Tiffany, from Everything I Need I Get from You
Care tasks exist for one reason only… to make your body and space functional enough for you to easily experience the joy this world has to offer.
K.C. Davis, from How to Keep House While Drowning
I had become one of the people on the street who knew where he was going.
Andrew Rannells, from Too Much Is Not Enough
Until everything was sea and sky, and the falling was flying, and he realised he was laughing too.
Alexis Hall, from A Lady for a Duke
Under the wrack and wreck of what had come before, the sky was new, and I reached for it with a yearning eager hand.
Nghi Vo, from The Chosen and the Beautiful
My beating heart is still yours, the letter said, and I’ll be waiting for you.
Dana Schwartz, from Anatomy
It won’t last for long, but it’s beautiful for now.
Linda Oatman High, from December
She holds my hand as I leave them all behind.
Erica Waters, from “Stay”
And then I fall back into my sheets, still warm and crumpled, and close my eyes.
Alice Oseman, from “Hands Against Our Hearts”
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