Thank you, Carrie Fisher.
The more I see this gifset, the more I love her “HOLD ON A SECOND” and STFU hand. Like, she is *talking* here, she asked the audience a question, and what you said is A) not what she asked, and B) totally not directed at you.
Carrie Fisher ain’t here for your bullshit.
27. Things you said through a closed door
“Courfeyrac. Courfeyrac.”
There’s no sound but the shuffling of his feet on the uneven wood floor of the hallway. He tries again.
“Courfeyrac, come on. I didn’t mean it.” And then, because if he can’t be charming and he can’t be good with people and he can’t be naturally kind, at least he can be honest, he adds, “That way.”
“You meant it.” Courfeyrac’s voice is stretched thin and uneven.
“I didn’t mean your family. Courfeyrac.”
“Combeferre, go away. I don’t want you here right now.”
Combeferre has never been able to read people well, but even he knows that this is Courfeyrac’s serious voice. And yet. He can’t bear to walk away, to leave things be when they are so terribly Wrong. Not when it’s Courfeyrac on the other side of that door. “I’m sorry,” he tries. “It was rude and unthinking of me. I didn’t–I’m not like you, Courf, I’m not good with people.”
The door is wrenched open, and Courfeyrac is there. His eyes are wet but Combeferre knows he’s not really crying–he’s just angry. (He knows him that well, God, he knows him so well, how is it that there is one person in the whole world who he actually gets and he’s still managed to hurt him?)
“I’ve heard that–that cowardly excuse from you too many times,” Courfeyrac snaps. “It’s not good enough, Combeferre. There’s a difference between being awkward, and being cruel, and you like to pretend you don’t see it.”
Combeferre ducks his head, heat rising to his cheeks. Courfeyrac runs on, flinging out the words with frighteningly precise ennunciation, even as his tongue’s going a mile a minute. “It doesn’t take any kind of social acumen to recognize when something you want to say might hurt someone–it just takes a little bit of logic and enough caring to actually stop and think about the facts.”
Unspoken: Combeferre literally has a master’s degree in logic. Combeferre is a slave to logic. Combeferre is the one who is constantly pleading with Enjolras and Courfeyrac to stop and think about the facts.
Unspoken: Combeferre doesn’t care about Courfeyrac.
It’s not true, Combeferre’s brain protests–and yet it’s where all the facts are pointing. Given what’s gone down this evening, the logical conclusion is that Combeferre is a selfish bastard who likes people only for how they benefit him and doesn’t actually give a shit about Courfeyrac’s feelings.
And Combeferre is a slave to logic.
He turns away, and the door slams behind him and he can still hear Courfeyrac’s restless pacing around the room. And he knows Courfeyrac well enough to know to text Joly with the suggestion he and Bossuet drop by to channel Courfeyrac’s angry energy into something less destructive than what he’ll come up with on his own. He’s sent the text and received an affirmative reply (bless Joly, he doesn’t ask what happened), and has already let himself out of the apartment before he realizes that he’s once again proved that he knows Courfeyrac so well.
He really has no excuse.
As he turns up his collar against the cold, spitting rain that feels more like November than April, it occurs to him that he might also be being a little overdramatic, about the whole thing. He said something shitty; now, twenty minutes later, he’s come to the conclusion that he’s an inhuman wretch with a rotted-out soul who’s probably going to die alone and deserve it. It pains him to realize that that part of his personality is a fairly recent grafting, courtesy of Courfeyrac.
It’s possible that commonplacecaz is pulling me back into the world of Star Wars. It’s also possible that she did this suspiciously close to the one year anniversary of us becoming creative colleagues, and totally deserves something nice to go with this delightful fic celebrating the occasion.
Befriending me is just basically getting a front-row ticket to my easily-excited ass yelling about everything, always. Even if I’m not literally yelling I’m still, in spirit, yelling. That’s the ticket you bought. You didn’t ask for it but you got a backstage pass too, free of charge.
Shamelessly fluffy threequel to this and this, because I accidentally lead fretful-ferret to believe fluff was incoming, and it’s her birthday so I was compelled to follow through. Also I wanted it. ¯_(ツ)_/¯
i’m so tired of the AU where your soulmate’s name is on your wrist. i want my enemy’s name on my wrist. i wanna know who i’m going to have to physically fight eventually. turn on your fucking location
your enemy’s name on one wrist and your soulmate the another. no clue which is which. hope it’s not the same name on both wrists.
(via “Sons Of Adventure”)
“Sons of Adventure,” performed by Aaron Tveit & Zachary Prince (from the forthcoming An American Victory studio cast album)
before they were scoundrels, they were just a couple of hooligans
YES
*gasp*
Oh, that’s gorgeous!
You know the most flabbergasting thing about saying “Luke killed his father/was totally ready to do it to Prove a Point” (aside from the fact that you’re factually wrong if you claim that), and have it be something negative, is not just that he literally doesn’t do it, it’s because that if Luke had done it, it’d have been the traditional ending to his Hero’s Journey.
Luke killing Vader and Palpatine is what a traditional hero in this sort of setting would do.
And the whole point is that Luke DOESN’T.
He doesn’t kill one (or both) of the penultimate villains of the story. He doesn’t do the Right and Just and Proper thing and kill the villain, who is is father. It would’ve been treated as Tragic but as Necessary.
He doesn’t, and instead asks for a rescue, rather aborting the end of his traditional hero’s journey and turning it into something else. And you want to use that as something negative?
See this is why I find Luke and his arc much more complex than what many people give him credit for. Luke subverted many tropes, and one of them was killing the bad guy. By choosing love over revenge, and accepting his own Dark Side instead of repressing it, Luke managed to do something different and equally effective than merely killing the two villains. Some people say “What a dumbass, he threw his lightsaber away!” and it’s like: “NO, YOU’RE MISSING THE POINT!”, Luke’s greatest victory wasn’t killing the bad guy, instead it was acknowledging the darkness inside himself and accepting it as a part of him without letting it consume him completely, as well choosing love over revenge, which, given the context that the movie and the new EU has given us, it wasn’t an easy choice: prior the whole Father reveal, Luke genuinely wanted to kill Vader for revenge for what happened to his father (for what he believed), his uncle and aunt, his childhood bff Biggs, Obi-Wan, for the damage done to Leia and later Han….and even in “redemption plan” he still was a bit to succumb when Vader tried to put Leia in danger. Killing Vader would had been the easiest choice, but he chose no, and of that, he made something even better.
And that’s why Luke is awesome.
eirenical17 