Fast And Furious Memes (1/x): Hobbs & Shaw Edition

Ayo! Shaw siblings Soulmates AU where they can visit each other in their dreams please?

AHHHH!! THIS ISNT A DRILL! THIS IS ABSOLUTELY HAPPENING! AHHHH

I LOVE THIS I LOVE THIS I LOVE-

Ahem. Sorry about that 😅

~~~

When his younger siblings had been born, Deckard had been the happiest child in all of London, possibly the world in his opinion

He loved Owen and Hattie immeasurably and would do anything for them. Even fight off dragons, or knights, or clowns, or any creepy crawly that came for them

And that's what he found himself doing most nights when he was a teenager

He didn't know when he discovered he and his siblings could walk into each other's dreams, but he used the ability to make sure they only had pleasant ones

Both Owen and Hattie dreamed of adventures and doing dangerous and heroic things with each other. It was an often occurrence for Deckard to find them sharing each other's dreams without realizing it

He always knew which one was which. Owen's dreams would be filled with music he had heard recently and become obsessed with. While Hattie's always had the presence of nobility or a friendly monster

He rarely let his siblings into his own dreams. They didn't need to see the much more realistic nightmares he endured

Running from child eating clowns was a lot different from running from their father weilding his belt

And he didn't want to scar them when he began to have more adult dreams as he grew older. He would have to teach them how to stay out of each other's dreams when they got to that age too

As they all grew, they still shared their dreams but were confident in being able to have their own without their siblings interfering

But it became a godsend when Deckard was gone at boot camp and then missions for the military. He again kept any type of horrifying imagery away from them, not needing them to worry. Luckily his younger siblings were simply excited to talk to him rather than learn about what he was going through

This went on for years as all three started to find their own paths in life. They enjoyed talking to each other in their dreams, sharing their waking with each other

Until it all came crashing down

When Deckard had to flee from MI6, Hattie refused to meet him in their dreams. Instead demanding a face to face explanation

All that had ended up happening was Hattie spitting in his face and declaring her separation from their family

Whenever he dreamed, Deckard could still feel Hattie's dreams, they were just barely there on the horizon of his subconscious. But he never dared going close

Hattie already hated him and would hate him even more if he invaded her dreams

He found that he never wanted to dream again

Deckard started to take medication to silence him dreams. And on the rare occasions he did dream, he could tell Hattie and Owen were doing the same as him

It went on for years

Until one day

The day Owen wouldn't stop dreaming

Whenever Deckard would drift asleep, he could feel Owen's dreams bombarding him, almost demanding attention. Deckard had no idea why he was doing it all of a sudden

Until he finally gave in and visited his brother's dreams for the first time in a long time

Owen was wandering through a jungle, music blaring all around him

He looked relieved, but also frightened whdn Deckard showed up

"What's going on, Oh?" Deckard shouted over the music

"I can't wake up."

That's when Deckard learned his little brother had ended up in a coma

Deckard stopped taking medication, instead, comforting Owen every time he fell asleep. It was heartbreaking to see Owen trapped in his own mind

He carefully kept any dreams or thoughts of revenge away from Owen's dreams. Those were for Deckard alone

And then any dreams of facing the harsh life of prison were carefully kept from him as well. Including dreams containing the wrong use of handcuffs and certain Samoan

Deckard knew exactly when Owen woke up. It was almost a relief not to feel Owen's dreams pounding against his

And that's when Luke Hobbs ended up back in his life and dreams

Together, Owen and Deckard dreamed of revenge against Cipher, but Deckard kept his celebrations to himself in his own dreams. Owen didn't need nightmares about Deckard being pinned down in the throws of passion

Some time later, Deckard found himself back with Hobbs, and then Hattie was thrown back into his life

There was an unspoken rule between them that they wouldn't sleep at the same time as they tried to find a solution around the Snowflake

Until Deckard nearly fainted on the plane ride to Samoa, Hattie dozing on his shoulder

He could feel their dreams almost brushing up against each other, but didn't dare take that one step needed to combine them. Owen stayed suspiciously wake during all of this time

It wasn't until after Deckard had passed out after defeating Brixton did he feel his dreams being entered

It wasn't the first time he dreamed of Brixton and it wouldn't be the last. Thrashed in his dream, trying to knock the man off him as he choked the life out of Deckard

Taunts and insults spilled from Brixton's mouth as Deckard grew weaker and weaker against his hands. Tears rushed down Deckard's cheeks as he felt himself accept those words

"Deck."

Suddenly, Deckard wasn't in his dream anymore

He was laying on top of a hill he and his siblings used to play at when they visited their grandfather

Sitting up, Deckard met Hattie's eyes

Tears ran down her cheeks as well as she rushed into his arms and hugged him tight

That night, Deckard wasn't afraid to dream

~~~

I hope you enjoyed friend!

[CODE 1]

BWAHAHAHA! I ADORE IT! THANK YOU SO MUCH POGUE!!!

Thank you @marvelwonderwitch for suggesting a CMBYN inspired Rowen piece! Hope you like it!

Commission Info

De Aged Deckard: You’re gonna go far, kid - Part 5

Summary:  When the Shaw siblings try to break into an Eteon facility, they’re met with some unexpected consequences. Now, it’s up to Owen and Hattie to be the older siblings Deckard never had. Even if they have no idea what they’re doing

Keep reading

“Childhood means simplicity. Look at the world with the child’s eye - it is very beautiful.” –Kailash Satyarthi

In the past I've shared other people's musings about the different interpretations of the myth of Orpheus and Eurydice. Namely, why Orpheus looks back at Eurydice, even though he knows it means he'll lose her forever. So many people seem to think they've found the one true explanation of the myth. But to me, the beauty of myths is that they have many possible meanings.

So I thought I would share a list of every interpretation I know, from every serious adaptation of the story and every analysis I've ever heard or read, of why Orpheus looks back.

One interpretation – advocated by Monteverdi's opera, for example – is that the backward glance represents excessive passion and a fatal lack of self-control. Orpheus loves Eurydice to such excess that he tries to defy the laws of nature by bringing her back from the dead, yet that very same passion dooms his quest fo fail, because he can't resist the temptation to look back at her.

He can also be seen as succumbing to that classic "tragic flaw" of hubris, excessive pride. Because his music and his love conquer the Underworld, it might be that he makes the mistake of thinking he's entirely above divine law, and fatally allows himself to break the one rule that Hades and Persephone set for him.

Then there are the versions where his flaw is his lack of faith, because he looks back out of doubt that Eurydice is really there. I think there are three possible interpretations of this scenario, which can each work alone or else co-exist with each other. From what I've read about Hadestown, it sounds as if it combines all three.

In one interpretation, he doubts Hades and Persephone's promise. Will they really give Eurydice back to him, or is it all a cruel trick? In this case, the message seems to be a warning to trust in the gods; if you doubt their blessings, you might lose them.

Another perspective is that he doubts Eurydice. Does she love him enough to follow him? In this case, the warning is that romantic love can't survive unless the lovers trust each other. I'm thinking of Moulin Rouge!, which is ostensibly based on the Orpheus myth, and which uses Christian's jealousy as its equivalent of Orpheus's fatal doubt and explicitly states "Where there is no trust, there is no love."

The third variation is that he doubts himself. Could his music really have the power to sway the Underworld? The message in this version would be that self-doubt can sabotage all our best efforts.

But all of the above interpretations revolve around the concept that Orpheus looks back because of a tragic flaw, which wasn't necessarily the view of Virgil, the earliest known recorder of the myth. Virgil wrote that Orpheus's backward glance was "A pardonable offense, if the spirits knew how to pardon."

In some versions, when the upper world comes into Orpheus's view, he thinks his journey is over. In this moment, he's so ecstatic and so eager to finally see Eurydice that he unthinkingly turns around an instant too soon, either just before he reaches the threshold or when he's already crossed it but Eurydice is still a few steps behind him. In this scenario, it isn't a personal flaw that makes him look back, but just a moment of passion-fueled carelessness, and the fact that it costs him Eurydice shows the pitilessness of the Underworld.

In other versions, concern for Eurydice makes him look back. Sometimes he looks back because the upward path is steep and rocky, and Eurydice is still limping from her snakebite, so he knows she must be struggling, in some versions he even hears her stumble, and he finally can't resist turning around to help her. Or more cruelly, in other versions – for example, in Gluck's opera – Eurydice doesn't know that Orpheus is forbidden to look back at her, and Orpheus is also forbidden to tell her. So she's distraught that her husband seems to be coldly ignoring her and begs him to look at her until he can't bear her anguish anymore.

These versions highlight the harshness of the Underworld's law, and Orpheus's failure to comply with it seems natural and even inevitable. The message here seems to be that death is pitiless and irreversible: a demigod hero might come close to conquering it, but through little or no fault of his own, he's bound to fail in the end.

Another interpretation I've read is that Orpheus's backward glance represents the nature of grief. We can't help but look back on our memories of our dead loved ones, even though it means feeling the pain of loss all over again.

Then there's the interpretation that Orpheus chooses his memory of Eurydice, represented by the backward glance, rather than a future with a living Eurydice. "The poet's choice," as Portrait of a Lady on Fire puts it. In this reading, Orpheus looks back because he realizes he would rather preserve his memory of their youthful, blissful love, just as it was when she died, than face a future of growing older, the difficulties of married life, and the possibility that their love will fade. That's the slightly more sympathetic version. In the version that makes Orpheus more egotistical, he prefers the idealized memory to the real woman because the memory is entirely his possession, in a way that a living wife with her own will could never be, and will never distract him from his music, but can only inspire it.

Then there are the modern feminist interpretations, also alluded to in Portrait of a Lady on Fire but seen in several female-authored adaptations of the myth too, where Eurydice provokes Orpheus into looking back because she wants to stay in the Underworld. The viewpoint kinder to Orpheus is that Eurydice also wants to preserve their love just as it was, youthful, passionate, and blissful, rather than subject it to the ravages of time and the hardships of life. The variation less sympathetic to Orpheus is that Euyridice was at peace in death, in some versions she drank from the river Lethe and doesn't even remember Orpheus, his attempt to take her back is selfish, and she prefers to be her own free woman than be bound to him forever and literally only live for his sake.

With that interpretation in mind, I'm surprised I've never read yet another variation. I can imagine a version where, as Orpheus walks up the path toward the living world, he realizes he's being selfish: Eurydice was happy and at peace in the Elysian Fields, she doesn't even remember him because she drank from Lethe, and she's only following him now because Hades and Persephone have forced her to do so. So he finally looks back out of selfless love, to let her go. Maybe I should write this retelling myself.

Are any of these interpretations – or any others – the "true" or "definitive" reason why Orpheus looks back? I don't think so at all. The fact that they all exist and can all ring true says something valuable about the nature of mythology.

Deckard: *Tries to turn on the lights* Luke! You forgot to pay the electricity bill!

Luke: Isn’t it Owen’s turn?

Owen: I don’t even live here

Luke: Our fridge says otherwise

Owen:

Owen is a freeloader and Luke doesn't hesitate to call him out on it

Pony: The human body is 70% water. So we’re basically just cucumbers with anxiety.

Steve: Excuse me, with the amount of salt and alcohol that I consume, I’m more like an anxiety pickle.

This just makes Alastor more likeable for me, it makes me be able to sympathize with him, understand him more, yes, he's a demon, but he's also a human, if you get what I'm saying. He's not just a sadistic freak. He feels emotions, he breaks character, and he has weaknesses, all like humans do. Like every character in Hazbin. I can't imagine how weak he felt in that scene when he was almost about to die, having barely escaped. He is craving freedom. He wants it oh so bad that he's going insane. Beautifully written character.