Okay so imagine Bucky’s selectively (more or less) mute after Hydra, and even though his recovery’s going great, he still can’t speak and the first thing he saYS IS “I LOVE YOU STEVE” AND STEVE’S LIKE SJXJDHSKBFA

imaginesteverogerss:

They’re in bed together when it happens. Curled up around each other, ‘til Steve can’t tell where he ends and Bucky begins. 

On nights like this, it’s easy to pretend they’re back in Brooklyn, that it’s 1939 again. The war hasn’t come yet, Steve’s got his sketchbook stuffed under his pillow, and a couple times a night Bucky’ll roll over and mumble “Love you, Stevie,” into the crook of Steve’s neck. 

But then something’ll happen—Bucky’s metal arm will tense against Steve’s stomach, Steve will shiver against a chill that simply isn’t there—and he’ll remember all over again. This is Washington, D.C., 2015. The war is long gone, with a handful of others following to wash the taste of it out of the nation’s mouth. Steve hasn’t drawn anything in over seventy years, and Bucky, well, Bucky hasn’t spoken since—

The man in question sighs, shifts closer to Steve. “Love you, Stevie,” Bucky mumbles into the crook of Steve’s neck, then stiffens, seems to realize the enormity of what’s just happened. 

Steve wants to cry. He wants to laugh, scream, call up every single one of Bucky’s many therapists, call Sam and Nat. He wants to kiss Bucky, hot and possessive and passionate in a way their kisses haven’t been since the war. 

But he doesn’t do any of those things. Just whispers “I love you too, Buck,”  and smiles at how Bucky relaxes against him. 

I am curious about your tiny Steve mob boss fic. Anything you can tell us about it?

kaasknot:

lol, I have many things, but very few I’m certain about. I’ve been reading all the mob history novels so when I get to the outlining stage I’ll have something to sink my teeth into.

Things I know:

Bucky’s the numbers man. He can calculate odds in an eyeblink. Those who know him as Rogers’s shadow think he’s hired muscle, pretty but dumb; those who know him as a gambler and fixer, they’re entranced by his charm and his wit. When they learn his father goes to shul every Saturday they ask if he’s Kosher. He smiles a lopsided grin and says, “I’m a Yid, but I’m not their Yid.” He’s Arnold Rothstein without the ego.

Steve knows people. Steve owns people. You need something fenced? He can get you in contact with just the right person. For a fee, of course. You need someone murdered? Step this way. He keeps to the shadows; more often than not Bucky is the face of the organization, but Steve is the tactics, and he knows the streets of Brooklyn better than the men who built her. Guys who don’t know him will say, “Outta my way, kid, go on home back to mama,” and Steve will remember their faces, and he will remember their names. He has protection down to a fine art—and it’s not all rackets. You need to hide from the cops? Don’t matter who you are, Steve Rogers’ll help you out. He’s Lucky Luciano’s little brother.

It started when Bucky’sdad took a little bootlegging on the side to help pay bills. He owned a
grocery store; it wasn’t hard to hide a few cases of booze in with the
rest of the shipments. Then Prohibition ended, and it got a little more…
severe. He wasn’t running alcohol anymore, it was drugs and guns. Money’s still
money, though, and he takes out a loan to remodel the grocery, take it into
better days. Only, he gets caught in a shootout and killed in the crossfire. Bucky
didn’t know any of this, just that all of a sudden his dad’s dead and he owes
a lot of money to a lot of nasty people. Most of their money is tied up in the
grocery; they don’t have access to that kind of cash.

Enter Steve.
Steve’s feeling a bit reckless since his mom died, and Bucky’s scared for him,
to be perfectly honest. Well, one day Steve’s come by right when the goons from
the local boss do, and he gets all righteous when they threaten to put Bucky’s
hand through the deli counter meat slicer. Things escalate, until there’s a
knife, and Steve’s bleeding, and Bucky grabs the bat behind the counter and
just hits. Doesn’t let himself think until both those goons are dead on the
floor. He’s panicking, he knows he’s in shock, but he checks over Steve,
and—he’s fine, thank God, he’s fine. Still breathing, the stubborn pissant, and
Bucky sort of scoops him close, right there on the floor next to the mooks he killed and works through his
feelings until Steve starts squirming to get free.

“We gotta hide the bodies, Bucky,” he says,
flipping the OPEN sign over to CLOSED. And Bucky, He’s got a lot of bricks in
the back courtyard from when his dad bricked up the alley, and a few bolts of
leftover cloth from the awning. They sew the bodies up in canvas shrouds
weighed with bricks, and load them in the delivery van, and haul them to an
abandoned dock.

It grows from there. ”We gotta stay safe, Bucky,” Steve says in the shadows where no one can see or hear. “We gotta get to the top, where no one can touch us.”

By the time WWII comes around Steve owns half of Brooklyn, and almost all of the waterfront. Does Steve “The Captain” Rogers know about a German plot to infiltrate the docks? He might, Agent Ma’am. What are you gonna pay him to tell you?

voodooling:

‘Paint my best side, Stevie-o’

‘But every side is your best side, Buck’

‘Aw shucks you’re such a charmer, y’meatball.’

—-

Leyendecker!Steve Rogers AU where Steve is a painter and all he paints is Bucky, his muse, much like how Leyendecker’s paintings mostly consisted of his life partner Charles. Drawn for my bro riwox!!

luckyraeve:

I finally got Steeeb’s robo!back and Bucky’s robo!sidebutt looking pretty good. YAY!!! o/ Still gotta give that panel an actual background tho. Uuuuuhg, backgrounds. *grumpface* I quite literally took everything I struggle with as an artist (buildings, robots, armor, guns) and stuck it all into one comic. WHY?!! *cries* Also, for some reason, Bucky’s futuristic HYDRA rifle ended up looking like a keytar and I can’t stop laughing. I should start an AU of this AU where Steve and Bucky are in an 80s new wave band called The Winter Cyborgs. X’D

More of this project can be seen at #Winter Cyborgs AU.

In the world of superheroes, because it’s such a melodramatic world with operatic undertones to it, most of the best ones have some sort of tragedy, deformity, or disability that is meant to add depth and poignancy to their heroism, whether that’s Bruce Wayne sobbing over his parents’ bodies or Bruce Banner forced to live a life of emotional repression in order to keep his dark side at bay. You could argue that Peggy’s cross to bear is Steve’s death, but we’d argue right back that she’s mourning him in a more or less normal, human way and her grief seems to be following a healthy evolution. No vows to dress like a flying rat over his grave or anything. She’s just taken what she’s learned from him and letting his memory inspire her. No, her cross is even more basic than that. In order to protect her mission from her co-workers, Peggy has to become the bumbling, ineffective Clark Kent/Peter Parker type, hiding her victories and strength from the very people she so desperately wants to notice them. And because this show is using the patriarchal and chauvinistic attitudes of the day as a backdrop for this story, Peggy’s sacrifice becomes all that much more poignant. She has to pretend to be dumber than she is and take no credit for her work in front of a group of men who already think it’s an insult that she be allowed to work alongside them at all. Peggy Carter’s kryptonite IS the patriarchy.

Tom and Lorenzo on Agent Carter, “Time and Tide” (via clairemactavish)

I’d like to see, also, a love interest perhaps. Maybe she gets the chance to move on from Cap.” It would be hard to find a man to match up to someone who is literally the embodiment of American ideals, so Atwell is already thinking outside the box. “Maybe it would have to be a woman!

Hayley Atwell on Why Agent Carter Is ‘a Bit of a Nerd’

HAS ANYONE TALKED ABOUT THIS QUOTE YET?

ABOUT HOW HAYLEY ATWELL IS APPARENTLY TOTALLY HERE FOR BISEXUAL PEGGY CARTER?

(via bi-spies)