OKAY THIS ISN'T A DREAM CONFESSIONAL IT'S MORE OF A WAKING UP ONE, BUT I WOKE UP AT LIKE 5 AM AND THE FIRST THOUGHT I HAD WAS "wow, amami's like a real gay" AND THIS SINGLE LINE HAS BEEN JUST REPEATING OVER AND OVER IT'S 7 AM MEG HELP ME THIS IS TORTURE
i’m in fucking tears i cant believe my writing is haunting you
So we all know that scene in Eye of the Storm when Keith and Lance climb up the elevator shaft is basically just a scene from the Emperor’s New Groove, but there are a few distinct differences between the scenes that I find… interesting
Emporer’s New Groove scene: - They fall into a rockface unintentionally (unsafe current location) - There is a swarm of aligators under them waiting to eat them (obvious danger from below) - Directly above them is a nice safe cliff edge if they can reach it (obvious end point)
Voltron scene: - They are initially in a safe elevator, and decide to climb up and out of it because reasons - They are now in an unsafe current location (if they fall/the power comes back on and the lift runs into them) - They have no destination in mind (Keith only finds the air duct halfway up and there is very obviously no other way out)
(seriously, if not for the duct where else were they going to go?)
So why did they leave in the first place??? Surely they could have just sat around and waited until Allura or Coran turned the power back on?
I’ve read other headcanons about Lance remembering and then wanting to imitate the ENG scene (which I am totally on board with) but why does Keith agree with what is an objectively terrible plan?
This is my current working theory…
Lance: Have you ever seen the Emperor’s New Groove? Lance: *proceeds to explain the plan* Keith: That is I think perhaps the dumb- Theatre of Pining Keith’s mind:
The distant sounds of wind chimes tinkling outside, and birds singing, and children laughing and playing.
Sunshine strays onto Lance’s face. Pots and pans clink in the kitchen. He opens his eyes and sees the room, his room, aglow with golden light. Early morning. When his gaze shifts to the window, the sky is a bright, pure blue.
It’s quiet and soft, and the bed underneath him is warm with sleep. He sits up.
There’s a sigh next to him, so he turns. The boy beside him is curled in a silly position, his pale, exposed back arched slightly, and his head twisted so his face is mushed against the pillow. His black hair is tangled in an atrocious puff, but he sleeps on, unashamed.
Lance grins widely. His hand fumbles on the bedside table for his phone; he grabs it, unlocks it, and snaps a picture. It will be wonderful blackmail material at some point.
The hissing of a tea kettle down the hallway pricks his ears, and the distinctive humming of his mother. His impish smile fades into something softer; the wind chimes make their music, and the children giggle faintly.
His eyes slide back to the sleeping form, whose face is finally free from the permanent downward slant of brows that Lance had grown so used to seeing. Now, there’s only a calm peace. No tension, no strain.
He feels something big settle behind his chest, some heavy emotion rising in his throat. Impulsively, he leans down and ghosts his lips over Keith’s temple. He lies back against the pillow. His hand hovers, hesitant, then smooths gently through the dark mass of hair.
The world outside is fast, alive, but Lance’s room is hazy and warm, and he has all the time he needs.