i'll be your sin eater, laugh like it's funny

old poem for a good girl..

[Transcript:

Laika to Ground Control I don’t suppose you’re coming back for me but I don’t mind, it’s nice out here. You said before I launched: there’s no way back —I’m a halfway thing, more bullet than dog out into the dark morning and forever to this black field where Great Canine winks her distant starry eye. Empty as the space that lies between two barks. Full to bursting.

Laika to Ground Control can I chase my tail? I know you want me to sit still but it’s calling me, just for a second, please. I can see our planet from here smooth like the wind washed it soft and blue, we’re going round, I’m having the time of my life you don’t have to worry but can I chase my tail? There’s nothing here for me to knock over. I miss you. But I don’t mind, in a hold silver as this any mongrel can be a heroine; any stray can make history.

Laika to Ground Control [BACKGROUND STATIC] sorry, I forgot what I was going to say, Laika to Ground Control from above Earth is alive at night, light golden as a million miniature suns, makeshift constellations. What do I look like from below? Do I glimmer like a freckle or an exit wound? I’ve been sitting still. You don’t have to worry. I miss you.

Laika to Ground Control they have summer in space, did you know? The hours walk warmer and warmer, the ceiling gleams with June moons begging for a howl. I’m lonely, moons don’t howl back. I would sit still for years if it meant I could go back to you. I miss you. I don’t mind. I miss you though.

Laika to Ground Control I miss you. If you would come out here and pet me I swear to Dog I’ll be good, never bark again, you’ll have to find me a new name. Kometka, little comet, maybe, I would crash into the sea to swim to your side. Be your satellite. You’re bigger than Earth in my eyes, I don’t need stars, only you.

Laika to Ground Control there are pinpricks of light behind my eyes. Hot like a bite. The world is fast and unbreakable, and I’m just a dog. And I miss you.

this point is made very clear again when it's used to portray his death:

of course they did this; they're such obvious metaphors that are easy to rely on for beautiful visual storytelling. they undoubtedly were aware of the potential for these scenes and carefully considered them since the beginning.

but you don't really get to use each of these moments more than once if you want them to matter, so they had to choose which one of tony's stories needed to be told through carefully picked parallels.

and who did they use them on?

yup, that's right. steve rogers. steve, who literally ends their painful fight by breaking his heart.

steve, whom tony literally hands his heart and says "here, take this" while he's devastated, disappointed, and at one of the lowest moments of his entire life.

so, platonic, romantic, alterous — the intricacies of his feelings don't even matter. they're only for tony to know.

but what we as an audience know, what we were explicitly told by marvel, is that the feelings tony had for steve were so strong that they were the equivalent of getting his heart actually shattered into pieces, and being reduced to offering your desperate, mourning heart on a platter as a way of saying "take it all, there's nothing left of me that you don't own now".

these were not accidents. we were meant to understand how profound his feelings were. so many things spiraled out of their falling out — the entire universe's faith was at stake as a result. tony was not indifferent to him. his problem was that he felt too much.