#Drug metaphors

[nemesyaaa]

bones and all au // rafe cameron x reader

summary : “ you're so handsome when I'm all over your mouth. ” strangers by ethel cain.

warnings : if you were not comfortable with the movie by luca guadagnino, don't read this !! mature plot. a lot lot lot of blood. sick and gore attitude. cannibalism used as a form of love. strangers/ode to eaters by ethel cain muse. smut. pomegranate used as a metaphor of cannibalism. jealousy. mentions of organs and anatomy. some b&a refs but you can read it without watching the movie. violence. minors DNI. +18.

author's note : crdits to @starfxkrreloaded for this au. you can reach for her ode to eaters au which is very insane ! please, i know this is very twisted but don't send hate or be mean in the comments. if you dont want to read something like that, it's your right and i respect it, just scroll. to the rest, hope you will enjoy. it's my first time writing something like that so i'm kinda nervous. and by the way, the movie is very beautiful, taylor russell was incredible in this. i highly recommend you.

you lived in an old house in the midwest, the southern gothic type with an empty fridge, broken stairs, carcasses of eaten animals in the garden, a tv too old to be turned on, a radio player too damaged to be listened to , a completely dirty kitchen with dishes full of dishes in the sink, and nasty dirts on the floor. there was also that damn lamp that flickered and came on every other time, that icy water that froze your bones, that cold tiles that creaked under your feets. the windows were rarely open but when they were, the shutters slammed against the wind, your underwear hung over the radiator. but you really liked this place, in fact, it was the only place you could call home without wanting to collapse in tears.

you had your headphones on in that empty quiet space, and a probably dead singer in your ears living through your swaying body. you found this pomegranate on the table while searching. it was intact, still shiny and full of good things.

you didn't need a knife when you had a hungry beast inside you to cut the fruit with your teeths. you had dug your molars inside the seeds, directly into the fresh and virgin skin, opened the eviscerate flesh, tearing away everything you can with your mouth, the still delicious juice ready to feed your thirst and starved your hunger.

you smelled the fruity and juicy scent through your nose, splitted open the pomegranate, discovering the clean and clear inner bones, a pretty red color, even more oozing and sublime than your blood, a perfect complexion reminiscent of the sanguinary meat of your anatomy. your tongue and teeth were sunk in, completely buried in the dripping morsel. your face and cheeks were full of it, shining onto your dirty and sticky fingers. the juice burst, squeezed in your hands as you devoured this fruit, the liquid of which flowed, dripping down your neck and chest, slipping toward your tummy like an unstoppable river.

you were bad as a demon, but nothing stopped you. you bit and bit like a mad dog into the flesh of the fruit like a piece of meat, extracting with your molars everything that you could recover and stuck in your throat.

the more you ate, the more the fruit bled. but you heard nothing, no lamentations. nothing could stop you from eating, from the rage beating. it was sickly, obscene and depraved.

you looked like such an innocent thing, but inside you, there was nothing like that. and you couldn't fool anyone with your tears and your regrets, because you didn't have any.

you had dropped the pomegranate on the ground, there was nothing left except a broken corpse. you had consumed everything from the flesh to the bones, from the skin to every part.

your dress was stained. you stank of pomegranate as much as sin. there was nothing good in you, and above all, there were too many people in you.

rafe had come home in the night while you were waiting in the armchair in the living room, with this juice stuck to your body. you hadn't moved. for some reason you were faithful to your partner. maybe because he scared you, or because you understood that without him you couldn't survive.

he had thrown the key in the table and came before you.

he came toward you in the same state you had seen him for the first time, covered in blood and with glowing blue dilated eyes. you knew that he had eaten, that he had devoured someone because he was not like you. rafe was worse. he understood that nature was to kill but beyond that, it was something he was trying to teach you as your mentor. that we should not regret giving in to impulses, that if we did not listen to them, they would end up killing us.

that we were originally monsters, and that we had to deal with it. you didn't know if he was telling the truth, if he was right. but he was taller than you. you found a maturity in him that fascinated you, that forced you to listen to him.

he had taken off his shirt, and you looked up at his face. he smelled of blood, that strong, metallic smell that you could sniff from several meters away but especially his because you knew him by heart.

“jesus, don’t look at me like that. you wanted to stay at home, i didn't force you to. ”

“it was a girl. what was she like? did you like it ? ”

you didn't know if it was jealousy, or curiosity. you just knew you didn't like knowing he was with some girls even if it wasn't going to last.

with a smirk but at the same time terribly cold face, he answered you. "if you're that jealous, use that energy and mouth to taste it. maybe, you will have some answers. ”

you got up from the chair to join him. you didn't want to share him, even though you knew there was only you in his life. you knew it because since you knew him, he had never talked about his family, nor contacted relatives in the payphone. then, he rarely spoke about his private life. he often made fun of you, because it was more your type of thing to open up about personal moments. you never knew if he was really listening to you but he stayed until the end of your speech.

eagerly, you kissed him, that girl’s blood sliding against your lips, your mouth capturing rafe’s in a kiss, as your cheeks crushed against his bloody face. “ mine, mine.” you whispered, pushing your tongue against his. “ clean that blood, babe. i can't be yours if she's still here. ” he had slipped his hands under your skirt, pressing the flesh of your ass. he had a ring on, the cold metal playing against your skin. you could smell it, just like what he had eaten before coming home.

he sat on the probably moldy and torn couch in your living room, you were almost his height now that you were sitting on top of him. you were hungry, as much for him as for sex. he made you feel so many things, or it was this jealousy, this thirst within you that made you so hungry. you weren’t really sure.

you took one of his fingers still covered in blood, the recent taste of raw flesh now in your cavity. he had pushed his thumb deeper in your mouth, making you suck the pulp properly. the liquid bleeding against your tongue, as his flesh quickly brushed your cavity, your drooling lips curved around him. he pushed it in until he felt your throat.

he was playing with fire, he was playing with you, because he knew you could bite him at any moment but he had also conditioned you not to.

“so, how is it? ”

“nothing tastes better than you.” you simply replied. “ right ? nothing can be as good as me. ” he said in a mocking tone.

he had undone the strap of your dress, revealing one of your tits which he had taken in his palm before taking it in his mouth. your nipple was pressed between his teeth, your skin trapped in his hand as he sucked on your piece of flesh, pinching it only ever so gently in his mouth. he still had remnants of blood, slipping between your body and his tongue.

there was something sensual between this slow sucking, fast suction of the tongue around your throbbing nipple, your spiraling stomach against the void, the movement of his adam's apple in his throat while he tasted every beads of your boobs. rafe was good at it.

he pressed your tits, grabbed them tightly and firmly against his palm, nibbling the tip, caressing the pulp, kissing the flesh. and maybe if he had bitten into it, you would have cum instantly.

his hand was on you, covering your body in blood and sweat, tracing your figure with his soiled and bloody fingers like a canva, letting them run over your skin like a paintbrush.

he was hidden by your sucked breasts. and you wanted him full. you had started to grind against him, even with your underwear separating you from him and his piece of jeans, you managed to be completely soaked on him. your hips moved in motion, lifting delicately like a porcelain doll too afraid of getting hurt.

you were no worse than him, and he was no worse than you. you were both terrible people. there was no hierarchy among people like you.

but the first time you saw him, in that shirt full of blood, with that mouth so red and that oozing dripping neck.

it was dark, but you knew very clearly what he had done, and perfectly well who he had eaten. you had observed it and you had not seen a monster. you weren't afraid.

he wasn't mean and monstruous, just indifferent.

"if you want to eat, that man is still over there." he said simply, not trying to hide or deny what you were seeing.

and you liked it. you instantly liked it.

“ you're the one who interests me.”

“you know the drill, we don’t eat each other.”

“i mean, will you let me come with you?”

"listen to me carefully, i don't have the face of a babysitter, nor the skills to do so. get by, you may be a minor but if you're old enough to do what you do when mom and dad have their backs turned, i swear, you can get through this on your own. ”

“i’m an adult.” you cut him off.

“your age was a nice excuse for me to tell you that i’m not interested. i bet you're an adult. ”

you had followed him when he approached his pickup. "i wouldn't bother you. but i need help. i mean, this is new to me. i don't do this often while you seem to be experienced. i want.. .i want to be like you, not to be afraid of that.”

“what makes you think i’m the right person for this?”

“you may not necessarily be the right person, but you’re the one I want.”

“you know, i already have a lot of problems, i don’t need a burden on all of them.”

“please. i won’t be one. you have my word.”

"you really don't give me a choice. come up crybaby, but if you bother me, i won't hesitate to abandon you, no matter where."

you nodded. it was going back, but in the meantime, you had traveled to many states of america, and probably left a pile of corpses on your way. even though it hadn’t been easy, he had taught you how to drive.

one cold summer night, in the darkness of a tent in the middle of nowhere, you hadn't managed to sleep. but when you opened your eyes, rafe wasn't sleeping either.

“you should sleep, you’re the one driving tomorrow. ”

“you want to know who my first victim was? "

"i guess even if i don't care, you're going to tell me. so go ahead. knock me out, tell me something your little lips haven't told me yet. and don’t say victim, you're much an innocent thing than a killer. but don’t worry, i'm about to raise you very well. ”

his hands had gripped your hips to position you above him. “but for now, tell me about your boring story, maybe it will help me sleep.”

you had told him a lot of your past. the first time you had eaten someone, the babysitter your father had hired who had ended up torn apart on the floor and another part in your mouth. oh it really wasn't beautiful. and this time, in the summer camp where a boy had mysteriously disappeared because you had devoured him in the woods. and that friend at school whose finger you swallowed. it was stronger than you. you needed to eat.

and rafe was the only one to understand it.

the most intimate moments in a relationship should be sex, but for the two of you it was different. it was when you ate together, when you both had blood around your mouth, that you could taste his, and he could taste yours. when there was this connection between you.

he was a different eater from you, he was bestial and cold, sinking his teeth straight into the flesh, tearing off the parts of the body one by one. his bites were mean and cruel. the way, his teeths pulled the organs, the ribcage. you watched him, his hungry raging mouth embracing the darkness of his needs, ripping all the raw meat out roughly. oh the blood, it leaked into every corner of his pretty and bloody lips that you wanted to kiss so badly, to feel the liquid and flesh filling and consuming the space of your throat and your tongue as your body swallowed everything he gave you. oh how much, rafe loved to feed you directly in the mouth, letting you suck the flowing red wet all around his jaw, and down his neck to the cool grass. he was beautiful. insanely handsome. but also, so scary.

his skin was covered in a red, metallic coat. his eyes were consumed with pleasure, while devouring the body of your victim.

he was very different from you, who was more delicate in your movements, or rather clumsy. your bites were messy, your touches lighter, even with the blood all over you.

but it was in those moments that the sex was the best afterwards. when his tongue, still red and famished with blood, circulated over the skin of your stomach, leaving a reddish river against your flesh.

and it went even further than that, when he found himself lost between your legs, his warmth muscle completely buried inside you, lapping your soaked folds, licking you like a starving man, his mouth pressed around your sloppy wet cunt. your juices dripping against his open wided mouth and jaw, the throbbing of your clit against his nose, the way your beating pussy smeared the blood across his lips and cheeks every time he entered and devoured your delicious slick.

since you didn't eat each other, it was your only way to feed him, to make him taste you. you didn't know if he loved your taste but in any case his tongue always came back to find you, to fuck that cunt, lodging itself between your soggy walls.

he forced you to keep your thighs apart, one hand resting on your bruised tummy which contracted every time you felt him on your core.

your legs shaking around his shoulders, the way his bloody mouth nibbled on your clit. you moaned in the middle of this abandoned place. you could shout as loud as you wanted, no one would come, no one would hear you.

you loved feeling his large hands on your bruised skin, especially after eating, because they were dirty and sloppy. you let your tongue clean the blood stuck to his fingers, the drops falling into your mouth.

it was strange how love can be perceived for everyone. ever since you were a child, you have been unable to show affection without hurting people. when you loved someone, it was tragic because you had this need to devour and consume them, to make them a part of you, to make them live within you.

but for rafe, it was different.

you were total opposites. and even though you lived together, you wondered if he felt things for you. if he had ever been in love.

because you liked to think that the way he kept you around, the way he let you stay with him at night, the way he always came home, and was open to doing all these things with you, that was his way to show you that you mattered to him. you even wondered if he came back every night because he couldn't let go of you. yet, at the beginning of your relationship, he wouldn't have hesitated.

here, in this rickety house, you didn't pay rent. it belonged to one of your victims. you always did that, you killed people, and robbed them of their belongings. you took their money, clothes and possessions. you were stealing the lives of these people. at first you felt guilty but now you feel nothing. it was life.

“i love you. ” you told him, as you straddled him on your shared bed, your fists curled in the pieces of sheets. “i really love you, rafe.” you were moaning and feverish, every inch of his thick cock buried in your core, hitting your spot.

while you were bouncing on him, your ass slapped against his muscular thighs. he grabbed your breasts moving over his face, as his dick was ruining you, each of his thrusts destroying your canal. you were as tight as the first time he fucked you in the back of the pickup. he gripped your ass, pinching the flesh.

he wrapped his hand around your throat before losing his face in your neck, his mouth kissing that immaculate part of your body. he placed kisses, before lightly sinking his teeths into your skin, nibbling and sucking on this skin offered to him, while you continued to take him just below him. “yea, you love me. ” with a hard stroke further into you. “still fucking tied to me. ”

and he wasn't wrong, you were so glued to him, completely submissive. he was inside you, filling you completely, every part of his length stuck to your walls, parting your pussy lips, your moans muffled above his head as your arms wrapped around his back. you were desperate and whimpering, the wet sounds of your repeated moans echoing around the room.

you could feel the twitch of his stomach against your skin, the perfect harmony of your two bodies in sync, he speared you violently with his fat cock, let you hear his grunts and heavy breathing against your neck, coming straight from his throat.

you were sweaty and noisy, like one of his victims, but most of all, you were his, his hands all over your body like a prize. every touch was possessive, your head tilted back, and his mouth melted onto your jaw. he fucked you roughly, making you bounce on him and cry.

his blue eyes shone in the darkness of the room. they were on you, in a perfect focus.

“do you love me? " you asked him, your body going through trembling spasms, your skin covering his. you were desperate and suffocating. your breaths were rapid and frantic.

he moved your head with his hand on your throat, his gaze flickering above your collarbones. you felt like you were pretty with the importance his pupils gave you.

you wondered if he had ever wanted to eat you alive, because after all, even if you were an eater, you were still easy prey.

and maybe even sometimes you fantasized about what he could do, because you wouldn't have minded seeing him dug his teeth into your flesh like meat, seeing him consume you one by one, your bones getting sucked, your blood spurting against his tooth.

you would have loved to sacrifice your body to feed him, to be that pomegranate to him, to see him smile through your organs, to see his belly swell because you were in a thousand pieces inside.

you would have loved for him to eat you alive, because you knew rafe would have done it out of love.

“ don't leave me or i will eat you. ” you said to him, his hands brushing your hair like a lover. “ every part of you. like you taught me. ”

“ bones and all ? ”

“ bones and all, my love. ”

and he smiled, fucking smiled all over your kisses, his lips covered yours.

“ then, what are you waiting for ? sunk those teeths in me. scared for what, babe ? nothing that you have not tasted before.”

[sammygender]

supernatural does this really fascinating/strange thing where they write a metaphor for something, but then also directly show the something at the same time. so you have john winchester raising his kids to be hunters (metaphor for abusive childhood) but also, aside from that, being flat out abusive. you have sam winchester repeatedly being possessed by things without his consent (metaphor for sexual assault) but also, aside from that, being sexually assaulted. you have dean winchester becoming more and more violent as result of a mark that makes him addicted to something (sort-of a metaphor for alcoholism? they’re clumsy about this one) but also, aside from that, being an alcoholic. it’s such a Choice. i don’t have anything else to say it’s just something i’ve noticed

[beaft]

finding out that most other people have an internal monologue fucked me up so bad i swear. what do you MEAN you have a little voice talking inside your head the whole time? does that not drive you nuts???

[wickmitz]

— THE ELECTRIC-FEVER REMEDY.

[blunts-and-babes]

Roachy 🪳

[avatar-state-kate]

The new A24 horror film Talk to Me uses possession and communicating with spirits as a metaphor for drug use. Perhaps it’s a little anticlimactic to say it point blank but the film isn’t exactly subtle in this regard (the plaster hand, supposedly once belonging to a medium is even used to hold a joint). It is not that this metaphor that is interesting but how the film uses it. Communicating with the dead becomes a party activity- I’m a social medium, not a real psychic.

In the beginning Mia is introduced to the hand at a party. After this first use Mia needs to recreate the party setting to get that second, third, forth hit. She doesn’t have a problem, she’s a social user. Mia has recently experienced a major loss, the death of her mother, and as a result she has been feeling isolated. These parties give the illusion of community, but when the going gets tough these people prove not to be real friends; bailing at the first sign of trouble, flaky and only helping when their own safety is in jeopardy.

While using the hand is described as feeling amazing, and the montages show a fun uproarious time, the scenes showing the possessions in real time are from an outside perspective, seeing the physical body and not the mental escape- it looks scary, the way pictures of heavy drug users are shown to elementary kids to scare them.

Many horror movies are in some regard cautionary tales. At there worst, and most famously, attributing sex and drug use with a ‘deserved’ violent death. Talk to me is a bit more gracious in its messaging but it is a warning. The title and the metaphor are in conversation with each other, Mia is really crying out for someone to talk to about her grief over the death of her mother, but instead she is filling the need by using the hand. Turning to the hand rather then reaching out results in Mia destroying her relationships, and in the films climax Mia loses herself to it, becoming entrapped on the other side, a spirit that the hand connects to unsuspecting partiers. Drug addiction can feel like an escape from grief and pain, like an amazing party - but it can turn in a moment, and when it does you might find yourself unable to escape.

[shardsofswords]

Was scrolling the hellsite and saw this gem of a trashfire

be right back guys, I gotta make a malevolently bad map

[everliving-everblaze]

I love this fandom I just scroll down my dash reading "thinking about [character]" "thinking about [ship]" "thinking about [character]" and we all just trade those posts around. like yeah me too. the kotlc fandom is about passing the blorbo around like a blunt

[beanghostprincess]

I often use cannibalism as a metaphor for longing and craving because just being next to the one you adore isn't enough. You need to consume them. But I do it in fundamentally different ways with different ships-- Like. Speaking of Zolu, I say Zoro will let himself be eaten out of devotion, wanting to live inside of Luffy, and knowing Luffy worships food as a symbol for life and freedom. Luffy will eat and consume Zoro out of greediness and the selfishness only a pirate can have but also worshipping every part of Zoro. At the same time, he does it because there's just no other way of having him that isn't inside of him forever. He's possessive like that and wants everything Zoro will give him, and Zoro wants to give him everything. While, if I write about Fyolai, I consider cannibalism as power differences and giving up freedom for love. Nikolai views love and sacrifice as some sort of chain that ties him to the world and doesn't let him be free or make decisions of his own, so letting himself be eaten by Fyodor and letting him take over his body is the most romantic and selfless thing he can do, giving up free will for love and the appreciation he has for Fyodor. While Fyodor feels some sort of power and control over Nikolai doing so, it's not only to call himself a god but because it would put Nikolai out of his misery and even if it's a selfish action it is also his way of showing respect and care as he would never let anybody else live in between his ribs. But then again, it could also be the other way around if you stop and think about it. Luffy only being vulnerable and weak around Zoro, realizing he feels safe inside of him and letting his first mate have everything he wants out of his captain. Because Zoro will not take unless Luffy lets him, so Luffy wants him to take and Zoro wants to swallow every bit of Luffy's vulnerability that only exists around him to give him the rest and comfort he needs and act as the anchor that grounds a ship. Fyodor, on the other hand, could let Nikolai consume him as a treat and sign of respect, giving up his superiority to show a bit of vulnerability around the clown but having still power over him. It would not be free will completely but Nikolai would enjoy the freedom inside of the cell he calls love and be free of eating Fyodor as a symbol of worship and almost religious devotion.

[pinkeoni]

The Big AIDS Metaphor Post

In her essay "Why Are Americans Afraid of Dragons?" from her book The Language of the Night: Essays of Fantasy and Science Fiction, science-fiction and fantasy writer Ursula K. Le Guin writes—

"The use of imaginative fiction is to deepen your understanding of your world, of your fellow men, and your own feelings, and your destiny."

It would be easy for me to claim that Stranger Things is a show that utilizes its science-fiction elements as an AIDS metaphor, but that only goes so far without being able to prove that the show is in fact employing said metaphor. "The show takes place in the 80's -> AIDS was a big part of the 80's -> therefore the show is about AIDS" isn't an airtight argument in itself. I can quote famous sci-fi writers all day but that still wouldn't prove that the Duffers themselves are actually following similar trains of thought.

So here's my big long post about why the show is utilizing it's science-fiction elements as an AIDS metaphor.

Lengthy discussion of rape, violent homophobia and drug use below the cut.

A Brief History of HIV/AIDS in America

For those not in the know about HIV/AIDS, and in order to all get on the same page, here is a short recap. For my information, I will be this timeline from hiv.gov as well as this timeline created by History Channel, as well as some of the supplemental hyperlinks provided. Any other sources I use will be linked throughout.

HIV, or human immunodeficiency virus is a virus that attacks the body's immune system, making it highly susceptible to infection and cancers. The virus can progress to a more severe version of the infection, acquired immunodeficiency syndrome or AIDS. The virus spreads through bodily fluids such as semen and blood. The most common ways for HIV/AIDS to spread was through unprotected sex and sharing needles while using drugs.

The initial cases of HIV were present in America in the 70's but become much more rampant starting in the early 1980s. Because cases of AIDS were most commonly seen in gay and bisexual men, there was a large misconception that AIDS was a "gay plague" or a "gay disease" as it was nicknamed. By 1984, 3,500 Americans had died from AIDS related illnesses.

The reason that AIDS epidemic got as deadly as it did is often attributed to the Reagan Administration's failure to act, something that President Reagan denied. Reagan would not publicly acknowledge AIDS until 1985, despite U.S. health officials being aware of AIDS since 1981.

Understanding just how entrenched this metaphor is in the story will include going through each season and examining in detail how each one plays into this metaphor.

Season One: Establishing Metaphor & Government Cover Up in Early Years of Epidemic

The AIDS metaphor is most closely connected with Will's storyline, although it's not exclusive to Will nor is his storyline exclusive to AIDS. Furthermore, the supernatural elements of this show are multifaceted. AIDS is but just one of the metaphors expressed in the show, but for the sake of this post it's what I will be focusing on.

The setup begins following Will's disappearance in episode 1, when Joyce introduces Will's queer coding to us.

By 1983 the terms "gay disease" and "gay cancer" had been in the public vocabulary for a couple years now. So when Joyce brings up his queerness in regards to to his disappearance in a show that takes place in the early 1980s, there is a subconscious correlation that can be made in the watchers mind. His sexuality is significant to the why he went missing, otherwise why bring it up?

We then hear through Troy exactly what the town believes happened to Will.

I think that Troy essentially being a mouthpiece for his father is significant to show that Troy's beliefs are not exclusive to him and they do not exist in a vacuum. Troy's homophobia is a product of his environment, which includes his home and by extension, Hawkins.

The specification that Will was killed by "some other queer" adds another layer under the surface of Troy's statement, one that implies that Will was raped before he was kill, otherwise, again, why bring up sexuality in the first place? This was the attitude toward gay men— they rape and kill little boys.

In early 1984, there was a study conducted by the American Journal of Medicine to trace the sexual partners of a cluster of patients with Kaposi Sarcoma, one of the common cancers that killed AIDS patients. The study identified a flight attendant as "Patient O" who was among the first to exhibit symptoms of HIV/AIDS and had a rather active sex life with a multitude of sexual partners. The study was soon misconstrued by the public to claim that there was a Patient Zero who was "a promiscuous or even malicious gay man who single-handedly and knowingly touched off the AIDS pandemic in the United States."

Another crucial factor of the metaphor is the cover-up and blame shifting from the government lab, the exact thing that allowed the problem to escalate and become as deadly as it did to begin with. In the early years of the epidemic, Reagan slashed the budget of public health agencies like the CDC, and it would be years until he ever made a speech about it let alone even mentioned AIDS publicly.

We see how adamant the lab is to cover up any supernatural involvement with Will's disappearance in an attempt to cover their own asses. Framing his death as an accident was their call, all while being acutely aware of what the actual problem was. This confrontation from Joyce to Brenner puts it pretty aptly.

Tangent About Barb

This AIDS metaphor is something that I thought of when I first watched the show back in 2016 (humble brag) but what tipped me off the most wasn't Will or the lab but it was the fact that Barb was the other victim shown.

Barb's queer coding was clear to everyone and their mother. Hell, there's even a joke about it in the Bad Lip Reading of the first season. Barb, Nancy's short haired female friend who takes issue with Nancy's new relationship and has a hard time fitting in with with all of the heterosexual antics of Steve's house party. She's singled out, and while the rest of the gang get to casually enjoy the pleasures of sex, while Barb, another member of the queer community, sadly loses her life. The show cuts between Nancy having sex with Steve with Barb being killed to emphasize this stark contrast.

Season Two: Personal Effects of HIV/AIDS & Social Stigmatization

Season one was surrounding Will while not really showing us much of his pov, but season two dives right in to his perspective.

So, remember when I talked earlier about how Troy, and by extension the town, believed that Will was raped? Well, he wasn't exactly wrong.

This moment wasn't lost on me when I originally watched the show, although I think I ignored the implications because I didn't want to believe what I was seeing. But it's pretty well spelled out— A long, tentacle-like organ used for the sake of reproduction (Will "births" D'Art as a result of this), is inserted inside of Will's mouth without consent.

It's been a year, and Will is still dealing with the trauma of what happened, along with all of these new changes to his life. Will frequently attends doctors appointments at the lab, where the lab themselves aren't completely confident what is happening with him either.

When cases of HIV/AIDS were first appearing in the U.S., health officials were unclear as to what exactly this virus was and how it worked, only that clusters of otherwise healthy gay men were suddenly developing rare and aggressive infections and cancers.

Owens refers to the spread of the Upside Down very clinically— describing it as some cancer. One of the first articles published about HIV/AIDS in America before more information was known was a New York Times article titled "Rare Cancer Seen in 41 Homosexuals." The cancer the headline refers to being Karposi Sarcoma, the rare skin cancer developing due to their weakened immune system.

HIV/AIDS in itself isn’t the disease that patients die from, but instead the weakened immune system allows for diseases to take over the body without much defense. After his visit to the Upside Down, Will faces a series of “True Sight” visions as Mike puts it, which allows for a destructive foreign entity to invade Will's body and slowly take it over.

HIV.gov lists the following as some of the symptoms of AIDS:

"Rapid weight loss"

"Profuse night sweats"

and "Memory loss"

To the government agents in the lab, we see just how disposable Will is to them. In their words, if it kills him, it kills him. (thank you to @emblazons for being the one to point this out to me)

Owens may have held more concern for Will, but he still continues the government cover-up started by Brenner in season one. We also see the fallout of Barb's death, with Nancy and Jonathan fighting to uncover and reveal the truth. Owens is the one who tries to put a stop to their exposé of events to Barb's mom.

Not only is Will facing trauma and his body being ravaged by this new illness, but he's also facing social stigmatization, something common among gay men with positive HIV statuses at this time. There seemed to be some sympathy from the townsfolk when Will was missing and presumed dead, yet he faces animosity almost seemingly because he came back.

The "Zombie Boy" Nickname

I once made a whole separate post about this, but Will's "Zombie Boy" nickname from season two fits in with this AIDS metaphor.

On a surface level, the nickname is in reference to the fact that Will seemed to come back to life despite having a funeral and being buried. In a literal sense, however, his peers are quite literally referring to him a walking corpse that spreads disease. Individuals suffering from AIDS often have very short life expectancies, and zombies are the re-animated dead that aim to infect and kill as many people as possible. It is a very coded nickname.

In the post that I linked, I speculate the possibility that some people in town may even believe that Will has HIV. Remember earlier when I mentioned Troy's comment "he was probably killed by some other queer" which implies a belief that Will was raped. The town don't know about any of the supernatural goings-on, but they do know that Will went missing, was found in a cabin a week later, was hospitalized shortly after and attended frequent doctor visits through the following year. I don't see a reason that malicious rumors would cease, especially considering that they already continue to be cruel and ostracizing with the Zombie Boy nickname.

Look also at this moment of Will getting weird looks as he is being pulled from school to attend his doctors appointment. Why so much stigma around simply going to the doctor?

The 1984 Reelection of Ronald Reagan

In 1984, Ronald Reagan won reelection in one of the biggest election wins in history. And— subsequently continuing his and the governments silence towards the AIDS epidemic.

Season two takes place in the week leading up to the reelection. There are small set pieces that draw attention to this, such as this election sign in front of the library.

If the date November 6th sounds familiar, it should.

Dr. Owens mentions the anniversary of Will's disappearance. The one year anniversary of Will's disappearance is the same day that Ronald Reagan was reelected. Will's trauma is being purposefully associated with that day.

I've also made a separate post before just about the Reagan/Bush '84 signs that litter the lawns of Hawkins houses. They appear most notably in the Halloween episode, building to when Will has his true sight episode that night. There is one clearly in frame just before Will is separated from the group, called a "Zombie Boy" and a "freak" (two very coded nicknames) before he falls into his vision.

We also get a clear view of the Reagan/Bush sign outside of the Wheeler house before Will describes his experience to Mike.

A Tangent About the Wheelers

And now the question on everyone's mind: Are the Wheeler's homophobic?

Ted and Karen Wheeler are not violent, homophobic bullies. That would be a massive reach. But it would also be a reach to say that they are vocal allies. And maybe that's just what the average middle class family

In the very least, the Wheelers are passively contributing to a system that enables homophobia. To be honest, they are probably just going along with what everyone else is doing. Like I said earlier, Reagan was an incredibly popular candidate for the 1984 reelection. The Wheelers have the privilege of being able to comfortably conform without having to worry about much of the consequences. (I'll talk more about the Wheelers later)

In the episode where Will is possessed by the Mind Flayer, Joyce calls the school and we get an extended shot with Reagan's portrait in the background. The shot begins with the portrait slightly obscured, then the camera dolly's in towards the receptionist with the portrait still in frame. Shortly after this Will is possessed in the field. Here is one of the camera begins the shot and where the camera ends the shot.

I also wanna note that when Joyce calls in this scene, the receptionist makes a side comment about her and rolls her eyes. There's a clear animosity towards not only Will, but the whole Byers family, including the adults of the town. Including Reagan's portrait in this shot is meant to create a subtle correlation between him and the stigma that the Byers' face.

Season Three: The Façade of Patriotism Over a Dying Nation

It's 1985, Ronald Reagan has been reelected, and this season introduces Hawkins Mayor Larry Kline.

Is Larry Kline meant to be Ronald Reagan?

I would say that Mayor Kline is probably exemplary of American politicians in a broader sense (in fact the Duffers may have been making allusions to Trump with his connection to the Russians) although the fact that he's in office the same time as Reagan is still significant.

In the beginning of the season, Mayor Kline is being met with protesters outside his house, not unlike many of the AIDS awareness protests from the 80's.

The townsfolk are angered with Kline for building the mall and running some of the small businesses into the ground. During Reagan's run, he implemented a system of economics called "Reaganomics," which aimed to cut taxes and support economic growth. Although critics of Reaganomics will point out that his policies had actually increased the wealth gap, making the rich richer and the poor, poor. I want to keep this post about the AIDS metaphor, although I wanted to point this out as it is a connection between Kline and Reagan. And as I said earlier in this post, the metaphors are multifaceted and not just about AIDS.

But continuing, later in the season Kline puts on a big 4th of July festival to celebrate the independence of his country with neon lights and flashy fireworks. Meanwhile, the people of his town are dying right under his political reign.

During season 3, the AIDS metaphor actually moves away from Will, with the focus of his story shifting slowly to romance. This was setup at the Snowball at the end of season 2, and season 3 hints at some of Will's feelings for Mike which will be carried into season 4.

But the metaphor is carried on by Will's name twin, Billy.

Billy and Will sharing the same first name, that being William, feels significant as Will basically passes the baton to him and Billy now becomes the focus for this metaphor. We learn from Max that Billy is very sexually active, and in the beginning of the season he has eyes for Karen Wheeler. It is while he is on his way to this illicit sexual affair when he is "infected" by the Mind Flayer. (this was pointed out to me in the comment of one of my posts, but have since lost it. If you are reading this— thank you.)

Billy then passes the "infection" along to a girl he was flirtatious with, before the "virus" begins spreading over town.

There is also language and rape imagery associated with being flayed. There is the repeated lines "hold still" and "it'll all be over soon." When Heather's parents are flayed, they are tied up something is forcefully inserted orally, not unlike what we saw with the tentacle inside of Will in season one and his possession in season two. (I first saw this pointed out by @kaypeace21

The flayed begin to eat chemicals, and Nancy makes the comment that Tom, one of the flayed, appears to have been on drugs. Another common way that HIV is spread is through the sharing of drug needles.

HIV/AIDS in the Press

Nancy's arc with the newspaper this season reminds me a lot of how AIDS was first being reported in the press. Nancy begins her search for a story with stolen fertilizer and diseased rats, not realizing that there was a much bigger and much more dangerous story at hand. One of the first reports HIV in the media was from a CDC Morbidity and Mortality Weekly Report from 1981, which cited five cases of pneumonia in previously healthy gay men in Los Angeles. While still a deadly number, it was relatively small compared to the massive number of AIDS cases and deaths that would soon follow.

When Nancy brings her story to work, Bruce, one of her higher-ups, sips from this rather patriotic coffee mug before telling Nancy to drop the story.

At the end of the 1985 summer in Hawkins, the flayed have died in a "mall fire" and Larry Kline is arrested for colluding with the Russians, and their patriotic façade is shattered.

In September 1985, shortly after actor and close friend of Ronald Reagan, Rock Hudson dies, of an AIDS related illness, Reagan makes his first public acknowledgement of AIDS.

Season Four: Further Stigmatization & LGBT Witch Hunting

In season four the town is finally privy to the fact that there is something wrong going on, although they are unsure of exactly what. When things begin to escalate, instead of blaming the actual guilty party, they go on an all-out witch hunt.

Once again, Will's pretty removed from the AIDS storyline in this season with his arc focusing on his romantic feelings for Mike. With Billy dead and Will out of town, the baton passes once again for the metaphor to be carried by Eddie Munson.

In the first episode of season 4, Eddie is reading a magazine with an article about the Satanic Panic, a real case of wide-spread hysteria in the 1980's regarding the fear of rising Satanism, supposedly promoted by D&D. The article links the game to violent behavior, Satanic worship, sodomy and murder.

Tangent on Sodomy and Sodomy Laws

Merriam-Webster defines sodomy as "anal or oral copulation with another person." The definition is often expanded to include copulation with animals, although the term sodomy, according to Merriam-Webster, means "especially: anal or oral copulation with a member of the same sex."

While definitions may vary depending on states, some states have specific laws outlawing sodomy, even between consenting adults. In 1986, the Supreme Court upheld Georgia's anti-sodomy laws in Bowers v. Hardwick, after a homosexual man and his partner were arrested after being caught while having sex in his own home. Sodomy laws would eventually be challenged again in 2002 with the Lawrence v. Texas case.

While sodomy can technically can refer to both homosexual and heterosexuals, it is especially and historically has been used in regards to homosexual sex. When Eddie reads the word sodomy here, gay sex is being lumped in and made equivalent to violent behavior, Satanic worship, and murder. Quite literally in season four, Hellfire Club is seen as the evil Satanic sodomizers who bring death to their town.

While trying to find a substitute for the D&D game, one of kids Mike asks mentions 60 Minutes in his rebuttal of Mike's request. This episode takes place on March 21st, 1986. On March 16th, 1986, 60 Minutes played a segment called "Life and Death in San Fransisco," a segment about the AIDS virus on CBS. (EDIT: I originally attributed this to the wrong person, but thank you to @aemiron-main for being the one to point this out. Apologies for my memory mixing up my ST analysts in my head 😔) The archived footage can be viewed on YouTube.

When Chrissy is killed by Vecna inside of Eddie's trailer, leading the town to suspect that Eddie was the killer, she was going there to do drugs. Again, a common way for AIDS to be spread was through the sharing of drug needles. After the town and cops suspect Eddie, the town goes on an all-out witch hunt for him and other members of Hellfire, invoking Christianity as their reasoning. In Eddie's words— "Hunt the freak, right?"

Does this mean that Eddie is queer?

The black handkerchief in his back pocket and Joseph Quinn's flirtatious ad-libs with Steve are not completely lost on me. And the AIDS coding here does seem to be pointing in that direction, but here's what I think.

Eddie's actual sexual orientation, and by extension that of Hellfire, is beside the point and doesn't actually matter in the eyes of the town. Every member of Hellfire could be straight and every member of Hellfire could be gay, but what matters is that Hellfire Club is a group of outsiders that participate in recreational activity that is deemed dangerous, and that in itself is queer, regardless of who they may actually be attracted to.

Another Tangent on The Wheelers

During Jason's religious spiel in town hall which invoked the witch hunt against Eddie and Hellfire, we get this shot of Ted and Karen Wheeler upon remembering that Mike is a part of Hellfire. And boy do they look terrified.

This moment, right here, is what I believe to be the Wheeler rug pull. They may not have been signing up to witch hunt their son when they put that Reagan sign in their front lawn, but this is what it leads to. They're being confronted with the most extreme end of their forced conformity and they fear what they see. I think part of what causes this change in character is because they know Mike, had Mike not been a Hellfire member, who is to say if they would have changed their tune or join in the witch hunt. At the end of the season, when the news reports that the giant gate in town is a "doorway to Hell," both Ted and Karen scoff at the report, calling it "hysteria." The conformists are beginning to un-conform.

Concluding Thoughts & Season Five

Providing a story about HIV/AIDS through a science-fiction metaphor is both practical and ethical. The metaphor allows the show to tell the story to a wide audience without the reliance on outside knowledge. You don't have to be an expert in HIV/AIDS history to understand the story that it's trying to tell. It's ethical as well in that it doesn't force it's incredibly young actors to have to act out being raped and developing HIV/AIDS.

With Eddie Munson dead and Zombie Boy back in town, I think that the AIDS metaphor will shift it's focus back to Will. I think we may see a colliding of the AIDS plot with his romance plot. How do you pursue romance with a HIV+ status? Can you?

The way I see, season 5 has the choice to go in one of two directions:

But first, a short tangent about my uncle

In recent years, I came to learn that my uncle was HIV+, something that wasn't known to me when I was younger. Him and his partner are both in their sixties, and they currently bought a plot of land in which they plan on building their dream house together.

But anyways, the two choices are this:

Will dies by the end of the season. He becomes one of the many gay men with HIV/AIDS who lived a short life, unable to grow into adulthood and pursue his love life. His story is a tragedy.

Will lives. He becomes one of the many gay men with HIV/AIDS who survived and is able to live a long and happy life full of love. His story is an uplifting one full of hope.

Tagging: @emblazons @italiantv @gaysmindpalace @ven0moir @punkwillbyers @mikesbasementbeets @quinterobb @drangues @basiltonpitch @howtobecomeadragon

[gooboogy]

I love this part lol

(image ID in alt text)

[sophaeros]

hi everyone did you know that um. 😊when julian went over to albert's house in 2013 to listen to st justice he asked if it was about him. 😊 yes the song that is a love song to albert's then-girlfriend justyna. haha. just letting you know 😊

albert hammond jr for the talk, 2013 (x)

[thedeafprophet]

Jamie's relationship to alcohol/drug is a complicated magter, even before...direct influence comes into play. So many factors come into play, many outside their own influence.

The social attitude at the time very much allowed them to be brought into contact with things at a younger age than they perhaps would have otherwise, not to mention how common it was in the social areas and artsy scenes they frequent, back on the surface and on the neath. It was and is practically expected of them.

We've all seen the texts about the bohemian faction after all.

This mixes rather poorly with Jamie's individual circumstances. Trauma and mental illness can make one vulnerable to these things. Combined with the unknown issue of highly impacting ADHD, Jamie leans often into fully unaware self medicating to help themself function in the day to day. A few times becomes habit, a process becomes routine, and they don't even realize what is ongoing until things are far, far too late.

And there's something to be said, for how those who are vulnerable and struggle with mental illness, can often be targeted by those who are predatory.

[jupitermelichios]

so you've probably seen the news that riverdale ended with the main 4 in an actual, canonical, poly relationship

and that's amazing for a bunch of reasons, including the fact that the number of canon poly relationships on tv are miniscule and also it brings the number of canonically straight main cast members down to 1. Ethel is legitimately the show's token straight representation. love that for her

but to get the full impact of that news, you really also need to know that in order for the polycule to form:

Jughead's transdimensional angel girlfriend has to destroy multiple other timelines to create a new stable timeline for the polycule to live in. timelines destroyed include the one where jughead is immortal and trapped forever in a bunker underneath riverdale, and one where tony and fangs's magical timetravelling gay baby is fighting an evil wizard for control of a train full of evil ghosts

Jughead's magical transdimensional angel girlfriend then returns to the newly created main timeline, and restores the main cast's memories of all the other timelines, which she does by forcing them to watch the show riverdale. That is not a joke or a metaphor she even goes to the trouble to bring a colour tv back to the 1950s so they can watch in colour, except for Clay and Julian, because they did not exist in any of the previous timelines and they're sad about it and refuse to watch a show they're not in.

(Well, Julian technically did exist in the original timeline, but only as a ghost possessing a haunted doll, which doesn't really count)

(Also for some reason as well as the main cast, she makes dilton doily watch it, despite his only contributions to the show being a) dying as a human sacrifice in the og timeline, b) trying to blow up the planet and then dying because of it in the rivervale timeline, and c) gay kevin telling people he has the biggest dick in the 1950s tlmeline, and honestly, I feel like it would be kinder to just not show him any of that)

(ethel does not get to watch riverdale, because she did the only sensible thing any riverdale character has ever done and fucked off to a normal town to have an actual life, because as well as being the token straight character, she's also the token sane one)

After watching Riverdale, all of the main cast except Jughead and Betty decide it sucks and they hate it, and ask tabby to rewipe their memories and only give them the cute bits and not all the serial killers and shit, because the writers have run out of time for subtle metaphors and they weren't sure the audience had fully grasped that the entirely last season of the show is a weird metacommentary on the criticisms people have of the show riverdale so they're just straight up going to have archie andrews look straight to camera and say that the show should have been more like the comics

also I have no idea how only showing them the happy bits works, because that removes 90% of the entire plot so I assume they just have a bunch of completely out of context sex scenes and meals at the diner and nothing else. possibly also some musical numbers, idk if I'd count those as happy memories personally

Betty and Jug chose to keep their memories of the Gargoyle King and Betty's 2 long-lost secret gay serial killer brothers because they're edgy (and also because the writers are annoyed at all the people who say the show should be more like the comics, so they have the smartest characters say they liked the actually and everyone else is being a wimp about all the serial killers, because again, we have run out of time for subtlety)

Having had his memories restored, Jug's like "oh hi tabitha, my secret transdimensional angel girlfriend, I haven't seen you for months, I've really missed you. I'm so glad you're you're back. i love you so much"

And she responds by telling him that she'd chosen to write herself out of the timeline when she fixed in, and she has to return to the great big diner in the sky (not a joke, heaven is a diner in the riverdale universe and, it is heavily implied, also in our universe, so that's something to look forward to), so she freezes time halfway through kissing him and just nopes out of time and space. which is also how I would handle all break ups if I had angel powers tbh

since jug is now single, and all 4 of them just got multiple timeline's worth of fucking one another mainlined straight into their brains, the main 4 decide to all start dating

(they are probably inspired to do this in part by betty's sister, who in the new timeline is a burlesque performer who's stage name is Polly Amorous)

As far as I can tell from the last episode, they tell gay kevin about this and literally no one else, for reasons known only to themselves

also genuinely can't tell if this was the writers wanting a poly relationship for them, or if they just couldn't be bothered with the internet slap fights that would have followed them picking individual monogomous ships to be endgame

they also, hilariously, refuse to say that archie and jug are dating, I assume due to network restrictions, despite archie being canonically bi at this point, so betty's just like 'well sometimes I go to veronica's and we fuck, and the boys do... something we're not going to talk about'

the final episode of the show is a flash forward where as a now old betty is dying, jughead's ghost shows her memories of their teens, in which it's reveal that she has just straight up forgotten about being in a poly relationship

literally she looks at her teen self and is like "wow, I seem weirdly close to veroica jughead and archie" and Jug's ghost has to be like "because we were dating. how do you not remember that we were dating? what the hell? did I mean nothing to you?!"

also old betty specifically seeks out reggie and is like "hey you know how me and you dated, and you and veronica were together for years in multiple timelines, and you archie keep declaring your undying love for one another and nearly fucking, well we're all dating and we specifically decided not to invite you, sucks to be you" and walks away and I have no idea why she did it. justice for reggie

anyway RIP to the greatest television show ever made, it was so gay and so deranged and so meta, and there really will never be anything quite like it again

[justaboot]

fine okay HBO human DT would be like

(tw blood, gore, drugs, suicide mention)

Beakley's husband was killed by their daughter, who was a FOWL big bad. Beakley loved her more than anything but, in the end, they couldn't stop her, and she locked her in an uncrackable limbo pocket dimension, took newborn Webby, and told everyone she was dead. Every night, she doesn't think about how she's still in there, alive and rotting. (I hc this regardless)

Gladstone signed away his soul for glitz, luck, and luxury when he was young. He rains gifts and affection down on the kids, decked in the best money can buy and bored by all of it, surrounded by designer drugs and sex and fancy friends and desperately lonely when he's not with the fam.

Pre-series, the boys' father was a traitor who sold them out, nearly to Donald and Scrooge's death. Della goes alone to a standoff in an abandoned plane hangar, fucks him good one last time to get close before beating his head in with a socket wrench.

Goldie told her how.

The kids figure out Gyro's fallen into a brutally accelerating addiction to a stimulant chem of his own design, bc its producing incredible results. Scrooge has been looking the other way. Because results.

Actual Scary Girl Webby in a real way. She wants answers, and has no understanding of taboos. Stares at her first dead body way too long. Asks della too many questions about self-amputation, what it smelled like, if she could feel the difference between muscles and tendons when cutting. Did the ligaments snap back? did the bone splinter? did you see marrow? She just wants to know. The next day she asks bentina if they can get a whole pig to pit-roast and if she can be the one to carve it. Watched Scrooge and Goldie from the vent in his bedroom, looked too long at the line of Goldie's back as she moved and thought about it all night.

We see Beakley actually homeschool them. They have a library thats the school room, and Huey and Webby practice cello in Webby's room. They test themselves on new languages they're learning together by talking through music theory in them while playing.

Huey made Della a teak shower bench. Not HBOcore but its true and you should know it. It replaced the chrome one, and on bad nights, she hands out in there in the steam at 4 in the morning bc the room is bright and warm and the fan is loud and beakley'll be up in an hour which means the house wont be Still and Quiet.

Louie actually gets caught up in the underground crime scene. He slowly builds confidence gets too cocky, and gets in deeper and deeper shit until it goes south. Fast. His tricks dont work, because hes TEN, and Goldie has to pull him out of a human trafficking ring. He doesn't think to ask what she was doing there until much later, and she's already gone.

We see Donald's therapy sessions. He loves the boys more than anything or anyone in the world. He tells his therapist that he hates his sister for what she did to his future. His therapist asks if he hates the children, too, and Donald hesitates. He loves the boys.

Magica has Scrooge for weeks during the Shadow War. Plays out all his failures in shadow puppets on the wall for him. The spear, his parents, his sisters, goldie, everything. she was there in the dime for the whole ten years he was alone, and she plays out all the ugliest things he said and did. Shapeshifts through all the friends he's lost to taunt him, spitting words as young Donald. She shifts into Della, asking in her voice why he'd do that, telling him how painful it was, how it feels to freeze to death, what human lungs sound like when there's no oxygen to breathe. You'd think they'd be quieter, but there's a wet crackle that sounds like a sponge. She tells him how he was going to kill the boys, too, because he's too selfish, but it's not a problem now, because they've left again. They're safe now. But she says it all so kindly. He's exhausted and hes starving and hes half out of his mind, so when he asks what she wants from him and she puts a knife in his hands and tells him to end it, he does. Until the knife turns to smoke, he's unharmed, and it's not della but Magica who's laughing at him. Lena sees the whole thing, and later on, when the kids find out, Scrooge omits details, and the kids laugh at how Magica would ever think Scrooge would go through with it, just give up. He'd never give up. Lena doesn't say anything, and Scrooge doesn't look at her, and he has to cope with believing that'll be the last time he'll ever hear della's voice.

Lena Comes Back WrongTM

anyway you get it. everyone has a really rough duality. feel free to add.

(this post got too long, ask me later about the boys' birth and scrooge's secret s1 curse)

[compacflt]

went through all of your three fics and omfggggg they're by far the best topgun fanfics out there. no contest. are you still posting here? cuz i have a small question. If your maverick grew up in texas, wouldn't he have a southern accent? does he repress it? has ice ever heard him speak southern?

not the same thing