#and her shovel

[thatstupidlozfanacrossthestreet2]

i cant even focus during history anymore. all i think about is her. its. so bad.

[ruushes]

sleeping arrangements (not sure tara would ever actually deign to sleep in the same 20ft radius as shovel but who can resist those big shiny insectoid black eyes 🥺)

plus:

[radiance1]

When Danny was told Vlad was coming over, he didn't care, much. After all, being told that he's lost all romantic interest in his mother, is trying to keep thoughts of murdering his father to just thoughts, and genuinely trying to be better than he was before.

Danny decided to give him at least a portion of leeway. You know, to see if he's holding up to his word.

But this, this is not it.

He dragged Vlad out of the room, shooting out an excuse that he just needed Vlad's help with something and just wanted to talk for a bit. Then brought him down to his level-via pulling on his collar- with a scowl.

"You trade my mother for that thing!?"

The thing in question, was some British guy by the name of John Constantine. Who smelled like smoke, alcohol and genuinely seemed to be questioning how exactly he ended up in this situation.

Vlad, to Danny's displeasure and increasing horror.

Is smitten.

Why did it seem that when Vlad turned good his intelligence just seemed to take a nosedive. Enough so that he settled for that and he is happy he isn't going after his mom but, like.

C'mon dude.

You can do better.

[ew-selfish-art]

Dp x Dc AU: Not exactly a meet cute between Jazz and Jason.

Jason's had a long night of beating the shit out of a gang that dared to sell in his territory, the last thing he needs is the Bats on his tail. He can always sense them when he leaves Crime Alley- they watch for him. Waiting for him to fail. It pisses him off.

So Jason shakes his tail, he's pretty sure it's the demon brat, parks his bike, removes his helm and heads into the loudest bar he can find, ditching his mask along the way. There are no camera's and there was no one watching, so Jason just looks like any other angry frat guy at the bar. Well, he supposes that the Leather jacket might be a stand out.

He grabs a drink, and looks at the time. Jason just needs to wait out the chance that a baby bird saw his bike and hope that curfew kicks in before this has to be a 'conversation'. Besides, the music is good and despite all the people, the crowd is pretty behaved.

"Hi! I'm so glad you're here!" A woman approaches, he can tell she's had a few drinks from her walk but her eyes scream sobriety and fear. She's tall in her flats, her hair looks disheveled (from dancing maybe) and her outfit screams 'this is the one fun black top I own'. She's beautiful and her approaching him might've been a wet teenage dream if his suspicions weren't immediately raised.

"I certainly am here." Jason replies, a smirk set into his features easily and as he straightens out his back he can see the three men watching the back of her head like predators. They're wearing super lame white hoodies and coats, like they're organized somehow.

"That's why you're my hero! Always ready to grab me at a moment's notice! Any chance you'll be good to leave after you finish that drink?" Her eyes are pleading but she keeps the same happy smile and joyful tone the whole time.

"Nah, no worries about the drink. It was cheap and I was just getting bored with it anyway. " Jason explains, setting his glass down on the counter. He's mentally photographed the three creeps, "Did any of your friends also need a ride home?"

"Nope! They all got in an uber... without me. So they'll be just fine!" She explains and there is an anger in her eyes that clearly meant she was telling the truth. Her hands are straightening out his jacket collar, making it look like they're more comfortable with each other than just strangers. She lays her hands flat on his chest once her task is completed and Jason feels his throat go dry.

"I'm always telling you to find better friends. Now c'mon, I parked out back." he wraps an arm around her waist, though its not tight, and peers over his shoulder. These guys weren't going to leave without a fight it seems, Dumb, Dumbie and Dumber are all watching her with evil in their eyes.

The two of them walk out and before she can even say thank you, the door swings back open and she's sucker punched one of the assholes and Jason's pulled his gun out for the other two.

"You gents are gunna go home, or you're gonna end up in the dirt. Pick." Jason growls. Not taking him seriously at first, he shoots one dudes foot and the last one standing looks like he might pass out. He picks up his fallen comrades and backs away into the bar.

"For ancients sake those dudes were trying to traffic the hell out of me." She sighs, and Jason holsters his gun.

"Yeah no shit. You okay?" Jason inquires.

"I will be. I'm Jazz, thanks for saving me Hood."

"I'm no-"

"You're literally leaning comfortably on Red Hoods motorcycle that still has his helmet perched on it. No one would do that unless they were suicidal or him." She challenges, but then a look changes in her eyes and she almost looks nervous "But still, do you uhm, wanna get out of here?"

He blinks. She was trying to pick him up? AFTER finding out he was a crime lord??

The answer is that yes, Hell Yes, Jason does want to get out of here. None of the Bats will bother him while he has a civilian, not at the diner he takes her too and certainly not while he's taking her back to one of his safe houses.

Jason had expected one of his siblings to show up in the morning and cause a ruckus. He hadn't planned for a dude to let himself into his kitchen screaming about government agencies tracking Jazz down that wasn't related. Turns out it's her brother and he's floating and no he's not going to explain why he's there or how he found them.

Jazz has a lot to explain to the both of them and it starts with "So I can admit that I have a thing for motorcycle guys-"

[cruelplatonic]

my personal headcanon is the vees were unremarkable nobodies when they were alive. i just love it as a thematic throughline for them. they love to let the public of hell speculate on them being famed and acclaimed since before death, but the the truth is they were a d-list failed influencer that got by on cheap controversey and scamming, a broke junkie who burned every shaky bridge he ever had, and a worn-out broadcast production assistant with more rejected auditions and tossed out script pitches than he could count. nobody missed them when they were gone, nobody cared who they were until they were dead.

[scribefindegil]

Lorraine Baines McFly and Female Autonomy

Hello. I have spent the past month slowly losing my mind about Lorraine Baines McFly, Marty's mom in Back to the Future, so I am finally trying to articulate some of the reasons I'm so feral about her.

There's a quote from Lea Thompson, the actress who played Lorraine, that goes, "The three parts that women usually get to play are virgins, whores, and mothers, and in Back to the Future Part II, I got to play all three." While this is commentary on Hollywood and the limited roles that fictional women get forced into, I think it's also interesting to think about it in terms of how these roles are reflected onto actual women and used to limit their personhood and confine them to a very narrow range of acceptable behaviors . . . and then in turn to think about how the character interacts with these roles on a Watsonian level. They're affecting not just Lorraine the character as she was written, but Lorraine from an in-universe perspective trying to navigate life as a woman in a patriarchal world. Some of the sexism she faces is a deliberate narrative choice and some of it is a result of the writers' blind spots, but for the purpose of this essay I'm less interested in teasing out which threads are which and more in looking at it holistically.

Because the thing about Lorraine is that she's aware of what the acceptable roles and behaviors for women are, and the versions that we see of her across the various timelines alternately fight against and capitulate to these constraints. What is a woman allowed to be? How much is Lorraine willing to break from those restrictions? How much does she allow other women to break from them? Does she resent her role or embrace it? I have a lot of thoughts specifically about how the different iterations of her interact with concepts of female agency and autonomy.

(Putting this under a cut because it is. Long.)

I started thinking about this when I was talking with my partner about 50's Lorraine. She's extremely active and driven and planning to Get What She Wants (in a way that is very scary, if you are Marty) . . . but at the same time she's clearly aware that she isn't supposed to be. A Good Fifties Girl is demure and passive. Lorraine isn't--but she's still trying to toe the line. I think constantly about the scene where she shows up at Doc's garage to be like "I followed you home . . . so that I can ask you to ask me to the dance." The girl can embrace borderline stalking but she draws the line at directly asking a boy out! She's exercising a lot of agency but views doing so as rebellious and subversive--and risky.

And I also want to talk about the whole "boy crazy" thing because like . . . society (especially in the fifties) tells women that the most important thing they can possibly do is find a good man and become wives and mothers, that this will define the success or failure of their entire lives (and given how many things were unavailable to single women at the time this is in many ways true) . . . and then relentlessly mocks and punishes anyone who actually takes an interest in pursuing this instead of just sitting back passively and waiting. She is trying to do what society says will make her happy! And even her desire for a white knight is very much based in the reality of her situation! She's getting sexually harassed at school and around town and she's doing exactly what she's supposed to and standing up for herself and saying no and fighting back--and this is not enough. She does need backup! Biff harasses her in the middle of a crowded cafeteria and Marty is the ONLY person who does anything! No fucking wonder she latches onto him as hard as she does! (There's. I promise this is related but there's a BttF parody musical on YouTube where when Strickland comes to break up the lunchroom fight he says, "Now, I can excuse sexual harassment, but LIGHT SHOVING?" and like it's a haha funny joke but also?? Yeah?? That IS how it works. The way Lorraine's being treated is so overlooked and normalized that the authority figure isn't going to step up the way he will when it's a physical altercation between two guys. Screams.) I wonder if part of the reason she stuck with George in the original timeline even though they didn't have a lot in common is that "I have a boyfriend" is a boundary that some people might actually take seriously whereas "I'm not interested" is not.

But. In general 50's Lorraine is very much about grabbing as much agency as she feels she's allowed to . . . and then Twin Pines Lorraine is what happens when she regrets the result of those choices (because while we don't see it, it's pretty obvious that in the original timeline she pursued George as aggressively as she pursues Marty in the new one), and so she decides to deny, not just her own agency, but female agency as a general concept. She leans so heavily on the idea that her relationship was "meant to be" because it absolves her of any culpability in creating a life she's unhappy with. She's rewritten her own past to view herself as a passive participant in something inevitable. (Exactly the view of womanhood that she was fighting so hard against in the 50's!) And she extends this idea of female passivity to the women around her: telling Linda that she should sit back and wait and a relationship will "just happen," actively resenting Jennifer for doing something as simple as calling Marty on the phone. It's a really interesting form of internalized misogyny, perpetuating these sexist ideas as almost a misguided form of self-defense.

And then for Lone Pine Lorraine this is completely flipped! She loves Jennifer for the same reason she disliked her in Twin Pines: because she reminds Lorraine of her younger self. And like . . . this is something of an extrapolation, but while obviously her husband and kids are still very important to her, it also feels like she has interests and friends and other things going on in her life, whereas part of the isolation of Twin Pines is that her life has shrunk down to the point where she's ONLY a wife and mother with nothing else to define herself by. And it also matters that in this timeline she has a partner that supports her, not just in the big dramatic moments (although also that), but you can easily see the dance as a catalyst for George actually learning to listen to her and stand up for her about smaller things as well. George McFly feminism arc. (I'm being slightly facetious but like. George starts off kind of shitty. The spying is actively Bad and I hope Marty chewed him out for it offscreen, but also his reaction to the harassment scene being "I think there's someone else she'd rather go with," implying that he sees what Biff is doing as like. Normal flirting that he expects to work. He doesn't GET it. Unsurprising because he is. A teenage boy in the fifties. But I do believe that saving Lorraine was something of a wakeup call and after that he listened to her about things that make her uncomfortable and gave her the support that she needed. Which would also give her a lot more freedom in this timeline because she has someone with more societal power who has her back!)

And then. Hell Valley.

If Lone Pine is the version of Lorraine who has the most freedom, the most opportunities to make decisions based on what she wants instead of What Is Expected Of A Woman, Hell Valley is the opposite. The things denying her agency in Twin Pines is largely societal forces (and herself); in Hell Valley she is actively being denied autonomy by her evil husband who functions as the personification of a bunch of sexist ideas.

She's been objectified to the point that she doesn't maintain control over her own body; Biff pressures her to get cosmetic surgeries so she can continue to look attractive to him because that's the only value he sees in her. Her physical appearance is entirely tailored to his preferences.

Biff's view of Lorraine is wife-as-possession. He treats her like a prize he's won and her kids like parasites. And he is NOT subtle about this. But Lorraine is still desperately clinging to the idea that she's wife-as-family. She calls Biff "your father" to Marty when he arrives, and talks about "our children" because she wants so so badly for this to be something different than what it is. It's especially terrible because this is a timeline where she got seventeen years of being happy with George, she knows what she's missing, and she keeps trying to force this new relationship into a similar mold even though Biff is openly contemptuous of her and especially her kids. It's been twelve years and she's still trying to pretend. To call back to that Lea Thompson quote: it's obvious where Biff thinks Lorraine fits on the virgin-mother-whore axis, while Lorraine is actively trying to centralize her motherhood partially because the kids really are that important to her and partially as a defense mechanism.

(And it's also such a bleak cautionary tale about how fragile women's stability can be when they're dependent on their husbands; Lorraine was happy with George and had a fair amount of freedom, but he was the only one with an income so when he died she was suddenly forced into a truly horrific situation because she had no other means to support herself and her three young children. Especially given that the Hell Valley universe is also worse in some broader political ways that mean there were probably even fewer social supports available than in real life 1973)

And god. It kills me the way that we see her lash out, the way she's clawing for autonomy when she threatens to leave . . . and then exactly how Biff levels all his axes of control against her. It's very interesting that his first tactic is consumerist (Who will pay for all your things? Who will take care of you?) and that doesn't work even though not being able to support herself is a very real concern. It's only when he threatens her kids that she folds. And then she immediately crumples and pivots to rationalizing Biff's behavior and blaming herself for her own abuse (in a way that is both HEARTBREAKING and also? surprisingly sympathetic and realistic for an 80's movie?). It's similar to the passivity we see in Twin Pines, but here we see exactly where it comes from. She doesn't have any way out so she has to pretend. It's the only way she can keep going. She has these flashes of rage but they're immediately snuffed out by despair and denial.

There's not a lot of talk about Lorraine and what there is tends to reduce her to "well she's Marty's mom" as if she's a boring character who doesn't have a lot going on. But even though most of her role in the movies has to do with her relationships with the various men in her life, those relationships are really interesting if you actually pay attention to them! She's not just (in the 80's) a wife and mother--she's someone who has a complex relationship with marriage and motherhood and the societal expectations surrounding them. She's not just (in the 50's) a vapid boy-crazy girl--she's doing her best to go after what she wants in a world that doesn't want her to (the fact that one of the things she wants turns out to be her time-traveling son from the future is unfortunate but not something she has any way of knowing!). She's stuck in a society that doesn't want women to be people, and she knows this, and because we see her across two different time periods and three different timelines you can watch how sometimes society grinds her down until she gives in and tries not to be a person. And also how, sometimes, she fights back.

[ddeck]

im like a middle aged cishet guy who hates his wife but my wife is star wars and i cant stand her

[strangersteddierthings]

Shovel Talk(s) Part 2

Part One 🦇Part Two🦇Part Three🦇Part Four

Nobody in the history of the world has ever referred to Eddie as jubilant but that was certainly the best word for him currently. Eddie has survived the apocalypse (even if barely), been proven innocent for the murders (the Upside Down exploding into Hawkins helped), and he has a boyfriend. It makes Eddie feel like he's floating.

Steve drops him off, walks him up to the porch, and gives him the sweetest kiss goodbye. Eddie doesn't go inside right away because he wants to watch Steve as he leaves and maybe blow him an exaggerated kiss as he drives away.

"Glad that boy finally did something about how pathetic you were being," Wayne says in lieu of a greeting when Eddie finally slips in the front door and into the living room, plopping himself on the other end of the sofa, dragging one of the throw pillows that came with the couch into his lap to clutch onto. Ground him, because he's still floating.

"I was not being pathetic!" Eddie is scandalized.

Wayne lets out a wistful sigh and says, in a poor imitation of Eddie's voice, "when will Steve end my suffering and notice me."

Eddie lunges across the couch with the pillow in hand, whacking Wayne with every word he speaks, while also trying to dodge Wayne trying to grab the pillow from him, "I do not sound like that!"

Wayne tricks him into thinking the pillow is his only goal and before he realizes what's happening, Wayne has him in a headlock, dragging both of them off the couch as he stands, giving Eddie the gentlest noogie of his life. "I think I know how you sound, hearin' you bellyache for the last 13 years. I've had to hear your relentless sighing and bemoaning about Steve for at least six of 'em."

Eddie beats him with the pillow more until Wayne releases the headlock and then they wrestle until his uncle fakes hurt, so Eddie backs down quickly, and Wayne steals the pillow and beats him back onto the couch until Eddie yields.

"That was dirty fighting, old man," Eddie says when he finally stops laughing enough to catch his breath.

"What was it you used to tell me, when I said you were fightin' dirty?" Wayne asks, "Scrappy."

"Oh, is that what you think you are?" Eddie swings at Wayne's knee half-heartedly. Wayne flings himself across the room and into the recliner there like Eddie shoved him. "Oh, you big baby."

"You're awfully callus about bullying your old man," Wayne chuckles and settles into the recliner, popping the leg rest out. "Now, tell me about your boy. He was a gentleman to you?"

Eddie pouts, "Unfortunately, yes. One chaste kiss and then he was off."

"Smart boy."

Eddie narrows his eyes. "What's the supposed to mean?"

"Means I scare him."

"What."

"That a question or a statement, son?" Wayne looks awfully smug over in his chair.

"What do you mean you scare him?"

"Just gave him the good ole father shovel talk. Y'know? Hurt my boy and I'll make you disappear," Wayne says.

"You terrible old man!" Eddie throws his pillow at him but Wayne bats it out of the air. "I'm going to die a virgin and it'll be your fault!"

Wayne just shrugs. "Fine by me."

"You are the worst."

-

Eddie can't make his leg stop jiggling. He feels sorry for Nancy, who is sharing the bench seat with him because he's sure that it's shaking the whole bench. He's filled with energy and doesn't know what to do with it.

Robin sits across from them, finishing up the last of her milkshake as they wait for the to go order they're going to drop off for Steve, who is stuck at Family Video for another five hours. He was supposed to be here, too, but Keith called him asking him to cover and he'd said yes. Eddie wishes he hadn't. This was Lunch Date Day.

"Are you still upset Steve took an extra shift?" Nancy asks. "Even though you know he's just going to spend the extra money on you?"

Eddie's pouting, voice whiny as he says, "I'd rather he be heeeerrrrrrrre."

"It's disgusting how in love you are," Robin says, shoving the now completely empty milkshake glass away.

Eddie's leg stops shaking because he full on freezes. "Uh."

"Are you afraid of saying the L-word? You are not subtle in showing it," Nancy says, ever the traitor, "but luckily Steve's just as smitten."

"You don't know that," Eddie says, arguing for the sake of arguing. He doesn't believe he likes Steve more than Steve likes him. He's pretty sure they're on an even playing field.

"Yeah, I do. I threatened to shoot him if he hurt you and he didn't even flinch. He'd have taken the bullet for you."

"You did what!?" Robin yelps. She's looking at Nancy like she's grown a second head.

"I didn't even bring a gun with me! Besides, Steve knows I didn't mean it," Nancy says with a wave of her hand, "it was just an obligation thing. You have to threaten your best friend's significant other. The whole conversation was like, 30 seconds tops."

"I'm your best friend!?" Eddie gasps, faking surprise. They have become good friends. She'd taken it upon herself to make sure he did get to graduate with Robin and herself, and they did form a sort of friendship from that. Also, from being the collective third wheel to Steve&Robin, which is enough to make people come together. Neither of them truly thinks of the other as their best friend, but it's fun to joke about their own Capitol with a P Platonic Friendship around Steve and Robin, as they become rather bitchy and defensive about their own friendship.

It's hilarious every time.

"Well, it's you or Argyle, and I don't think Jonathan wants to share his best friend, so...."

"Cold, Wheeler. Cold."

Nancy rolls her eyes and looks over to Robin. "Are you telling me you haven't given Eddie the shovel talk?"

Robin frowns as she thinks before her eyes widen in shock and she gasps, "I think I accidentally gave Steve a shovel talk instead."

Eddie bursts out laughing, "Robin, how the fuck did you end up accidentally giving a shovel talk to your own best friend?"

"I just told him to, like, be careful with you."

"Careful with me?" Eddie asks, a little incredulously. "What the fuck does that mean?"

Robin is going on the defensive, now. Eddie can see that in the way she squares her shoulders before saying, "it was said after your first date! Steve's had a lot of those, and you hadn't. I just- I dunno, wanted him to see the importance of that."

"So, what, you told him you'd shoot him if he hurt me, like Wheeler here?"

"No! I never said I'd hurt him for hurting you. I just said that he should be careful with you because, as your first boyfriend, if, and I did mean if, you don't work out, it's like... he's setting the precedent for how boyfriends should treat you. What you'll put with with, y'know?"

"That's sweet-" Nancy starts but Eddie's speaking over her just a quickly.

"Robin, that's stupid. I'm a fucking adult. If I'm not being treated how I want to be treated, I'll tell Steve," Eddie huffs. "You can trust that I say what I mean."

"Can I?" Robin shoots back. "Just like when you promised to get the fuck outta dodge and instead went on a suicide mission that ended very, very badly for you?"

"That was different, Buckley," Eddie hisses at her, sitting up straight to lean more across the table, trying to get in her face, "there was a lot of shit happening, and no way out that I saw. It's called trauma!"

It seems that a defensive Robin goes straight for the jugular because she hisses back, "No, actually, I think it's called survivors guilt and suicidal ideation. You know what, I should be giving you a shovel talk! 'Cause I don't fully trust you to not hurt Steve, either by lying or running once things get rough. You don't-"

"OKAY!" Nancy shouts, startling both of them into silence with one word. "We are in an, admittedly very empty, diner but still a very public diner, so let's not. Robin, you're not Steve's mom, it's not on you to look out for who is going to hurt him or-"

"You do not get to speak to me about hurting him," Robin points an accusing finger at Nancy. For all the anger she seemed to have for Eddie just now, he can see that it's almost doubled for Nancy. "I wasn't Steve's friend when you hurt him, but don't think I don't know every detail."

He knows this story, too. Had gotten it out of Steve one night, weeks ago now, when they'd been passing a joint back and forth on Eddie's bed. Before Eddie can pipe up, not that he knows what he'd say anyway, the waitress returns with the to go box and the check.

"It's my turn to pay," Nancy says, snatching the check before it touches the table, following hot on the waitress's heels to the register.

"Ugh," Robin flings herself against the back of the bench, both hands coming up to hide her face. From beneath her hiding place, she says, "I'm sorry, Eddie. What I said was unfair, and uncalled for."

"We're cool, Robin," Eddie says, "I forget how much of a buffer for our anxieties Steve is until we all hang out without him. He's able to defuse an argument before it happens."

"Oh, don't word it like that," Robin drops her hands and slides out of the booth, scooping up the to go box in the process," it makes Steve sound like the emotionally mature one."

They all climb into Nancy's car and apologies are said but Eddie feels like the next time Steve can't make it, they'll all bail on the weekly lunch. They're just a bunch of traumatized young adults and Steve is the heart of them, the person that bonds them outside the shit they went through. And maybe they should figure out a better way to deal with this than just pretending it didn't happen but- well, the world just kept moving on and they had to either move with it or get left behind.

-

It's two weeks after Eddie and Steve accidentally told the Hellfire crew they were a couple, which is why Eddie is not expecting it when Erica and Lucas corner him. He was expecting to be cornered by someone last week.

They'd been taking longer to pack up than usual, and that should have tipped Eddie off that something was up.

"Munson," Erica says in her no-nonsense voice, hands on her hips, face unamused. For sharing no biology with Steve, Eddie finds the resemblance uncanny. "I need you to understand that you might be my Dungeon Master, but Scoops Troop will always trump that, so if you fuck this up with Steve, you will have to answer to me."

Eddie gives a soft grin in response, amused, "no worries, Lady Applejack. I have no plans to fuck this up."

Erica's eyes flick to Lucas, then back to Eddie. "I mean it, Munson. I have it on good authority that sometimes you hurt people and then you don't try to right it. You just move on-"

"Erica, stop it," Lucas says, voice a little panicked.

But Erica continues, because nothing ever seems to phase her, "and Steve and Lucas are alike in that way. So just know that if you hurt Steve like you hurt Lucas-"

"Erica!"

"I will end you. I will ruin your life, Munson-"

"Erica, STOP!" Lucas finally steps forward, yanking on Erica's arm to get her to stop talking. It makes her stumble a bit before rounding on Lucas. "Stop it."

"No!" Erica glares at her brother as she removes his hand from her arm. "Go outside if you don't want to hear it."

They stare each other down and Eddie's not sure what he should be doing. Should he step in? He grew up an only child, is this normal sibling behavior? But he doesn't have to step in because Lucas huffs and storms out of the house, front door clicking softly behind him even though Eddie expected him to slam the door.

"Now, you," Erica whirls around to Eddie, "do you understand what I'm saying?"

Eddie does not. He's fairly certain he's getting a shovel talk from a twelve-year-old and while amusing, he senses there's more to it than just his relationship with Steve. "You're threatening me on Steve's behalf?"

Erica scoffs and rolls her eyes like she thinks Eddie's an idiot. He's starting to think he might be. "Yes, I am but also more. Your relationship has been the hot topic these days, and my brother brought up a good point but he's too nice to say it, so I will. When school starts, if Steve wants to take you to a basketball game, even though they fall on Hellfire night, you postpone the damn game and you go. No matter how much you hate basketball or jocks or- or... other things." She loses steam at the end, eyes flicking to the door.

"What?" Eddie is even more confused, "I don't hate basketball. And if Steve asks, I'm not going to say no, okay? I care about Steve. A lot."

Erica frowns, which contradicts the words that leave her mouth. "Good. That's good. I'd hate to ruin you, Munson."

"Is there... more to it?"

It takes Erica maybe three seconds to decide what she's going to say. Just long enough for her to look at the door, then back to Eddie. "You owe my brother an apology."

"Uh, sure, I'll apologize but for what?"

"Remember the basketball championship and the last session of the Vecna campaign that you wouldn't postpone so Lucas could play? You never apologized," Erica crosses her arms, another move reminiscent of Steve, before continuing, "You didn't apologize, and Lucas thought that it was because he's a jock, and you hate jocks. But now you're dating Steve and he's a jock. So, if you don't hate jocks, Lucas thinks you just hate him."

"What, no, I don't hate Lucas!"

"Then tell him that!" Erica glares at him, "and let this be a little lesson for you. Going forward if you hurt either of my brothers, intentionally or not, you can kiss the tires on your van goodbye."

Eddie tucks his metaphorical tail between his legs and goes outside to apologize, because Lucas deserves to hear it.

Then, once the Sinclairs are gone and Eddie's back in his room, he runs through every conversation he can remember having with Steve. Has he dismissed things Steve liked too easily, too often? Has he said anything offhandedly that could be taken the wrong way without explanation?

Eddie's was an only child and didn't have to grow up worrying about anyone but himself. He made himself an outcast and shunned the 'norm' by choice. Doing so didn't exactly let him learn the social graces of patience and understanding.

It's eye opening, to learn that a decision he made months ago without a second thought has been hurting Lucas this whole time.

Has he ever done that to Steve, and not known it?

-

Steve's been distant these past few days and no matter how many times Eddie asks, Steve's answer doesn't change. I'm fine he says. I'm fine. Just fine. It's fine.

Except nothing feels fine. And Eddie doesn't understand the sharp change. They've got a date planned for tonight. Neither of them has specifically said it out loud, because it's sappy and stupid, but it marks three full months as official boyfriends. So, they've got a date planned, but Eddie's worried how it might end.

Eddie's been floating these last three months, but he suddenly feels grounded. He can't fix whatever happened if Steve won't tell him what it was! And in the absence of actual answers, Eddie's mind has invented his own.

Steve's realized that Eddie's not good enough for him. Steve's realized that he's actually straight, but thanks for the experimentation. Steve's found someone else and is working on how to break up with Eddie without blowing up their friend group in the process.

And Eddie hates himself for thinking these things. For projecting his own insecurities onto a version of Steve that doesn't exist. Eddie's gotten to know Steve.

Or he thought he had.

But now he's pulling away. And the only person he knows he can talk to about dating Steve is Nancy and he can't do that! He can't just go to Nancy's house and ask 'so when you were dating Steve and it was all going down the drain, was he distant or is that just a me thing?'

Fuck. Fuck!

He runs his hands through his hair and regrets it as his curls tangle around the rings on his hands. He should brush his hair, be getting ready, but he's procrastinating that because he can't decide if he's going all out, making himself look his best to see if it'll bring some life back into Steve's eyes when he looks at him, or if he shouldn't try at all and see if Steve even notices he's wearing the same thing he wore yesterday.

And it's bullshit that he's even thinking about testing Steve. Not two months ago he and Robin had argued in that diner about whether he's talk to Steve about these kind of things or not and now he was kind of proving her right. Except not, because he did try to talk! Steve just didn't answer when he questioned, and you can't really build a conversation from nothing.

Fuck! He should have known this would happen. That he would fall in love and Steve wouldn't love him back because that's always been his lot in life.

Oh.

Oh no.

He's been avoiding thinking it because once it's been thought, once it's solidified in his mind, it's true. And now he's thought it!

He's in love with Steve Harrington.

And isn't it just fuckin' peachy that this realization doesn't accompany happy feelings. He's in love and can't even be happy about it because he's so fucking sure his relationship is ending tonight.

[carlyraejepsans]

how are some men capable of writing the most brain frying, cat 5 female blorbo event type characters and then proceed to utterly disrespect them on every narrative level

[nelkcats]

Austen's little boy

When a new ghost is formed within the Infinite Realms, they unconsciously locates themselves near relatives or people who can take good care of them.

Because the ghost babies are very delicate, and depending on their age they can be in serious danger depending on their caretaker, the Realms itself often change the location in which they will appear.

If it's a rare case where the new ghost has their entire family present, they will line up near the member who can take best care of them; if the family was abusive or unable to teach them about their new status correctly, the Realms place them near people they admired during their lifetime, or ghosts who are alone and can teach them.

That's the reason after Jason Todd died and began to form in the Realms, he ended up forming within the haunt of Jane Austen, who saw not only a new ghost, but a new ghost child, one of the most fragile types of ghosts, he was hurt and in tears. This broke her heart.

She didn't reveal her identity at first, saying she was just Jane, and it took Jason a while to trust on her, but in the end he ended up being adopted by the kind woman who loved reading as much as he did. Although he sometimes was curious where he had heard her before.

Sadly, they were both separated when Jason was revived; one day Austen's little boy disappeared from her haunt, and although she wasn't quite sure what had happened, she thought that perhaps he had decided to rest in peace. Something that was quickly refuted when rumors spread about her son returning to the world of the living.

Austen decided to take the risk and went through one of the natural portals, she traveled to "Gotham" and there was her baby, she didn't really care about the Red Hood part, she was more concerned about his safety.

Though it was sad to discover that due to his corrupted ectoplasm his little core had been damaged, and Jason was unable to see her. However, that did not affect her decision and she decided to stay by his side, taking care of him the best she could.

When Danny started flirting with Jason in one of Gotham's bars he was greatly surprised when an angry ghost started berating him about using better flirt lines. And how he should be more romantic than that.

That's how he found out that Jason apparently had a Ghost Parent, which after discovering that the halfa could see her, asked for his help to talk to her son again, and yes, Danny might have to stay in Gotham for a while.

That corrupted ectoplasm case looks serious, and maybe he'll even get a date by the end of the problem.

[anxiousapplepie]

Had an idea about the travelers's fears if you are willing to hear me out about.

All "travelers" have the feeling of "it's over when you reach the end" but for different reasons.

For Sif, he has no home or memories to return to. Hence why Mal Du Pays takes the form of Siffrin in the game over screen.

For Bonnie, their relationship with Nille is in the gutter due to their last words and fear of not having her or anything to return to.

For Isabeua, who travels to find his idenity, and distance himself from his past, the party acts as his "rock" with fear of crumbling once it ends.

For Odile, who travels becuse of her mixed heritage, having a "family" she would do anything to keep safe yet never admit it her fears.

For Mirabelle, who struggles with her innability to "change", having stability and life injected thanks to the party yet anxious for it ending as with it over, she'll go back to her own quest to change with little effort. Just stuck in rot.

Anyways. Hope these ideas help! I've read more than a few other AU as well as the script itself, so these ideas are mainly more of a base. Adding new wrinkles or changing issues enough to make sense is fun. And the idea your SwapAUs all coming together for some ungodly reason to partaking in angst and time loop shenanigans is enjoyable to me.

literally rotated every single one of these ideas in my mind all day yesterday and I was trying to think of any cool or interesting insight to add to this, but honestly you've summed up everything I'm trying to go for and I'm raising my non-existent beer glass at you for all of these nicely packaged vibes You seeing this, people? Now you have!!!

[happyheidi]

𝑤𝑖𝑛𝑡𝑒𝑟 𝑤𝑜𝑛𝑑𝑒𝑟𝑙𝑎𝑛𝑑

[spoiledskullz]

Gonna draw her better later but Dark/anti? Welkin (Renamed Hades)

she exists in the enerjak au

[princessanneftw]

King Charles III and Princess Anne attending the annual Royal British Legion Festival of Remembrance at the Royal Albert Hall in London on 9 November 2024

[pyjamacryptid]

I’m thinking about Gwen and Elyan tonight folks….. they were siblings, finally reunited after years, reconciled, and obviously cared for one another very much and there were hardly any on-screen interactions between them save for episodes where either one of them was in danger of some kind. Sigh.

I also know for a fact their exchanges would’ve been hilarious because it seemed that Elyan was the one person that knew how to annoy Gwen at light-speed LOL

yeselyanprincearthurofcamelot

[onewithblankets]

“what’s ur gender?” idk it was stolen by a blind pickpocket in the deep city streets in the summer of 2012