#baseless headcanons

[deliciouskeys]

Billy Butcher for 1, 3, and 26 with Homelander <3

Character ask meme

1. Canon I outright reject: until the show goes the way of the comic, I’m rejecting the ‘Billy Butcher is a complete piece of shit who would kill all his friends for some ideology’ characterization. And I’d probably still reject it even if Kripke gives us that for shock value.

3. Obscure headcanon: probably not obscure, but he sorely sorely needs someone younger/purer/more naive to rewrite the history with the younger brother whom he failed to protect. Not obscure because that’s explicitly Hughie in the show, but obscure that he might extend that to others. I hate that the show hasn’t fucking extended it to Ryan at least so far, so there’s my obscure hc, oh whoops is this another canon rejection? And yes all my longform butchlander content is effectively ways of activating that dormant part of his brain for his most hated person.

26. What would he do if stuck in an elevator with HL? He tends to be really quiet and listen while HL goes off on some subject or tries to coax him into a dialogue, largely unsuccessfully, so probably that (assuming he’s not on Temp V). I’m sure he’d wonder why HL doesn’t just break out of the elevator and then realize in dismay that HL likes having him as captive audience.

What I’m wondering is why he was taking an elevator with HL in the first place. Is HL showing him his Vought tower apartment and they’re on friendly intimate terms? In that case, I heavily suspect Billy may have sabotaged the elevator himself to avoid going into that apartment, and is just waiting for HL to stop talking and start doing something more NSFW inside the elevator.

[tes-trash-blog]

For those wondering, Azura only took Falmer children. Naturally, the parents didn't realize this until after the deal was made and their kids were taken away to a garden menagerie.

[merry-fagoland]

yeah

[winkle-pickers]

Dear Yugi, don't come to your own birthday party. we've baked an absolute dogshit cake. just completely fucked it up

[lilia-calderus-pet-goat]

The Self-Fulfilled Tragedy of Agathario - Study / Analysis.

Agatha met Rio over the bodies of her original coven. She was scared, at first. “I didn't do it.” She said. Rio simply said, “I saw.” In a soft voice, “your power is beautiful. Don't ever feel guilty about your talent. You survived.”

Death was the only consistent comfort in Agatha's life — “this is the me you fell in love with.” Agatha wasn't scared of it, not for a long time.

Why should Agatha value life, when death loves her so intimately? When only Death understands her sorrow? When Death is the only one who tells her that she wasn't born evil—because Death is the natural order of all things?

They did live together, in that cottage, for a while. Agatha, “took power from the undeserving—” who *she* deemed undeserving, as said in WandaVision—and Rio collected the bodies. They never had to be apart. Death was her satellite, orbiting around her endlessly, holding her hand because no-one else would. (“I hold Death's hand in mine.”)

But Rio cannot be present for long if there is no body to collect. She needs to be everywhere, in every place, all at once. So she'd be gone for long periods of time, back whenever Agatha would kill and stick around to see her. Split across the fabric of reality, always reaping, collecting, guiding the souls to their afterlife. She may not be the only reaper—but she's the personification of Death, not merely a deity who carries the title. She is finality. She is the “end,” the “goal” the “completion.” The “telos” where all roads lead to. She isn't “decay” but a cycle coming to an end. Transformation. New Beginnings. Change. Growth. She is thr Green Witch, as all living beings return to the earth that gave birth to them.

Nicky came from Agatha's love for Rio, just as Billy and Tommy came from Wanda's love for Vision. There was no spell, no need for incantation. Nicky came from Scratch. Life from Death, like the Green Witch's trial. And that, indeed, is why he was a stillborn.

And because Rio merely appears wherever there is death—the moment she appeared during the childbirth, even though no one else was around, no bodies to collect—Agatha knew immediately.

Rio was inevitable—and she could offer only time. She bent the rules for the woman she loved, because she couldn't bear the thought of Agatha hating her.

And suddenly, the form she fell in love with was terrifying. Because she now had something to love other than death. She didn't find it to be a beautiful comfort amidst her darkness anymore, but a cruel reminder of her son's mortality.

And though once she killed and stayed—to keep death close—like the protagonist of an ancient tragedy, seeing beauty and eroticism and peace and quiet and divinity in Rio—she was suddenly met with discomfort and fear and grief. And so she killed and ran—to keep Death busy. To keep Death occupied. To keep Death away. To earn more time, to delay the inevitable. To not see her face again. “Why do we kill witches?” - “To survive.”

The same Death that rescued her from her mother's cruel arms and cradled her in hers was now the very reason she couldn't be a mother herself. The very reason she couldn't see her son grow.

The very Death that once re-assured her that she wasn't born evil was now a cruel reminder that maybe she was. And you know why?

Her mother treated her as evil because her magick 'takes'—and 'gives' nothing. For Agatha, that's what evil means. That's why she insults Rio by telling her she gave nothing—she *took.* “And that's usually your move, right?”

And the real tragedy of Agatha Harkness is that her villainy was self-actualized. A self-fulfilling prophecy. Agatha hates her powers, even more so when looking at her son. Because, “I cannot heal you, (Jen) I cannot protect you from what's coming, (Alice) and I cannot divine (Lilia) when she (Death) will return.”

So she hates her power, because unlike the others, Agatha cannot—by design—give anything to her son. She can only 'take' from others. She can only 'give' to *Death,* and that's why only Death has ever loved her. And that, now, to her, verifies her mother's statement: “you were *born* evil.”

Not like other witches—like Jen—the 'deserving.' “I left you alone, because what you were doing was important.” “It was bind or burn.”

Because she couldn't save her son. She never could have. And to Agatha, that's because she was “born evil.” Because she never was living—she was surviving, with Death's hand in hers. Her power could only drain life, not better it. The very song that Lorna Wu used to protect her daughter was a cruel reminder that Agatha couldn't protect ber son.

Agatha could never see Rio the same. She could never face her like she had before. Because now, Death was her deepest shame. And she was Death's scar.

She left the world thinking that she sacrificed her son because it's better to be feared than pitied. Easier to blame herself and blame Rio than to admit and register that it was inevitable.

She slept that night without killing witches to spare Nicky's feelings—because he wasn't evil, like her, and she'd never let him think it like her mother did to her—and she assumee that Rio would wait. That she wouldn't strike in the night. What Rio saw as mercy, Agatha saw as the cruelest betrayal.

Rio never stopped pursuing her even as Agatha could never face her. And their love was so powerful, so passionate, but it couldn't overshadow the pain and the grief of something so human as losing a child. Though despite the baggage, they never could be too far from each other. Even within Wanda's hex, even when Agatha didn't remember her own name—she remembered her deep feelings for Rio. Her love, her hate, her passion. Even when she didn't remember why

Rio can't understand why Agatha doesn't want her. “No-one in history has had special treatment like you“ - “Why don't you want me?” - “this is the me you fell in love with” - Because as The Green Witch, the personification of Death—she is the natural outcome of all things and cannot conceive the human aversion to death. “Evil? You're calling me evil?” She doesn't **get it.** She doesn't find her nature cruel, just as she doesn't find Agatha as “born evil.” She sees her as she always had—affectionately. She bent the rules of the universe for her sake. And so she doesn't understand the aversion at all. She feels rejection. And all she wants is to have Agatha again, who keeps evading her for something she couldn't help. And she's devastated, because once, Agatha loved her for the very thing she now hated her for.

So Death can't fathom humanity finding her cruel. Because she knows she can be gentle, and kind, and patient. Because she has been, a million times over. Because she's the one thing that everyone has in common, as Lilia's Maestra said. But what she *can* fathom is grief—because she knows love—“because what is grief, if not love persevering?” And so grief is a feeling of longing, beyond Death. More powerful than her.

And the longing never stops, even for death. And so Agatha tries to kiss her on the road after the “she's my scar��� scene. She can't stop herself. Is it because she's desperate to convince herself that Nicky's soul lives on in Billy, meaning perhaps that Rio allowed it to? Is it because, despite knowing it's not her son, she's vulnerable, and thankful that Rio didn't take him too? Is it because she's reminded of the past—and love is beyond death? Beyond fear? Because grief is love persevering?

Regardless—because I could not stop for death, she kindly stopped for me. And Rio doesn't take advantage of the vulnerability. She reminds Agatha of the raw, cruel, heavy truth. “That boy is not your own.” Nothing is better. Nothing is fixed. Agatha isn't kissing Rio here because she's accepted Death, but because she's denying it. And so it's not real. They can only kiss when Agatha finally accepts Death.

So in the finale when Agatha turns to Rio and kisses her, at first Rio doesn't believe it—that she finally wants her again, that she finally accepts her. As if finally letting her grief settle, accepting it as natural, sharing it with Rio.

She forgives Death, but she doesn't necessarily forgive herself. Because she HAS become a villain, because she has used her sweet boy's innocent song to kill, tainting it as to not face Death all these years, when she was stuck in limbo between blaming Rio and Herself.

Now, she only blames herself. She doesn't let it happen again, with Billy. Agatha embraces Death just as Nicky once did, because she wouldn't.

But she's still not ready to pass on. And maybe she never will be. She is a tragic figure with no catharsis, even as she's faced both hubris and nemesis.

And that is the real tragedy of Agatha Harkness, who loved Death above all and feared it all the same.

[nobodysuspectsthebutterfly]

Summerhall by Fran Vegas

created for the 10th anniversary of The World of Ice & Fire

I’ve seen confusion about the “canon” nature of the artwork, despite our initial post indicating that this is a wholly unofficial series of commissions, for a wholly unofficial anniversary celebration. That said, of course, we direct the artists to the books, and in the cases of dragons we felt free to give them the colors that George had indicated to us for The Rise of the Dragon, which we couldn’t find a way to share in all cases. But this piece of art, by the terrific Fran Vegas, is different. The location is one that has been referenced, and glimpsed once in official art (in The World of Ice and Fire in fact): Summerhall. But the scene… well, we admit, that is what some fans call “headcanon”. We just love the idea of the image, and feeling free to see it rendered by a capable artist, we asked for it. —Elio Garcia

[lawlietscaramels]

reading my friends posts and remembering everything I love about how flawed and complex Misa is and has the potential to be if Ohba wasn't a COWARD/hj

like... she searches for basically a replacement for the authority figures in her life after losing hers..

she “loves” Light because he's Kira and the reason for that “love” is because he enacted that revenge that she couldn't. she admires Kira and is grateful to him and because of that she wants to serve him and make him happy like he made her- but she doesn't necessarily love him.

I think people forget that she was orphaned at an age that is 1) quite old enough to understand what's happening 2) not old enough to live without any guidance 3) not old enough to understand the world (the brain doesn't develop until 25 iirc) and a few more things I forgot HAHAJAJHAJAHA. But Misa's at such a fragile stage in her life when she's preparing to cross that threshold from child to adulthood, and she doesn't have the support she needs to do it. Even attaching herself to Light/Kira, who she subconsciously understands as a suitable protector, doesn't provide her that assistance she - everyone - needs at such a pivotal point in their life.

also, another person could easily take Light's place as a - I'm going to say parental but in the sense she needs comfort, protection, guidance - figure. Light doesn't show Misa very much affection at all, so if someone were to provide her with that love, she'd probably attach herself to them too - though I suppose I think Misa is very loyal, so I don't think she'd abandon Light completely, as we see pre timeskip (spent enough time together to form a genuine bond) but after memory loss (doesn't remember he's Kira).

I'm realising I didn't really make all my points for the opening statement. but oh well. Misa's character has so much potential to be interesting and have that internal conflict and it's mostly wasted :(

[sonknuxadow]

sorry i dont really like the shadow is silvers dad theory/headcanon/whatever and part of the reason for it is that people keep presenting it as an actual thing that could be possible even though it makes no sense and all "evidence" people use to back it up is easily disputed

[dongslinger--420]

Stupid baseless headcanon #4: Early in her career, Sarah Lynn writes a song to prove that she's not Sabrina anymore.

It's called "three little whorephans".

[urfavslav]

shinso collects hot wheels. has a collection of motorcycle 'toys', he displays them, thank you very much. lego cars? yep, just got the koenigsegg. hyperfixation :3

also. would drive a motorcycle as a underground hero. like elastgirl lmao. except it's all black with certain parts chrome purple wrap.

[bludpudding]

in my heart this is his way of saying he can’t read

[tes-trash-blog]

Baseless Headcanon: The Gryphon Luminary is Falmeri in origin.

[devondespresso]

love the captivating and beautiful Steve-with-Hellfire to Steve/Jeff pipeline

[sir-arlieosaurus-lung-struggler]

I'm SO JEALOUS of all the ppl w/ the book of bill rn ;> I JUST spent all my money before release at a street fair ;[

I can't wait till my b-day/ christmassssss (I'm being dramatic BUT STILL)

[baselessomgcpheadcanons]

Derek Nurse has a natural, stunning talent for accents and impressions.

[dandelion-wings]

just as the problem with Jean/Lisa only-one-bed is that Jean chivalrously sleeps on the floor, the problem with the trope and Lisa/Jean/Kaeya is that both Jean and Kaeya would try to do it. I solved this for Jean/Lisa by making it also huddling for warmth, but you know in that case Kaeya would insist the girls share the bed and refuse to join them on the logical argument that he'd just make them colder, though actually it's because he believes he doesn't deserve nice things and they'll be happier without him. But I'm lying here on a muggy-as-hell night thinking:

Wangshu Inn, the middle of summer. Humidity off the swamp is brutal. The Tianqian's office mistakenly booked only one room, with one huge bed, and Jean and Kaeya insist Lisa take it... except that as they're starting to settle down, she bemoans how hot it is. Both of them of course attempt to provide relief with their Visions, but she insists it's not enough. Kaeya will simply have to share the bed with her. And of course, they can't leave Jean out. He has no choice. The girls need air-conditioning and he will just have to cuddle with them to provide it. :> Regardless of what emotional or sexual revelations this brings.

(When Jean arrives at her formal meeting with the Tianqian the next day, Ningguang smiles pleasantly and inquires about whether the lodgings she booked for them were satisfactory...? and Jean goes bright red.)