#eddies thoughts in this scene

[thetangycheesemanwithaplan]

911 + Text Posts pt226/?

[fiona-fififi]

The moment that will haunt me forever is Eddie standing in the back of Buck's hospital room, exhausted and overwhelmed to the point that he physically cannot answer Christopher's questions. That moment when Christopher asks about the tubes and he just shakes his head in frustration because he just can't. He can barely stand to look at Buck, he certainly can't bring himself to explain all of the machines that are Buck's only lifeline because he can hardly bring himself to face that reality at all.

This poor man is so drained—from staying close at the hospital, from arguing with a stubborn kid who's not supposed to be there, but who deserves to be, from trying to take care of the rest of the team, from trying to pretend he's not falling apart.

This man. This beautiful, loving man—who would do anything at all for his son, who is exceptional at communicating when it comes to Christopher—he couldn't bring himself to do more than shake his head in frustration when his son asked this question.

The amount of pain and fear that implies in Eddie is utterly heartbreaking.

[girldadbuckley]

S04E05: Buck Begins // S04E14: Survivors

[psychotic-nonsense]

In October of 1967, Steve Harrington is born in Hawkins, Indiana.

He's raised there, forced to live under the strict expectations of his parents, Richard and Samantha. Barely escapes their clutches, freedom fueled by the kids and adults that take the role of guardian and family when the time is right. Keeps himself in check with the always impending apocalypses that arise beneath his feet.

In June of 1985 - when Steve Harrington is 18, while Richard and Samantha Harrington are visiting New York for an extended work trip - Veronica Harrington is born.

She was carried and raised in secret from their hometown. They take care of her between their business hours, dropping her in the hands of nannies and babysitters galore. They don't even think of Indiana during Veronica's early childhood, too focused on work and making sure their daughter starts up right.

In October of 1986 - when Steve Harrington is 19, aged further by ending the Vecna War, yet tamed by his newfound love in Eddie Munson - Richard and Samantha Harrington return to Hawkins.

They don't ask about what happened to their son. They don't ask about the town. They don't ask questions, just give responses to them. Sneering at Steve's friends, complaining about the state of the house, commenting at the disfunctional chaos their home has become.

In November of 1986, Richard and Samantha Harrington disown Steve.

They just let him go. They at least give him a folder of his legal documents, but otherwise just tell him to get out of their house and never use their name again. Claiming Steve doesn't need anything from the room because the Harrington's own everything in it. They don't call him son, they don't say goodbye, they don't acknowledge who's actually taken care of the house, they don't admit most of Steve's former room has changed with money Steve earned himself, they don't dare to give him any money or care where he goes. They just say they're sick of dealing with an unworthy mistake of a child, and force him out of their house.

In November of 1986, the Party's adults adopt Steve.

He runs to them first after everything happens. Held himself together at the start, but broke down the second the words were out. While everyone was trying to comfort Steve, Wayne Munson and Jim Hopper were the first to succeed. They know firsthand that this family would never be the same as blood, no matter how much that blood has boiled and burned before, but the love will be stronger and it will be here. When everyone seconds it, Steve finally accepts it. He becomes a child of the Party - he's everyone's son and everyone's brother, taking whatever surname he sees fit.

In November of 1986, Steve Henderson and Eddie Munson leave Hawkins.

Despite all this good, Steve can't bear to stay in this damned town a second longer, where everyone knows who he is and will soon know everything he isn't. And it's not like Eddie was looking forward to sticking around Hawkins either, especially without his Steve. The kids are the first to agree, surprisingly, and the adults promise to find a way for the boys to get out. Later that week, when Richard and Samantha leave the house to prepare for Veronica, Steve and Eddie break in to take everything that's rightfully theirs. While they're there, not sure what prompts him, Steve makes a bag of his clothes with shoes and his wallet tucked within it, shoving it into his closet. Dustin's mom uses an old favor to get the boys an apartment in Chicago, the Party has one last farewell, and the two boys are gone.

From 1986 onward, Veronica Harrington is raised in Hawkins, Indiana.

Richard and Samantha are adamant in their daughter coming out exactly how she should. They steadily convince the town to forget the Harringtons ever had a son and lock the room on the second floor next to the stairs without ever touching the inside. They raise her with formality and pride at the top of their expectations, wanting at least one child to come out right.

But Veronica is the spitting image of Steve's honesty and care. She puts on a facade when needed, but even at a young age, she wants nothing more than to be someone's light in the darkness. She plays with every lonely kid at school, and tries to make people laugh at the business parties she's dragged to. It's not received well by her parents, but Veronica is much too strong willed and stubborn to let it phase her.

In April of 1991 - when she's 6 and they're so much stronger around their hearts - Veronica Harrington meets Steve and Eddie Munson for the first time.

It's the year Erica is set to graduate high school. Steve and Eddie have been making the drive for every holiday this year, ordered determined to give her the best senior year she could have. It's Easter Sunday, and Wayne somehow managed to drag his boys away to church - a Munson custom, as even Eddie insisted they go.

While at the snack table post sermon, a little girl comes up to Steve, mistaking him for her father. He and Eddie gently comfort the girl, introducing themselves and offering to help the girl find her parents. That's when Veronica introduces herself, striking Steve deep in his heart. Still, he keeps quiet, even gifting her a little origami crane made from napkins at the table. He calls her "chickpea" for the color of her dress, tells her to keep the crane secret and safe, "If ever you need to find your way back home, you hold that close, and it'll tell you."

Meanwhile, Wayne has come across Richard and Samantha in the crowd opposite the kids. Exchanging formalities, Wayne mentions his son and nephew are in town, news the Harrington's are surprised at, as Wayne didn't seem like the father type. However, trying to keep face, they remain civil and insist on introducing their daughter.

Cue Veronica running to her parents with Steve and Eddie in tow. Cue Steve calling Wayne dad right to Richard's face. Cue the Harrington's immediate leave from the church, Veronica waving behind her with a crane placed carefully in her pocket.

From then on, Veronica Harrington's life changes indefinitely.

Her parents' expectations grow tenfold. She finds out she's horribly allergic to chickpeas. All of her friends must be approved by her parents, and any that don't fit their image are ordered to leave her.

Veronica takes these changes in stride - is her class's top student, captain of the softball and volleyball teams in junior high, keeps the friends she wants in secret from her parents - but she can't help but keep the crane in a little box in her room. Gets a necklace with a little origami crane pendant, holds it whenever she needs to make a hard choice. Can't help but expand herself in secret, learn things her parents would never approve of - lock picking, other languages, sleight of hand, a clothing style that's nothing like the dark blues of her family, all warmth and light. She explores every room in her house, yet is unable to find her way into that room upstairs next to the steps.

In May of 1998, Veronica Harrington discovers the truth about her brother.

She's about to be a freshman. Her class was touring the high school in preparation, and while passing the athletics hall, her eyes hit the swimming trophies. Each row stuffed with trophies, and each one with a name that stabbed her right in the stomach: Steve Harrington.

After that, she couldn't bear all the secrecy anymore. Late that same night, she finally uses her lock picking skills to break into that room. And though it's devoid of life, it is a bedroom, so evidently lived in. It's frozen in time, twisted sheets covered in dust, old papers crinkled from being stepped on but not picked up, old clean clothes still sitting in the hamper. It's a boy's room, clearly, and Veronica is careful walking around this place of memories.

She does still explore, quietly clicking on lights around the room, too cautious to touch the overhead lights. She looks under the bed, finding a bat and a trash can lid, both embedded with rusty nails. A shirt that still smells like fresh laundry yet has a back stained permanently with long red lines down the shoulders. Dozens of stapled documents labeled NON-DISCLOSURE AGREEMENT, detailing horrific events that each have that same name signed at the bottom.

With shaking hands she checks the closet, and finds it mostly empty. All except for a deep green graduation robe and cap, a cream Hawkins High letterman, and a duffel bag hidden in the back corner. The cap has a 1985 tassel, and the letterman has Harrington branded on the back with basketball and swimming patches galore. And the bag, when she checks it, looks like a survivalist pack someone would make in an apocalypse. At the top sits a wallet, and inside is an ID for a Steve Harrington, who has the same face as the one in her origami memories.

And Veronica is done. She wakes up the next morning and throws Steve's jacket on the kitchen table, startling both her parents mid sip of coffee. She finds herself in a screaming match with her father, demanding them to quit lying to her, begging to know who her brother is.

In a fit of rage, Richard tells her. Tells her everything Richard and Samantha never saw in Steve, about Veronica's secret birth, the disownment, Steve's disappearance from the Harrington house and Hawkins. She's reminded of that one Easter Sunday, and is told how Richard and Samantha faked Veronica's allergy to keep her mind from being tainted by whatever curse befell their bloodline before. Orders her to never say that name again.

In a fit of rage, Veronica bites back. Calls her parents cruel and overly expectant. Comes clean about her secret freedom. Says she'd rather be nothing than ever carry the burden of the Harrington name ever again.

She hides away in her room after the fight. Cries in her closet with her origami box cradled tightly to her chest, begging it to take her home because this place isn't anymore, maybe never was. Cries for the brother she never even got to meet, who went through so many horrible things yet still got put through this same punishment. Cries for the future she won't get to have, losing her hope for a new beginning that will now never be.

At the start of June, 1998, Veronica runs away.

She makes it through the rest of May in near silence. She writes notes for all of her friends at the end of the school year, and one for her parents to inevitably find. Finds 75 dollars in Steve's old wallet, stuffs the duffel bag the rest of the way with her belongings, and says goodbye to Hawkins.

She takes the first bus she can find out of town. Doesn't care that it's going to Chicago, doesn't really care where she's going now. She befriends an old homeless man riding the bus as well, becomes another interesting name in his "Book of Wanders (Pronounced as Wonders)." As Veronica's telling the story about unknowingly meeting her brother, she remembers the crane in her bag. She reaches in to retrieve the little box, then the crane, nearly crying seeing how disheveled and unfolded it is. Broken and doomed, just like her. But looking at it now after so long, she thinks she sees something written inside it. Despite it shattering her heart pieces, she carefully unfolds the little crane.

At its center, in old, bleeding blue text, reads, "Find the Swooping Bat if you've lost your way."

The old man laughs then, taking Veronica's hand and placing it onto her chest, over her heart. "It's fate," he whispers in the dark bus. "There's a place called that in Chicago."

Veronica uses her money to rent them both a hotel for the night, giving the old man a warm bath for the first time in weeks. She gifts him the clothes as well, saying it's, "an honorary thanks from my brother, for helping me get here." They bid each other farewell in the morning, the old man telling her to keep hold of fate.

She finds her way to the Swooping Bat easily, hand on her necklace guiding her way. It's a quaint little diner, popular enough to be comfortably warm when she walks in. A young lady in a wheelchair - Max, says her nametag, with pins saying things like, "Summer work blows" and "USC grad or bust!" resting on her collar - guides her to a booth next to the sunrise.

"Anything I can get you today?" Max asks when Veronica's seated.

Veronica's fully ready to order everything on the menu, what with how delicious this place smells, but then she remembers her funds. 5 bucks, if she's lucky. "Just a chocolate milk, for now. Biggest one you have, please." She somehow plays off Max's skeptical look, her eyes sweeping over Veronica's no doubt disheveled and no-food-in-36-hours appearance.

It somehow works out, and Max is wheeling away. Veronica allows herself a moment to collapse, stomach growling in pain and eyes burning with the realization she has no idea what she's going to do now. She just has this last bit of hope to hold onto, and without it, she'll be nothing but a husk.

She's not sure how long she sits there, staring at the sunrise and letting sound and AC whisk her mind away, but there's suddenly a little knock on her table. Her head snaps up, and there's Max again, setting down a giant glass of chocolate milk... alongside a loaded breakfast plate.

"It's on the house," Max rushes to explain, all fondness when Veronica scrambles to get her wallet. "Courtesy of the owner. And between you and me," she whispers with a wink, "just take the damn food, kid."

Veronica stumbles over herself for a moment, rendered near speechless, before she finally comes back. She begs Max to thank the owner profusely, before rushing to dig into the pancakes before her. She's halfway done dousing the stack in syrup by the time Max wheels away, when there's suddenly someone laughing.

"Of course," says a choked-up voice behind her. "Can't have any chickpeas starving in my booths."

Veronica nearly drops her fork. She turns so sharply she gets dizzy. Seven years can't change a person that much, surely, because though he's bigger in the torso and he has glasses on the bridge of his nose and his hair is cut so close, he still has the same softness in his voice and the same slouch in his stance and the same moles around his eyes and his smile is so bright despite the tears in his eyes, and though Veronica can barely see through tears herself, it's not like she needs them anyway to know it's-

"Steve!" she cries, scrambling out of the booth to meet her brother halfway. The relief of it all working out has the rest of her restraint collapsing, forcing harsh sobs out of her and into Steve's shoulder. The siblings hold each other in the middle of a restaurant, a voice in the background asking everyone to leave them be. Steve doesn't stop whispering, even as his chest heaves with broken gasps between tears, "You're save, Veronica, I got you, I got you, it's gonna be okay, you're safe here, it's okay, sis, it's okay..."

"That you, lil' chickpea?" whispers a different voice once they've calmed down. Veronica reluctantly pulls away and finds a man kneeling beside them, a hand on Steve's shoulder and similar tears in his eyes. His hair and tattoos remind her of the tamed wild from seven years ago, covered in black in the middle of church yet glowing brighter than the stained glass, the one that Steve looks at in past and present with a glowing love Veronica never saw between her parents.

"Yeah," she whispers, wiping her tears away before placing a hand atop her necklace. It catches Eddie and Steve's eyes and make them beam with pride and relief. "Yeah, it's... it's me...."

[qprstobin]

The fact people act like Steve wouldn't notice if a guy/Eddie was flirting with him at all, when part of the hilarity behind the big boy flirtation scene is that Steve CLEARLY knows something about the comment is off lol. That's why he looks so baffled. Steve can be oblivious about other things but come on Casanova over there is going to notice when someone is flirting with him even if it is a guy

[starthecozy]

kinktober prompt day 7: cuddling

After an intense session of Hellfire and a movie night with the older ones, all of them are staying at Steve's living room (even Steve himself. He likes when the house is full)

[watchyourbuck]

okay so just watched the new ep, here’s my 911 s7 ep 1 thoughts:

nearly broke down watching Shannon read the letter to Chris. “I love you, even from a distance.” I’m unwell.

the bucktalia breakup explanation was funny, but what was funnier and gayer was Eddie’s reaction to it sjdjdj

there’s absolutely no chemistry between Marisol and Eddie.

the whole Bathena marital struggles™️ arc doesn’t convince me too much tbh (although I understand Athena’s thought process & concerns).

Chris putting the Shannon frame back up and Eddie’s heart visibly repairing in front of us will forever haunt me btw

“never seen a man turn off a woman with such skills.” “it’s a gift.” fuck off u homosexual

during that same scene, Buck staring longingly and lovingly at Eddie will also forever haunt me

Buck saying the sexual tension line and Eddie almost passing out is very in character

I genuinely felt bad for Bobby during the whole episode

Madney dating and then not dating makes me fuzzy inside, they’re so obviously in love

shirtless Eddie and drooling Buck <3

Eddie eavesdropping on Buck & Chris and scrunching his face in pain made me stop the ep, sit down on the floor and scream

[poughkeepsies]

I'm just saying, if I was a writer on a tv show and I was trying to get my character to jump off his hamster wheel and move forward narratively maybe one thing I could do would be to possibly call back to a really important moment for him seasons ago when a gay old man was fridged to teach him a lesson that love can't be found, it has to be made, and then maybe I'd have him reexamine some of his relationships and see which ones are superficial ones that he's only giving weight to because they felt serendipitous, such as someone whose job is to make sense of death coming into his life right after he's died very traumatically, and which ones are ones he may be overlooking because they took a long time to build slowly, such as the ones that make it second nature for him to seek out and receive comfort even when there are no answers, when all you can do is realize that something sucks and there's no bigger design other than to move forward and keep living and open your eyes every morning a little less surprised to see the world still there

[mischiefbuckley]

Eddie whenever Buck has a clipboard

[trashm0utheds]

if Richie loves getting Eddie's attention then Eddie certainly loves getting Richie's as well.

because why did he need to remove Richie's glasses and hit his face playfully with his foot on the hammock when Richie was listening to Stan about being older and still being friends?

and Richie sighing and acting annoyed when in reality, he's like, "Oh hey, sorry, my love, was just listening to Stan."

it's because Eddie LOVES being the center of Richie's attention.

the end :)

[hawkinsbnbg]

Eddie: Your argument is invalid.

Steve: Babe, back me up.

Robin: So here's my input in Steve's point–

Eddie: Wait, that's not how it works–

[matchingbatbites]

Everyone loves rockstar!Eddie and groupie!Steve, and I think a good inverse of that would be actor!Steve and personal assistant!Eddie who are suspiciously close, but no one really questions it.

Eddie doesn't mind playing the part if it means getting to jet around the world with his beautiful boyfriend for filming and promo tours, and along the way he learns he's surprisingly good at the job.

When people ask Steve why he brings his personal assistant to red carpets and premieres, he just shrugs. "It's part of his contract."

[thetangycheesemanwithaplan]

911 + Text Posts pt270/?

[watchyourbuck]

k just off the top of my head: moments of 911 s7 ep5 that are giving me an aneurysm

they cut off Eddie’s “BUCK!”

we never saw Marisol and Eddie sit down

cringed physically at the whole “we’re gonna get chicks” moment wtf wtf was that

got genuinely terrified at the little girl screaming to sleeping henren

Tommy is so real bc I would’ve left too tbh

Eddie was deeply oversexualized for no reason and it makes me severely uncomfortable that’s not him

Marisol can suckkkkk it lol

where the fuck is Chris & what does he have to say about this woman moving in??

the Maddie coming out felt weird

bucktommy nation screams

Bobby is hilarious

did Buddie fuck at the bachelor party

[gayofthefae]

Thinking about "there is something very wrong about this thing between you and El" and Mike thinking this is the conversation. This is the accusation. His performance is off. He's getting a note. He's caught. He's being told "you're overdoing it, kid, real straight people don't act like that".

And that fearful, rapid nodding when Hopper says if he listens he'll let him stay with El.

It doesn't have to be because of how desperately he wants to keep making out with El. It can be about how when someone says "there is something wrong with you and I noticed it because of how you act around your girlfriend. Now prove to me you want to be her", you prove it like your life depends on it. Because this is Hawkins, it might.

He was panicked. He was frantic. He called him crazy. He tried to leave the car. Then he tried to convince him he wanted to be with El enough to do whatever he said. In acting we call that, "tactics". You switch tactics when you fail at your objective. In this case, his objective seems to be "to convince". Hopper is his obstacle. He's failing rapidly. Usually tactics may be switched a few times a scene, but he's so scared and desperate that the moment something doesn't work he drops it and switches. "You're wrong" didn't work. Leaving didn't work. Maybe "I'll do whatever you say to keep dating your daughter, which I want to do" will work. Yes. The best way to lie is to fake an objective. Convince him your objective is to stay romantic with El, that that's what you're desperate for. It's working. He thinks you're a stupid kid, but he thinks you're a straight stupid kid. It's working.