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blindmagdalena · 7 months ago

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Guilty Pleasures ( chapter four )

18+ 5.2k homelander x plus size f!reader. office romance, stalking, voyeurism, office sex, cunnilingus, cream pie, breast play, flight sex, lite overstim, riding. nebulously takes place post s1. part 4/4. AO3 link. | Chapter Directory

Homelander takes what's his, and you get what's yours.

welcome to the final chapter! thanks so much for reading. i really enjoyed the dynamic between these two, and i hope you do, too. 🖤

Homelander doesn’t hold it against you that you take him up on his suggestion to be absent the following day. He leaves a little peace offering in your office to say as much: a mug for your collection that reads simply, You’ve Been Mugged. He adjusts it seven times on your desk before he finally leaves it alone, surveying your office a while before letting himself out.

The thugs he lasered down in the alley don’t garner much attention, but it’s enough to warrant a statement on the truth of what happened. With them dead, the truth becomes whatever he makes of it, and his truth is that two vagabonds were assaulting a cherished Vought employee before he put a stop to it.

It’s precisely the kind of hero story the public loves.

“I acted on instinct,” he tells the newscaster. He relives the moment as he tells it, recalls only to himself how fierce you had been. How determined you were that if you were going to die, you would die fighting. “They were going to hurt her. I like to believe any good citizen in my position would have done the same.”

Madelyn taught him that conviction without contrition would always read as arrogance, so he speaks firmly but with a furrow to his brow, and he closes his eyes when he inclines his head to accept praise. No matter how dead she is, her voice remains an echo in his mind: follow the script, and you’ll be fine.

They use his words to segue into a discussion of gun control, and Homelander’s mind drifts somewhere distant, hearing without listening to the petty squabbles of humans crying about their little toys and laws. He supposes this is how God feels when humans pray to Him over every minor inconvenience. Bored and painfully above it.

While it’s easy enough to keep himself distracted during business hours, Homelander’s life comes to an abrupt halt alongside the end of the working day. Like the equipment that broadcasts him, there’s little use for him once the cast and crew goes home. All around him the employees commiserate at the end of their work day and pass around invitations to the bar.

He receives none.

Not that he would accept them if he did.

Seeking both council and companionship, Homelander finds himself in Noir’s apartment, seated in the chair Noir keeps for him. It’s the only one the hero owns, what with his interior design being deeply steeped in westernized ninja nonsense. The place is half dojo, half living quarters.

He laments his situation to Noir, explaining his patience in courting you, the lengths he’s gone to endear himself to you on a personal level, and the bitter sting of your rejection.

“See her,” Noir writes in his sketchpad, sitting on the floor on the other side of the low table. “If glad to see her, good. If not–”

Homelander snorts at the series of knife sketches that follow. He has no doubt Noir would put an end to anyone for any reason Homelander gave. Simplicity has allowed Noir an unwavering loyalty to Vought, and as an extension, Homelander himself. Luckily for you, he has no interest in that happening. “I don’t know what I’d do without you, Noir,” he muses, clapping his hands on his thighs before he stands up. “You’re right. I’ll go see her. Thanks, buddy.”

Noir offers two thumbs up. A true uproar of approval.

Under the cover of darkness, Homelander returns to your house, the flight path a familiar one now. He lands silently on your roof this time, cocking his head. He’s not confident he’ll be able to resist your siren pull if he approaches now. He folds his hands behind his back and peers through each layer between him and your bedroom, stopping when he can see you.

You’re nestled deep in the splay of your blankets, lips parted around shallow breaths. He bites his own bottom lip, remembering how badly he’d wanted to feel them. Taste them. He’s certain now that if he allowed himself to be close enough, he would. Denial, for as much as it stung in that moment, has only made him hungrier for you. Fuck, the way he’s craved you from the moment you first brushed him aside.

He watches you shift in your sleep and his eyes narrow, honing in on a familiar flash. His stomach flips–it’s his cape, the fabric pinned between your blanket and your body. You really are sleeping with it, the star spangled blue fabric tucked up under your chin. Do you smell him on it? Homelander groans softly. Like your underwear in his bedside drawer, you sleep with a trophy of your own.

“Fuck,” he says, aching. His heart, his mind, his cock–all of it at once a cacophony of vicious yearning and impatience. The urge to peel the roof like a sardine can and carve his way straight to you nearly knocks the wind out of him, has him preemptively reaching for the shingled surface.

Only the lingering wound to his ego gives him pause. He’s been bitten once, leaving him shy to instigate, but this revelation feels like progress. You’re aching for him as much as he is for you. He’s sure of that now. It’s time that he made you feel that ache. Feel his absence. Then you’ll realize the foolishness of your coy game.

Clenching his jaw defiantly, Homelander lifts up into the sky.

He’ll be benevolent when you come to your senses.

The next day, Homelander keeps himself scarce, preoccupied. Ashley is perkier than usual, thrilled–if not suspicious–with his easy participation in whatever inane business she brings to him. It helps distract him from the endless feeling of waiting that he’s enduring.

He sticks stubbornly to his schedule, fantasizing about the torment his avoidance has surely wrought. He’s tempted a time or two to break, but each time he remembers the mortified Oh! you uttered before he kissed you, he refocuses himself.

You’ll come.

Not before lunch, but that is the perfect opportunity for it. He makes himself more available then, tapping his fingers against the armrest of his chair.

No sign of you.

He gives you the benefit of the doubt. A meal to embolden you.

Then you’ll come.

He waits.

Lunch long since over.

He waits.

The day is winding down.

He’s fucking tired of waiting.

Where the hell are you? He’s given you the entirety of the day to seek him out, ample opportunity to come thank him for his gift, to address the aching thing ruminating between you. You’d be a fucking liar to say you don’t feel it, too. By midday, he’s seething with impatience and hurt. There’s no chance he’s going to let you stand him up.

It’s precisely the wrong time for Ashley to rear her head back up. “Okay! That’s that, now regarding the amnesty for–”

“Ashley!” He snaps, a harsh and throaty sound. “Would you shut the fuck up?”

She stops in her tracks, staring wide-eyed. Of course it was too good to be true.

Homelander all but leaps to his feet, pushing out of his chair so hard that it flips backwards and into the wall in a heavy clatter. She clutches her vPad to her chest and quickly back steps out of his way, watching in frightened bewilderment as he storms from the room, making a beeline towards your office.

He doesn’t bother knocking this time. Still, his restraint is undeniable when he pushes your door open. He barely catches himself from pushing the damn thing clean off the hinges.

Your head snaps up from your computer, eyes wide. He hears your heart jump and he savors the alarm that shoots through you. Payback for the awful misery you forced him to endure in the hours since he last saw you. Still, the sight of you disarms him. For all his seething anger, there is something small in him that retreats it when your eyes are on him.

There’s a heaviness to your gaze that his strength can do nothing to alleviate. No incredible feat of his can wrench away what it is he wants from you. What he needs. It’s something you have to give him willingly, and that alone is enough to temper his rage. The familiar fear that you won’t.

He marches to the front of your desk and levels an accusatory finger on you.

“You like me,” he hisses, bending to brace his opposite hand on your desk.

You blink owlishly, lips parted. That clearly wasn’t what you expected him to say. He’s not sure it’s what he meant to say. “Homelander–”

“No,” he says, voice pitched low, a warning. “No, no. No games, no workarounds. You like me. You do. And I like you. So,” he abandons his point to make a vague encompassing gesture, but he doesn’t know what to say next. He didn’t think this far ahead. All day he had practiced the calm benevolence he would show when you approached him, chastised and yearning. He has nothing to back up this frenzied play for.

You stand. Homelander rises to his full height with you, jutting his chin out. He watches you with all the wariness of a wounded predator as you circle around your desk, your hand gliding along the wood like you would flank a horse so as not to spook it.

He can’t determine the intent behind your gaze. He angles his body towards you, facing you head on. You look like yourself again, in your element and free from the fawn fear of the alley. He can’t entirely decide which way he prefers you. When you were in his arms, he was your hero. In your office, his position feels more precarious.

The silence stretches on for hours–or seconds, it’s impossible to say–before he can no longer stand it. Sucking in a breath, he–

You kiss him.

Homelander goes shock still, hyper aware of your lips pressed feather light to his, your breasts against his chest, your hand on his forearm. He doesn’t know when he closed his eyes, but he senses when you begin to pull away.

In a flash he cups your face in his hands and pulls you in deep, inhaling sharply, like he’s only just remembered how to breathe. He kisses you, kisses you, kisses you as if he can trap you in the cycle of it. You don’t resist, you don’t tense. Instead, you sigh an angel’s breath against his lips. Only then does he break to look at you.

“I don’t understand,” he says, bewildered, flushed.

“I do like you,” you say, eyes glassy.

His brows pinch. “But… That night–”

“Wasn’t right,” you interrupt. “I wanted to kiss you, but not like that. Not then. Not because you saved me, not because I was in shock, not because of…” you rock your head side to side. “Whatever other bullshit… You let me down that night.”

“Let you down?” Homelander echoes, taken aback. “By saving your life?” He asks, his temper a perpetual simmer ready to flare. He’s immediately tempered by your hands taking his wrists, squeezing. You hold his gaze and your expression is gentle, but there is a firmness in your stare that he finds intoxicating. Not an ounce of fear, even when his anger emerges.

Good. You shouldn’t be afraid of him. He saved you.

“I was shaken. Badly. My date was an entitled asshole, those men, they tried to…” You shake your head, holding his hands to your face. “I didn’t need you to be a man. I needed you to be a hero. I wasn’t ready.”

A light in Homelander’s eyes flicks on. You just weren’t ready. He’d been right after all. He fixates on that, choosing to forgive you for that, at least.

“Well, why didn’t… You could have said something,” he says, feeling like a deflated hot air balloon, all slack expansion and heat with no purpose.

“I would have,” you say, your cheeks soft and round in his hands, lips slightly puckered from his hold on your face. “But you ran away.”

“What? I–” He laughs incredulously. “I did not run away.”

“Flew away,” you say, pushing in to kiss him again. He screws his eyes shut. Fuck, fuck. Oh fuck. He’s been dreaming of this, aching for it. To feel you against him, wanting him as much as he wants you. “Pretty fast, too. Looked like you shot straight up to the moon,” you say, breath hot and sweet on his lips.

“I…” He swallows, hands slipping down to either side of your neck, thumbs tilting your chin up. “I’m sorry. I wanted you,” he says, trailing his parted lips along your jaw, kissing and breathing you in the way he’s craved to. He can feel your skin growing hot against his lips, hear the uptick of your pulse as your heart begins to race.

“Do you still want me?” You ask, voice lower now. It sends a delicious hot pang all the way through him.

“You have no fucking idea,” he murmurs, nipping at the lobe of your ear, desperate to test the give of you under his teeth, the feel of your soft and yielding flesh branded into his memory the moment his lips touched your skin.

A knock snaps his attention away from you, but it isn’t at the door. He looks down and sees that it’s you knocking on your desk. “So take me,” you say, voice laced with heat. His lips split into a wicked grin. He snatches the edge of your heavy wooden desk and effortlessly tips it backwards until everything slides off of it, clattering to the floor. He lifts you up, relishing your delighted little yelp, and places you down on the cleared surface like a doll, stepping in between your legs.

He kisses you again. Let me in, demands the press of his tongue. You yield to him, but it’s far from a surrender. Your tongue meets his eagerly, tasting him as much as he does you. Tasting you. That’s what he wants. He wants to map every inch of you with his tongue.

Homelander slips his hand between your legs, pushing your skirt up out of the way. He presses his fingers to the heat between your thighs, rubbing through the thin fabric of your panties. You sigh that same seraphic sound against his lips, slipping your hands up into his hair, already taking a handful of it to tug gently.

He breaks the kiss and takes his fingers from you after the barest tease of pleasure. The impatient sound you make goes straight to his cock, as does your flustered expression. He brings his fingers to his lips and drags his tongue over the leather of them, sliding them past his lips to give a quick suck. It’s not enough, too slight a hint of you. He needs more. You watch him with rapt attention, giving his hair a demanding little tug.

“You can pull as hard as you like,” he tells you with a smile, tilting his head against the grasp you have on his hair. “Tells me I’m doing a good job.”

“I’ll tell you when you’re doing a good job,” you rasp, giving his hair a sharp pull and then a downward push. That sends a shiver down his spine.

Fuck yes.

Homelander sinks down onto his knees, lifting each of your legs up over his shoulders. You give a little gasp when he yanks your ass to the edge of the desk, giddy with the way he manhandles you. He swallows, mouth dry, thirsty for the wet, heady smell of your pussy. He maneuvers his head under your skirt until he’s close enough to drag his tongue up the soft cotton of your panties. Your breath hitches and your grip in his hair tightens while you egg him on with sharp little rolls of your hips.

He closes his eyes, giving a rumbling moan for the taste of you, even through the fabric. He laps until the fabric is soaked, clinging to your skin, and he can feel your clit swollen and stiff on his tongue through your panties. He closes his mouth over it, sucking you through your underwear while you writhe above him, keeping yourself quiet.

That won’t do.

He wants to hear you.

He wants the whole fucking Tower to hear you.

Hooking the crotch of your panties with his finger, it only takes one sharp little tug to tear them, exposing you to him.

“Homelander,” you moan. The sound of it lances a spear of heat through him, leaves his cock throbbing needily in the rigid confines of his cup. He groans into you, rocking his hips against the empty air. The only proper answer is to dive in, to close his lips around your clit and finally suck the rich nectar of your cunt without the filter of fabric between you. You taste even better than you smell, like salt and sex and sweet ripe fruit. It overwhelms his senses immediately, his eyelids flickering.

The more he laps at you, the silkier your pussy becomes. Between circling your clit, he drives his tongue deep into you, drinking you down noisily and messily, a parched man gulping from an oasis. Your thick thighs are tight on either side of his head, your pulse pounding in his ears. He moans low and wicked for the taste and feel of you.

Your grip on his hair tightens sporadically, sharp little tugs that match the staccato cadence of your breaths. “F-fuck, your tongue feels-feels fucking unreal,” you moan, grinding down against it. The strength of it, the slight thrum of restrained power that courses through him, and the sheer relentlessness of his stamina is driving you wild against his mouth. “Fingers, use your fingers,” you tell him. He loves the rawness of your voice, the authority and desperation in your demand.

Removing one of his gloves, he moves his bare hand to the sweltering wetness of you, teasing his finger just below where his tongue is rubbing your clit. His index finger slips easily into the slick mess, and he savors the quiver of your velvet walls around it. He lets you ride his finger, stays all but still while you greedily bounce your hips, both hands fisted in his hair. You use him for your pleasure, and it makes him delirious with want.

Homelander's gaze flickers up. He peers through the layer of your skirt to catch a look at you, to watch you while you cannot watch him. You’re losing track of yourself, lips parted, eyes glazed with pleasure, shivering with each flick of his tongue and dive of his finger. Euphoria looks good on you.

Christ, he has been patient. He would chastise himself for waiting so long to touch you, to taste you, to feel you, but he can’t bring himself to. The wait gifted him with this exquisite hunger, and he proved something important; you both yearn for the other. You crave him. He can see it in your hazy eyes, taste it in the spill of your sweet cunt.

You belong to him. He needs only to take you.

One finger becomes two, and then three. Your heels dig into his shoulders and fuck yourself down on them, moaning recklessly now, not caring who hears you. It’s music to his ears.

“Fuck, Homelander, I-I’m coming, I’m-don’t stop, don’t stop,” you beg prettily. You don’t need to, but he enjoys the song anyway. He laps at your clit in quick upward pulls of his tongue, lips creating a seal around it. His brows furrow tightly, his own neglected arousal pounding through his body like a wardrum, but he doesn’t touch himself, too focused on you.

Your whole body locks up tight when you come, breath caught in your lungs, your clit fluttering delicately. He presses his tongue to it, savoring the taste of your euphoria, how it floods your system and changes the flavor of you. Your pleasure grows his hunger into something monstrous, something demanding, but there is satiation at least in bringing you this, in showing you all the things he will be for you.

You’ll never want for anyone–or anything– else ever again.

Homelander doesn’t stop. You begged him not to. He finger-fucks you through the aftershocks, lapping up every drop of your pleasure, stroking you inside and out while your cunt squeezes his fingers. He doesn’t stop until he feels you pushing him away, your sweet songbird moans sounding more like whimpers, oversensitized. He withdraws his fingers, giving one last noisy slurp before emerging from beneath your skirt. His face is shiny and wet with your slick, his pupils blown black. He's panting, looking every bit like a beast lifting its bloodied head from the belly of its kill.

Crawling up your body, still predator hungry, he rests his knee on the desk between your legs. He cups either side of your face, fingertips digging possessively into the back of your neck. He meets your eyes, pinning you with the intensity of his gaze, wordlessly drilling into your mind that this moment, this feeling, this tingling warmth in your body is him.

I did this to you, his expression reads. You’re on my lips, he says by pressing them to yours, kissing your own taste into your mouth, his body throbbing, desperate for an ounce of that same relief. You’re mine.

To his amazement, your eyes mirror his own savage hunger. You kiss him hard, shamelessly licking into his mouth, huffing shallow breaths from your nose. “Lie down,” you tell him, voice as sweet and coarse as raw sugar. “I’m going to ride you.”

Homelander doesn’t need to be told twice. Exhilarated, he rolls over, flipping you with him and steadying you above him in a fluid motion. The desk isn’t as long as he is tall, but it doesn’t matter. He’s already half suspended in the air with his own excitement, helping you with overly eager hands that fumble alongside yours with his belt, which falls to the ground with a distinct thud. He gives a little jump at the voracity you rip his zipper down with, grinning.

Together, you shuck his pants down to his thighs. You grip him through his red briefs, a fractured moan falling from his lips.

“Cute underwear,” you coo. His cheeks flush to almost the same shade. You flatten your palm over his cock and he bites back a whimper, teeth sinking into his tongue. You give a light squeeze, fingers curling around his cock through the fabric, and he lets out a rough breath. “You feel close,” you tell him, stroking him in a loose fist, your hand warm, the fabric soft.

He nods fervently, the friction and your voice already teetering him towards the edge. He makes a sound of both anguish and relief when you release him, his eyes snapping up to meet yours. You tug his underwear down, his cock bouncing free, engorged and dripping precome.

“Don’t move,” you tell him, bracing one hand on his chest and sliding forward, your other hand moving between your bodies to steady his cock against the rapturously hot press of your soaked cunt. His hands fly to your hips, fingertips biting into the softness of your body. You allow him that, focused entirely on the act of taking him into you. The fat head of his cock it slips inside, evoking a sweet little gasp from you, and Homelander fights not to slam in the rest of the way.

Both of your hands fall to his chest, your eyes meeting his. He holds your gaze, mouth twitching around silent sharp breaths. He watches you sink slowly down the length of him, engulfing him in such sublime rapture it’s a wonder he doesn’t come right then and there for the feel of you alone. His grip on your hips flexes and he gives a sharp little thrust up, forgetting himself to the divine feel of your pussy.

“I said don’t move,” you remind him breathlessly. God, you’re beautiful like this. The fluorescent light behind your head haloes you, giving you the look of a debauched angel he plucked from the heavens to have and keep as his own. He expects you to move, to bounce yourself on his cock like you did his mouth and his fingers. He wants to watch your tits bounce, see your face clearly when you come on his cock, but the only part of you that moves is your hand.

His gaze drops and quickly darkens, watching intently as you stroke your clit. The initial contact alone makes you jerk, makes your pussy spasm and squeeze him so good he almost chokes on it. Your only response is to sigh, tipping your head back and spreading your legs a little wider, taking him deeper. He wants so badly to fuck you, to slam you down and rail you until your desk cracks in half.

“Mmmm, fuck,” you moan, rubbing yourself in circles, the lewd noise of it loud and irresistible to his ears. “Fuck, fuck–ah, god,” you start to pant, head falling forward, brows tightly pinched. You’re so sensitive after the assault of his mouth, the flavor of you still fresh on his tongue. The faster your fingers move, the closer he feels you get, the clench around his cock steadily tightening. He wants to thrash, but you keep him pinned in place with your look of expectation and pleasure. You’re getting off on him as much as you are your own fingers, on the swell and throb of his cock inside you, on the sheer power you hold over a god.

You’re loud when you come, nails clawing into the chest of his suit. Homelander’s eyes roll back, lips parted on a soundless cry of his own. The spasming heat of your release is too much and he loses himself to it, eyes flaring up with crimson light as he comes with you, every shudder of your climax stroking and milking him of his own, flooding you with his own wet mess.

His restraint breaks with the dam and he sits up abruptly, startling a noise from you, which he swallows with a hard kiss, cupping the back of your head. He holds you still and he fucks you, lifting from the desk entirely so that he alone supports your weight, driving you deeper onto his cock. Your legs tighten on either side of him, shaking.

Out of his mind with pleasure, he tears your blouse open with his teeth, diving in close to lick, suck and bite at your chest. He buries his face between your breasts, holding you tightly as he fucks you both through your respective orgasms, the slap of flesh against flesh echoing obscenely in your office.

Hitching your legs properly around his waist, he bounces you on his cock until the pleasure borders on pain and a secondary shock rolls through him like another orgasm, stealing his breath. Only then does he finally slow, mouthing languidly at your chest until he sucks your nipple into his mouth. He moans against you, grinding to an eventual halt. You comb your fingers through his hair and goosebumps erupt across his body, which shivers in the euphoric aftermath.

He loses track of how long he stays suspended like that, lost to the overwhelm of sensation. Your legs go slack while his angles slightly upward, his face pressed to your chest, your head resting atop his. He nuzzles at you, bleary eyed and slack with pleasure. He kisses a trail up to your clavicle, your throat, your jaw, smiling in the loose, easy way that only a good fuck can never make him.

“Wow,” he says after a while, voice thoroughly frayed.

You giggle, groggily lifting your head. He adjusts until you can relax against his chest, fold your forearms across it and settling your chin atop them, admiring him. He touches your face with his ungloved hand, stroking your cheek with his thumb, then the curve of your bottom lip. His smile widens when you kiss the pad of his thumb.

“Wow indeed,” you say, swinging your legs lightly. “Can’t say I’ve ever been fucked mid-air.”

“One of the many benefits of dating me,” he purrs, caressing your cheek with his knuckles. He kisses you again, drifting slowly back down, unhurried.

Your brows lift lazily. “Who says we’re dating?” You ask, but your smile keeps his hackles from rising.

“Me,” he says, eyes crinkled at the corners. He lands gently on the desk, helping you to it. “You and I are officially going steady.”

You give a thoughtful hum, carefully untangling your limbs from his. You slide off of the desk while he puts himself back together, your knees trembling faintly. “Fairly sure asking someone out requires a question mark. You know. The asking part. You didn’t even buy me dinner.” You attempt to button up your shirt, but it’s obviously a lost cause.

He exhales a quiet laugh, pulling you back into his arms. “Well, I certainly ate.”

“God,” you laugh, rolling your eyes, but they don’t stray from him for long. There’s a sparkle to your gaze that he wants to capture in his palm and never set loose.

“Will you go out with me?” He asks, lips brushing yours.

“Mmmmmmmm….” You hum once more, drawing it out, feigning a great deliberation. “There’s something you should know first.”

He quirks a brow. “What’s that?”

“My guilty pleasure,” you say, nose bumping his.

Intrigued, he inclines his head to prompt you to continue. Can’t be worse than mine.

“Superheroes,” you say conspiratorially. “Can’t get enough of them. Loved them my whole life. Especially this one in particular…”

He breaks into a frayed, charmed laugh. “Let me guess, name starts with an H?”

You suck in a breath through your teeth, lips curved downward in a mock grimace, and nod subtly. “ Total fangirl. Embarrassing, right?”

Homelander shakes his head. “I wouldn’t know. I’ve never felt guilty about pleasure. Where’s the harm in it?”

The harm inflicted on those thugs couldn’t count. They had it coming.

“Harm to my pride, my ego, my reputation,” you list, tapping his suit to punctuate each one. “I made a pretty big fuss about not liking you. I had myself convinced that my Homelander only existed in my fantasies, and you were just the guy who plays him.”

My Homelander. The words stir an unexpectedly sentimental surge of emotion that wells up from somewhere deep in his chest. He clears his throat lightly. “What’s the verdict now?”

You sweep him with an appraising gaze. “Still deliberating.”

He clicks his tongue, nodding. “I don’t suppose I could arrange a meeting with the jury?”

“They’re available for dinner tomorrow,” you say, the tilt of your lips sly.

“It’s a date,” he murmurs, brushing the tip of his nose against yours. You kiss him, pressing your smile to his. He doubts he’ll ever tire of the softness of your lips, or the easy way you melt against him. He wraps his arms around you, content to let this moment pass only because he knows there will be more to come. He’s determined to make every one of them better than the last.

All of the pleasure, none of the guilt.

#homelander x reader #homelander x you #homelander fanfiction #my writing #x reader #yandere x reader

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omartinyosef · 8 months ago

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ST5 POTENTIAL SPOILERS!!!

GUYS I FOUND THIS ON REDDIT AND ACTUALLY IT'S QUITE INTERESTING

ST5 Leaks/Fleaks

Gen Plot

Season picks up briefly where we left off in 1986 before jumping into either late 1987 or early 1988. The season is contained entirely in apocalyptic Hawkins. Things with the government are shaky. Owens doesn't appear in the beginning of the season and it's unclear if he's returning, but Ellen Stinson is the new Owens. Hawkins is like a combination of the UD and Kamchatka.

Labyrinths/Mazes being important to both the supernatural plot and the interpersonal relationships. They're inherently linked.

Two songs to be featured are 'Listen to Your Heart' and 'Alone,' both of which were apparently foreshadowed in a previous conversation between Hopper and Joyce, similar to how Hopper's "I'm the puppet, you're the master" to Joyce in S3 basically foreshadowed Eddie's 'Master of Puppets' in S4.

S1 and 2 scenes being referenced are "Nancy and Mike's conversation in the bathtub" and "Hopper + Lando Calrissian"

Lots of importance in COLOR CODING and blocking from the final shot of S4, and a good chunk is told in the costuming—like passing the torch from one character to another as their arcs overlap. For example, Hopper and Will share the "am I the curse and therefore putting my loved ones at risk by being near them?" sentiment for S5, therefore their wardrobe in the final shot of S4 is similar. Joyce/Jonathan and Nancy/Mike's costuming also similar for the same reason, whereas Eleven stands out because she's the first one coming into her own this season. The white for her represents shedding of false skins.

Character duos this season will be primarily dressed in colors of blue/green and yellow/red.

There's lots of symbolism and foreshadowing for every character in S5 from the moment Will touches his neck in the last sequence of S4.

S4 focused on themes of lies and miscommunication, and everyone is going to have to work through these lies before they can defeat Vecna.

Murray and Argyle are both back. Dimitri and Yuri don't seem to be in the beginning of the season.

One thing left unresolved with the Russian plot. Something important will happen involving the machine and the green liquid from the Starcourt bunker. Reference of Dustin vowing to die with Steve when they initially discovered it.

Hopper, Joyce, Mike, Will, and El had to be away from Hawkins, otherwise Vecna wouldn't have won.

An important death that they're nervous about given the reception to Eddie (not Joyce or Jonathan—see details below).

Eleven

We'll see her unlike we've seen her before. A badass who doesn't take shit from anyone. Not a Monster, not a Hero, Jane. Think: adult El could be headed for a Charles Xavier type role.

Erica, Lucas, and El will share scenes together.

El has significant blocking and development with many characters this season.

Max, Eleven & Max

The "kaleidoscope of colors" from a script the writers posted makes a feature in both the scene where young El remembers her mother's love in order to defeat Henry in the lab, as well as the scene where El revives Max. This is significant because it's the first time we see El using her powers on someone in a non-violent way.

El was able to revive Max because of she, herself, being revived in the bunker by Brenner and Co. It's a show, don't tell moment from the writers.

Max getting Vecna'd was foreshadowed in the beginning of 2x01.

Will, Henry/Vecna, The UD

Filming was supposed to commence mid-June, but Noah and Jamie were set to begin in May due to more complicated costuming. Will is going to require heavy prosthetics at some point.

Will's character design is blocked in three stages. The more the UD bleeds into Hawkins, the more connected to it he feels. The gates being open will physically influence him, especially when he's not as mentally strong.

He's kind of like "the card up Vecna's sleeve."

It appears they want to confuse the audience about Will.

Will wrestling with his own morality

Henry/Will mirrors. Will will sympathize with Henry because, unlike El, he knows how and what Henry thinks, and he can feel him.

Vecna and Will are very similar, but the difference is Will is made stronger by love not hate. They will play into that duality.

Vecna was nerfed in S4 compared to how we see him in S5. He'll be much stronger.

At the beginning, he'll be taking a hiatus while he plans how to divide and conquer now that everyone's back together in Hawkins.

Soteria will be the key to saving Will. If they want Will to be untraceable to Henry, they'll have to insert it into his neck and it'll be painful. Vecna not having access to Will fucks up his ability to leave the UD.

Byler/Mileven Triangle

Apparently, it's complicated and up in the air as of now.

Mike dealing with guilt this season. He feels guilty/responsibility for El. He feels stuck in a loop that keeps him from a truth he's scared to face.

Will and Mike to spend a good chunk of the season together based on character designs and blocking.

Will telling El that Mike won't like being lied to comes back with the painting. During a pre-time jump scene in 5x01, while everyone's together plotting how to defeat Vecna and brainstorming how to save Max, Mike brings up the painting El commissioned for a D&D analogy. Will has to pull Mike aside and confess he lied about El commissioning the painting. Mike gets angry, because he doesn't know about Will's feelings and feels embarrassed that Will thought he was that pathetic he needed to be given a pep talk. Their own version of a "fight you can't come back from." Immediately after their fight, we get the time skip.

Mike's character motivations are unclear and seem to be kept under wraps. After the time jump, he and El won't be talking as much because he's keeping the details about Will's painting from her. She's gonna ask what's wrong between him and Will, and he lies/is very vague.

Joyce, Hopper, Jopper

Joyce feels immense guilt/responsible over Bob's death since she's the one that asked him to help in S2, which is why she pushed Hopper away at first.

Hopper has a secret from S1 that was never addressed, and it comes back to haunt him.

Joyce sustains an injury in S5 that is reminiscent of the way someone was injured in S3, but it isn't critical and she'll be okay.

Jopper are the most established couple after the time jump. Lots of bickering still, but Hopper trusts Joyce more than he ever has.

Jonathan, Nancy, Jancy

So far, does not seem like a breakup is happening.

Jonathan's still lying about the college letter and distant because of it, and Nancy thinks he's not as into the relationship and that there might be someone else. She confronts him, which leads to a talk. She's touched by the lengths he would go to try and protect her and any of their future children even from himself.

A moment where we're led to believe Jonathan dies but doesn't, like Hopper in S3.

Hopper-Byers Family

These five characters slowly unraveling their arcs together and have always been closely linked. Their perfect endings are together.

We see the family combining, especially in relation to El.

Joyce gets to witness Hopper being paternal and tender towards the boys.

Scenes with Joyce, Jonathan, and Will

Hopper being back lifts a weight off Jonathan's shoulders.

------------------------------------------------------------------------------

So, now time to shine.

''(...) sentiment for S5, therefore their wardrobe in the final shot of S4 is similar. Joyce/Jonathan and Nancy/Mike's costuming also similar for the same reason, (...)''

Okay. How did we see Nancy in S4? Confused. Confused with the love triangle between Jonathan, her and Steve. Jonathan is her actual boyfriend. And Steve is her posible love interest again.

So, putting this in byler language: Nancy = Mike Jonathan = Eleven Will = Steve

If Mike's and Nancy's character's clothing is important at this point of the time line and that means they feel similar feelings, this could mean that byler has a chance. BUT then we read this: ''(...) He (Mike) feels stuck in a loop that keeps him from a truth he's scared to face.'' And

''Mike's character motivations are unclear and seem to be kept under wraps.''

THIS LITERALLY MEANS BYLER. FOR REAL. Like byler could be endgame. Also, remember Eleven's injury in S3? Do you remember the leak of a shoe covered in blood?

It's Joyce. ALSO YOU CAN READ THAT WE'LL HAVE SCENES BEFORE THE TIME JUMP. And here it comes. Look at this freaking hair:

Does this look more like this

or this?

The season 4 bowl cut right? So maybe this is right in some part? I dont know. But that could make sense why Will is wearing Mike's pants, because his clothes were in California by that moment. But i really do think that the pic that was leaked a few days ago is before the time jump.

Im so late with this info haha :) but i kinda think some things here make sense. Even if this is too well explained to be a leak.

#stranger things s5 #st5 spoilers #stranger things 5 #st5 #stranger things #st5 speculation #st5 leaks #st5 production #will byers #stranger things season 5 #will byers is gay #byler tumblr #william byers #byler is endgame #byler endgame #byler nation #byler #mike wheeler is gay

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sherbertquake56 · 10 days ago

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okay I’m dropping some of my fable arcane au thoughts before the new episodes drop tomorrow even tho most of it is based on season 1 anyway—

so some basic taggings for you that I based the AU around:

1. Icarus as Jinx.

powder vs jinx is just the sherbert vs icarus name thing. toxic father. unhealthy relationship with sibling. a lil crazy and maybe evil. thinks that they are at fault for the things around them. lil bombs? nah- little SPLASH potions. hearing and seeing mylo and claggor? it’s Haley- it’s literally Haley—

2. Fable as Silco.

okay fable’s design WAS partially inspired by silco— they literally look the same— they’re both a man with two priorities: take over and make his own nation & care for child.

you know the ending scene of season 1? where they’re sitting at the table? THAT. With Jinx assuming that he’s gonna give her up to topside and him getting the first chance to talk and saying “her name is JINX!” i could write an essay on that for icarus. they’re so toxic and it’s so perfect. also that scene at the start of s2 ep2? YEAH THAT—

3. Centross as Ekko

This one is controversial and up to debate but i will die on this hill— SO THE S1 BRIDGE FIGHT. I am so willing to put aside any possible prison duo gay-ness in this AU for that rivalry/fight. they were friends!!! they were so good!! and now they wanna KILL EACH OTHER!! it’s great.

It’s also specifically thinking of Ekko’s tree home as solstice— older Ekko very much has the vibe of Violet specifically-

4. Arisanna as Sevika

I DONT KNOW WHY BUT IT MAKES SENSE TO ME. It’s specifically vexed Ari during the coworkers era but idk it just feels right— I look at her relationship with Silco and Jinx and go ‘hmmm this could be something’

[I will also say there is an argument here for swapping Centross and Ari tho— big tree city as Ari rebuilding the records goes hard, and angsty fighty toxic with jinx centross is also good— it’s like 50/50 for me]

5. Isla as Vander

LET ISLA BE A BADASS IN THIS AU. SHE DESERVES IT— something something raising vi and powder alone, something something the backstory with silco— there’s something there and it hits really hard in scenes where vi sees vander and helps her get back up— also I look at jinx and vander and I go “mmmm this is in fact how icarus sees Isla”

6. Rae as Vi

This was obvious given the above but LISTEN— in this ALTERNATE UNIVERSE OF EVENTS I think it would be fun- do I think that vi perfectly fits canon rae? no. But in this world it would KICK ASS. rae deserves to beat some people up— got kicked out of the overworld (zaun) by fable (silco) and had to go to the end (piltover) to get away from him?? rae end prince aus are already here so why not end rae also punching people huh??? also. gay people.

———

Okay— here’s where I need some help, thoughts, and opinions from you all…

1. Caitlyn.

POLYAMORY IS HARD TO TAG AND I DONT KNOW WHO FITS BEST?? For me, season 1 Caitlyn fits best as Caspian, but season 2 Caitlyn is more for Fenris— so I’m very stuck. yes absolutely give thoughts on this please—

2. Viktor as Aax (but how does that work)

Viktor absolutely should be Aax— mr. Scientist / lab experiment / turned religious figure vessel for god is CORRECT. But honestly the rest of Piltover gang is really hard with Rae as Vi— Jayce/Viktor/Mel is yelling at me to be the polycule but aGH— ya know??? very stuck on this so I instead look at the coworkers and go “mm good yes—”

Random other tags I think also make sense:

- Ulysses as that Telchin looking mf Stev— mans took out one lil medical device as his fish self and I said YUP

- The hexcore big orb thing underground as Quixis— big white glitch orb room make things go wack. couldn’t be easier than that.

———

Anyways that’s all— I’ve been rotating this in my mind for like a week and have had way too many thoughts about it thank you for your time—

#this was so long and I’m not even mad #it goes hard #season 1 specifically works so well #fable smp #arcane #fablesmp arcane au #icarus morningstar

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xothemedia · 1 month ago

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How To Die Alone 1x4 | “Burn Bridges”

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violettathepiratequeen · 29 days ago

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How could the Shanshu Prophecy NOT have been about Spike in Chosen?

The Prophecy states that a vampire with a soul would play a pivotal role in the apocalypse, and would be rewarded with becoming human when that happened. This was introduced in S1 of AtS, where it was also explicitely stated that the vampire in question isn't named, just that it's one with a soul. And since Angel was unique in that way, naturally it's assumed that he's the one they're referring to (but then why not name him if he was the only one it could apply to hmmm?) Wolfram and Hart took the extra step of research to learn that it was unclear whether the vampire would play a pivotal role on the side of good, or the side of evil, so they tried their darndest to get Angel on the side of evil through all five seasons.

But, hello? Angel has had a soul for a hundred and something years. And he's been through an apocalypse or two, first with Buffy, then on his own show. What's he been doing all this time? Which apocalypse are we talking about here? Lindsey claims the apocalypse has been going on all around them in Season 5, but the Buffyverse has always had clearly marked events signalling the end of the world that had to be prevented. The world being a mess is NOT an apocalypse in and of itself.

And then another vampire gets himself a soul, that could only have been forseen in prophecy, because he decided on his own to go and fight for it. After getting said soul, the First Evil immediately latched onto Spike and started grooming him, manipulating him, and brainwashing him into killing people. Random bystanders at first, probably testing to see if it could work on Buffy and her friends.

So Spike could very well have been on the side of evil in S7, if he didn't work so hard to resist the First's influence, if he didn't ask Buffy to help him, if he didn't break through his trigger. Or hell, even if he'd left town.

And then Angel is handed a mystical amulet and some info meant to help with whatever is going on in Sunnydale. He hands it over to Buffy and offers to be the champion in question, but she says no, and chooses Spike instead.

I'm not gonna get into the whole Spuffy side of this, haha, but S7 was about Buffy choosing Spike, every single time, in every aspect of her life, in love, and in battle. And this universe did originate with her, so she ought to be the one to determine this, within the confines of the show, anyway.

Spike takes it willingly, they both know he's probably going to die, Buffy does try to get him out of there when she sees he IS dying, and he stays, giving his life so that she and everyone else can live. His soul powers the amulet, his love sets their hands aflame, and his heroic act bathes him in sunlight before he's destroyed.

In the battle against THE FIRST EVIL. If I was gonna pick which apocalypse the Shanshu was talking about, I would choose one that had a villain called THAT. Plus it's Spike's first apocalypse with a soul, so that would also make sense that it's the one the Prophecy is referring to. No resting on his laurels for THIS vampire.

Except, instead, he dies and shows up on Angel's show disoriented and alone and without Buffy and with a complete 180 personality, battling with Angel on who the Prophecy is about, and you'll notice the show never does answer that question. Because Spike objectively makes the most sense. But it's not like they could make Angel play second fiddle ON HIS OWN SHOW.

No, what they should have done, is let the finale of Buffy cross over with Angel properly. Not just a cameo, but bring the whole Angel crew in, so that anyone watching the show would be forced to watch that specific episode of Buffy just to keep up with the story.

And Spike should have Shanshued. And Angel would have been disappointed, sure, but hey, he's BEEN human before. And he didn't like it. He even got a ring that made him impervious to harm. And he didn't like it. He loved Cordy more deeply (and more recently) than he ever loved Buffy. So it's not like he's really waiting for her anymore. Plus Cordy is part demon now, so Angel doesn't have to worry about not being enough for her. (Oh yeah, they should have brought Cordy out of her coma for this ending, to make any kind of cohesive sense).

But Spike... Spike was always more human to begin with. He may not have ever thought becoming human was on his bucket list, but he didn't think that about a soul either, until the time came where he needed it. He would LOVE to take Buffy out in the sun, and grow old with her, and give her the family and white picket fence that she's always secretly wanted and didn't think she could ever have. He would have still died, the same way soulless Spike died the minute he got a soul, but without all the heartbreak the canon ending gave us.

I'm partial to the stories where the Shanshu means some vamp powers like extra strength and healing remain, but those are just semantics.

As a cherry on top it would prove to anyone who's ever called it into question, and I include Buffy and Spike themselves on this list, that it's not that Buffy wants normal, nor is it that she wants a demon. She loves Spike for who he is, demon or not, human or not, but the soul and humanity would have helped him be the best version of himself, a man worthy of loving her and living with her, and after all the battles they've fought in their relationship to get here, it feels like it would have been kind of a sign that someone out there gives their blessing on this pairing. And Buffy could have said she loved him and chosen him AGAIN, in front of everyone, including Angel, and that would have been our endgame ending. (Though... to be honest if the comics still happened after this and Spuffy broke up at any point I would have been betrayed in a whole different way.)

And that's how BtVS could have ended. Angel could have gone on to have another season more or less the same, without any Spike or Buffy or Shanshu to speak of. And it could have ended EXACTLY the same.

The writing was literally so perfect and set it up for Spike so beautifully and unexpectedly. It wouldn't have even had to be a slap in the face for Angel because a. neither show was afraid of disrespecting a character at any point, and b. if it had been done on Buffy's show, it would have been less of a blow and made more sense, that Angel went back to BtVS to watch this unfold, where he wasn't the main character anyway. The Prophecy introduced on his show was really intended to be in service to hers, as any spinoff show ought to be.

Plus the episode title Chosen is such a beautiful one that has so many double and triple and quadruple meanings that one more would have been awesome.

So yeah. Those are my thoughts on the Shanshu this fine evening. Obviously many, many Spuffy fics (including my own) have given it to Spike or Angel or neither, all with their own reasons. And of course there's lots and lots of opinions on whether we would even want that for Spike, or if Spike and Buffy would want it.

But I think it just needed to be spelled out that from a writing standpoint, this would have made the most sense, and why.

#spike #buffy #btvs #buffy the vampire slayer #angel #angel the series #ats #spuffy #shanshu prophecy #buffy slays #spuffy meta #buffy meta #angel meta #my meta

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theotherpacman · 2 months ago

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got s1 is really a very faithful adaptation of agot, with only minor divergences. sometimes I really love the little details in the book that the show doesn't have room for, but sometimes I like the decisions the show made differently.

things I appreciate about the book:

the fact that jon is 14 makes his naivete regarding the wall hit so much harder. he's just a little boy and he's willing to sign his whole life away bc he believes he can be a part of something noble... neither his father nor his uncle nor anyone else tells him that to take the black is a grim sentence steeped in shame

ned hearing that bran's direwolf saved his life and being like "holy shit I killed one of them... what the fuck did I do"

sandor just whole ass traumadumping on 11-year-old sansa completely unprompted and then when he realizes he's just made himself vulnerable for literally no reason he goes "if you tell anyone about this I'll fucking kill you"

mormont thinks jon will be disappointed that bran is now a cripple but jon is so ecstatic bran's alive that he picks up tyrion lannister and spins him around (tyrion is startled by this) and then proceeds to cheerfully make friends with a guy who hates his guts bc jon kicked his absolute ass in training

tyrion and bronn starting to become friends on the way to the vale <3

THAT SINGER BITCH i love him

"whatever you may believe of me, lady stark, I promise you this -- I never bet against my family" screaming crying throwing up

jon going to maester aemon and convincing him to let sam take his vows!!!! using the metaphor of the maester's chain to make his point about how just bc sam is different that doesn't mean he's useless!!!!!!!

TYRION FIGHTING IN THE BATTLE AGAINST ROBB'S MEN!!!!! THE SHOW DID HIM SO FUCKING DIRTY i get that they didn't have as big a budget back then but come on man ToT

"when the sun rises in the west and sets in the east. when the seas go dry and the mountains blow in the wind like leaves. when your womb quickens again, and you bear a living child. then he will return, and not before." LET THE BARRENNESS BE PART OF THE CURSE why did they cut that

when tywin says "because you are my son" tyrion fucking Hates him for that bc he knows that if jaime were he tywin wouldn't spare him a second glance, he's only Tywin's Son now that jaime is prisoner and might die at the hands of the starks

things I appreciate about the show:

arya shooting a bullseye from behind bran. queen

jaime being a dick to everyone all the time for no reason. just going around starting shit. also that scene outside robert's bedroom where he talks to jory. jaime in general

ROS!!!!! MY GIRL ROS MY ABSOLUTE QUEEN ROS

"she's our guest." "she's our prisoner." "do you find the two to be mutually exclusive in your experience, my lord?" lmaooooo get his ass maester luwin

"sometimes possession,,,,, is an abstract concept"

THE DRINKING GAME!!!! first of all it gives us more insight into shae as a person who is so different from tyrion's established worldviews, secondly tyrion is always going around saying offensive shit and he thinks nothing of it bc a) people say offensive shit to him all the time and that's one of the ways he deals with it and b) he's usually right BUT when he makes all those assumptions about shae he's totally wrong and she stands up for herself, but my favorite part of that scene is that tyrion is hesitant to share this traumatic story from his past but he's just made bronn and shae confront their traumas so now he has to share too. and I think that's beautiful

all of varys and petyr's bitchy conversations when they're alone in the throne room

this only covers the first book/season I might make more of these as I keep reading

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inthebitterwatchesofthenight · 2 months ago

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Five and Lila (nonromantic) subway headcanons

Like everyone I really hated the Five x Lila storyline and the butchered potential of their almost-sibling relationship development.

But one thing that really ticked me, and that I haven't really read about yet, is: that timeskip montage looks like 3 weeks, maybe 2 months at best, not SIX FUCKING YEARS. In six years, people visibly age, especially under duress, if, for example, the only thing they can eat is rats?? (I'm not even talking about how they managed to keep roughly the same clothes and haircuts for six years without any explanation, or how they miraculously cleaned up before going back to Diego and Lila's precisely at the right point in time...) In six years alone with another person, you would probably struggle keeping your sanity, and the end result for each of them would probably look something like early stages of Apocalypse S1 Five. In six years alone with another person, even with prior attraction (which would already be ooc for both of them but whatever let's just grant them that for the sake of the argument), you would end up HATING each other all the way through your codependent relationship. I could see them having sex after six months (still following those creepy-ass ooc assumptions), but I could certainly NOT see them kissing softly and romantically wine-dining after SIX YEARS (the time those goddamn showrunners told us it took for passion to die down in a perfect marriage?? How about helltrap subway then??)

So after that really long preamble, here are my headcanons for what that subway section should really have looked like:

No Five x Lila, obviously

They bicker all the time; this escalates into outright fights. At some point, Lila storms off somewhere and they lose each other for five months.

When they realise they're not going home anytime soon, Five finds a timeline with a Dolores (other than the original one) and steals her away, because he's going to need her to cope through this. (Of course, he needs to apologize to her for being gone this long.)

At first, Lila thinks that Five is nuts for talking to Dolores, but in a matter of days she understands the urge and Dolores becomes her best friend. Five and Lila fight over Dolores's approval all. the. time.

Lila collects little trinkets to bring home to Grace and the twins (like the plushies in New Grumpson). After two years the gift bag has got way too big and Five helps her sort out the ones she really wants to keep; she bawls her eyes out and they arrange the throwaway gifts neatly on a bench, just in case they can come back and get them.

They find some really weird and fun timelines. Don't care what, they just do. Lila almost gets killed trying to bring home a souvenir.

Five and Lila find Max's Delicatessen together. By the way, there's a few Lilas there, ones that also met Fives. Lila can vent about her relationship trouble Diego with another Lila who has also married a Diego. But the other Diego is dead, and Lila realizes just how much she wants to get home before that happens.

This is a bit irrelevant, but that Five deli paradox psychosis plothole is explained by a random artefact created by Commission Five (like in his room in S3 I think?).

Five and Lila wait a short while in the deli to make a plan about the apocalypse. Another Five arrives, finds out about the marigold, and says out loud that the solution would be to erase all Hargreeves siblings from existence. A few seconds of silence, and then all the other Fives slaughter him because what kind of Five would to this to their family???? This is also one of the purposes of the deli, by the way. To make sure no Five comes out of the subway with delirious, dangerous ideas about harming their siblings.

Five and Lila realise that if Viktor can take away the marigold from people like Harlan, then he can take it away from his siblings. And what about Viktor himself? Well, Lila can mimic his powers and they can take away each other's marigold at the same time, and lose their powers just as they're done. Darn, why didn't they think of this sooner?

Lila tries to relook Five. After four or five years, he gives in, sees the end result and immediately finds a timeline with a suit to steal so as to fix this freakish mistake. He wears a hat for a while to try and hide his undercut hair.

Lila sings a lot. Five lets her, and just mumbles about her lousy tastes in music to Dolores.

Lila adopts a monstrous pet (three-headed cat? Giant bee?) for a few stops, and it mysteriously disappears at some point. Major fight ensues. Maybe this is why she leaves for a while.

In another timeline, they briefly meet a version of Diego that's not dead yet. He tries to kill them, Lila tells him that he's a great dad, he's weirded out and runs away.

Five picks up littered newspaper to see if there's anything interesting. He becomes a crossword addict. He moves to a new special interest puzzle game every few months.

After a fight, Five's big making-up strategy is to sit down next to Lila and start talking shit about the Handler. It kinda works.

I'm gonna stop here, this is already way too long. Please share your own headcanons if you have any!

#the umbrella academy #umbrella acedmy #tua s4 #tua #tua spoilers #tua five #number five #five hargreeves #lila pitts #brisket five #tua4 #we were robbed

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tabithatwo · 2 years ago

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are we ready to talk about shauna's barely hidden but somehow very ignored psychosis and how it, like a ton of her other qualities, is brushed aside by both those around her and the audience? like, i think its clear that a central focus of the show is the way lottie is the only one who got stuck in a facility (and natalie in and out of rehab being the next closest to reckoning with her shit) when the rest of them are very clearly not okay. as a certified Crazy Girl, i've been weary of how they'll handle lottie's story line (blurring psychosis and the supernatural is a very delicate and tricky thing and thus far i've been sort of just waiting to see where it goes). our data on and understanding of mental health is incredibly limited for a lot of reasons (but that's a rant for another time) but there is a large mainstream misconception of when hallucinations and delusions can happen. psychosis isn't just something that happens in schizophrenia and its very complex, so if you want to learn more there's plenty of info out there i'm not going to get into it here, but it happens in a lot of other cases. psychosis is, most simply put, a loss of contact with external reality. ptsd can cause psychosis, especially auditory and visual hallucinations.

so shauna is shown to have these experiences and i didn't realize that they were being so heavily overlooked by a large amount of people until the reaction to the scene where she beats lottie nearly to death. shauna is introduced in s1 as having hallucinations of jackie 25 years later. she is shown to disassociate. in 207, she both holds the baby's body and believes the delusion that they ate the baby. the episode shows her fighting the delusion until she can't anymore. meanwhile, adult shauna tells lottie she keeps callie at arms length out of "fear that she would die...i guess? or maybe that she was never even...real to begin with." then she adds "i think something is broken, lottie." implied: she's broken. something is wrong with her. this is the is the most honest about her mental state we've ever seen shauna be.

why? because lottie has always been and likely will always be perceived as crazier. lottie is the one they pin it on, lottie is the cult leader both then and now, lottie is the scapegoat, lottie is the one who got sent to switzerland. i think there's something to be said for the effect lottie has on people (again, a whole other post) but honestly, that alone is enough. shauna is feeling vulnerable for a lot of reasons and she can tell lottie that she thinks she's crazy, that she's never quite sure her daughter exists, that she's constantly afraid she'll die to the degree that she doesn't let herself interact with her in a real, tangible way, because it's always safer to tell the crazy girl you're crazy, too.

and lottie knows. shauna knows that. lottie clocked her psychosis almost immediately, when she was in the meat shed for all hours. the other girls were shocked by the makeup, and their shock was so fucking strange to me when i watched it, but now on reflecting i'm realizing maybe its the lottie effect. like, have i done the shit shauna has? abso-fucking-lutely not lol. but does my mind work in a way where i immediately would assume shauna was doing something along the lines of the shit she was doing out there, because to me its like...what else would it be? yeah. like sees like, in a way. lottie knows what this looks like at baseline, even if its coming out way different in shauna. even if in shauna it looks like aggression and violence a lot of the time. lottie gets it.

jeff doesn't get it, he thinks strawberry lube is too wild. taissa gets it to a degree, and we see shauna be the second most open with her, but tai suppresses and hides it a degree that she wouldn't dare step foot in a therapist's office (this is yet another thing that makes me crazy but is a whole other post lol). shauna's main goal in this life she's created is pretending to be normal. and she's like, impressively bad at it. but people let her, because what else are they going to do? addressing the clear issues is taboo, because we categorize people so heavily. she masks better than lottie, but it's fucking wafer thin. you see this when she interacts with people who aren't her family or the other yjs. the way she speaks to the taylors? to adam? shauna is only sometimes masking passably when she's in her set world, where she has a routine, and is surrounded by people she only has to half-convince of her sanity.

if shauna is honest about the level of psychosis she experiences, she knows she'll end up like lottie. and i think there's an argument to be made that the people around her (which at this point in her life is pretty much just jeff because she's done another common thing and insulated herself from other people, re: the way she behaves being clockably off to others who won't overlook certain things or can't relate) understand that too. it can't be addressed, because then in their minds there must be action of some kind if it is. (taissa yelling you're acting crazy, shauna is one of the most purely terrified moments we see of her in relation to shauna, because she knows she's admitting something. jeff yelling something to the same effect after the carjacking, same thing.)

the person we see try to get shauna to open up about it is callie. her teenage daughter, who bares the brunt of her difficulty maintaining reality, (who knows that shauna has never accepted her fully as her child, and seems to actually sense that there is a deeper reason for that), asks her to open up. she tells her after the club scene that she knows something is wrong. she even mentions jackie directly. she spends all of s2 trying to relate to shauna, to get her to be open with her about everything. there's no way shauna's trauma and psychosis and general issues have gone unnoticed by callie. daughters always know. they see it in their mothers before they even have a concept of the world. so we're watching a 16 year old try to get her mom to open up, because she doesn't understand fully why that's so dangerous to shauna. to callie, it may even be a secret she thinks other people are in on that she's being left out of. i think maybe she's realizing that it isn't personal and that shauna is guarded like this in general, and we're watching that happen.

callie is learning to care for and relate to her mother and she doesn't see why shauna won't let her in, because to her it's an innate truth that she'll be by her side no matter what (if only she'd let her be). she has unconditional love for her mother and that is the scariest thing in the world to shauna, because the last person who had unconditional love for shauna died because shauna didn't know what to do with it. a baby she never got a chance to meet in reality could've replaced the love that jackie gave her, and shauna was maybe starting to look forward to that, but that ended before it began. so twice shauna has killed that figure in her life. the one who loves her wholly and for who she is, which is terrifying to shauna in it's own right (she tried to take that away from jackie in their last moments, maybe you never really knew me, because that would be easier. shauna can't handle someone really knowing her because she can't handle really knowing herself because, again, that means addressing things that go unaddressed). and she doesn't plan on killing that figure again.

(if callie's even real, because the baby wasn't real when she met him and jackie wasn't real every time she's talked to her in the last twenty-five years, so who the fuck is to say callie is real?)

#this started purely as a shauna shipman psychosis discussion and ended with shauna callie mother daughter dynamics but i'm only human #they are so special to me #as the crazy daughter of a crazy mother that i had to let go of. watching them is a wild experience #shauna shipman #jackie taylor #jackie x shauna #taissa turner #shauna x jackie #jackieshauna #callie sadecki #tai x shauna #lottie matthews #lottie x shauna #yellowjackets #cw psychosis

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