#if anything it is demeaning for her character but the thing is that she shows how strong she is always and in relation to helping luffy so..

[hauntingblue]

Just saw some people say they don't like luffy and boa scenes??? Are they the funniest thing ever just to me?? It's literally sanji's gag done well what the hell

[silverislander]

man im just remembering this one girl i hung out with in high school who was just fucking. wildly lesbophobic. letting her know i was questioning was the worst mistake i made in hs lol

[rockrosethistle]

I actually fucking hate Mr. Jägerman here's why

Mr. Jägerman is a character in the Hatchetfield universe who is never onstage and only mentioned in 1 (one) line. This was enough to ignite my rage.

It's because in this one line, so much is revealed about Max's character. So let's dissect that.

Max is mean. We know this. The very first thing established about him is how threatening he is. But I think his character often gets lost in the 'bully' identity, because just like every other Hatchetfield character, he is layered and complex.

We also find out two other things about him pretty much immediately: He has a crush on Grace (we'll come back to that) and he needs to feel in control.

There's a lot of evidence to support this. He repeatedly refers to himself as the 'god' of Hatchetfield High. He creates arbitrary rules around who his friends can date. He creates arbitrary rules around where the nerds are 'allowed' to go. And the moment someone implies he is not as powerful as he thinks he is, he retaliates violently.

This isn't just Max being a jerk. These are all signs of someone who is almost certainly deprived of control in their home life, which forces them to find it elsewhere. Max likely has little to no say in what happens to him at home. He's clinging to a sense of control wherever he can find it. And that line basically confirms that his home isn't a safe place for him.

Back to the crush on Grace, when you look objectively at the actions Max takes in the show, you'll find that he's not really a bad person, he's a mean person. He's a little shit that processes his need for control in the entirely wrong way, but people are shaped by their surroundings. The actions that come from him are different.

His crush on Grace only supports this. Every other bully in every piece of media sees the girl they like and whistle and say "yo lemme hit that." And if the girl rejects them, they resort to "tease bitch." Not Max. The first thing he does is start a conversation with her, laughs at (what he thinks is) a joke, then offers to carry her books. Like, I wish my highschool bullies were that nice to their own girlfriends.

When she rejects him, it's true that he continues to pursue her and calls her "dirty girl," but that once again comes back to his need to feel in control. But he doesn't get aggressive, he doesn't do anything that screams 'bully.'

We don't get a lot of scenes with pre-ghost Max. But when we do, they're interesting to analyze. Like, have you ever noticed that when he finds Steph in the Waylon Place, his very first instinct is to tell her, "Get behind me, I'll protect you" from, as far as he knows, actual ghosts? He feels like his life is in danger, but he's still putting Steph's safety first, despite having no interest in her romantically. That's huge.

There's even some evidence to support that Max terrorizing the nerds is, from his perspective, not so one-sided. When he finds out they were the ones who pulled the pranks, he says "I thought you guys hated me."

And he's open to change. He's not stubborn, he's not brutal. He doesn't continue hating the nerds just because it is what it is. Moments before his death, he is showing signs of opening up to them, and actually seems like he's coming around.

And none of this is meant as trying to defend Max's actions. I know he's the antagonist. I know he treats people unfairly. But all of this has to come from somewhere. I'm trying to say that there was clearly a foundation of a good person underneath all that cruelty. So what toughened his shell?

Mr. Jägerman. Max reveals in that one line that if he were to go back home from the 'party', his dad would call him a 'little cuck.' "can't even fight off one lousy skele'uhn." In this, he reveals his dad is demeaning to him. He's the kind of man who would hear that his son was in a life-or-death situation, and instead of comforting him, he would have made fun of him.

What must that do to a person? As someone who grew up in a home where Dad wasn't always a safe person to be around, I know that when I was younger, a lot of my bad bad behaviours were something I learned from him.

The prank meant to scare Max was the nicest thing anyone's ever done for him.

I think a lot of what happens in NPMD is indirectly Mr. Jägerman's fault. "Knowledge is knowing Frankenstein is the doctor, wisdom is knowing Frankenstein is the monster" type of shit. It is directly because of his actions and the way he treated his own child that any of this happened.

or maybe I'm reading too much into this. But I fucking hate Max's dad so much.

[a-dauntless-daffodil]

The meta text of Vaggie hating when people don't use her name or try calling her by another one THEY think she should use, bc they think her name is too vulgar or demeaning or too silly not to joke about -> and then parts of the fandom doing the same thing, is honestly really hitting home in a queer way

here's a character who we know wants people to use her chosen name.

we know she does because she corrects Adam to his face "Actually, it's pronounced Vaggie" drawing a hard line of NO between the old name he gave her with that soft G and the one her girlfriend uses for her now

her exasperation even during the battle, answering Pentious's call out of Vaggatha but still also tiredly pointing out "Not my name", and

ironically. The second miss-naming hurts me more than the first

the Adam thing makes me hate the guy on a personal level, with his stupid smug little "Hmmmmmm- no. Anyway-" saying Vaggie isn't ALLOWED to name herself something new as if he has any claim over her, as if her name has anything to do with him after he abandoned her

But the Pentious thing almost hurts worse for how well meant and casual it is. How familiar that is.

Here it's coming from a friend and the misnaming is a sign of affection from him, a show of respect. He's not calling her the purple female anymore. This is Pentious and his tick of getting polite and formal when addressing people he likes, him snapping his earnest salutes, him as we saw earlier that episode with his shy "Miss Bomb" towards Cherri.

And the way Vaggie just kinda rolls her eye and takes it from him while still clearly not liking it...

She used to wear a uniform that made her almost identical to the other Exorcists around her, she was given her old name by the man in charge of her, a name based on how useful to him she was, she's still got all that soldier stuff marching through her head making her grab for her spear and leaving her with no idea how to get people to bond other than throwing them bodily into a warzone

It just makes sense that the woman she's in a long term happy relationship with be so normal about her chosen 'vulgar' and 'inappropriate' name

Being together that long means Charlie probably knows this specific frustration her girlfriend has and cares enough about her to just say "Vaggie" like its nothing. Or maybe she just thinks, duh, of course she'll use the name Vaggie tells her to use

Maybe Charlie being that kinda person is part of what Vaggie loves about her in the first place. The amount of trust Charlie places in people, just by default

Because there could be good and bad reasons Vaggie's using a version of her old name after leaving that life behind

She could be doing it to remind herself of the shit person she was and feels she has to still make up for being, it could be tied to her self imposed new life purpose of helping make Charlie's dreams come true, it could be Vaggie keeping part of something she hates (herself) so she can feel a bit of "deserved" pain over it even when she was too scared to admit her past to anyone else- a sneaky way to always be reminded of it by the new people in her new life anyway

but that's her choice. People are allowed to make bad decisions for themselves

there's that ethos of the whole hotel and redemption plan again, Charlie's dreams and ideals swinging back into action even when Charlie maybe doesn't know it

what's the idea of redemption or personal change other than accepting that people CAN make choices for themselves? They can even make shitty ones, and that's not a reason to drop them forever or take the choice away like they don't deserve it anymore

What's the permanent extermination of souls other than saying they forever lost the right to say what happens to themselves?

a gay woman is calling herself after vag while switching out her soldier gear to wear miniskirts and giant as fuck hair bow ribbons while kissing and cuddling her girlfriend. Maybe it's cringe. Maybe it's camp. Even if Vaggie obviously isn't meant to be literally trans, it's that deliberate choice thing again, a kinda switcheroo from Adam naming her Vagina just bc it's something that he likes for how it makes him feel good, to Vaggie saying no this is MY thing now.

The Vagina to Vaggie thing is the difference between putting a name on someone else verses taking it for your own.

and Charlie affirms that choice, that right of Vaggie to be called the name she choses, no matter WHAT it sounds like or how awkward it makes some people feel

like, if someone in real life told you their name was Vaggie, would you use their name for them?

Would you accept feeling a bit weird for their sake?

Or would you do what happens so much in real life, when people who care still think they know better or feel like someone being who they are infringes too much on their own sense of comfort or even on that person's own safety, and with all the good intentions and love in the world, someone hurts someone else without understanding that they're evening doing it.

Like Pentious

Who is really and truly Vaggie's friend. The guy she got off to a rough start with but ends up rooting for, shoving her gf out of the room so he can talk to his own crush in peace. He dies to try protecting his friends, including her, and she misses him when he's gone

and he still thought he was doing a nice thing by calling her the more 'normal' sounding "Vagatha". Either because he assumed Vaggie couldn't really be her full name, or thought she deserved better

Charlie doesn't think Vaggie needs a better name

Charlie says her name all the time like it's her favorite word ever, if only because it belongs to the woman she loves

i feel a lot of things about that.

[mutfruit-salad]

read your criticism and have a genuine question about your thoughts on the branding scene. i completely understand how max's branding is inherently tied to a racist history, and it always will be, but i dont feel like the scene itself was written with that bias/intent. thaddeus also gets branded in later episodes and it's implied to happen to every aspirant upon their promotion. at what point in writing are black characters morally barred from specific story points because of their similarities to a history that's not directly related? sort of similar with barb, at what point can black characters not do bad things at all, especially in a story where there are near a dozen non-black characters who do worse things? also considering it's implied (at least, i understood it as) she's sticking to vault-tec to protect her family?

I am not in the best position to comment on this, because I am not black. I will do my best to add what I can, but this is a space for others to chime in.

Barb is interesting because she's essentially become the person who did the most heinous crime in the entire setting- by far and away worse than anything anyone has ever done. There really aren't white characters who did worse things- because all the crimes of Caesar or the Enclave or whoever else pale in comparison to being the one who literally set into motion the total annihilation of all nations on Earth. (This is setting aside her willing participation in the inception of the vault experiments- which is an entirely separate also horrific crime.)

The issue is they've created a setting that is, as presented, colorblind. Race is invisible to the writers, who did not consider it meaningfully while producing the show- as is often the case with white creatives putting characters of color into their stories. Colorblindness does not always produce entirely racist results- and when done with tact and intentionality it can even be revolutionary. Look at the relative inclusivity of star trek as an example, and the radical depiction of Uhura in the original series.

The thing that makes Fallout different from Star Trek however is that it is not depicting its colorblind future with tact and intentionality. This is a show that is intensely concerned with depicting the specific brand of nationalistic American politics of the 1950s and the Cold War- and they've reproduced that system for the show but with a black woman at the head. That's where the issue comes up.

This was a system that had racism baked into it by design. It still does. American Nationalism and corporate violence are built on racism against black people and other minorities. And this show desperately wants to depict these things, but they've decided to put a black woman at the head of them. They're depicting systems that are, by their nature, violently racist- but they've decided to portray them as being run by a black housewife.

Fallout 3 does a similar thing with how it depicts every major slaver as a black person. Eulogy Jones, the slave buyer at Paradise Falls, the head slaver in the Abe Lincoln memorial, Ashur in The Pitt. Hell Mothership Zeta adds in a black woman from the wasteland and even SHE'S revealed to have been a slaver. This is something Bethesda consistently does- depicting ideologies and practices with a deep history of racialized violence- and then showing black people at the head of them, seemingly to try to avoid actually addressing any aspect of racism in their stories outside of hamfisted metaphors like synths and ghouls. (I use Fallout 3 as an example but Fallout 4 does many of these same things.)

Thaddeus does also get branded, and he does also get treated to the same demeaning servanthood as Maximus. The difference, quite frankly, is that Thaddeus is white. There are just some things that are straight up inappropriate to depict happening to black characters without appropriate thoughtfulness and context. Never before this series has the Brotherhood ever done brandings- and yet this show opens with it in the first episode and introduces this brand new jarring concept with the visceral image of a black man being branded by faceless fascist cultists.

It's also important to note that even if they didn't intend the scene as racist, it still is. Like I don't think the scriptwriter sat down and said "oh I'm gonna do a racism" cuz intent just doesn't matter here. The scene was intended as a way of showing the severity of the brotherhood- but it also thoughtlessly reproduces images of historic black violence.

@orange-coloredsky I know you've been talking about this stuff all day, and your initial posts about the antiblack racism in the series were what prompted me to write my thoughts today- which is what this ask is in response to. I was curious if you have any other input with all this.

I'd also be more than happy to have any additional input from people better suited to answer these questions.

[redvexillum]

@crackrodent...YOU. AGAIN? But in all seriousness, thanks for challenging me. I've never written about an irredeemable main character before...or torture.

TAGS/WARNINGS: m/m, non-con, blackmail, drug use, tom is a psychopath/pervert but this is also hell so like not surprising, s☆unding, mutilati☆n, an☆l penetration, bottom!val, fr☆ttage, pins in c☆ck, blood as lube, b☆ndage, s☆x toy, no comfort, ☆verstimulation, begging, crying, torment, dead dove: do not eat, psychological, val had a really bad time, writer took a huge liberty of her head canon on tom trench, sadist!tom, s☆xual torture, unhinged!tom, dark, crack treated seriously, all the characters in this story are in hell because they are incredibly awful and despicable mofos, not kinktober or flufftober just horror

🙏 please mind your mental health before you read 🙏

Worthless. Trash. Nobody.

Tom Trench had heard it all, every demeaning spiteful word carved into his soul like jagged shards of glass. Back when he was alive, those words clung to him, branding him as an outsider, a weirdo – a man too peculiar for the world.  

His tastes, his quirks, all things he embraced were sneered at, laughed off, cast aside. He didn’t belong. He was an outsider lurking at the edges of every group, too strange to fit in, too proud to bend. But even then, buried under layers of bitterness and rejection, he had a dream. 

A dream to stand before the world, larger than life, bathed in the spotlight. His magnificent hair slicked back in perfection; his smile wide as fans would bow to his feet.  

Fame. Riches. Accolades.  

He had pictured it all, the roar of approval swelling in his ears as eyes would be all on him – he would be a star.  

The world would see him as a somebody.  

But life, cruel and fickle, dealt him a dog’s death.  

Scorned. Forgotten. Alone.  

His dreamed withered, trampled by those who never saw him for anything more than the peculiar man in the corner.  

He died as nothing. 

And it burned.  

Yet here, in Hell, things were different. Down here, he mattered. Hell didn’t care about quirks or strangeness; Hell embraced it. And Tom, with his gas mask forever fused to his face like a grotesque second skin, had found something he’d never had before: recognition. 

Tom Trench.  

The name burned brighter than the flames licking the underworld. He was co-host of 666 News, one of the most-watched shows in Hell. Here, they knew him. He had status. All eyes were on him, on Tom Trench.  

A somebody. He was a somebody.  

At least, that was what he told himself every time the camera crew or makeup artist glanced at him with blank indifference, their eyes flickering over him as if he were nothing more than an inconvenience.  

“Uhm, sir,” his assistant’s hesitant voice broke through his thoughts, her hands fidgeting nervously at her sides. “We’re ready for you.” 

Tom’s jaws clenched. That damn look again, the one that screamed she forgot my name.

Again.  

“It’s Tom,” he bit out, his voice a sharp, jagged edge.  

Her eyes widened, the fake forced smile twitching on her lips. “Right, of course, Tom.” She repeated it like she had to convince herself, taking a shaky step back. “You’re ready for the stage.” 

Her gaze slid past him almost immediately, gravitating toward his co-host, that bitch, Katie Killjoy. It was always the same – her and everyone else – eyes trailing longingly toward Killjoy, as if Tom were just a mere shadow in her spotlight. He could see it in the way his assistant’s lips curled into something softer when she looked at Killjoy, how her body relaxed as if being near her was a privilege.  

Tom forced his fury down, letting it simmer beneath the surface. Killjoy was a co-host, just like Tom. That was all.Nothing more. Yet, as the two of them sat side by side in front of the camera, the venomous reality slapped him across the face with every word that left her smug lips.  

She humiliated him. She did it effortlessly, tossing insults like they were second nature. A scalding cup of coffee spilled “accidentally” onto his lap, her sharp laughter ringing out as he flinched from the heat. Then came the string expletives, words flung at him like daggers in front of millions. The denizens of Hell loved it. They adore her viciousness, drank in her venom as if it were sweet wine.  

Her ratings soared.  

And Tom? He sat there, swallowing the bitter, sour taste of bile that surfaced from his rage, that threatened to choke him as they all laughed at him, never with him. Even in Hell, where he had clawed his way into a position of recognition, he was still just a stepping stone for someone like Killjoy. She was the woman everyone adored, while he remained the pathetic afterthought.  

The air was thick with whispers, swirling around the room like vultures circling a dying beast. They weren’t subtle – the gossip, the sidelong glances, the smiles aimed at her. The world of entertainment was all about her, the extravagant life she paraded in front of Hell’s masses, basking in the endless attention. And every second, his spotlight dimmed just a little more.  

Tom could feel it slipping away, like sand through his clenched fingers. His hand tightened into a fist, knuckles white as he fought to keep control, then slowly loosened. He had to breathe. But with every breath, memories came rushing back.  

Horrible memories.  

Scrubbing floors under the sneers of radio stars who barely acknowledged his existence. A janitor. A nobody. The disgusted glances, the whispers behind his back, the way they treated him like he was nothing. He had clawed his way up from that pit of humiliation, only to find himself teetering on the edge once more.  

But with the anger came something else. Something dark. Something...delicious. The perverse satisfaction that had always come when he exacted his revenge. Oh, how sweet it was to see the terror in their eyes before their blood painted the walls, before their lives were extinguished so easily as they had tried to snuff out his.  

The thought made him giddy, almost light-headed. That bitch, Killjoy...How he longed to wrap his hands around her throat, feel the delicate bones snap beneath his fingers, rip her trachea out and leave her lifeless body dangling in front of his house – strung up by her cunt. 

It was only a fantasy. For now.  

“...and back to you, Tom,” came that sickenly sweet voice, dripping with condescension. Katie Killjoy flashed her blood-red smile, her ghastly pale face stretching unnaturally, her long neck bent at an angle that made her look more like a grotesque puppet than a woman.  

Tom blinked, snapping out of his dark thoughts. He cleared his throat, fumbling to gather the papers in front of him. His voice was just about to break the silence when– 

The world tilted. His body hit the floor hard.  

Killjoy had shoved him.  

Laughter erupted. Hers, shrill and wicked, echoed by the snickers of the camera crew. His ass was planted on the cold studio floor, his notes scattered like the worthless thoughts they were, fluttering around him like discarded dreams.  

Words that had meant something – his words – now crushed underfoot, ground into the dirt like they weren’t even worth reading aloud.  

He sat there, frozen, the uselessness of it all swallowing him whole. Every time she shoved him, every time she spat venom in his direction, each moment she treated him like a worthless bug, something deep inside of him broke apart just a little more.  

Tom had always considered himself patient. He had always prided himself on being able to bide his time, to let the insults roll off his back, knowing that, when the time came, he would take care of his problems in...unorthodox ways. But now, the anger simmering just beneath the surface was growing hotter, more volatile, like magma threatening to erupt from the depths of his soul. Until, one day... 

One day... 

He... 

He laughed.  

The sound was hollow, echoing off the cracked walls of his dingy one-room apartment. The flickering lights barely illuminated the Hell critters scuttling through the walls, the electricity only working half the time – if that.  

He sat on the edge of his sagging bed, a wild itch spreading across his face. That damn gas mask. The curse that had fused it to his skin, forever making him a monster and incapable of showing a wide range of emotions. His fingers dug beneath the edges, nails scraping at his own flesh, tearing at the seams, trying to rip it off. But no matter how hard he clawed, it wouldn’t budge.  

The mask was a reminder. It was a part of him now, just like the hatred that grew and festered inside. No matter how much he wanted to tear it away; to rip off the facade and scream at the world, it clung to him. Just like the memories.  

The mask was a reminder – a cruel, suffocating reminder of his own stupidity. His fatal mistake. He hadn’t set the gas mask properly that night, hadn’t secured the mask tight enough before he drugged his victims – no – enemies. In his eagerness to play with them, he got careless. He remembered the sudden burn in his lungs, the bitter, acrid fumes filling his throat, choking him on his own vomit. The last thing he felt before death claimed him was the searing shame of his own failure.  

And now, that same mask – the mask that failed to protect him in life – was fused to his flesh in death. A permanent scar, a mockery from Hell itself. A joke, courtesy of the damn Lord, who seemed to take twisted pleasure in reminding Tom of his fall from grace. The mask clung to his skin, melded into his very being, a symbol of his downfall.  

It was as if Hell itself were looking down on him, laughing at him, calling him...  

Worthless.  

Trash.  

Nobody.  

Just like her. Just like Killjoy.  

His hands trembled, raw and bloodied from his earlier attempts to rip the mask off, to tear away the part of himself that was forever tainted by his failure. Shreds of skin hung loosely from his face, sticky with blood that dripped steadily onto his pants. It didn’t matter. None of it mattered.  

As he bowed his head low, his eyes caught sight of the pristine white card – the invitation to a party tonight, an exclusive event for Hell’s celebrities to mingle and gloat.  

They hadn’t even bothered to invite him.  

He had stolen the invitation, filched it from Killjoy’s purse when she wasn’t looking. He’d rifled through her things countless times, savouring the small victories of taking what was hers. Knowing your enemy was critical, after all.  

His gaze drifted toward the small shrine in the corner of his apartment – a twisted, obsessive display of trinkets he had stolen from her like a scavenging magpie. A half-used tube of lipstick, condom wrappers, a mini bullet vibrator, a cheap pen. All arranged neatly, each item a piece of her that he kept close. A constant reminder of the enemy.  

But even as he looked at the shrine, something darker stirred within him. His cock twitched at the memory of the hot-pink vibrator, the way he had rubbed it against himself, imagining it was tainted with her disgusting touch. The fantasy that she hadn’t cleaned it properly before discarding it. He had gotten hard thinking about it, the idea of licking it clean crossing his mind more than once. But he couldn’t. The mask wouldn’t allow it. The thin slits were just wide enough for a straw, nothing more.  

Blood oozed down his hands as he stood, but the pain was distant, drowned out by the fury simmering inside him. His eyes lingered on the stolen items as dark glee radiated within him. She would be at the party tonight. She never missed a chance to flaunt herself, to show off to the world how perfect she was. This would be his chance – the perfect opportunity to ruin her in every possible way.  

His rage bubbled up, hotter and hotter, until it consumed every thought, every fibre of his being. The anger had always been there, simmering just below the surface, but now it boiled over. All he could think about, all he could imagine, was fucking her lifeless throat in the ultimate act of triumph. The way he had done to others in the past. The thought made his cock throb, the desire so strong it nearly consumed him.  

But in Hell, killing wasn’t as easy as it had been in life. Here, death was temporary, a mere inconvenience. Killing her would be too easy, too quick. No, what he wanted – what he needed – was to humiliate her. To break her, to strip away her power, piece by piece, until she was nothing more than a quivering, broken shell below him.  

After all, she always called him a...what was it again? 

Ah, yes, a limp-dick jackass.  

A small chuckle escaped him. It was only polite to prove her wrong, wasn’t it? His hand drifted down to the front of his pants, clutching the throbbing erection straining against the fabric. His throat bobbed as he swallowed hard, desire thrumming through him. He hadn’t fucked anyone since coming to Hell – hadn't indulged in his darker urges because it required a specific set of circumstances to...perform.  

But tonight? 

Tonight, would be different. 

The thought of forcing her to choke on his cock, to make her gag and squirm as he held her down, made his blood pound with sick anticipation. He could already picture her tear-streaked face, the horror in her eyes. Fuck. He was going to make Killjoy his bitch tonight.  

Hell was a beautiful place. There were substances here, powerful enough to bend even the strongest wills, to strip away control and leave a person at the mercy of their darkest desires. Tom had nearly drained his entire bank account to get his hands on a potent love potion, an almost magical concoction that would ensure his plans went off without a hitch. He patted the vial in his pocket, his fingers brushing against the mini camcorder tucked safely in the other  

He would record everything. His glory, his victory.  

Tonight, Katie Killjoy would regret ever crossing him.  

He had realized belatedly that tonight's party was a costume party. He quickly went to the bargain store and purchased a costume that was the cheapest in stock.  

The costume was a joke, a cheap, pathetic imitation of the infamous Angel Dust – a popular porn star known for his exaggerated style and body. Tom stood in front of his cracked mirror, smearing pink glitter around his eyes to imitate the porn star’s extra set of eyes.  

His fingers clumsily mussed his hair forward to mimic Angel’s wild hairstyle, and he stuffed clumps of fluff into the front of his shirt, attempting to simulate the porn star’s chest fluff.  

But it was a miserable failure. The glitter clung to his sweat-slicked skin, making his gas mask look even more ugly, and the fluff drooped awkwardly, highlighting his lack of finesse. He looked nothing like Angel Dust, not even a distant shadow. He looked like one of the coked-up sinners that haunted Hell’s back alleys - dirty, unhinged, and desperate.  

It didn’t matter. The costume wasn’t for mingling or fitting in. He had a purpose tonight, a goal far glorious than simply attending a party for clout.  

The moment he stepped into the club, the assault on his senses was immediate. The air was thick with the stench of alcohol, cloying perfume, and the unmistakable musk of sex. Strobe lights flickered wildly, casting shifting shadows across the room, while the pounding music reverberated through the building, vibrating in his chest like a second heartbeat.  

Bodies writhed together in an unholy dance – mass orgies on the dance floor, groups of sinners tangled in a mess of limbs and moans. Some engaged in conversation, but the real action was the chaotic display of hedonistic desires playing right in front of him.  

Tom had never belonged to this world. Never been invited to these kinds of exclusive gatherings. But tonight was different. He had to be here, even if he stole the invitation. He belonged among the rich and powerful, didn’t he? He wasn’t just anyone; he was Tom Trench, co-host of 666 News, one of the most-watched channels in Hell’s entire pentagram.  

He mattered.  

Or at least, that’s what he told himself as he stepped deeper into the fray, heart pounding in time with the music, head swimming with thoughts of what he was about to do.  

“Like fuck, I can’t believe I lost that fucking invitation!” Killjoy’s shrill voice cut through the din like a knife, and Tom’s heart nearly leapt out of his chest. He froze, scanning the crowd, his pulse racing as he spotted her near the bar, surrounded by a gaggle of sycophants in miniskirts and plunging tops, all hanging on her every word. She was in her element, laughing cruelly, her lips smeared with that garish red lipstick she always wore.  

Without thinking, Tom ducked behind a couple in the midst of dry humping, their bodies pressed together, tongues tangled in an intense display of public lust. The sinner’s underwear was yanked down, their exposed cunt rubbing shamelessly against their partner’s thigh. It was disgusting, but it provided just enough cover for Tom to hide, pulling out his phone to pretend he was preoccupied. It was an old, outdated piece of junk – still paying it off, of course – but it gave him an excuse to eavesdrop without looking suspicious. 

“Like, the fucking bitch at the door gave me such a hard time just because I didn’t have my invitation on me! But you know what I told her?” Killjoy’s voice dripped with sadistic glee, her laugh high and piercing as her entourage leaned in. “I told her if she didn’t get me in, I’d get my buddies to fuck her! Hahaha!” She snorted as she placed her fingers against her chest. “And trust me, that bitch nearly killed herself after the last time they did!” 

The surrounding women cackled, their laughter cruel and shrill, tears of mirth streaming down their perfectly made-up faces. They clung to her every word, validating her, admiring her. Tom’s stomach churned with a mix of bitter envy and anger.  

He knew exactly who she was talking about – the girl at the door was her assistant. The poor girl had always looked frazzled, terrified, constantly on edge around Killjoy. He’d heard about the incident when the assistant accidentally spilled a latte on Killjoy’s suit. It had been hilarious at the time, watching Killjoy’s face turn an unnatural shade of red, her eyes blazing with fury.  

But he hadn’t known the full story. He hadn’t known just how far Killjoy’s cruelty had gone, punishing her assistant in ways too vile to even imagine. Her assistant wasn’t an animal, but Killjoy was. The standards were held different for bitches like her.  

A sense of delight buzzed in his veins. Killjoy, always so perfect, always so untouchable, reduced to tears. Black mascara running down her pale cheeks as her carefully constructed mask of control shattered.  

The weight of the drug in his pocket felt heavier with each passing moment. His fingers twitched, itching to take action, to make his fantasy a reality. He could already see it – the way she’d crumble, the way her pristine image would be ripped apart in front of everyone. He’d tear that tight little nurse outfit right off her, make her scream, make her sob, until she was nothing but a broken shell of herself. His cock stirred again at the thought, the heat of his anger blending with a delirious sense of arousal.  

Tonight, he’d make her remember his name.  

He’d make her fear it.  

As Tom surveyed the area, he noticed the almost empty drink in her hand, and he could almost see the perfect opportunity forming in his mind. The bar was just steps away from her – so easy, so simple. He could order her a drink, instruct the bartender to hand it over, and watch as his plan unfolded. He could already imagine her glossy lips parting, taking a sip, and then– 

His thoughts were shattered by a sudden invasive pressure – fingers pressed right up against his asshole. Tom jolted, spinning around in shock, his body stiffening as he came face-to-face with someone far more dangerous than he’d anticipated.  

Valentino.  

The moth demon towered over him, dressed in his usual flamboyant attire, pink smoke curling lazily from his pipe held between his lips. The scent of his hung heavy in the air, wrapping around them, the haze seeming to draw Tom deeper into his humiliation.  

“Angel!” Valentino’s voice slithered through the noise, loud enough to grab the attention of the surrounding sinners. His hand still lingered near Tom’s rear, possessive, like he owned everything in his reach.  

“It-it’s Tom, sir,” Tom stammered, the earlier confidence draining from him like the smoke from Valentino’s pipe. He felt small. Insignificant. The weight of Valentino’s presence crushed his resolve.  

“What?” Valentino’s eyes narrowed, peering through his pink sunglasses as he bent lower, inspecting Tom’s face. A look of disgust flashed across his features. “Ugh, fuck, you’re an ugly thing, aren’t you?” He sneered, his lips curling before a soft gag escaped his throat. “Didn’t the invitation say sexy costumes?” Valentino turned to one of the curvaceous sinners by his side, her barely there bikini leaving little to the imagination. She gave a playful smile, batting her long lashes as she nodded.  

Tom’s heart thundered in his chest, a chaotic mix of fear, awe, and admiration. Valentino – one of the Vees, one of the most powerful Overlords in Hell – was standing right before him. His earlier scheme to ruin Killjoy seemed to fade like smoke, replaced with a sharp, aching desire.  

He wanted to be them. 

The Vees were somebody.  

They were the apex, the ones everyone else either feared or envied.  

And Tom? Tom was just another face in the crowd. Just another nobody.  

“I-uh-” he stammered, his mouth dry, eyes wide as another stunning beauty approached Valentino, draping herself over his other arm. Tom could barely think straight. His heart raced, not just from fear, but from longing. If he could impress Valentino, cozy up to him, maybe he could be more. Maybe he could become the sole host of 666 News, instead of living in Killjoy’s shadow. The Vees controlled every channel in the Pentagram; if anyone had the power to make him a somebody, it was them.  

But Valentino wasn’t interested. Before Tom could finish his pitiful attempt at flattery, Valentino raised a hand, cutting him off with a look of pure indifferent. “Who are you?” Valentino asked, the question hanging in the air, icy and rhetorical. Tom’s mouth opened, but no sound came. He didn’t have a chance to answer before Valentino’s lips curled into a sneer, his voice dripping with contempt. “You’re some nobody.” 

The words hit like a slap to the face. Valentino’s posture oozed arrogance, his hips jutting out in lazy dominance. “Run along now,” he drawled, waving Tom off like a bug he’d grown tired of swatting.  

“You’re dismissed.” 

The two girls at his sides giggled, their eyes dancing with malicious amusement. They didn’t see him as anything more than a joke, a small man playing dress-up, trying to fit into a world that didn’t want him. Their laughter stabbed at Tom’s pride, each giggle a reminder of his insignificance. His fists clenched, nails digging into his palms as he tried to steady his breathing, but it felt like his chest was collapsing in on itself.  

His breath caught in his throat, and for a moment, everything warped. His vision blurred, and suddenly, he wasn’t in the club anymore. He wasn’t under the judgmental gaze of Valentino and his entourage. No, he was somewhere else – somewhere familiar yet distant, like a half-forgotten dream. A memory surged forward, unbidden, like a hidden shard of glass surfacing from the depth of murky water.  

The memory, once a distant blur, came rushing back with brutal clarity, its edges sharper than a razor, slicing through his mind. Tom could see it – his brown, ratty, tattered shows, the leather peeling away like his last shred of dignity. Each step left bits of himself behind, dirt smeared across pristine floors that were never meant for the likes of him. His hands trembled, rubbing together compulsively, desperate, as if he could conjure up a miracle if just tried hard enough.  

Back then, he had been a janitor at a radio station. His cousin, always grinning with false hope, had promised him that if he worked hard enough, kept his head down, and grinded, maybe – just maybe – they'd give him a shot at stardom. A chance to be somebody.  

But that chance never came.  

Instead, he was left cleaning up after the real stars, scrubbing their messes while they laughed in the spotlight. His heart raced, a bitter rhythm that beat against the weight of the world collapsing around him.  

The Great Depression was in full swing – people starving, families dying in the streets. But Tom? No, Tom was going to be fine. He had been told to believe in the American dream. He had been told that hard work would pay off.  

So, every day, despite the mocking laughter, despite the whispers behind his back, he pushed forward. He had banked everything – his life, his hope – on the promise that effort would make him rise above the filth of the working class.  

But it was all a lie.  

“You’re dismissed,” his cousin had said, not even sparing a single glance up from his newspaper.  

Those two words echoed through his skull, twisting his stomach in knots. Those words were his ticket to eternal damnation, his invitation to the gutter. The world crumbled around him as they shattered the fragile dream he had clung to for so long. 

Those two words broke him.  

He had walked out into the street, the stench of death and rot filling the air. Those two words had stripped him of his humanity, left him hollow, a walking corpse, just another forgotten piece of garbage.  

He had stood over his cousin’s broken body, blood bubbling from the man’s lips, his last words choking on the truth that had haunted Tom his entire life: you’ll always be a nobody. Useless. Trash. 

Tom had once considered himself patient. A man who could endure. But now? As the anger from Killjoy’s mocking laughter seared into him, as Valentino’s cold dismissal stabbed through his chest, the final thread of sanity snapped.  

Valentino was long gone, already surrounded by his entourage. However, Tom stood there, giggling – a high-pitched, manic sound that rattled though his skull, masked by the pounding bass of the music.  

It was funny, wasn’t it? How life continued to fuck him, even in death. Every twist, every turn, the universe seemed to take pleasure in making him its joke. Always at the bottom, always overlooked, always discarded.  

His fingers brushed against the drug in his pocket, the weight of it pressing against his side like a reminder of what he could still do. His eyes, once burning with rage at Killjoy, shifted now. Slowly, they turned toward the tall, lanky figure lounging on a couch as if he owned the entire damn club. Valentino, with his heart-shaped glasses and that broad, sickening grin. His tongue flicked out, licking at the women draped over him like accessories, his arrogance oozing out from every pore.  

Valentino sat there like a king, surrounded by whores, drenched in the illusion of power. To him, everyone else was just a shadow, a worthless nobody.  

Just like Tom.  

It was disturbingly easy, how effortlessly Tom managed to slip the entire brew of the drug into Valentino’s drink. A drop or two was all it was supposed to take, but he didn’t care for caution. He dumped the whole flask, watching the light pink hue dissolve without a second thought. Maybe Valentino thought no one in Hell had the guts to spike his drink. Or maybe the Overlord was too arrogant to even consider the possibility.  

When Tom approached with the glass, Valentino barely spared him a glance, eyes glazed over with disdain as he reached for the drink. He gulped it down in one, not bothering to acknowledge Tom’s existence. But soon, his expression changed. Slowly, his head began to sway, and the surrounding whores giggled nervously, their hands caressing his arms as if their touch could stabilize him.  

Tom moved closer, stepping into the Overlord’s line of sight. Valentino’s eyes struggled to focus, a strange mix of clouding and desire clouding his features. “Angel!” he cried out, his voice slurring as his arms looped around Tom’s waist.  

It was laughably easy to guide Valentino into one of the club’s private rooms, the kind reserved for hard-core BDSM plays. Tom locked the door behind them, a metallic click that echoed through the dim room. Chains and leather straps adorned the walls, while flickering flames cast ominous shadows across the cold stone floor, licking the walls with an eerie glow. It was the perfect setting for what Tom had in mind.  

Valentino, completely unaware, had already begun undressing, his clothes falling in a careless heap on the floor. “Angel, baby,” he groaned, his voice heavy with lust and delirium. “I’ve been wanting to fuck your tight ass for weeks...how dare you make me wait, you ungrateful fucking whore.” His words slurred, muting the malicious tone. His body collapsed onto the bed with a graceless thud.  

Tom’s stomach twisted with a dark, sick pleasure. He didn’t care about the sex of his victims, never had. The only thing that mattered was that they were helpless. Weak. Prone. His arousal surged as Valentino lay before him, drugged and limp, a pitiful sight. His breath quickened, his pants already tightening around the hardness that pressed painfully against the fabric.  

Without a word, Tom moved to the restraints hanging on the walls, fingers brushing over the cold leather. He wanted to grin, to laugh, but the mask that had fused to his face, mocking hi for all eternity, prevented it.  

No matter.  

His actions spoke for him.  

Stripping out of the gaudy Angel Dust costume, he began to tie Valentino’s arms together with practised ease. He bound them tightly to the hook above the bed, pulling just enough to leave the Overlord’s body slightly suspended. Valentino’s lilac-shaded cock twitched pathetically with each touch, though it hung limp, his mind lost in the overwhelming effects of the drug.  

The apothecary had warned Tom – one drop was enough to drive a demon into mindless heat, to have them writhing in desperation. But a full vial? Tom’s pulse quickened, a thrill racing through him. He was going to find out.  

Valentino’s pink drool dribbled slowly from his parted lips, his head hanging uselessly as his arms stretched above him. The once-powerful Overlord now reduced to a puppet, limp and helpless. Tom’s breath hitched, his hand flying to his own hardened cock, slick with pre-cum as he gripped it tightly.  

Flashes of old memories flooded his mind – victims, squirming in panic, tied up in his gas-filled room. The smell of fear, the way their eyes widened when they saw him in his gas mask, breathing heavily as he watched them. The way they begged for mercy, their words cut off as the gas took over, silencing them just as they had silenced him when they mocked, dismissed, and belittled him.  

Those were the glory days.  

Short, fleeting, but glorious, nonetheless.  

And now? Now, here he was again, a nobody with the power to make someone else feel the same helplessness he had endured for far too long. Valentino would suffer, not through fear but through humiliation. He would be just another victim in Tom’s long line of revenge.  

“Augh,” Valentino moaned, his voice thick with lust and confusion as his cock slowly stiffened, pink drool spilling from his slack mouth, rolling down his chest in a glistening trail. His body, once the epitome of control and power, now hung limp, betrayed by the very pleasure coursing through him.  

Tom set the camcorder up at the foot of the bed, his movements methodical, driven by the sick sense of satisfaction. This recording – this proof – would be his victory. Even if it didn’t serve a purpose beyond his own personal gratification, he knew that watching Valentino’s humiliation again and again would feed him, satiate his hunger, for a very long time.  

Slowly, he stripped off his clothes, his cock hard and throbbing, standing proud as he climbed onto the bed. The feeling of control, of domination, filled him, and it was intoxicating.  

It was magnificently glorious.  

“So, who’s the powerless, weak nobody now?” Tom sneered, his voice low as he hovered above Valentino, his cock bobbing just in front of the Overlord’s face. The rush of power was exhilarating, a heady feeling that made him feel invincible.  

But then, Valentino stirred, his body twitching before a sputter of laughter escaped his lips, deep and mocking. Tom’s confidence wavered as Valentino’s grating laugh pierced through his triumph, hitting the nerves like nails on a chalkboard.  

“What the fuck is this?” Valentino squinted up at tom, a wide, sloppy grin spreading across his face. “Angel, when did your dick get so tiny?” His laughter grew louder, more malicious. “Unless...is that your pinky finger I’m seeing?” He leaned forward as if trying to get a closer look at Tom’s erect cock, eyes sparkling with cruel amusement.  

Shame and embarrassment coursed through Tom as he stumbled backward, his breath catching in his throat. He glanced down at Valentino’s half-hard cock, massive even in its lips state, and a wave of humiliation crashed over him. Five times bigger, Tom thought, feeling the sting of comparison tear at his earlier bravado. His own erection faltered, the shame creeping in like poison, each pulse of Valentino’s laughter eroding at his fragile sense of ego and power.  

Clenching his fists until his nails dug into his palms, Tom fought to steady himself. “Size isn’t everything,” he spat bitterly, but the words tasted hollow. Valentino groaned, his head lolling from side to side as more saliva dribbled from his lips, the effects of the drug thickening in his veins. His cock, now fully erect, throbbed, pre-cum leaking in thick ropes down his shaft.  

“Fuck,” Valentino slurred, his voice barely coherent as his body twitched, trying to regain control. “What the fuck is going on?” His arms, bound above him, were the only thing keeping him from collapsing entirely, his strength drained by the overwhelming pleasure and the drug burning through him.  

Tom’s gaze flicked toward the drawer by the bed. His fingers grazed over the various sex toys within. His eyes landed on a thin metal rod with a circular-shaped handle at the end, its surfaced pocked with rust and decay. He had seen it used in some of the darker porn he’d watched – sounding, they called it. A flutter of amusement pulsed within him as he pulled it out, running his thumb over the rough, ridged surface.  

“Let’s just stop that little leak of yours, Val,” Tom muttered, his tone mockingly sweet as he returned to the bed. “I can call you that, right?” Valentino only groaned, lost in his delirium, and Tom chuckled darkly. The drug had Valentino completely at his mercy, his once-mighty form reduced to a quivering, incoherent mess.  

Tom’s fingers trailed down the length of Valentino’s shaft, feeling the heat radiating from it, the way it pulsed under his touch. The second his skin made contact; Valentino screamed – an animalistic sound that bounced off the wall. His hips jerked upward, pre-cum splattering everywhere, coating Tom’s hand and chest in sticky droplets.  

“Fuck, fuck, fuck!” Valentino cursed, his voice breaking as his body writhed in overstimulation, muscles tensing and flexing uncontrollably. His thighs quivered, his breaths coming in short, ragged gasps. The sound of his whimpers – those small, pathetic cries – sent a shiver down Tom’s spine. He had never seen someone so powerful reduced to this, lost in a haze of pleasure so intense it bordered on agony.  

With a sadistic thrill pumping in his veins, Tom gripped Valentino’s cock in one hand, holding it steady. Valentino hissed at the contact, his body arching as if trying to escape the sensation. Unexpectedly, Tom positioned Valentino’s cock, the gaping slit already covered with pre-cum.  

And then, without hesitation, Tom drove the metal rod in, all at once.  

The scream that tore from Valentino’s throat was primal, a raw howl that reverberated off the stone walls. His body convulsed violently, arms straining against the restraints as he thrashed in pain. Blood mixed with the clear fluid, dripping in thick rivulets from the slit of his cock, staining the sheet below them.  

As Tom shoved the metal sounding deeper with brutal force, he disregarded the way Valentino’s cock strained and trembled under the intrusion. The tension, the sickening resistance of flesh yielding and ripping to cold steel, sent a thrill through Tom’s spine.  

Valentino’s pure, pained cries echoed like music to his ears, and for the first time in ages, Tom felt a rush of arousal so fierce it made him light-headed. His body thrummed with sadistic excitement, the sound of his own hissing breaths the only counterpoint to Valentino’s sobbing gasps.  

Tom’s hips jerked forward in short, uncontrolled strokes, his cock twitching as he focused solely on driving the sounding to its limit, down to the very hilt. His eyes roved over the sight with a ravenous hunger, his lips parting in a soft groan of pleasure as crimson droplets continued to well up from Valentino’s tip, the blood slowly trailing down the length of his shaft like delicate ribbons decorating a sacrificial altar. The contrast of the vivid red against the pale lilac skin was picturesque – it was art. 

Panting heavily, he finally released the device, sitting back on his heels as he admired his handiwork. Valentino’s face was a portrait of agony – tears streaming freely down his flushed cheeks, mixing with the pink drool that spilled from his slack mouth. His hips jerked in weak, pathetic thrusts, as though his body still sought relief despite the pain, fucking the air with an almost automatic, broken rhythm.  

“F-fuck...fuck...” Valentino’s voice cracked, a barely coherent string of words that failed to form any real protest. His expression was glazed, trapped somewhere between torment and lust, his mind a shattered mess.  

The sight of the powerful Overlord reduced to this wreck of a man – a trembling, crying, pathetic mess at Tom's mercy – sent a dark wave of satisfaction within him. His cock, already aching, hardened even more, throbbed in time with his racing heart.  

Without thinking, Tom’s hand flew to his shaft, gripping it tight as he began to stroke with wild desperation. His moans mixed with the sound of skin slapping against skin, the wet, obscene noise heightening his arousal. His gaze stayed on Valentino’s cock, still leaking blood in profuse streams, the tip a monstrous, crimson, puffy spectacle that fuelled the fire roaring in Tom’s gut  

Faster.  

Harder.  

His breath hitched, muscles tensing as the coil in his stomach tightened, winding tighter and tighter until it was almost unbearable. He could feel it – the edge drawing closer, and with a growl, he pushed himself to his feet, staggering forward to position himself above Valentino’s tear-streaked face.  

“You should know this routine, Val. You fucking love money shots,” Tom growled through gritted teeth, his hand a blur as he pumped his cock furiously. The slick sound of his strokes filled the room, building with every desperate gasp.  

His mind went white-hot as the climax finally crashed into him. With a pure, unfiltered, guttural moan, Tom let his head fall back, hips jerking as ropes of thick, hot cum shot from him, painting Valentino’s face in sticky white streaks. The droplets splattered across his cheeks, some landing on his pink-tinted glasses, smearing across the lenses like a filthy mark of ownership.  

But it wasn’t enough. Not nearly enough.  

Tom stood there for a moment, chest heaving, his hand still loosely wrapped around his cock, but the hunger in him refused to face. His cock still twitched, still begged for more. He wasn’t done yet. He couldn’t be done. Not with Valentino laid out before him like this, vulnerable and broken. This was an opportunity too good to waste – a chance to push Valentino past the edge of despair and into true ruin.  

He turned toward the nearby box of toys again. His eyes, scanning the contents, glittering with sadistic glee as they fell upon a box of sharp acupuncture pins. Ideas blossomed in his mind, twisted, fragile, and beautiful. He grabbed them without hesitation, already envisioning the next stage of pleasure.  

When he stood and looked back, his grin only widened. Valentino was trembling, his body spasming uncontrollably as thick white cum, tinged with red streaks, leaked from the tip of his still-throbbing cock. The sight of it sent a rush of heat through Tom’s veins – Valentino had come despite it all, despite the pain.  

The bastard had found release, however fleeting.  

“Fucking hell, Val...you already came?” Tom muttered, amusement lacing his words as he stalked closer. But no matter – it wasn’t over yet. The drug coursing through Valentino’s veins would ensure that he stayed rock-hard, no matter how much he came. His body wouldn’t stop, wouldn’t find release, not until every drop of that drug was purged from his system.  

And Tom planned to take full advantage of that.  

Sitting back in front of Valentino, Tom let a slow, dark hum escape him, the haunting melody echoing a distant memory from his past. Valentino’s broken murmurs finally reached his ears, soft, slurred words that barely made sense. “Please...no more...please,” followed by a hoarse, trembling, “it fucking hurts.” 

Tom’s breath grew ragged, his heart hammering in his chest as excitement spread through his veins like wildfire. After years of being stepped on, spat on, and treated as less than nothing, here, presently, with Valentino sobbing and powerless before him, Tom had never felt so alive, so untouchable, dominant.  

“Val, you’re disappointing me,” Tom taunted, his voice dripping with mock sympathy as his fingers hovered over the sharp pin. The beaded end reflected from the dim light, each end adorned with a bright array of blues, reds, and yellows. Slowly, almost reverently, he positioned the pointed end against the side of Valentino’s shaft, savouring the way the soft skin quivered beneath his touch.  

Then, mercilessly, he pushed.  

The pointed edge pierced the delicate flesh easily, sinking in like a hot knife through butter. 

“Ah-ah-ahhhhhhh!” Valentino’s scream tore through the room, his body convulsing weakly, as if trying to escape the pain. But it was futile – the drug coursing through his veins kept him paralyzed, a prisoner to his own body, left to writhe under Tom’s sadistic whims.  

Tom’s high-pitched giggles burst out as he pushed the pin further, watching intently as the sharp glinting metal disappeared, blood welling up around the wound before spilling into crimson rivulets down Valentino’s cock.  

The bead rested at the base, nestled against the taut skin, a small, bright mark of Tom’s handiwork – his – ah – gift. Valentino’s agony was palpable, his cries a broken record that sent shivers of pleasure down Tom’s spine. 

“We’ll play a little game, Val,” Tom purred, his voice low and dripping with dark intent. His cock throbbed, standing fully erect, aching for release again as he admired the sight before him. Valentino’s tear-streaked face, the faint glimmer of cum still clinging to the rose-tinted lenses of his glasses – it was a masterpiece of suffering.  

“Tell me what my name is, and I’ll stop decorating your cock,” he groaned, his gaze fixating on the sounding protruding from Valentino’s urethra, the tip slowly oozing out fresh blood.  

Valentino’s breath hitched as his swollen, tear-filled eyes flicked up toward Tom, but his mind was a haze of torment. “I...I don’t know...” His voice was broken, his words thick and heavy, each syllable a struggle to form as his tongue lolled out between each breath.  

“Well, that’s a shame,” Tom replied brightly, a cruel smirk tugging at his lips. Without hesitation, he reached for another pin, this time a bright blue one. With practised ease, he slid it into Valentino’s flesh, revelling in the fresh wave of agonized cries that filled the warm, musky air. The cries fuelled Tom, his hand drifting back to his own cock, stroking slowly, deliberately, as he watched Valentino’s face contort in suffering.  

“I - fuck...Paul?” Valentino sobbed, weakly thrashing against the binds. His body trembled like a leaf in the wind.  

“Wrong again,” Tom whispered, voice drenched with satisfaction. His arousal mounted with every scream; every helpless sob, Valentino gave. It was intoxicating, the way each pin drove Valentino further into the depths of agony. “Ah, fuck...” Tom groaned, his grip tightening around his cock as he pushed the next pin in, his mind lost in the perverse pleasure of it all.  

It was almost tragic – really, how easily Valentino had forgotten his name, as if the pain had burned away every memory. Tom’s gaze darkened as he picked up the last pin in the small pouch, a red one this time, and drove it deep into the only remaining space into Valentino’s shaft.  

The result was hauntingly beautiful. The pins, bright beads of colour, embedded deep into his bleeding cock, turned the once-proud organ into something...festive. The crimson blood oozed from the wounds, staining Valentino’s balls and the sheets beneath him in a macabre display.  

“For being such a good boy, how about I reward you, Val?” Tom cooed, his voice sickly sweet, his heart beating frantically as he heard the faint, hoarse whispers of “no” spilling from Valentino’s lips. But Tom had already made up his mind. His eyes couldn’t tear away from the oversized sparkly pink dildo standing proudly by the bedside table.  

It was a monstrosity, the size of Valentino’s forearm, a brutal weapon of destruction that could easily tear someone apart. The girth alone was enough to ruin anyone permanently.  

Straining, Tom grasped the oversized dildo, the artificial scent of manufactured plastic sharp in his nostrils. With a firm shove of Valentino’s shoulder, his body was forced forward. Valentino hissed in agony as his raw, bloodied cock made contact with the rough bedsheet, another strangled cry of desperation filling the room.  

“Please...no more,” Valentino whimpered, his voice a broken whisper lost to the air.  

Tom, unmoved, set the dildo down on the bed beside them. He leaned over, pressing a finger to Valentino’s trembling lips, shushing him softly. Without warning, he gripped Valentino’s narrow waist, lifting his limp, rag-doll body off the bed. He positioned Valentino’s trembling form over the massive toy, resting the tip of the monstrous cock right against Valentino’s tight ring of muscle.  

“Fuck, no! No!” Valentino’s cries were frantic now, his voice hoarse with panic. “I’ll do whatever you want, anything – please, I’ll give you anything, just – please,” his spittle flew, and drool leaked into a stringy goop of mess.  

But Tom didn’t care. His mind was lost in the ecstasy of the moment, the thrill of control that made his pulse quicken and his cock throb. The sight of Valentino’s body trembling on the brink of being impaled, the helplessness in his eyes, only heightened Tom’s desire. His urge to stroke himself into oblivion gnawed at him, but he forced himself to savour this moment.  

With deliberate calm, Tom stood behind Valentino, placing a gentle hand on his shoulder as though he were offering comfort. He took a slow, deep breath, leaning close. “Relax, Val...it’ll feel good,” he whispered, pressing the side of his face with Valentino’s. “For me, that is,” he finished with a cruel laugh, before he suddenly slammed Valentino down onto the dildo.  

The reaction was immediate. Valentino’s screams were ripped from his throat, his voice breaking into a guttural wheeze as his body convulsed in agony. His ass, unprepared and unable to accommodate the sheer size of the dildo, stretched obscenely around it. Tom’s grip on Valentino’s hips was unrelenting as he forced him lower, ignoring the frantic, incoherent pleas spilling from his lips. Valentino begged, over and over, but Tom’s focus never wavered.  

Slowly, inch by agonizing inch, Valentino’s body was pushed further down, the monstrous toy rearranging his insides. Tom shivered with sick satisfaction as he watched the bulge begin to form in Valentino’s lower belly, the outline of the dildo distending his thin frame. The sight was glorious, obscene, the kind of thing that made Tom’s cock throb with unbearable need.  

With a hoarse, broken cry, Valentino’s cock spasmed violently. A messy burst of semen erupting from the tip, spraying onto the sheets as his lolled backward in a mix of unbearable pain and cruelly forced pleasure. His entire body shook, trembling like a newborn calf, but still, Tom paid no mind to his suffering. His only focus was on forcing Valentino to take the full length of the dildo, every, damning inch.  

“Aren’t I such a generous partner, Val?” Tom’s voice was light, almost teasing, as Valentino’s body finally sank to the hilt, his entire lower half impaled on the dildo. “You told me my cock wasn’t enough for you, so I got you something better. Aren’t you grateful?”  

“Anything,” Valentino muttered weakly, tears streaming down his cheeks, his voice barely a whisper. “I’ll tell you anything...anything...” His words were slurred, trembling, lost in the haze of agony and fear. His lower half was a horrific mess of blood and cum, staining both his skin and the bedsheets.  

Tom scoffed, shaking his head. “Sure, Val. Tell me something...something no one else knows.” He knelt down in front of Valentino, his cock hard and leaking, pressing the length of it against Valentino’s mutilated, beaded shaft. Valentino let out a sharp hiss of pain, the movement sending a fresh wave of agony through him as Tom slowly rubbed his cock along Valentino’s smearing the mix of blood and cum across his skin.  

Gripping the sounding still embedded in Valentino’s urethra, Tome began to move it with a slow, deliberate motions, tugging it up and down as Valentino’s sobs grew louder, more pitiful. “Go on,” Tom panted, his breath hitching as he felt the edge of his cock brush against the smooth end of the beaded tip. “Tell me...” he moaned, his eyes fluttering shut as the pleasure build inside him, the sensation of Valentino’s mutilated, swollen shaft heightening every stroke.  

Valentino could only sob harder, his body trembling uncontrollably as Tom’s cruel, taunting touch brought him closer to the edge of madness. Tom’s breath quickened, his moans becoming louder, more guttural, as he lost himself in the feel of Valentino’s bloodied flesh pressed right up again him.  

“We-we’re planning to a-attack the Princess of Hell’s hotel next w-week,” Valentino stuttered, his voice trembling with fear and pain. “W-we have an army...ngh...equipped with...hah...” His words faltered as Tom recklessly pulled the sounding halfway out of his cock, before thrusting it back in with a sickening squelch. Valentino gasped, choking on his words as a thick bubble of blood oozed from the tip. “A-angelic s-steel,” he finally managed to wheeze, his mouth hanging open, drool and snot mingling and dribbling down his chin.  

Tom’s hand paused. The words barely registered – he couldn’t care less about some redemption hotel. It held absolutely zero interest to him. Still, this was information the Vees clearly kept close to their chest, and it might be useful later. He could figure out how to capitalize on it later tonight. For now, his gaze fell back on Valentino’s wrecked face, streaked with tears and fluids, eyes wide in terror and agony. The moment of truth was upon him.  

It was time to burst through the cocoon of suffocating oppression, and chase his own glorious release.  

With a sharp, brutal yank, Tom pulled the sounding free. Valentino’s body convulsed, a violent spasm wracking him and his pained moans barely audible.  

Tom groaned, feeling his own need swell within him. He gripped both their cocks, pressing them together, his hand sliding up and down their lengths as he ground against Valentino’s swollen, purple shaft.  

Valentino let out another broken sob as the pin buried in his cock shifted, the pressure causing his member to turn an even deeper shade of purple. His cock pulsed painfully as Tom quickened his pace, chasing the edge of his orgasm.  

“Oh fuck...fuck,” Tom panted, the wet squelching sound of their cocks sliding together filling the room alongside Valentino’s pitiful, broken whimpers. With one final hard thrust, Tom let out a low, guttural moan, his body seizing in pleasure as thick ropes of cum erupted from his cock, painting Valentino’s limp, bloodied body. His seed splattered across Valentino’s sweat-slick chest, mixing with the blood and cum staining his swollen cock.  

Panting heavily, Tom finally collapsed backward, his body spent, his cock softening as the heady, addicting sensation of pleasure washed over him. He hadn’t felt this kind of pure, unadulterated pleasure in decades. His body felt light, like a weight had been lifted from his soul.  

He glanced down at Valentino’s face – his red eyes were blown wide open, but they had lost all focus, glazed over in shock and exhaustion. His tongue hung limply from the side of his mouth, his body completely still, suspended from the ceiling by the ropes binding him. Even now, after countless brutal releases, Valentino’s cock remained comically hard, the veins bulging angrily against his abused skin.  

It looked like the moth Overlord had finally reached his breaking point. Valentino was hanging their unconscious, barely breathing, his body slack and lifeless. Tom couldn’t help the satisfied smile that tugged at his lips.  

Valentino made such a handsome, tragic painting like this – strung up, covered in a mixture of blood and cum. Tom took a long moment to admire the scene, grateful he had captured every beautiful detail with his camcorder. This was a memory he would savour for a very long time.  

It was a show he would watch over and over again.  

With a final glance at Valentino’s broken, beautiful form, Tom took his time getting dressed, slipping his shirt back on as he pocketed the camcorder. As he exited the room, he could still hear the pulsing beat of music from the club. No one would notice what had transpired – everyone was far too lost in their own indulgence, high and drunk, as the sound of moans and cries of ecstasy filled the air from the mass orgy happening just down the hall.  

Tom slipped his hands into his pockets, humming a small, contented tune as he left the clubroom, felling more alive than he had...ever.  

Once the haze of his high started to fade, his mind sharpened, and he remembered the information Valentino had spilled. Taking out a burner phone, Tom extracted the audio of Valentino’s confession, his broken voice detailing the Vees’ plans to attack the hotel. With a smirk, he sent the audio file to the head of Voxtek with a brief message: 

“It would be a shame if this got leaked to the public.” 

It didn’t take long. Within seconds, a reply appeared on his phone from the head-honcho himself: 

“Name your price.” 

Tom stared at the neat, blocky text on the screen, his mind racing with unlimited potential. He knew the power the Overlords held – one wrong move, and they could easily snuff him out like a flickering candle. But if he played his cards right, if he handled this just carefully enough... 

A small, manic laugh bubbled up from his throat, his fingers digging into his mask – his face – as the realization hit him.  

Finally.  

Finally.  

Finally. 

He was going to be a somebody. 

Follow #vexitober 2024 to read my questionable kink/fluff stories!

End Note: This was by far the darkest piece of fanfiction I've written with explicit sexual violence. I generally stay away from writing this genre because it is emotionally draining and I wasn't sure if I could write it well - or handle it with care.

The main point of this story isn't for sexual gratification - it was about Tom who had been beaten down all his life and finally found some semblance of control and power through the act of despicable sexual acts/torture. I wanted to convey that feeling and my intention is not to fetishize it.

All in all, it was a cathartic experience to write someone crazy and unhinged and let my imagination let loose.

[rainydaydream-gal18]

I just want to say that the latest episode of The Bad Batch sealed the deal on my opinion of Phee.

She has grown on me immensely as a character, and I now have a very different view on TechPhee.

I didn't particularly like the attitude of her character at first, but I mostly clutched my pearls because literally any character they would've paired Tech up with would have had me doubtful lol. (Was I slightly jealous over a fictional man?? Apparently so).

The little comments about Tech telling her all about Crosshair got me though. The fact that this conversation took place at all gave me good feelz.

Then, just add the fact that she said, "any friend of Brown Eyes is a friend of mine."

She didn't say any friend of the Bad Batch.... She said any friend of Tech's. It was a show of her loyalty and affection for him specifically, and also, it gives a glimpse of how he felt about Crosshair despite the fact that at that point, our boi Cross still hadn't returned to the Bad Batch.

I just gotta' say. I've seen some negativity about her lately, about her demeaning them and whatnot. We saw him literally smiling at her multiple times in the last season. It didn't look like the face a guy who felt demeaned and disrespected...

Either way, you can ship or not. That is completely and entirely up to each person. Like anything else, we are all entitled to an opinion! I don't think you're a bad person if you don't like the ship. I won't sit here and assume that there must be a terrible motive for disliking the ship.

I'm just personally starting to think it's sweet. It doesn't mean that we can't all still enjoy some Tech x Reader! It's what fanfics are for. You can have fun no matter the outcome of the story.

I just felt inclined to share that!

I'm enjoying the show. I appreciate it. I'm looking forward to seeing where it takes us (also nervous, but you knowww).

There are more things about the show I want to touch on, but this was one that stuck out to me! Anyway, hang in there Batchers!!!

[goddess-of-silvers]

The Penguin - Ep 4

Just need to scream into the void for a hot second about this episode and specifically Sofia Falcone and the wallpaper in Arkham Asylum and how its a direct reference from Charlotte Perkins Gilman’s “The Yellow Wallpaper”.

For those unfamiliar “The Yellow Wallpaper” is a gothic short story about an unnamed woman (debatable) who is essentially trapped in a house and living in this old nursery that is covered in this hideous yellow wallpaper. And after spending weeks there she becomes obsessed with it and the woman she believes is trapped behind it, until finally she gives in and “releases” her by ripping all the wallpaper off the wall. And the ending is a bit unclear on what exactly was in that wallpaper, if she becomes the woman in the wallpaper or if she really just went crazy. But one of the more important things to keep in mind is that she was being kept there by her doctor husband who ignored her pleas to leave and insisted this was for her own good.

Now going to episode four of The Penguin and finally getting Sofia’s backstory in Arkham I immediately clocked the yellow wallpaper that Sofia was slowly peeling back and revealing on the walls after every one of her electro shock therapy sessions. It is such a genius move to reference Gilman’s short story when talking about another woman whose agency was stripped from her and forced to endure endless rounds of torture in a madhouse to keep her quiet. It’s just too perfect. She goes into Arkham in this beautiful black and YELLOW dress and is stripped of it, put through the demeaning inpatient process of Arkham and then stuck trying to prove she is innocent and sane to doctors who have already condemned her. Not to add her therapist Julian who is essentially the doctor husband in “The Yellow Wallpaper”, who is sexually attracted to his patient but still conducting inhuman practices and refusing to listen to his patient because “it’s for her own good” and “we’re just trying to help her”. And then when Sofia is fully surrounded by the yellow wallpaper of her parents’ bedroom and sees her mother’s corpse hanging is so horrifying and bleeds into one of the many interpretations of the ending of “The Yellow Wallpaper” that involves the main character also hanging herself. But finally, finally the last part of the episode when we see Sofia in the yellow dress, stepping into herself and giving herself her freedom is just a perfect way to close her character arc and the literary reference, where she has ripped off the wallpaper and set the woman/herself free.

This show has exceeded my expectations for what I thought it would be as a spin off show. But this isn’t the Penguin’s show anymore it’s Sofia Falcone’s. I could write a paper on just this literary reference but take this instead. My English Major ass couldn’t help but geek over the use of one of my favorite short stories. Anyway go watch The Penguin, if anything just episode four because they did their big one with this one.

[crooked-wasteland]

Women in Helluva Boss

How many times does a writer have to poorly write a female character before you have to just consider the idea the writer hates women.

Every single female to female interaction in Helluva Boss exists on a sliding scale of hostility, ramping up from Harvest Moon onward. In Harvest Moon, Millie has the most meaningful interactions for her character between her mother and Sister Sally May.

Millie and her Mother do not have a great relationship. Millie's mom is constantly scrutinizing and criticizing everything Millie does. Millie is given a blatant double standard compared to her other siblings. Anything Millie does has consequences while MtF transgender sister Sally May is spoiled by both the family and the writers.

Sally May condescends her older sister constantly. Being given a position of superiority by just her attitude while the way she is allowed to get away with the same things Millie does but can't be excused for shows a clear golden child and scapegoat child. However, none of this ever gets addressed. We are meant to believe that this is what healthy and good female to female familial relationships are supposed to look like when it hinges on unfair family dynamics.

This could have been the plot to the episode. Millie is seeking a constantly critical mother's approval while watching a younger sister get preferred treatment. It would allow a ton of character for Millie. Constant scrutiny and unequal treatment have a psychological effect on children.

Madrano insists there is a sibling rivalry between Sally May and Millie, but doesn't seem to realize where rivalries come from in family dynamics. If it was a competitive outlet like a sport, that would be one thing. However, the only comparison we see throughout the episode is that mom lets Sally May do whatever she wants while Millie is left out. That kind of sibling rivalry is not healthy on a fundamental level. Kids in healthy families get treated fairly. That means that kids should be held to the same expectations in broad strokes while making room for their individuality. Punishing one kid for doing the exact thing the other one is doing without consequence is not a loving, healthy family dynamic, and it says a lot that the criticism is leveled solely on Millie. The only cis female child.

Then there is Truth Seekers. The pilot was the only point where any suggestion of tension between Millie and Loona was expressed before the two had basically no interaction with each other in the series proper. However, it is written like we should just assume they have a not-great relationship as they make little jabs at one another. Like, there is this presumption that women just naturally don't get along that colors their entire interaction. We are supposed to get this idea that they are growing closer throughout the mission but have no foundation of where they are growing from, and every "bond" made is generously coated with backhanded compliments.

Even when being kind, the characters can't help but hiss at each other with insults towards female sensitive issues like aging. It's up there with making fun of someone's weight. It's an issue unfairly targeted towards women that is a genuine source of distress in Western society. Madrano, being a woman, especially one who has openly struggled with aesthetic concerns of her own body, finding nothing wrong with characters attacking female characters for their looks says a lot.

There are additional quips of just blatant misogyny throughout season 2. The character assassination of Stella from being a potentially abusive, cold, and selfish partner to being hyper emotional and screeching all the time with no ability to have a complex throught beyond the level of a toddler. The repeated insults of "bag of holes", "pussy face" and "tit haver" by Blitz as female side characters are boiled down to nothing but the sexual qualities which are then used to demean and belittle them.

The true zeitgeist of Madrano's attitude towards female relationships is seen best in Episode 8. The early interaction of Loona and the poodle hound is vapid, which makes the hostility feel less personal between the characters and more a continuation of this female misogyny. The reasoning for Loona to become so upset is weak throughout the episode but is simultaneously felt to be justified while being a character flaw.

The poodle shows an embarrassing picture of Loona with the same vapid reasoning as Stella: I hurt you because it's my enjoyment. Seeing how this is the second appearance of this characterization, this is where I begin to believe that Vivienne had a hard time making friends with other girls in school. Instead of any level of self-awareness towards maybe herself being an unagreeable person, she assumes this was just how women are. The way she frames Loona in a lot of these scenes feels too personal. It almost feels she assumed we all had this kind of experience growing up as young women, and that is why it never gets fleshed out more.

The scene could have been used so much better with being specifically targeted towards Loona and her character. Have the poodle say something like, "Loona? Lunatic Loona? Is that really you? We thought you, like, died or something!"

Have Loona feel awkward and out of place, unsure if it's an insult or a legitimate concern, and have her toe that line of neutrality as she tries to assess the atmosphere. It shows a desire to be accepted, a very raw inner self that is quick to be triggered, as well as her lacking in interpersonal skills. She can simply pull in with a defensive, "What's that supposed to mean?"

Then, have the poodle respond with something like, "I dunno. You got adopted one day and then totally disappeared. When they didn't return you, we all just assumed you died or some shit."

It is a cruel joke that says way more about Loona than anything we have been given. It can get a laugh as well as open the door to so much unspoken lore that fans could actively explore. It actually establishes Loona's fear of abandonment that never gets set up at all throughout the series. Even Seeing Stars doesn't establish that fear, yet still tries to act like it is present in the story.

This sort of cold disinterest in Loona better fuels the level of insecurity needed to have Loona lash out the way she does. Instead of being so thin-skinned that embarrassment alone triggers her to blow up, have it be the utter loneliness that people she knows don't care whether she is alive or dead and that she lacks fundamental worth to others.

But this isn't the only massive train wreck of escalation seen in the episode. Beelzebub is a genuinely sweet character throughout the episode who does nothing to even hint at selfishness or malice. She graciously accepts an embarrassing defeat in front of everyone while Loona can't so much as laugh at herself. Loona uses Blitz's win to then elevate herself socially in the party, not actually spending any time with her adopted father.

I am genuinely confused by people claiming that Loona was defending Blitz as Beelzebub is simply telling her that her dad is not doing well and that she should check on him. Telling someone their friend or family member is self-destructing is not something anyone needs defending from. That goes into the fanbase more than the writing however.

Back to the actual episode, the line that causes Beelzebub to snap at Loona isn't when Loona accuses her of being jealous or petty, but when Loona merely states that everyone loves Bee. For some reason, that comment is what triggers a fight. It shows a fundamental lack of understanding basic human interaction. That women are too emotional that they blow up for no reason. It almost feels more at home in a JustPearlyThings fever dream than an actual serious exploration of human emotion. Add to it the deescalation doesn't come from communication or finding common ground, but by elevating the comfort of a man.

I'm not sure how many times it needs to appear in action and be so forced to the point that it doesn't even bother to justify itself, by acting like this is just everyone's experience with women, before we can call a spade a spade.

[goamu-blog]

Needed to get my thoughts in ordering about SY and LBH relationship, so I did this. Starting this off with, I don't understand why they are together or even have a romantic relationship. Their entire romantic relationship never really developed. To me, LBH and SY romantic relationship does not feel real or convincing in any way.

Everytime I see something about their love for each other, I'm always like, what love is there between them. How can they love each other when they don't even know the others' true personality and thoughts. They don't really know each other in any deep and meaningful way.

SY entire outer personality and actions are a complete front he puts on. He acts the part of a composed, elegant, lofty, immortal scholar. But that is not who he remotely is on the inside, his actual inner personality and thoughts are that of an internet hater, an anti fan, conceited, self centered, narrow minded, homophobic/transphobic(just because he is in a gay relationship doesn't make him any less homophobic/transphobic), and a bit sexist. Any time he meets a woman, the first thing he does is comment on their appearance and that they belong to LBH. He even treats NYY that way, someone he has known since she was a young teen, and seeing him commenting on her appearance and breast didn't endear him to me.

So yeah, SY never shows LBH or anyone else his real personality. He just puts up a front that is not even close to his actual inner personality. Actually, that is not quite right, the only one he does show some of his real self to is SQH. And SY treats SQH terribly. He is always demeaning and disregarding SQH. SY thinks he is better than SQH and that he knows the world and characters better than SQH, the author. Even when SQH tells SY that not all women wanted LBH, SY doesn't believe him because he believes he knows better than SQH. SY also fully expected SQH to die at some point and was fine with it since he was surprised that SQH was still alive when they met after the time skip.

I can honestly go on and on about how SY is actually not even a remotely good person like the fandom believe and likes to portray him as, I actually already did something like that in a past post, but I can definitely add plenty more to it. I think I could do an essay on it if I had the time, energy, and motivation, but I don't so I will just leave it here before it turns into a SY is actually not a good person at all rant.

SY's entire outer personality is a complete front he puts on for the world. He is acting the part of a composed, elegant, lofty, immortal scholar. But that is not who he really is. SY only shows his inner and actual personality to SQH and no one else, not even LBH gets to see SY'S real personality.

As for LBH, to me, LBH seems like he only shows SY that parts of him that he knows SY will be fine with, won't make SY uncomfortable, and will get him attention and affection. LBH will only act in a way that he knows SY will approve of. In that way, he also doesn't completely show his real personality in its entirety.

While I'm on LBH'S personality, to me, it seems like the novels really never developed LBH. For being a main love interest, the books never spend much time with him or give him enough dialog. It's like LBH was a side character instead. The novels also never gave LBH anything outside of SY. LBH doesn't have any ambitions, goals, friends, or interests. Everything about LBH is tied to SY, LBH doesn't have anything outside of SY. To me, that really dulled LBH character. The novels didn't treat LBH like a main love interest, it treated him like a side character.

Now on to how they are as a couple. They have nothing in common nor any interest together. SY has more in common with LQG, and they have the same interests in monsters. SY and LBH don't have that, they don't have anything in common or have any shared interests. To me, SY and LQG make more sense as a couple then SY and LBH do, because at least I can say that LQG and SY actually have things in common and shared interests, unlike LBH and SY.

I remember seeing a post about how the reason SY and LBH are a good couple is because SY accepts LBH as he is, with all his jealousy and insecurities, and that it is romantic and that's why they like them. I do not think they realize that jealousy and insecurities do not in fact, make for a long and healthy romantic relationship at all. It just shows how insecure LBH is in the relationship.

On to their communication, they do not have any. SY is completely incapable of communicating in any deep, truthful, and meaningful way. Anytime that SY had any insight or even a little deeper understanding of LBH happened because SY was going through LBH'S mind. Not because they actually talked to each other. And even then, SY's understanding was only surface, and even afterward, he never actually talked to LBH about anything important. SY never ever tries to communicate in any meaningful way.

Also, SY never once apologized to LBH for everything he put him through. He never even thought of it.

As for LBH, like I said before, LBH only acts in ways he knows SY will approve off, and that will get him some affection. Unless LBH is at a breaking point, he will not open up about anything deeper because it could upset SY and make him uncomfortable. So LBH will not open up to SY about anything deeper. He will keep it to himself even if it is bothering him. LBH will not bring up the past and question SY's actions, even if he needs to. To me, that shows that LBH is not comfortable with communicating and opening up to SY in any deep and meaningful way. It shows that LBH is not comfortable showing SY his authentic self.

He only expresses a little of his deeper self when he is at a breaking point, SY does anything he can to placate him, and they never again dring it up, which is very not good or healthy in a relationship.

The way I see it, as a couple, neither LBH nor SY show each other their true selves or communicate properly. SY because his entire outer personality is a total front(a lie) he puts on and never shows anyone(expect SQH) his real self, and he is incapable of any deeper communication or even thoughts, he only ever gets a slightly deeper understanding of LBH when he goes through his mind, and even then if understanding is surface only. SY never tries to have any deeper understanding or communication with LBH.

And LBH because he does not want to upset SY or make him uncomfortable. LBH will act in the ways he knows SY will approve off and get him affection. Add that on top of his jealousy and insecurities, and it makes me think that LBH is insecure about the relationship.

The part that cemented my feelings on them as a couple, that it did not feel real or convincing in any way, is in the extras, the 100 questions chapter. Usually those type of questionnaires are supposed to be fun little things for a couple to do together, so that they can reminisce about their relationship, show how well they know and appreciate each other, and have a fun back and forth conversation with banter. But that was not the case for LBH and SY.

As far as I remember, SY never once said anything that I would consider to be genuinely positive or romantic about LBH. SY was always brushing LBH off throughout the whole thing. And LBH was just like, I like everything about shizun, without going into specifics.

When asked what their partner is like, SY only said little negative things about LBH. And what got to me about this whole thing and made me feel the way that I do about them is, when LBH heard SY comments he got watery eyes, and SY was like better think of something positive and nice to say about LBH so that he does not cry, and the only thing SY could think off was that LBH was a good listener and very obedient.

The only good thing SY had to say about LBH is that he is obedient. In real life, if someone said all of these little negative things about their partner and then went on to say, well the good thing about them is that they are obedient, they would be rightfully criticized to hell and back by others. If someone I was in a relationship with said that about me, there would not be a relationship between us anymore.

When their sex life came up in the questionnaire, SY just laughed at it. His reaction to their sex life was to laugh in what I would assume to be in a mocking way because LBH once again got watery eyes if I remember that right. And SY makes absolutely no attempt to improve their sex life. He is not invested in their relationship or has any want to improve it.

The entire 100 questions chapter, along with plenty of other things in the novels, just made me feel that SY is not at all enthusiastic about his romantic or sexual relationship with LBH. Also, just because someone can appreciate someone else's looks and have sex with them does not necessarily mean they have romantic or sexual feelings towards that other person. People can and do have sex with others without feeling sexual or romantic feelings.

There was not one moment in all of the novels where I could think that SY was ever enthusiastic about his relationship with LBH or even had a romantic thought about LBH. I never felt that SY was at all excited about their relationship. It felt more like it was just something that happened to SY, so he went along with it without being truly invested in it.

Another thing about their relationship, their entire relationship only happened because of the very specific circumstances they are in. In any other situation they would not be in a romantic relationship. The only reason they are in a romantic relationship is because SY is controlling SJ's body. The fandom goes on about how SY's kindness saved the world, but it only worked because he was specifically controlling SJ's body.

If the only thing LBH needed to not ruin the world was for someone to show him kindness, then the kindness NYY's always showed to LBH would have worked, but it did not. Because it is specifically SJ's kindness, approval, and acceptance that LBH needed. LBH fell for SJ at first sight and had spent a few years with him, and as soon as the one who LBH thought was SJ showed him acceptance and kindness LBH was all for him. If SY had somehow transmigrated as himself in his own body or if he had taken over and replaced anyone else, if he had been a regular person, a disciple, some other peak lord or cultivator, or anyone else that was not SJ, LBH and SY would not have had a romantic relationship.

LBH and SY are only in a romantic relationship because it is specifically SJ's body that SY is controlling. LBH believes he is in a relationship with SJ. In any other circumstances where SY is not controlling SJ's body, LBH and SY would not have a romantic relationship.

Also, I will like to point out that anytime I see someone complementing SY looks and saying how beautiful he is, it seems that everyone forgets that that is not actually SY's looks and body right, that is SJ's looks and body. Anytime anyone says how beautiful SY is, it is actually SJ. We never ever saw SY actual looks and body, it has always been SJ. SJ is the one that is beautiful, not SY.

A few other things about their relationship, SY does not treat LBH like a romantic partner. He treats LBH the same way he did when LBH was a teen. And his relationship with LBH when LBH was a teen was very inappropriate and manipulative on SY's part, which SY being a modern person should have known, but I'm not going to get into that here. SY still calls LBH child and treats him as a live in maid, the same way he treated LBH as a teen, only now they are married and have bad sex.

Also, SY never really sees LBH as anything else other than the protagonist. Even after he had his little surface level realization. To SY, LBH will always be the protagonist first and foremost. And that shows to me that SY's care for LBH is surface level only. Sure SY cares about LBH, but SY cares about LBH the way one would care about their favorite characters, that is why to SY LBH will always be the protagonist first and foremost, anything else is secondary and unimportant.

SY and LBH entire romantic relationship, BingQiu, feels like a lie. Neither of them, but especially SY, show the other their true selves. Neither of them have anything in common or shared interests. Neither of them can communicate in any affective and deeper way, and in SY's case, it is a complete inability to communicate or even have any deeper thoughts.

SY was never enthusiastic about his romance or sexual relationship with LBH or even had a truly romantic thought about LBH. SY makes absolutely no effort to improve his relationship(romantic/sexual) with LBH because he is not invested in it. SY treats the relationship like it was just something that happened to him and is going along with it. Probably because that is what happened, SY only decided to be with LBH right after LBH tried to destroy the world and that just made it seem and feel like SY was placating LBH for his survival by being with him and not because SY actually wanted to be in a relationship with LBH. It is like SY is trying to keep LBH content and under control by being with him. Also, just appreciating someone's looks does not make for romantic or sexual feelings. SY does not treat LBH like a romantic partner, he treats LBH the same way he did when LBH was a teen and like a live in maid. If LBH and SY were not in the very specific situation where SY is controlling SJ's body, they would not have a romantic relationship. If SY was himself or controlling anyone else's body other than SJ body, LBH and SY would not be in a relationship.

So yeah, those are my thoughts on them. The entirety of BingQiu's relationship is based on a lie, so it feels like a lie. Their relationship does not feel real, and it is the least convincing romantic relationship I have ever read. And once again, SY absolutely refuses to make any sort of effort to improve their relationship in any way because he is not invested in it. SY treats their relationship like an obligation, just something he has to do. Calling their(bq) relationship romantic is a little insulting to actual romantic relationships in fiction. Their relationship does not have what it takes to be a long and healthy relationship.

[theladyrebecca2]

Stranger Things: The First Shadow (My spoiler-filled review and thoughts)

“Nerds, do you copy?”

Buckle up, because this is a long one! I've tried to remember as much as I can from when I saw the play on Dec 5th.

Disclaimer: This is in no way a complete recollection of things that happened. They really packed a LOT into it. This is just what I can personally recall, helped along by other reviews and recollections I’ve found online that sparked my memory. 

If you don't want to be spoiled, don't read any further!

Act 1.

After an epic intro scene, where soldiers on a ship at sea get dragged off by demogorgons (more on this later), we’re shown the Stranger Things intro exactly as though we’re watching an episode.

Chapter One: The Girl from Nowhere.

Hawkins, 1959. 

It opens with a young Bob Newby on air, talking on his radio show (the founder of Hawkins AV club! <3). We learn that he actually has an adopted sister, Patty Newby. She’s black, so she feels like an outsider (bear in mind it’s the 1950s/60s, so… yeah.) Principle Newby, their father and only remaining parent, is also very religious. 

He’s also the pastor (?) at the local church, and often makes Patty go to the church with him. She admits to Bob that she only likes to go to listen in on people’s confessions (some of which are really juicy). She also enjoys the choir there (?) as she likes to sing.  

Principal Newby doesn’t like that Bob and Patty read comic books. There’s talk about how some things are discouraged or outright forbidden because they involve sex (gasp!) and morally ambiguous behaviour. Patty in particular is looked down on by her father for acting rebellious. He disapproves of her answering him back. 

Instead of praying to God, Patty prays to Wonder Woman.

One of the first sections in the show’s programme is dedicated to the impact of comic books and science fiction on kids in the 1950s:

[This has always been the way with fiction. Whether you are talking about adventure, fantasy or sci-fi, stories set in faraway places reflect the anxieties of the here and now. Just as the children in Stranger Things turn to a fantasy game to help them make imaginative sense of a dangerous world, so we escape to alien landscapes to think about ourselves. As South Africa novelist Lauren Beukes once said, “By imagining the unimaginable, it’s possible to make reality more bearable.”]

[As Patty in Stranger Things: The First Shadow is aware, however, whether male or female, superheroes were almost exclusively white. Unless you happened to get hold of a copy of All-Negro Comics, published in 1947 by Black journalist Orrin Cromwell Evans, Black children would not see themselves represented in popular culture.]

[... in this age of technological advance and political uncertainty, [comic books] provided the thrills, the escapism and the imaginative fuel that audiences, young and old, needed more than ever.”] - Mark Fisher

Next, we’re introduced to Joyce. She’s Joyce Maldonado at this point. She’s half undressed and trying to find her clothes, obviously fooling around with Lonnie Byers, who is already talking down to her in a very casual way, telling her she’ll never amount to anything and that she’ll never leave Hawkins like she dreams of. It was another example of only physical attraction existing between two characters - there’s little to no emotional compatibility there. I sort of had the vibe that the scene was effectively introducing Joyce and Lonnie’s unequal power dynamics as they are in the show moving forwards. Lonnie sits with his legs encasing Joyce as they both sit on a mattress, and she’s visibly vulnerable in her bra, listening to him say these casually demeaning things to her. 

Joyce wants to direct the school play, although she’s pretending to Principal Newby that they’re doing Oklahoma. Oklahoma will serve as a smokescreen for the real play she wants to direct: The Dark of the Moon. This has its own page in the programme too: 

[From the depths of Scottish folklore to the Broadway stage, the journey of The Dark of the Moon is as shrouded in mystery and intrigue as the contents of the piece itself. Over the course of several hundred years, the story evolved from humble beginnings (The Ballad of Barbara Allen) into something rather darker and more brooding than its simpler folktale roots.] [In its original versions, it seems to have been an innocent, if tragic, ballad about a young man who dies of unrequited love, only for the grief-stricken object of his affection to follow him to the grave. There, they become a rose and a briar respectively, destined to be intertwined for all eternity.] - The Creel House front door, anyone?

[In 1939, it had somehow become part of the Appalachian mountain lore of the north-eastern USA… [sometimes] with a central theme of divorce rather than death. But perhaps its oddest reincarnation is as a regular feature in the annual school play catalogue across the United States… retitled The Dark of the Moon, the play recasts Barbara Allen as a young maiden desired by a witch boy whose request to be made human is granted on the condition that she is faithful to him for a year. When that condition is tested to destruction, tragedy naturally (or unnaturally) ensues. The play is rich with allegory, including themes as knotty as religious fanaticism, demonic possession and mob psychology, and with its plot of star-crossed lovers meeting across the divide between this world and a mystical parallel one, it’s a kind of Gothic Romeo and Juliet.]  -Michael Davies

In the next few scenes we’re introduced to a whole host of characters as they come into the high school, and eventually gather around for the casting of Joyce’s play:

Ted Wheeler, school jock, Mr Popular. Very much a ‘peaked in high school’ vibe. 🙈

Karen Childress, Ted’s popular cheerleader girlfriend. Ted and Karen are depicted as two teens who can barely keep their hands off each other. They constantly make out. It’s suggested that Karen is only dating him because he’s popular and um… well-endowed. 

Walter Henderson (who must be Dustin’s dad) is a total dick. He’s openly racist towards Patty at one point, earning him glares and snappy remarks from both of the Sinclairs who are present at the time. Patty has a horrible nickname at school, “mystery meat”, because of her unknown origins. But it’s clear with Walter's comments that her race also plays a factor in her general ostracisation. 

Claudia Yount (Dustin’s Mom). She has a cat called Prancer, and is dating Walter. I thought it was very fan-servicey to include Dustin’s parents at all, because we know canonically that Dustin and his mom only moved to Hawkins when he was 4th Grade. So I guess Claudia and Walter moved away, had Dustin elsewhere, then Claudia came back to Hawkins again with Dustin after Walter had left/divorced her?? 

Sue and Charles Sinclair. Again, it was a cute Easter Egg to include them, but all the parents of the OG boys being there felt very fan-servicey - especially with them all already being coupled up in high school. It felt too unrealistic and a bit jarring. I’m choosing to take this as they were literally intended as cute little Easter Eggs, and as prime opportunity for comedic relief (e.g. seeing Ted Wheeler as a total player, in total opposition to the Ted we know). 

Alan Munson. He’s a little strange and quirky, a lot like Eddie. He has a rock and roll vibe, and sticks out his tongue and does devil horns with his fingers, lol. The others don’t seem to know what to make of him, but there’s no animosity or anything. He’s really funny in all his scenes.

And of course, Jim Hopper Junior. To me, Young Hopper was like… a weird mixture of old Hopper from the show, and Steve! The actor did a great job, but yeah, it was giving Steve more than Hopper in some places (to me, at least). I don't know if this was intentional.

Hopper has some dad issues - his father is the chief of police, and they don’t get on. There’s a whole scene later on in the show where they even have a physical fight in the police station (although this isn’t depicted super seriously, and is actually part of a larger comedic section that involves some of the other cops in the station getting involved for laughs. At the end, Hopper and his dad sort of come to an agreement.) It’s kind of slapstick. They’re all falling over each other, and there’s even a part where one male cop falls against another face forward onto a desk, and it’s pretty suggestive (one is sort of mounted behind the other). Idk if this was supposed to be a standard ‘gay joke’ just for lols, or if it was more that the cops had an unexpected ‘moment’ together (they take a while to part from each other, and then they avoid each other’s eyes, so… idk). Just something I noticed happening off to the side.

Anyway, back to Act 1. We’re taken away from Hawkins High to outside the Creel house, and introduced to the Creels moving into Hawkins, just like they appear in the show’s flashbacks. They’ve moved from Nevada, and the reason they’ve moved is because something had happened with Henry, and this is meant to be a new start - it’s left ambiguous as to what exactly happened, but there’s mention of a kid that had been ‘left in a wheelchair’. 

At first, Virginia Creel seems somewhat loving towards her son, hugging and kissing him and trying to act ‘normal’, but she’s clearly unsettled by him. Henry is unpredictable, and almost seems to switch between different personalities: one that’s familiar, shy but friendly, and one that quickly rages and turns violent. 

Whilst it’s not explained WHY yet, we clearly see that Henry is somehow ALREADY under the influence of the Mind Flayer - and that he has powers.

Virginia becomes more and more openly terrified of Henry as the play goes on. Meanwhile, Victor Creel is generally absent the whole time as he’s dealing with his own ‘demons’ (severe PTSD from the war). People in Hawkins think he’s odd and weird. Remember that nobody understands PTSD at this point in time. 

Again, we get a spread in the programme about this: “These are the tranquilized fifties… the legacy of trauma in post-war America”:

[It is very likely that Corporal Victor Creel, 9th Airforce, missed the birth of his son Henry in 1945… Getting their bodies back to the US would be a huge undertaking… getting their minds home would be another problem, and one which no-one had thought to predict.] [Victor Creel is a familiar figure to us now: shellshocked, prone to outbursts, turning to alcohol to numb his trauma… what to do with the man who has seen atrocities - who is in himself a living testament to the fact that they exist, that they happen - who, in Victor’s case, may even have committed them himself? The answer was to bury him. Though shellshock was first given its name in the aftermath of the First World War… there was no widespread study of PTSD until after the Vietnam War, even though more than double the amount of American soldiers showed symptoms of PTSD during WW2 than WW1… Those suffering on the front were sedated and told they were exhausted… once they made it home, they were told not to talk about it: that they were lucky to be alive.]

[One response in particular would have been familiar to the Creels - the child who becomes aloof from their father, and who disengages from the emotional life of the family… Much like Jim Hopper and his father, there was often immense love between these children and their fathers, but they had no way to talk about the pain they were feeling.] -Beth Kelly

Henry is clearly lonely and feels misunderstood when he first moves to Hawkins. It’s like he’s aware that there’s a darker side of him that’s dangerous, but he can’t fully explain why he does certain things (e.g whatever he did to the kid left in a wheelchair). There’s a scene where he sees the smoke of the Mindflayer swirling around him in the void, and he yells, "What are you??"

He’s the new kid at Hawkins High. People at school think he’s strange. They’re not necessarily cruel to him, but they’re not really sure how to take him either. Joyce is pleasant to him. But the only person he really connects with is Patty Newby - who we know is also a bit of an outsider at the school because of her peculiar origins and skin colour.

It’s clear there is an instant connection between Henry and Patty. Henry in particular is obviously crushing on Patty, and acts awkward around her. They bond over their love of comic books, and decide to be friends. 

Anyway - back to Joyce’s play. So the reason she wants to direct the play in the first place is to impress some visitors from a university, so she can achieve a scholarship to study theatre outside of Hawkins. 

It involves “witches, satanism, religious allegory”. Lots of things that Principal Newby would definitely disapprove of (hence why she pretends that they’re doing Oklahoma). 

Joyce talks about the overarching message: “That’s what it’s all about in the end, isn’t it? Whether love can conquer fear.” (paraphrased). I think that was perhaps a really meta moment, and applies to THIS play and even Stranger Things as a whole.

Also there was something like, “they’re witches, not lesbians!”/ “They were witches as well as lesbians”… “Does it matter?” (again, paraphrasing, I can’t recall the actual lines, and I think this was either said at this point by Joyce and someone else, or a conversation that happened earlier between Bob and Patty when they were talking about a comic or story they had read. I’m sorry, I can’t remember!) But I thought it could be a reference to the Fear Street trilogy, maybe. I was on the lookout for any kind of LGBTQ+ imagery or dialogue, and yet my brain still managed to forget details by the end of it all (Act 1 needed to be 20 minutes longer, seriously. They went through so much dialogue so quickly, it was difficult to keep up. I feel like I need to see the whole thing again to properly take it all in).

Maybe I was tripping, or maybe I misheard, but I thought there was also a blink-and-you’ll-miss-it line about “the ending is happy and gay”. I wish my brain would have held onto those lines, but it happened so quickly. Something like, “the ending will be happy and gay”… “isn’t that what everyone wants?” Now, I’m certain they meant ‘gay’ as in ‘happy’ in the context, but I couldn’t help but side-eye that moment a little because it’s an outdated term in today’s language. It was, I believe, a quick exchange between Joyce and… I want to say Bob? Or possibly Walter? I honestly cannot remember. I'm begging people not to run away with this because it’s also totally possible that it was said in a derivative sense, like, “this story is dark, gothic and tragic... not happy and gay”, you know? "That's what everyone wants, right?" "Maybe, but this ends in tragedy." I really hope someone, ANYONE else caught these lines, and can give me their own two cents on it. (Curse my shit memory and also just how FAST those lines were coming at us during those scenes in Act 1… like guys, please slow down so I can actually take in what you’re saying!) 

Anyway. Joyce is having trouble casting the main leads, John and Barbara Allen, as the two are lovers and will need to kiss, and nobody seems to have the right chemistry or is taking it seriously enough. 

At one point, Karen (acting as the female lead) confidently and passionately kisses Bob (acting the male lead), who’s awkward and flustered afterwards (this is done for the audience lols). 

After hearing her beautiful singing voice (encouraged by Henry), Joyce decides to cast Patty as her female lead. Meanwhile Henry has unwittingly found himself in this room along with everyone, and accidentally gets involved in the casting process. Joyce sees that Patty and Henry have chemistry together, so she decides to cast Henry as her male lead too. 

Henry and Patty grow closer. Henry tells Patty that he’s bad, and she should stay away from him. She doesn’t listen, and says just because someone has done some bad things, it doesn’t make them a bad person.

At one point they sit side by side by the confessional at church. Henry admits to her that he has powers. He tells Patty that he can hear what people are thinking - all the time. It drives him crazy (and says people are always ‘pretending’ to be normal. The vibe is very much in tune with his speech in Season 4 about how everyone is just in a silly little play, all playing pretend with each other, all trapped in these notions of living their lives in a way that society thinks is acceptable or desirable).

As an example later on in a separate scene, he points to Karen and Ted and tells Patty, “she thinks he’s an idiot, and he’s scared of her.” He points to more characters in this scene and says more about them (like Claudia and Walter, Sue and Charles, maybe even Joyce and Hopper?) but unfortunately I can only remember Ted and Karen’s. 

Patty convinces Henry that his powers are not evil, and that he should be able to control them and use them for good. Henry then creates a "vision" for Patty, where she can freely sing with people listening, and everyone around her joins in and appreciates her talent (I think she sings "Dream a Little Dream of Me"? Unless this happens later on. There’s definitely a moment where she sings a bit of that song. Henry associates it with Patty.)

In this vision, even Patty's father is supportive of her and her singing, and it’s quite a funny moment how she imagines him dressed in a saucy red cape, dancing in a way that he *definitely* wouldn’t approve of in real life.

So it seems Henry is actually able to show people their dreams as well as their nightmares. It suggests his powers are his own at this point (at least to an extent), and not necessarily always controlled by the Mind Flayer. 

Victor sees Henry talking to Patty at school, and mentions this to Virginia. He describes it as “harmless, just Puppy Love”, a first crush. 

Virginia is still worried, and tells Henry to stay away from Patty (for her protection). Henry gets angry. We keep hearing his voice change when he changes, like a deep, monstrous voice. It’s creepy, like it’s not really him in those moments - it’s like the Mindflayer using Henry’s body, speaking through him. 

While in the attic (his new favourite spot), Henry keeps becoming influenced by the Mind Flayer. He travels to the void frequently, from where he proceeds to start killing animals - the first of which is Dustin’s mom’s cat. It’s just like the Vecna attacks in Season 4, snapping their bones and blinding them. 

Henry seems to be aware that he’s the one responsible for these killings, and he keeps on going back to the attic, and the void, to keep doing it - but it’s unclear just how aware or remorseful he is about all this, or whether it’s 100% possessed!Henry during those moments. It certainly seems like it’s the Mindflayer making him want to do those things. When he first approaches Prancer, he’s friendly, calm and softly-spoken. The attack happens very suddenly and afterwards, I think Henry sort of ‘comes to’ and cries out in distress/remorse? 

Either way, Henry is definitely under the Mind Flayer's control at that point, and you can see the Mind Flayer smoke flying around in the void next to him. 

After Claudia’s cat turns up dead, Hopper is immediately on the case, wanting to find the culprit. He starts questioning people, and ends up approaching Henry at school.

I want to clear Hopper’s name in something here! I saw someone say that, in the play, it’s stated that Hopper says he hates cats. Whilst this *is* something Hopper tells Henry at this point, it was clear to me that Hopper was only playing mind games in the way an investigator will try to get a suspected criminal to confess: ‘The truth is, I hate cats. So I actually just want to shake the hand of the person who did it - they’re a hero in my book!’ He’s totally bluffing, and it’s just meant to show that he’s already thinking and working like a detective. Regardless, the tactic doesn’t work, and Henry brushes him off. Hopper remains none the wiser. 

When more animals start being killed in the same way, Hopper is the one who figures out that they’re all pets of Hawkins High School students who are taking part in Joyce’s play. He goes to her to request her help, and she and Bob both end up going out to look for clues with him (complete with torches, this gave major Season 1 vibes). 

Joyce and Hopper’s relationship is mostly antagonistic, but it’s clear they like each other and they flirt a bit. Meanwhile Bob admires Joyce from afar, wanting only to impress her and to find the courage to tell her how he really feels. There's some love triangle imagery throughout with where they stand. (Note: Bob does eventually admit to Joyce how he feels at the end, but she casually rebuffs him. I'm so glad they eventually ended up together because Bob was just too pure.)

Henry continues to be haunted by images of a monster reflected back at him in a mirror. I think we’re meant to take that as a representation of Mind Flayer!possessed Henry. He’s clearly afraid of himself, and what he’s capable of. 

The Mind Flayer appears to him as Patty, and taunts him by saying cruel things, like saying that he will end up killing her. In the vision, Patty starts pulling off her own hair until we see her brain. We hear a deep monstrous voice taunting Henry, saying he “will kill many, many more” - that they have seen it happen, and it is his destiny. (Time travel hints? The Mind Flayer can apparently see into his future, unless this was just an empty taunt that unfortunately came true, or a self-fulfilling prophecy). 

[Evidently, there’s something deeply disturbing at the heart of the human psyche about the possibility of uncovering the horrific within itself. When that horror is externalised… it creates a symbolic representation of our own nightmares, perhaps allowing us to tackle them more objectively and overcome those dark, disturbing impulses within us all.] 

[By investing fictional creations with the qualities we most fear - the horrifying, animalistic sides of our nature - we can, perhaps, face them more objectively and convince ourselves that we do, ultimately, have control over them… and ourselves.]

[... Perhaps the monster we fear most is the one we see reflected in the mirror. As Professor Mulrooney puts it: “The monsters in these tales are not necessarily the people we would call the monsters - Frankenstein’s creature or Dracula. The scariest part of these books is the humans.”] -Michael Davies 

The real Patty then interrupts the vision, and asks Henry if he can help her find her mother using his powers. He’s wary of doing so, but agrees to help her. He says she will have to come with him to his attic. 

Once inside, Patty tells him that it’s cold in there. Henry says he likes it cold. 

When Henry enters the void, he successfully locates Patty’s mom. She’s a singer, a show girl, working on a stage in Vegas. Patty asks him what she looks like. Henry says she looks like Patty. That she’s beautiful.

Suddenly, he loses control, and is once again visited by the Mind Flayer. Patty’s mom morphs into a terrifying figure who chases Henry through the void… and eventually catches him. 

We see the Mindflayer going into Henry inside the void, very similar to Will in Season 2 on the school field. (This happens either at this moment, or in a flashback at another point of the play. But it’s at some point!!) I think this was showing us that whoever Henry was, he’s fast disappearing into the darkness of the Mind Flayer, and vice versa - it’s like a fusion. 

Meanwhile, Mr Newby learns that Patty and Henry have been hanging out together a lot. He’s greatly displeased by this, and decides to go to the Creel House to fetch Patty and put an end to the budding romance. Romeo and Juliet vibes be vibing hard.

Downstairs, he speaks to Victor Creel, who is having a PTSD related episode and acting strangely. He says his wife believes the house is haunted by an ancient demon, and with everything that’s happened (and by how the lights keep flashing), he’s beginning to believe her. He feels like his demons have followed him from the war. 

Mr Newby then overhears the commotion from upstairs, and goes up to investigate. In the attic, Henry is holding Patty’s hand very tightly. He’s twitching and yelling as he fights against the Mind Flayer’s possession, and this frightens Patty. When her father walks in, he demands that Patty lets go of Henry’s hand. She tries, but he’s holding on too tightly. “I can’t!” Patty cries out.

Mr Newby is then attacked by Henry, controlled by the Mind Flayer. His body starts to rise up. Patty encourages Henry to fight back by telling him that she believes he is good, and that she loves him.

“Say it back!” she pleads to him. “Say it back!”

Henry responds and says he loves her too. Because of the love exchange, he manages to momentarily break out of the Mind Flayer’s control: Mr Newby drops to the floor, alive but badly injured. 

Joyce, Hopper and Bob were downstairs at this point, having followed radio anomalies to the Creel House (which they did via a machine that Bob built for them). They freak out and run away, and all come to the conclusion that creepy, crazy Victor Creel is the one responsible for Mr Newby’s injuries, as well as the string of violent animal deaths. 

[Joyce has some basis for believing Victor capable of violent crime, based as this may be in her own father’s war experience… When Joyce opens her copy of the DSM, first published in 1952, she will find no entry for PTSD… Instead, the symptoms she might recognise from her father were incorporated into depression or schizophrenia, rather than their own diagnosis. Short of a name for what they were suffering, traumatised veterans were left to find their own way through nightmares - through violence, alcohol or isolation.]  -Beth Kelly (from the Stranger Things: The First Shadow programme)

After the commotion, Henry removes his blindfold. Patty's father has broken through the attic floor, and he’s seriously injured. Patty is very afraid and upset. After a brief time skip (to the next day or two I think), we learn that Patty is staying away from Henry, who is worried that he’s ruined everything. The Mind Flayer starts to creep back in. We see a possessed Henry back in the attic, and Virginia comes up to him and says that she wants to help him, but she doesn’t know how. She reminds him that he needs to stay away from people to protect them. She talks about Patty, telling Henry that he shouldn’t see her anymore.

Possessed!Henry smirks and asks her if she’s jealous. There’s something insidious and disturbing in the way he asks it. Virginia recoils from her son and her “everything-is-going-to-be-okay” facade crumbles. We see she’s absolutely terrified of who Henry has become.

Henry creates a vision, so that it appears as though his pet spiders escape from their jars, and they run all over Virginia as she screams. She flees from the attic as Henry’s dark taunts follow her.

Henry’s sister Alice comes to the mouth of the attic. "Where is Henry?" She asks.

Henry: "He’s right here."

Alice: "You’re not him."

At this point, it was like the Mindflayer had almost completely merged with Henry. The lines had become more and more blurred as the play went on, and now it’s becoming hard to separate them - the ‘real’ Henry is finding it hard to come through and fight the possession. The Mind Flayer is winning. 

This really reminded me of Will and his own possession with the Mindflayer in Season 2. How they described it like a virus taking over, and how Will could have continued ‘disappearing’ until there was no more Will left. 

After the incident with Mr Newby, and her terror with Henry in the attic, Virginia has finally had enough. She willingly hands her son over to an “interested party” who describes himself as a doctor (who we know is Dr Brenner). He vows to take Henry to Hawkins Lab, where he’ll be safe, and contained. 

When he wakes up in the hospital, Mr Newby reveals to Patty that he actually stole her as a baby (?) in an effort to revive his relationship with his wife by having another child to care for - but it didn’t work, and his wife left him. He feels guilty about it, and wants to confess this to her after he almost died.

He tells her that he was attacked by a monster who made him relive his worst nightmares, and that “the boy”, Henry, actually fought back and saved him from death. He then draws the Mind Flayer on a piece of paper, hands it to his daughter, and tells her that this is what he saw.

After learning that Henry actually saved her father, Patty returns to his house to search for him, but it’s too late - Dr. Brenner has already taken him to the lab. However, she is able to communicate by calling out to him.

Henry contacts Patty through the void, where she is able to both speak and see him, despite him being at the lab. She tells him that she knows he is still a good person, and that he should return home.

———

Act 2.

On screen:

Chapter Two: Captain Midnight

So here’s the thing - the play paints us a totally different picture than Season 4 did in regards to Henry/Vecna. 

Henry was not inherently evil, like S4 suggested to many people - he was actually just a regular boy until ‘an incident’ occurred when he was younger, which is what gave him powers and started his possession in the first place. The end of S4 makes us think that El sent Henry to the Upside Down, which is where he meets the shadow monster and morphs it into the Mind Flayer with his powers.

But that wasn’t Henry’s first time there, nor was it the first time he saw the Mind Flayer. That was all just a REUNION.

It’s revealed that Henry actually disappeared into another dimension (Dimension X/ Upside Down) for a period of 12 hours when he was just a kid. He got lost near some caves in the Nevada desert, and when he returned, he had "completely changed in personality". 

He came back odd, ‘not normal’, and couldn’t socialise well. He also returned with dangerous powers, which he violently inflicts on animals. The Mind Flayer had clearly started possessing him from that early point, way before he even came to Hawkins. 

Let’s go back to the very beginning of the play - to the soldiers on the ship. It was Brenner’s father and his crew that were aboard this ship, the USS Eldridge, which had accidentally travelled into Dimension X/The Upside Down as a result of electromagnetic activity. 

This is based on The Philadelphia Experiment, or Project Rainbow, said to have taken place in the Second World War. The programme had a double spread on this: 

[Allegedly, wartime experiments caused the supernatural disappearance of a US naval ship… Project Rainbow was based on Einstein’s research into unified field theory through which [he] hoped to create a single theoretical framework to encompass all fundamental forces, including electromagnetism and gravity.] 

[Carl Allen claimed to have witnessed a strange event in October 1943 involving the naval destroyer escort USS Eldridge and scientists who were working on highly confidential technology which would make ships invisible to the enemy by using powerful electromagnetic fields to ‘bend’ light around them. According to Allen, they succeeded in doing just that. In fact, Allen said the ship was also briefly teleported 275 miles away to Norfolk, Virginia, before reappearing in Philadelphia. …It’s been suggested that the Eldridge’s official logs could have been deliberately altered… with the whole of Project Rainbow moving beyond top secret clarification.]  -Catherine Jones

Brenner’s father is the only survivor of this terrifying event. After returning from Dimension X and taken to a hospital, injured and dying, we learn that his blood type is now “unique” from any other human being. He won't survive a blood transfusion. His ravings about Dimension X before his death haunted and inspired Brenner for the rest of his life. Brenner started an experiment focused on finding and travelling back to Dimension X; his ultimate goal was to "create a gate" to reach it again.

Brenner enacted these experiments in the Nevada desert, where one day, one of his agents ran away with some of Brenner’s equipment near some desert caves. The agent was never found, but a Captain Midnight spyglass was - which was the exact spot where Henry went missing in Dimension X as a little boy for 12 hours. Brenner therefore began searching for the mysterious Captain Midnight comic-book fan who went to Dimension X and returned, watching him and keeping an eye on him. This is what led him to Hawkins: following Henry. 

Brenner tells us that Henry’s powers emerged after he visited Dimension X, and just like his father, his blood type is “unique”. He collects several samples from him. He also tells Henry that his powers become stronger each time he kills, and that’s why he gets so much satisfaction out of it. Brenner also tells Henry that he would get even stronger if he kills human beings, rather than animals.

During one scene, Brenner uses special equipment to see into and hear Henry's mind. He pushes Henry to the limit so he can hear and catch a glimpse of Dimension X. We hear noises similar to the Mind Flayer in Season 2 when Will goes into the Upside Down on Halloween night. The shape of the Mind Flayer appears on the screen (or was it the head of a Demogorgon? It was definitely something Upside-Downy), while Henry convulses. After this incident, Henry asks Brenner, “Can you take me back there?" 

Brenner also introduces the idea of anger to fuel Henry's power. On several instances he riles Henry up to get him angry, insulting him - and the result is always violence. He succeeds in getting Henry to kill a mouse/rat, which explodes into a bloody mess inside its cage, and then tries to convince him to kill a criminal who has been transferred to the lab with an agreement to be killed (he has a date with the electric chair later that week regardless). 

Henry refuses. He’s been speaking to Patty in the void, who has convinced him that he’s good and that he should return home. Brenner is frustrated with this, and becomes sure that Henry has someone that is "holding him back". He vows to find and remove this obstacle. But after Henry leaves the lab, Brenner tells his agents to let him go. He cannot force Henry to kill. “It has to be his choice."

Brenner is shown to have significant influence over Virginia. He’s been providing her with medication/tranquilisers, and tells her that her son desperately needs his help. He encourages Virginia to tell him who the person Henry is attached to. She does. Brenner promises her that he will take Henry back into the lab and that he won’t leave again. 

After Henry returns home, he reads his family's minds and learns that they are all afraid of him and unhappy with his return. He goes into his mother's memories and learns of the last interaction she had with Brenner, including that she wonders if he “may never have been good”, and whether "this was who he was the whole time." He knows that she was willing to give him up to Brenner forever. 

This is when the Creel murders happen, just like they’re shown in Season 4. Virginia Creel and Alice Creel are both murdered at the dinner table - and we know Victor is going to be blamed for it.

Is this Henry’s own mind now, turned to darkness and hate, or is it the Mind Flayer intent on eliminating all of Henry’s attachments? A monster who’s made a monster. I think it’s all left open to interpretation on purpose. 

After the death of his mother and sister, Henry goes straight to Hawkins High to find Patty, hoping to reach her before Brenner does. While at the school, he runs into Joyce, who voices to him her suspicions surrounding the animal killings, and what happened to Mr Newby at the Creel House.

At first, Henry thinks Joyce has worked it out, and that she knows it was him all along. “I wish you hadn’t done that…” he says, stepping closer. But Joyce clarifies just in time that she believes Henry’s father is the one who is dangerous, and that she believes he’s responsible for the terrible things that've happened in Hawkins recently. Maybe this is what gives Henry the idea to frame his father. Either way, he leaves Joyce alive. 

Both Brenner and Henry find Patty on the stage rafters, up on a high catwalk, ready to perform her part in the play. She’s initially wearing a set of wings as a prop, which are attached to the rafter to be lowered. Henry unties her from these wings, pleading with her to run away with him. An argument ensues with Brenner, where he attempts to convince Henry that Patty is his weakness, and that he needs to kill her to let her go. Patty tells Henry not to listen to him. 

During this argument, Henry loses control once more, and the Mind Flayer takes over. This results in Patty slow-motion falling from the rafters as the shape of the Mind Flayer overwhelms the stage. She hits the floor on her back, presumed dead. 

(The stage effects for this particular scene were absolutely incredible, by the way.)

Henry is later seen back at the lab. He’s fully subdued, confined to a straitjacket, mouth gagged, and sat in a wheelchair. Brenner says the implant (Soteria) is in, about to take effect.

If we believe what Season 4 showed us, the play skipped the part where Henry appeared dead alongside his mother and sister (just before Victor is then blamed and incarcerated at Pennhurst Asylum). So assuming that Brenner played a part in covering up Henry’s involvement in the Creel murders, Henry is presumed dead by the town at this point too. Unfortunately the play doesn’t address this, as instead we see Henry run immediately from the dinner table murder scene, straight to Hawkins High to find Patty. It’s a big inconsistency which I guess they want us to explain away with Henry being an “unreliable narrator” in the show. I guess he gave Nancy the abridged version of what happened!

Anyway, it appears that Henry later finds Patty in the void, despite Brenner telling him that he killed her. It seems she has successfully left Hawkins and found her mother in Las Vegas, just as she always dreamed of doing. She uses a walking stick, but otherwise appears alive and well. 

We hear and see static as Henry watches the scene unfold, and Patty glances over her shoulder, like she senses him. But then she turns her back and walks into the distance with her mother. 

An alternative take that I heard from someone, was that perhaps Patty is truthfully still seriously injured and is actually in a coma (similar to Max). They thought that maybe the final scene of Patty with her mother was actually just something that Henry was creating for her in her mind, as a sort of last semblance of goodness and love. I don’t think that’s what was intended, but it was an interesting take that I wanted to include! 

As the show nears its end, we’re presented with a series of newspaper articles relaying the tragic Creel Murders in Hawkins (possibly the same ones that Nancy and Robin find in Season 4). The Creel family all dead, Victor is blamed and sent to the asylum. The empty Creel House remains, a reminder of the horrors. It then shifts back to Hawkins lab, who are now recruiting pregnant women for experimentation. 

Brenner introduces a pregnant woman to Henry (who is still bound to a chair and fully subdued) and explains to him that the "blood transfusion" finally worked on a subject. He points to the woman's belly and remarks, “One, meet Two!" “You are as much a father to them as I am,” Brenner says at one point. Then, “Come… meet your brothers and sisters.” Even though we know Henry is not in any way related to the lab kids, they definitely played into the father/guardian/creator metaphor in the play. If not family by blood, then by circumstance. 

We see photos of the babies created in the lab, with their numbers underneath. We can recognise Eight as young Kali. Eventually we get to Ten, at which point the stage focuses on a now older Henry, wearing his recognisable Season 4 orderly outfit. He kneels beside a child with buzzed hair. 

"Hello, Eleven. Come with me.” He takes her by the hand, and they walk into the distance together. 

———

Some final thoughts:

Because of the incident with Patty during Joyce's play, we can infer that's why she is unsuccessful in her goal to impress the university, and remains stuck in Hawkins - just like Lonnie said she would.

Lonnie is awful, and I’m in two minds about how he’s handled in the play. They did a good job to show he’s always been a douchebag, and unlike what I’ve seen some people say, I actually think it was horribly believable that Joyce (who they establish likes 'bad boys') ends up going back to him and having kids with him. We know from Season 1 that there’s emotional abuse with Joyce and Lonnie, and to me, it makes horrible, horrible sense that it all ends up the way it does. I’m just not sure how I feel about Lonnie being used as any kind of comedic effect in the play (he makes a brief reappearance at the police station, where he’s been lying drunkenly handcuffed on some chairs the whole time during a scene... “It wasn’t me! I didn’t do it!" he says, or something to that effect). I feel like using him in that way diminishes how truly awful he is as a character. Maybe I’m just being too sensitive, but I’d much rather they had kept all the laughs and jokes for the other characters, and treated Lonnie completely seriously the whole way through. I don’t want to see him in any way ‘likeable’ or ‘relatable’ or ‘funny’, you know? Not even for cheap audience laughs. This is a guy who called his own kid son a f*g. Let's treat that with the gravity and solemnity it deserves, please.

Louis McCartney and Ella Karuna Williams as Henry Creel and Patty were great, and Isabella Pappas as Joyce was amazing. Dr Brenner was nicely emulated by Patrick Vaill (I personally think he was one of the most believable characters from stage to show). The best performance of all though was Christopher Buckley as Bob. Like, damn, give that kid all the awards! He was so believable as a young Bob, I actually forgot it wasn’t somehow a young Sean Astin on stage. *chef’s kiss*

As previously mentioned, all the parents of the kids are present in the play (and already coupled up). None of these characters are particularly fleshed out, and I think they’re mainly just there as fun ‘Easter Eggs’ to connect it with the show. E.g having Claudia own another cat that gets killed, seeing Ted Wheeler ironically as some kind of jock god who gets all the ladies (and cheats on Karen with, by the way!), Joyce holding an axe prop near the end mid-rant (“Why am I holding this??”) and Hopper making a remark about breaking his own foot (which he does in Season 4). 

They definitely seemed to be going back on the whole ‘it was Henry/Vecna the whole time’ thing from Season 4: the Mind Flayer has been pulling the strings from way before El sent Henry to Dimension X/Upside Down. We even see the Mind Flayer in the shape of a giant eldritch spider during the play, way before Henry appears to ‘shape’ it in Season 4. However, I think it’s also possible that Henry DID actually manage to take control of the Mind Flayer the second time he arrived in Dimension X (as we see at the end of S4). At that point, he’s killed all the lab kids and staff at Hawkins Lab, so he will be much more powerful now compared to the Henry from the play. By now he’s completely embraced the Mind Flayer’s philosophy, and is acting in its stead entirely on his own volition. Honestly? I think they’re going to leave it ambiguous on purpose. I think that’s why the play is technically canon, but totally not necessary before seeing Season 5. I think Henry and the Mindflayer are 'one' (lol) at this point - I think that’s what Vecna technically is. He’s like an amalgamation of this terrifying eldritch being that we can never begin to understand, but at the same time also something that is still deeply, deeply human.

The Henry side of him seems to be lost, but in a way Brenner was right - his feelings for Patty, whether ‘Puppy Love’ or real - was his one redeeming weakness in his early teen years. Judging from the play, I think it’s possible we might see a tragic sort of redemption moment in S5 (which I personally have mixed feelings about). But I do believe the play is supposed to be entirely separate, and that it’s possible Patty will continue not to be mentioned or relevant in the show (I hope I’m wrong). I just can’t help but be cautious in assuming the Mind Flayer is still the one in control after what they set up at the end of Season 4 (especially with Will saying, “it’s weird to know who it was this whole time” re: his own kidnapping and possession). I think Henry has become his darkest self as Vecna.

Speaking of Will… there were noticeably a LOT of parallels with him in Henry. Henry wears pretty much exactly Will’s outfit from Season 4, yellow tones with beige and brown. Meanwhile Patty wears a blue cardigan and a blue dress - at least in Act 1. I’m not hugely into the blue-and-yellow thing in a serious way, but even I noticed there were blue and yellow motifs for Henry and Patty. She wears a bright yellow top with her blue cardigan at one point too. I think there was definitely a mixture of both Will and El in Henry’s character.

Meanwhile Patty had noticeable similarities to Mike. She’s rebellious, outspoken, loves comic books, and worships superheroes.

Seeing the play hasn’t impacted my beliefs or hopes for Byler in any way. I think there are potentially good things to be taken from the writing, and potentially bad things too. My current confidence has neither been raised nor lowered, but what I will say is that it’s undeniable that the Henry x Patty relationship mirrors both Mileven and Byler, but especially Mileven. Hentty is obviously a star-crossed tragedy, deliberately set up like Romeo and Juliet, which we know is NEVER a good thing. I do find it interesting that their love confessions were an exchange, unlike Mike’s monologue. Patty is the one ‘present’, whilst Henry is the one trapped in the void with his eyes closed/blindfold on. It’s a high stakes moment. Patty tells Henry in desperation that she loves him, but she follows this up by pleading with him to say it back. I didn’t see anyone else talking about this, but it really stood out to me.

The play’s themes and messages still reflected what I believe the show to be about: rejecting forced conformity (it dealt with people’s ideas about what it means to be “normal” to fit in, about sex not being taboo, harmful black and white morality, and the damage that can occur from enforcing religious dogma)... and of course, like Joyce said, that love will ultimately conquer fear. Over and out!

[This kind of introspection throws up unsettling and complex ideas about the nature of human morality. What does it mean to be human? Who gets to decide who is “other”? How do we treat those who are different from us? These are huge issues, and far too esoteric for most of us to deal with in abstract. So the way we choose to explore them is in stories.] - Michael Davies

[mauesartetc]

Have you seen vivzi's tweet regarding the mille situation?

Oh yeah. Though to be clear, it's not just one tweet; it's a motherfuckin' thread (with screenshots below for posterity).

I won't go over this whole thing point by point, but one aspect that jumps out at me is how Viv deflects responsibility from herself onto the viewers. If your audience doesn't fully "understand" your characters, that's a problem. It's your job as a writer to make them understand, and do it in the story you're telling, not on social media. Can't help but see shades of how gobsmacked Fennah was that his audience didn't get how one of his characters represented toxic relationships, despite that character amounting to a harmless, childlike pet.

While Viv's response doesn't demean the audience like Fennah's, it does come off as a tad arrogant, as if Millie being perceived as flat is the viewers' fault, not hers.

The second thing that stood out is the list of Millie's qualities: "She is resourceful, she has strong family ties and memories, she has sibling rivalry, she's excitable and hyper focused." Only three of those are actual personality traits, and I can't even remember her being "hyper focused" at any time. To me, that would suggest working long hours on some kind of project, too engrossed to notice hunger, thirst, or how much time had passed. I guess you could make the argument that she worked tirelessly to become the skilled fighter she is, but we never see that in the show. I'm not even sure how "strong" those family ties are considering Millie didn't even hug her mom when she saw her. Basically, this smacks of telling rather than showing, trying to convince us this is the case rather than letting us see for ourselves.

[Edit 6/10/23 Forgot to mention this tidbit: "we are literally on 3", meaning the third episode. Girl, no. You were literally on ten episodes total, and eleven/twelve (depending on whether or not the pilot counts) with the release of Western Energy. That's way too long to go without properly developing one of the main characters.]

Also, "we found more storylines that influenced Blitz"? You mean you created more storylines with him as the focus. You chose to follow those paths in Season 1. It didn't just happen to you. "Whoops! Tripped over this random plot! Guess I have to use it in an episode!" Obviously Blitzo is the main character so it makes sense that he'd have the most plots centered around him, but it's extremely telling that y'all gave absolutely none of the focus to Millie.

Let's look at the seven episodes of Season 1. Blitzo could be the focus of three, Moxxie could get one, Millie could get one, Loona could get one, and Stolas could get one, and you could save extra story ideas for Season 2. There ya go. Yes, seven episodes is a pretty short season with not much wiggle room to fit all the juiciest stories in, but there's definitely space to tease what's coming. Imply that there's more to these characters and this world than meets the eye. Make the audience hungry for more. This is a fan-funded Youtube series, after all; it's not like any networks or streaming services are threatening to pull the plug if the metrics aren't up to snuff.

Finally, the "this is a male-led show" excuse for female characters being underdeveloped is so weak, especially for an adult show that prides itself on social progressivism. You've got a handful of queer main characters and a trans side character, but fleshing out the women was a step too far-? Y'all are all about spotlighting LGBT stories, but anything resembling feminism that goes deeper than '90s-style "hey, this chick can fight!" girl power? Whoa, that's a bit too much, buddy.

Call me crazy, but shouldn't viewers get the impression that all of a story's principal characters have inner lives, regardless of gender? What is Millie like when she's alone, isolated from her relationships? What does she think about? How does she entertain herself without anyone to brawl with, or anything to hack into with an axe? The show hasn't given us any hints.

Honestly, if you're not good at writing female characters, you're allowed to say that. Yes, it's embarrassing to admit when you're a woman yourself, but if you grew up in a culture that promotes internalized misogyny and prioritizes masculine wants over feminine needs (which many of us did, let's be real), it's understandable. That shit's hard to unlearn. What might make it easier when it comes to characters, though, is what I like to call the Ellen Ripley method.

Challenge, Viv: Write a nuanced male character. Give him strengths and flaws, likes and dislikes, quirks and hobbies, strained relationships and happy ones.

Now make him female.

It really is that simple.

We'll have to wait and see how much that defense regarding Hazbin Hotel truly reflects reality, though if I were a gambler, I'd bet Alastor and Angel Dust will dominate the story and leave Charlie and Vaggie on the sidelines.

[office-anomaly]

What are some of your favorite dynamics between characters?

this will be a long answer, because the gang's group dynamics is one of my favorite things to talk about. please bear with me haha (before anything: these views are purely my own. i know others have differing ideas for character/ship dynamics, and whatever i put here does not intend to challenge or demean any preference different from mine 🥺 our opinions can exist together lol) READ UNDER THE CUT

fred and velma: they are my gold standard for friendship. i think this dynamic is severely underrated as they are not only hilarious together, but they complement each other so well in terms of affirming each other's passion for mystery-solving, all the while keeping each other in check in case things get crazy. they strike me as the ideal friendship where the bond is meaningful, grounded and platonically intimate. one of the reasons why i like BCSD so much is that it showed just how well fred and velma work together in a way we haven't really seen in previous shows. ftr i think this is my favorite sub-group of the gang. velma and daphne (vaphne): i really like this ship, although i rank it behind varcie (i don't think i'll talk about varcie here since this might end up several pages long lol). this ship has been around forever, and i do think that it has a very good reason to exist mainly because of how the girls are such a positive presence in each other's lives. we've seen how daph has tried to get velma to come out of her shell on many occasions, and has shown that she understands her in a way that the boys will never do. meanwhile, velma acts as an anchor for daphne, keeping her on track when she gets overly excited or kooky during cases. i've always loved how different they are in all aspects, yet are able to foster a mutually beneficial relationship with each other. fred and daphne (fraphne): i know this is a basic ship, but i like how this has evolved over time, across many scooby media. SDMI really did this ship so much service by adding the much needed depth and justification why their dynamic works as well as it should. fred added a sense of adventure to daphne's otherwise sheltered life, and daphne has a good understanding of how to navigate fred's personality and quirks (much like how she is with velma). the show allowed these characters to play off each other and show us how they each deal with relationships that took a backseat in favor of mystery-solving in earlier iterations. daphne and shaggy (and scooby): ok these guys are FUN. like so much fun. i like that this was the group configuration for 13 ghosts, as i think their personalities lent so much entertainment to the idea of dealing with real supernatural phenomena (side note, but i like how the lego beach bash movie basically confirmed that they were the fun members of the gang lol). while i personally do not see shaggy and daphne as romantic partners, i totally understand why some people ship them and that's perfectly fine. velma and scooby: a girl and her canine best friend. whenever i draw velma and scooby in one picture, i make sure to show that they are the best of besties as much as i can. i am not subtle with my agenda to undo the optics damage SDMI did to these two lol

thanks for reading til the end, i know it's long. let me know if you have comments, violent reactions or anything, i'd be happy to discuss 😊

[buckybarnesss]

I’m back with more Thots™

(Sad ones this time sorry)

When Kate shows back up in town and comes to the burnt out Hale house and attacks Derek it literally makes my stomach turn. Like. This is his rapist, assaulting him in the place where she murdered his family, the place where he’s punishing himself by staying. Like. To me, it always reads as an act of psychological self harm to stay in the burnt out ruins of his home, the destruction of which he sees as his fault and it just. It ruins me.

It’s always interesting to me to see how quickly Derek accepts harm to himself as acceptable—he tells Stiles to cut his arm off, pushes him out of harms way, and over and over again we see him devaluing his own well being. As a therapist watching the show, it makes me ache for him, to see his trauma so deeply affecting his every decision, to see him being hurt over and over again because he thinks he deserves it. He throws himself on the sword every time to try and protect others, and it’s always at the cost of himself.

And then I think about Stiles and him losing his mom and how he’s got his dad but he doesn’t really—he shares him with all of Beacon County, and what a lonely heartbreaking existence that must be for him. I feel like he sees in Derek so many of the things he feels, and that sparks a deep interest in him, a sense of kinship that only grows as he learns more about Derek, and in turn, Derek senses in him a person that understands pain, loss, and loneliness and with whom he can be himself.

Idk idk, I just, there’s so much depth to these characters that is so rich and I wish we had gotten more time with Derek and Stiles one on one where they talked about these things they’ve experienced.

this is such a good analysis. you are absolutely correct. i've said it before but i'll say it again: derek hale is one of the most traumatized characters to be on television.

the scenes in the tell where kate is just tormenting derek are brutal once you know the whole story. kate is truly an evil, evil person.

in my meta on laura i discussed how in addition to everything kate is doing to derek she's also demeaning laura and refusing her personhood. she never uses laura's name, refers to her as a literal bitch dog and croons at derek how they desecrated her body. it is a deeply, deeply fucked scene when you peel back the layers.

kate and gerard argent are the two biggest villains of the show and so many issues are because of them. especially gerard. like, fuck that guy.

most of stiles and derek's relationship is in the subtext of the show but the threads are there and once you pull on them it unravels revealing a surprisingly deep relationship despite the audience not seeing it all playout on screen.

(a lot of the relationships on the show are like this tbh but it's there).

it amazes me to realize that stiles learns so much about derek and is the only one who actively seeks out to know and understand him. stiles wants derek to trust him and once that trust is earned derek would do just about anything for stiles. it's such a core aspect of their relationship.

their first real scene in the back of the cop car where stiles is all "I'm not afraid of you." is practically his thesis on derek the entire show. derek believes he is something to be feared not because he's a werewolf exactly but because people around him die. he thinks someone caring about him, loving him is a death sentence and he doesn't deserve it. stiles deconstructs all of it by sheer stubbornness.

in the finale of the show stiles -- on his own -- saves derek from an fbi raid where he was falsely accused of murder. it's the inverse of the beginning of their relationship where stiles was the one accusing him of murder.

and the writers never make stiles confront derek over anything, or use it against him. it does nothing but give stiles more pieces to the puzzle that is derek. he holds derek's secrets just like he holds his own.

i think if derek had been around in s5 stiles would've turned to him for support with the whole theo ordeal and derek would've backed him up which would've honestly been a nightmare scenario for scott for a lot of reasons.

(but theo would've had no choice but to go die of shame once derek called him the wish version of peter and shooed him away.)

[secreteviltwin]

I haven't seen bridgerton, (outside of like clips) but I am actually curious about your opinion on eloise. Everyone reduces her to a not like other girls and annoying and privelidged but personally from the clips I've seen she does makes valid points (maybe awkwardly so and a little condescending but I just can't help but roll my eyes at the people who hate her because it always seems to come from such shallow...choice feminist lense) i have plans to watch it (mostly BECAUSE of the Eloise clips ive seen ngl) but I wanted to see your opinion on her as it seems you have a different take on her compared to what I've seen.

absolutely i will take the bait i love talking about my opinions. eloise is there to discredit feminism so you can turn your brain off and enjoy the show

eloise is my favourite character she says exactly what im thinking and she's right about everything. the "marriage mart" IS demeaning. the rules and norms of polite society ARE ridiculous. she IS being restricted and oppressed because of her sex - principally she is denied education when ALL her brothers are college educated

maybe i relate more than most because i also know what it's like to have a mother who is constantly on your ass about finding a man and getting married and how it's the highest form of happiness a woman can achieve

but eloise's feminism is put there for you to mock and roll your eyes at. the script wants you to see her as annoying judgmental and hypocritical. they frame her against daphne: isn't daphne so admirable for being so pragmatic? she doesn't complain like eloise, she plays the game even though she knows it's not fair. why can't eloise shut up and appreciate she's not the only one suffering? why can't she be happy for her sister's success with romance?

they frame her against theo: how dare eloise be concerned with her own experiences oppression and not prioritize the plight of the poor? she doesn't know anything about real suffering, she just victimizes herself because she's bored and narcissistic. if she REALLY had any conviction in her beliefs she would burn her life down to make a point.

they frame her against penelope: how insensitive and bullish she is for forcing her friend to agree with her radical politics (even though penelope never says shit to eloise that implies she doesn't agree). see how penelope can be smart and entrepreneurial AND appreciate romance? why can't eloise do the same? she's just bitter and lazy when compared to the TRUE feminist: a woman who can walk both worlds. see how feminism doesn't have to come with an annoying antisocial distain for romance? see how eloise is complaining about nothing actually and everything is fine for women because she could just shut up and make money by writing?

annoying? - i don't find women speaking up about their oppression whiny but the writers obviously want you to

judgmental? - all of her judgements are correct. "why can't she understand other women want different things ☹️" choice feminism indeed

hypocritical? - it's not hypocritical to acknowledge and complain about the ways you're being hurt without testing the limits of your chains, being oppressed is not a moral fault. dignity and freedom are not actually things eloise should have to earn, they are owed to all women regardless of action. and she IS doing something: she's avoiding marriage, she's reading as much as she can, she's writing a novel, she's TALKING and facing social consequences for refusing to conform

you ever notice how eloise is the only character ever condemned for being wealthy even though all the other characters in the show are also wealthy? and she doesn't even have her own money - it's her brother's money

eloise is, consciously or unconsciously, a message to young outspoken women to shut up and assimilate and be happy for patriarchal conforming women. it's just a phase, it's silly, you'll grow out of it and find a man

she also reinforces the perspectives of women who want to disagree with her: the penelopes and daphnes and violets of real life. women who want to make decisions about romance and femininity while feeling superior and not like a vapid antifeminist. they've secretly known all this time they're more practical and intelligent and happier than those miserable radicals, and now they can happily hate eloise in the open

most importantly she's there to sell the lie of the bridgerton fantasy. the bridgerton setting is unromantic and uncomfortable for exactly the reasons eloise proports, for women to be able to enjoy the show they need to be able to banish the eloise in the back of their thoughts and the easiest way to do that is to set up a character to embody those ideas and discredit her. oh you've noticed how this premise is suffocating and nightmarish? good now that we've acknowledged that let's move on with the steamy romance

the writers said how do we frame perfectly reasonable normal feminist ideas so that women feel comfortable disagreeing. eloise is a feminist but her character is antifeminist

[mr-payjay]

analysis of oj's thought process in this scene for funsies (quick warning for suitcase being put down and seen as inferior by another but it's not character neg)

why is oj being a massive fucking bitch? 🤔 Let's analyze.

so, obviously oj is living off a power trip in this episode. interesting implications about his actual power as a hotel owner. actually, at the beginning of the episode, we can see that he is NOT RESPECTED. salt lies about cleaning up, pepper demands him where the towels are (and he smugly lets her enter the DEATH TRAP DOOR? implying a familiar but negative relationship), and in general oj (and paper sort of but that's not relevant) seems to be the only caretaker while the rest of the residents are more like customers. though it seems they are *meant* to help out (such as salt being supposed to clean).

anyway. once oj gets the temporary host role for inanimate insanity, he immediately gets excited. we transition to the scene outside the hotel and he even does a little twirl! oj starts to read off the paper mephone uses (which oj has happily vandalized with drawings of himself and a snarky little message, this points to his general disdain towards mephone) and is trying to go Smoothly through with it. once the teams start fighting, he doesn't even try to figure out who's telling the truth, preferring instead to eliminate a random person. he REALLY likes to be efficient with his time, huh? that's talked about more in the next paragraph, but in this one i'll say a bit about his hatred for inanimate insanity. for the whole episode, he is uncaring of the show's rules, guidelines, structures, etc. he eliminates someone at random, he makes the contestants clean the hotel NOT as a challenge then flips a coin to determine the loser (only after they question him), he makes them sing for no reason other than to be entertained, he zips through every step as fast as possible. he does not care at all about ii, despite being so eager to host it. why? because hosting it means he gets to boss around a group of people (and he can make them clean his hotel! something he really needs help with!!), he gets to take mephone's place and mess with his stuff and disrespect his show, and generally he gets to sort of... take out some of his lasting frustrations surrounding ii. i don't think ANY of the season one cast is fond of inanimate insanity (and especially not of mephone), even if it brought them together (also not always a good thing). oj certainly isn't.

once he picks suitcase, he starts by calling her "whats-your-face" (thank you for noticing mari), then a few seconds later calls her by her actual name. thissss is so interesting to me. he KNOWS her name, apparently. but he called her a mean name first. this can either imply that he forgot, that he's just being a jerk for the hell of it, or both. i think it's both. a mix of his obsession with productivity and his need to be superior motivates this. he wants to get the elimination over with as quickly as possible, so quickly that he doesn't even bother to remember her name right away, because he's SO efficient that he just simply Doesn't have time for these things (in his mind). so it makes him feel both superior to her (disrespecting her), makes him feel good about himself (he feels like he's just being Productive and Time Efficient and part of that is that he has "no time" to do anything else but work). basically, he DID forget her name for like, a singular second, he just didn't bother to wait a moment or correct himself instead of calling her something else.

and for telling suitcase she's ruining the show? let's bring it back to ii1. oj insults people whenever he feels like it. he's pretty mean, and he's worse when he's stressed. he insults people particularly for being "useless" (such as to bomb), and is quick to fight back against anyone who challenges him. a pushover like suitcase is easy to demean. and it makes him respect her even less when she's being so meek! oj thinks his snappishness is justified by the fact he's, once more, simply being time efficient ("we've got a busy schedule!"), and that she is just wasting his time. i said earlier that oj doesnt respect inanimate insanity. so why does he accuse her of ruining the show if he doesn't care about it? well, because this is *his* episode. his time to be the host. even if he disregards the usual way things run, he's still going to get upset if something conflicts with *his* plans. he wants to get this over with and get them to clean his hotel, not much else (again, he's still enjoying being in a position of authority, he just likes to be nonchalant about how Superior and Powerful he is now). if someone's interrupting that, he's going to assert himself. oj always fights back against anyone who challenges him, and suitcase is too much of a doormat to stop him from shutting her down.

now for oj telling her to step back. this part is petty. he's irritated but also kind of. happy about being irritated. "what," you say? well, see, suitcase is genuinely trying to follow his directions. she just doesn't know how *much* to step back, obviously. so oj keeps shooing her a little bit at a time until she's finally offscreen, and you can tell he's a little bit annoyed by it. but this is part of the power & superiority once more! he gets to boss around someone "inferior to him" who is just soooo stupid that she doesn't even know where to go. and oj has to shoo her over and over because she's just not getting it (since he is sooo very much smarter than her and she is just completely incapable of following OBVIOUS directions.) but it's okay she is simply a Minor inconvenience (in his head) that he has dealt with now. also note that he could've just pointed to where she had to go. does this paragraph make sense? he likes being able to tell others what to do and have them do it, so even if she's kind of annoying him by not completely understanding the instructions, he still gets to assert his authority quite a bit.

this analysis is particularly focused on the scene in the video but i do bring up some other parts of the episode to support it.