#nancy/isabella

[baubeautyandthegeek]

Hide your face, so the world will never find you! – Alpha!Nancy Birch/Omega!Isabella Fitzwilliam

A/N: first of all, tag @selkiewife (because it's so rare I write our girls but I still do), secondly. This is fic 30/31 for @intotheomegaverse 's Halloween Prompt List.

Masquerade madness had been going on for weeks, Nancy sticking close to Isabella for masquerade party after masquerade party. This time, sensing Isabella is losing concentration, it’s easier to pull her out of sight behind a pillar, then through curtains and out into the cool air of the night, their lips meeting in a sweet, steadying kiss. “Nance…” “Nobody will mind ‘Bella, nobody has minded when anyone else slipped away.” Peace comes to soft blue eyes and Nancy smiles, kissing Isabella again before leading her just far enough down the balcony over the gardens to kiss her again, pressing her back enough that they have peace enough to fall into one another, Isabella’s heat pains finally fading the more she relaxed into Nancy’s pace. Later, after a few more times, they slip back inside, acting as if nothing ever happened.

[dozydawn]

Model: Nancy Dutiel.

[pulsingvoid]

harlots season 3 is just as stupid and lifeless as everybody said but i'm glad nancy birch got to punch the most repulsive man in london and received a kiss from liv tyler for her troubles

[theoscarsproject]

White Nights (1985). A Russian American ballet dancer's airplane is forced to land in USSR, where he's "repatriated". He stays with an American man married to a Russian. Will the American help him flee USSR?

This movie is ?? Insane ?? Yet it kinda works! I think a huge part of that goes towards its terrific cast and some really affecting sequences that merge the Cold War thriller elements with the post-Vietnam War trauma and, well, the power of dance. If that sounds wild, that's because overall it is, and its a testament to Taylor Hackford's skill as a director. Just a surprise from start to finish (complimentary). 7/10.

[immobiliter]

she's not on the blog yet but i am just consumed by love for nancy birch always. she is the Scary One, she created that perception of herself for protection against the world after how badly she was mistreated at quigley's (compared to the other girls), she's the dominatrix on russell street who everyone is a little bit wary of and can drag a kidnapped nobleman gagged and blindfolded through the streets of london with nobody even batting an eye but she is !! full of !!! SO MUCH !! love !! she has loved margaret nearly her entire life, she extends that love to margaret's entire family without question, she cares so much for all of the other girls in the show, she is the first one to reach out to emily in s1, she reminds margaret of how, after leaving lydia, they wanted to demonstrate in their respective houses that there was a different, fairer way of running a brothel to the way lydia did, she looks like she's killed a man but she is absolutely beside herself when she actually pulls the trigger and it happens, she would do anything for those she cares about and she gives out some of the best advice to others. i just. lies down

[airamreef]

NiHarlots S3 ep 8. That green dress is the same or practically the same one She was wearing on that tragic night on which Charlotte died. Still, it was the night Lady Isabella came out into society with her lady lover, so in this scene, I read that She is again willing to live as transparent as possible with Nance as her lover. How ever one grudge I hold towards this mesmerizing show is the lack of intimate scenes between the ladys in which sex is healing, fun and therefor purposeful for the self, and It would be the perfect couterpart to the tons of heterosexual sex scenes that we have, a lot of the akward, a lot of them harmful and some of them passionate and fiery; and you know this series was writen and produced and directed by women, but still stop just in critized the patriarchy and miss the oportunity of show an existence out of the male dominance, out of the heteronormative, lesbianism isn't just a sexual orientation it is also a political stance and by showing it fully and unapoligeticly is a way of depicting paradice.

[futureinourhands]

Tag Dump 3/4 -- Muses, pt 1

[uwmspeccoll]

Indigenous People's Day

DR. HENRIETTA MANN Cheyenne

On this Indigenous Peoples' Day, we are featuring Matika Wilbur’s recent publication Project 562: Changing the Way We See Native America, published by Ten Speed Press in 2023. Wilbur (b. 1984) is a visual storyteller and member of the Swinomish and Tulalip peoples of coastal Washington. She holds a degree from the Brooks Institute of Photography alongside a teaching certificate that has shaped her style of educating through narrative portraits.  

Project 562: Changing the Way We See Native America, a book born from a documentary project of the same name, resolves to share contemporary Native issues and culture. In 2012 Wilbur set out from Seattle to visit and photograph all 562 plus Native American sovereign territories in the United States.

Wilbur’s engagement with the communities she visited resulted in the creation of hundreds of dynamic portraits and documentation of conversations about “tribal sovereignty, self-determination, wellness, recovery from historical trauma, decolonization of the mind, and revitalization of culture.” She refers to her portraiture approach as “an indigenous photography method” that includes several hours and sometimes days of interaction with the participants, an exchange of energy and gifts, and asking sitters to choose their portrait location. The outcome is a stunning collection of Native narratives and portraits.  

GREG BISKAKONE JOHNSON Lac Du Flambeau Band of Lake Superior Chippewa Indians

HOLLY MITITQUQ NORDLUM  Iñupiaq

J. MIKO THOMAS Chickasaw Nation

MOIRA REDCORN Osage, Caddo

HELENA and PRESTON ARROW-WEED Taos Pueblo/Kwaatsaan, Kamia

STEPHEN YELLOWTAIL Apsáalooke (Crow Nation)

LEI'OHU and LA'AKEA CHUN Kānaka Maoli

ORLANDO BEGAY Diné

KALE NISSEN Colville Tribes

GRACE ROMERO PACHECO Santa Ynez Band of Chumash Indians

ISABELLA and ALYSSA KLAIN Diné

NANCY WILBUR Swinomish

DR. JEREMIAH "JERRY" WOLFE Eastern Band of Cherokee Indians

RUTH DEMMERT Tlingit

MARVA SII~XUUTESNA JONES Tolowa Dee-Ni' Nation, Yurok, Karuk, Wintu

Matika Wilbur will be speaking on UW-Milwaukee's campus Thursday, November 16 from 6-7p.m. in conjunction with her exhibition Seeds of Culture: The Portraits and Voices of Native American Women on view at the Union Art Gallery November 16 through December 15, 2023. 

-Jenna, Special Collections Graduate Intern 

We acknowledge that in Milwaukee we live and work on traditional Potawatomi, Ho-Chunk, and Menominee homelands along the southwest shores of Michigami, part of North America’s largest system of freshwater lakes, where the Milwaukee, Menominee, and Kinnickinnic rivers meet and the people of Wisconsin’s sovereign Anishinaabe, Ho-Chunk, Menominee, Oneida, and Mohican nations remain present.

[baubeautyandthegeek]

Hidden Pains - Isabella Fitzwilliam/Nancy Birch

A/N; More Alt fic for @augustofwhump. (Tagging @selkiewife as usual)

Isabella had always promised not to judge, and she didn’t, not truly. Her touch lingers when Nancy finally dares share the wounds on her back, the touch light, gently cautious in ways that make Nancy feel more than a little understood. The whipping that lead to more, then the flogging, had left her skin tender to even the gentlest of pressures, Isabella’s touch is so butterfly light that Nancy can feel tears sting her eyes, it’s rare, horribly rare, to be so loved. Isabella’s voice is soft when she finally speaks. “He should pay… they all should.” “They did… most of them.” Nancy’s voice is still thick with pain even as Isabella moves closer, brushing hair from where it covers wounded skin, soft lips brushing the wounds and dragging a soft sigh from Nancy. “Good, then I shall stay and tend to you.”

[klausinamarink]

The Munson Jinx

rating: T | cw: Eddie’s near-death experience, blood, mention of anxiety attack | tags: hurt/comfort, happy ending, getting together | wc: 885

written for @steddieholidaydrabbles | Dec 10: First kiss

Eddie hates first kisses.

In his experience, kissing a stranger’s lips always goes wrong. You can ask Isabelle Thesault, the first and only girl he’d kissed who never spoke to him again after he threw up on her face in seventh grade and ruined her Barbie t-shirt. Or Riley Nicks, who immediately punched him in their freshman year. Or David Young, a drunk jock who threw up in Eddie’s mouth and ruined his appetite for two days. Or Mortimer Lee, who bit Eddie’s lower lip and tongue too hard. Or that one older guy at the Bloomington bar which gave Eddie an explosive anxiety attack. Or-

You get the gist.

Hence, first kisses have snuck into the Munson Doctrine. You shall not passionately make out with another man. Remember the Isabelle incident if you’re tempted.

That is not to say that Eddie still yearns for that kind of romantic connection. There’s really nothing more intimate than letting the barriers down and allow another person to come close and gently kiss you. But that’s all Eddie can do: imagine a perfect scenario where nothing happens and the Munson jinx doesn’t foil another kiss.

Then the Munson jinx seems to move on from let’s make Eddie’s every first kiss horrible to let’s turn Eddie’s life a literal nightmare where bone-breaking interdimensional wizards exist.

At least Steve Harrington’s in it this time.

To be honest, Eddie doesn’t have much to say about Steve. Sure, he thought the old King of Hawkins was a douche, but after seeing him try and help out with Eddie’s new life as a murder suspect and kill a demon bat with his bare hands-

To say that Steve is a nice guy might be an understatement.

But he squashes down the newborn puppy crush. He’s seen how Steve’s gaze lingers on Nancy recently, back on the boat and here as they walk through the Upside Down. He thinks about how lonely Steve had been a couple years back after the breakup. So Eddie tells Steve about going for that second chance and this time, Nancy Wheeler will stay.

Except while Eddie is talking, he notices that Steve’s just looking at him. His eyes are briefly unfocused, flickering twice to Eddie’s lips-

Oh no.

Eddie just stands there with wide eyes like an idiot, panicking internally, thinking back to Isabella and Riley and that Bloomington man as Steve starts to lean closer-

When a tremor sends them falling on their asses, Eddie’s thinking how lucky he is that this happened before Steve’s lips touched his.

They don’t talk about it. It’s been a blur of frantic panic and cold planning to kill Vecna once and for all that Eddie kind of forgets about the incident.

Until he lies bleeding on the frigid ground with Henderson weeping over him, only for Steve’s head to shove into Eddie’s blurry view.

The first thing he feels is Steve’s lips on his, breathing a lungful into his coppery mouth.

Immediately, Eddie jerks away. Stupid flashbacks of spoiled kisses flash before his eyes, which were way worse than his own life.

“Don’t move, idiot!” Steve shouts at him, hands pressing firmly against one of Eddie’s bite wounds on his side.

Eddie tries to say something back, but instead spits out a gross glob of blood and mucus and promptly blacks out.

—

“Any five’s?”

“Go fish.”

Eddie grumbles and drops the cards on his lap, “Now this is unfair. Taking advantage of a hospital patient like this.”

Steve gives an amused huff as he takes Eddie’s cards and reshuffles the deck. It’s been part of a weird routine once Eddie had woke up and slowly regained his motor muscles. Steve visits, they talk about whatever (mostly the kids or Hawkins gossip), play some cards, share a questionably tense staring contest, and Steve leaves.

This time, Steve breaks it and asks, “Are you still okay with me?”

Eddie blinks at him, fighting off exhaustion, “Hm, what?”

Steve just stares down at the cards. “You know that I tried to kiss you. Back at those woods.” He says with clipped words, almost like he’s trying to suck out any hint of emotions. “Just say you’re not comfortable with me and I’ll get out of your hair, man.”

Eddie stares at him. Steve, the man who tried to kiss him once and then again just to save Eddie’s life even as he nearly choked on his own blood. Steve, who does everything for his kids and friends, including Eddie who’s still too new to this shit.

Steve, who sees something desirable in Eddie and wanted to kiss him.

Before Steve can get up, Eddie shifts closer and cups the man’s face with his palm. He closes his eyes, barely catching Steve’s startled look, and leans in.

For a moment, nothing happens. It’s good because nothing is going to be ruined. But then it’s bad because Eddie can feel how stock-still Steve is. However, just as he starts to pull away, Steve seems to spark to life and his lips chases after him. His hand gently grips onto Eddie’s bicep, making Eddie smile at the contact.

As they safely make out in the sterile hospital room without either of them throwing up or freaking out, Eddie mentally gives the finger to the Munson jinx.

[hailbabel]

Modern Fitzbirch au idea - Isabella's car is stuck in a ditch, Nancy is a handy butch who drives a big truck and can't resist those big, doe eyes.

[emylilas]

Mostly characters who suffer. And not because I feel protective of them. But for some reason their pain (and if they are trying to hide it, it's even better) is what drawns me to them.

They look fine and composed but behind the layers they're hiding so much pain!

Always something I like asking bc I think it’s fun to see people’s reasons for liking characters

[thegayhimbo]

Stranger Things The First Shadow Review

Synopsis: Following a horrific incident from their previous life in Nevada, the Creel family relocates to Hawkins, Indiana in an attempt to make a fresh start and instill a sense of normalcy in their son, Henry Creel. However, Henry is anything but normal, and harbors a dark secret of his own that scares both himself and his family. When a series of gruesome animal killings takes place, attracting the attention of a group of teenage outcasts and a Doctor with his own agenda, Henry realizes his secret is about to be exposed, and is forced into a reckoning that will change the course of his life, and of Hawkins, forever.........

Observations:

FINALLY!!!!

I've been waiting for MONTHS to see The First Shadow. As far back as January, we got tickets and made plans to travel to London specifically for this. Last Thursday (June 20, 2024), we were able to view it on-stage.

Was it worth it? Short answer: YES.

This is going to be divided into several parts. The first bit will detail my experience at the play, and the remaining parts will contain SPOILER HEAVY analysis of the story, the characters, and plot revelations tied directly to the mythology of the show. There's a lot to speculate on where the Duffer Brothers will take the final season from here.

Part 1: My Experience

In terms of production value, this was top-notch. I loved the set designs, from Hawkins High School, to the classic 50s Diner the characters hang out at, to the gothic Creel House, to the cold white rooms of Hawkins Lab, to the hellish landscape of Upside Down, and so on. The 50s aesthetic works well, and there were multiple shots that conveyed the sense I was watching an episode from the show.

The special effects were spectacular. Huge shout-out to the way they choreographed the mutilation of both animals and humans. It actually looked like bones being snapped and limbs twisted around. There's even a disturbing scene where Hopper and Bob are digging up the carcass of a butchered cat, and the prop they used for it looked realistic (combined with dirt and blood for nauseating effect). The lighting also helped elevate the creepiness of it all.

The music was also great. They had a nice selection of 50s songs, but they also brought back familiar themes from the show. One of my favorite musical cues was the use of Philip Glass's "Window of Appearances" which is heard when Vecna's origins are revealed in "The Massacre at Hawkins Lab" (Season 4, Episode 7). They also use it in the climax of this play:

The actors brought their A-game, but the two performances that really stood out for me were Isabella Pappas as Joyce and Louis McCartney as Henry Creel. Pappas does a stellar job combining Joyce's world-weary "I'm sick of everyone's bullshit" attitude with the fierceness that makes Joyce stand out as a character. It reminded me a little of Natalia Dyer's performance as Nancy Wheeler, especially with the "take charge" attitude that both of them have.

As for McCartney, he was the show-stealer. I didn't go into this play expecting to feel any sympathy for Vecna, but the emotional depth McCartney brings to his performance elevates the character to a 3-dimensional complex tragic villain, which makes his eventual fall to evil all the more heartbreaking.

The audience I was with was fully immersed. Most of the jokes got a laugh, there were a few screams when jump-scares occurred, and there was a standing ovation at the end when the cast came out to give a bow. Even during intermission, everyone was chatting happily about the play, and I heard nothing but compliments.

My only regret is, due to a scheduling conflict that day, we ended up missing the first 5 minutes, and they wouldn't let us in the theater until the title cards came up. We did see parts of the beginning on a TV screen in the lobby (and one of the patrons was gracious enough to fill us in on what happened), but I wish I'd been in the theater for the beginning. My advice is GET THERE EARLY if you plan to see it. The theater fills quickly, and they may not let you in at certain points.

The only minor nitpick I have about the quality of the play is there were a few moments I had a hard time understanding what certain characters were saying. This was mostly in the scenes with Henry/One/Vecna when he was either screaming or alternating to his demonic voice. I was usually able to figure out what was going on, but I wish the dialogue had been clearer.

Overall, this was a fun experience, and I even brought back memorabilia from it:

Part 2: Characters/Story (MAJOR SPOILERS AHEAD!)

It's pretty much advertised in the synopsis, but the play takes place in 1959 when Joyce, Hopper, and Bob are in high school during the time the Creel family moves into Hawkins. The story is largely centered on Henry Creel's villain origins as he becomes more unhinged due to the power he possesses. This leads to a series of pet killings in Hawkins that catches the attention of Hopper, who ropes in both Joyce and Bob to investigate and find the culprit. All the while, Joyce is struggling to put on a play at Hawkins High School (i.e. The Dark of the Moon), which coincidentally happens to have Henry/One/Vecna as the main star! :)

These three arcs sound like they shouldn't connect at all, but to the Duffer Brothers credit, they manage to thread them in a way that's believable and engaging. Joyce's exasperated attempts to get The Dark of the Moon off the ground provide some light comedy to what is essentially a grim story, and it was a nice way for the audience to see all the adult characters from the show (i.e. Ted Wheeler, Karen Wheeler, Al Munson, Lonnie Byers, Sue Sinclair, Charles Sinclair, etc) as they were during their teen years.

The investigation of Hopper, Joyce, and Bob into the pet killings hearkens back to the old-fashioned dynamic the Party had in the first season when they were looking into Will's disappearance.

As for Henry/One/Vecna, his arc was well executed and horrifying on so many levels:

The way a young Henry Creel was portrayed in this play was oddly endearing. I mentioned earlier that McCartney brings a lot of emotional depth to the character, and by that, I mean he portrays teenage Henry as awkward, shy, creepy, funny, and even sympathetic at times. He's a kid who doesn't feel comfortable in his own skin, who has a hard time interacting with other people, and has powers that frighten him with the added side-effect of NOT knowing how to control them yet. Victor Creel mentioned to Nancy and Robin in S4 that Henry was a "sensitive child" and it turns out that was meant literally: Lights go on or off (or even explode) whenever Henry's mood fluctuates (making Henry constantly jumpy), he can unknowingly tune into the radio with his powers and mistakes it for voices in his head, he can read the thoughts/moods of other people, he can create illusions (similar to Kali/Eight), and whenever he tries experimenting with his powers, it ends in disaster. In short, he's someone who's terrified of his own shadow, and almost everything in his environment sets him off. At the same time though, there are some relatable qualities to him, such as his love for comics like Captain Midnight (which he eagerly shares with Patty), and there is an internal struggle he deals with for most of the play to genuinely be a good person in spite of the demons (both literal and figurative) that threaten to overwhelm him. He reminds me of Will Byers in some ways, and I am dead sure that parallel between these two characters was intentional on the Duffer Brothers part.

Contrary to what's implied on the show, it turns out Henry had his powers long before he moved to Hawkins. Previously, he lived in Rachel, Nevada until an incident between him and another boy resulted in said boy ending up in a wheelchair. It's ambiguous whether Henry deliberately attacked the boy or if it was an accident (it could have been either one), but it was enough to force his family to move. His parents (particularly his mother) are insistent on pretending everything is normal and that Henry will eventually get better, all the while putting more of an emotional strain on Henry as he tries (and fails) to conform.

We get a little more insight into Henry's parents, and it's not pretty: Victor Creel was already established on the show as a war veteran with severe trauma and PTSD over killing innocents during a raid, and the play depicts him the same way, with the added effect of being so wrapped up with his own issues that he fails to see his own son spiraling. The sad thing is there are scenes indicating he does love Henry (and also defends Henry's relationship with Patty, referring to it as "puppy love") but he isn't able to convey that in a way which makes Henry feel safe.

As for Virginia Creel, I don't know if this was intentional in the narration, but I found her unlikable. Putting aside the unsettling 50s Stepford Wife persona she projected, her treatment of Henry bordered on emotional abuse. She likely didn't intend that, but everything, from her attempts to keep Henry isolated from the one relationship that brings him any happiness, to constantly treating him like a time bomb waiting to go off, to pretending everything is okay when it isn't.........all of this causes whatever mother/son relationship she has with Henry to deteriorate. There's even one nasty scene where she smacks him, though she quickly regrets it when Henry lashes out in anger and forces his mom to witness a vision of herself being covered in spiders when she was locked in the closet by her abusive parents as a child. In some ways, it reminded me a little of the Norma/Norman Bates relationship from the Psycho series (minus the incest subtext) in how unhealthy it is. It was deeply uncomfortable seeing her attempt to force Henry to be something he wasn't just so she could maintain the image that she and her family were perfect. And when she realized she couldn't do that, she finally tried to wash her hands of Henry the moment Dr. Brenner showed up and offered to take Henry into his care ("Lock him up and throw away the key" to paraphrase one of her comments). I get that this is set in the 50s where there's plenty of values dissonance with how parents raised their kids at that time, and there is some context behind why she was scared of her son and his behavior (because there were times Henry wasn't acting okay), but she still handled this situation poorly and contributed to Henry internalizing his trauma and insecurities until they exploded out of him in the worst possible way. It was bad enough that Henry was dealing with something he didn't understand, but she needlessly added on to those problems.

Alice (Henry's sister) is also in the play, but she only appears in a few brief scenes, and sadly doesn't get a lot of characterization beyond being the "cheerful child" in the family. It's implied she knows that something is wrong with her brother, but doesn't look closely at it. Interestingly, they portray her like she's Henry's younger sister, even though the show established that she's supposed to be older (There's a news article in S4 that claims Henry was 12 and Alice was 15 when the Creel murders happened). Other than that, there isn't really much to say about Alice.

The three main characters (Joyce, Hopper, Bob) have their familiar quirks that will follow them into adulthood: Bob is nerdy, smart, good with technology (which comes in handy in their investigation) and the host of a radio show. Hopper is the disgruntled son of the Chief of Police who's trying to make something of his life. Joyce is high-strung, in a dead-end relationship with Lonnie, and trying to find a balance between optimism and pessimism. In a way, I'm reminded of the Steve/Jonathan/Nancy dynamic we briefly got in the S1 finale, with Joyce having similarities to Nancy, Bob to Jonathan, and Hopper to Steve. This was clearly set up as a love triangle between the 3 of them, and I have to question if the Duffer Brothers deliberately did this to foreshadow what could end up happening between Steve/Jonathan/Nancy in S5. In any case, Joyce, Hopper, and Bob investigate the animal killings when they start to happen, and while they come close to figuring out who it is, they ultimately miss the mark and pin the crime on the wrong person (Poor Victor Creel). Sadly, by that time, it's too late, and both Virginia and Alice Creel are dead.

There is a new character introduced named Patty Newby who plays an important role. She's the adopted sister of Bob and was revealed to have been taken in (or stolen as a child, as Henry later claims) by Bob's father, Principal Newby. Despite his misanthropy and awkward nature, Henry takes an interest in Patty, and the two of them develop genuine affection for one another. When Patty auditions for Joyce's play, Henry helps her with her lines (which leads to both of them getting cast as the main leads), and later feels comfortable enough to share his secret powers with her, including giving her a glamorous vision of starring and singing in a Las Vegas show. Against all odds, I actually found the relationship between Henry and Patty to be cute. Not only did it humanize Henry, but the way it was presented made sense: Both of them are outcasts with deep insecurities that they're trying to work through. Patty feels like an outsider in her family and at school due to her race (which isn't helped by people like Dustin's father making disgustingly bigoted comment towards her during class) and her complicated relationship with her adopted dad, who treats her coldly. Since Henry also feels like an outcast in his family, he's able to empathize with her, and both of them try to encourage the best in one another. In a moment of genuine kindness, Henry helps Patty locate her biological mother (who coincidentally is also a singer), and Patty returns the favor by trying to encourage Henry into believing that he is a good person and that there are positives with his powers.

I know some fans will complain about how Patty was never mentioned on the show even though she's supposed to be adopted siblings with Bob, but I'm not bothered by that. Nothing about her existence contradicts anything on the show, and it was nice to see a redeemable side to Henry that proves he wasn't a complete monster to begin with. The only thing that's harsher in hindsight is that, because Patty and Bob were close growing up, and because of Henry's affection for Patty, it makes what he does to Bob in S2 (i.e. siccing the demodogs on Bob) a lot more vile.

Finally, there's Dr. Brenner himself: If there was ever any doubt that he saw Henry and the other special kids like El as a means to an end, this play erases that. He is at his absolute worst here. Manipulative. Cruel. Determined to push Henry over the edge. Egging Henry into murdering a convicted prisoner, even though Henry fights back against doing that, all so Brenner can test him. Hurling verbal abuse at Henry, and then playing up the "Loving Papa" persona in the same way he would do with El years later. It really says something that he is the most loathsome character in the play, and that he doesn't see Henry as a person so much as a tool.

This was already a given on the show, but I still remember fans who kept making apologies for Brenner's behavior in S4 while insisting he really did care about Henry and the other kids in spite of his abuse of them. 🙄 I always maintained those were garbage apologies, and this play only reinforces that. Even though Henry is ultimately responsible for the choices he makes (regardless of the negative influences in his life), there is an argument to be had that Brenner bears responsibility for destroying whatever remaining goodness Henry had left in him until Henry became the cold, calculating monster with a plethora of rage and a deep hatred for humanity to accompany it.

Part 3: Revelations

For a while now, I've held theories that the powers El, Henry, and the other special kids have had were connected to the Upside Down. These theories were even talked about in my reviews for Stranger Things Six, Stranger Things The Other Side, and Stranger Things Suspicious Minds. I've also speculated on the idea that the Mind Flayer might be its own entity, and that Henry/One/Vecna didn't create it so much as gave it a form when he found those black particles in the Upside Down decades later.

This play confirms those theories: Not only is the Upside Down connected to their powers, but it's revealed in this play that the Mind Flayer acted as a malevolent corrupter to a young Henry, which would later lead to him becoming the monstrous Vecna.

At the beginning of the play, there's a flashback to 1943 where the U.S. military was experimenting with a new technology on the USS Eldridge to create a force field to hide the ship from the Germans during WWII. Interestingly, this bit was based on a real life experiment called "Project Rainbow," and the pamphlet I bought gives more details about it:

In the play, the technology caused the ship to end up in the Upside Down, where most of the crew was slaughtered by Demogorgons. The sole survivor turned out to be Dr. Brenner's father, who came back to the real world with altered blood in his system. He ends up dying, but passed on his secret to his son, kick-starting Brenner's scientific pursuits for the military. In other words: Brenner was aware of the Upside Down long before El banished Vecna to it in 1979.

Fast-forward a few years later. Henry is in Rachel, Nevada, playing in one of the caves with a spyglass when he encounters a rogue scientist who worked under Brenner in Nevada. Brenner had spent years attempting to replicate the experiment on the USS Eldridge in Nevada, and one of his scientists had stolen key technology and fled to the caves. When Henry discovers the technology, it transports both him and the scientist to the Upside Down. The scientist is killed, but Henry gets exposed to a malevolent entity (The Mind Flayer) before he is transported back to this world. Just like with Brenner's father, his blood is altered, and so is his personality. Brenner would later be able to track Henry down due to the spyglass he dropped in the caves after his exposure. In spite of escaping the Upside Down, Henry was now connected to the Mind Flayer, who spends the majority of the play acting as a malicious influence driving Henry to kill, and chipping away at his personality bit-by-bit:

It's not really a spoiler to say Henry is behind the pet killings in Hawkins (since he was shown killing animals on the show), but the difference here is the play makes it ambiguous how much control Henry has over his powers and actions. The Mind Flayer certainly uses Henry as a vessel, but there are moments Henry was shown to be capable of resisting it, indicating there was some manner of agency on Henry's part. In some moments, he chose to drive off the monster, whereas in others (like the deaths of Virginia and Alice Creel), he allowed the monster to work through him.

Like I said, these are theories I've held for a while now, so it felt gratifying to see them validated. While Vecna's monologue to El in 1979 implies that he was always a sociopath with powers who acted on his own accord with no outside influence, it's important to note that Vecna in that scene is an unreliable narrator twisting past events to paint himself a certain way to El. Part of it may be that he doesn't want to admit he was a victim of the Mind Flayer and that he made his own choices (Which is true: He DID have choices and the ability to reject the Mind Flayer, which we see in one scene when the Mind Flayer attacks Patty's father, and Henry intervenes on Patty's behalf to save him). Part of it may be that he's been under the hold of the Mind Flayer for so many years that, by the time El meets him, he's come to believe he and The Mind Flayer are one in the same.

Either way, regardless of what happened, there were a lot of elements stacked against Henry that makes me pity him: The Mind Flayer's influence, Brenner exploiting Henry's powers for his own selfish scientific desires instead of genuinely helping him, his parents trying to force Henry to be normal and shove down his issues instead of taking the time to deal with them..............the only positive thing Henry had going for him was his relationship with Patty. Her determination to see the good in Henry and his powers, and her belief that Henry could rise above the darkness gave some brief salvation for him. Unfortunately, that wasn't enough to save him, and the darkness won in the end.

There is a slight change I was okay with: In the show, Henry mentions that he fell into a coma after killing his mother and sister. While that is true to some extent, he actually wakes up a few hours later and flees the house to go find Patty at the school. He encounters Joyce in the basement (after the power gets knocked out) and, in a scene that's both creepy and sad, he acknowledges that Joyce is a good person and warns her that the world will punish her for it while taking away everything she holds dear. There's a dark irony to his words considering he would later be responsible for the disappearance of her son, the death of Bob, and most of the problems Joyce would later deal with on the show.

Following his encounter with Joyce, Henry finds Patty on an elevated stage platform, and begs her to run away with him. She is basically his last hope at this point, and even that is taken away when Brenner manages to track him and Patty down. There's a whole "Good Angel/Bad Devil" exchange that occurs as Patty (the Angel) implores Henry to fight against The Mind Flayer while Brenner (the Devil) snarls that Henry is already a monster and he might as well accept it. All of this cultivates in Henry using his powers on Patty, having finally surrendered to the Mind Flayer's influence, and throwing her from the rafters, almost killing her. Henry passes out after this, and Brenner takes him back to Hawkins Lab, where he will spend the next 20 years as Brenner's prisoner. Patty manages to survive the fall and, thanks to information Henry gave her earlier, she's able to locate her biological mother in Las Vegas and reunite with her. The last act of redemption Henry would ever have.

These revelations help give context to the mythology of the show. They explain what motivated Dr. Brenner for so many years. They explain the Mind Flayer was well aware of this world, and that Brenner was aware of the Upside Down long before El opened the gate in 1983. They explain Henry already had troubling aspects to begin with, and that his encounter with the Upside Down and the Mind Flayer only amplified those problems. They explain how and why Henry became disillusioned, nihilistic, and angry over the next 2 decades, and how he would project that onto his enemies once he became Vecna. They explain why Henry/One/Vecna takes an interest in certain characters on the show, from El (whose upbringing and struggles are similar to what Henry went through as a child) to Will (who shares similar traits with him as an outcast and a nerd) to even Billy (with both of them projecting their rage onto the world), and went as far as to target them. And, most importantly, it explains how Henry and other special kids like Kali and El got their powers.

This does raise interesting questions that I hope S5 will explore more of:

Since Will was kidnapped and taken to the Upside Down in S1, does this mean his blood type has been altered as well due to his exposure to the Mind Flayer? Does he now possess some kind of power similar to El that we haven't seen yet but might be unveiled in the last season?

And what about the Upside Down freezing in time in 1983? Considering the Upside Down remained consistent as a hellish environment (even after El banished Vecna to it in 1979), this gives the impression that what happened there was an anomaly. I still maintain Will's disappearance had something to do with the altered environment, and I have provided theories for it in my review of Stranger Things The Other Side, but it's still a question that remains unanswered by this play.

And then there's Patty: She does survive, and last we see of Patty is her reuniting with her biological mom, but it's also mentioned she disappeared and that Bob (her adopted brother) misses her and plays songs over his radio podcast in her memory. Did Bob ever find Patty following this, or did he die before that could happen? Does she even remember Bob or Henry, or did the fall (which injured her badly enough that she now walks with a cane) cause her retrograde amnesia? Is it possible S5 might bring her back, and she could have some role in reaching out to Henry/One/Vecna? Is she still alive at this point?

So many questions that I'm hoping S5 provides answers for.

Part 4: Themes

It's no coincidence that the play Joyce produces for the school holds parallels to the tragedy of Henry and Patty's relationship. The Dark of the Moon is a ballad about a "witch boy" named John who falls in love with a human girl named Barbara Allen. He is given a human form on the condition that she remains true to him. Through a series of tragic events (including the death of their child at the hands of religiously-crazed townsfolk), Barbara ends up betraying John, causing him to lose his humanity and become a part of the fog from the place he came from.

If we're drawing direct parallels, it's pretty obvious Henry is John, the "witch boy" embedded with special powers who falls for the human girl, Barbara/Patty. The difference is that the "humanity" of Henry is more metaphorical than literal: He attempts to not give into the monstrous influence of the Mind Flayer, and Patty recognizes this and is determined to help him through the love she gives him. However, the key difference is Patty isn't the one who betrays Henry. If anything, she remains a loyal friend and confidant to Henry (even AFTER Brenner tells her that Henry killed his mother and sister) and desperately tries to convey to Henry that she believes in him and that he can fight off The Mind Flayer. Unfortunately, that proves insufficient, and it's Henry who inflicts the final betrayal on Patty, destroying their relationship, and causing Henry to become prisoner of Dr. Brenner at Hawkins Lab. He is the "witch boy" who returned to where he came from.

It should be noted that the ballad this play is based on contains these final lyrics:

They laid poor Barbra by the old church gate,

With the wild, wild rose growin' nigh her,

And witch boy roamed the mountain high,

'Til mountain fog became him.

And then one morn, before the dawn,

The fog rolled down that mountain,

It came to rest nigh Barbara's rose,

and watered there a briar.

The rose and briar climbed the old church gate,

'Til they could grow no higher,

And there they tied in a true love's knot,

The rose wrapped 'round the briar.

And so a witch and human gal,

Had conquered death eternal,

And 'neath the darkness of the moon,

Their love's entwined forever.

Could this be foreshadowing that, as evil as Henry/One/Vecna has become, there is still a chance at redemption for him through Patty? That whatever love he held for her could bring back Henry's humanity and allow him to overcome the Mind Flayer one last time? They did a similar thing with Billy Hargrove in S3 (with the platonic love he had for his mother), and since love is one of the key forces that's been shown to repel the Mind Flayer, it could work again in Henry's favor if he chooses to take it.

However, a lot of this is tied to whether Henry is capable of remorse or empathy at this point, and considering what we've seen on the show, it's a safe bet to say whatever humanity he had left in him is now gone. I'm doubtful that even if Patty shows up in S5, it'll be enough to redeem Henry. There are some things you can't come back from, and regardless of the negative influences he was dealing with, Henry still had choices, and he chose to hurt others.

In a way, Henry's story reminds me of Coriolanus Snow's arc in The Ballad of Songbirds and Snakes: Despite the relationship he has with Lucy Gray Baird, it wasn't enough to cancel out his negative personality traits (narcissism, entitlement, etc) and whatever love he may have had for her isn't enough to redeem him, or prevent him from becoming the tyrant we all know and loathe by the events of The Hunger Games.

Another theme present was the exploration of the adult characters and how the personality traits they had as teens continue well into adulthood. It's been speculated before by various groups of people that, internally, there's a certain point where you stop growing mentally and remain the same age, and that definitely seems to be the case here with some characters. The problem is that while these qualities might have been excusable when they were teenagers, they become less appealing as time goes on:

Ted Wheeler, for example, is depicted in the play as a dumb jock who's clueless most of the time. Fast-forward to the 80s, and he's now an apathetic father who still remains clueless. Not only is this not cute anymore, it's frustrating to his wife and those around him.

Karen Wheeler is depicted in her teens as interested in her youth and beauty and dating Ted BECAUSE he's a hot jock. By the time she's an adult, she's still into that (though she does make more of an effort to be emotionally available to her kids unlike Ted) and her desire for youth and a passionate relationship almost leads her to sleeping with Billy despite the inappropriate age difference between the two. 🤮

Jim Hopper is a younger man with a fractured relationship with his abusive father, and a lot of his motivation is rooted in trying to stick it to his dad and prove that he isn't the loser his father thinks he is. It's why he takes an interest in the animal killings around Hawkins and conducts an investigation similar to how police would do it. It's also why he joins the Vietnam War later (as he would later tell Enzo/Dmitri in S4). Even later becoming the Chief of Police on the show likely has its roots in this. Years later, long after his dad is likely dead, he's still trying to prove him wrong.

Lonnie Byers is depicted as a douchebag, even as a teen, who isn't really interested in making something of his life, who's coasting off other people, and really doesn't have any desire to improve himself. Come Season 1, and is it any surprised he's a deadbeat dad who's divorced from Joyce and still making shitty decisions down the line?

Same goes for Al Munson: The play depicts him as an improv actor who's deeply self-centered, who isn't as good as he thinks he is, and is someone who just annoys everyone around him with his antics. Anyone who's read Flight of Icarus knows he doesn't get any better as an adult, and it has completely wrecked his relationship with his brother Wayne and his son Eddie.

And then there's Dustin's father: "Asshole" is the best term I can use to describe him. He's very belittling and not well-liked (even among his peers), and it doesn't surprise me that Mrs. Henderson (who's also shown to be a cat-lover as a teenager) would eventually split with him and raised Dustin on her own.

There are a few positives though: Both Charles and Sue Sinclair come out of the play as decent people, and Sue is shown to be a loyal friend to Joyce, helping Joyce to get her play organized. I can see why they ended up together, and I maintain both Lucas and Erica are lucky to have them as parents.

The overall point is, like with Henry (who also never really grew up, and is now an angry kid trapped in the body of a 30-something adult), there is a theme that change is a process you have to work on. All of these characters (including Henry) have their own flaws they have to work through, and it is a choice about whether you put in the hard work of overcoming those flaws, or you surrender to them and let them dictate your life and stilt your growth. It's always an uphill battle, and it's never easy, but when the alternative is hurting the people around you, I would argue it's worth the effort for their sake.

Final Thoughts:

While there is some leeway between how events in the play can be interpreted, there is one tiny retcon that was hard to ignore: Henry's age. In the show, it's specifically mentioned in the newspaper article that Nancy and Robin look up that Henry was 12 when Virginia and Alice Creel were killed. However, this play retcons his age to being 14 years old. My guess is this was likely done so that Henry would be a freshman, and therefore able to attend Hawkins High School with Joyce, Hopper, Bob, and the other characters. While I don't mind this retcon for story purposes, it still sticks out like a sore thumb, and I wish the Duffer Brothers would take better care with details like that, especially after what happened in S4 with Will's birthday being forgotten.

There is a pamphlet for 10€ that they sell at the Phoenix Theater that gives more information about the play, its cast, and the central ideas behind the story. You can even see it in the picture above with the other memorabilia I collected (next to the t-shirts I bought). If you're going to see the play, I highly recommend purchasing it. It's worth the money.

Overall, this was a well-written play that I'm willing to accept as canon. I hope the events in this play are referenced in S5, and have a role in how the show's story unfolds. I highly recommend getting a ticket for anyone who is a Stranger Things fan! :)

[witch0000]

Chapters: 58/? Fandom: Harlots (TV) Rating: Mature Warnings: Creator Chose Not To Use Archive Warnings Relationships: Isabella Fitzwilliam/Charlotte Wells Characters: Isabella Fitzwilliam, Charlotte Wells, Nancy Birch, William North (Harlots), Fanny Lambert, Lucy Wells Additional Tags: Forgiveness, Femslash, Historical, Not Canon Compliant, Love, Bathing/Washing, Napping, Tea, Love Letters, Fine Dining, carriage ride, Affection, making amends, Wine, mention of violence, Oral Sex, Fucking, Lesbian Sex, Cunnilingus, Emotions, Emotional Sex, Intoxication, Dissociation, Anger, Post-Traumatic Stress Disorder - PTSD, Psychological Trauma

[ohmyplasticstars]

Shout to Izabella fr the cripid child of izaack and his ex Nancy (owned by @eightisviii)

Her name is Isabella Naomi Gauss

Random doodles of her:

How did she happen?

Uh let's say izaack and Nancy got a lil passionate after college

ended but then broke up but Nancy became gregnant and just dropped the baby In a duffel bag at izaack's door so he took her in 💀

I love her

Also her nightmare from is pretty cool

Her name is Sathariel

[alrightbuckaroo]

19 for the prompt list <3

19. ‘it made me think of you.’

Did NOT expect this to be a little over 900 words, but I hope you enjoy it all the same <3

--

First Responder's Fair is home to many things; double fried foods, rigged carny games and at the moment, a very confused TK Strand.

"Wait," TK sucks his teeth, to which Nancy grimaces at. "You mean to tell me the sweet tea down here is actually," TK pauses. "Well, sweet?"

Nancy and Tommy share a look across the picnic table while TK takes another hearty sip. Nancy begs the question she didn't think she'd ever have to ask. "What made you think sweet tea wasn't sweet?"

"It never was up north, tasted more like dish water than anything."

Tommy, then, begs the question she didn't think she'd ever have to ask. "TK, why do you know what dish water tastes like?"

"My friend Cash used to work at the Sally's Diner back when we were in high school, bet me ten dollars that I wouldn't drink from the dish sink from the after lunch rush. He thought I couldn't, or more so, wouldn't do it." TK smiles smugly. "Guess who left Sally's that day ten dollars richer."

"And was out sick from school the following three days because he got food poisoning." Owen adds as he sits down, joining them at the table. His hands full with two corndogs and a frozen lemonade. "Had to rush him to the ER because he kept complaining about stomach pains."

"So I guess it wasn't a question of couldn't or wouldn't, but more of a shouldn't." Tommy jokes, breaking off a piece of her funnel cake.

"Nice to know that you taking up residence in the ER isn't just a Texas thing." Nancy rallies and TK feels like he's been attacked by all fronts.

"My newfound stomach of steel would argue it was worth it."

"It wasn't." Owen is quick to interject.

"Anyways," TK goes to change the subject. He points at the corndogs in Owen's hand. "Dad, corndogs, where?"

Owen tells him where the booth is and TK makes it his mission to scout it out. He stands up, and treks his way over. He sees both Isabella and Evie standing in line for cotton candy, alone. His eyebrows furrow when he doesn't see Carlos anywhere.

Last he saw them, Carlos was taking them to the ring toss in hopes of coming home with a new pet goldfish. For the girls, not TK, which Carlos made absolutely clear.

"Hey girls, where's Carlos?"

"Milk bottles." They both say at the same time. TK thanks them, and walks around until he finds the milk bottles. He sees Carlos before Carlos can see him. Even from a distance, he can see Carlos is uncharacteristically sweaty and his curls have started to break free.

As he walks up, he watches Carlos throw a baseball and raise his arms in cheer before he winces and lowers his right arm.

"Babe," TK says as he gets closer. Now that he's closer to Carlos, he can see the beads of sweat dripping down his face and the ring of it around the neckline of his shirt. TK's confused, it's hot out, as expected, it is Texas, after all; but it's not that hot. "What's going on?"

Carlos starts when he realizes TK is next to him. He was so focused on the pyramid of milk bottles in front of him. "Oh no," Carlos responds. "You weren't supposed to see, it was supposed to be a surprise."

"Here you are, sir." A man in a red and white striped shirt hands Carlos a stuffed orange lizard. Carlos goes to reach for it with his right hand but changes to his left hand.

"And this is for you." Carlos holds out the stuffed animal to TK who stares at it, slightly perplexed, slightly in awe and even more slightly in love.

TK reaches for it, and Carlos smiles at him like he's worth every curl unfurled. "Babe," He grabs Carlos' left hand, careful not to irritate the right one. He pulls them aside, out of the walk way and earshot of the carny. "Did you throw out your right arm trying to win me a stuff lizard?"

"It made me think of you," Carlos affirms, wiping at his face on his shirt sleeve. "I couldn't not get it. Who knew it would be level to training day for the academy." He rotates his arm, trying to gauge the pain.

"Well, this just means I get to give a slow, sensual massage later tonight." TK whispers into his ear.

"TK," Carlos smirks. He nods to the ring toss they're standing next to. "Not in front of the gold fish."

TK stares at the stuffed animal in his hands. It's eyes are a little too close together, and it's smile is a little crooked, but he loves it all the same. That said, TK begs the question he never thought he'd have to ask. "Babe, how much did you spend on this little guy?"

Carlos is silent, trying to think of the best answer. The last thing he wants to do is tell TK he spent close to ten dollars worth of quarters on a stuffed toy that probably cause ten cents to make. "Baby, you know my love for you is priceless."

TK rolls his eyes, but his smile really gives him away. "You're so cheesy."

Carlos grabs TK's hand again; he suddenly finds himself having a real hankering for corndogs. "You love it."

TK laughs, "Not really," He pulls Carlos is for a kiss that tastes like sugary sweet tea. "But I love you."

send me a soft fic prompt!