#add this to the dm memory wipe theory

[arcadianambivalence]

Personally, I think we as a fandom don't talk nearly enough about how a woman named Alice is prominently listed among the list of known Théâtre des Vampires victims in 2x03.

I know Alice was a fairly popular name for first first half of the 20th century, but it's interesting that of all names, this is the one attributed to an icon with only half of her face showing.

IWTV 2x03 / IWTV 1x02

[botticelli-angels-minion]

Why am I so attached to the theory of at least some of Daniel’s Alice memories actually being Armand? Because if 70s DM happened, Armand doesn’t need a cover to erase Daniel’s memories. We know how powerful he is with the Mind Gift, he could’ve just erased Daniel’s memories wholesale. But I like the idea that Armand wanted Daniel to remember that he was loved so badly, that out of both selfishness and selflessness he left some of those memories behind but changed them so Daniel would never know. That he wanted Daniel to have something with someone real so he took this woman Daniel seemed fond of and… gave her a head start. It makes the memory wipe thing deliciously heartbreaking and it adds so much beautiful depth to their interactions in Dubai and also it’s fucking hilarious to imagine Daniel being like “HANG ON”

[crazyaboutto]

Someone might have done this before, I didn’t check the tags thoroughly but whatever.

I only know Mephisto from a few places so I wasn’t very knowledgeable about him and decided to do research. I plan to do this for Agnes/Agatha Harkness and House of M. Feel free to DM me to talk about WandaVision theories.

Source: Marvel Wikia

What I’ll be talking about?

1. Who is Mephisto?

2. What are his powers?

3. What is his relationship to the characters in WandaVision in comics?

4. WandaVision Theory

The first 3 parts will be taken from Marvel Wikia and summarized.

1. Who is Mephisto?

Mephisto has many aliases such as The Devil, Satan and Lucifer. He is an extradimentional demon. He calls his realm “Hell” in order to exploit Earth human beings' belief in a single being of absolute evil. He is not the actual Satan but he allows himself to be called names that human beings give to their conceptions of devils. Mephisto is continually seeking to add more spirits of sentient beings to his realm by inducing living sentient beings to submit their wills to his. Mephisto apparently seeks primarily to enslave all human souls.

2. What are his powers?

Mephisto is an experienced and highly skilled liar and strategist. He is also a highly skilled sorcerer with near infinite knowledge of arcane and occult subjects.

His powers:

Superhuman Strength, Superhuman Speed, Superhuman Stamina, Superhuman Durability, Regenerative Healing Factor, Immortality, Penance Stare immunity, Medium Awareness, Netherworld Dimensional Power Tap.

§ Shapeshifting:Mephisto is more of a force than a physical being, one that can take any form that he wants. His "normal" appearance is that of male, red skinned humanoid with vampiric aspect and attire. However, Mephisto can appear in any form imaginable, having turning himself into animals, humans of any gender, or more commonly into other demonic forms, ranging from a stereotypical image of Satan to a giant reptilian monster.

§Mystical Deal:Through a Faustian bargain, Mephisto is able to fulfill almost any wish that someone wants in exchange for something that they have - usually their souls. Once the agreement is sealed, it is virtually impossible for the victim to escape compliance.

§ Ensnare Astral Bodies:Mephisto also possesses certain powers enabling him to capture and detain the astral bodies (sheaths of the soul) of recently deceased human beings. Mephisto does not have jurisdiction over all the souls of humanity's recently deceased. It is not yet known what the prerequisite conditions are for him to be able to manipulate a human soul, nor are the precise means by which he accomplishes the feat known. Apparently these conditions require that the human being in question willingly agree to submit to Mephisto's will. It is not known how a human being may free himself from bondage to Mephisto, nor whether Mephisto will forever retain control of the souls he has obtained. Nor is it known whether or not Mephisto "feeds" on the psychic energies of such souls as other demons do.

§Dimensional Entrapment:Apparently Mephisto can entrap a living human being within his realm through sheer physical force, even if the person did not submit his or her will to him.

§Reality Manipulation:Mephisto was able to create the realities Earth-7161 and Earth-71241 by creating a small alteration in the Earth-616 reality.

§Magical Manipulation:He can control magical energy for various effects, among which are the augmentation of his own physical strength, levitation, teleportation, the projection of mystical energy as force blasts, invisibility, matter manipulation, image projection, size transformation of his body or other objects or beings, the creation of temporary inter-dimensional apertures, and so on.

3. What is his relationship to the characters in WandaVision in comics?

Tommy and Billy Maximoff: Mephisto's soul was used by Wanda to give birth to the twins.Mephisto reabsorbed them, effectively ending their existence.

Wanda Maximoff: Mephisto absorbing the twins’ souls drove Wanda mad, resulting in her altering all reality.

Agatha Harkness: Agatha claimed that Scarlet Witch's children were actually fragments of the soul of Mephisto and wiped Wanda's memory of her children rather than fight to free the two from Mephisto when he reabsorbed the twins.

4. WandaVision Theory

So far: We have 6 episodes. The storyline gives off House of M vibes. Agnes seems to be Agatha Harkness from the comics which I’ll be talking about in another post. Dottie who is the key to the town only appeared in episodes 2 & 3 of the show. Director Tyler Hayward is pushing Wanda to defend herself.

THEORY:

Everything up to Wanda’s pregnancy was pushing Wanda to think about children despite no children was seen until episode 6. The whole talent show was “for the children” despite no children being present. Dottie was in charge of the talent show for the children. When Dottie was giving a speech about the talent show, she said “The Devil is the details” and Agnes said “It’s not the only place where he is”. She again said “For the children” during that speech.

Director Hayward first appeared in episode 4 and all he did was to antagonize Wanda. He is outside and he is giving Wanda every reason to stay inside The Hex. He is also painting her as the villain, trying to make others see her as the villain as well. He knew that Wanda would have deflected the bomb he sent into The Hex and that it would just anger her, making her less cooperative. He is also psychologically pressuring Wanda. You might say “He is the regular asshole” but what if he isn’t?

As mentioned in Powers, Mephisto can shapeshift into any form imaginable. Remember that on the people and their real life ID board, we didn’t see Dottie. What if Mephisto took the shape of a former soul he collected? That soul can be old and hence that is why Dottie wouldn’t be identified. The other minor characters were identified and they were shown. If Dottie was also identified then we would have seen her on the board too. Even if she is identified, there is no guarantee that Mephisto wouldn’t take her form. Dottie was the one who organized the event “for the children”, giving subtle message to Wanda for creating her own children. She even said “The Devil is the details” which is normal to say normally but not when the fans theorized Mephisto involvement after it was announced. Agnes, who is likely to be Agatha Harkness who mentored Wanda, said “It’s not the only place where he is”. I believe she, as an ancient being, knows about Mephisto and she subconsciously warned Wanda then. After what Wanda is supposed to do is done, Dottie doesn’t become a main character. Maybe that is the real Dottie in episode 5. Mephisto is done with her after Wanda got pregnant. After that, I think he started to impersonate Director Hayward. As mentioned above, everything Hayward did made Wanda to be more unstable and to want to stay in The Hex. I think Mephisto would want that and he is a perfect strategist. Maybe he didn’t shapeshift into those people but maybe they had a deal with him and he manipulated them into doing his bidding (See:Powers). Additionally, everything that happens inside The Hex makes Wanda stay inside.

In episode 6, Pietro calls “demon spawns” to Tommy and Billy. This isn’t even subtle. I think it is either subconscious warning that Wanda told herself via Pietro. Or it could be Pietro himself since he died once and maybe has knowledge that isn’t aware. Or it can be Mephisto being a little shit. He might have gotten Pietro’s soul when he died. In Powers, it is said that the conditions for him to entrap a recently deceased soul is unknown. He might have gotten Pietro’s soul when he died and now he is using Pietro to manipulate Wanda.

As mentioned in Powers, Mephisto can manipulate magic and reality. I think that is how Westview is affected. The reality inside The Hex is ever changing.

In episode 5, Norm played the pronoun game “Stop her” instead of saying “Stop Wanda”. It wouldn’t make a difference for Vision since he already thinks “she” is “Wanda”. What if that “she” is actually “Dottie”? Norm didn’t say her name because he doesn’t know it. He only knows she is the one doing him harm. This might be the other clue is that Dottie is indeed Mephisto himself.

[demolover]

ive seen ur posts mentioning u have thoughts on queer perspective towards death and how mcr fit into it so. if u ever decide to share other ideas on the topic id love to read it! (i think ur really good at getting your thoughts accross) (u dont have to answer btw i just wasnt sure abt shooting a dm abt this)

it’s been so long i’m so sorry um i have a lot of thoughts idk if u still want them here’s an attempt at a short version... 

edit: changing this to under a cut cuz it’s insanely long. if u don’t feel like reading almost 1.5k words probably don’t read it.

basically i think that mortality and death are very common things for all humans to think about and make art about because we’re kinda... obsessed with and extremely afraid of death. which (i think) stems from how death is one of the few things we know is going to happen to us, and yet we can’t understand it really. we know it is the end but we cannot know anything about it because it is the end. so that intrigues us (and makes us afraid) and then u can add in how we see other people in our life die before we do... basically it all adds up to us being obsessed with understanding and defying our own mortality somehow.

we can see this theme in mcr a lot, the interplay between mortality and defiance and hope... i call it hope vs inevitability and i think it’s especially noticeable in bullets and danger days, because in the other two they’re not really fighting so much as existing side by side... i wrote in notes once that in those albums, the hope is in the inevitable...

in black parade it’s pretty much totally like this; after you die you join the black parade, and your memory will carry on. there is fear going into it, but it very much feels like an album accepting and even embracing the end, not fighting it. accepting it and embracing it with this crazy tone... come one come all to this tragic affair. wipe off that makeup, what’s in is despair... (note: i used to think that line was what sin is despair and i still wonder if that was on purpose). revenge is a bit more complex but i have always thought that beyond the hope of getting the girl back, of bringing her back to life (against the end, against death and mortality) there must also be some relief in death for the guy demo lover... if you would kill a thousand men to get your lover back from the dead, would you die to meet them there? <- maybe i’m wrong; there is still hope vs inevitability here.

in danger days and bullets, though, is where i feel like we see those things ultimately fight; in bullets we have this desperate desire to be immortal and mean something, coupled with the strong feeling that you will die with nothing. that you will die. (i have a post on this theme in the song demolition lovers). then, in danger days we see this theme come with this absolute denial of mortality (killjoys never die) coupled with this intense fear of death and being remembered wrong or not at all. and of course this culminates in them dying. (here is my post on this theme in danger days it’s kinda a mess but so is this post so whatever).

right so we’ve established mcr (and humanity in general) is obsessed with mortality we already knew that though. what does it have to do with queerness.

basically there’s a couple things.

1. the connection of both otherness and love with death (note: this also applies to a lot of minorities but queerness is what’s really applicable to mcr specifically). the extent to which mcr intertwines narratives of love and otherness with death and violence is.... a lot. we see it in every album, i believe; it’s most noticeable in bullets in drowning lessons and demo lovers, in revenge in so many songs i’m not going to try to list them, in black parade in cancer, wttbp and my way home is through you, and in danger days in save yourself, only hope for me, and scarecrow. this was just off the top of my head; there’s probably more songs with examples of this.

this is very queer (at least when done by mcr; as most of mcr is white the issues that come with things like the history of interracial marriage, etc. don’t really apply) because of how for queer people our identities and love can be deadly to us... the history of queer love and identity is obviously marked with violence against the people displaying that love and identity.

straight cis white guys don’t usually talk about death with the connection with love at the forefront, at least not that i’ve seen. every once in awhile they do, i guess, if they’re talking about grief, but otherwise, no. demo lovers is my favorite example of the connection of love with death; especially in the first couple verses, the two seem so linked. the first 2 mentions of death or the end in the song are immediately followed by “with you”... “i’d end my days with you in a hail of bullets,” and “i would drive on to the end with you.”

in the whole demo lovers arc, through bullets and revenge, the themes of death and love are so intertwined it’s impossible to untangle them. if i tried to make a post of all the times in revenge death and love are talked about in the same lyric, as if one thing, i would be screenshotting lyrics all night. of course, if we bring in gwgt theory, and start thinking about how the girl and guy demo lovers are a metaphor for gerard’s relationship with his gender, we can go way further with this too. the simultaneous love story involving these parts of himself, and intertwined violence and death. the fear present... the lyrics that talk at the same time about hurting yourself and being hurt by others... but that’s a different post, really. i’m gonna try to stay more surface level. no speculating on metaphors (today).

in black parade i think we see the connection of otherness with death a lot more than the connection with love, although they’re both still present... in danger days the concept of otherness when associated with death is super clear: killjoys defy the city and become something “other,” which is scorned and hated by BLI/nd, and they get killed for it. love is also a pretty common theme in danger days songs, often intertwined with death, though less obviously than in revenge.

2. just... the extent to which this idea of mortality and death and immortality and memory is talked about is interesting in itself i think. this obsession with our legacy and our mortality is present in a lot of stuff, not just queer stuff, but it’s just everywhere in mcr’s discography (and a lot of the subsequent groups of music related to/associated with mcr, which are also often known for being queer). they constantly talk about how they’ll die, and how they’ll die sooner rather than later, and can they live forever anyway, what does immortality mean after all, will they be remembered, what will their legacy be... etc.

memory and legacy is something i haven’t really talked about, but i think it’s also essential to the conversation. for obvious reasons queer people (and people of a lot of other minorities but i’m only talking about the queer part cuz it’s the most/the only applicable thing here) have a more complicated relationship with how we’ll be remembered and whether we’ll be remembered than cishet people do. how mcr talks about this reminds me a lot of the sappho fragment tumblr passes around ever so often... “someone will remember us / i say / even in another time.” (comparison/parallels post of mcr lyrics and that quote by @milfygerard (and added onto by me) here.)

and that brings us back around to the theme of hope vs inevitability... as i mentioned earlier, this theme isn’t necessarily totally queer on it’s own, but as with talking about memory and legacy the way mcr does, if you talk about it so much that it becomes a core theme in all of your albums it ends up feeling a lot more queer than before. hope vs inevitability in mcr’s work connects to love and death and both at once and is just everywhere. and it ends up connecting to the way a lot of queer people think about our death and our mortality and our hope. and how the future and the past are thought about in connection to these themes i think is kind of queer too — when your history is barely spoken and your present is in hiding, of course you look to the future. despite that that means looking towards the ending. and maybe you embrace that ending, because what else is there to do?

i’m very sorry. this was not short. if you have questions, or want to tell me how i’m wrong, or have your own thoughts, do not be afraid to dm me or send me asks please... fascinating topic.