#also tommy who??

[buddiedaydreamer911]

bucks apartment smells like smoke.

buck is now alone in said apartment with christopher.

eddie is not there.

reasonably i know there is still an episode between now and Ashes Ashes/All Fall Down

but what the fuck

[copepods]

the demons. they’re coming for me (fic ideas that i will never write but theyre soso good i promise)

[theotherbuckley]

incorrect tweets pt 17/?

[mourninglamby]

someone asked for my fav c!disc scene. Guys why did he say this

[disaster-j]

A lot of speculation (and some bitchass judgemental commentary) on why Tommy calls Buck Evan and i wanna give my two cents

I believe that Chim did NOT introduce them properly when he showed up. He was just like "hey Tommy bro it's been forever we gotta meet under non someone's life threatening circumstances oh yeah these losers are with me they're at the 118 too say hi losers this guy is gonna steal us a chopper"

And Buck was standing there a little starstruck as Tommy smiled and shook his hand and he definitely did his lil anxious stutter thing where he went "oh um hi im- evan- evan buckley" and before he could manage to get out the "you can call me Buck part" Tommy went "hi Evan, nice to meet you" and the fucking SOFT way Tommy said his name just had Buck's brain melting so he forgot about the Buck thing and then well they were stealing helicopters flying into hurricanes and it just settled as A Thing in his head that Tommy calls him Evan and Buck kinda just Likes It.

Meanwhile Tommy is increasingly confused about the Buck thing the more time they spend together and the more time he spends with the extended 118 fam the more he realises that NO ONE calls Buck Evan except Evan had very specifically introduced himself as "Evan. Evan Buckley" and had never once told Tommy he could call him Buck and now it's been so long Tommy's just afraid to ask what's going on.

This is all now canon in my head also I wanna read fics where Tommy is confused about the name thing now HAS ANYONE WRITTEN THE FICS!?!?

[psychotic-nonsense]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[halflifebutawesome]

I am a good person. I am a powerful person, I don't believe in evil. I think that evil is an idea created by others to avoid dealing with their own nature. I understand my own nature, good and evil have nothing to do with it.

[sophsun1]

+ bonus:

#it's giving "this new boy I met is kinda cool yet he won't pay attention to me, but whatever I don't care, I don't even like him anyway, he's a loser"

[mazzystar24]

Okay but picture this a couple of eps into s8 Eddie shows up at bucks all happy I mean downright giddy and just BLABBING but we the audience can see buck looks sad but we don’t know what about (and Eddie doesn’t notice at first cos yapping) then Eddie reveals the reason he’s so happy is cos Chris wants to come back and basically being like pack your bags we are driving to Texas (according to Google it’s an 11hr and 49 minute drive and also Eddie canonically just assumes buck would be involved cos why wouldn’t he) and obviously when he says the Chris coming back thing we see buck instantly brighten up

But then Eddie’s brain catches up and he’s like wait a minute what was up with his vibe before I said that and he looks around realising the loft is in ‘buck is sad’ mode and then buck drops that him and Tommy just broke up and before he asks that he doesn’t wanna talk about it (and we the audience hadn’t seen this so we spend the ep as much in the dark as Eddie is) so Eddie (while concealing his conflicted happy bt are done but concerned for buck emotions) is like even better we’ll take your mind off it with the road trip! 🤩

Maybe Buck tries to be like oh I’m not gonna be good company or oh I don’t wanna impose and Eddie’s just looking at him like he grew two heads and is like what are you on about you dumbass (affectionate) I literally always want your company and you never impose

And boom it’s a Texas road trip episode

Shenanigans ensue on the way to get there maybe, flat tires, people needing help,etc

Maybe they stop at motel on the way cos it’s a long drive or cos of one of the little things that happen (and there is only one bed <- damn who said that???) and they go to a bar (preferably cowboy bar for cowboy hat Eddie reasons- and when I say cowboy bar I use that loosely because the vibes we want is save a horse, ride a cowboy not be gay, get shot - we are a pink pony club not republican club) and buck is acting weird the whole trip but they’re still their drunk affectionate selves but there is a vibe that we and Eddie are both meant to think is cos of the breakup, maybe buck even gets hit on and drunk buck is a yapper and starts talking abt loving a guy who’s never gonna love him, etc, etc and Eddie overhears and thinks it’s tommy and hello complicated feelings again

As the trip goes on buck starts getting more at ease

Eddie is still concerned tho

Buckley Diaz family reunion and all the feels

And this is when you guys get to choose your story:

Either once buck and Eddie go home and they have a moment that’s like their usual ones (very romantic but gaslighting is saying it’s platonic) and when buck is alone we get a flashback to the bt breakup and its revealed that buck has feelings for Eddie (whether that is realised during the breakup or he broke up with tommy cos he realised etc)

Orrr

Diaz parents being dickheads, we get a will mention AND an Eddie confession that is overheard by buck, (then either buck acts on it before the ep is over or we are left on a question mark) AND THEN we get the flashback

[buckera]

SAL DELUCA + the face of a man who's about to report his boss

[nobigsecrets]

God. I hope so.

This whole scene between Buck and Tommy is the most authentic depiction of a mlm relationship I've seen in a while (on mainstream television that is). They're adult men. They're very masculine adult men. Yes, they can be emotional. They can be vulnerable with each other. And they were in this scene. But likely they will be over it quickly. Way more quickly than the average fangirl wants them to. They won't have a lengthy heart-to-heart about their emotions when everything important has already been said. They won't cry over feelings like they do in every other fanfiction. They will quickly seek for a distraction from dealing with the heavy emotional stuff and because they're two grown-ups, two adult men, who are also still in the honeymoon phase of their relationship that distraction is very likely to be sexual. Like it or not, it's realistic.

Calling it problematic (or worse) that Buck and Tommy talk about Daddy Kink after this conversation and that they're into it? That's just showing how little life experience a huge part of fandom has and how little they actually know about men in general and gay men and gay life in particular. For all that mlm ships are the biggest part of fandom and fans crying for their mlm ships to become canon for years or even decades, the moment you're getting an authentic representation of a grown-up gay relationship you run away screaming because it doesn't match with your lovey-dovey vanilla expectations? That's nothing but bigotry talking.

[apassingbird]

Buck's barely awake when he drags himself out of bed and down the stairs, his hand still rubbing at the corner of his eye as a yawn escapes his body. The sun is just about to set, which means his fifteen minute powernap most definitely turned into an actual, several hour long nap. He can't be mad about it, though. He needed the sleep, needs more of it if he's being honest, his mind and body beyond exhausted after an excruciatingly long shift that never seemed to want to slow down or end.

He comes to a stop in his kitchen, knows that he should get some food in him, but the mere thought of doing anything more advanced than opening a nutritional bar package is enough to make him want to cry. He thinks about texting Tommy, his fingers just about to reach for his phone when the sound of a key turning, and then front door opening, fills the loft.

"You're here."

It's not so much a question as it is a statement because Buck might be exhausted, but not to the point where he starts seeing things. At least he doesn't think so. He blinks once, twice for good measure, and yeah, no, Tommy is very much here, smiling at Buck as he closes the door behind him before shrugging off his jacket.

"You're here." Buck says again, voice cracking slightly this time. He feels a little bit like crying again.

"Yeah," Tommy says, his voice soft as he closes the distance between them. "Yeah, of course I'm here."

He reaches out, then, and touches the tips of his fingers against the back of Buck's hands. It's a barely there touch, and yet it's sending shivers all throughout Buck's body. He takes one shuddering breath, and then he all but crashes into Tommy, burying his face into the crook of his neck, reveling in the way Tommy's arms instinctively wrap around his waist to pull him closer.

"You okay?"

Buck nods. "Yeah, just... 'm just tired."

"You eaten anything?" Tommy asks then, the palm of his hands rubbing soothing circles into Buck's back. "I can cook something for you."

Buck shakes his head at that, lips brushing against the warm skin of Tommy's neck as he asks, "can we- can we just stay like this, just for a little bit longer?"

"Baby," Tommy murmurs, one hand coming up to cradle Buck's neck as he drops a kiss onto Buck's hair, before he continues "we can stay like this for as long as you want."

[fiona-fififi]

Okay. I'm about to say something that's probably going to get me run out of the fandom, but.

I don't actually think Tommy leaving their date early had anything to do with him not wanting to pressure Buck (regardless of what he claimed later). Instead, I think it had everything to do with Tommy being annoyed and no longer into it that evening, and I think that is both okay AND significantly more interesting than taking him at his word later and framing it as some selfless act by a sanitized elder gay shepherd just trying to do right by Buck.

[theotherbuckley]

incorrect tweets pt 20/?

[letmetellyouaboutmyfeels]

There was no reason for Buck to be involved with the Diaz situation. No reason at all. Literally speaking, Buck has no reason to be there. Not his kid. Not his marriage. Not his parents. Etc.

And yet there was every reason for him to be there. That's his child. That's his partner. Frankly I think Chris would've asked to live with Buck and not his grandparents if Buck wasn't so close to Eddie and their lives weren't so intertwined (Chris wants to get as far away from his dad as he can right now).

Buck had no reason to be there. But Buck is family. So of course he was there.

[impossibleheartflower]