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freelancearsonist · 6 months

Text

in shades of gray and candlelight

➔ Marcus Pike x fem!Reader - 7.2k

➔ Nothing good starts in a getaway car, but you sure do have fun delaying the inevitable.

➔ Rated MA for artist!reader my beloved (reader is able-bodied, basic female anatomy and feminine pronouns used, reader is described as having hair that is long enough to be put up but otherwise she’s a blank slate), unprotected p in v sex, cum swallowing, creampie, semi-public sex acts, oral (r + m receiving), handjobs, fingering, very light switchy dom/sub dynamics, a couple spanks, pet names (sweetheart, pretty girl, baby, honey), heavy praise kink, light size kink, consent king!marcus, just like the song it does not end happily [please let me know if i missed any at all :)]

➔ this is my (first 😈) submission to @beskarandblasters Taylor Swift Drabble Challenge! i really did mean for this to be a drabble especially since i didn't know anything about marcus before receiving this prompt but he has my whole fucking heart and mind now 😩 thank you so much for the challenge lovely kel, and special thank u to my baby @fhatbhabie for betaing and screaming with me ily <3 (dividers by the amazing and talented @saradika-graphics)

You meet Marcus Pike on a Friday night and it’s obvious from the start that he’s going to change your life forever.

He looks a little disheveled when he enters the gallery–brown hair ruffled and standing up in places, tie loose, top shirt button undone. There’s an alluring five o’clock shadow burgeoning across his jaw and cheeks. He looks like he’s had a long day, and it’s only going to get longer. It’s all part of the plan, of course. He’s supposed to look like a standard blue collar worker, and he pulls it off with ease.

It’s the exhibition’s opening night, so it’s a little more packed than the gallery normally would be. It works in his favor–he’s able to collect a plastic cup of champagne from the refreshment table and blend seamlessly into the crowd.

His eyes are diligent as they scan the faces that come and go. He tries to commit them all to memory–the tall woman with the slight limp, the short guy wearing the Hawaiian patterned shirt. There’s dozens of people that pass by, and so many of them are forgettable. It’s exhibitions like these that make him dread undercover work.

The art on the walls isn’t exceptional, but it’s not bad. Nothing that seems worth stealing, that’s for sure. But his source is good, and his source said that this place was getting hit tonight. So he keeps his watchful eyes vigilant and pretends to sip the champagne in his hand.

Until he finds your exhibit.

There’s a depth to your art that he’s come to be familiar with–something he sees often in work of high value. Anyone can make abstract art, it’s as simple as flicking paint at a canvas. But few can charge it as emotionally as you have. To convey feeling and passion and heart through abstraction is a separate art form all its own, and it’s one you’ve mastered.

He’s seen original Rothko’s, Van Gogh’s, Kandinsky’s; he’s held their frames in his own two hands. But nothing’s ever made his breath hitch in his throat quite the way yours does.

He stands in front of a canvas simply labeled “Waves In Motion” with your name printed neatly underneath, brow creased with a concentration that seems a little unnecessary given the subject matter of the painting. It’s all shades of blue and violet, swirling together in a way that seems partly sensuous, partly violent. It makes the hair on the back of his neck prickle, and he takes a step closer. That’s when he notices it: a single dot of red paint right in the middle, a focal point of all the swirling cobalts. So small that he wouldn’t notice it if he wasn’t close; so small it could almost be interpreted as a mistake.

But he knows without having to ask that it’s not an answer. He wonders who that dot represents: you, the artist? Most likely.

Without meaning to, he smiles. It’s been a long time, years really, since a piece of art provoked such thought.

“Hi.”

The voice Marcus hears next to him is soft, dulcet. He doesn’t turn to the noise quickly–from the tone in that word alone he senses a hesitance, as if you’re a fawn that’s lost its mother and you’re bound to run if he makes any sudden movements.

And, truth be told, part of him thinks he might not be able to look away even if he tried right now. There’s something so beautiful about this painting–and underneath, something so ominous. There’s an air about the work that says he might unlock the secrets of the universe if he just keeps looking.

“Hi there.” He keeps his eyes trained on “Waves In Motion” as he responds–playing the game. He’s here to brush shoulders, after all; to be the right amount of forgettable yet memorable.

“This is my best, I think,” you murmur while taking a step closer. “It took the least time of all of them, surprisingly. But… I think when you know exactly what you’re trying to convey, it just comes to you easily.”

“These are yours?” There’s admiration in his eyes and an air of something akin to disbelief in his voice as he takes in the group of canvases proudly displayed on the plain white gallery walls.

And then he turns and lets himself take you in. More specifically the curling strand of hair that falls out of your updo to frame your face, the deeply plunging neckline of your dress, the way your calf muscles work even standing still in your high-heeled shoes. You’re a work of art in your own right; the most beautiful piece he’s seen in a long time.

“Yeah.” You duck your head–shyly, modestly–and he’s hooked. There’s one thing in this building that deserves awe and reverence more than your painting, and it’s you. “You know, you’re only the second person who’s come over tonight.”

“No way. They’re all just working their way back here,” he whispers before he can calculate a more articulate response.

But it works in his favor–your giggle is gorgeous, if a sound can be described that way. Sweet and syrupy, it seeps over him as if he’s standing under a cracked honeycomb. He hasn’t actually taken a drink of his champagne, and yet he can feel his nervous system tingling. You’re just that intoxicating.

“The gallery closes in half an hour,” you tell him–a little wistfully at that. “In my defense, I don’t have any family or friends in the area. I wasn’t really expecting anyone to show, not with so many other talented artists here.”

It seems so indignantly unfair to Marcus. That you’re shoved into the far back corner of the gallery, that people haven’t come in droves from all over the country to see your work.

“Where are you from?” He asks as his mind finally starts to clear from the haze it’s been in the past few minutes. With only half an hour left on the job, he allows himself a small sip of the drink that he’s been cradling all night.

“New York. This is actually only my second exhibition,” you explain, and you almost sound shy about it; as if you need to be embarrassed about being young and fresh-faced in the art industry, as if you aren’t the most talented artist Marcus has ever met in person.

He hums in response, eyes unconsciously dragging over you once more. “You came a long way for this.”

You smile so prettily up at him, and in that moment he sees something in your eyes. He can’t describe it–maybe it’s something akin to longing. Something incomplete, unexplored. It’s familiar; it’s the red dot from your painting. Solitary amidst the swirling, lost yet not hopeless.

And just like your painting, he finds himself wanting to get lost in your eyes.

“Well, it’s not every day a gallery wants to host you,” you say after another sip of your drink. “Plus, I’ve never been to Texas before, and I needed a change of scenery.”

There’s something so charming, so boyishly intoxicating about the smile he graces you with. “How are you liking it so far?”

“It’s hotter than I’m used to,” you say with a chuckle that he echoes. “And I haven’t been able to do any exploring yet, my flight only got in a couple hours before I had to be here.”

“That’s a shame,” he hums in a tone that reveals deeper meaning. “How long are you here for? Do you have any plans?”

“A week,” you murmur. Subconsciously he leans in closer, on the edge of his proverbial seat. To seal the deal, you lean in too. “And not a damned one.”

There’s no air between you and Marcus. You exist in a vacuum for this moment–unable to breathe, choking on anticipation. He’s so close, yet way too far away. You want to be consumed by him–for him to be swirling blue; and you, a single speck of red in his midst.

The moment shatters with an audible sound–a deep, penetrating voice. “He’s still not here, huh? I don’t think your boyfriend’s coming. If he even exists.” There’s something strange in the raspy voice that drawls these words–something strange enough to immediately put Marcus on the alert.

You flinch at the sudden intrusion into your vacuum, but you recover quickly. You have to, because this intrusive stranger is standing way too close and has way too much alcohol on his breath.

And then something strange happens–you worm your arm around Marcus’s waist and press yourself firmly into his side.

“Actually, he’s right here,” you say. There’s a quality to your voice that wasn’t there before when you were just talking to Marcus–it’s firm, clipped, bordering on hostile. “He just got held up at work. Isn’t that right, babe?”

Thankfully, Marcus has always been one to think quickly on his feet. He wraps his arm around your shoulders and pulls you closer, unconsciously moving an inch or two in front of you. Protecting without really meaning to. “I’m sorry, honey. I got here as soon as I could.”

The man–burly and balding, probably a good twenty years older than you–scoffs. “Unbelievable.”

“Is there a problem here?” Marcus draws up to his full height–towering a good few inches over this strange intruder.

Whoever this guy is, he’s not completely stupid. He senses this isn’t going to be a fight he’ll win, so he backs off. “Not at all, man. Just didn’t want little miss standing here all alone the whole night.”

“Thanks,” you say with bitter reprehension. You wind even closer to Marcus–closer than this sudden farce demands. “But we’re fine now.”

He nods once–curt and unhappy, but seemingly satisfied that he’s not going to get what he wants. “Have a good night, ma’am. Sir.”

Marcus takes a mental inventory of the man as he storms off, committing his physical description and his outfit to memory. He doesn’t look like a casual art viewer, and he doesn’t look like a collector. He’s exactly the type that Marcus came here to look out for.

“I’m sorry,” you whisper as you step out of Marcus’s personal space. “He’s been hovering all night, asking me who I’m going home with and shit.”

“That’s the other guy who came over to talk to you?” It brings a deep frown to his face, a crease forming between his brows. It certainly raises a red flag–if the guy has any eye for value, of course he would be drawn to your exhibit. And if he has an eye for value, he could be the guy Marcus came for.

“Yeah.” You rub the back of your neck awkwardly and avert your gaze, as if you should be embarrassed for drawing that guy’s attention. “It’s not been the greatest night.”

Marcus hates that. He hates that you came all this way to be let down, that this is only your second exhibition and you’ve had such a bad experience with it. More than anything, he hates that he can still see the spark in your eyes when you look up at him, and he can tell that it’s dimmed.

“Gimme just a minute.”

He doesn’t mean to be so abrupt, but he wants to make it quick. He hustles to the single-stall men’s room and tugs the radio out of his inside jacket pocket to call in the man’s description. Then he turns it off, tucks it back into its concealed pocket, and goes over to the sink.

He thought he looked perfect for the part he had to play when he left his house to come here. Now, he’s too disheveled. He wets his fingertips and tries to tame the mess on top of his head; he re-buttons his shirt and tightens his tie. He looks flustered, and he’s not even surprised by it. You’ve got his heart pounding with anticipation in a way he doesn’t think it ever has before.

Butterflies fluttering on in his stomach, he emerges from the restroom to resume his position by your side.

Except you’re not by your exhibit anymore, and the crowd has thinned considerably. He checks his watch and realizes there’s only five minutes before the gallery closes for the night. Maybe you’ve decided to cut your losses and leave early.

He hates the way his gut twists with disappointment, but then he reminds himself that he didn’t come here for you. He’s working, and he needs to stay vigilant. No distractions, no complications.

“You’re still here.”

There’s a wave of relief that washes over him as he hears your voice, and this time he’s not too timid to turn towards you. “Why wouldn’t I be?”

“Thought I might’ve scared you off.” There’s a fresh cup of champagne in your hand and a hint of vulnerability in your voice, and it makes his heart pick up pace just the slightest bit. You duck your head–that shy, modest gesture again. “I… I’m sorry. I shouldn’t have just done that without permission.”

“Don’t be sorry,” he tells you, more earnestly than he’s ever said anything in his life. “I didn’t mind at all, I swear. Just had to hit the head.”

You look so deeply into his eyes he almost wonders if you aren’t looking through him. But whatever you find, you must like it.

He clears his throat and tries to not show how thoroughly unraveled he is by your gaze. “I’m Marcus, by the way.”

“It’s nice to meet you, Marcus.” You pause for a moment, and he can tell that there’s something else lingering on the tip of your tongue–so he remains silent in hopes of drawing it out.

“Do you have someone to go home to?”

There it is–the invitation he was both dreading and hoping for. He should really lie. He’s here on a job, after all–he’s supposed to avoid complications, and some instinct tells him you’re going to be much more than a simple distraction. But he’s told you the truth so far, and he doesn’t want to stop now.

“No. No, I don’t.”

This is everything that Marcus has never even considered doing. It’s late, it’s dark, it’s a little chilly for spring in Austin. The alley is grimey and drafty–your hair blows in the breeze even as you kneel down before him.

All he can do is stand there, dumbstruck with his back up against the rough brick wall, and stare down at you.

He’s still breathless from the way you’ve been kissing him–all heat and passion, fire and brimstone. Your hands ran through his hair and undid the effort he put in while in the bathroom, and his hands clutched your waist in a futile attempt to ground himself. Your lips are so soft; he thinks he could kiss you forever and never get tired of it. He was certainly planning on finding out, until you dropped to your knees in front of him.

“You… you don’t have to–”

But the way you look up at him through your lashes makes his throat close up around whatever protest he was going to try.

“I want to,” you assure him–more of a purr than a spoken statement.

And this really isn’t the place. He shouldn’t let you do this here. But he’d be lying if he said the thought didn’t make him harden in his boring gray work slacks.

Marcus has never been about excitement. He’s always strayed to the comfortable and familiar–he falls into the sweet, caring companion role with grace and ease.

And tonight doesn’t have to be that different. If you’re going to suck his dick in a dark, dingey alley, he’ll let you. But he’s going to lay his jacket down on the ground so you don’t scrape up your knees first.

You keen at the thoughtful gesture and grace him with a grateful smile as your adept fingers work his belt open. He’s straining against the seam of his pants now, begging for the attention that your gaze promises him.

If he didn’t know better, he’d think you’re every bit as eager to get his trousers and boxers down as he is.

And Lord help him, he delights in the gasp you emit when his cock springs free from its confines.

“Fuck, Marcus.” Your lips actually part as you freeze for a moment, just taking him in. He’s thick, maybe an inch longer than average, swollen head peeking through uncut skin as if begging for your waiting mouth. He curves to the left just a little bit, and you can almost see his pulse thrumming through the prominent vein that runs along the length of him.

“S’not that impressive,” he mumbles, and you know that he knows that he’s full of shit.

Your fingers almost don’t wrap all the way around him, and suddenly you’re second-guessing this back alley stint, too. You want him in bed. You want him deep inside you, kissing your face as he fucks you, hands all over your body, thrusts hard yet slow. You want it languid, you want it desperate, you want it any way he’ll give it to you. You don’t want to blow him and say goodbye.

He calculates your hesitation as something other than pure unadulterated lust, and he lifts your chin gently with his index and middle fingers.

“Hey, we don’t have to–”

Again, you cut him off–this time, by dragging your tongue from the seam of his balls all the way along his length to swirl messily around his tip. You taste every heady inch of him and then moan at the salty foreshadowing on your tongue when you catch a droplet of precum leaking from his slit.

Your hand springs into action with a long, slow stroke along his cock, and then you sink your mouth around him and he moans. Without caution or pretense, like you’re not in an alley that anyone could walk down at any moment. It’s a little more high-pitched than he’d like for it to be and his head thumps back against the brick wall hard enough to hurt, and even still he’s never felt so overwhelmed with pleasure before in his life.

Your nose meets the neat patch of hair at his base and your free hand comes up to his hip, effectively pinning him against the wall when he tries to buck greedily even further into your mouth.

No one’s ever taken him so relentlessly before. You’re insistent, pressing onward even as you gag on his length, and it makes his balls tighten in a way he’s never felt before. It’s like you’re hungry for him; like you’re doing this more for your own pleasure than for his.

Marcus Pike has been a giver his whole life. Tonight, with you, he finally decides to take.

He’d be embarrassed about how fast he comes if you weren’t so eager for it. You moan around him and push yourself as deep as you can, throat working around him desperately not to choke on the size of him. Before he can warn you he’s spilling into your mouth, maybe more than he’s ever come before, thick and salty but undeniably sweet too. You allow yourself a moment to savor him as he pulses in your mouth, tongue swirling around the sensitive head of him in a way that makes him shiver and whine.

He’s panting, nearly light-headed, when you finally pull off of him and press one last gentle kiss over his slit.

“Holy shit,” he murmurs, because there’s nothing else to say.

You giggle, and he realizes with a strange wistfulness that he would do anything to keep this girl–a girl he’s just met, a girl who’s leaving to go back to her home on the other side of the country in just a week–smiling and laughing the way she is now.

“My hotel is only a couple blocks away,” you tell him as he helps you to your feet. “Would you like a nightcap?”

You pick up his jacket and dust the grime off it–it makes him chuckle. Everything about this encounter has flown in the face of what he’s used to.

He’s never felt so alive.

“I would love a nightcap.”

Your senses wake up slower than normal.

First it’s your eyes–they tune in on the bright mid-sunrise light streaming through the open balcony blinds on the far wall. It falls in slivers and shards over the rumpled white hotel-standard bedding–the second thing your senses tune into. Everything is so soft and light, but it’s a little cold too. Especially the other side of the bed; there’s no heat remaining there at all.

You push yourself up with a grunt and let the sheets fall away from your bare torso, tired eyes scanning around the room. You notice clothes scattered all over the floor while your ears wake up enough to hear water running in the bathroom, and you can’t help the involuntary smile that spreads over your face. He’s still here.

Marcus lets the too-hot water wash over him in scalding waves, muscles still a little sore after a long night tangled together with you.

He checked his phone first thing this morning, and the gallery was quiet all night. They think the suspect he radioed in was the guy they were looking for, but they weren’t able to apprehend him. The running theory is that he might’ve recognized Marcus and decided low-value art wasn’t worth the hassle, but one guess is as good as the next until they can bait and catch the guy.

It’s the weekend now, and Marcus is thanking his lucky stars. Not only does he have a successful mission to celebrate, but he has the most beautiful woman in the world to celebrate it with.

He emerges after a few minutes, wet hair messily scattered over his forehead and wide hips straining against a low-slung hotel towel. He’s a languid Saturday morning wet dream on two legs.

“G’morning,” he hums with a smile–he doesn’t even try to hide the way his eyes dip down to hungrily take in your naked torso.

“Good morning, Marcus.”

He stalks towards you slowly, eyes darkening with each advancing step. It doesn’t take more than a second to realize he didn’t get his fill of your body last night, but you’re certainly not complaining.

He’s already starting to harden as he drops his towel and crawls over the foot of the bed, surging forward to capture your lips in a sweet kiss. If last night was desperation and passion, this morning is syrupy and sweet. He explores your mouth slowly, tongue sweeping between your lips and tracing every curve and ridge he can–almost like he’s trying to commit you to memory.

There are universes in the depths of his dark eyes. He may not say exactly what he’s thinking, but you can see it playing out in those baby browns of his. There’s something simmering underneath the surface–something more than just lust or desire.

Something dangerous.

You tug him closer and cup his face in your hands, enjoying the gentle scratch of morning stubble underneath your palms. He surges forward and presses you into the pillows as he settles himself comfortably between your spread legs.

“You’re so beautiful,” he murmurs through kisses scattered along the length of your jaw.

You know you probably look like you got run over by a bus–you toss and turn in your sleep, and it always leaves your hair a matted mess. And that’s not even mentioning the slight tremble in your thighs, left over from Marcus’s enthusiastic attention last night. But there’s so much sincerity in his voice; you don’t think he would waste his breath saying it if he didn’t mean it, and that fact alone makes your heart pound with desire.

There’s a syrupy slowness to the way he moves down your body, lips leaving behind heavy wet kisses as he works down your chest and over your stomach.

And it’s almost like he senses the protest working its way up your throat when you feel his hot breath on your thighs, because he looks up at you and there’s sternness in his gaze. You got your fill last night, and now it’s his turn.

“May I?” He looks up at you from the apex of your thighs with big, round puppy eyes that are impossible to refuse–so you nod eagerly and don’t even try.

If you were eager to have him in your mouth last night, he’s desperate.

There’s no hesitation, no build-up. It’s almost aggressive, the way he buries his face in your heat. He laps like a dog at a bowl, hips canting into the mattress involuntarily as your taste floods his mouth.

“Fuck, sweetheart,” he growls into your sopping cunt. “You taste incredible.”

You keen at the praise and card your fingers through his hair, tugging slightly at the damp, spiky strands when his tongue laves heavily over your sensitive clit.

Marcus’s greedy hands grip underneath your thighs and push them as far as you can comfortably spread them. You’re still so sensitive after at least three orgasms last night–you lost count after a point–and it serves to wind your nerves tighter than they’ve ever been wound before.

One hand slides to the junction of your thigh and his thumb comes to take over the pressure on your clit as his tongue plunges between your soaked folds. It’s even more overwhelming like this, and there’s not a thing in the world that you want to do more than let him have his fun. Especially when that hand and his tongue switch spots–his lips seal and suck around your clit while he presses two achingly thick fingers into your waiting entrance.

It actually makes your muscles tighten and your back rise off the bed as he curls his fingers just right to find that spot that makes you fall apart for him.

He can tell you’re getting close–he’s already so intune with the way your muscles twitch, the change of pitch in your moans. You whine and cry for him the tighter he winds the rubberband, and he’s eager to make it snap.

“That’s it, pretty girl,” he says over the overwhelming flutter of his fingers scissoring and curling inside you. “Let me have it.”

You squeeze your eyes shut so tightly as pleasure wracks through your body that you can see constellations. Large hands come to pin your thighs open as his tongue keeps working, lapping and gliding against your cunt with ease as a wave of arousal gushes from your entrance.

You’ve never been so wet in your life, and he’s just getting started.

He trails open-mouthed kisses up your body as you catch your breath–his slick-soaked lips coat your skin with your own arousal as he works his way up to allow you a taste of yourself.

The first wet lick of his tongue into your mouth makes you moan. It’s not the first time you’ve tasted your own slick–you’ve had a moment or two of curiosity–but it’s never been quite as enjoyable as it is on his tongue. It pairs so perfectly with the minty tang of toothpaste left on his breath and makes you hungry for more.

He moves fluidly under your direction as you push him onto his back and roll to straddle his lap all in one graceful movement. It’s perfect like this–he doesn’t have to support his weight so he can run his big meaty hands all over every inch of you, and you can kiss him as deep as you want while you grind down on his aching length.

“Shit, baby,” he pants against your lips. Those aforementioned beefy palms grasp hard at your asscheeks to guide your hips, pulling you into a slow, long grind that bumps the head of his cock against your clit deliciously.

Your pulse thrums with desperation until you’re seeing white–no more teasing, no more preamble. You take his girth in your hand and give him a firm stroke; if you had a little more presence of mind, you might be embarrassed at how wet his dick is simply from grinding against you for a few seconds.

“Go ahead, baby, take it when you’re ready.”

He gasps at the first press of his cockhead against your entrance, head flopping back against the pillows as his hands squeeze your asscheeks with bruising force.

“Shit, you’re tight,” he murmurs, throat working around a thick gulp. “You can take it baby, I know you can. Did so good for me last night.”

You think you would honestly do anything he asks of you so long as he just keeps talking like this.

It takes a moment for you to work your way down his length–he’s so mouth-wateringly thick and the curve of his cock hits the most delicious spot inside you that you didn’t even know existed.

“Atta girl,” he praises breathlessly as your hips settle flush against his. “Just sit there for a minute. So pretty on my dick.”

God, he makes your entire body flush with heat. He turns your blood to molten lava with his words, lighting every inch of skin on fire. You’ve never felt a sensation like this–so overwhelming yet so intoxicating.

You start with slow movements as his hands trace up and down your sides sweetly–it’s more like you’re grinding on him than anything else. His thumbs rub abstract little patterns into your skin as his hands work up to your tits; when he finally takes them in the palms of his hands and squeezes all pretense of soft, sweet morning-after sex flies out the window.

You drop down hard on his cock and it nearly punches the wind out of him.

“Yes!” He growls darkly. His eyes flash with something dangerous–it’s the only warning you get before his hand slaps the meat of your ass and grabs a greedy handful. “Just like that baby, use my fuckin’ dick.”

And maybe, if he was someone else, you wouldn’t be nearly as eager to follow instructions. But with Marcus, you’re nothing if not obedient.

Last night was exploration and discovery–hours into the early morning spent learning each other’s bodies, finding what makes the other squirm and whine and beg. This morning is in perfect juxtaposition to that sweet, soft, probing sex–you know what drives each other crazy now, and you each use it to your advantage. Aggressively.

He surges up to suck a pert nipple into his mouth as you set a hard pace on him, long fingers pressing into your skin hard enough to leave marks. He lands another sharp smack to your ass when your thighs start to shake–a reward for using his cock exactly how he asked.

”M-Marcus—”

”I know, sweetheart,” he purrs through a guttural moan. He cants his hips up to meet your thrusts at just the right moment—he hits something so devastatingly pleasurable that your vision prickles white around the edges. “I know, it’s so much, isn’t it? It’s okay, you can let go. Come for me.”

There’s a condescending note to his voice that only makes you squeeze harder around his cock, and within seconds you’re hurtling uncontrollably into ecstasy.

He fucks you through the telltale fluttering of your cunt even when your hips stop moving; strong hands hold you in place and work you through the ebbing waves of pleasure that wrack through your entire body.

”M’so close, honey,” he grunts with a particularly sharp thrust upward. One hand comes up to cradle your jaw in his hand, forcing your eyes to meet his. “Where do you want me?”

”I-inside,” you gasp. “Come inside me, Marcus.”

He fills you as soon as he has your instruction—hard thrusts punctuated by breathy moans as he pumps you full of his release.

There’s a long, silent moment where Marcus pulls your bare chest tightly against his own and you pant into the crook of his neck while trying desperately to even-out your breathing. His fingertips dance across your skin-feather-light, soothing.

The sun is higher in the sky now and meets your eyes with blinding rays through the balcony shutters when they finally open again.

”That was amazing, honey,” he murmurs into the crown of your head. He’s caught his own breath now, but he doesn’t make any attempt to let you go. “How’re you so perfect?”

”M’not perfect,” you mumble into his shoulder; but even to your own ears, it sounds half-hearted. The truth is, he’s so earnestly honest that you believe him.

He hums his dissent with a kiss pressed to your hairline. ”You are to me.”

And you so desperately want to believe him that you don’t even try to argue.

You bask in this warm, lovely afterglow for a few moments longer before Marcus gently taps your hip. ”Come on, sweetheart. Let’s get cleaned up and I’ll buy you breakfast.”

You pull off of his softened cock with a whine and try not to get worked up all over again at the feeling of his cum leaking down your thighs. ”Th-there’s a free continental breakfast downstairs.”

”Oh, then I’ll definitely pick up the tab,” he jokes with a smirk—all you want to do is kiss his goofy, stupidly handsome face.

He pulls you into the bathroom and starts the water running to fill the tub—he’s never really been a bath guy, but your legs are a little too shaky to endure a shower. He’s so attentive—from running a damp cloth between your legs to helping lower you into the water. He doesn’t complain in the slightest when you catch his hand and ask him to join you; he just shuffles you forward and slides in behind you like it’s a casual act that he performs with every hookup.

It’s intimate. That’s really the only way to describe it. You sit between his spread legs, back to his chest, head rested back against his shoulder while his fingers ghost idle paths over your skin. You don’t talk; you don’t really need to. Somehow, you fit together like souls who have known each other for years. Like all you’ve been missing is each other.

You drift off in his arms as he traces soap over all the curves and ridge of your body, the steady beat of his heart thumping in your ear.

It breaks his heart a little bit to wake you—the fact that you’re so comfortable with him, that you trust him with such vulnerability, makes his head spin a little bit. But the water’s turning cold, and the last thing he wants is for you to come down sick or something.

He rouses you with gentle, feathery kisses scattered over your rosy-scented shoulders and neck.

”Mmm… what time is it?” You grumble, pressing your sleep-addled face further into the crook of his neck.

”Just after noon,” he whispers into your hair after glancing up at the clock on the wall.

He can feel the way your mouth shifts into a pout. “Shit. We missed breakfast.”

The adorable downward tilt of your frown as you lift your dad to look at him makes his heart flutter. “Let’s go out, then. The first farmer’s market of the season is going on downtown. I’m sure we can find something good for brunch.”

”Kinda sounds like you’re asking me on a date,” you hum with a slight smirk dancing at your lips.

”Maybe I am.” His tone is light, his meaning clear—he knows this goes beyond a one-night stand, and there’s no harm done if you’re not wanting to cross this boundary. He’d understand not wanting to get too serious about someone who lives thousands of miles away from your home, of course. He’d never blame you.

You give him your best appraising look, staring deep into those constellation-filled brown eyes. ”You’re not sick of me yet?”

”I have a feeling I couldn’t get sick of you if I tried.” There’s nothing but sincerity in his tone, in his eyes. He genuinely wants to spend time with you, even if there’s nowhere for this to really go.

You hum thoughtfully. “I do love farmer’s markets.”

You’re with Marcus more often than not over the course of the next week.

He takes you sightseeing to some of his favorite spots around Austin, brings you to his favorite restaurants, shows you his favorite movies. But he multitasks—while teaching you about himself, he learns as much as he can about you and picks activities he knows you’ll love, too.

He’s a pragmatist; he knows your time together is short, and he wants to make himself unforgettable. If he never sees you again, he wants you to think about him every once in a while and look back on this time fondly.

You spend your days while Marcus is at work painting or drawing or lingering around the gallery, and you fall asleep in his arms every night. With shades of gray moonlight and candlelight cast over your hotel room, it almost feels like this could go on forever.

He tells you to wear something nice before he picks you up on the last night–he wants to celebrate in style, which starts with reservations at an up-scale restaurant.

He’s so achingly handsome. He’s in a matching gray suit over a white button-up, top two buttons undone and no tie to be seen. His face bears the slightest five o’clock shadow and your eyes gravitate to the curve of his lips–the instant smile that takes over his face when those gorgeous brown eyes of his land on you.

If you never see him again, this is exactly how you want to remember him.

“Wow,” he whispers reverently. “You look amazing.”

It’s not the most impressive dress you own, but he looks at you like you’re wearing something worth millions–like you’re worth millions.

You lean up and kiss him, and everything feels right. His hands rest on your waist and it’s so easy to pretend that you won’t be on the other side of the country twenty-four hours from now.

The restaurant is beautiful. Dimly lit and romantic, tables spaced enough to give you some privacy. He takes your hand on top of the table and holds it the entire meal. The conversation is light and airy–you’re both stubbornly dancing around what really needs to be said.

Dessert is cleared and the wine bottle is empty by the time Marcus finally works up the courage to acknowledge the elephant in the room.

“I don’t want you to go.”

You knew this would be coming, but it doesn’t make it any easier. You avert your gaze, instead focusing on his large hand wrapped around yours and the windshield wiper motion of his thumb tracing back and forth over your palm. No one’s touch has ever sent such electric tingles through your nervous system the way his does.

You don’t know what to say, so you say nothing at all.

“Look, I…” He takes a deep breath and straightens his spine a little bit, hand leaving yours to gently cup your chin. He forces you to look him in the eyes as he breaks your heart. “I think this could really be something, if we gave it a shot.”

You haven’t lied to him yet, and you don’t plan to start now. “I… I think it could, too. If I didn’t have to go back.”

“Don’t go back then.” There’s a firmness to his voice, but it couldn’t be any more obvious that he’s begging if he actually got down on his knees. “Stay here with me. We’ll figure this out. Just… don’t go.”

And here–with his earnest eyes on yours and his gentle, loving touch on your skin��it’s easy to pretend that it’s that simple.

He takes you back to your hotel room and sheds you easily out of your dress. As cliche as it sounds, it’s not just sex this time. Things that it’s too early to say are buried deep within every kiss, every thrust. He hooks your legs over his shoulders and looks deeply into your eyes while he fills you and you’ve never felt so overwhelmingly connected.

The thud of his heartbeat is insistent in your ear as you come down from your high–so calming, so heartbreaking. You lay on his chest while his breathing evens out and soak up these last few moments of bliss. And then, once you’re sure he’s sound asleep, you carefully worm out of his grip. There’s one more thing you have to do before you go back to New York.

Loud, insistent ringing pulls Marcus from the depths of sleep. He tries to ignore it and go back to sleep, but now that his senses are alert, the sound in combination with bright Saturday morning sunlight won’t allow him the luxury. He presses his face deeper into the pillow that he’s somehow wound himself around in his sleep, but that damned ringing won’t stop.

He sits up slowly and tries to rub the sleep from his eyes–and that’s when he notices the empty sheets next to him. Your side of the bed is long cold, and he knows. Before he even sees the note on the dresser and your room key next to it, he knows you’re gone.

He finds his trousers discarded halfway between the bed and the door and pulls his blaring phone out of the pocket.

“The gallery got hit sometime early this morning. They took everything. Every goddamn piece. You need to get here now.”

His body moves on autopilot as he pulls yesterday’s clothes back on, fingers numb to all sensation as they work to button his shirt. This can’t be happening. It can’t be you.

He notices the note on the dresser as he’s threading his belt through the loops of his trousers, and his gut twists with a sickening sense of foreboding.

I really did fall for you, Marcus. But nothing good starts in a getaway car.

He’s not sure if you knew who he was the whole time and this whole thing was calculated, or if you just got lucky. He doesn’t want to believe you’re that cunning and cruel. He wants to believe that this is just a misunderstanding, that you’re out for ice or something and you’ll walk back through the door at any moment.

But you don’t.

The note is enough of a confession for him. He’ll have the power of the FBI on his side to find you–and he will find you. What he’ll do when he does, he’s not sure. He guesses he’ll know when he sees you.

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#marcus pike #marcus pike x reader #marcus pike smut #marcus pike fanfiction #marcus pike one shot #marcus pike x you #pedro pascal #pedro pascal characters #the mentalist #the mentalist fanfiction #the mentalist one shot #cece writes

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kurooo-is-here · 6 months

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hiii hello hiiiii i'm back with some more writing :3

writing for: Arven, Drayton, and Kieran

genre: selfship (x reader)

here are my general character interpretations of these three!

Arven:

loyal to a fault, because he's got abandonment issues. he never had anyone there for him besides his mabostiff, so he wants to be there for you.

his love languages are words of affirmation and acts of service. he'd visit you even if you were on the other side of the world.

he's an early bird. wakes up fairly early in the morning (~6 AM to 7 AM) to do meal preps and feed mabostiff. this comes with its perks though! you get to hear his deep morning voice and see his hair messy. :>

he secretly loves stargazing. to him, there's nothing better than sitting under the stars, hearing the outdoor ambience of the night.

he's super caring towards his pokemon! he feeds them on time and gives them extra love and treats.

speaking of food, he's got tons of recipes to share. he can make a KILLER mac and cheese. also, he absolutely wears aprons that have cute pokemon designs on them.

unironically describes his mood with food flavors. says he's feeling "sour" when he's upset, or "sweet" when he's excited.

he's like.... a puppy..,, he'll follow you anywhere and guard you when others try to steal you away..... (can you tell he's my favorite)

Drayton:

lowkey possessive. not just of you, but of things he's attached to. everything from his pokemon to the comfortable school life he's grown so fond of. he wouldnt trade them for the world.

his love languages are quality time and physical touch. he's a guy who loves cuddling and hanging out. he'd probably fall asleep with you while watching an hour-long youtube video about obscure 3ds game lore.

can't cook for shit!! he will literally just buy instant noodles and microwaveable meals because its easy and convenient LMAO

he doesn't like going out since he's lazy, but he's absolutely down to go shopping if its for snacks. he knows all the best ones.

he loves to battle! partly because he likes showing off how strong he is, but also because he thinks of it as a way to destress.

you'd think for being so lazy he wouldn't practice self-care, and this is mostly true-- but he definitely takes good care of his pokemon. that duraldon he traded you? make sure to keep it clean, it likes being polished every now and then. his flygon? it loves spicy foods. oh, and make sure to trim the scales on his dragonite every week. it gets a little moody otherwise.

he's the king of "this image/video is really funny but why do you have so many of them" over texting. he has a whole stash of silly images.

Kieran:

he gets anxious pretty easily, but he's usually more relaxed around you. he's also not used to receiving compliments, and will absolutely get shy and embarassed if you compliment him.

his love languages are words of affirmation and giving gifts! he gifted you an applin that one time, but he also shares his candy with you. what a sweetheart 🥺

speaking of sweets, he likes hard candies and chocolate! his fav chocolate is white chocolate. (conversely, carmine likes dark chocolate the most.)

gets both nervous and excited when he battles you. he hopes to win, but he also just wants to have fun!

he likes to listen to music when he needs to concentrate. it's good background noise, and more importantly, he is absolutely bopping his head to those tunes.

he likes alternative and indie rock music, plus edm and lofi. his playlist may or may not have a few "edgier" songs too, like "Gasoline" by Halsey and "Sarcasm" by Get Scared.

he absolutely had a nightcore phase.

regarding cooking, he prefers to get food from restaurants rather than cooking at home. he's not super confident in his cooking skills, but he isn't the worst at it either. (looking at you, drayton...)

he doesn't really understand internet culture since he doesn't have a phone. you might have to teach him about it yourself out of pity, because he gets so confused when people start saying they're getting "rizzed up" or something...

bro is absolutely autism-coded (speaking as someone with autism) and he hyperfixates sooo easily. he'll get obsessed with something for weeks and infodump to you constantly, and he definitely loses sleep over his interests. he's so shy about doing this with anyone else, so please lend an ear when you can. 🥹

#pokemon #pokemon sv #pokemon scarlet and violet #pokemon arven #pokemon drayton #pokemon kieran #pokemon arven x reader #pokemon drayton x reader #pokemon kieran x reader #kuro writes

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cityofmeliora · 2 months

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kinda late but here is the Terzo childhood headcanons AKA new yorker Terzo post. for @plaquerat <3

ok so. i don't really have a solid interpretation of the lore, and my headcanons aren't very detailed. i'm open to floating a lot of different ideas. here are some that i like:

i've liked the idea that Terzo was primarily raised by his mother ever since i first saw the interview where TF (as nameless ghoul) suggests Terzo may be nicer than Secondo because "he seems to have, i dont know, a kinder mother?" and then i found the official instagram post mentioning Terzo's mother attending his concert in New York, and i was like 'oh! maybe she lives there. maybe Terzo used to live there with her.' it got me thinking...

Terzo was born in california and then moved to new york with his mom after she and Nihil split.

seeing the skyscrapers in new york for the first time was a really formative experience for him. that sense of awe he felt eventually inspired his interest in art deco and futurist art. new york became the base for his imaginary city of Meliora. (this is partly inspired by my own experience as a native californian because we don't really have tall buildings in california and i FREAKED OUT when i visited new york and chicago and saw REAL tall buildings.)

Terzo's mother was an artist and he spent a lot of time in the studio with her and her artist friends. their apartment walls were covered with Terzo's own art.

art and music and culture have always been at the center of Terzo's life. he and his mom would always be listening to music or viewing art galleries or watching movies together. i think Terzo's dynamic with his mother was very much like this anecdote from Carly Rae Jepsen:

My mom and I would sit and meticulously go through Leonard Cohen and Joni Mitchell lyrics together. Even from a young age I remember her being like, “I’m playing this Leonard Cohen song called ‘Famous Blue Raincoat,’ and when it’s done I want you to tell me what’s going on in it.” She would give me like a fake glass of wine when I was 8, and I would listen and be like, “I think there was an affair.” Pitchfork - Carly Rae Jepsen on the Music That Made Her (2019)

Terzo turned out to be a gifted child. super smart and naturally talented at a lot of things, but he particularly loved to build with lego / blocks and play piano.

Terzo had a great relationship with his mom. she always supported him and encouraged him to pursue his interests and to do his best.

Terzo missed his dad though. his parents had been together long enough for Terzo to remember him. he was just a kid. he didn't know any better.

when Ghost debuted and Nihil became an internationally famous one-hit wonder, Terzo developed this idealized image of Nihil as a cool rock star cultural icon in his head. idolized him a bit.

after this, Terzo decided he wanted to get serious about becoming an entertainer / musician. started doing piano recitals and competitions. youth theater. film club. all the things.

if anyone asked Terzo why he wanted to become an entertainer, he'd tell them it's because it's what he's good at. and he's always wanted to be famous. which was true, but...

what he wouldn't tell them is that a part of him was trying to emulate [his idea of] his dad and secretly hoping that if he shared that interest / became famous his dad would want come back into his life.

he knew his mom was always there supporting him, but every time he went onstage he would look out into the audience hoping his dad might be there to surprise him. (he never was.)

Nihil was the first of many many disappointments in Terzo's life.

oops! i made it sad.

anyway here's a doodle of kid Terzo getting a postcard from his dad... he didn't hear from his dad again for a very. very long time after that.

there are a lot of details i haven't square hammered out, but it's okay because these headcanons are mostly for me to like, frame Terzo's character development over time. might post more later :)

#hahaha idk why but i actually feel so nervous sharing lol #i said i would post this today and it is 11:55pm so #terzo #radley post #headcanon #fan art #radley art

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dysfunctionalupsidedown · 2 months

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An Analysis Of "STurn": My Turn

Hello, everyone! This is my first real post/analysis of anything Stranger Things related, so please keep that in mind while reading. I'm sure there are quite a few analyses about this playlist already (I'm definitely late to the party,) but I still wanted to add my two cents.

Feel free to let me know if any information I've provided is incorrect. My main source is Genius.com, which isn't at all the most reliable; even still, it'll help to give a clearer picture of each track's meaning and how the general public (which includes Finn) interprets them. I'm attempting to go by what I think Finn's intentions were.

Also, don't forget that this analysis was done under the assumption that the "STurn" playlist is a somewhat play-by-play outline of how specifically Mike Wheeler's S5 arcs might happen. The playlist could be entirely unrelated to ST5. It could be related to all the characters and arcs in ST5. It could be out of order, or based on vibes -- We really have no way of knowing until the full season comes out.

Finally, I tried my best to keep the analysis somewhat objective and reasonable, and I hope I've at least partly succeeded. This is all in good fun, in the end. Now that I've finished housekeeping, please enjoy my thoughts and feel free to chime in with your ideas in the comments! I'm always open to changing my perspective.

1. Ballad of the Texas King

Let's begin! This song starts with the lyrics, "No one saw / Nothing at all, no law was there to fight / All dressed down / Walkin' out in the California night". I believe this is a more surface-level vibe-setting song, considering where Mike ended in S4. It may also imply that the start of S5 begins where S4 left off. A lot of car imagery is also present throughout, which was a big part of Mike's S4 journey.

There are ideas of being separated as well, with lyrics like "My heart won't beat / 'Til we meet again together". This may allude to Mike's feelings towards the end of S4, having been separated from Hawkins/his family.

2. What You're Doing - Remastered 2009

Genius.com claims this song was written about Paul McCartney's then-rocky relationship at the time. The lyrics make this very clear, so there's really no alternate angle from which I can read. Let me know in the comments if you interpreted it differently.

In specific, the lyrics "You got me running / And there's no fun in it / Why should it be so much to ask of you / What you're doing to me?", "Please stop your lying / You got me crying, girl", and "I've been waiting here for you / Wondering what you're gonna do / And should you need a love that's true / It's me" really intrigue me. This could refer to Mike's relationship.

The song suggests that the partner may be withdrawing in multiple ways, with the singer grieving over it and attempting to prove their love. El may be starting to distance herself, and Mike could be struggling with it. At the end of S4, El was understandably focused on her failure, to the point where she hadn't really spoken to Mike in the days following it.

I don't think it would be surprising if everything was too much and she ends up pushing herself away from him. I wouldn't say it's implying a break-up, but maybe distancing issues.

3. After The Earthquake

Again, it's pretty surface-level in the beginning. There was a devastating earthquake in-universe, which supports the theory that "STurn" connects to ST5 in some way. The song tells a story, though, and I recommend looking up it's inspiration.

Despite the choice seeming surface-level at first, After The Earthquake may be implying more for Mike in ST5. Genius.com's contributors interpret the song's narrative as, "[Molly Rankin applying the] concept of post-catastrophe clarity to a couple that got into a major disagreement before one of them falls into a coma from a car crash... In a metaphorical sense, [the song] could describe a more mild situation in which Rankin must put their conflict on hold because something more important turns up." I don't think it's too far-fetched to say that Finn picked up on this. The idea of a disagreeing couple and coma is also prevalent in ST, but like I said in the beginning, I'm going to try to connect these songs to Mike Wheeler specifically.

Although this may be me reading too deeply into it, the metaphorical meaning of the track pairs pretty well with the implications of What You're Doing. It also fits in well narratively, considering that more important things are happening aside from the drama -- the earthquake being one of them. Mike could be putting all of his current issues (internal-conflict-related, relationship, or otherwise) on hold for the moment. He continues to struggle with suppressing his problems later on in the playlist, as well.

4. Promises I've Made

This song is about mourning a lost or ex-lover. The opening lyrics, "Ever since you have gone, the days don't seem so bright / And I wish I could forget you but I can't / Ever since you have gone, I haven't felt quite right / And I promised I'd forget all that you meant" address this quite directly.

At this point, it's possible that Mike has either been broken up with or the pair have gone their separate ways for some reason. It wouldn't be too crazy to say something like that will occur and he'll grieve it, keeping in mind that one of Mike's main fears is losing El. I just don't know why they'd continue to make it the subject of conflict in S5 (unless it hasn't been fully resolved yet.)

Physical distance between the two also makes sense when considering that Mike is, supposedly, teaming up with other characters next season. Personally, I'm leaning slightly more towards a break-up because of what the previous songs have set up, but, ultimately, it's up to interpretation. It's possible they've just been physically distanced while in a bad spot.

5. Angst In My Pants

This song is about a person attempting to be someone they're not, suppressing who they really are, and it ultimately leading to dissatisfaction. The lyrics, "You can dress nautical / Learn to tie knots / Take lots of Dramamine / Out on your yacht" describe a faux lifestyle one lives that only serves to hurt them in the end: The idea of putting on a self-harming persona. This could be what Mike is going through in S5, and his teased wardrobe change from S4 supports this.

The lyrics, "I hope it doesn't show / It'll go away / It's just a passing phase / It'll go away" and, "I hope it doesn't show / It'll go 'way / Give it a hundred years / It won't go 'way" are particularly fascinating and can have multiple interpretations.

For one, it could be Mike trying to hide his real personality following Eddie's death and the collective panic by acting out a more "normal" and "idealized" life -- painfully repressing his true self in the process. This is supported by the lyrics I first discussed. Hiding and embracing differences is a theme in Stranger Things, and I wouldn't be surprised if this is where they take Mike in S5.

Another interpretation involves the previous lyrics, as well as, "But when you think you made it disappear / It comes again, 'Hello, I'm here'". This sounds more like someone trying and failing to suppress a thought. Coupled with "It's just a passing phase", it appears to be a feeling or belief instead of someone's true personality, although I do believe that's a big part of it, too.

Whatever it may be, Mike is definitely struggling with something at this point. He's pushing it down, hiding it, and hoping "..it doesn't show" and that "It'll go away".

6. The Better Side - Audiotree Live Version

Half way through! This one gave me more of a challenge because there aren't any written lyrics to analyze. From what I can gather, the track is about a person yearning for someone who is a better fit(?) The lyrics that best support this interpretation are, "You're on the better side / You're always the better one for me" and "Don't make me do the falling when I'm drinking of you". Again, if you have any alternate interpretations, please let me know. I'd like to take all ideas into account.

The final lyrics are interesting, "And you're all that I need / I'm not gonna miss you anymore". This can be read as the narrator longing to accept a person into their life and bring them closer. I'm especially interested in the final line because it implies there was something to miss, as if an emotional rift or gap was there.

Mike has come to a realization about something, as shown in Angst In My Pants, and it might partly be about a new thought he's trying to push down, "It'll go away". It's possible the "thought" is about newly developing feelings he isn't ready to accept(?) I don't want to say for certain, though. Nonetheless, it seems like he recognizes this person's importance and "better fit" for him, despite trying to repress it. A fairly surface-level read, but it's the only conclusion I'm able to come to.

Alternatively, it might be about El. The distance apart could be what gets him to solidify how he feels about her. However, Angst In My Pants and multiple songs establishing a separation precede The Better Side. The track is about a better option, as well. Those facts alone make me think of this interpretation as unlikely, so it's not one I personally hold.

7. Don't Ask Me to Explain

Don't Ask Me to Explain is about two people who are afraid to confess their true feelings to one another, so instead they hide them; with one of the two seemingly more uncertain. It's also, from what I've researched, supposedly about two people of the same gender. There's a possibility that this is irrelevant to the track's purpose in the playlist, but I kept it in mind considering the other songs and my personal interpretation. It's also important to note that these "true feelings" could be about a multitude of things.

The lyrics, "How will I ever know you enough to love you / If you're hiding who you are?", "How am I supposed to let it show / When I don't even know?", and, "Besides, I don't want to be the one who's coming out first / I'd really like to but I'm just too shy" support this reading.

I interpreted the last line, "It's so easy to laugh to myself / And pretend that I could love you but I can't" in two different ways. Either it's the narrator doubting their feelings for someone else, or it's the narrator recognizing that they can't let themselves embrace their love for someone, for one reason or another.

As for Mike, his progression makes the most sense to me in the following interpretation. There are multiple and, again, please let me know your ideas in the comments. I narrowed it down to just the one so I don't start nit-picking.

Mike went from a realization, "It's just a passing phase / It'll go away" (Angst In My Pants) to a sort of acceptance, "You're always the better one for me" (The Better Side) to struggling to admit it out loud, "How am I supposed to let it show / When I don't even know?"

An LGBTQ+ or "new love interest" interpretation is what I'm able to gather from this. It could describe Mike falling for 'someone' and not knowing how to be open about it due to fear and doubt; with the other person feeling the same way. It may be a surface-level reading, and I'm sure there are several other ways to interpret the track, but that's what I've been able to conclude thus far.

8. What Do You Want Me To Do?

This one might be the most difficult for me to figure out, but I'm going to try.

The song and the lyrics, "You walked out, took your chance / You turned your back on our romance / You said you found somebody new / You said the change'd do you good" and "You never even gave me a thought / You figured that would be all right / I nevеr had a chance to persuade you / You nеver let me put up a fight" remind me a lot of What You're Doing.

One way to look at it is that it might have the same purpose as What You're Doing -- adding a sort of angsty frustration vibe. I don't know if it would be used to set up a "come crawling back" moment because I don't think that would make sense (especially in Stranger Things), but it's a random possibility I'm throwing out there.

Alternatively, the 'person' that Mike has feelings for could have rejected him for someone else(?) Again, I don't think this would make much narrative sense in Stranger Things, but we don't know what the next season's going to look like.

I'm personally reading it as the former because there are other songs in the playlist used to set the tone. Keeping What You're Doing and Promises I've Made in mind, an additional break-up song is on theme. There's still the possibility of another conflict, though. If anyone else has different thoughts on what the song could be implying, I'd appreciate the input.

9. Substitute - Live

This track is about an idealized version of someone being put in place of their true self. The narrator describes a scenario in which their partner sees a version of them, "I'm a substitute for another guy / I look pretty tall but my heels are high / The simple things you see are all complicated / I look bloody young, but I'm just back-dated, yeah", that is unrealistic and put on, as seen in the lyrics "Substitute your lies for fact / I see right through your plastic mac / I look all white, but my dad was black / My fine-looking suit is really made out of sack" The couple also seem to be having issues with this, or in general, that they're not addressing, "It's a genuine problem, you won't try / To work it out at all, just pass it by, pass it by"

The concept of a guise applies well to Mike, as referenced in Angst In My Pants. A recurring theme of hiding oneself really makes me think Mike is going to completely abandon his interests for a different lifestyle. I believe Finn has also mentioned that Mike wants to be as "normal" as possible, so I can't wait to see where they take that idea. It could also be him realizing how he's been acting, and admitting that this "romanticized" version isn't true to him. I have hope that Mike will eventually learn to embrace his differences and what he enjoys.

While this part is a bit nit-picky, I feel it's fun to mention that the song was inspired by a lyric in The Tracks of My Tears by Smokey Robinson; the lyric being, "Although she may be cute / She's just a substitute". The line following this (which is also referenced in Substitute's Genius.com entry) is, "Because you're the permanent one". Funnily enough, these lyrics also fit into the narrative the playlist is laying out. They remind me a lot of what The Better Side represents.

Out of context, the lines from The Tracks of My Tears may imply that someone is either using another person as a substitute for an ex, or that someone is realizing they've been using their previous partner as a substitute for someone better. Both routes have the potential to happen in ST5. Although, I don't know if the idea of a literal substitute fits with what The Who was going for. The Tracks of My Tears is also not on "STurn", so take this part as a fun fact with a grain of salt on the side.

At the end of the day, we don't know Finn's motivation for adding Substitute, so this is what we'll have to go off of for now. I feel as though the former interpretation, a less literal "substitute," holds the most merit considering the theme of personas.

10. The Rebel Kind

Like The Better Side, I couldn't find any lyrics, so I'm doing it by ear. Though, I'm happy to say that this song is about a desire to embrace differences and rebellion. "We'll be free to run with the rebel kind" and "It's not easy, but I don't mind / I just want to run with the rebel kind" establish that. The track appears to tie into Mike's insecurity struggles throughout the playlist.

The lyric "They call us the rebel kind" hints to the panic brewing at the end of S4. Mike might start to embrace and stand behind his true self at whatever point this is in the season. The line following, "But they don't understand / The things a man must do to prove that he's a man", can be taken in different ways depending on how the lyrics are read.

It could be the narrator's struggle to keep up with societal norms before finally giving in to their truth instead of trying to conform, read as "they call us rebels but don't get how hard it is to for us to keep up." On the other hand, it could be the narrator commenting on how society doesn't understand people like them, and, by embracing their true self, it proves more about who they are than conforming ever would; read as, "you think we're the rebellious ones, but you don't understand that we're more self-secure and strong than you'll ever be."

I can see both of these interpretations working for Mike and his connection to the Party. The progression of insecurity in Angst In My Pants and potential realization of this guise in Substitute is wrapped up by Mike's self-acceptance here. I really hope this is how it plays out in S5.

11. Block Rockin' Beats

There's not much to analyze because this track has one repeated line of lyrics, but it's definitely here to set a tone. The song may have a similar vibe-setting purpose as What Do You Want Me To Do? and Ballad of the Texas King. That's just my theory, though. (A ST5 theoryyy!)

Perhaps this is a climax of sorts where the cast fight the "big bad." The music's tone is intense and sort of aggressive. It's definitely a fun addition to the playlist, whatever the song's purpose in it may be.

12. Just What I Needed

Finally, we have Just What I Needed. I read this song in two different ways.

The first way I interpreted it was as a love song about the narrator not caring about who this person is, and realizing they need them in spite of it all. The lyrics, "It's not the perfume that you wear / It's not the ribbons in your hair / And I don't mind you comin' here / And wastin' all my time", "Cause when you're standin' oh so near / I kinda lose my mind, yeah", and "I needed someone to bleed / Yeah, yeah, so bleed me" support this.

The second possible reading is that the narrator realizes they were/are in a codependent relationship and they still love the person. The lyrics, "I guess you're just what I needed / I needed someone to feed / I guess you're just what I needed / I needed someone to bleed" and "I don't mind you hangin' out / And talkin' in your sleep / It doesn't matter where you've been / As long as it was deep, yeah", could be read as more of a "you're what I needed at the time, but I still love you and want you in my life." With this reading, it's unclear whether or not the love is romantic or platonic. Maybe I'm looking too far into it, but this is what some Genius.com contributors brought up, and it would feel wrong to not include this understanding of the song.

I'm just assuming, since The Rebel Kind seemed to tie up Mike's self-security problem, that this track is supposed to imply a resolution with his romantic issues. Under that impression, there are a few ways we can look at it.

It could be an acceptance for who he has feelings for. He went from mourning a loss in Promises I've Made, noticing something and hoping it goes away in Angst In My Pants, potentially coming to terms with the fact that this person is his "better" choice in The Better Side, wanting to admit a truth but feeling doubtful in Don't Ask Me to Explain, comprehending that he's able to embrace his authentic self in The Rebel Kind, to now admitting, possibly out loud, that this person was "just what [he] needed". That could be far-fetched, but it's just what I picked up on throughout the playlist.

However, it may also pertain to his self-identity struggle that's hinted at throughout (can you tell that I love this part of Mike?) while also tying into his romance issues. He went through a difficult separation with someone in What You're Doing and Promises I've Made, put on a persona and suppressed his true self in Angst In My Pants, realized he couldn't keep it going and needed to address it in Substitute, embraced himself in The Rebel Kind, and now recognizes that the relationship may have been codependent and holding him back from fully dropping the facade: "I guess you're just what I needed" -- in the moment. I don't know if that's too in-depth of a read, but it's a possibility.

While not relevant to the playlist in it's context, it's fun to bring up the fact that Just What I Needed was apparently also the final track listed on the 'official' "Will's Castle Byers Classics" playlist created by Spotify. It's not available anymore, so I can't really say it as a fact. Although, recreations of the playlist have been made long before "STurn" was a thing, and the song was added as the last track as far back as 2018. I suppose that's proof enough that it was at least on the playlist.

Finn listing it as the final track may be a reference to "Will's Castle Byers Classics", but it's also likely that there's no association. That's why I gave the song an equal amount of analysis instead of writing it off as a reference. As to how canon those playlists are, I don't think it particularly matters. It's true that Finn could've seen Just What I Needed in the Will playlist and put it on "STurn", thinking of it as a fun easter egg. There could or could not be implications for that and I'd be remiss to ignore it. I don't know if this rings true for any of the other songs on "STurn" as well -- if they're connected to any other character playlists. Feel free to let me know if they are!

TL;DR

This was really hefty post, and I apologize for that, so here's a summary/recap of what I think S5 may have in store for Mike Wheeler.

Summary:

The season likely starts off at the end of S4, with us seeing Mike react to everything that's happened in Hawkins and reuniting with his family. Tension or unresolved conflicts may be arising in his relationship(s) as well, but he puts it aside to focus on the more important tasks at hand. Either his relationship is put aside with this, or there's an eventual separation that occurs, and he mourns it. After, he tries to maintain normalcy and puts on a guise to appease others. During this time, he may start to have a realization about something that he attempts to repress. He eventually comes to terms with it, though, recognizing that there's someone (maybe something?) better for him. He wants to admit to these true feelings, but he'll struggle with hiding, doubting, and fearing them; thinking he can't allow himself to fully love this person or, at least, admit to whatever feelings or "truth" he possesses. Mike will most likely continue to struggle with mixed feelings and hiding his true personality after this, eventually admitting to not being fully authentic. He'll then accept his true self for what it is. This will lead into a climax, where the main conflict of the show will be resolved. Finally, he'll accept and admit his true feelings, realizing that all he needed to do in the end was be entirely honest with (and about) himself.

In Conclusion

I really want this to be where they take Mike in ST5. It would be such a satisfying thing to watch, especially with how he's acted the past two seasons. I think he deserves to have a self-love/acceptance arc because the show has made it clear he's insecure and inauthentic.

Thank you so much for reading, and I hope you enjoyed! Please let me know your thoughts and interpretations in the comments, as well as if there's anything you think I should add/fix. I'd love to hear what others have to say about "STurn" and it's connections to ST :)!

#Mike Wheeler let me into your head challenge #stranger things #stranger things analysis #stranger things speculation #stranger things 5 #st5 #st5 spoilers #mike wheeler #el hopper #eleven stranger things #will byers #byler #<- target audience #byler analysis #STurn

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suffersinfandom · 4 months

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So there’s a lot of debate over who’s responsible for Ed’s turn to the Kraken (or, as I like to call it, “the Krakening”), and I think that’s partly because no one person can be blamed. Ed is a deeply hurt and traumatized individual thanks to his life pre-canon, and that hurt can be attributed to a lot of things -- his father, Hornigold, the society he grew up in, the culture of piracy, toxic masculinity.

But there are three key events that we actually see happen between the dock and Ed pushing Lucius overboard, and these three events in combination are the lead-up to the Krakening:

Event one: Stede running away. Stede doesn’t show up at the dock and Ed, convinced that he’s unlovable and of course Stede wouldn’t come for him, accepts abandonment and heartbreak.

Event two: Izzy. “I should’ve let the English kill you.” “This, whatever it is that you’ve become, is a fate worse than death.” “This! This is Blackbeard, not some namby pamby in a silk gown pining for his boyfriend!” “I serve Blackbeard, not Edward. Edward better watch his fucking step.”

Event three: the crew’s chanting. After Izzy leaves, Ed faintly hears the crew laughing and asking for another song. This is the last time we see Ed before he pushes Lucius overboard.

Okay.

After Stede panics and runs and Ed returns to the Revenge alone, he cries and eats marmalade in a blanket fort. He’s heartbroken and sad, not smearing on the eyeliner and hitting the rhino horn. Lucius gets through to Ed with “maybe life just begins again,” Ed sings his little song in front of the crew, and then he starts cleaning up.

I’ve seen this scene in S1 compared to the scene in S2 where Ed is tidying his cabin up on the day he’s decided to die. While we should absolutely read these scenes as parallels, I think it’s a mistake to say that they’re the same thing -- that is, scenes of Ed cleaning his depression mess, cheered up by what he thinks is his impending death.

In fact, I think that the S2 scene is sadder when we have these two contrasting Eds. Ed in S1 is newly hopeful. He’s still sad, but he has a community that cares about him and the hope that he can be different. He doesn’t have to be the dread pirate Blackbeard; he can just be Ed in the space that Stede created, even if Stede himself is gone. Ed doesn’t have the same dark energy in S1 that he has in S2 after he has firmly rejected hope for change and anything beyond Blackbeard. S1 is life beginning again; S2 is life coming to an end.

See above: S1 Ed (bright-eyed, a little manic, open, hopeful that life can begin again)

See below: S2 Ed (dull-eyed, very manic, vaguely menacing, only hope is death)

So event one -- Stede leaving -- isn’t responsible for the Krakening. We can’t know what might have happened if Izzy had, say, been tossed overboard in a mutiny, but it wouldn’t have been the season two we got. In my opinion, every indication points to Ed recovering in the company of the crew.

Next we have the confrontation with Izzy. This, I think, is the real turn.

Izzy is cruel here. He hates Ed being soft so much that he tells Ed he’d be better off dead. His wording is an implication that Ed is alive at Izzy’s pleasure (“I should have let the English kill you”) as well as a warning that Izzy’s loyalty to Blackbeard does not extend to Edward.

I don’t think that Ed interprets Izzy as a direct threat, but Izzy is -- as always -- acting as a manifestation of toxic masculinity. This scene is the world saying that Ed can’t be soft and gentle if he wants to survive. He can’t mourn lost love. He doesn’t have the luxury of healing in a community.

Ed, still raw and sad, is being reminded that he’s not allowed to be just Ed. Just Ed has been told his entire life that he’s not meant for fine things, and whenever he reaches for a fine thing -- friendship, love, community -- he’s told that pirates don’t have friends, he’s unlovable, and he’d better watch his fucking step. Just Ed wasn’t enough for Stede, so how can he be enough for anyone else? For the crew? For Izzy and everyone else in a world that seems to want Blackbeard?

After event two, Ed is on the precipice. He’s unbalanced and uncertain. He isn’t sure that life can begin again after all. And then he hears the crew.

Offscreen and far away, the crew asks “Eddie” for another song. We know that there’s no maliciousness in that because the crew likes the Ed they’ve seen, but Ed is vulnerable. He doesn’t hear friends; he’s not used to having friends. He’s used to Jack and Izzy, who both betrayed him. He’s used to the people on the party boat who pretended to like him and then turned on him. If Ed isn’t valuable, lovable, or even worth liking, then why would the crew genuinely want him to come back? They must be mocking him.

Lucius gave Ed hope that he could have fine things. Izzy yanked that hope away and, in this moment of doubt, Ed can only hear further confirmation that he was wrong to want better than the violence of Blackbeard.

It’s not a coincidence that the first things Ed purges are his red silk and Lucius. The silk is now a warning against reaching for fine things, and Lucius is the one who encouraged him to be soft and vulnerable in front of the crew -- something that he thinks the crew rejected. Ed moves to protect himself by abandoning all hope for things that he has been told aren’t for people like him.

In conclusion: a lot of things contributed to the Krakening and the main villain here, as it often is in this show, is toxic masculinity and patriarchy.

#and Izzy is our poster boy for toxic masculinity so make of that what you will #ofmd #ofmd meta #edward teach #i was laying in bed immobilized by pain and my brain was like #you know what would help?#thinking about ed being sad #(it did not help)#me typing things

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throwawayasoiafaccount · 9 days

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i am reminded once again that people are so weird about rhaegar.

it’s interesting but nauseating to see the shift about him on the anti-rhaegar side of the fandom as it’s clear that people are still wildly and crazily deep in their fanon versions of him, but have decided he’s somewhat useful to them as the fandom becomes less accepting of the ‘targaryens are bad and all mad’ narrative that was floating around for years, so some of the antis have slightly changed their tunes.

i should clarify that the shift does seem subtle right now, so maybe it’s not going to affect the way the antis discuss rhaegar that much, but i find it interesting and a bit annoying so im gonna discuss it.

the shift is basically starting from ‘rhaegar was a moron and killed his family by fucking his whore so he deserved death’ and seems to be heading to ‘rhaegar was secretly really cunning and cruel and actually loved elia but she was iffy/neutral of him and he only got with lyanna to have a baby and left her to die cause he was always gonna go back to elia.’

both of these are crazy interpretations imo, but the second one is even worse than the first. the first interpretation is at least a tad bit understandable, but the second is completely based on fanon land nonsense.

because… how is rhaegar seen as cunningly cruel when he’s only been paralleled with dany and jon, two incredibly kind characters? one of the first times dany is directly paralleled to rhaegar is when dany was protecting others! while we do learn a lot about rhaegar through these parallels, there’s also an on page interaction that completely contradicts the ‘rhaegar is cruel and callous’ interpretation. it starts when jamie is recalling rhaegar’s departure to the trident, he remembers when jon darry snapped at him, telling him to obey and stay with aerys; then rhaegar takes the time to console a teenage jamie and ease his worries before he leaves. we have all this and yet people interpret this character as cunningly cruel and willing to use others for his own ends?

like bsffr… this is a character who prefers writing songs and singing them instead of violence and the song of swords. that says a lot about rhaegar, and it’s all good things.

speaking of good things said about rhaegar: barristan as whitebeard, when he was still sussing out dany, calls rhaegar able, determined, deliberate, dutiful, and single-minded. these are all positive descriptions. barristan also later says that there’s a lot of good to be said about rhaegar, more than any of dany’s other relatives. this is not the description of someone hiding a nasty personality behind a perfect facade, it’s a deliberate set up preparing us readers for the big rhaelya reveal and to contradict roberts anti rhaegar propaganda.

i also want to mention the other side of rhaegar. he was described as melancholy and was said to have sad eyes, and according to cersei he looked wounded. it seems like he suffered from depression. and based on the parallels between aerys and viserys, i think it’s safe to assume that aerys was likely abusive to rhaegar like viserys was to dany. what’s written in a world of ice and fire supports my case and shows that things were always very very tense between rhaegar and aerys. things were so tense in fact that aerys even brought varys in as spymaster partly because he mistrusted rhaegar. that is a very terrible environment for someone to grow up in, and yet rhaegar still pulled through so much so that characters still sing his praises years after his death. that’s impressive and shows how good of an impression he left on so many characters.

now, i also want to discuss the rhaegar x elia ship as it’s getting more popular as the tides keep shifting. one quote that these shippers use to support their ship is the “rhaegar was fond of elia” remark made by barristan, but the context of that conversation is specifically left out by these shippers. basically the conversation began when dany is telling barristan that she’ll do her duty and marry hizdahr, so she asks barristan if rhaegar wed for duty or love. barristan hesitates and tells her that rhaegar was fond of elia but says nothing about love. context is key here. and while it’s not surprising that these shippers need to strip away the context as they have to go up against rhaelya, which has a lot of textual support, it is deceitful and proves that their case is weak in compassion to the build up of rhaelya.

anyways… yeah… this shifting tide is weird af and seems like a huge backwards dive into fanon land, and while i can’t control anyone i think i’ve done my best to stay true to canon by mentioning what we know about rhaegar and trying to keep my interpretations grounded.

tbh… i don’t even like this character that much, but i think his impact on the fandom is so cool. cause it’s like… here is rhaegar, a sad boy, and yet so many people treat him like he’s satan incarnate responsible for everything bad. it’s like so wild and so far from what little we know of him. so, basically, because of this fandom discourse, i became interested in this character and am now one of his defenders. yeahhhhh….

also, because so many people liked to basically shit on rhaegar for ‘doing nothing’ and ‘just letting war break out’ i found it kinda fun to theorize about what he may have actually been doing at the time of the rebellion. as of now, i’m pretty set in my belief that he specifically went to dorne to conspire with house martell and potential allies in order to overthrow aerys. my theory is based on what we know of his personality, and i think his last words to jamie clearly hint that he had some sort of plan in place; and since he was last in dorne, it’s only logical to conclude that there was something going on.

that’s all

#rhaegar targaryen #anti elia stans #anti rhaegar x elia #rhaelya #pro rhaelya #daenerys targaryen #asoiaf fandom critical #rhaelya deniers are gonna be the ppl super disappointed by the next books #how can you think that the tower of joy… named by a depressed man… means something nasty instead of something beautiful?#y’all just hate depressed ppl admit itttt #i’m kidding #tbh i don’t care if rhaegar antis post in his main tags but stay off my blog i don’t want to deal with any of u #barristan selmy #he’s such a silly guy so down in his what if thoughts #pull yourself together whitebeard you’ve gotta hold down the fort until dany gets back #it’s late so i’m sry for any grammar errorsssssss #do i dare tag the main tag?#noooot today #i hate fanon land #what if y’all just base ur interpretations off of the text instead of off of what you want rhaegar to have been?#like what if we all just do that………#ok i’m done ☑️#that emoji is so funny

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fuck-you-upmusicbracket · 2 months

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...Well, Better Than the Alternative (Will Wood)

Could you tell me/What's so wrong about what's wrong with me/I'm just trying to do what's right by you/What's so wrong about what's wrong with me/I'm just trying to do what's right by you/Baby, could you play along with me/Baby, would that be alright with you

"The meaning is pretty vague, and can be interpreted many ways, but its mostly from the pov of someone who is either a parent/in a relationship, screaming for acceptance. Also fun fact its partly based on Will Wood's fake relationship with his fake daughter Millie"

Hurt (Johnny Cash)

What have I become/My sweetest friend/Everyone I know goes away/In the end/And you could have it all/My empire of dirt/I will let you down/I will make you hurt

"I think this is the classic fuck-you-up song. It's a cover, sure, but all of the pain and regrets from cash's long life, his long career just come pouring out through his voice. There is so much genuine emotion and intensity that could only come from Cash. I started tearing up just thinking about it. I don't even know that much about Johnny Cash, but you don't need to, to feel this song. Its true art"

“When the guitar picks up and the song gets faster it just stirs something in you. Coupled with heartbreak of those lyrics... It's a classic for a reason."

"Sad. very edgy tho."

Better than the alternative submitted by @screaming-rocks

#fuck you up bracket #tournament #polls #will wood #johnny cash

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herejusttosufferalong · 2 months

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As someone new-ish (mid June) to Polin / LN and having tried to read up on everything L/N related since then, esp. all the proposed timelines, I’m tbh still getting confused about timelines and (for me new) info that gets shared in the comments that sometimes seem to contradict timelines/speculation I found myself agreeing with before so I’m helping someone can just clarifying some things timewise for me.

In your timeline, you mentioned believing N was dating someone (I assume E) until March/April 2023.

N & L were in Australia in April and after coming across too comfy/intimate, their teams put out a people’s magazine article about them only being friends and supportive co-stars and not dating, and N reiterating that by calling L friend and dude when she posted about their Austrialia stop (if I read some comments correctly?)

Then on May 5 (as per a comment) N shared the song Kaleidoscope …which I have only today read the lyrics for and oof…esp. the first part hits hard. Depending on perspective (delulu or not) this could apply to E (if we assume it was him she prob. dated) or L.

The part ‘And if you change your mind, I will understand, And it'll just take time, To go back to being friends’ made me think of E turning up again now promo is over and hanging out with N & her friends & JD as mentioned on this blog. Like they broke up, he went off to film Witcher, N continue on her Polin Press Tour and now they are back in each others orbit (as friends?)

Also if it was for E, the ‘just co-stars’ people article could have been not just to the audience but also to try and pacify E (& A)?

Though I think I remember reading you mentioning in one of your answers you thought all her song choices during the tour were about L. How would you interpret that song fitting into your timeline of things? Admittedly that line in the song about ‘crossing lines’ made me think about L. But then again that song would make it seem like L rejected her and chose A over her which a. doesn’t seem believable b. really doesn’t sit well with me.

And wasn’t it around the same time the ‘inStyle stunt’ happened in which L was an active participant (so it wasn’t just A)? Like he felt the article wasn’t enough and he wanted to hint at A being his companion (albeit having to stay in the bathroom)

Then to make things even more confusing it was mentioned that L and his team - after the inStyle thing - put out articles about him being single (not just not dating N) …which still makes no sense to me tbh.

Then Italy happened with the inital tension btwn L/N (including a clip you posted trying to lipread what they were saying, where I also read as her saying I fucking hate this & him responding [shut up] and smile. Followed by them looking all cozy again.

Then A turned up at the NY premiere with his sister/mom - which plus him taking her to the London premiere as well - kind of contradicts one of my previous thoughts (in trying to make sense of it all) that L was asked to hide or at least not publicize A during the press tour to sell Polin (bc they were worried with all of the hate Polin/NL apparently were getting since they were announced …which, I digress, I am really glad to have missed bc WTF). If that was the case, I don’t see Shondaland/Netflix wanting her to be at the premiere?

Then there was EKR chaos dinner and some DM article about L having kissed someone. I read before about EKR stepping in immediately and saying it didn’t happen, but I only just now read that he mentioned L having a GF and to take that down (again partly to pacify A like after Australia?). EKR knew about A and L having a GF (maybe L talked about her at the dinner seeing how she wants to be an influencer etc) and basically outed L as having a GF, all while his team had put out articles about him being single.

And then the games continue ending with the London pap walk and DM/Backgrid/People’s mag articles showcasing A and trying to sell her as his ‘rumored’ GF. (Which all don’t mention her age, while DM likes to post about N possibly dating a younger man.) Articles, even if they are from A’s team, L or his publicist (if he currently) has one, is not contesting or denying.

Meanwhile the SM games from L’s friends/A/S continue and make it seem like they are all trying to help A get a job/more exposure/ recognition. This latest trip seemed to be both to celebrate R’s bday and relax all together plus get some pics/hints of A/L and articles to get A’s name out there again…Still looking really awkward in those pap pics…’Passionate embrace’ indeed 🤦‍♀️ but from other pics I saw (involuntarily as they were posted on my twitter tl) he looked relaxed and happy celebrating R’s bday with A around. The group also - besides the first days of pap pics and exposure - seemed to spend their time on a boat privately together which I would imagine being very awkward if things were not alright/unraveling btwn them. I also don’t for a minute think he’s not aware of what A and his friends post and I do think he’s ok with it as long as they keep certain boundaries as mentioned by others in the comments.

Again two perspectives - the unraveling one, helping her get what she wants so L can untangle himself from her slowly, which I would prefer, or the other one, after her having to play stuck in the bathroom all year, him trying to be a caring BF, feeling he should make it up to her (also for still not wanting to officially claim her bc he probably knows it would create another shitshow for her and him, which would help neither of them careerwise) making it a priority to help her out with her career while waiting for fandom to get over pap walk and them being together (while still hopefully for his sake also trying to work on his career and not just hers).

Is that order of events correct or did I confuse/miss something?

Does it all still fit within your timeline and thoughts that the unraveling might be starting/coming sometime soon?

And do you think that N - if she was/is hurt or annoyed by L/the whole narrative since the London premiere, whether it is professionally and as close work friend or as more or if she herself is dating someone - will try to keep a distance from L (both on set as well as on her SM even during filming and promo) to not instigate more L/N talk (esp. if L keeps A around) and focus more on posting this season leads plus Claudia when back on set?

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hephaestuscrew · 1 year

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"Minkowski's been talking about Sondheim again…": Minkowski's love of musical theatre and what it reveals about her characterisation and her relationships

TL;DR: Renée Minkowski's love of musicals, while it might seem just like a mundane character detail, is used to give depth to her character because it contrasts with expectations of her from both the listening audience and the other characters. Her willingness or unwillingness to share this interest in different circumstances reveals her relationships with other characters at various points. Since this is a long one, if you'd rather read it as a document, you can view it here: Google Doc version.

"She actually really cares about these talent shows": Episode 8 (Box 953)

In the early episodes of Season 1, Minkowski is presented (largely through Eiffel's unreliable perspective) purely as a strict no-nonsense authority figure without much emotional depth, the kind of person who only likes things that are useful, purposeful, or mandated by Command. In contrast, musical theatre is a creative pursuit that has nothing to do with the mission of the Hephaestus and is viewed by many people as fairly frivolous or silly. The gradual exploration of Minkowski's passion for musicals is one of the many ways that the show expands and challenges our understanding of her as a character.

The first indication that we get of her interest in musicals is through her entry into the infamous talent show, something that is required as part of the mission. Minkowski really cares about 'crew morale' activities in general, even when they actually have a negative effect on morale and even before she's friends with any of her crew (for example, the Christmas and Thanksgiving dinners in the earlier stage of the mission), perhaps partly because doing things in the "right way" is important to her.

But Eiffel senses that the talent shows aren't just about rules for her: "it’s bad enough when she makes us do something just because it’s military protocol, but I think that she actually really cares about these talent shows". This might be the first indication that we get of Minkowski caring deeply about anything that isn't inherently part of her role as a Commander. Moments like this are part of the gradual process of giving us insight into her character beyond the Commander archetype that she tries to embody. And yet, she only indulges her theatrical passion because something mandatory gives her permission, or an excuse, to let another part of herself out.

Of course, to satisfy the needs of a talent show, she'd only need to provide a performance of a few minutes. But Eiffel mentions "the second act of the play" - which along with Hera's comment that "Isabel isn't the biggest role in the play" - implies that Minkowski was intending to put on the whole of Pirates of Penzance as her talent show act, rather than a few of the songs or some kind of medley. (I suppose that Eiffel could be exaggerating or Minkowski might have been planning to do extracts from different parts of the play, but I prefer the interpretation in which Minkowski gets to be more ridiculous.)

Even though no one else would be willing to be in her production of Pirates of Penzance, Minkowski casts Hera as Isabel, a role with two lines and no solo singing. I found some audition notes for this play which said "The traditional staging gives [Isabel] more prominence than the solo opportunities of the part suggest, so she must be a good actress" which does make me sad in relation to Hera's inability to have a more significant role by being physically present on stage.

It’s sweet that Hera still wants to take part though. She tells Eiffel "Pirates of Penzance is a classic of 19th century comic opera", so either she’s absorbed what Minkowski has told her about the show, or she’s done her own research and formed her own opinions. I enjoy the fact that Hera is the one Hephaestus crew member who shows potential to share Minkowski's musical theatre appreciation; I like to think that this is something they could explore together post-canon.

Anyway, I'm obsessed with the idea that Minkowski was planning to play every character except one in Pirates of Penzance, a show which is designed to have 10 principal characters and a chorus of 14 men. It seems that her contribution to the talent show was supposed to be an entire two-hour two-act musical, with costumes and props, in which she would play almost all of the parts. This is very funny to me as the perhaps predictable consequence of giving an ambitious and frustrated grown-up theatre kid a position of authority and asking them to arrange a talent show. Minkowski knows that the audience will be made up of her subordinates who are theoretically obliged by the chain of command to watch and listen, so she absolutely tries to make the most of that opportunity. There's probably also a degree to which she limits other people's involvement in her musical because - as with her other endeavors - she wants the outcome to be almost entirely within her control (something that is usually pretty much impossible in as collaborative a medium as musical theatre).

Of course, Minkowski's behaviour in most of the talent show episode is affected by her being drugged by Hilbert. This creates an exaggerated situation which is the first real opportunity for Minkowski to be something other than the strict sensible authoritarian Commander and the foil to Eiffel's jokey laid-back attitude. I don't agree with ideas that being intoxicated brings out anyone's true self (especially in the absence of consent for the intoxication), but it seems pretty clear that being under the influence of whatever was in Hilbert's concoction caused Minkowski to fully commit to a level of manic enthusiasm for her musical production that might have otherwise been obscured by her professionalism. It's a particular kind of person who belts showtunes when drunk, and Minkowski is that kind of person, even if that's not how she wants to present herself. (As a sidenote, I seem to remember that they took Emma Sherr-Ziarko's script off her to help her sound more drunk. It's an excellent performance.)

Minkowski wants interval ice cream. She wants "pirate costumes" (and she'll threaten to shoot a man to get them). She wants "swashes and buckles". She wants whatever props she can get her hands on (including a real cannon). This show is important to her, even though only three other people will witness it and two of them actively don't want to be there. It’s important to her for its own sake.

Eiffel says Minkowski wants "a second pair of eyes to tell her if the prop sabre for her Major-General costume was a bit much…" While I certainly wouldn't put it past Goddard Futuristics to have a prop sabre on the station for no apparent reason, it feels more likely that she might have made it or adapted some existing item. Which suggests that maybe she was that passionate about the props even before Hilbert drugged her.

Even so, it does feel significant that Minkowski's love of musicals is only revealed in the episode in which she is drugged, exhibiting lowered inhibitions, exaggerated behaviour, and an "impaired euphoric effect". Her love of musical theatre is initially revealed through a professional structure that provides permission, and then further emphasised by a forced intoxication that exaggerates some impulses that perhaps she already had.

"Some hobbies other than making trains run on time": Episode 17 (Bach to the Future)

After Eiffel tells to find Minkowski to find something else to do while her work duties have quietened down, they have the following exchange:

EIFFEL: You must have some hobbies other than making trains run on time. Something to do with friends? Boyfriends? MINKOWSKI: Of course I do, but, well, there aren't really a lot of opportunities for rock climbing or trail hiking in the immediate vicinity.

Even though this quote doesn't mention musicals, I've included it here for two reasons. Firstly, it's very funny to me that, even after the talent show debacle, Eiffel acts like he's never had any evidence of Minkowski's hobbies. She tried to perform a whole play almost single-handedly and it didn't occur to him that this might indicate an interest of hers outside of work. I think this reflects the fairly two-dimensional view that Eiffel has previously had of Minkowski, which her interest in musical theatre didn't fit into.

Secondly, it feels notable that Minkowski doesn't mention musical theatre here. She wants to show that she has non-work interests, but without undermining her own authoritative image. Her interest in rock climbing and trail hiking - while it may be genuine - fits with how she wants to be seen as a Commander. These are hobbies which portray her as physically capable, with a high degree of stamina and a willingness to adapt to perhaps less hospitable surroundings. Of course, Minkowski does have these traits and they serve her well on the Hephaestus. But there's not really anything particularly surprising about her expressing these interests. The surprise in this scene comes from the reveal that she has a husband, a character detail which - like her love of musicals - isn't something we'd necessarily expect from the archetype-based view of her we are initially presented with.

Her interest in rock climbing and trail hiking never come up again, because these details don't really deepen her characterisation (or at least, they aren't really used to deepen her characterisation beyond proving that she isn't entirely all-work-and-no-play). In contrast, Minkowski's love of musicals is brought up over and over because it shows another side of her that she struggles to reveal on the Hephaestus, and that allows more interesting things to be done with her characterisation.

"You wanted to write showtunes": Episode 35 (Need to Know)

Alongside the more high stakes discoveries prompted by the leak from Kepler's files, we also learn that Minkowski applied to - and was rejected from - the Tisch Graduate Musical Theater Writing Program.

Up until this point, we've only had evidence that Minkowski enjoys performing in musicals. But here we learn that Minkowski doesn't just love watching or performing in musicals - she wanted to write them too. This suggests a creative side to her that we never see her fully express.

The course

The Tisch Graduate Musical Theatre Writing Program claims to be the only course of its kind in the world and it accepts just 30 students each year. The current application process requires applicants to: upload play scripts or recordings of songs they've written; answer a large number of extended response questions about their creative process and views on musical theatre; write a 'statement of purpose' which has to talk about why they are applying and include 3 original ideas for musicals; provide a professional resume and a digital portfolio; complete an exercise of writing in response to a prompt; and undergo an interview. The process might have changed somewhat since Minkowski would have been applying (which, if it was soon after she finished college, might have been around the early 2000s) or it might be different in Wolf 359's alternate universe, but I think we can safely assume that applying to this course was a serious undertaking that required an intense amount of commitment and work.

Applying to a course like that isn't something you do half-heartedly or on a whim. You couldn't apply to this course if you hadn't done a fair amount of musical theatre writing already. (The course requires applicants to choose to apply as bookwriters, lyricists, or composers, but I'm not going to make a guess here as to which of these Minkowski went for.) The fact that Minkowski wanted to study this course suggests that she was seriously considering trying to make a career out of musical theatre writing. In Once In A Lifetime, she tells Cutter that commanding a space station has always been her dream job, but we've got evidence here that it wasn't her only dream job. There's something kind of funny and kind of sad about the idea that writing musicals was her back-up / fall-back career path. She does not like to make life easy for herself.

The revelation

This information is revealed against Minkowski's will. It's not something she wanted people to find out, and she isn't happy about them knowing:

JACOBI: "Dear Renée, thank you for your interest in the Tisch Graduate Musical Theater Writing Program..." MINKOWSKI: Oh, come on! JACOBI: (pressing on) "We are sorry to say, we will not be able to offer you a spot in this year's blah blah blah." Oh this is too good. You wanted to write showtunes? MINKOWSKI: Number one? Shut up. Number two, why are my personal records on there?! [...] How is it in any way relevant?! JACOBI: Oh, I think it's very relevant. I mean, if you're sending someone to pilot ships in deep space, you want to make sure that they can, you know... paint with all the colors of the wind. Jacobi CRACKS UP - and, although to a lesser degree, so does Lovelace. Minkowski looks at her: really? LOVELACE: Sorry, Minkowski. It's... it's a little funny. MINKOWKSI: No, it isn't!

Minkowski seems defensive and embarrassed here. She obviously doesn't trust everyone there with this revelation (Jacobi, Maxwell, Lovelace, and Hera are all present). She considers this information to be "personal" and irrelevant and not even "a little funny". She's used to reactions like Jacobi's (and to a lesser extent Lovelace's); in Ep41 Memoria, she says "most people think it's hilarious that I like musicals" (see below for more thoughts about this quote). But the fact that these mocking reactions are expected doesn't mean that they don't bother her. She wants so badly to be taken seriously and, in this scene, her interest in musical theatre seems to be incompatible with that. Jacobi reacts the way that he does because of the idea that I've already expressed, that a passion for musical theatre does not fit with the serious authoritative image that Minkowski has often presented. It's not the typical hobby of a soldier, especially not a Commander.

To me, the way Lovelace laughs suggests that she might not have previously known about Minkowski's love of musicals, or at least perhaps not the full extent of it. At any rate, it's definitely news to Jacobi. And Minkowski clearly hasn't talked about it enough for it not to feel like a big reveal for her.

The rejection

It's notable that this reveal is not just that she wanted to write for the stage, but also that she failed to get into a course that might have helped her work towards that goal. This of course compounds Minkowski's discomfort at having this information revealed. Not only did she want to write showtunes, but she encountered rejection in her attempts to do so. This detail implies that perhaps it wasn't just the appeal of her spacefaring dream that stopped her going down a theatrical career path.

I'm about to move more into headcanon territory rather than just straightforward analysis, but I personally believe that, while Minkowski auditioned for a lot of musicals (particularly as a child / young person), she was never cast as the main role. She seems embarrassed about her interest in musical theatre in a way that (at least judging by people I've encountered) people who were always the lead in their school / college productions don't tend to be.

We don't have much evidence about her actual level of singing/acting ability, given that she is inebriated during the only time we hear her sing in the podcast. However, it resonates with other aspects of her characterisation to imagine that Minkowski was generally good enough to get an ensemble part but never quite good enough to be cast as a main part. I think she might see only ever being cast as part of the ensemble, and failing to get into the Tisch Musical Theatre Writing programme, as slightly more down-to-earth examples of the same pattern as her repeated rejections from NASA. She is desperate to prove herself. She is "someone who very much wants to matter. To do something important." When she casts herself as almost every part in Pirates of Penzance, she is finally taking the opportunity to be a main character, an opportunity which I imagine had been denied to her over and over in both a literal and metaphorical sense.

"It's just from a play I saw once": Episode 41 (Memoria)

The next scene I want to talk about is from a memory of Hera's, which took place on Day 57 of the Hephaestus mission and in which Minkowski appears to be talking about the Stephen Sondheim musical Sunday in the Park with George:

MINKOWSKI: Oh, it's just from a play I saw once. It doesn't matter. (BEAT) The guy who sings it is this famous French painter. And his entire life is kinda falling apart. But he can always turn what's happening around him into these beautiful paintings. HERA: And? MINKOWSKI: And... That's, I don't know. Reassuring, maybe? (BEAT) I don't know why I'm going on about this. You don't care. HERA: I think it's interesting. MINKOWSKI: Yeah? Most people think it's hilarious that I like musicals. HERA: I don't see what's funny about it. MINKOWSKI: Well, thank you Hera, but you're not exactly... you know. HERA: I'm not... what?

There's a couple of different things I want to pick out from this exchange. Firstly, the line "Most people think it's hilarious that I like musicals" makes me sad. I don't think she's talking about people on the Hephaestus there. Judging by the quote I talked about from Bach to the Future, Eiffel definitely wouldn't have registered Minkowski's love of musicals at this stage, and I doubt Hilbert cares at all about the hobbies of his fellow crew members. So Minkowski is talking about experiences that she's had on Earth, of people mocking her interest in musicals and thinking it doesn't fit with who she is. You can hear the impact of those experiences in Minkowski's reluctance to elaborate, in the way she says that something she obviously cares about doesn't matter, in her assumption that Hera doesn't care.

Secondly, this scene is a complicated one for Minkowski and Hera's relationship. On the one hand, Minkowski freely talks to Hera about something she's passionate about, and Hera listens and expresses interest. Hera validates Minkowski's interest in musical theatre without making a thing of it being weird and Minkowski thanks her. Again, it’s shown as an interest they could could potentially share.

But on the other hand, it seems like part of the reason Minkowski feels able to open up to Hera is because at this point Minkowski doesn't see opening up to Hera as fully equivalent to opening up to a fellow human. She doesn't just accept Hera not making fun of her interest; instead it seems Minkowski is about to imply that this lack of judgment indicates Hera's difference from humans (although she does have the decency not to say it outright). Minkowski's expectation of judgment from others contributes to her saying something very hurtful to Hera here. (This kind of potential consequence of negative self-attitude is explored a lot with Eiffel, so it's interesting that Minkowski can sometimes have a similar issue.)

Minkowski and Hera's conversation is interrupted when:

The DOOR OPENS. EIFFEL: Hey, Minkowski, we've - What are you guys talking about? MINKOWSKI: We were just discussing how I'm going to take away your hot water privileges if you don't reset the long-range scan.

Eiffel can obviously tell that he's walked in on a conversation that is about something other than work, or he wouldn't have asked. But Minkowski actively chooses not to tell him that she was talking to Hera about musicals. Perhaps she doesn't know how to open up to a human subordinate about it. Perhaps she doesn't trust him not to make fun of her. Perhaps she just doesn't have any impulse to talk about her interests with him. Either way, if Minkowski's love of musicals is something which reflects a side of her personality outside of her Commander role, this is a moment where she chooses not to take an opportunity to share that side of herself with Eiffel. This reflects the emotional distance between them three months into the mission, which forms a nice contrast with the next couple of quotes I'm going to talk about.

"Composition. Balance. Harmony.": Episode 54 (The Watchtower)

When Eiffel comes directly face to face with alien life, he discovers that music is the human invention that fascinates the Dear Listeners:

EIFFEL: You haven't figured out music? BOB: ORDER. DESIGN. TENSION. COMPOSITION. BALANCE. HARMONY. EIFFEL: (low, to himself) Minkowski's been talking about Sondheim again…

I only learned in the course of writing this post that in this moment the Dear Listeners are almost exactly quoting a repeated phrase used throughout Sunday in the Park with George. The titular protagonist lists various combinations of these qualities in multiple songs in reference to his art. In the closing song, the lyrics are "Order. Design. Tension. Composition. Balance. Light. [...] Harmony." It's not only Eiffel's references that the Dear Listeners are incorporating into their speech - they've picked this one up from Minkowski. This also suggests that some element of her appreciation for musicals and the way she talks about them has fed into the Dear Listeners' understanding of the human phenomenon of music. The Dear Listeners aren't just parroting - they understood the quote enough that they left out the word "light", arguably the only quality in that phrase which isn't a big part of music as well as visual art. Eiffel likes music too, but I don't think that this is how he'd talk about his favourite songs.

This is a refrain about finding order and beauty out of the chaos and uncertainty of life, which was also the aspect of Sunday in the Park with George that Minkowski focused on when talking about it in Memoria. It suggests that art/music could be something governed by rules and principles, which is potentially something that appeals both to Minkowski and to the Dear Listeners.

Eiffel's response to this reference is one of those little hints that reminds us that Eiffel and Minkowski have spent a lot of time together and that not all of that time has involved them being at each others' throats or actively in a life-or-death situation. Some of it has just been Minkowski going on about a musical she loves and Eiffel (willingly or not) paying enough attention that he recognises this phrase as a Sondheim quote that Minkowski has talked about. I suppose that this quote might have been in Eiffel's pop-culture-brain anyway, but judging from Eiffel's general tastes and the fact that I don't think Sunday in the Park with George is one of the more commonly known Sondheim musicals among non-musical fans, it seems more likely that this quote is something he only knows because Minkowski has talked about it.

Eiffel sounds exasperated at the mention, like he's heard Minkowski talk about Sondheim far too much. But I'd argue that this still says something positive about their relationship, when we contrast it with a couple of other moments I've already mentioned. Firstly, when her previous musical theatre ambitions are revealed to Jacobi, Maxwell, and Lovelace in Need to Know, Minkowski seems embarrassed and defensive. Secondly, in the memory from Memoria, she avoids telling Eiffel that she was talking about this same musical. Yet, by the time The Watchtower takes place, Eiffel is sick of hearing Minkowski talk about Sondheim. She doesn't have the same barriers up in sharing her interests with him, even though he doesn't have the same interests. I think this is a demonstration of how comfortable she feels with him. It's a hint at the kind of easy downtime that they've sometimes shared.

"One day more": Episode 61 (Brave New World)

Eiffel recognises another musical reference of Minkowski’s in the finale. As the crew are preparing for their final confrontation with Cutter and co., Minkowski quotes Les Misérables, mostly to herself - but Eiffel recognises the lyrics and joins in:

EIFFEL: Hey - chin up, soldier. We're almost through. Just one more day, and then we're done. MINKOWSKI: Yeah, one more day. (more to herself) The time is now, the place is here - one day more. EIFFEL: - one day more. They both stop, dead in their tracks. MINKOWSKI: Did you just - ? EIFFEL: Was that what I - ? They look at each other: No way. And BURST INTO LAUGHTER. EIFFEL: Man... this is really it, huh? The end of everything.

It feels really important that Minkowski and Eiffel share this moment of togetherness before she tries to send him back to Earth and before the rest of the action goes down. I think there’s some nice symbolism about them finding a way to communicate that they both understand. Making references is Eiffel's thing, and musicals are Minkowski's thing, so this is a synthesis of their two approaches. Again, there's a contrast with Minkowski's previous unwillingness to share her musical theatre passions with Eiffel (at least without the mitigating circumstances of a mandatory talent show and some kind of intoxicating substance).

I talked about the significance of the fact that they reference this particular musical in this post from ages ago. I don't think it's too much of a spoiler for Les Misérables to say that the revolution that the song One Day More is building up to does not end well for the revolutionaries. When Eiffel says "Just one more day, and then we're done", it encompasses both the possibility that the crew will escape to travel back to Earth and the possibility that they will all die. Minkowski's reference to a famously tragic musical suggests that it's the latter possibility that's at the forefront of her mind (right before she tries to send Eiffel away from the danger). But Les Misérables is also a story about people standing together in solidarity against powerful oppressive forces, which gives particular resonance to the way that this reference brings Eiffel and Minkowski together in a moment of being completely on the same wavelength as they prepare to fight Cutter and Pryce's plan.

When they laugh here, it's not about the 'hilariousness' of Minkowski's interest in musicals, it's about their unexpected unison - Eiffel's recognition of Minkowski's reference and Minkowski's surprise at the fact he joined in. It's a laugh of togetherness, of shared understanding, of friendship. It's a moment of lightness in dark times. And that moment is provided by Minkowski's pop culture interests, not Eiffel's. In spite of all they've been through, she's not lost that part of herself, and in fact, she's more open about it, at least to Eiffel.

I'll finish by highlighting what Eiffel says when he's trying to get into character to impersonate Minkowski so he can turn the Sol around:

EIFFEL: Umm... yes, this is Lieutenant Commander Renée Minkowski. I'm... uh... well I sure love schedules, and, uh, musicals. And that man, who I married…

I just think this is a nice example of Eiffel not defining Minkowski solely by her professional Commander role. Sure, she likes schedules (probably in a personal as well a professional capacity to be fair), but she also loves musicals, and her husband. It is a fairly reductive overview of her as a person, but it feels reductive in a fond way, like these things are part of Minkowski's brand to Eiffel in a way that he might affectionately tease her about. (Credit to @commsroom for this thought.) His view of Minkowski has come a long way from "our resident Statsi agent" or even just "you must have some hobbies other than making trains run on time." He doesn't see any contradiction or inherent humour in Lieutenant Commander Renée Minkowski's appreciation of musicals.

Conclusion

Minkowski's love of musical theatre is used to deepen her characterisation and is one of the ways in which we gradually begin to see her complexity beyond the strict Commander archetype. The degree to which she is prepared to share this interest at various points is used to illustrate the nature of her relationships with other characters: a general unwillingness to show a less serious side of herself; a complicated potential shared interest with Hera; and the growing understanding between her and Eiffel.

If you read this whole thing, well done / thank you 😄 It wasn't meant to be this long - it just happened… Feel free to share your thoughts!

#It's Minkowski Essay Time again!#This is over 4700 words and still doesn't cover it all...#I hadn't quite realised there was so much to say!#Wolf 359 #w359 #If anyone is more familiar with 'Sunday in the Park with George' and has thoughts on why it might particularly appeal to Minkowski #I'd be interested to hear #I listened to the soundtrack and read the Wikipedia plot summary #but I don't think I really got it #My other significant bit of research was that #in order to see what applying to the Tisch Graduate Musical Theatre Writing Program involves #I had to create an account as if I was actually applying #which might be the oddest thing I've done for character analysis #If it interests anyone I could do a post with more detail about that application process #cos it looks insanely intense #Renée Minkowski #Renee Minkowski #the empty man posteth #I hope no one takes things I have said here as critical of musical theatre people btw #I'm just talking about general perceptions #In general I do enjoy musicals myself from an audience perspective

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crtstormie · 6 months

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If Val still abuses Vox like stated in the old lore, would he and Angel be able to relate?

Tw: discussions of abuse

If you weren’t back in the early days of the fandom, back then we barely knew anything about Vox. All we knew was a few limited and obvious things like he was an entertainment overlord and one of the three Vees.

However, one of the things we later learned about him in a livestream is that him and Val are in some sort of relationship and that Val is obviously abusive towards him.

This was a part of the old lore and while I’m sure Val can get violent from time to time, it seems from episode two that this new idea of Vox has a lot of control over Val’s anger and wouldn’t really allow him to crack or break his screen.

But back then we didn’t know this. Remember when we thought Val would be the leader of the Vees?

Considering that we also still thought the Voxtagram stories a were canon and Val is shown to break Vox’s screen often, we had a very different interpretation of him.

And with the popularity of amazing fan song ‘eyes on me’ from paranoid dj that also shows their relationship as abusive at the end of the video, this was all we thought their relationship would be like. (Ok but honestly eyes on me is amazing I listen to it like every week)

Now, how did this relate to angeldust?

We knew a lot more about Angeldust because he is part of the main cast, and when addict released the show was making it very obvious that Val was his boss, abuser, and that hurts and affects him daily.

When the show released we get a sneak peak of how manipulative Val is in episode 2 when he convinces Angel to come to the studio, but it is the worst in the infamous episode.

This episode’s entire theme is about Val and just how horrible he treats Angel and has no regards for his feelings, body, or well being.

I could go into more detail on just how bad Val is to Angel, but that’s a sensitive topic that’s been discussed to death already.

But as we see at the end of ‘poison,’ Vox gives Angel a look that I can only describe as smug jealousy.

Which Vox, I love you, but that is disgusting.

In this frame it’s shown to us that Vox is jealous of Angel because Val focuses a lot of his time on Angel and not him, but… Angel is literally getting raped without his consent?

Vox may be Val’s on and off boyfriend, but he’s very aware of what Val does to his employees, especially Angel. It’s part of why he works with him.

But comparing someone who youre partly letting get abused in your workplace by you’re friend and work partner to jealously because they are getting abused and beat by that person daily to be jealous of because Angel spends more time with Val than he gets to?

I’m sorry Vox, but that sickens me to an extreme level.

Of course I could just be reading to far into that one frame, but in the context of the show Vox is an egotistical overlord who is already shown to not care for his own employees. So why would he care about what Val does to his?… except when they are the source of his anger and time.

Now, theoretically, let’s say that in the new lore Val is still abusive to Vox at times. Ignoring how close they were in the finale song in episode 8.

Val is poison to everyone around him, even the people he’s the closest to.

Would Vox and Angel be able to bond over this? I say no.

Angel is a sinner, which is on the lower part of the class system in hell. It’s normalized that someone like him can be treated however it applies to a contract they signed.

There’s no sympathy for him by others except when they care for him and what it makes Angel do to himself (Husk) or when they know just what goes down in that studio (Charlie)

But I highly doubt Angel and Vox are any sense of close.

Vox mainly works on his floor, and Angel works in the studio. They obviously have met and vox still has that.. *ew* resentment to Angel, but that’s really it.

Now, vox on the other hand, is a powerful level who is on the same level, if not more powerful that Valentino because he’s the leader of the Vees.

Even if Val abuses him sometimes, he’s probably… into that.

Look at that waist and tell me that man isn’t a bottom, you get the point.

Val and Vox’s story hasn’t been told to us yet, but by using background information like a old picture of them from presumably the 70’s and how close they seem, I theorize they met a little after Val died and teamed up to become more powerful. They were a little attracted to one another, but it never did and still isn’t official, even if they look and act gay as hell. (Heh)

So Vox is on the same level as Val and has been close to him for 50+ years. They’ve had plenty of good moments, even if they are both awful people.

Oh yeah, let’s talk about that.

Since Vox is also on the same level as Val, he still is a awful person as well see in episode 2,4, and 8. (His appearances)

Even if he Dosent sexually assault his employees, he still treats them horribly, as does Velvette. I assume this is common practice for overlords to treat their souls poorly, but it’s still not a good practice. I feel bad for the fish guy who had to make angelic security on the spot, he looks as stressed as me.

He hypnotizes people into trusting him and buying his technology, which is just evil businessman behavior. Someone said he reminds them of lord business from the LEGO movie, and I see it.

He is also very petty towards Alastor in almost every way, immediately trying to brainwash his audience to not listen to him.

I’m not saying being petty is a sign of being a awful person, but for Vox it contributes.

There’s the… look in episode 4, which I’ve already discussed, but it’s important to note that Vox is in Val’s studio DURING Val shooting and mistreating his stars.

If he regularly does this is then he is more than aware of what Val does to his employees and only gives them disgusted stares back. Like all he sees in them is what Val sees, useless whores for content.

Which is obviously not good lmao

And then in episode 8 (and partly episode 6 if you look into it)

Vox is shown to have spying technology all over the city which is how he regulates his users behavior. He uses this tech to spy on alastor and the others and make fun of them like he’s watching football.

At the end of the episode, we see him happily dancing with Valentino and Tounge kissing him, showing us even more that they’re in love in their own sick twisted evil way.

Angel on the other hand, is shown to be better.

He’s in a hotel for redemption and throughout the season we see him slowly kicking his old habits like self destruction, drug abuse, alcohol abuse, distancing himself, etc.

(With the help of Husky ofc huskerdust for life)

And by the end of the season we see Angel being a lot more genuine to the others in the hotel and I only imagine he gets better once they find out it’s possible to be redeemed.

Vox is not shown to want to be morally better in the slightest, if not worse.

He wants to one up Alastor, he wants to take over hell with the other Vees, and he will do it however he wants because he’s a cartoon supervillain.

I’m not going to touch on what I Think of Val and Vox as a ship in this but what I will say is that Vox is a cartoon supervillain, doing things that even though horrible in the universe are just seen as goofy to us viewers.

Val on the other hand is scarily realistic, a abuser who manipulates his victims and forces them to have sex for his own benefits. I think that’s the main thing that sets me off for them, even if they are evilly perfect for each other. (So I’m gonna steal vox from Val)

Vox is in a much different position with Val than Angel is, equal to if not above him while Angel is very below him. We see Angel stand up to him in episode 6, but I just know he was beaten the hell out of the next day and broken even further.

Vox would belittle him, so the only way I see the two even talking genuinely is if Angel starts it.

This isn’t like Angel and Husk, where they’re both washed up losers who are going through situations similar enough to bond, there’s an extreme power imbalance that wouldn’t make it as meaningful as Angel and husk’s talk.

There’s an amazing comic, I’ll add it below, but it’s actually what got me thinking about this topic.

If Vox comes out with his screen cracked after Angel was also hurt just to yell at the other becuase he’s ruining their image, then I see this potentially working.

They could share a sweet line like Angel showing concern for Vox’s cracked screen considering that’s his face and it must feel like having you’re skull cracked open. Angel has probably been driven to that level before.

However I have this one image in my head.

If Vox and Angel are both slightly talking and then they both say, “Val can be… rough.”

I think that perfectly shows how different the two’s situations are with him.

Vox would say it all horny with a tint of love to his voice, while Angel would say it actually despaired and quiet. They see Val’s actions differently because they are affected differently by it.

Vox isn’t scared of Val because he is on the same level as him, and I think that’s the main reason to why they wouldn’t kconnect.

Besides, both Vox and Angel are either too egotistical or have too many walls up to have a legit conversation about Val without knowing each other at all.

If anything Vox is only a contribute to why Val focuses on Angel so much, their relationship is toxic af and we see in ep 2 that Val likes to get a reaction out of Vox. It’s sick and twisted but I wouldn’t put it against him to do something like that.

So, in conclusion I don’t think Angel and Vox would be able to relate to each other because their situations and relationships with Val are so different, even if Val lets it out on Vox time to time his main target is Angel. Angel gets hurt almost every day and I’d say Vox only gets hurt every couple months on a really bad day.

We know a lot of the lore has changed since the pilot and the Voxtahram stories most of these claims come from arent even canon, so I probably just ranted about nothing.

Regardless Thank you for reading, and goodnight. If you have any genuine thoughts about this feel free to share in the comments and reblogs, I’m curious.

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