#Kindness shown to the House of Jonathan

[officialyourdailyinspiration]

David’s Kindness to Mephibosheth

1 Then David said, “Is there yet anyone left of the house of Saul, that I may show him kindness for Jonathan’s sake?” 2 Now there was a servant of the house of Saul whose name was Ziba, and they called him to David; and the king said to him, “Are you Ziba?” And he said, “I am your servant.” 3 The king said, “Is there not yet anyone of the house of Saul to whom I may show the kindness of God?” And Ziba said to the king, “There is still a son of Jonathan who is crippled in both feet.” 4 So the king said to him, “Where is he?” And Ziba said to the king, “Behold, he is in the house of Machir the son of Ammiel in Lo-debar.” 5 Then King David sent and brought him from the house of Machir the son of Ammiel, from Lo-debar. 6 Mephibosheth, the son of Jonathan the son of Saul, came to David and fell on his face and prostrated himself. And David said, “Mephibosheth.” And he said, “Here is your servant!” 7 David said to him, “Do not fear, for I will surely show kindness to you for the sake of your father Jonathan, and will restore to you all the land of your grandfather Saul; and you shall eat at my table regularly.” 8 Again he prostrated himself and said, “What is your servant, that you should regard a dead dog like me?”

9 Then the king called Saul’s servant Ziba and said to him, “All that belonged to Saul and to all his house I have given to your master’s grandson. 10 You and your sons and your servants shall cultivate the land for him, and you shall bring in the produce so that your master’s grandson may have food; nevertheless Mephibosheth your master’s grandson shall eat at my table regularly.” Now Ziba had fifteen sons and twenty servants. 11 Then Ziba said to the king, “According to all that my lord the king commands his servant so your servant will do.” So Mephibosheth ate at David’s table as one of the king’s sons. 12 Mephibosheth had a young son whose name was Mica. And all who lived in the house of Ziba were servants to Mephibosheth. 13 So Mephibosheth lived in Jerusalem, for he ate at the king’s table regularly. Now he was lame in both feet. — 2 Samuel 9 | New American Standard Bible (NASB) New American Standard Bible Copyright © 1960, 1962, 1968, 1971, 1972, 1973, 1975, 1977, 1995 by The Lockman Foundation.  All rights reserved. Cross References: Genesis 50:23; 1 Samuel 20:14-15; 1 Samuel 20:42; 1 Samuel 24:14; 1 Samuel 25:23; 2 Samuel 3:8; 2 Samuel 4:4; 2 Samuel 12:8; 2 Samuel 16:1; 2 Samuel 16:3-4; 2 Samuel 17:27; 2 Samuel 19:17; 2 Samuel 19:24; 2 Samuel 19:26; 2 Samuel 19:28-29; 2 Samuel 21:7; 1 Kings 2:7; Nehemiah 10:11; Nehemiah 11:17; Jeremiah 52:33

#David and Mephibosheth #Ziba #Kindness shown to the House of Jonathan #2 Samuel 9 #Book of Second Samuel #Old Testament #NASB #New American Standard Bible #The Lockman Foundation

[inklessletter]

I don’t know if this makes any sense to you, but I’ve been having thoughts about Steve and Eddie, as characters, (I mean who am I kidding, they live rent free in my mind now) and I’ve noticed a conceptual parallel between both of them that I can’t unsee now.

I’ve read several analyses and opinions about how Eddie was created and inserted in the story as some sort of substitute for Steve because they needed his death for Dustin’s arch, but they didn’t really want to kill Steve because he’s one of the series’ icons now. This has been used in the show several times now, with Barb’s death, and Bob’s, and Billy’s, so I buy it (if I think that it’s a lazy resource to make your characters evolve or if it’s lacking originality when you do it four times now, is something I won’t approach here, ahem). It fucked me up because I rewatched the last season a couple times now and I see it. I can’t not see it anymore. I can see the conceptual similarities (the age, the fact that he’s some sort of outsider to the group, the reputation, Dustin’s undeniable affection and respect…) but there is a particular feature that I noticed recently that has broken me, because it’s so fucking meta.

Speaking in general terms of course, most people I know that have watched the show like Steve, but they didn’t like him in S1, which, understandable; the writing in S1 didn’t make it easy for the audience to stand by him. Steve’s got several characters against him (Barb is the sweet victim, Mike is a clear protagonist, Jonathan is the direct rival as a love interest for Nancy), and if those characters, that are written and shown to be reliable, you instantly believe them, that he’s King Steve, that he’s a jerk. He goes with Carol and Tommy that are straight up bullies, he makes questionable decisions about how to face certain situations (such as breaking Jonathan’s camera [that I know it’s controversial, but personally, I totally, totally get why he did it], the slut thing in the cinema board, the fist fight…) so yeah, it’s easy that you go along with the thinking that he’s sort of not worth it. But here’s the thing, Steve spends the whole season trying to make up for his mistakes, trying to fix what he broke. He buys Jonathan a brand new camera, he confronts and ditches his so-called friends and actually goes to apologize to Jonathan, and then to Nancy. So what we have here is what it is said about Steve vs. what Steve really does. Even at last, when he had the chance to run for his life, he came back to the house to do the right thing. Steve is a great guy, but he’s written for the audience not to think so.

They changed their minds in S2, apparently, when the writers made him more layered, more likable, and the audience lost their minds. He was absolutely loved now, a favorite. A sweetheart. A romantic tragedy. And they kept all those features in S3, but giving him tons of lines and screen time, and an iconic outfit, and making him the biggest ally in the whole show, and now you’re trapped because you love him.

But you see, loving him was a journey. The audience went from finding him kind of annoying, or straight not liking him to fall head over heels for Steve.

And the writers, bless their souls/fuck all of them, mimicked that affection journey in S4 with Eddie Munson, using Steve Harrington as a catalyst.

You see, Eddie has this very same dichotomy of what people think of him vs what he really does, the only difference here, the major one, is that the people who speak ill of him are not protected by the writing. So you, as a member of an audience, embrace the fact that what the whole town says about him is not true, and that he’s a good guy. They fast forward the whole process by setting Mike and Dustin by their side, that the whole Eddie tragedy is a simple wrong time, wrong place. I mean, there’s no way you can go wrong about judging Eddie’s character.

And here’s where it gets interesting.

Steve rejects the blind trust. 

Steve doesn’t like him. 

Steve listens to the rumors. 

Steve calls him the freak. 

But the season goes on and bless his soul he starts paying attention to what Eddie does, to who Eddie is, and ends up pretty easily rejecting what the whole town feels towards him. Because he sees him now. 

Because he’s been there.

It is such a wholesome phenomenon when you realize that Steve, who at first was reluctant to find him, gets protective of him, out of mere empathy. He never gets angry at him, or mistreats him in any way; if so, he brings him beer and cigarettes, he worries about him leaving Skull Rock since all Hawkins is after his ass now. 

He cares.

And god, he even thanks him at the Upside Down woods. He doesn’t thank Nancy, or Robin. He thanks Eddie, because he knew that back in the boat, Eddie didn’t have to jump into the water for him, the same way he didn’t have to go back to the Byers’ house once he saw the Christmas lights violently flickering, because in any way that was his business.

So he thanks Eddie, probably because Steve thinks that it would have been nice that someone actually thanked him to save Nancy and Jonathan’s asses instead of getting a relationship out of pity that ended up with him dumped a year later and a bunch of issues.

The season goes on and they talk it out, they both admit having believed what people said of them, but now that they know each other, they can actually see how wrong they were. They make a fresh start, and the story seems to get to the right point, the way it should have been between them if it weren’t for the absurd jealousy pretext. 

Now they both align with how the audience is feeling.

So, you see the parallelism here. Steve’s behavior towards Eddie was a straight up reflection of the emotional journey the audience had towards Steve. 

And this probably wasn’t intentional, since the writers didn’t know for sure how much love and admiration Eddie was gonna get before s4 was released, but the fun part here is that it is quite difficult to find someone who loves Eddie Munson that hasn’t loved Steve Harrington before. The process of falling for those two is exactly the same, and most fans probably are not aware that they have gone through the same emotional journey twice. And it makes sense, because it is familiar. But whether or not you are aware of this, after they enter the Upside Down, Eddie and Steve are linked together, and that you know, even if you really don’t know why. They are impossible to untangle.

So yeah, absolutely, beyond the screen time together and the undeniably flirty behaviors, their chemistry, their journey and their young history, steddie makes sense.

So, when they make Steve a vulnerable mess, expressing that his only wish as a character is to love and be loved in return, and have a future, they go and kill Eddie. And it’s heartbreaking, because he’s a character with orphan needs and desires, and he didn’t even get the chance to fight for himself, and no, I don’t mean the demobats. 

And in a deep part of our brains we fear for Steve, because they’re in an unfinished war, and Eddie’s fate could easily be Steve’s in s5.

But you see, what is absolutely mindblowing about this fandom is the fact that here is where they picked up and made something incredible. For months we have been rewriting, consuming and creating thousands of universes in which Eddie gets what he deserves, that is, a happy ending, not only that he lives, but that he ends up being happy.

If this is too much of a projection about the fear of Steve getting killed in s5, that I don’t know; what I know is that I’m not at all worried.

I know we can make it better.

#stranger things #steddie #steve harrington #eddie munson #headcanon #st headcanons #steve harrington headcanon #steve x eddie #eddie x steve #the writing is great and bad and i don't know how i feel #headcanons #i'm sorry #steve harrinton analysis #eddie munson analysis

[dwobbitfromtheshire]

That Boy is Theirs

18+ MINORS DNI for implied smut and Steve doing the hand on his hips things naked is powerful to imagine.

Shout out to @monologichno for giving me the great idea about Nancy and Eddie falling into the bed scene as they fought. It gave me the inspiration to write this out.

Summary: Nancy and Eddie fight over Steve while Steve revels in it.

For Steve, it was hard to tell when someone really liked him. . .unless they were being very obvious. Eddie and Nancy were very obvious. Well, okay, so maybe Steve had to be told by Robin. Well, once he was aware, it was very obvious their eyes were on him. He remembered them now in the boat before they got pulled into the Upside Down. Their eyes were on him, too. Although, who could blame them? Even though he no longer had his swimmer's physique and he gained a few pounds, Steve still thought he looked pretty damn good. Not so much now with the bat bites.

"You definitely still look good," Nancy had told him after listening to him complain.

"You look better than good. You look scrumptious, good enough to eat," Eddie had grinned. "The bats clearly thought so."

Steve had watched Nancy glare at Eddie. The doctors had put him on bed rest after he over exerted himself. Eddie had managed to escape his own bites when Steve doubled back and promptly collapsed. It was Eddie who carried him through the gate. It seemed he never let Nancy forget it that it was Eddie who saved Steve’s life. Now, at his house, they had both shown up at the same time to tend to his wounds.

"Seriously, Eddie?" Nancy asked.

"Seriously, Wheeler? I don't think Johnny Boy is going to appreciate you coming here and telling another man how good he looks," Eddie said.

"Jonathan and I broke up," Nancy seethed, glaring at Eddie. "That's why I came here, to talk to Steve - ,"

"He's under strict orders by the medical doctors not to deal with any. . .unnecessary stress. So, I don't think it's wise for Steve here to listen to whatever upsetting news you may have for him," Eddie said.

"Steve, would you please call off your attack dog?!" Nancy asked.

"Don't you yell at him!" Eddie exclaimed.

"And don't act like you've suddenly changed! You only feel guilty because you suddenly realized that Jason Carver wasn't the only one who was a bullying dick! You're only doing this because you judged people just as harshly!" Nancy snapped. "And once you don't have to hide anymore, you're going to go back to your old ways! Standing on lunch tables and lording over everyone that you think you're better than them."

"That's rich, coming from little miss priss!" Eddie yelled at him.

"Asshole!"

"Adulterer!"

"Dick!"

"Douchebag!"

"Takes one to know one!"

"You realize you just insulted yourself, Wheeler!"

"I'm going down anyway, might as well take you with me!"

Steve’s darted back and forth as he watched them. Holy shit! He knew that they thought he was attractive but he didn't think they would fight over him but here they were. He shouldn't be enjoying this. . .right? Who knows what would have happened if Hopper hadn't come over at that moment to check on him? Although he kind of wished he hadn't. Hopper had kicked them out after that, and Steve had to pretend like he wasn't pouting inside. It was Robin who had come over the next day.

"They're fighting over me!" Steve hissed to her.

"What?" Robin asked.

"Eddie and Nancy, they're fighting over me," he grinned.

"Why do you look so gleeful?" Robin asked, and then she paused. "Oh, is this making you horny. . . You slut."

"Well, I mean, a little, but also, is it weird that it also makes me feel. . .wanted?" Steve asked.

"No," Robin said. "They're really fighting over you? Okay, I'm going to have to witness this. My curiosity is peaked."

Of course, they weren't here the next day or the day after that. Steve figured that Hopper must have given them a talking to on the way out, but it didn't seem to deter them. They arrived together three days after they had been kicked out. Robin had shown up after them. Eddie and Nancy were already in Steve's room by the time Robin came in with a bowl of popcorn and crawled into Steve’s bed.

"Excuse me, I was here first," Nancy said, grabbing the bandages out of his hands.

"And I was here second," he said, taking them back.

"I think Steve would want me to change his bandages," Nancy said. "He's known me longer."

"He's going to know me better. It's all about quality, not about quantity, sweetheart," Eddie smirked.

"Holy shit, they really are fighting over you," Robin said as Steve ate some popcorn.

"Yeah," Steve said.

"So, when are you going to tell them you want them both?" Robin would ask.

"When I stop enjoying it, and they both realize they like each other too. I'm enjoying the sexual tension," Steve said.

"Gross, but also hilarious," Robin said. "Is it just me, or is their hair getting bigger as they argue?"

"It's not just you," Steve said.

"Why don't we just ask ask him who he wants?" Eddie asked.

"We don't have to because I know he wants me. My hands are smaller," Nancy said.

"What the hell does that mean?" Eddie asked.

"It means my hands are more delicate than your gorilla paws," Nancy said.

"Excuse me? Steve’s hands are bigger than mine," Eddie said. "If my hands are gorilla paws, what are his?"

"Beautiful," Nancy sighed.

"Yeah, that's true," Eddie said with a sigh of his own.

"I shouldn't have called your hands gorilla hands. They're nice too," Nancy said and slipped her hands into his.

"Um, thanks," Eddie blushed.

She pulled her hands back, grinning mischievously. She waved the bandages in her hands.

"Got you!" She exclaimed.

"You minx! Deceiver!"

"Come on, Steve, let's change those bandages," Nancy said and paused. "Robin, when did you get here? And when did you get popcorn?"

"Steven, are you eating popcorn without us?" Eddie asked. "How dare you?!"

The arguing between Nancy and Eddie went on for a while. The younger members of the Party even caught onto it and had started making bets on who Steve would choose. Of course, Max would be the only one winning with her 'ridiculous' idea that he would choose both of them. El decided to stay out of it. Eventually, Steve got better, but unfortunately, he had neglected to tell both Nancy and Eddie that he was no longer on bed rest. He also didn't tell them that he started driving the kids around again.

"Steve?!" Nancy called out as she searched through the empty house.

"Steve?!" Eddie yelled.

They had gone upstairs to his room but found that he wasn't there either.

"We should check the garage," Nancy said.

Eddie agreed with her and followed her to the garage, where they discovered that his car was gone. Nancy frowned and decided to search the house for a note or any clue to where he had disappeared to. They ended up in his room again.

"Maybe he got tired of us arguing all the time," Eddie said.

"This is all your fault!" Nancy snapped.

"My fault?!" Eddie gasped. "Mine?!"

"Yes, yours. You couldn't accept the fact that he wants me! It's odd, though, because Robin said you tried to push him towards me," Nancy said.

"That was before I realized I wanted him too!" Eddie yelled. "You had your chance with him, princess, and you ruined it!"

"And I'm trying to make it up to him, but you won't let me!" Nancy screamed at him.

"I'm not going to let you break his heart again!" Eddie yelled as he moved closer to her.

He was towering over her now, and she could feel his breath on her face. Nancy screamed and jumped on him, pushing him onto the bed. Eddie growled and pushed her onto her back. She did the same, and they kept doing until they were wresting around on the bed, getting twisted up in the covers. At one point, he had her on her back, hands pinned above her head with his legs straddling her. Suddenly, she could feel it on her hip, and it filled her with annoyance that he could get turned on by this. Was it annoyance, though? Nancy thrusted her hips upward, pressing against it and causing Eddie to moan. He loosened his grip, and she flipped him on his back. She put his hands around his throat, squeezing, but that only made it harder. He liked it.

"Are you fucking kidding me?!" Steve’s voice came from the doorway.

"Steve, this isn't - " Nancy started to say as she removed her hands from Eddie's throat.

"You guys are having sex in my bed and didn't invite me?!" Steve exclaimed.

"What?!" Nancy and Eddie asked.

Steve sighed and rolled his eyes. He started pulling off his clothes. It was amazing how quickly he had managed to strip himself naked. Nancy and Eddie stared at him.

"How far did you get? Can I still hop in?" Steve asked as he put his hands on his naked hips.

"Wow," Nancy and Eddie said in unison as they gaped at him.

"You've seen it before," Eddie said to Nancy.

"Yeah, I know," she blushed.

Steve pulled back the covers and frowned at their fully clothed bodies before grinning.

"Guess I didn't miss anything," Steve said as he slipped into the bed next to them. "Where should we start? I guess here should be good."

Steve leaned in and kissed Nancy deeply, smirking when she gasped against his mouth before returning the kiss. He quickly pulled away from Nancy before turning to Eddie and kissing him as well. Eddie kissed him back eagerly and hungrily, whining when Steve pulled away.

"I want to see you two kiss," Steve grinned.

"What?" Eddie asked, his mind a blank canvas.

"I'm really glad that you two finally realized that you two liked each other and that you didn't have to fight over me because I want you both. I wish I could have been there to see that, though," Steve said.

Eddie and Nancy turned to look at each, realization appearing in their eyes. They moved at the same time, lips crashing against the others. When they both broke the kiss, they laughed and leaned their foreheads together.

"Am I just going to be the only one naked here then?" Steve asked in amusement.

"Right, right!" Eddie exclaimed.

It was awkward at first, trying to find out how to do things, but then they found their rhythm, deciding where they wanted to be. Nancy and Eddie enveloped Steve, welcoming him into their embrace. He was their middle, their anchor, and being with him was like sinking down into a warm bath. They bit, licked, and kissed every inch of him, marking him as their own. It was almost animalistic, the way they loved him, and the way they loved each other because of him. It was a beautiful but exhausting thing, and as soon as Steve lay on his stomach, his skin still glistening with sweat, he fell asleep. Eddie and Nancy stayed away, leaning on their elbows as they stared at him. Nancy used her free hand to trace patterns into his skin. Eddie reached out before doing the same.

"It seems silly now, fighting over him," Nancy said.

"Yeah," Eddie said.

"I do it all again, though. . .fight for him, like I should have before," Nancy said.

"I'm sorry for all the things that I said. I didn't mean them," Eddie said.

"I'm sorry, too, Eddie. I didn't mean those things either. You're a good man," Nancy said.

They moved their hands and held them over Steve’s back, looking at each other fondly. Nancy smiled at the bite mark she left on Eddie's neck. She left one for Steve, too. They were both hers now. She leaned over and kissed him. Eddie smiled as he pulled away. They laid down next to Steve, curling their limbs around him protectively. Theirs.

#stranger things #nancy wheeler #steve harrington #eddie munson #nancy wheeler x steve harrington #stancy #eddie munson x steve harrington #steddie #nancy wheeler x eddie munson #edancy #nancy wheeler x steve harrington x eddie munson #stedancy #nessie #gunfire royalty #bisexual steve harrington #bisexual eddie munson #pansexual nancy wheeler #pan4bi4bi #robin buckley #robin & steve #platonic soulmates #platonic stobin #stranger things fanfiction #rueleigh writes

[lucassinclaer]

smth so soothing in post s2 divergence where the party comes slowly closer, actually integrates el in a meaningful way.

where they show up at the cabin for game nights and it's a risk but hopper can’t actually find it in him to shut it down.

where mike finds el and will with their heads together already and is kind of confused but also sees that they sort of fit together - in that strange way where they just seem to get each other on the most primal of levels. will's already accompanied by jonathan most of the time so it's not that difficult to convince hopper to let them take el to the byers house sometimes so she gets out without being out in the open. jonathan and will roll their eyes at hopper's music selection and try to figure out the type of stuff el would like. she has different taste most of the time but jonathan can’t really be a snob about it because there’s this specific type of happiness that crosses el's face when she listens to her favorite songs.

where max is hesitant to reach out to el beyond a group setting bc they got off to a bad start, but something shifts when she sees the frustrated lines drawn over el's english homework and she faux-casually asks "hey, do you need any help with this?" and mike's been doing his best to help her out but he doesn't wanna do schoolwork all the time so el accepts and max turns out to be a really fun and patient tutor until most of the time they veer off topic immediately and just start being friends the organic way. the first friend el has made outside of mortal danger.

dustin turns up at the cabin unannounced so often, it drives hopper up the wall but dustin doesn’t even seem to notice, just leaves open the door to el's room the entire time while he chatters about all the gossip at school that el doesn’t really understand but still greedily absorbs. he's always talking about the future when she can go places with them and for the first time it doesn't make el feel like she's caged in now, but that there are plans she belongsin. that she's thought of.

mike, like all of them, is working through some stuff but he's always there to remind her that he never gave up hope she was still out there. that above all else he's happy she's still here. he's adamant about it whenever it comes up, the wordsmith who knows how to reassure her when he thinks to do it.

lucas is more of a planner where visits are concerned. el always knows when he'll be coming by, sometimes he brings max along once her and el are more comfortable with each other. he's always been the anchor of the real world that el didn’t belong in, but now that they have time and he knows her - really knows her - he slowly, slowly makes her feel like she can be tied to life like that, too. never makes her feel bad about not catching up in an instant anymore, but never makes her into the "weirdo" again either, just adjusts, tweaks his approach slightly.

i don’t think we ever needed to be shown any of this on screen, but there is a vibe that only changing things from season 2 onward can capture bc they were never picked up.

#stranger things #el hopper #elmax #elmike #willel #henderhop #hopclair #max mayfield #lucas sinclair #jonathan byers #will byers #mike wheeler #dustin henderson #i miss... the atmosphere.... #emspeak

[bylerschmyler]

Mike Wheeler's guitar

Ever since someone found the guitar in Mike's room in S4 there is a lot of speculation about what it means. So I decided to make a little post about my thought on this topic.

The guitar in Mike's bedroom is only shown shortly in S4E1.

It seems to be an acoustic guitar but could maybe be a gibson les paul e-guitar or similiar model instead. Because we only see the neck we can't really tell 100% but the acoustic guitar is more likely.

It's actually not the 1st time guitars are mentioned in stranger things. In S3, while El and Max are searching for heather at the pool, there is a guitar lessons poster pinned on the cork board with the lifeguard pictures.

This scene is not directly connected to Mike (as far as we can tell right now) but it is the first time a guitar us brought up visually in the show (as far as I am aware right now).

Mike's bedroom scene isn't the only time a guitar is shown in direct context of his presence.

In S4E4, when the FBI is keeping the cali crew in house arrest and Will is rambling about how they need El and her powers in order to save hawkins and Mike is moping about El letter which she signed "From El", Mike throws the letter in an a bucket. And guess what's behind the bucket. Right a guitar.

Again it is most likely a acoustic guitar.

A very more subtile hint off Mike's connection to guitars and only recognizable if you make a deep dive into the set design of stranger things is another interesting detail from Mike's room in S4. In this post @runninguplenorahills found a cool hidden detail.

It's this cool little trading card:

Yet another visible connection between Mike and guitars. This time it's an electric guitar.

Mike is barely shown to be very music interested. In S1 he says "he sang that weird song he likes" about Will singing "Should I stay or should I go" through the walkie the night they found his body in the quarry. It gives us a contrast between Mike and Will. Will loves Music (thanks to Jonathan) but Mike doesn't seem interested in it. But in S3 he shows us a different version of himself regarding Music.

He sings a long to Corey Harts Never surrender and not only knows the lyrics by heart but gives his own interpretation (with growling at the end). Also see how the subtitles say "Imitates guitar break". Like Mike knows this song really well.

Important to notice here. The song plays off a tape that Mike most likely brought with him so they could listen to it.

There are a lot off headcanons and thoughts about the possibility that Eddie inspired Mike to learn guitar or even be his teacher. But I really doubt that Mike had this kind of relationship with Eddie. While Eddie is obviously an inspiration for Mike in form of looks (Growing out his hair, the clothes he is wearing in S4E1 are very Eddie like) there is no indication that Mike likes the same music. Eddie is a metalhead and the only time Mike is shown to be interested in music he is singing a Pop-Rock song. If Eddie knew he would be most likely laughing about that.

I honestly think that Mike did learn to play the guitar before he met Eddie. We don't see his room in S2 and S3 so he could already been playing for a while.

I don't have proof honestly but one thing made me think. In S4 we see a upright piano in the wheeler's house.

The interesting thing about it are the sheets of music. Why? Well we all know how clean Karen is. She wouldn't let sheets of music on the piano if nobody was using it. So one off the Wheelers was playing quite recently.

Also the piano is shown in a direct pan transition from Max to Chief Powell. We are meant to notice it (while a lot of people possibly didn't).

If someone in the family is playing piano it's not so far off that Mike is playing guitar and since he was a Pop rock enthusiast in S3 he could have been playing already. A typical thing in music lessons is to add current hits/modern music in the rehearsal to give the students interesting stuff to work with.

Important to notice with Mike's guitar is that it's in his bedroom. It's something intimate that possibly his friends don't even know about. He doesn't have it in the basement where he spends most of his time and could show his skills to his friends or have at least a very cool decoration and where he couldn't annoy anyone when he is playing. No he keeps it in his bedroom where his friends very rarely go to. Where he can be by himself and if he would play to loud he would totally annoy his family who want to sleep when he goes up into his bedroom.

What I want to mention too, is that Will's art evolved in S4 in order to show us his feelings for Mike. Mike could parallel this. While Will's art evolved from pencil and crayon to and literal (oil?) painting Mike's art could evolve from campaigns (and letters) to a song he wrote for Will.

A side note I want to give. Finn Wolfhard can play "Should I stay or should I go". While this clip is from late 2017 (after S2) the original is older I think (I found a short from January 2017 - before S2). While yes it's only the beginning and it's everything but smooth I keep thinking about how the duffers said that they had way more ideas for S2 than they could have included. Maybe Mike playing should I stay or should I go was one of them.

I think that was everything for now. If you found anything else that could be in anyway related to this please share with the class.

Thanks for reading <3

#mike wheeler #mike wheeler analysis #mike wheeler has a guitar #guitar mike wheeler #guitarist mike wheeler #stranger things #byler

[givehimthemedicine]

au where the Byers take El in instead of Mike or Hopper.

El, freshly escaped from the lab and afraid of men. she's literally never met a man who didn't want to control or hurt her.

it's the Byers who live in the cabin in the woods, semi-off-grid, not in hiding or shunned or anything, they just like to keep to themselves. it's a very modest existence, but they like it. the house is full of love.

El happens upon Castle Byers in that thunderstorm and takes refuge.

Will pulls back the little curtain the next morning and she's in there asleep. he decides to go away quietly and tell Joyce. his foot snaps a twig. she bolts awake and they both stare at each other huge eyed. she's spooked but Will talks to her gently and it's soon clear he's not a threat.

he brings her food and blankets and she lives in there for a few days before agreeing to let Will take her to Joyce.

he relays what little he's gleaned about "bad men" and Joyce hasn't had great experiences with men either and she's readier than most to take El in without a ton of questions. El cautiously accepts Joyce's warmth and care, although she's clearly always wondering what the catch is. no one's ever shown her kindness without strings. it's a little bit of a surprise each morning when she's still there.

they tell El about Jonathan but it's a couple days before El actually sees him. she freezes, because he's something between man and boy. she thinks of Two. he thinks of Lonnie. he keeps his distance and very slowly earns her trust. they end up buds but it takes a while.

Will and El bond really quickly. it's "will you be like my brother" except yes. he shows her all his stuff and the chickens and the garden. she seems wary of animals but she's mesmerized by the plants and the dirt and the sky. he tells her stories about knights and dragons and magic that she doesn't realize are fictional because she can do the things he calls magic.

the first time she uses her powers in front of him, he's so dumbstruck that she has the first belly laugh of her entire life.

the affection she gets from all three of them, each in their own way, is foreign and strange and confusing and she's never wanted anything more.

no upside down just feral Byers family goodness

#willel #fic ideas #fic prompt #will finding dart in the bathroom stall except it's el in castle byers #the more detail I put into this the more I fear I will end up actually writing it #do I want to write this? #interest gauge? #I feel like no one reads non ship stories

[justforbooks]

Roger Corman

American film director and producer who liked to describe himself as the ‘Orson Welles of the Z movie’

Although Roger Corman, who has died aged 98, directed more than 50 films, he will be remembered mainly as an influential producer and genial godfather to the New American Cinema of the 1970s. The list of his beneficiaries makes up a Who’s Who of contemporary American film. Martin Scorsese, Peter Bogdanovich, Francis Ford Coppola, Monte Hellman, and Jonathan Demme were all directing proteges of Corman.

“You can see right away that the guy’s a superior producer,” said Jack Nicholson, who appeared in five films directed by Corman. “He’s the best producer I’ve met in the business. The man carried me for seven years. I feel tremendously indebted to him.”

But to pre-70s cinemagoers, Corman was an auteur in his own right, describing himself as the “Orson Welles of the Z movie”. The schlocky titles of the majority of his films disguise the fact that Corman was an extremely cultured, elegant and well-spoken man, without the slightest hint about him of the rock’n’roll counterculture in which he played an important part. He also had cameo roles in about 30 films, including as an FBI director in Demme’s The Silence of the Lambs (1991), and a senator in Coppola’s The Godfather Part II (1974).

Corman’s filmography as a director can be roughly divided into three groups: the quickies (1955-60), the adaptations of the works of Edgar Allan Poe (1960-64), and the mainstream experiments (1966-70). In the first period, on a tiny budget and in rented studios, he produced and directed such Z movies as Attack of the Crab Monsters (1957), Teenage Caveman (1958) and She Gods of Shark Reef (1958). Science-fiction horror with tatty special effects, cut-price monsters and unknown casts, they were aimed at the drive-in movie youth market.

He would produce up to seven films a year, his fastest being The Little Shop of Horrors (1960), which was reputedly shot in two days and a night. It was filmed using the same sets as A Bucket of Blood (1959), a self-referential black comedy. Corman once joked he could make an epic about the fall of the Roman empire with two extras and a sagebrush.

In slight contrast was the Poe series, amusing shockers in widescreen and colour. These included House of Usher (1960), The Pit and the Pendulum (1961), The Raven (1963), The Terror (1963) and, perhaps the best, The Masque of the Red Death (1964).

Greater commercial success came with such films as The St Valentine’s Day Massacre (1967) and Bloody Mama (1970), but soon afterwards Corman retired as a director. His reasons were manifold: he had made around 26 films in 10 years and felt the need of a rest; he also complained that when he made cheap films nobody tinkered with them, but as a big-budget director everyone seemed to think they had the right to maul his work. “Specifically, a picture I made called Gas-s-s-s for AIP [American International Pictures], which was completely recut,” Corman said.

“It was a controversial kind of a comedy, and AIP cut all the funny stuff right out of the film, including the entire ending. The film was never shown anywhere as I shot it, and I felt, frankly, they emasculated the picture and destroyed any possibility of success.”

He was born in the city of Detroit, Michigan, to William Corman, an engineer, and Anne (nee High). His paternal grandparents were Russian-Jewish immigrants, and his mother was of German ancestry.

The family moved to California and Roger went to Beverly Hills high school before beginning an engineering degree at Stanford University. It was the middle of the second world war, and he spent two years as a navy cadet before finally graduating in 1947. He entered the movies at 20th Century-Fox as an errand boy, but then, under the GI Bill, took off to study English literature at Oxford University for six months, followed by six months in Paris.

In 1954, Corman sold a low-budget script to Allied Artists. It was released as Highway Dragnet, for which he insisted on an associate producer credit. But he was disappointed with the film and, believing that he could do a better job as a producer, scraped $12,000 together to make Monster from the Ocean Floor (1954), directed by Wyott Ordung.

After selling the film for a profit of $100,000, Corman scripted and produced The Fast and the Furious (1954). Shot in 10 days by the film’s star, John Ireland, it was distributed by a small new company, American Releasing Corporation, later renamed American International Pictures, with Corman as its house director.

In the early 60s, for AIP, he made his series of adaptations from Poe, a favourite writer of his since childhood. Using the team of the designer Daniel Haller, writer Richard Matheson and cameraman Floyd Crosby, he created garish, camp and amusing shockers, taking their tone from Vincent Price’s sibilant, ghoulish hamming.

They were sometimes referred to as “late wife” movies because, in most of them, Price had a deceased wife lying around a castle. Taking only 15 days to shoot, they contained scenes and sets interchangeable from one film to the next, but they were popular and gathered a cult following.

A departure from the horror genre of the period, and one of Corman’s favourites, was The Intruder (1961), a gritty social drama in which a rabble-rouser (William Shatner) arrives in a southern town to disrupt racial integration in the schools.

Corman’s taste for updated American Gothic was evident in the biker movie The Wild Angels (1966), which featured actual Hells Angels, and The Trip (1967), an indulgent plunge into psychedelia written by Nicholson. Both starred Peter Fonda, who went on to produce – and star in alongside Nicholson and Dennis Hopper – the Corman-influenced Easy Rider (1969).

Corman’s blood-splattered recreation of 1928 Chicago in The St Valentine’s Day Massacre was more tightly controlled and wordier than his usual product, with impeccable performances from Jason Robards as Al Capone and Ralph Meeker as Bugs Moran. In the cold-eyed and unromantic Bloody Mama, Shelley Winters let rip as Kate Barker, the murderous matriarch of a gang of outlaws, with an unknown Robert De Niro playing her son.

Corman followed up that success with a tale of another female gangster, Boxcar Bertha (1972), hiring a young Scorsese as director.

He gave up directing after The Red Baron (1971) nose-dived at the box office. Phony German accents were dubbed in against his wishes. However the dog fights, actually filmed in the air, gave the first world war flying sequences authenticity.

In 1970, he set up his own company, New World Pictures, and continued to produce formula films for the youth market, abiding by the profitable philosophy “make ’em quick, make ’em cheap and make ’em popular”. These included motorcycle movies (Angels Die Hard); sexploitation flicks (Night Call Nurses, Fly Me, Caged Heat!, the latter directed by Demme) and horror films (Night of the Cobra Woman), but the company also distributed films in the US at the opposite end of the creative scale, such as Ingmar Bergman’s Cries and Whispers (1972) and Federico Fellini’s Amarcord (1973).

In 1990, Corman sat down in his director’s chair once more and made Frankenstein Unbound, with John Hurt and Raul Julia, which proved he could still spin a gory tale, though, alas, without the success of earlier years.

However, the title of his 1998 autobiography, How I Made a Hundred Movies in Hollywood and Never Lost a Dime, still rang true. He continued to produce and executive produce films into his 90s. In 2009, he received a lifetime achievement Academy Award.

He is survived by his wife, Julie Halloran, a film producer, whom he married in 1970, and their four children, Roger, Brian, Mary and Catherine.

🔔 Roger William Corman, film director, producer and actor, born 5 April 1926; died 9 May 2024

Daily inspiration. Discover more photos at Just for Books…?

#just for books #Roger Corman #in memoriam

[biillyhargroves]

just saw a gif set that made my blood boil so let’s chat real quick about how the primary reason Jonathan got the chance to be a cycle-breaker was because Joyce kicked Lonnie out. she cut the thread. she freed her sons. Jonathan was given a safe and supportive environment to process the abuse he’d been subjected to as a child, set boundaries between himself and his abuser that were fortified by Joyce, and express himself without fear of judgement or ridicule by a parent who loves him unconditionally and who was always in his corner. he was able to provide that same support to Will because it was modeled for him by Joyce.

Joyce fought for her children at every turn. Jonathan hid Will, protected him while their mother fought for them. both of those boys knew that Joyce would do anything for them, that she was breaking up her marriage for their safety, that everything she did was with them in mind. she didn’t give the cycle a change to take root. she said absolutely not and dealt with the problem for them, giving them the tools and confidence to stand up to Lonnie in the future. she did not let Lonnie be a black cloud over her children. she made sure that her boys knew that they were loved and supported and worthy of kindness. she fought Lonnie for them.

Billy’s mom, on the other hand, who isn’t even granted a name in the narrative, just…left. she saved herself. whatever safety and comfort she provided while living in the house left with her. no matter her intentions— whether she meant to come back for him or not, whether she had some other plan —she didn’t tell Billy. her actions, on the surface, communicated to him “you’re on your own, kid.” left alone with his abuser. left alone to survive. he had no one. absolutely no one fought for the little boy crying on the phone for his mother to come home. in flashbacks and in the canon timeline we do not ever see Billy with friends. his abuser has him exactly where he wants him: isolated, scared, vulnerable. Neil could do whatever he wanted to Billy without consequences. even if Billy tried to fight back, Neil knew he could threaten and/or beat him into submission. there was no one for Billy to go to, and the older he got the less likely it was that someone would help because to the outside world he just looked like a bad kid that Neil was stuck dealing with.

more than that, Billy did not have a model for behavior outside of Neil. his father was his example for how to interact with the people and the world around him. he had no one showing him that softness or kindness was an option. he wants someone— Max, for example —to do as he says? he’s got to get loud. he’s got to get aggressive. he’s got to the be the bully, because bullies get listened to. that’s what he learned. the one person who might have shown him another path left him in the dust. he had no warm fuzzies. no support.

Jonathan physically, verbally, and emotionally pushes back against Lonnie multiple times in season one because he is free to do so. he doesn’t live under the same roof. he knows that if Lonnie tries to come after him, Joyce will raise hell. he even gets the police chief in his corner by the end, knows that both Joyce and Hopper would defend himself and Will if push came to shove. he has Nancy, too, eventually. she’s tiny and scrappy and even if she never meets Lonnie face to face, she provides Jonathan with emotional support. Will, too, provides safety and comfort and support. even Argyle, with all his goofiness and quirks, clearly loves and supports Jonathan. Jonathan fights knowing that he’s not alone in that fight. for his early-series loner persona, he’s truly surrounded by people who love him and who would go to bat for him without blinking an eye.

when Billy tries to do the same thing, pushing back against Neil because he was tired, fed up, strapped with Max for a full week, thinking there was a set time that his obligation was fulfilled only to have Neil and Susan saunter in three hours late, he gets backed into a corner. manhandled, hit, talked down to. and he knows that no one is coming to save him. he doesn’t have friends he can go to — all of his relationships feel very superficial. Susan is shut down when she tries to speak up, tries to tell Neil to back off. everyone in that house is under Neil’s control. Billy has to choose: keep fighting and get hurt, or shut up and obey. he chooses self preservation. he’s got to keep his head down to survive, because no one is coming for him, there is no one to run to, there is no one to help him. he learned a long time ago that Neil will always get his way, that Billy will always be his punching bag. he doesn’t have the tools to fight back in any real sense, and that is exactly what both Neil and Lonnie likely want. the difference is that Jonathan had support, and Billy did not.

and, on top of all of that, Billy gets immediately parentified when Max comes on the scene. and yes, I do see a problem with the parentification of Jonathan as well. both Billy and Jonathan were far too young to have that much responsibility on their plates. but it is indicative of both the time period and their socioeconomic statuses. the parents had to work. the older siblings had to step up for the younger siblings. it perpetuates today even stepping back from that, Jonathan seemed to like taking care of Will. he loves his brother, and he wants to be there for him in any way he can. he loves his mother, who supports him, who loves him back, and he wants to help her. Billy is just shoved into a big brother role with a literal stranger. he didn’t know Max from a hole in the wall and all of a sudden he’s responsible for her every move, is punished when she does wrong, has to watch his father treat her better because she’s the golden child. all of this while some other woman is taking up the space his mother left behind and not doing anything to help Billy, whether she’s too afraid to speak up or she turns a blind eye.

while these two boys have similar early childhoods, their upbringing is simply not comparable. Billy and Jonathan had two different experiences, and pitting them against each other lauding one as a cycle-breaker and the other as a perpetuator completely ignores the nuances of their individual situations. abuse and trauma is not one size fits all. healing does not happen overnight. cycle-breaking can happen at any time, and Billy was robbed of the opportunity. Jonathan was in a state of healing, surrounded by people who loved and supported him. Billy was actively being abused every day, and never had the chance to discover who he could be without the dark cloud of Neil looming over him. you don’t have to like Billy to acknowledge that his situation is not the same as Jonathan’s, that these two boys were dealing with similar trauma in two very different circumstances.

#stranger things meta #billy hargrove #jonathan byers #the fact that this has to be said over and over again is sad #use your critical thinking skills people #you don’t have to like billy to acknowledge that his situation is different from jonathan’s

[thenightling]

For those who missed the clues in The Invitation

To my frustration there are people who saw the 2022 movie The Invitation but did not realize that it was a Dracula movie because the name is never said out loud. 

If they had said the name out loud this would be considered “idiot proofing.”  That is the impolite term for when Hollywood over-simplifies things for an audience that they think is either stupid or not paying attention. 

Here are all the “clues” that Walter De Ville in The Invitation was actually Count Dracula.

1.  De Ville is the alias Dracula used while fleeing the heroes in the novel Dracula by Bram Stoker.  It’s a pun on the fact that the name Dracula can translate to mean Son of the Dragon or Son of The Devil.  Son of the Dragon is actually more accurate since the historic Vladislaus Dracula was a member of The Order of The Dragon, as was his father.    2.  His home is called New Carfax Abbey.   Carfax (usually called Carfax Abby in movies) was the English property Count Dracula buys in the original Dracula novel by Bram Stoker.  3.  You can hear a wolf howl in the background in some night scenes. There are no wolves in England (not for centuries) however Dracula, in Bram Stoker’s novel, could transform into a wolf at will.

4.    During one of the kill scenes (the one with the flickering light effect) you can hear the squeaking of a bat.  Dracula, traditionally, can turn into a bat.   In this particular kill scene you see him swoop down from above.  

5.  He’s a vampire Lord..  Dracula is a vampire lord, possibly even the king of vampires (in some films).   6.   De Ville has three wives / brides.  In the Dracula novel three woman vampires reside in Dracula’s castle. They were not called brides, however, until the 1931 Dracula movie starring Bela Lugosi.    

7.  One of the two remaining brides (after one killed herself early in the movie) is named Lucy.  Lucy was the name of the first woman Dracula turned into a vampire on Bram Stoker’s novel Dracula.

8.   One of the two brides is named Victoria.  This may not mean anything at all but the original Dracula novel was published in 1897 and set in 1891, the Victorian era.  In Anno Dracula, Dracula turned Queen Victoria into a vampire.

9.   There are scenes depicting heavy mist at night.  Dracula’s shapeshifting powers were usually reserved for night time in most depictions (though in the novel he can walk about by day).  It’s hard to tell if he conjured the mist or if he IS the mist.  Remember, Dracula is a shapeshifter and wolf, bat, and mist are his most common forms.  But he could also control the weather.

10.  When Evie learns the truth about Walter De Ville he tells her that his preferred name is one that means son of The Dragon.  She figures out what this means and says something like “So you’re...” and he smiles.  Remember, the original meaning of Dracula is “Son of The Dragon.”  

11.  When Evie flees Walter De Ville she comes across a seemingly kind, elderly, couple by the names of Jonathan and Mina Harker.  Jonathan and Mina Harker were two of the heroes in the Dracula novel.  Keep in mind that the vampires in Dracula can change their apparent ages at will, partly based on how well fed they are. There are photographs in the Harker house that indicate they are at least a century old, indicating that yes, these are the Jonathan and Mina Harker of the Dracula novel.  Dracula did turn them both into vampires after all.        12.  When Walter De Ville is badly wounded by Evie he ages into the form of an old man.  The vampires in Bram Stoker’s Dracula novel can change their ages at will based on how much they feed or how healthy they are.  Usually Dracula is depicted (at youngest) looking about forty-five or forty-six-years-old when well fed.  13.  Walter De Ville is shown with claw-like retractable nails, pointed ears, and retractable fangs.   These are traits from both the original Dracula novel by Bram Stoker and Fred Saberhagen’s Dracula novels.

14.   When Walter De Ville turns Evie into a vampire this is done via a blood exchange where she drinks his blood, much like what Dracula did to Mina in Bram Stoker’s Dracula.  And much like in the original Dracula novel it was believed that Evie would revert to being human if she killed him.  

15.  The alternate ending of the movie shows De Ville in his old man form aboard a ship, healed or healing from Evie having “killed” him.  If you know Hammer Dracula movies you know that like Jason Voorhees or Freddy Krueger, Dracula never stays dead.  Also Dracula is known to have incredible healing powers. He appears to have re-attached or regenerated his lost hand from his fight with Evie.    

16.   His butler “Mr. Field” is credited as Renfield.  Renfield was the mentally-ill man from the original Dracula story who was Dracula’s loyal disciple.  It looks like Dracula gave him immortality after all.   

17.   Renfield softly addresses Walter De Ville in either Romanian or Hungarian a few times in the movie, both languages are languages Dracula would speak and would be considered his native language. (Transylvania was a part of Hungary in 1891, when the Dracula novel takes place, before reverting to Romania a few decades later in the 20th century).

18.   Various characters (including Renfield) call Walter De Ville by “The Master.”  This is what Renfield often called Dracula in the original Dracula novel.  The Master’s song is even a song number in Frank Wildhorn’s Dracula The Musical, sung by Renfield.   

19.  Earlier in the film Evie’s friend warns her not to trust any man with a goatee. In the original Dracula novel he had a handlebar-like mustache in his old man form but a goatee in his more youthful form.

20.   Walter De Ville gives Evie several dresses including one that is blood red.  This is very similar to the dress Dracula gives Mina in the 1992 movie Bram Stoker’s Dracula.

21.  Victoria deliberately scares Evie in her bedroom similar to how The Brides messed with Jonathan Harker in the original Dracula novel.  Also Dracula, himself, had scared Jonathan Harker by walking on the ceiling. 

22.  Evie goes to sleep wearing an Outlander t-shirt.  Though this could just be a shameless plug for he show, Outlander is a romance dealing heavily with magick, time travel, ghosts, witchcraft, and even some immortals.  One episode of Outlander even had a character watching the 1960s Gothic soap opera Dark Shadows (which featured a vampire protagonist usually looking for his lost love or trying to protect his large and dysfunctional family).  The movie The Invitation also features at least one actress from Outlander so this could have been a nod to her.

23. Walter De Ville is shown to have no reflection if you look very carefully.   Dracula, of course, casts no reflection in the mirror.  This is also why Evie’s room has no mirror.  They claim it was broken and hasn’t been replaced yet. 24.   The small but predatory birds on the grounds are shrikes.  They impale animals on spikes and then eat them.   The historic Dracula is also known as Vlad the Impaler.  Țepeș just means impaler.  The spikes to supposedly keep out the birds would make for very convenient impaling implements FOR the birds. The historic Dracula impaled his enemies on long wooden spikes.  He also supposedly impaled small animals out of boredom while he was imprisoned by the king of Hungary.   It seems the Shrikes carry on that tradition.   

#The invitation #Dracula #Count Dracula #Bram Stoker #Bram Stoker's Dracula #Walter De Ville

[atmilliways]

Wrong On The Money (44)

part 44 of ?? | 1205 words | Teen+

Blackmail fic on Ao3 | on tumblr

Summary:

“You have secrets?” Will asks, sounding surprised out of his gloom for the first time in the whole conversation. “Yeah, why wouldn’t I?” “I don’t know, you’re so . . . normal, I guess?”

Bit of a flashback chapter, but Will is precious so no complaining or I will turn this pizza van around.

44.

“It’s not just the game,” Will mutters, looking down at his hands. “I. . . .” 

The kid bites his lip, so hard that Steve worries he’ll hurt himself, and Joyce will be mad that it happened on Steve’s watch. So he sighs and sits on the floor next to the bed, back to Will’s nightstand—not particularly comfortable, but his back has seen worse than a couple of drawer pulls. “If it helps,” he offers, “if it's a secret but you still want to talk about it, I’m not gonna stare at you while you talk. You can pretend you’re telling the ceiling or something. That works for me, sometimes.”

He’d been staring off into the distance in the Starcourt bathroom when he’d confessed his crush to Robin, not looking at anything in particular. He does the same thing now a lot of the time when he talks about Eddie. (Only when he feels confident in his ability to hound her into not nagging about telling him, though, so . . . not often. But, still.)

“You have secrets?” Will asks, sounding surprised out of his gloom for the first time in the whole conversation. 

“Yeah, why wouldn’t I?”

“I don’t know, you’re so . . . normal, I guess?”

Steve chuckles. “Not so much. Interdimensional monsters kinda throttled that outta me a long time ago.”

“Yeah, I guess,” Will agrees with a ghost of a laugh. (Score one for Steve!) But then he hesitates, rolling a couple of paintbrushes Steve had noticed him holding earlier between his fingers in a way that keeps bumping them together. “What . . . what kind of secrets?”

Okay, this is not where Steve thought this conversation would go, but he can work with it. “I don’t know, ask me anything. I’m an open book, man.”

“Um.” More fiddling. “Uh, okay. You’re, um. . . . Can I ask about you living with Eddie?”

“Sure,” Steve replies patiently, although his stomach twists a little. Whatever, if this is what Will needs to be able to leave his room, Steve will keep his word and tell the truth. 

“Is, um. . . . Why?”

And, okay, Steve isn’t going to tell him about the blackmail part. He’s not that dedicated to rigorous honesty here. He hasn’t told anyone about that, not one single person, and it’s going to stay that way forever if he can swing it. But the other stuff. . . . Maybe Will needs to hear the other stuff. 

It’s also probably something he owes to like, the universe or whatever, for what he’d said to Jonathan outside The Hawk a few years ago. Talk about irony.

“Well,” Steve begins, looking down at his jean-clad knees, “Eddie and I are friends now. And I needed somewhere to live after I moved out of my parents’ house because, y’know. I got to decorate my own room for the first time since . . . uh, ever, which is nice. Wayne doesn’t have a lot of rules as long as we don’t trash the place or get arrested or wind up in the hospital again. Considering I barely graduated and never made it out of Hawkins, I could’ve done a lot worse.“

Will is quiet for a moment, then asks, “But you’re friends? Like . . . close friends?”

Steve takes a deep breath. “Yeah. Not. . . . Not as close as I’d like, I guess, but that’s not gonna happen.” He lifts his head and finds, as he expected, Will staring at him with big eyes. “Don’t spread it around but, I’m . . . bisexual. It means I like both.”

“Oh,” Will says, sounding poleaxed by the trust shown with that admission. “Okay, yeah, no, I—I won’t tell.”

“Thanks, man.” 

The next question is almost a whisper. “Why isn’t it going to happen?”

Steve sighs and drops his head back against the edge of the nightstand (ow) to stare at the ceiling. Easier, like he’d said. “A lot of stuff that happened in high school. We’re good now, but I was a real douchebag back then and people don’t just forget that. Because they shouldn’t, I mean. You can’t forget that people can be huge assholes just because one of them changes, okay?”

“Um, okay.” There’s a rustle, which Steve guesses is Will trying to dry his eyes with his sleeve. “I’m. . . . I’m gay and I like Mike,” he says in a rush, the words tumbling over each other as though he's afraid he'll lose his nerve if they take too long to get out.

And, well. Steve chews his bottom lip for a second. It had taken him a minute with Robin, but he knows exactly what to say this time. 

“Mike?” He lets out a low whistle. “Tough break, little Byers.”

“Shut up,” Will protests through a sniffle, but that ghost of a laugh is back again. (Two for two, nice.) “He’s not that bad.”

“Uh, yeah he is. He’s been cranky at me for dating Nancy for the past three years. It’s like he never pulled his head out of his butt to notice we broke up!”

“Stop,” Will snickers. 

“It’s true, and you know it!”

Will snorts, and Steve looks over in time to catch sight of him rolling his eyes. “Eddie looks like a wet cat.”

Steve gasps loudly, pressing a hand to his chest. (And yes, he knows who he looks and sounds like by doing this. It is not pathetic, he’s on a mission to make the kid laugh.) “You take that back!”

And Will does giggle, opens up a little more. They commiserate over hopeless crushes, and how that relates to Will’s reluctance to play today.

“Look,” Steve says finally. “You can stay home if you want. But if you think you’ll have even a tiny amount of fun, you should come. And. . . .” He’s not totally sure about this, but he already has his toes at the edge of saying it, so here goes. “If you face your butthead, I’ll come face my wet cat. Solidarity and shit.”

Will’s eyes go wide, the redness from crying faded enough by now that the rest of the kids won’t notice. “You’ll play?” At Steve’s nod, he starts to grin. “I can make you a character and everything?”

“You’re going to have to,” Steve replies, as serious as a heart attack. “I know jack shit about Dumbells & Dingbats, and if you let me sink in there I swear to god, Byers, I’m sneaking in here and short-sheeting your bed.”

And that, finally, earns him a real laugh. 

-

At the end of the day, Steve stares up at the ceiling of his own room. He’s going to have to talk to Will again at some point, as soon as he figures out what to say. Maybe he’ll write a thank you note. Or send a fruit basket.

Because Eddie is snuggled up against his side, snoring softly. “I’ve spent plenty of time in my room,” he’d said earlier, so here they are, both still fully dressed but even more thoroughly kissed. 

He has one arm and one leg thrown over Steve, face mashed cheek to collarbone. Every twitch of his eyelashes in his sleep tickles at Steve’s neck. 

It’s late and Steve’s not going to be able to keep his eyes open much longer, but he cannot for the life of him stop smiling.

#steddie blackmail fic #steddie #steddie fic #steve harrington #will byers #eddie munson #my fanfic

[jknerd]

NIMH AU: Isabella

(Based on a character from original novel "Mrs. Frisby and the Rats of NIMH", Isabella the young rat^^)

Full Name: Isabella Montgomery

Species: Im-Human (through experiment)

Age: 18~19

Gender: Female

Other names: Isa, Izzy, Bella

Occupations: Student (formerly), Librarian (currently)

Residence: 1st Bund of NIMH (formerly), New Bund of NIMH (currently)

Family: Mrs. Montgomery (mother), Isaac (twin brother)

Relationships: Justin (first crush), Elizabeth Brisby (her “love rival”; formerly->friend), Jonathan Brisby (her family’s lifesaver; deceased), Hermione (teacher; formerly)

Likes: Reading books, watching Justin from afar, children, Justin’s happiness Dislikes: Jenner’s obsession for revenge and power, Justin’s unrequited(?) affection for Elizabeth Brisby (formerly)

Isabella Montgomery was a young IM-Human lady living among the IM-humans in the Bund. Widely known as a blooming belle of her society, she has blond hair and violet eyes. As a little girl, she was imprisoned with her mother an her twin brother Isaac after her father was sent away to war prison camp and they were experimented in NIMH facility. However, they were rescued by Jonathan Brisby and his allies, agreed to live in the Bund ever since they heard of her father killed by enemy soldiers and lost their homes by bomb. At one point, Isabella was nearly caught by enemy soldiers but was saved by Justin who slain them before they could harm her further. Hence, little Isabella developed a huge crush on him, even told her fellow IM-Human peers she dreams to marry him when she’s older. Although, her peers laughed it off.  She also viewed Jonathan as a perfect hero and never thought of the idea of him settle down and marry normal woman. Eventually, she was shocked to hear Jonathan’s death and that he has wife and children.

A natural bookworm with kind heart, when she heard Brisby family are to move their house as Timothy got ill, she volunteered with other IM-Human females to help the widow as Isabella was eager to suggest interesting books to Brisby children as they have shown interests on written texts other than what their late father gave to them. Although Isabella was jealous of Elizabeth and proclaimed she dreams to marry Justin, she was puzzled when Elizabeth respond with maternal smile as Isabella’s innocent crush on Justin reminded her of her behavior around Jonathan when she was her age. Witnessing Elizabeth’s fragile feature as human yet her fear overcame by her practical view of reality and determination to protect her children, Isabella sees why Justin developed romantic interest towards the Brisby widow. Thus, becoming much nicer to Elizabeth, even assisting her to visit Jonathan’s grave. It was revealed that at one point Isabella confessed her feelings to Justin, but he politely and firmly rejected her. 

When Elizabeth voiced her decision to volunteer to distract Drago, Isabella was immensely concerned as she knows Drago’s amorous misdeeds and the possibility of him hurting her. For Elizabeth’s safety, Isabella snuck out to watch over her during the mission to drug Drago with sleeping powder and was seen relieved when Elizabeth completed the task. However, when returning to Brisby Manor, Isabella was shocked to find Nicodemus dead and the manor was immobilized. Sensing Jenner’s sudden grasp on the power to be suspicious, she speculated he was involved with Nicodemus’ death and the immobilization of Brisby manor. Along with Sullivan, she rushed to warn Justin when Jenner abducted Elizabeth. Later, she was seen shocked to see Brisby manor destroyed, but in relief to see Elizabeth and her children unharmed. Along with IM-Humans, Isabella was seen in tears of joy to see Nicodemus revived and Timothy alive as IM-Human. Through days IM-Humans help Elizabeth with restoring her family house, Isabella noticed the growing crestfallen look on Justin’s face, then realized that when the manor reconstruction is complete Elizabeth and Justin have to be in separate ways. Catching a hint of Elizabeth’s feelings for Justin, Isabella gave the two some privacy while helping Auntie Shrew with children out of house. Isabella was seen next day, bidding goodbye to Brisby children as she has grown attached to them. Days went by, in new Bund at Thorn Valley, Isabella became a librarian helping Nicodemus with recording his prophecies and recording the reformations on the book as Justin became a new leader of IM-Humans.

#The Secret of NIMH #The Secret of NIMH AU #NIMH #NIMH AU #Isabella #Mrs. Brisby and the Bund of NIMH #Mrs. Brisby and the Bund of NIMH AU

[steddiebang]

I Will Die In The House That I Grew Up In | Rating: E | 146,817

Author: kwills91 on twitter and ao3 Artist: sheepsicles on twitter /communismkins on tumblr and ao3 Beta Reader: 3blackhearts on twitter and ao3

Steve Six months after their battle in the Upside Down, Steve still can’t face talking to Eddie. He’s loud, and weird, and everything Steve wants but knows he can’t have. Right now he has to focus on making sure everybody is okay. Right now he has to plan for when Vecna comes back. But a stranger shows up declaring to be from the future and changes everything. Eddie Steve’s avoiding him and he doesn’t know why. But it’s okay because he’s found the kind of friendship he never thought he’d have with the last person he’d expect. Nancy Wheeler. But when a teenage girl shows up on their doorstep, Nancy insists they move in with Steve to help him keep her safe whilst they uncover the reason she was sent back, and why Vecna has somehow shown up again twenty-five years in the future. And how is he supposed to react when she declares that her parents are none other than Eddie himself and the guy he’s been crushing on since he did that goofy little wave six months ago? And on top of all of this, Vecna returns to throw a whole spanner in the works.

Read on ao3 | art 1 & art 2

Pairings: Steve Harrington/Eddie Munson, Nancy Wheeler/Robin Buckley, Steve Harrington & Robin Buckley, Eddie Munson & Nancy Wheeler, Will Byers/Mike Wheeler Characters: Steve Harrington, Eddie Munson, Robin Buckley, Nancy Wheeler, Wayne Munson, Jim "Chief" Hopper, Joyce Byers, Will Byers, Jonathan Byers, Mike Wheeler, Dustin Henderson, Claudia Henderson, Lucas Sinclair, Maxine "Max" Mayfield, Murray Bauman, Dmitri Antonov, Sam Owens (Stranger Things), Original Female Character(s), Kali Prasad, Henry Creel | One | Vecna Tags: Alternate Universe - Canon Divergence, Time Travel, Post-Season/Series 04, Eddie Munson Lives, Maxine "Max" Mayfield Lives, Forced Proximity, Hurt/Comfort, Fluff and Angst, Eventual Smut, Platonic Soulmates Robin Buckley & Steve Harrington, Platonic Soulmates Eddie Munson & Nancy Wheeler, together all four of them are soulmates, Mutual Pining, Found Family, POV Multiple, Steve Harrington's House is Apolcalypse HQ, Henry Creel | One | Vecna is His Own Warning, Happy Ending, Steve Harrington Has Self-Esteem Issues, that might be an understatement, Eddie Munson Has Self-Esteem Issues, Not Actually Unrequited Love, Sharing a Bed, First Kiss, Feelings Realization, Steve Harrington Needs a Hug, and Eddie Munson gives them to him, First Time, Virgin Eddie Munson, vecna battle, Graphic Description, Serious Injuries, The Upside Down (Stranger Things), Anal Fingering, Anal Sex, Top/Bottom Versatile Eddie Munson, Top/Bottom Versatile Steve Harrington Trigger Warnings: Graphic Depictions of violence, mild drug use, parental death, almost character death (but nobody actually dies)

#steddiebang23 #steddiebang23 masterposts

[see-arcane]

i really love your idea of Ghoul for Jonathan it's so good

Thank you! Honestly there are a ton of good monster/cryptid Jonathan ideas out there alongside the 'maybe he's a diet vampire?' theories. The ghoul thing (as I've rambled about before) is born of the whole 'suddenly taking on corpsey coloring' + 'the religious stuff doesn't hurt him and he seems to be All About killing the Count' = 'being generally more eerie and unsettling' = 'freaky creature that hunts the (un)dead and has no known issue with Christian paraphernalia' = that boy seems a bit ghoulish!

And while Dracula absolutely stole a drink the last night in the castle, I've never been 100% on that being a basis for Jonathan being any kind of pseudo vampire born of the Count's nibbling. It'd mean he was tethered to Dracula too, and for a longer period than Mina. But Dracula is shitting bricks enough to run from Jonathan rather than fight him with the kukri in hand. So he clearly suspects something is up with this young man that's worth worrying about. Even when Jonathan had scuttled down the side of the house and was giving chase entirely solo ahead of the others, Dracula never turned to fight him.

Sounds like the kind of thing a walking corpse would do if he knew a ghoul was chasing him with his giant cutlery out.

...But, in hindsight, I can also see a different kind of Semi-Vampire!Jonathan in action here. One that's even more worrisome than Dracula's implied brand of vampire, the Romanian strigoi. Say, the same kind of pallid, washed-out vampires we see in, "The Family of the Vourdalak," by Alexei Tolstoy.

A story which involves vampires who are immune to traditional vampire destruction methods like being staked through the heart, et cetera, and focus obsessively on 'collecting' their loved ones and mercilessly slaughtering anyone else.

As an aside, the eponymous vourdalak vampire (note, more appropriately spelled 'wurdulac', being based on the Russian vampire, but we'll use vourdalak for the gothic lit spelling), Gorcha, is introduced carrying the severed head of a man he was hunting in the mountains.

As another aside, it's implied at the climax that this breed of vampire is bound to their homes/physical location they were turned, meaning the whole village of these washed out, corpse-eyed undead are only a threat to those who enter their territory. Or those who threaten to take away their loved ones.

As another other aside, in, "Dracula's Guest," Stoker's unused prologue to the novel, we see Jonathan come across an undead village in Munich. One that pours out a hoard of vampires from their graves in a wild tide. He blacks out during this; then he wakes to Dracula the Wolf laying on top of him just outside the village's boundary. The story mentions the Wolf licking his throat and the soldiers who find Jonathan notice a mark on his neck.

Now, this could be Dracula taking a first sip long before Mr. Harker gets to the castle; a token for his troubles in keeping the solicitor safe. And maybe that's all it was.

Or else those vampires were not strigoi at all, but something a touch more territorial. Sturdier. Obsessive. Corpse-colored. Driven by love and loathing at their greatest extremes.

The vourdalaks of the short story are shown to need full death for their turning. Jonathan, if he was purely hypothetically bitten by such a vampire before his rescue, would not be at risk of full conversion until the day he died. Certainly not enough to make him an anchored undead bloodsucker. ...But perhaps enough to start suffering some noticeable changes once certain Dracula-shaped stimuli began setting things off.

Which presents the lovely idea of Dracula not just running from a group of vampire hunters, but a group including one very pissed off even worse vampire-in-the-making whose whole deal is 1) Being nigh indestructible and riddled with super strength, 2) Wholly unstoppable when it comes to killing anyone who isn't a loved one; especially someone who just did a great big no-no by biting his wife, and 3) Isn't undead enough to be hampered by the territory rule.

Whether Jonathan's a Semi-Ghoul or a Guaranteed-to-Fuck-You-Up brand of Semi-Vampire, Dracula screwed up regardless, because either way he's now got Gothic Horror Jason Voorhees coming after his head.

#Dracula: You know what maybe it was a bad idea to become this guy's villain origin story after all #jonathan harker #monster jonathan harker #ghoul #vourdalak #wurdulac #vampire jonathan theory #dracula #dracula daily

[degenderates]

ok fuck it. ranking covers of a home at the end of the world by michael cunningham because guys some of these covers slap and some of them are the ugliest shit i've ever seen. this is the kind of post i would have used to make back in my tiktok days but there's no way im opening that app by my own will again. so mutuals read this post.

last place/ugliest cover first.

the stock photo. literally what is going on here. the font is practically unreadable and makes no sense. the image itself looks like someone pulled it right off shutterstock. its giving my middle school vsco account. why are there three women on the front? the story is primarily about two guys and one girl. i mean there is a second female pov but she's not part of the polycule. font is clean but ugly. bye.

the movie poster one. i have so much beef with this cover, even as a movie poster. they literally took three screenshots of the movie and overlayed them into a weird collage type thingy. why is colin farrell standing like that?? why is the character jonathan in the back?? it's giving disney channel. it's giving early 00s--in a bad way. no rights at all. 🍅🍅🍅

the perks of being a wallflower one. i guess there was a craze for late 90s books to have typewriter font in the middle of a minimalistic cover?? i hate minimalistic, abstract covers. you could choose to tell us something about the book but no. here is an orange circle and a black circle. okay.

the modern cover (i assume). i like the watercolor and how it's not too busy but there's still a discernable image (unlike a CERTAIN cover i just discussed...🙄). the font kind of fucks up the whole thing though. it doesn't match the vibes of the book at all. it's very new-adult-romance and just feels off. because yeah technically the book is about new adults and their relationship drama but it's not this...cute.

the uk cover (?). the quality of this image sucks but i literally could only find it on abebooks.co.uk so. it's not bad, just really busy. the font has a shadow so it can be readable but that makes it feel even more cluttered. i like how the angel statue makes an appearance, but all the colors and how bright it is just makes it feel like a little too much.

the color burned one. honestly while i like the vibes i'm not quite sure who this lady is supposed to be. that looks like a wing so she's probably the white angel statue, but she looks too human. and angels aren't different colors like that. i like how this is simple and black, very classy. but ultimately it doesn't really make a lot of sense.

the grey one. this is simple, but nice. it's dark but with light shining behind the house--a nice balance of hardships but also hope, which fits the story. there's a swingset, which makes sense given the story is about growing up, in a sense. and there might have been a swingset at the actual house in the book. can't remember. the font is clean. a little sci-fi/futuristic for my taste but that's alright i guess. this is the cover i have. i guess i should be lucky it's not one of the previous ones but i really wish i had the next one...

the first edition. look it's classy. it's gothic. the angel is there. the sky looks like it could be ohio or nyc. there's powerlines. the font is stylish but not over the top. it's not too bright. it's slaying. one of my favorite things about this cover is how it emphasizes the angel, because the book itself was written around michael cunningham's seminal short story "white angel" which i have talked about a lot on this blog. it also is in a similar pose to the actual angel statue it was based on, the black angel of iowa city (shown below). i'm a fan. i wish i had this cover soooo bad<333

~~~

overall thoughts: most of these covers are kind of shitty lol. this book deserves better</3 if one of y'all live in the US, dont care much about covers, and want a free copy of this book i'll send my copy (the grey cover) to you for free just so i can buy the top ranked one on ebay lol. anyways if u got to the end and found this at all entertaining, tell me so. this was fun to do except when tumblr deleted the whole thing and i had to remake the entire post!!! lol!!!! and y'all should read this book because it's very good and very messy queer and i adore it deeply. <3

#a home at the end of the world #michael cunningham #book covers #booklr #litblr #this isnt actually a booklr blog lmao if anyone in the booklr tag sees this #white angel #josiah speaks

[quasi-normalcy]

Star Trek: Picard, season 3, episode 3, "Seventeen Seconds" thoughts (spoilers):

The Good:

My big concern about this episode was how they could possibly explain away Crusher's behaviour, and I think that it is very much on the strength of Gates McFadden and Patrick Stewart's acting that I actually ended up believing it. The idea that they'd already attempted a romance 5 times offscreen was something of a retcon, but honestly, they served together for 9 years after "All Good Things" and we only checked in on them for a few hours each time in movies spaced 2 to 4 years apart, so I entirely buy that this is something that could have happened (and it seems natural that Picard would attempt it after "All Good Things" as well)

The acting in general, really. Not just Patrick Stewart and Gates McFadden, but everyone

"I am Worf, son of Mogh, house of Martok, son of Sergei, house of Rozhenko, bane of the Duras, slayer of Gowron" ❤️

Just the banter between Worf and Raffi in general

Sidney La Forge's little aside with Seven of Nine. I loved that. And that she called her "Commander Seven." She knows what's up.

Paying off the whole plot point with Thaddeus Riker in the first season. The entire first scene is completely heartbreaking when you remember "Nepenthe", and Jonathan Frakes just plays the long-grieving father perfectly in his interactions with Ed Speleers's Jack Crusher

Also paying off the plot point with Picard's father from the second season

HOLY SHIT, CHANGELINGS! I mean, I kind of guessed that it was them based on some of the promotional material, but it was still a nice twist. Not sure I love how gross their goo looks this time around, but eh. Better special effects.

The Bad:

I really don't buy the conflict between Picard and Riker. At all.

It just seems so completely out of character for both of them. Like I can buy that they might have some raw emotions, but this just is not how either of them have ever been shown to behave. They don't start shouting at each other on the bridge of the starship and Picard would not openly disregard Riker's judgement if he were placed in command. The only times that they've even behaved remotely like that were when Sarek was infecting them with rage or when they were in the alternate timeline in "Yesterday's Enterprise".

"You've just murdered us all!" Are you five? He proposed a tactic, you accepted his proposal and it backfired. This is how adults talk to one another?

Why is Picard so keen on attacking Vadic? This too feels out if character for him.

Actually, everyone's acting kind of assholeish for no good reason. The random officer telling Jack that this is his fault; the Titan CMO refusing Dr. Crusher's help in a triage situation; Jack assaulting the guard outside of Seven's quarters. I get that Terry Matalas doesn't like Roddenberry's "no conflict" rule, but that's not a license to just write all of his characters like a bunch of reprobates

Speaking of reprobates, as much fun as the Worf-Raffi "good cop/ bad cop" interrogation dynamic was, why are they using these stupid, ineffective, Starsky & Hutch-esque, abuse-of-due-process techniques?

And then Worf murders the changeling, which is great, because it's not like he was your only lead.

I feel like Matalas is writing based on the logic of a 1980s action movie, rather than actually trying to imagine how things might work in a post-scarcity utopia. Like I don't think that the act of killing someone is something that he's giving sufficient moral weight.

"My father and I have one thing in common: we don't have an easy time making friends" - Really? That's how you would characterise Geordi La Forge? Geordi "I did not know what it meant to have a friend until I met Geordi" La Forge? Geordi "Geordi must not be assimilated" La Forge? Geordi "I will be your eyes" La Forge?? This is how you'd characterise him? As someone who has difficulty making friends??

Vadic barely has any lines. At first I liked how minimalistic she was in giving orders, but Amanda Plummer's acting was my favourite thing in the previous episode.

Random Thoughts:

Do the lights on La Sirena's engines have special sensors that change colour depending on who's standing in front of them?

I think Dr. Crusher must know more than she's letting on, because it's not clear why she would lock Jack away during the opening sequence of Episode 1 and shoot the masked men execution style, just based on the information she's provided. Then again, everyone's behaving like such a murderous asshole that maybe that's just baseline for how a doctor acts now

The nebula is apparently alive and conscious, which makes me think (hope?) that maybe it's affecting their judgement on some telepathic way. You know, regressing them to violent action movie stereotypes, sort of thing.

#star trek picard #spoilers #seventeen seconds

[stancyler]

thanks to some twt jancies i've recently discovered something else in favour for stancy.

so they brag about jonathan and nancy having similar/matching career goals and use it as endgame proof for their ship.

truth is, we've already seen them work together as journalists/photo journalist in season three. and that didn't end really well for them. let's dig this subject. nancy and jonathan both start working for the post office, one of the first things we see is how nancy's the lunch lady for the bosses (she prepares coffee, gives them food, etc.) and jonathan works his photography in a dark room. from the beginning it's shown to the audience nancy isn't happy working for those people, this doesn't have to do with jonathan yet except he could've said something against the sexist comments. she felt like not being good enough to be a reporter until she found out a new case (the old lady one with the rats).

nancy wants to investigate the case to demonstrate she's worthy of working there as a journalist, not to be preparing sandwiches or coffee for those men. jonathan's on board at first - that's until the men make fun of nancy for trying to investigate the story and tell her to drop it because they didn't believe her - and guess who else didn't really believe in nancy's story? correct! jonathan. he also told her to drop the story, to just do what the misogynistic men told her to do. what the hell? shouldn't you support your partner? being afraid of getting fired is not a good excuse. it was only a summer job, there were more future opportunities. he decided to go with her because he felt pressured to do so. he never believed in her story.

then (if i remember correctly) the police finds them at discroll's house and they separate paths. nancy goes to the hospital to visit the lady while jonathan goes home. he doesn't care. not until nancy calls him and asks to talk with his brother, will. his interest suddenly grows when will's name is mentioned. then they reunite with will, mike, etc., and will asks jonathan "you weren't there?" to which he responds with "well i'm here now, aren't i?" and nancy adds: hallelujah.

notice how this implies jonathan wasn't really there until will was involved in the story. we know jonathan is a family guy who cares about joyce and will the most. the writers spell it out for us in every season. nancy didn't feel the support she needed from his boyfriend.

they both get fired. jonathan blames nancy for getting him involved in the story. they fight and nancy says the famous line "we just don't understand each other anymore". that's how their working as journalists together ends.

does this sound like a perfect future for either of them? would nancy want a partner in the future who doesn't support the stories she believes in and investigates? nancy deserves a partner who trusts her, one who believes in the stories she investigates and doesn't hesitate to defend her if she's getting sexist comments or any other kind of bad comments.

jonathan can't do that. we've seen it on screen. them working together don't function correctly. jonathan didn't care about the misogynistic comments, nor nancy's story. never. he even told her to deal with it. he didn't help her until he discovered will could be in danger.

THEN, in season four we see jonathan acknowledging his future with nancy would be full of resentment and they would end up in a loveless marriage, their kids would even hate him.

what else do you need to understand jonathan is not endgame material for nancy. she doesn't need to go through all of that again.

#anti jancy #anti jonathan byers #stancy #steve and nancy #nancy wheeler #steve harrington #steve x nancy #nancy and steve #stancyendgame