The eagerly awaited part 2 of the DILF!Steve concert saga is here!! Part 1, in case you missed it.
"You're not going."
"Come on! I haven't thrown up in an hour!"
"The drive to the venue is an hour and a half."
"Steve-"
"And if you throw up in my car-"
"Oh my God-"
"I'll kill you."
Steve doesn't need to see Dustin's eye roll in order to feel the full force of it through the phone.
"I'll just kill you. You'll have a headstone within the week that says Here Lies Dustin Henderson: Rightfully Murdered for Puking in Steve Harrington's Car," he continues as he packs Capri-Suns into the cooler for the car ride.
He doesn't remember ever being that thirsty as a kid, but if Anna wants strawberry kiwi, Anna gets strawberry kiwi. It helps that it's Steve's favorite flavor, too.
"I'd need a big ass headstone to fit all of that," Dustin snaps.
"Your big-ass ego would demand no less, shithead," Steve shoots back.
"Swear jar, Daddy!" Anna calls from her room, across the house because while she doesn't listen to Steve when he's right in front of her, she can hear him break the swear jar rule from halfway across the world.
He zips up the cooler, fishes a quarter out of his pocket, and throws it into the half-full soup can next to the stove.
(A quarter doesn't mean much, but Anna doesn't know that. The day Steve teaches that kid about inflation is the day his pockets become permanently empty.)
"Did she just swear jar you?" Dustin asks from over the phone.
"You baited me into it."
"I did no such thing."
Steve rolls his eyes. "You're not coming, though, are you?"
Dustin sighs, and, for all his teasing, Steve does genuinely feel bad. "I still feel like if I breathe wrong, I'll hurl, so, no. I don't think I'll manage the car ride, nevermind the actual show."
"Sorry dude."
"Don't be. Some dickhead will live stream the whole thing on Instagram, anyway. I'll live vicariously through them."
Steve snorts and picks up the cooler. He got Anna dressed beforehand, so it's just a matter of getting her to stop playing with whatever toy she dug up - Play-Doh has been the fixation of the week - in her room so they can go.
"Besides," Dustin continues, and Steve hates where this is going. "Anna loved the show, and you've got a reason-"
"Nope," Steve says, knocking on Anna's door. "Don't finish that sentence."
"All I'm saying-"
"I know what you're gong to say, which means you know my answer. I don't date."
Anna opens her door. From the little Steve can see inside, there are at least three containers of Play-Doh open and strewn across the floor. He thinks her Barbies are involved in it somehow.
"Time to go," Steve says, and he thinks, Please don't let there be Play-Doh in the Barbie hair.
"Five more minutes," Anna tries.
"Nope. Clean up and roll out."
"Hi, Anna," Dustin says through the phone.
"Uncle Dusty!" Anna shrieks, and she starts jumping up and down. "Are you comin', too?"
Dustin sighs, and Steve can't tell if it's at the nickname or if he's still cursing the universe. "No, but you and your dad have a great time, okay?"
"Can you, can you tell Daddy I should get five more minutes?"
Steve raises his eyebrows at her. Anna, to her credit, ignores him wonderfully.
"If you clean up," Dustin says, because he's actually Steve's favorite person right now, "you get to do more headbanging at the concert."
Anna gasps like Steve didn't already tell her that earlier today, and she gets to work on putting her toys away. Steve helps, of course, and he finds that there is, in fact, Play-Doh in two of her Barbies' hair.
Fun. They're going to turn into Buzzcut Barbies when Anna goes to sleep because he can already tell that they are the furthest thing from salvageable.
But that doesn't matter right now. What matters is getting Anna in the car, deploying the first two of many strawberry kiwi Capri Suns from the cooler, and making the drive to the venue, which Steve does with minimal road rage and accompanied by the Disney radio station.
Success by all metrics, really.
Dinner might as well be now, so Steve shells out a truly disgusting amount of money for overpriced chicken nuggets and fries at the venue. Anna will only eat half her portion but say she's hungry later, but that's what the snacks and water Steve smuggled in via his jacket are for.
They get to their seats, dinner finished up, just as the lights go down for the first opener. Steve looks to his left, half-expecting Eddie and his friends to be there before remembering that they won't be.
He tries not to feel too disappointed. He fails miserably.
The seat next to him, however, isn't empty. There's a note taped to the back of it, one addressed to Steve and Miss Anna, so Steve feels alright taking and opening it.
At the top, there's a messily scrawled phone number. Underneath, it says:
Here's my number. Probably a bad idea to call with all the noise. Texting works, though you should do that after the show. I'll be a little busy until then.
-Eddie
Steve puts the note in his pocket, puts Anna's ear defenders on, puts his own earplugs in, and looks at the stage, where-
Hang on.
He squints at the stage, where four guys have started playing a song that, frankly, sounds too much like literally all the music Steve listened to yesterday for him to care about all that much. The drummer is pretty small, with wild, curly hair. The bassist looks familiar. The lead singer, who is very talented but not to Steve's personal taste, also looks familiar. And the guitarist-
No way. No way in hell.
It's a total coincidence. Lots of guys have long, curly hair and heavy jewelry and big eyes and are wearing formal wear, for some reason, and catch Steve's eye, and-
"Thank you for such a great welcome!" the guitarist says, and his smile totally isn't doing anything to Steve, thanks very much.
Anna stops moving, where she's standing next to Steve, and climbs up into his lap to get a better look at the stage. She looks out, then back at Steve, then out, then back at Steve, making a face as confused as Steve feels.
Some days, he thinks he ended up with a clone, not a kid.
"I'll get off the mic in a second. I only do the talking because Jeff," the guitarist points at the lead singer, who ducks his head, "is really shy."
Jeff. That name is definitely relevant, but Steve is a permanent resident of denial.
"We fought about what song we were going to include next in our set list, so much so that we didn't decide until yesterday and had to consult a tiebreaker."
Okay, maybe Steve is a less permanent resident of denial than he thought.
"So, thank you to Miss Anna, who did great at headbanging for her first time-"
Anna whips around so fast, her forehead nearly collides with Steve's jaw.
"And to Steve, who's a big fan of American Psycho."
At the song name, the crowd loses their minds, and if Anna wasn't sitting right in front of him, Steve would join them.
Because what the fuck is happening right now?
His question isn't answered. In fact, about five more questions pop up in its stead when, during the bridge of the song, Jeff puts on a clear rain jacket and picks up a prop axe.
Please, God, don't let this traumatize my kid, Steve thinks.
Anna, thankfully, doesn't get scared. When Jeff brings the axe down, again and again, Steve's weirdo daughter fucking smiles. And giggles. It's kind of cute, actually.
When the song ends, she turns back to Steve.
"That's Eddie onstage," Steve says, and saying it, somehow, makes it real.
"I thought so!" Anna says, and she turns back to watch the show. Steve puts an arm around her waist so she doesn't fall off his lap when she bangs her head to the music.
The rest of the songs, in Steve's opinion, are better than the opening song. They're more melodic, which Steve can definitely get behind, and each of them has a gimmick onstage, all based off of various horror movies. It's ridiculous, but also really, really cool.
And Eddie, onstage, because it is the same guy who flirted with him and was so sweet to Anna yesterday, is really, really hot.
Steve has never had a thing for guitarists before. He's never had a thing for musicians before. Hell, until a year ago, he didn't realize he had a thing for men.
Eddie is. Uh. Yeah. Really doing it for him.
Steve doesn't know whether it's his enthusiasm, or the way he moves, or seeing his hair tied up, or the fucking dress pants and suspenders, or just his hands, but he does know he has to get himself in check because this is an all ages show and he's here with his daughter.
He already knows he can't add these songs to his grading playlist, not when they're accompanied by visuals of Eddie playing his guitar.
Sweet Jesus.
"Alright, that's our set!" Eddie says. "Thanks, y'all, for sticking around for us, and let's give it up for the next act!"
The crowd, including Anna and Steve, cheer as they exit and the lights go up.
Steve fishes his phone out of his pocket, fully intending to add Eddie's number to his contacts, and is greeted by not one, not two, but sixteen missed calls from Dustin Henderson.
Naturally, Steve calls him back. "Who died?"
"What the fuck?" Dustin yells, and Steve just puts the phone on speaker to save the rest of his hearing. "Did Eddie fucking Munson just personally thank you from the stage?"
"Swear jar, Uncle Dusty!" Anna says.
"Sorry," Dustin says. "But Steve. Answers. Now."
"How do you even-"
"Instagram live. Is Eddie the guy you were telling me about yesterday?"
Steve takes his phone off speaker. Prior experience tells him that this conversation has a less than zero chance of staying PG, nevermind PG-13.
"Yeah," Steve says. "He is."
"The one who flirted with you, and you forgot to ask for his number."
"Well, I have it now."
"What?" Dustin shrieks, and Steve is incredibly thankful that he didn't take his earplugs out.
"He left me his number on the seat."
"Text him."
"I was going to, until I saw that you called me sixteen times."
"Jesus Christ, Eddie Munson was flirting with you."
Steve rolls his eyes and hands a pack of gummy bears to Anna when she taps his arm. "He could have just been nice. I don't even know if he's into guys."
"Have you looked at him?"
"Wow, Dustybuns, I didn't know you were homophobic."
"I think it's the complete opposite of homophobic to try to get you laid."
"Hanging up!" Steve shouts because a part of him will never see Dustin as any older than thirteen, and no thirteen year old should ever say that.
"Text-"
Steve hangs up the call. "Can I have a gummy bear?"
"No," Anna says, mouth full, in her seat, legs swinging.
"I bought them."
She shrugs. "You gave them to me. Mine now."
Steve stares. She stares right back.
He sighs and opens a new pack of gummy bears.
With his mouth full of sweet Haribo corpses, Steve takes out the note and adds Eddie to his contacts. Before he can overthink it, he sends him a message:
I guess I don't have to ask you what you do for a living. Just so we're even on that front, I'm a teacher, and Anna's full time job is preschool.
He tucks his phone back into his pocket and focuses on making this a good experience for Anna, who somehow wormed her way into a conversation with the intimidating-looking couple sitting next to her.
Because it's totally not like a literal rockstar is going to text him back. Right?
Part 3!!
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Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.
And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.
And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.
Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.
This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.
And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.
Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.
So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.
It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.
Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.
These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.
Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.
Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.
And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).
But then, for once in both their lives, neither of their usual tactics work.
Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.
On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:
"Under your mask, you're not the killer you pretend to be."
Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.
And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.
Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.
And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.
But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.
So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.
This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.
In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.
To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.
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