#queer people face danger
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I watched all eight episodes of season 1 of Blue Eye Samurai over the weekend. I then went browsing because I wanted to read some online reviews of the show to see what people were thinking of it and also because I wanted to interact with gifs and art, as the series is visually stunning.
Yet, in my search for opinions on the show, I came across several points I'd like to address in my own words:
Mizu’s history and identity are revealed piece-by-piece and the “peaches” scene with Mizu and Ringo at the lake is intended to be a major character reveal. I think it’s weird that some viewers got angry over other viewers intentionally not gendering Mizu until that reveal, rather than immediately jumping to gender the character as the other characters in the show do. The creators intentionally left Mizu’s gender and sexuality ambiguous (and quite literally wrote in lines to lead audiences to question both) to challenge the viewer’s gut assumption that this lone wolf samurai is a man. That intentional ambiguity will lead to wide and ambiguous interpretations of where Mizu fits in, if Mizu fits in at all. But don't just take my word for this:
Re: above. I also think it’s weird that some viewers got upset over other viewers continuing to acknowledge that Mizu has a very complicated relationship with her gender, even after that reveal. Canonically, she has a very complicated relationship with her identity. The character is intended to represent liminality in identity, where she’s often between identities in a world of forced binaries that aren’t (widely) socially recognized as binaries. But, again, don’t just take my word for this:
Mizu is both white and Japanese, but she is also not white and not Japanese simultaneously (too white to be Japanese and too Japanese to be white). She’s a woman and a man. She’s a man who’s a woman. She’s also a woman who’s not a woman (yet also not quite a man). But she’s also a woman; the creators said so. Mizu was raised as a boy and grew into a man, yet she was born a girl, and boyhood was imposed upon her. She’s a woman when she’s a man, a man when she’s a man, and a woman when she’s a woman.
Additionally, Mizu straddles the line between human and demon. She’s a human in the sense she’s mortal but a demon in the sense she’s not. She's human yet otherworldly. She's fallible yet greatness. She's both the ronin and the bride, the samurai and the onryō. In short, it’s complicated, and that’s the point. Ignoring that ignores a large part of her internal character struggle and development.
Mizu is intended to represent an “other,” someone who stands outside her society in every way and goes to lengths to hide this “otherness” to get by. Gender is a mask; a tool. She either hides behind a wide-brimmed hat, glasses, and laconic anger, or she hides behind makeup, her dress, and a frown. She fits in nowhere, no matter the identity she assumes. Mizu lives in a very different time period within a very different sociocultural & political system where the concept of gender and the language surrounding it is unlike what we are familiar with in our every-day lives. But, again, don’t just take my word for this:
It’s also weird that some viewers have gotten upset over the fact women and queer people (and especially queer women) see themselves in Mizu. Given her complicated relationship with identity under the patriarchy and colonial violence, I think Mizu is a great character for cis-het women and queer folks alike to relate to. Her character is also great for how she breaks the mold on the role of a biracial character in narratives about identity (she’s not some great bridge who will unite everyone). It does not hurt anyone that gender-fluid and nonbinary people see themselves in Mizu's identity and struggle with identity. It does not hurt anyone that lesbians see themselves in the way Mizu expresses her gender. It does not hurt anyone that trans men see themselves in Mizu's relationship with manhood or that trans women can see themselves in Mizu when Mama forces her to be a boy. It's also really cool that cis-het women see themselves in Mizu's struggles to find herself. Those upset over these things are missing critical aspects of Mizu's character and are no different from the other characters in the story. The only time Mizu is herself is when she’s just Mizu (“…her gender was Mizu”), and many of the other characters are unwilling to accept "just Mizu." Accepting her means accepting the complicatedness of her gender.
Being a woman under the patriarchy is complicated and gives women a complicated relationship with their gender and identity. It is dangerous to be a woman. Women face violence for being women. Being someone who challenges sex-prescribed norms and roles under patriarchy also gives someone a complicated relationship with their identity. It is dangerous to usurp gender norms and roles (then combine that with being a woman...). People who challenge the strict boxes they're assigned face violence for existing, too. Being a racial or ethnic minority in a racially homogeneous political system additionally gives someone a complicated relationship with their identity. It is dangerous to be an ethnic minority when the political system is reproduced on your exclusion and otherness. They, too, face violence for the circumstances of their birth. All of these things are true. None of them take away from the other.
Mizu is young-- in her early 20s-- and she has been hurt in deeply affecting ways. She's angry because she's been hurt in so many different ways. She's been hurt by gender violence, like "mama's" misogyny and the situation of her birth (her mother's rape and her near murder as a child), not to mention the violent and dehumanizing treatment of the women around her. She's been hurt by racial violence, like the way she has been tormented and abused since childhood for the way she looks (with people twice trying to kill her for this before adulthood). She's been hurt by state-sanctioned violence as she faces off against the opium, flesh, and black market traders working with white men in contravention of the Shogun's very policies, yet with sanction from the Shogun. She's been hurt by colonial violence, like the circumstances of her birth and the flood of human trafficking and weapons and drug trafficking in her country. She's had men break her bones and knock her down before, but only Fowler sexually differentiated her based on bone density and fracture.
Mizu also straddles the line between victim and murderer.
It seems like Mizu finding her 'feminine' and coming to terms with her 'female side' may be a part of her future character development. Women who feel caged by modern patriarchal systems and alienated from their bodies due to the patriarchy will see themselves in Mizu. They understand a desire for freedom that the narrow archetypes of the patriarchy do not afford them as women, and they see their anger and their desire for freedom in Mizu. This, especially considering that Mizu's development was driven by one of the creators' own experiences with womanhood:
No, Mizu does not pass as a man because she "hates women" or because she hates herself as a woman or being a woman. There are actual on-screen depictions of Mizu's misogyny, like her interactions with Akemi, and dressing like a man is not an instance of this. Mizu shows no discomfort with being a woman or being seen as a woman, especially when she intends to pass herself as and present as a woman. Mizu also shows the women in the series more grace and consideration than any man in the show, in whatever capacity available to her socially and politically, without revealing herself; many of the women have remarked that she is quite unlike other men, and she's okay with that, too.
When she lives on the farm with Mama and Mikio, Mizu shows no discomfort once she acclimates to the new life. But people take this as conclusive evidence of the "only time" she was happy. She was not. This life was also a dance, a performance. The story of her being both the ronin and the onryō revealed to the audience that this lifestyle also requires her to wear a mask and dance, just as the bride does. This mask is makeup, a wedding dress, and submission, and this performance is her gender as a wife. She still understands that she cannot fully be herself and only begins to express happiness and shed her reservation when she believes she is finally safe to be herself. Only to be betrayed. Being a man is her safety, and it is familiar. Being a boy protected her from the white men as a child, and it might protect her heart now.
Mizu shows no discomfort with being known as a woman, except when it potentially threatens her goals (see Ringo and the "peaches" scene). She also shows no discomfort with being known as, seen as, or referred to as a man. As an adult, she seems okay- even familiar- with people assuming she's a man and placing her into the role of a man. Yet, being born a girl who has boyhood violently imposed upon her (she did not choose what mama did to her) is also an incredibly important part of her lived experience. Being forced into boyhood, but growing into a man anyway became part of who she is. But, being a man isn’t just a part of who she became; it’s also expedient for her goals because men and women are ontologically different in her world and the system she lives under.
She's both because she's neither, because- ontologically- she fits nowhere. When other characters point out how "unlike" a man she is, she just shrugs it off, but not in a "well, yeah, because I'm NOT a man" sort of way, but in an "I'm unlike anyone, period," sort of way. She also does not seem offended by Madam Kaji saying that Mizu’s more man than any who have walked through her door.
(Mizu doesn’t even see herself as human, let alone a woman, as so defined by her society. And knowing that creators have stated her future arc is about coming into her “feminine era” or energy, I am actually scared that this show might fall into the trope of “domesticating”/“taming” the independent woman, complete with an allegory that her anger and lack of human-ness [in Mizu’s mind] is a result of a woman having too much “masculine energy” or being masculine in contravention of womanness.)
Some also seem to forget that once Mama and Mikio are dead, no one knows who she is or where she came from. They do not have her background, and they do not know about the bounty on her (who levied the bounty and why has not yet been explained). After their deaths, she could have gone free and started anew somehow. But in that moment, she chose to go back to life as a man and chose to pursue revenge for the circumstances of her birth. Going forward, this identity is no longer imposed upon her by Mama, or a result of erroneous conclusions from local kids and Master Eiji; it was because she wanted people to see her as a man and she was familiar with navigating her world, and thus her future, as a man. And it was because she was angry, too, and only men can act on their anger.
I do think it important to note that Mizu really began to allow herself to be vulnerable and open as a woman, until she was betrayed. The question I've been rattling around is: is this because she began to feel safe for the first time in her life, or is this part of how she sees women ontologically? Because she immediately returns to being a man and emotionally hard following her betrayal. But, she does seem willing to confide in Master Eiji, seek his advice, and convey her anxieties to him.
Being a man also confines Mizu to strict social boxes, and passing herself as a man is also dangerous.
Mizu doesn't suddenly get to do everything and anything she wants because she passes as a man. She has to consider her safety and the danger of her sex being "found out." She must also consider what will draw unnecessary attention to her and distract her from her goals. Many viewers, for example, were indignant that she did not offer to chaperone the mother and daughter and, instead, left them to the cold, only to drop some money at their feet later. The indignity fails consider that while she could bribe herself inside while passing as a man, she could not bribe in two strangers. Mizu is a strange man to that woman and does not necessarily have the social position to advocate for the mother and daughter. She also must consider that causing small social stirs would distract from her goals and draw certain attention to her. Mizu is also on a dangerous and violent quest.
Edo Japan was governed by strict class, age, and gender rules. Those rules applied to men as well as women. Mizu is still expected to act within these strict rules when she's a man. Being a man might allow her to pursue revenge, but she's still expected to put herself forward as a man, and that means following all the specific rules that apply to her class as a samurai, an artisan (or artist), and a man. That wide-brimmed hat, those orange-tinted glasses, and her laconic tendencies are also part of a performance. Being a boy is the first mask she wore and dance she performed, and she was originally (and tragically) forced into it.
Challenging the normative identities of her society does not guarantee her safety. She has limitations because of her "otherness," and the transgression of sex-prescribed roles has often landed people in hot water as opposed to saving them from boiling. Mizu is passing herself off as a man every day of her life at great risk to her. If her sex is "found out" on a larger scale, society won’t resort to or just start treating her as a woman. There are far worse fates than being perceived as a woman, and hers would not simply be a tsk-tsk, slap on the wrist; now you have to wear makeup. Let's not treat being a woman-- even with all the pressures, standards, fears, and risks that come with existing as a woman-- as the worst consequence for being ‘found out’ for transgressing normative identity.
The violence Mizu would face upon being "found out" won’t only be a consequence of being a "girl." Consider not just the fact she is female and “cross-dressing” (outside of theater), but also that she is a racial minority.
I also feel like many cis-het people either ignore or just cannot see the queerness in challenging gender roles (and thus also in stories that revolve around a subversion of sex-prescribed gender). They may not know how queerness-- or "otherness"-- leads to challenging strict social stratifications and binaries nor how challenging them is seen by the larger society as queer ("strange," "suspicious," "unconventional," even "dishonorable," and "fraudulent"), even when "queerness" (as in LGBTQ+) was not yet a concept as we understand it today.
Gender and sexuality- and the language we use to communicate who we are- varies greatly across time and culture. Edo Japan was governed by strict rules on what hairstyles, clothes, and weapons could be worn by which gender, age, and social group, and this was often enshrined in law. There were specific rules about who could have sex with whom and how. These values and rules were distinctly Japanese and would not incorporate Western influences until the late 1800s. Class was one of the most consequential features to define a person's fate in feudal Japan, and gender was quite stratified. This does not mean it's inappropriate for genderqueer people to see themselves in Mizu, nor does this mean that gender-variant identities didn’t exist in Edo Japan.
People in the past did not use the same language we do today to refer to themselves. Example: Alexander The Great did not call himself a "bisexual." We all understand this. However, there is a very weird trend of people using these differences in language and cultures across time to deny aspects of a historical person's life that societies today consider taboo, whether these aspects were considered taboo during that historical time period or not. Same example: people on Twitter complaining that Netflix "made" Alexander The Great "gay," and after people push back and point out that the man did, in fact, love and fuck men, hitting back with "homosexuality wasn't even a word back then" or "modern identity didn't exist back then." Sure, that word did not exist in 300s BCE Macedonia, but that doesn't mean the man didn't love men, nor does that mean that we can't recognize that he'd be considered "queer" by today's standards and language.
Genderqueer, as a word and as the concept is understood today, did not exist in feudal Japan, but the people did and feudal Japan had its own terms and concepts that referred to gender variance. But while the show takes place in Edo Japan, it is a modern adult animation series made by a French studio and two Americans (nationality). Mizu is additionally a fictional character, not a historical figure. She was not created in a vacuum. She was created in the 21st century and co-written by a man who got his start writing for Sex in the City and hails from a country that is in the midst of a giant moral panic about genderqueer/gender-variant people and gender non-conforming people.
This series was created by two Americans (nationality) for an American company. In some parts of that country, there are laws on the book strictly defining the bounds of men and women and dictating what clothes men and women could be prosecuted for wearing. Changes in language and identity over time mean that we can recognize that if Mizu lived in modern Texas, the law would consider her a drag performer, and modern political movements in the show creators' home country would include her under the queer umbrella.
So, yeah, there will also be genderqueer people who see themselves in Mizu, and there will be genderqueer fans who are firm about Mizu being queer to them and in their “headcanons.” The scene setting being Edo Japan, does not negate the modern ideas that influence the show. "Nonbinary didn't exist in Edo Japan" completely ignores that this show was created to explore the liminality of modern racial, gender, class, and normative identities. One of the creators was literally inspired by her own relationship with her biracial identity.
Ultimately, the fact Mizu, at this point in her journey, chooses to present and pass as a man and the fact her presented gender affects relationship dynamics with other characters (see: Taigen) gives this story a queer undertone. And this may have been largely unintentional: "She’s a girl, and he’s a guy, so, of course, they get together," < ignoring how said guy thinks she’s a guy and that she intentionally passes herself as a guy. Audiences ARE going to interpret this as queer because WE don’t live in Edo-era Japan. And I feel like people forget that Mizu can be a woman and the story can still have queer undertones to it at the same time.
#Blue Eye Samurai#‘If I was transported back in time… I’d try to pass myself off as a man for greater freedom.’#^^^ does not consider the intersection of historically queer existence across time with other identities (& the limitations those include)#nor does it consider the danger of such an action#I get it. some come to this conclusion simply because they know how dangerous it is to be a woman throughout history.#but rebuking the normative identities of that time period also puts you at great risk of violence#challenging norms and rules and social & political hierarchies does not make you safer#and it has always been those who exist in the margins of society who have challenged sociocultural systems#it has always been those at greatest risk and who've faced great violence already. like Mizu#Anyway... Mizu is just Mizu#she is gender queer (or gender-variant)#because her relationship with her gender is queer. because she is gender-variant#‘queer’ as a social/political class did not exist. but people WE understand as queer existed in different historical eras#and under different cultural systems#she’s a woman because queer did not exist & ‘woman’ was the sex caste she was born into#she’s also a woman because she conceptualizes herself as so#she is a woman AND she is gender-variant#she quite literally challenges normative identity and is a clear example of what sex non-conforming means#Before the actual. historic Tokugawa shogunate banned women from theater#there were women in the theater who cross-dressed for the theater and played male roles#so I’m also really tired of seeing takes along the lines of: ‘Edo Japan was backwards so cross dressers did’t exist then!’#like. please. be more transparent won’t you?
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I have successfully boiled my problem with most of the izzy reads that i hate down to a sentence:
he's not sexually repressed, he's emotionally repressed.
#they are different and ihave paragraphs and paragraphs of thoughts on it#but dressing like a leather daddy and holding your hand over an open flame and literally everything else he does#is not the behavior of a man who doesn't know or realize what gets him going#he's not closeted. he's not homophobic. he thinks having Any Positive Emotion not related to violence makes you vulnerable#[and he's right for his experience and circumstance but i won't touch that now]#his conflict is emotional; ed's ability to captain isn't compromised by his being attracted to a man. it's compromised by Having Feelings.#their ability to survive a world that wants them dead isn't compromised by either of them being queer; it's compromised by being SOFT#by having WEAK SPOTS#pets are a weak spot. lovers are a weak spot. get rid of them to stay safe. not out of spite.#not out of a disdain for those relationships themselves. out of disdain for what Feelings Do To You#idk man maybe i am simply emphatic about this nuance because i get—more than I would like—the impulse to be SAFE#even at the cost of your self and some chances at being happier#he doesn't even care that lucius is gay in the deck scene and i'd go so far as to say he doesn't really care that lucius is slutty#insofar as. like. he doesn't know him and pete are open. from a monogamy-normative perspective it's a betrayal.#your partner being unfaithful when you expect them To Be is ALSO A THING THAT CAN GET YOU KILLED#like idk i just. i think people don't get how much of him is about safety?#and i know the show's created this atmosphere of 'homophobia isn't a real threat'#but they haven't removed the violence and danger crews other than stede face for Other Reasons#so. he's very security-driven. and that's why he speaks to me.#and it's annoying that people just make 'lol izzy's closeted' 'peak homophobic gay' jokes instead of. engaging. with the shit izzy AND ED#went through to make them emotionally closed off the way they are#THE SENTENCE IS A SENTENCE BUT THE EXPLANATION SURE ISNT
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let me start by saying, I'm okay to agree to disagree on this, and I respect you greatly as my queer elder. I hesitate to even send this because I don't think this cause is worth dogpiling (and not even the fun way) on anyone against and , like , I will continue to follow and admire you as a mutual who has been through a lot of the hell that I'm going through right now and got to a place I want to someday be. (for context, I am currently housing & food insecure and am trying to live in a queer-accepting city)
Posting will never be praxis, you are my brother in arms no matter what you call trump or cops or whatever. There are some fat liberation blogs that take issue with calling cops "pigs" for a lot of the reasons I bristle at calling Trump a fatass, and like, if someone is actively fighting cops who can and will actively hurt me and my found family, I don't care what names they shout while doing it. So I see where you are coming from and I'm glad you fight for me. I fight for us too, in what little ways I can while I keep me and my found family afloat. I do better work in the community just by existing around people as a living breathing transgender than I could do in a million posts on this website.
I do think that this is a valuable conversation to have, though, even though you are completely right that this is a trivial thing and not at all the bigger, more real issue at hand. I think it's still important, on online platforms such as this, to talk about how we refer to the other people on this planet.
Think about why you didn't call Trump a "retard". You certainly could have, it doesn't *not* apply to some of his behavior. I know people of our generations once used that word a lot, and we don't anymore. Why and when did we change that? I honestly don't remember. For me, my aunt was medically classified as "retarded" and she was the best person I'd ever met, so I decided that word shouldn't mean bad things. The first time I ever hit someone was over them using that word in a derogative way. it wasn't about "mental illness positivity" it was about humanizing the people that word has been used against - people who have been stigmatized and oppressed with that word.
Right now, hopefully, the same thing is happening to the word "obese". Fat people are less likely to be hired, granted loans or secure housing. they can be kicked out of airplanes and fired from their jobs because of their body size. There have been laws proposed to take fat children away from their parents and "treatments" proposed to wire children's jaws shut and starve them to make them thinner. They are often medically mistreated and misdiagnosed. I once went to a doctor with an ear infection and instead of antibiotics, he prescribed me *bariatric surgery.* I have been refused transgender top-surgery because of my BMI, which keeps me at a passively higher risk for self-injury and worse.
I do not care about body positivity. Honestly, between being fat, trans, and poor, I'm at a point where I've given up on ever feeling good about my body again. All I care about is getting jobs and meds and keeping a roof over my family's head and food on our table. Normalizing the idea that fat is a bad thing that anyone can change continues that stigma. When you use Fat as an insult, you are saying fat=bad. Fat is a neutral thing that some bodies can be, like short or tall or lean. The revolution needs to be intersectional, and body size is another axis of oppression that needs to be acknowledged, just like sexuality, gender, race, class, disability, etc.
If you've gotten this far, thank you for hearing me out. I'm sorry that others are just performatively parroting the same things over and over. Civility is bullshit, and if you still want to use body shaming as one of the ways you fight against bigotry, it doesn't really matter to me. Just as long as you acknowledge anti-fat bias as part of that bigotry too.
Thank you for writing and sharing your life experiences with me, and for your solidarity as well. You're striving to make your way as part of a despised minority in a world that's turned unspeakably harsh toward you in an aggressively mean way seemingly overnight, and I admire you for the life you have lived, for your courage and perseverance during this difficult time where resources are scant and your housing and food security is uncertain at best.
(FWIW, after I was bombed out of my Lower Manhattan home on September 11th, my income went from six figures down to nothing overnight, and I was homeless and destitute for years. Twenty years ago, I was where you are now, and I can tell you that what you're enduring today will not last forever, that there is light and hope and blessing in your future, that you're not as alone as you might think, that you must never give up.)
What more can I do to make the point that "fat" has nothing to do with this? As I've said, I grew up obese, and it wasn't until I enlisted in the Army at age 17 that I was able to free myself from my violent and abusive family and unlock the potential of the body that had been hidden under layers of fat and shame all my life. I know that my path is not for everybody, that many others are not so fortunate, and I ceased long ago to think that fat equals bad or lack of character or any other pejorative attitude that society has attached to it for generations. I hope I've made that clear and that you take my word as truth.
I am not saying "let's fat-shame Donald Trump to make him feel bad." I am saying that I'm deeply troubled by the LGBTQ+ community prioritizing hurt feelings over the very real damage that's being done to us right now all over the country by Trump, his minions, his proxies, and his cult of bloodthirsty followers and worshippers.
Trump's accomplices in Congress and state legislatures and Moms For Liberty are taking over school boards all over the country, banning books and emptying library shelves and harassing teachers and librarians to the point where they're being run out of town, where the State of Missouri has defunded its entire public library system rather than follow a court order to restore books banned just for featuring LGBTQ+ characters.
DeSantis and Abbott have put in place policies that are unspeakably brutal, that are forcing trans people in Florida to slowly and brutally revert to their pre-transition state, that have given health care providers in Florida the right to deny treatment to you and me and all LGBTQ+ people because we are gay, lesbian, non-binary, trans... but God forbid we should call Trump mean names!
We've seen what happens when we buy into the "when they go low, we go high" fantasy pipe dream. This is not the way the world works, it has never been, and we need to put this loser idea in the trash bin where it belongs once and for all.
We're being attacked and harmed in unspeakable ways that are happening now. This is not theoretical or hypothetical. It's happening to us, to those we love, this minute and every minute of every day. And worse is in the pipeline - they're writing laws that will place us under virtual house arrest, that will regulate where we're allowed to go in our own cities and towns, when we're allowed to be seen in public, when and where we can shop, how we're allowed to dress, even what we're allowed to say and SING, for Christ's sake!
And I'm supposed to be concerned about some minuscule hypothetical percentage of my own people being OFFENDED because I'm somehow being insensitive and violating some trivial picayune social justice warrior philosophy, because there's a possibility of some fragile flower taking it personally, and that I should shut my mouth and let the MAGA nutjobs run roughshod over us? Oh, come let Daddy kiss it! while our brothers and sisters are suffering in real time. Sickening.
Anyone who has a problem with my stance doesn't have to follow me or emulate my proven effective tactics as an activist with 37 years of successfully defending our rights under my belt if they're so dainty and delicate and easily bruised. Everyone else that sees this for the strawman bullshit it is, get ready to hit the streets with bullhorns and whistles once again. We've got work to do.
Your arguments are strong and well-reasoned, and I accept and acknowledge everything you're saying. We can disagree on this, certainly, and still work together to turn back the progress that the MAGAs are making, restore our rights, and protect ourselves and each other. But that will require the snowflake contingent among us to get their collective head out of their collective ass, stop whining, and get with the damn program. Calling me names and telling me I'm being a bad gay activist is a waste of time and energy that should be spent fighting the fascists and the haters who are out to kill us.
And to you, my friend and fellow traveler with a radiantly beautiful soul and spirit, I urge you to hang in there, to keep the faith, to keep caring about life, to work with me to secure our own future and the future of our kind. I send to you my very best wishes, energy, and prayers that you will find your way to a place of health, security, stability, and love for yourself and for this precious community to whom we've both dedicated our lives, who mean the world to us.
Yours In Service,
Animal J. Smith
#what more can i do to protect you all#to get you to realize the mortal danger we're in#to put the suffering of our own people ahead of our feelings#to join me in this fight that's eminently winnable#to get you off your butts and your high horses and get to work#to do something - anything - to help save us and save yourself from what they're planning to do to us and are already doing#to think of anyone but yourself for a damn change#to show me and the world your incredible courage in the face of evil#to restore our rights and roll back this tide of hatred and death that's about to overpower us#to make sure that my life's work these past four decades has not been wasted#to let me at long last step back from the front lines and cherish my time left on earth at 61 with AIDS and love my family#to be the dog and the man they need and deserve and long for#to lay down my sword and shield at last#please please please do this for me - it would be your greatest gift#for god's sake wake up#queer activism#queer is not a slur#it's a fucking battle cry#god i am so scared for us all#information gladly given
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The fact that some people actually blame tumblr shipping culture for the reason men can’t show intimacy to each other without being perceived as gay is fucking mind boggling to me
#vinny types#look. look. I’m aware of the blog with which I’m posting this on#and the website it’s hosted on#stones in glass houses and all that#but the idea that shaming men for being intimate and vulnerable with each other#began in 2007 with the birth of tumblr#is INSANE#like it’s been around for hundreds if not thousands of years in at least some context#if men are getting shamed for their platonic gestures being read as gay#is that not perceived as a bad thing bc BEING GAY HAS HISTORICALLY BEEN STIGMATIZED#bc I look at that and go ‘huh. that totally sucks that straight men have weaker support networks#bc they don’t feel comfortable being vulnerable with their male friends.#it’s almost like homophobia negatively impacts everyone 🤔’#not ‘wow I’m lacking intimacy in my life bc I can’t be vulnerable with my friends. how can I blame women for this?’#like do I think that internet shipping culture is overall a good thing? no#i think it’s negatively impacted how people think about narratives themes and characters#but real life people feeling ashamed and potentially even facing violence for being vulnerable with peers of the same gender#is NOT being caused by shippers#if YOU think it’s bad to be PERCIEVED as gay then you have to recognize#how being visibly queer is still a dangerous thing to be#like yeah ppl misinterpreting your identity isn’t a pleasant feeling#but the percieved threat of misinterpretation#is not equating to the problem that it’s causing (lack of male intimacy)#it’s fucking annoying when men get mad at a problem THEY caused and then blame women and queer ppl for it#and yes of course women and queer ppl can perpetuate these stereotypes too#but once again I feel like that is ignoring the root cause of the issue#anyway if you made it this far into this tag vent congrats 🎊#i saw a tiktok and it reminded me of this argument I had with an ex#over samwise and Frodo being in love no less
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the whole having to make a disclaimer when you make a joke about like. white people. or allocishets. or just oppressor groups in general is so messed up bc like. i would LOVE a disclaimer before every sitcom episode my family watches (help) like just. jennifer aniston at the beginning of friends like
"hi! this episode contains 3 instances of 'jokes' made targeting the queer community with an intent to capitalize on harmful stereotypes (instituted by the oppressor class with a goal of otherization and degradation) for a ridiculing and unnerving effect! thus delegitimizing queer voices and identities in the mainstream and contributing to subconscious biases and ostracization of minority groups by viewers at home in the favor of "edgy" comedy!! plus a bonus of wlw sexualization at the end :) that's all, enjoy <3"
like ARE YOU KIDDING!?!??! then i wouldnt have to sit there the whole fucking 45 minutes on the edge of my seat waiting for the fucking jumpscare of queerphobia. like, i know its coming at some point every 2-3 episodes but i would like to have some preparation??? like slap a warning label on that thing frfr (*smack* "this baby can fit so much transphobia disguised as light-hearted humor!")
but nOoOOOoO we're the sensitive ones having to sit through EVERY MAINSTREAM MEDIA SHOW ON THE PLANET just WAITING for That One (1+) Gay Joke and knowing you cANT make a big deal about it because its "JUST a JOKE" and we DO. IVE LITERALLY CONSUMED STRAIGHT MEDIA THAT MAKES GAY JOKES FOR 17 YEARS. ALL THE WAY BACK TO FUCKING DISNEY VILLAINS. AND IVE LET U HAVE YOUR FREAKING JOKES BC IM NOT IN A SAFE SPACE TO ACTUALLY SAY ANYTHING
and yet anytime someone dares make a SINGULAR joke generalizing white or straight or allo or whatever people EVERYONE FREAKS THE FUCK OUT like i know karen its not ALL. STRAIGHT. PEOPLE. can i make a sINGULAR joke based on my personal experience and perception of a shared "straight" culture and norms that often benefit the oppressor class and make my everyday life difficult JUST ONE JOKE. JUST ONE. THIS IS NOT A PERSONAL ATTACK. JUST LIKE EVERY FUCKING GAY JOKE IN A SEINFIELD EPISODE EVER WASNT A "PERSONAL ATTACK" RIGHT?!?!?!?!?
stfu. we're tired. you're literally lucky we aren't less depressed or sleep-deprived or you'd be bkjldsjfljfs
#sorry yall i just ABJDKLJVASKLDJF at my LIMIT I SWEAR TO GOD#also side note dont you love those jokes that are like 'that's a trans/gender nc person...... (thats funny!)'#and ur just sitting there like. am i. naturally hilarious??? a bORN COMEDIAN!??!#anyways#LET US MAKE FUCKING COMEDY OUT OF OUR TRAUMA#TRAUMA THAT LITERALLY CAME FROM YOUR 'COMEDY'#i say 'comedy' bc its NOT FUNNy.#GAY PEOPLE ARE FUNNY#POINTING OUT A QUEER PERSON EXISTS IS. NOT FUNNY??? THERES NO CREATIVE THOUGHT????#ITS LITERALLY JUST LIKE 'hey! here's someone different from my norm and i perceive that as weird because im uncultured and uneducated and#trained to perceive anything outside the norm as dangerous and/or lesser than myself'#EVEN THOUGH I WEAR A SHIRT THAT SAYS I HATE MY WIFE AND DRINK BUD LIGHT AND MAKE MY SON WEAR 'LADIES MAN' SHIRTS AND HIT ON 14 YR OLDS#AND NO ONE THINKS THATS WEIRD#like. maybe u need to workshop that one a little bit. idk. just a personal opinion#/j they need to workshop everything about their everything#like maybe splash a little respecting women juice on ur face while ur at it#actually a little respective everyone juice#get ur shit together#like gay people may not have their shit together but STRAIGHT PEOPLE DONT EITHER#ITS JUST SOCIALLY ACCEPTABLE FOR THEM??? TO BEHAVE LIKE THAT????#LIKE I DONT NEED TO KNOW UR 'TRYING FOR A BABY' STFU AND GO HOME TO UR LITTLE GENDERED HOUSE U WEIRDO#anways#thats enough tags#sorry yall skldfjklsjfskldkfjdkl#the straights are not okay#the allocishets are not okay#nO ONE IS OKAY#and its okay to not be okay but NOT IN THAT WAY U ABSOLUTE WACKOS#lgbtqia#kiri’s ramblings
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At the core of the discourse surrounding lgbt representation is, in my opinion, a debate between proponents of "fiction as escapism" and "fiction as catharsis". Escapism can be cathartic (in the form of wish-fulfillment, power fantasies and absence of real life stressor in fiction), but not all catharsis is escapist (catharsis in this context would mean anything that helps process negative experiences, including depictions of real life stressor in fiction). Escapism proponents are thus confronted with those who do not find escapism fulfilling and prefer more emotionally harrowing fiction and misunderstand them, thinking that anyone willing to consume fiction that depicts distressing topics (such as homophobia in this case) must be reveling in it. Which they aren't. What sort of lgbt stories you want to consume is up to you and one is not more moral than the other.
#this occurred to me bc i personally struggle with obvious escapist lgbt fiction#it just feels like a slap to my face the whole 'all is well! everyone accepts them! zero danger!'#but guess what i realise that's perhaps what some people need to cope and that's good enough for me#HOWEVER the whole 'this lgbt media is BETTER and more MORAL bc there's no homophobia and suffering in it' grates me to no end#especially directed to queer creators... like have you considered they write about it for a reason...#yet another episode of Curate Your Media Consumption. Please.#also don't come here and start going 'there's too much of x and y' in lgbt media bc it's a worn argument that falls apart quick#(we need more variety but reducing one ''type'' of lgbt fiction won't make the other increase)#the discourse#me.txt
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LGBTQ Muslims Call for Permanent Ceasefire in Front of Stonewall
One-hundred LGBTQ Muslims gathered for a jummah prayer for Palestine in front of the Stonewall National Monument on Friday to demonstrate that there is “no pride in genocide.”
“Queer Muslim New Yorkers are rising up in solidarity with Palestinians, and through a queer Muslim-led interfaith prayer, they will stand in solidarity with the Palestinian people who are facing genocide, starvation, and ethnic cleansing at the hands of the Israeli government backed by the United States,” organizers said in a statement.
“Queer communities face historical discrimination, prejudice, violence, criminalization, lack of proper healthcare and/or gender affirming care, and more — and here in the U.S. queer activists have been rising up against increased LGBTQ+ attacks, yet their struggles are being exploited in a dangerous narrative war to suggest that there would be no place for queer people in Palestine,”
[ 📷 Stonewall Park, NYC, Dec 15, 2023. © Graham MacIndoe ]
#stonewall#queer muslim new yorkers#queer#muslim#nyc#new york#new york city#protest#activism#lgbt#lgbtq#lgbqti#jummah prayer#palestine#queers for palestine#free palestine#genocide#2023#2020s
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In the law, there's this idea called the "last clear chance" doctrine.
If you are in an accident, and you had the last clear chance to avoid the accident, then you are, at least in some portion, responsible for the accident.
For instance, if you are driving and a car pulls out in front of you, and you could've slammed on the brake but do not, you're responsible for that, even if the turn the other car made was illegal. Moreover, you might be held partially responsible for the other person's injuries, depending on how things work in your location.
This is even true if you can merely mitigate the damage. If you have a chance to limit the damage -- again, let's say you don't brake and the result is a collision at 40MPH instead of 10MPH -- the additional damage you cause could be considered your fault.
To me, this seems very applicable to voting.
The two parties in the US are going to put a couple of candidates up in the next few months. Both of them might be dangerous. But in the end, everyone who can vote is going to have one last, clear chance to avoid, or at least mitigate, damage.
It sucks that both parties are out there driving like maniacs.
But the fact of the matter is, they've put us in this position. And if you don't put on the brakes -- that is, at least mitigate damage -- you are responsible for the additional damage caused.
In the national elections, a choice not to vote for Biden is a choice not to brake when some jerk pulls into your lane. And if there's an accident and a lot of damage -- to voting rights in general, to reproductive rights, to the health and safety and life of trans and other queer people, to education, to the environment -- then you are responsible for not attempting mitigation.
You have the last clear chance to minimize danger and damage. And while you can yell until you're blue in the face that the Democratic party put you in that position in the first place by not running another candidate, you are still responsible even if you try to abdicate that responsibility.
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Crowley actually says a barely-coded "I love you" to Aziraphale back in 2.03
In his proposal in the S2 finale, Crowley told us that he and Aziraphale know they're in love and have known it for damn ever but they pretend they're not a couple. This, by default, means that they've not specifically said the words "I love you" before, by Crowley's own admission. They've said I love you in their own little language and we've watched it before. It's little demonic miracle of my own. It's don't go unscrewing the cap. It's just a little bit of a good person and just enough of a bastard to be worth knowing... But what Crowley says in the S2 finale is that they've never-- ever-- said in 6,000 years is just I love you in those normal people, human words. It has always been too dangerous for too many reasons to count so they have euphemisms for it and whole conversations around it and have made that be enough. Why do I bring this up? Because Crowley found a middle ground between the words and their coded language with one another in S2 and it's flying under the radar.
So you know that scene when Muriel has shown up and interrupts Crowley and Aziraphale talking in the back room? The one where while Crowley is speaking, Aziraphale suddenly looks like he's about to pass out with sheer want? Yes, our angel always looks at Crowley like he hung the damn moon (which he did but lol...) but this scene is different. This scene is like... someone get Aziraphale a chair and a glass a water because he is pupils-dilated, audibly breathing, and eyeing up Crowley with naked want. More than the lust? He looks happy. He looks delighted. You can basically hear his heart race from that look on his face. Why here? Yes, Crowley looks hot. Yes, he's in profile in a way that is a visual parallel to Before the Beginning (which was an inspired choice for this scene.) Yes, he's here with a Plan and taking charge of the Muriel situation and swaying his hips a bit while he speaks. It's not any of that. Those are nice bonuses. Aziraphale likes them. He gets them all the time. It's what Crowley said in this moment. To Aziraphale. Through what he said to Muriel.
Crowley cracks a dry, kinda dark joke that is meant for an audience of one: just Aziraphale. He knows Muriel won't get it. Since Muriel is cosplaying as what they think is a human Inspector Constable and they are here to verify the miracle Aziraphale has told Heaven and so are monitoring them, Crowley quips that Muriel is here to spy on them (since they, well, are, actually) and that he knows that many human police officers like to make a bit of a hobby out of spying on "people in love."
People. In. Love.
In a one-two punch in the same sentence, Crowley called him and Aziraphale queer humans and he called what they have love, using the actual word *aloud* for the first time in 6,000 years. He said he loved Aziraphale in front of an angel of Heaven in a little coded joke but this time, using the coded bit to say the real thing for the first time.
Then, just to hammer it all home and make sure that Aziraphale really knows it was very much intentional, Crowley says 'love' again in the next sentence. He starts going on about how Muriel can come to him anytime with any questions about love and he's happy to assist with their understanding of human love with all of his implied vast, vast years of experience with the subject and how he'll be here to answer their questions, in the bookshop, while Aziraphale drives his car to Edinburgh.
Go back and tell Heaven I'm here, Inspector Constable, I don't give a fuck anymore. *We* don't give a fuck anymore. You go tell The Archangel Michael that I'm who they're going to get managing Angelic Embassy X aka The Bookshop until Aziraphale gets back-- yep, me, former Demon of Hell. The Boyfriend in the Dark Sunglasses. He's asked me to, which is his way of saying he wants to stop hiding and asking me not to sneak out to my car in the middle of the night which hallefuckinglujah, Inspector Constable... Go tell Their Beatitudes that we ravish each other all over the bookshop. You won't even be lying. As Maggie'll put it later in the season: I'm done being afraid all the time. I love him. We're in love. There's your hot intel.
Aziraphale:
Aziraphale: Inspector Constable, be a dear and spray me down with all 700 of our fire extinguishers, will you?
#ineffable husbands#good omens#crowley#aziraphale#aziracrow#aziraphale x crowley#crowley x aziraphale#good omens meta#good omens 2
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Kiss and Tell
(Can be found on ao3)
Steddie
WC: 2,279
Tags: Post Season 4, Steve Harrington Has Auditory Processing Disorder, Eddie Munson Loves to Talk, Minor Angst, Mostly Fluff, Queer Eddie Munson, Steve Harrington Has a Bisexual Awakening, But He Already Knows (Sort of), First Kiss, Lots of Kissing
Based on this post that I made. Happy reading! <3
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Steve has a staring problem. He knows this. He's been told this. And it's not something he can help or fix or find an alternative for. This is just what he knows.
It's something he's tried to maintain since he was a little boy. And, on that same note, is something he picked up while being a boy in a room with two adults who were fast talkers and big negotiators and all-in on the nature of their careers. But his parents certainly hate that he has a staring problem. Which, that's not unusual, most people hate that he does. Because he doesn't look them in the eyes for more than thirty seconds at a time. And even if he does, he doesn't hear a single thing they said, politely asking they start over, and feeling hurt when they just scoff as loud as possible and walk away from the conversation all together.
The audio just doesn't process. Never has. Probably never will.
He listens to music, but doesn't understand any meaning. He talks over the phone, but must have all other sound blocked out and the curtains shut and his eyes closed to imagine what the words look like leaving the other person's mouth. He argues, but loses track of the original point of the argument—when he laughs instead of apologizes.
And it would be fine—if—he wasn't close to losing his life every year. Where he has to listen to everybody and the important tiny details and the plans and the reasons for what they're doing. Which leads him to danger. Which gives him a bruised face. Which makes the listening even harder, once the concussion leaves and he's just got the leftover damage of his quirkiness.
It would be fine—if—he wasn't made to feel so stupid for what he must do. The jabs and the constant reminders and the...yeah, his sob story.
But there was Tommy Hagan and Carol Perkins, who he could keep up with. Because they'd talk about the same things over and over, until he could practically relay all the information, pulled straight from the deep crevices of his brain, and it ends up that they had forgotten, rather than him.
And there was Nancy Wheeler, who was polite enough to repeat things. Who had flash cards and a soft, focusing voice. It was easy to write off looking at her lips. "Eyes up here, Steve," she'd say. "Sorry," he'd respond sheepishly, "getting lost." And he'd chuckle and she'd giggle and then they'd kiss a little and he wouldn't be reminded that he's just a little weird. That, maybe, he just isn't normal.
Robin Buckley makes things easy-ish. She talks fast. And a lot. And she never looks him in the eyes, unless she's asking for a very serious favor, or he has something on his face, or she just feels the need (she claims it's that she hasn't looked in a while, but he shrugs her off every time). (If he can get away with staring at her lips, then she can get away with never looking him in the eyes.) He's mentioned, though, that he has a hard time following her sometimes. That he needs the words repeated a few times. Explained the lip thing, with a tense voice and a quake in his chest and his fingers tapping at the sides of his thighs. And, for a brief moment, he had felt like a creep. Like one of those weirdos that preys on the idea of women kissing. And he wanted to open up Family Video's register, shove his head inside, and sort himself out into the container of fives. But she shrugged, said "Okay," and went back on some ramble, to which he was immediately drawn to her mouth. And saw her repeat the name, Vickie, at least twenty times. He grinned and then when the store was empty, he leaned across the counter and teasingly said, "You have a big fat crush on Vickie, don't you?" To say that he was proud of her sputtering is an understatement.
Now, Dustin and the others were harder to get through. Because they moved at their own pace. And they don't really stop to add him to the conversation. He gets it, to an extent. He knows that he's not really all that intrigued in what they enjoy. (Even if he really leans into the conversation when they mention Sherlock Holmes or Dracula or Star Wars or, even, Star Trek. And he pretends to not be interested in their science fair projects. Or the one time he caught them huddled around a Sports Illustrated, in which he fought the urge to chat their ears off about both baseball and basketball statistics.) But there's a point in the conversations where he's made to feel a little dumb; even if he was staring where they were speaking, but they always grow frustrated, a huff of air released, when they notice he's not "paying attention" (translation: looking them in the eyes. "Because, Steve, it's just talking etiquette!" Dustin had shouted once).
He loves all of them anyway. Even if he misses words. And he loses track of what they were saying. He just wishes they were a little bit more forgivable about it at the end of the day.
Then, Eddie Munson is walking along side him in an alternate universe. He's peeled the vest off his back and chucked it at Steve. And they're talking. Jealous of one another, but talking. But, Eddie's voice goes soft and quiet, his eyes pointing towards Nancy's back.
Steve is looking at Nancy, words fading into the background. And it's not a moment of realization. Or a moment of longing. Yearning, what say you. No—it's one of his moments in which he's "listening," but not processing. So he looks back. And for a mere second, Eddie's eyes are big where Steve stares. Big and wet and curious. Big and wet and persuasive. Big and wet and not at all his lips and Steve is still not listening.
But his lips. Well, Steve's seen lips. These are pretty. They're pink. Chapped and bitten and plush appearing. Mesmerizing. Stretching over Eddie's sharp teeth, exposing dimples and smile lines, making his recent stubble more noticeable than it's ever been before. But his lips are pretty.
Like girls lips, Steve muses. Not really taking in what that means. Because Eddie's saying something about true love. And—shit—okay. Steve can get behind an act of true love. He can get behind sharing denim and coating Eddie's clothes in blood and staring down his lips and—god, his eyes, Steve can't help but notice once more.
Eddie's like a vulnerable cow. With pretty lips, he has to point out. Or a baby deer. With such pretty lips. And he's talking and Steve's finally listening. But it's not just processing. No, Steve's intrigued, interested even. He tilts his head like a curious puppy. Leaning in. Eddie's breath ghosts the tip of his nose. And, sure, it's a little rank. But weirdly sweet. Warm where Steve is otherwise cold. Warm in places Steve's never considered to feel warm in, but he's willing to give in, to wrap up in whatever Eddie has to say. If it all means more of him.
So, it makes sense that after all that they go through, Steve finds himself in Eddie's orbit. As a friend. As a trauma bond. As everything Eddie needs him to be.
He sits on the Munson's couch. On the cushion that dips a little too low. The lights orange and dim and casting beautiful streaks of almost candle light on Eddie's soft, beautiful features. Highlighting where his nose is the most bulbous. His pronounced Cupid's bow. The outer edges of his irises, golden and honey against the off-white of his scleras.
Eddie talks like Robin does. Excited. A lot. Fast. But his voice is soft, focused on the information—like Nancy's. It's teasing, like Dustin's. Soft, though. So gentle. Murmured. Which makes sense, if Steve were to stop and think about it for just a moment. With how late it is. With the little amount of weed they smoked. And it all just fits, with how slow and careful Eddie's lips move. As if testing the words. As if searching for what he means.
But, god, Steve is following along. Of course he is. Hanging onto each one of Eddie's words.
"So, the cashier at the record store got all apprehensive about selling me this tape. Which, I guess makes sense because it's a special edition. Comes with a photo card or whatever, but like—Come on, y'know? If he wanted it so bad, he should'a bought it the moment it dropped. Not my fault he slacks on not just his job, but also his opportunities," Eddie rambles. And, that's right, he's complaining about the music store encounter he had today. Trying to buy some album for some band. Steve got lost part of the way through, so he's not sure who exactly Eddie was getting a tape for. The style of music. But he has most of the information. He just—
Has to squint harder.
So, Steve leans in. As casual as he possibly can. And narrows his eyes at Eddie's lips. The word pretty comes to mind again. Because of course it does. And he can't pull his eyes away, no matter how hard he tries. For some reason, the tips of his fingers tingle a little. Wanting to reach out. Trace his lower lip, right where it sticks out, just above the divot of his chin. Would it be soft, he asks himself. Does he wear chapstick? Steve sighs softly. I wish I could...taste it. His eyes widen, just the tiniest bit. But he ignores that in favor of whatever Eddie is saying. If only he could make it out. He leans impossibly closer.
And there it is again. The soft puffs of warm air. On the tip of his nose. His own lips. Tickling his stubble. Eddie's breath smells like weed and strawberry Tab; a little bit of Kraft macaroni and cheese. Maybe the smallest trace of pepper—
"Uh, Steve?" Eddie nervously calls out. But gets no response. Steve is only a couple inches away from his face. Eyes hooded. Glassy. Zeroed in on Eddie's lips. He's not talking. Doesn't even give a hum. Just...keeps staring.
Eddie sucks in a breath. Eyes darting over Steve's face. He doesn't talk again, hoping maybe Steve will stop. But, nope. In fact, the only thing Eddie gets as acknowledgement for the fact he's stopped talking, is that Steve pouts. Upset. As if his lips no longer moving is some great catastrophe to Steve, some tragedy, some misfortune.
And, Eddie, the awful wreck that he is, can only assume that this means one thing.
Steve wants a kiss. And is, maybe, too chicken shit to close the gap.
So, with no other option. And definitely not wanting to get away from the heated, stirring, calm mask of Steve's face—Eddie presses his mouth against Steve's. Hesitantly smushing their lips together. Dragging his lower lip against Steve's soft scowling one.
And he pulls away. Because Steve isn't doing anything in response.
No, in fact, Steve is extremely expressive now.
Wide eyes. Mouth opened into a silent "Oh." His cheeks are flushed. And as quick as it came upon him, whatever realization that was, fades. Like a cartoon character, Steve's face melts into one of pure infatuation. Mouth lilting. His posture slouching. Eyes going soft against the extreme red of his face.
"Do that again," Steve whispers.
Eddie obliges. And he obliges. And he keeps obliging until they're under a cool top sheet, skin slick with sweat and eyes piercing one another's mouths.
That's when, in the silent air of Eddie's tiny bedroom, Steve admits the greatest thing in the world. "I don't really process when people are talking unless I'm looking at their mouth. I have to read their lips. I didn't—I wasn't trying to kiss you at first, but—" And the motherfucker giggles. "If that's all it took..." Then he's kissing Eddie again. Like it's the last thing he'll ever get to do. And Eddie thinks, If I die from running out of breath doing this, then I've done everything in my life correctly.
So, sure, Steve has a huge staring problem. And he doesn't really listen. And it's something he'll never fix, even if there's a way to.
But he finds that his technique—the thing he's crafted since he was a little boy—no longer works. At least, not on Eddie. Because suddenly, looking at his gorgeous pink lips makes Steve only able to think about one thing: Kissing. And he can't follow along unless he fulfills that want.
Eddie could be in the middle of a deep, all inclusive description of his recent trap in the campaign he's crafting. He could be singing. He could be complaining about some movie he rented. But that doesn't matter. Because he stops talking the moment Steve leans in and kisses him. Kisses like he needs it to live.
And though he rolls his eyes. Huffs a breath. Smirks and barrels on. There's that giddiness, that love pooling in Eddie' heart. Just knowing the effect he has on Steve. And the way he's affected, too, when Steve just whispers, "Sorry, I got lost again. Start over?"
He obliges. And he keeps obliging. And his lips are usually swollen by the time he's finally done rambling.
Steve stares. Eddie talks. And it's the combination of a lifetime.
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❤️
#stranger things#fanfiction#steddie#steve harrington#eddie munson#fluff#first kiss#Steve Harrington has a bisexual awakening#Steve Harrington Has Auditory Processing Disorder
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Queer history fact: (493-534 BC) Duke Ling, a married man, was madly in love with his courtesan, Mizi Xia. Mizi Xia was said to be incredibly beautiful and well-loved throughout Wie, the land the Duke ruled. While the two were in an extramarital relationship, the Duke was very open about his love for the other man.
When Xia's mother became ill Xia forged the Duke's signature to take one of the carriages. This offence was punishable by cutting off the thief's feet, but when Xia returned, the Duke didn't punish him. Instead, he praised his love's loyalty to family and willingness to face punishment to be with his mother.
Another source of pride for the Duke was the bitten peach; a symbol still used to signify love between men in China. While walking through the garden together, Xia picked a peach and took a single bite. When he realized it was particularly sweet, he gave it to the Duke. The Duke praised Xia, saying:
"How sincere is your love for me! You forgot your appetite and thought only of giving me good things to eat!”
It is a beautiful story, but its telling begins for another reason. It was originally recorded by a scholar who used the story's beginning and eventual end as a parable. It was said that after Xia's beauty faded, so did the Duke's love for him. He was accused of crimes against the Duke—the crimes for which he'd received praise. The theft of the carriage and the gift of the half-eaten peach, once hailed by the Duke, now brought punishment for Xia. The scholar used the Duke's shifting attitude to ward against the dangers of falling into the favour of powerful people.
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DanandPhilCrafts + Fucked Up Queer Devotion + Christian Homophobia: An Essay
We’ve all been talking about the willingness of Dan and Phil to perform the ritual, we’ve all been talking about the intimacy of carving out your lover’s heart, but I have not heard anyone talk about the fucked up side of Dan and Phil’s (fictional) relationship with each other, and with Him, so here goes.
On the craft channel, Dan and Phil act overwhelmingly positive, like satanic children’s show hosts, but this is clearly a farce. We see them drop their smiles quite a few times during the crafting- most notably in Glitter Faces when Dan’s craft turns out wrong, and when Phil cuts Dan’s hand. “Don’t cry, craft” is directed towards the audience, but it seems Dan and Phil are following their own advice. Cults, after all, prey on vulnerable people. While they do seem scared of doing the ritual, and their involvement with Him, they are, however, definitely willing. In
The blood on Dan after he kills Phil is interesting; The handprint on his shirt isn’t a sign of a struggle, but rather Phil just grabbing his shirt- that’s pretty intimate, honestly. The blood on his face could’ve been caused by a bunch of things: blood splatter he wiped at? wiping at his face (eyes?) with a bloody hand? or Phil holding his face? (I like the third option) The blood on his nose might totally have been accidental, and just a thing that happened, but it could also be an allusion to the cat whiskers, in the spirit of bringing things back to the beginning and whatnot.
After the ritual is complete, there’s the obvious tarot symbolism. @freckliedan has a great post about this, but I’ve got more to add, so bear with me. Yes, Dan and Phil are framed as the lovers, but that’s not all. While the sexual deviance associated with the devil card has clear connections to queerness, it’s main association is usually unhealthy relationships and dependence. From this, and the obvious devotion displayed in the video, the craft versions of Dan and Phil are implied to be unhealthily dependent on each other, and devoted to the point of obsession. While the relationship certainly isn’t abusive, this obsession just isn’t healthy.
Furthering the unhealthy relationship idea is when Phil calls Dan “Sampson”. In the Bible or whatever (I’m not Christian sue me) Sampson topples these pillars, killing both himself and his enemies, which has a clear parallel to Dan’s stacked ingredients falling over, but the use of “folly” is interesting, and suggests a further connection. Sampson had married a prostitute, and she sold him out, basically, leading to his enslavement and later death. In this story, this is the clearest and most obvious act of folly by Sampson: marrying someone who he shouldn’t have, someone who it was taboo for him to be with. Connected to Dan and Phil, it suggests that their relationship is dangerous due to the social taboo, but it’s also implied that Phil will betray Dan. Perhaps we’ll see that in a 5th crafts installment, or perhaps it’s simply a commentary on being in a relationship with someone considered unacceptable.
Speaking of unhealthy relationships, that’s sure what they’ve got with Him! Leading up to the ritual, Dan and Phil are shown to be scared of Him, even though they call Him their friend. Dan’s head shake when Phil says “crafting has improved my life in numerous ways” is very telling. At the end, Dan’s shoulders tense at His first footstep, however, when He actually touches Dan, he doesn’t seem scared at all- forgive me for this next point, but from the way he kinda leans into the touch and tilts his head back, it seems more like he’s going for “turned on” rather than “scared”.
“Okay, cool” you say, “but what does it mean?” Well, Dan and Phil’s relationship in this series is not just about homoerotic undertones- this is an allegory for toxic queer sexual relationships. Why would they make something about toxic relationships when they’re in a healthy relationship? With the toxicity, and the power imbalances, and the satanism, Dan and Phil’s (fictional) relationship is a representation of Christian fears of queerness, and the supposed immoral/corrupting/anti-Christian effects of being in a queer relationship. The fear Dan and Phil show throughout the series is representative of internalized homophobia. They’re scared to align themselves with Him because it means accepting their own queerness. Dan shows more fear than Phil throughout the series (like after his glitter face turns out to be a pentacle) which parallels his real world internalized homophobia that he’s experienced. By holding hands with the devil (or baphomet?) standing behind them, Dan and Phil have embodied every conservative fear about queerness, but have come out on top. Through their YouTube channel, we get to do the same.
#in conclusion:#if DanandPhilCrafts is about anything#it’s about how it’s okay to be gay#lol#thanks for reading if you made it this far :)#I would love to hear other people’s thoughts on this!#dnp#dan and phil#phan#amazingphil#daniel howell#danandphilcrafts#dan and phil crafts#phandom analysis
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i. the likeability paradox.
pairing. joel miller x fem!reader
synopsis. joel miller is not a man who strives to be liked, with a chip on his shoulder and a scowl on his face, until his world is flipped on its axis when the pretty young thing living under bill and frank's roof, with an irritatingly unwavering smile and the literal sun shinning out her ass, says those five damned words: i don't like you, joel.
warnings. no use of y/n, enemies to lovers, slow burn ( i have several oneshots planned for this couple ), unrequited love ( except you will never catch joel miller admitting he feels anything beyond grief, hunger and exhaustion ), pining, poor communication no communication, no seriously joel is down bad it's actually disgusting and highkey 🚩toxic🚩 but luckily red is your favourite colour, sunshine!reader, grumpy!joel aka canon joel, kinda perv!joel ( if you squint ), implied queer!tess, undefined age gap ( reader implied late-20s ), descriptions of canon-typical violence, smut ( oral- f receiving, fingering, degradation, panty stealing, hair pulling, dirty talk, dubcon due to intoxication, joel kinda gives her a wedgie at some point and honestly i don’t know what i was hoping to achieve with that, discussions of a lacklustre sex-life pre-apocalypse ). reader is a) hinted at being shorter than joel but it’s not central to the plot and b) described as lithe but the meaning intended is graceful, not thin!
word count. 12.9k
hyde’s input. half-way through, the regret of choosing to write this from joel's pov started to settle in but lmao i was too far in to not commit to the bit. don't come at me for the fact the timeline or events may not seem plausible with canon, i just wanna write this silly little depraved fic about joel in peace :( anyway, enjoy my first attempt at writing for tlou, forming a prayer circle rn in hopes that this doesn't flop because i will cry and you will hear about it
taglist. @kayleezra @newavenger + add yourself to the taglist here !
read on ao3 ! ( capitalization available )
distaste is not new in the life of joel miller.
in particular, one that is loaded, aimed and fired directly at him. he is not a likeable guy, often by choice and rarely by accident. the years of pain from a bleeding wound have now scarred over into nothing but an empty shell of the man that once was, from a world that no longer is, and he’s tried little to fill himself back up.
if anything, he’s made himself more empty.
rid himself of feelings, that which saves him the weakness of appearing sympathetic. discarded the need for luxuries, for which he’d scarcely cared for prior to his world ending. lay to rest what was left of the optimist inside him, leaving behind the danger of hope for it to rot with the rest of the infected.
an apocalyptic world brings out all sides of man that one would never dare to engage with in normal civilisation. joel learned swiftly that he was built to endure, quick to evolve and adapt to the new world order. the man who once worked his hardest to keep the peace among his neighbours, smiling that little bit wider on days he’d catch them scowling to themselves in hopes of brightening one part of their day for even a simple moment, would be at odds with the man who wears a heavy layer of enjoyment when met with the scowling glances and the hushed voices, all the watch out for that miller guys passed between cowardly members of fedra and the keep away from mr. miller's lawns spoken harshly from mother to child becoming music to his failing ears.
this plague of fear-driven dislike keeps him alone, how he likes to be, no one to lose and nothing to be taken. somewhere along the years the idea of safety in numbers has morphed into an illusion, something people say and never truly mean, to distract themselves from a reality more bitter than a snowstorm: in times of survival, people become dead-weight.
“so that’s all i am to ya, huh? dead-fucking-weight?” his brother’s voice still echoes in that damned space he calls a home, weeks or months or years since the day he’d departed for something else, somewhere else, leaving joel to do what joel does best: endure.
somehow, silence was easier than telling the man he’d taught to tie a shoelace, to shave his beard, to tune a guitar that he was the dead-weight, doomed to drag all those who remained too close down into his pit of despair.
she was an exception, his tess, buried 5-feet-under in her own swell of darkness, nothing but the tips of her fingers stretched out above her head to feel the sun upon her skin and keep her from going that last foot deeper. they’d made a home for themselves in one another, one where he keeps them fed, and she keeps them safe, and neither of them keeps the place clean.
she never asks for more, and he never offers it, both content to survive without the weight of affection smothering them. contrary to the belief of any misfortunate soul who’s encountered the pair within the quarantine zone, she is the one who holds the leash, tugging joel along close by her heel and keeping him from wandering off into the wild to surrender himself to a feral lifestyle.
which lands him here, sat at a table playing happy family, each time he dares to snark out a few words being met with the sharp kick of tess’ foot against his shin.
“... and then,” frank struggles over a cough, so excited in his story-telling that he fails to separate taking a breath from taking a sip of his wine. with a roll of eyes and a disapproving grunt, bill’s no more than two seconds away from clapping down on his back, urging the other man’s wind-pipes to unblock and welcome back airflow. “otis dragged his muddied self over the whole house. we were finding paw-prints for days!”
joel’s unamused, too keen to think of what a nuisance that would be. as if incapable of feeling the buzzing energy of disinterest, the german shepherd drops its head further up his lap, begging for a morsel of anything that sits atop the table.
“which means i was cleaning paw-prints for days.” bill, the only one at the table besides himself who wears the looks of a cynic, grumbles out before shovelling what remains on his plate into his mouth.
frank is quick to shush him.
“i’m sorry, again, bill,” he doesn’t mean to break eye-contact from the mutt at his thigh, but the voice calls to him like a siren calls to a ship in the night, like a flame dances and seduces a moth into its brightly burning touch of death, a spotlight in the dark which promises- or threatens- more light to come. “i’d no clue there was a storm coming till we were already a good few miles away, and there was nowhere to take cover to wait it out.”
there you sit, parallel to him.
the sun rests lower in the sky as time carries you all into the late noon, its rays a beacon of light bursting out just behind your head, painting you in the glow of the golden hour and staining a mockery of a halo above you. it hurts his eyes, this brightness that you so easily bask in, forcing him to squint and deepen the frown on his face.
you catch him with his sights on you, at some point, and the smile you meet his scowl with has him cursing at the sun, and the moon, and every star that sits between.
the threat of a great war looms in the air as you rush to rise up and help clear the table of the remnants left behind- none of which joel can account for, mouth to keen and body too starved to skip out on enjoying the mundane luxury of a fresh, home-cooked meal. the battle ends swiftly as you surrender to bill’s hardened stare, and frank’s disapproving head-shakes, and tess’ own plan of action to simply force you down back into the seat you’d been sat in- the one you always sit in.
“you, sit. no one should have to clean up the food they made.”
they get no fight out of him when they insist he’d done enough catching the so-called food.
silence casts its shadow over the table, dampening the light and painting you both in a mockery of greyed tones- truthfully, it is the disappearance of the sun hind a large cloud that causes such a thing.
being alone, with you, is something joel’s never mastered. the affliction of your presence is so much greater when there’s no one else to balance out your natural shine- the kind that has his head spinning and his cock aching-, no one but him.
were he not a sick bastard, he’d try harder to not make you sad.
something bumps his hands, ripping him out of his moral self-condemnation. the dog meets his gaze, eyes a widened mess of puppy-dog pleading that punctuates its existence with an impatient whine.
just like your owner, he finds himself thinking and not saying- never saying-, yet to find your bark.
the ball’s a sticky mess of slobber and dirt, and joel touches it all the same, throwing it up in the air once, then twice, before tossing it across the yard. he’s slumped back in his chair by the time he registers the dog’s departure, a ball of dark fluff bouncing its way across the garden, and all the man can think is fuck, he’ll be feeling the effect of that throw on his shoulder come the morning.
the pain is not enough to stop him from tossing the ball again, and once more, and then yet again, sending the dog in a never ending loop of chase, grab, retrieve- a parallel to his life of wake, survive, sleep.
“he likes you,” you never leave things the way he wishes them to be, bursting his bubble with the vocal reminder of your presence.
as if on queue, prompted by your addressing of it, the dog drops its interest in joel, and the ball, and the chasing, tail wagging uncontrollably by the time it reaches your side. standing on its hind legs, it collapses the front of itself into your waiting lap, and joel watches how you wrap your arms so easily around something that could cause you harm.
to envy a creature that licks it own shit off its ass is a new low for joel.
“thinkin’ he might like ya more, sol.” the nickname rolls off his tongue with ease, the safer option than uttering your name, a vice and virtue he’s only permitted himself in idealistic fantasies that play out in his own troubled thoughts.
“most people do,” whether you mean to make it seem like you’re degrading his very existence or not, he’s unsure, but it rouses a chuckle out of him.
he takes note of how you don’t protest the name he’s branded you with, not like how you’d fought tooth and nail against it every other visit he and tess have made.
“you’ve got a whole load in common, you know? i think that’s got something to do with his fascination-”
“how the hell’s a man like me got somethin’ in common with a four-legged mutt?” there he goes again, making that smile slip down your cheeks with a simple use of his voice. it helps as much as it hurts, frown loosening up and eyes no longer strained beneath the bright shine of your visceral optimism.
“well, you’re both... hairy,” he restrains himself from reacting, washing down a laugh with the help of the dregs of wine that lay collecting at the bottom of his glass. he’s let his appearance grow more rugged over the past few months and your noticing of this brings an unwanted warmth to his aching bones. “and have the most kickass women in your lives to stop you from dying.”
he’s interested to know what life would be like under your protection.
discovering the answer brings the threat of pain, and loss, and an openness to vulnerability he can not afford himself, so he takes the safer option: “‘s easy stayin’ safe when you live in this fantasy land. doubt your mutt’d last any longer than a day out in reality.”
with you as its protector.
he doesn’t say it and, still, it somehow hovers in the space between you both, a heavy, syrupy implication that slips down your throats and threatens to suffocate you. he watches you choke on it, coughing on his cruelty and feigning it to be a simple clearing of your throat. your eyes glue themselves on the dog, delicate fingers smoothing over the well-groomed hairs down its back.
survival has turned him into a man who knows when to seize an opportunity, and this is one he takes with both hands, basking in the simplicity of staring, watching, observing you without the crime of being caught.
but i could keep you safe.
he toys with the danger of uttering such a thing aloud. it’s not the first time he’s thought it. truthfully, he’s unsure when it first nestled its way into his mind.
his memory, which ails him more than it aids him these past years, would have him believe it was way before the dog had even appeared, back when it was just bill, frank and you. a few whiskeys in and a campfire lit for you all to gather for warmth around- why you’d all chosen to sit out in the gardens on a winter’s night joel remains unsure of to this day-, it was frank who’d prompted the question. “where were you all when... this started?” tess went first, braver than most people he knows, sharing stories of a version of herself he’ll never meet.
he never imagined her working in a bank.
bill, with reluctance, took the next step, keeping his account factual and to the point. “was shit-faced drunk and getting my stomach pumped.” he’d been quick to skim over the story of the young nurse who’d guided him to safety out the hospital, losing her own life in exchange for his survival. she was barely out of school. “i knew her dad, bit of an asshole, but boy, was he proud of his baby for graduating.” frank couldn’t let him swim too deep in his thoughts, afraid a current of guilt would trap him and drown him in the depths of it, and so he raised his own voice and began his tale.
joel had always been a good listener. being a single parent to a teenage girl required him to be, or so... she would have had him believe, nights at the table set for two spent listening to the playground he-said-she-said gossip. years later and he at last prefers things this way, a rare gem of safety found in the act of saying nothing and hearing everything- that his hearing will allow. all this to say, he’d tried his best to pay attention to frank’s impassioned retelling of his heroic misadventures that had lead him to the unintentional arms of bill.
but you weren’t smiling.
he watched you, you watched the dancing flames, face stoic and drained of that natural shine his eyes had only just started to be able to gaze upon without the threat of being blinded by such light.
the desire crept up on him like a tiger to it’s prey, hiding in the far off bushes until the opportunity to strike presented itself and the feeling lunged for joel’s back, gripping him in its claws and piercing his ribcage with its gnashing teeth. with each bite, it plagued him with the delusions of a wandering mind, imagination left free to run laps around his head with visions of you from another life, another time, another set of people gathered round a dining table. he’d wanted to hear about the ones you’d lost, and comfort you with all the things he hated hearing (“you’ll keep ‘em alive, in spirit and memory!” “those we remember never truly die!”). he’d needed to bend a knee and swear a vow to be the one to stand between you and death, to fight for your survival on your behalf. ‘could keep you safe. there, then, the thought did cross his mind.
he’d washed it down with a swig of lukewarm, flat beer.
“-could fix it, you know. i’m good with my hands.”
he almost chokes on his own breath.
i'm good with my hands, it swims in circles round his mind, replaying and echoing off the walls of his skull. and he knows- oh, how he knows- that he’ll be replaying it in those moments of solitude for the next few nights, weeks, months- however long it may take till he forgets the way such thought-provoking words sound on your lips.
“what?” the question leaves him harsher than he intends, drawing an enemy line between you both with the foul sound of it. in the corner of his eye, he swears he sees you flinch backwards, physically recoiling from the disdain-filled bullet he fires in your direction.
the mutt in your lap retreats, hackles rising as it turns to face joel once more.
he sees it, in the dog’s brutal protectiveness over you, this similarity you claim exists.
“your watch, it’s broken.”
“hadn’t noticed,” he’s retreating into his own space now, mentally and physically, scraping the legs of his chair against the ground as his mind works to strengthen those walls that threaten to crumble so often in your presence. “don’t need ya to fix it.”
you pull a face, brows furrowing and lips pouting. confusion.
“don’t you want to know the time?” you ask, as if time could ever be relevant in a rotten world where down is up, and up is down, and joel miller is not the overprotective father to the most delicate creature the god he’d stopped believing in had gifted him, just to force him to watch as life snatched her away.
“i don’t keep it for the time.”
you smile, and this one’s a killer, piercing straight through the cages of his ribs to carve itself into his withered heart.
the german shepherd relaxes with the rebrightening of your aura, shaking out the tension from its body before sauntering its way back over to joel, ball in mouth and tail wagging excitedly, as if it hadn’t just contemplated having its first taste of human flesh.
he’s throwing the toy in a matter of minutes, enjoying the repeated run and retrieve game, and the renewed silence that comes along with it. nature sings its tune with rustling leaves, cawing crows, and pounding paws. it’s almost so easy to leave your offer, your words, his broken watch in the rearview mirror of this otherwise pleasant afterno-
“ooh, so there’s a story to tell!” you’re blinding him with your excitement, lithe limbs leaning forward in your own chair in an attempt to reach closer, table between you be damned. “i’ve never heard any of the joel miller backstory, this should be-”
“i get that likin’ everyone is your thing, but would’ya give it a rest?”
nature falls silent.
skies grow dull.
you juggle sadness.
there’s a crash that comes from within the house, followed by the unmistakable sound of tess’ sailor mouth, cursing whichever delicate dish she’s broken into smithereens with the help of her accident prone hands. the dog’s lain itself down upon the grass, ball between it’s paws as it begins to bite, and chew, and break it under the pressure of its canines.
joel wonders what the mutt’s practicing for.
“sure,” then, with the return of your voice, all sounds resume, harmony upon planet earth once more. only, the gates have been shut in his face and joel finds himself forced to watch as everything unfolds from the outside, an unwelcome visitor forced out into exile with the fungal freaks and the inhumane. “but you’re wrong. i don’t like everyone.”
“‘s that so.” his eyes roll. the hole he’s dug for himself sinks deeper, casting you higher up on the pedestal joel will always be wiling to place you on.
“yeah,” you’ve risen out your chair, gifting him the view of how the fabric of your dress dances above your knee, a final twist of the knife in his heart that he lets you pierce his flesh with each time he surrenders himself to your existence. “i don’t like you, joel.”
the hours come and go, but your words linger like a bad tattoo, shamefully engraved into his skin and banning him to a life of noticing the horrendous thing each time he passes by his own reflection.
we’re staying, for tonight. tess had called the shots, and he’s been learning not to argue when she gives him one of her stern looks, biting down on the comments he’d wanted to make of the dangers of being out of the qz for too long, which would likely earn him nothing but a shrug and the reminder that they both were off duty the following day
the nights are beginning to grow darker as winter grows nearer, leading bill and frank- mostly frank- to excuse themselves to bed, bidding the two visitors with a final reminder to make themselves comfortable in whichever room they can find. if only joel could remember which door leads to yours.
the two women in his life remain awakened, passing a bottle of wine between each other as you both converse back and forth, catching each other up on one another’s life, satiating that craving for mundane gossip.
tess recounts the scandal of the poor boy who’d been caught sleeping with a fedra agent’s wife, you whisper that frank and bill had been fighting again recently. the memory of being ambushed by raiders- now dead raiders- comes to life once more with the help of tess’ voice, while the promise to uncover what exactly bill and frank were hiding from you as of late is sealed in your words.
at some point, he lays himself to rest atop the couch, legs stretched out and arms crossed over his chest, ignoring the squeeze of the fabric over his forearms as the too-small flannel struggles to contain the muscles forged by the need to survive. at another point, he’s lulled to sleep by the lullaby of your mingling voices, a safety blanket draping itself over his tired body and enveloping him in the comforts of having that which he struggles to care so little for, so near him once more.
-n’t tell me you’re a virgin.
the words are muffled as the man slips back into consciousness, a frown coming to rest on his forehead as he battles against the demons urging him awake, the nightmarish memories of car crashes, and soldiers, and so much red chasing him away from the sleep he longs for so badly.
a protest rings true in his head and his ears.
was gonna say. knew you were young, but not that young.
it’s the sound of your laughter that awakens him fully, saving him from the tortures of his own mind.
“god, no! me and my ex, we... a few times. it was alright, i guess. i just, yeah, there’s not much to miss.”
he’s unwilling, unable to reopen his eyes, curling in on himself as he rolls over onto his side. a groan slips past his lips, one he’s hoping tess and you will dismiss as nothing more than the sleep-filled rambles of a dreaming man.
neither of you make any acknowledgement of him.
“not much to miss?! sweet christ, you’re breaking my fuckin’ heart.” he’s learnt over time the common traits of a drunken tess. each word becoming an exclamation, curses becoming more frequent, and that irritating habit she’s picked up of imitating his own accent. there’s no need to bother opening his eyes, joel’s already sure he’ll find his companion with flushed cheeks and glassy eyes. “i’d give up a hand for some head!”
you must do something, pull a face or shake your head, for the sound of tess’ renewed shock fills the room. he wonders, as the sound bounces off the walls, how late into the night it’s grown.
late enough that the cicadas singing outside the window are now accompanied by the hoots of an owl.
“you’ve got to be shittin’ me.”
“it bores me!”
“it bores you!?”
the couch beneath joel creaks as he shifts once more, turning his back on you both as the ability to contain his laughter grows harder with each word you exchange and each gasp tess gives. the last thing he needs is to be caught eavesdropping on your sex life like some dirty old pervert.
the crueler part of his mind replays your voice, i don’t like you, and the knife twists in his guts this time.
you like tess. love her, even. it’s been that way since the first time you’d met the duo, eyes giving one look over the woman before the smile on your face grew even wider, voice as sweet as honey sighing out finally someone with a pair of boobs, i’m bored of the sight of my own. joel’d gotten caught up in the thought of how he’d never tire of such a sight that he’d failed to acknowledge your greeting towards him, catching just the moment you drew your outstretched hand back to your side and offered him an understanding smile.
maybe that was the moment you decided you didn’t like him.
“must not have been doin’ ya right,” the bottle of southern comfort is working its wonders on the older woman, accent growing further and further from its true nature with each glass she nurses. joel hears the faint sound of ice smacking against glass and knows it must be yours. you’ve always struggled with liquors, slipping as many ice cubes as you can manage into a glass in hopes that they’ll eventually melt and water the alcohol down. it’s oddly endearing, you think no one has noticed. “this fella of yours.”
joel has no right to despise the idea of you and some fella.
he does so, regardless.
“well,” he imagines the shape of your meek smile and the way you shrug your shoulders. “we were each others firsts.”
“that’s no excuse! trust i left mine cryin’ into her pillow the first time i went down.” tess and he have a silent agreement to never speak of the nights joel would take refuge on their beaten-up couch while tess indulges herself between someone’s thighs in the bedroom. no discussing the sounds she pulls from her concubines, no addressing the wet patches left behind to stain their shared sheets, and definitely no speaking on how his hand winds up stained in his own cum.
you scoff and follow it up with a saccharine laced giggle, so sweet its bound to rot your teeth if you even attempt to hold it in. “what, are you offering your services?”
this he likes less than the image of you with some fella, the thought of having to lay upon a mattress on which tess had raised you to heaven while he once again remained locked out in the dark leaving his skin crawling with unwarranted rage.
“‘as sure as i am that you’re sweet all over, ‘fraid to tell you i like my women a little older than you.”
he knows he should do the same, should lust after those women his own age who shoot him carnal looks in the streets of the qz. it should be skin his own age that he longs to taste, and eyes who’ve seen as much as his own he wants to stare into, and lips as cruel as the ones he owns that he fights off the urges to kiss. but he can’t, and he won’t.
and you’re the one to blame.
you, with the glow of a thousand suns. you, with the hands that tend to flowers instead of corpses. you, with the gentle nature he’d have to spend the rest of his days fighting off every other living thing just to protect.
his own self being the first he’d need fight.
joel wonders what he’d missed in his hours- if it had even been so long- of rest, how the playground gossiping dissipated into reminiscing the pleasures of supple flesh and the sins of unfulfilling lovers. sleep steals him away once more before he can find the answers.
the next time he awakens, he’s drowning in a plight of cruel memories, a cold and brutal ocean of faces, places, and traces of the ephemeral sentiment of happiness he’d possessed once upon a time, back when the price of letting one’s guard down was not so high.
he’s learnt, with time, that losing her comes in waves. some small, meaningless little things, that ripple joel’s surface and coast gently over his dirt ridden skin. others, tsunamis. big, angry, all imposing. they’re born in ground-shaking explosions of grief, building speed, and height, and weight the closer they grow to crashing over him.
amidst the passing of time, he’s tried to keep himself busy in his awakened hours, to keep his mind occupied and avoid thinking about her too much. but the waves always come back, no matter how hard he tries to fight them or swim away from them. they catch him off guard, crashing over him when he least expects it. in the middle of a raid, lost in thought and standing ten inches deep in grime, blood, infected, and suddenly the weight of her absence will hit him like a ton of bricks.
the currents grow more violent whenever he closes his eyes.
this evening, it had been a minuscule wave, yet it’s damage still leaves him with sweat slicked skin. he reenters the land of the living choking on his own fear and shooting up-right, hardly registering his surroundings till his feet hit solid ground. the gentle, barely-there croon of a sinatra record punctuates the room alongside the dim glow of a lightbulb which flickers with the threat of expiring and leaving naught but the moonlight to wash over the dark of the night. across from him is tess, nursing a half-emptied cup against her chest and wearing tired eyes. snoring comes from below him, where joel finds he’s a mere foot away from having stepped upon the sleeping dog, curled in on itself and laying soundly by his side.
you take up no space of this room.
neither the dog nor the drunk pay him any mind as he pushes up onto his creaking knees, stretching out his limbs in a fight to undo the tension in his aching bod. languid steps carry him out into the hall, where he freezes under the self-questioning of where he’s going.
there are three answer to this: where he should, where he could, and where he would.
he should find himself a bedroom, perhaps be ostentatious enough to rid himself of those stale clothes and let the warmth of running water wash away the sins he’d committed throughout the day. a good night’s sleep, atop a mattress where springs do not dig into his back and the sheets are clean as could be, it would do him good.
he could head towards the kitchen, quench that thirst that he’s awoken with, cottonmouth and a headache to go with it too. perhaps he’ll find himself something to eat, indulge in the luxury of readily available food just this once, he’s sure frank wouldn’t mind. bill definitely would, but that’s not something he’ll need care about when he’s miles out and heading back to the qz.
he would try find you, open whichever door it is that leads into the haven that must be your bedroom. he imagines its clean, and organised, and smells of some syrupy lavender that is bound to nauseate him as he smothers his face into your bedsheets, eyes shut, and mind relaxed, the threat of those violent waves no concern to him as he anchors himself with an arm around your warm skin. skin he’s never felt, yet he stands firm in his belief it must be the most soothing thing to touch, as gentle and inviting as the heart it keeps safe within it.
i don’t like you, joel.
those words stop him from trying.
he tells himself it’s for the best.
with a mind of their own, his legs have made the choice for him and deliver him outside the opening to the kitchen. he swallows down a gulp of his own saliva at the prospect of a glass of water. the door’s already half-opened, and joel nearly thanks christ for it as the fear of waking anyone with the squeaking of the handle is eliminated. the darkness of the night encompasses the room, even with the moon’s shine reflecting off every surface it touches: the counters, the knife stand, the metal drawer handles, the refrigerator.
the refrigerator.
it’s open, a blue light shining out of it and illuminating anything it its proximity. a subtle beeping noise rings from it, and suddenly joel’s back in his thirties, dead-beat yet well-intentioned brother stealing the food off his own plate as he beckons his pre-teen daughter back into the kitchen.
keep leavin’ this open and it’s a job you’ll be gettin’ this summer, not a dog.
she never lived long enough to get either.
he catches something move beneath the artificial light. cautious at first, it’s all the more startling to find the object of his ire and the embodiment of his desire stood leaning back against the countertop, a glass full of orange liquid pressed to a mouth that parts and welcomes in the sugary sweet delight.
“why aren’t ya sleepin’?” the words rasp out his throat, catching and scratching on the parts of him that still yearn for something to wet his tongue with.
beneath the light, you shrug, “could ask you the same thing, texas.”
he curses tess for teaching you such a nickname.
he curses himself more for the way you saying it twists up his insides.
you’re teasing him, smile a little looser and eyes less focused than he’s used to seeing. whether you’re tipsy or simply delirious with exhaustion, joel remains unaware.
he grunts, daring to take a few steps further into the kitchen. the door behind him closes over and give the illusion of the space becoming smaller, tighter, more compact.
“i asked first.” you laugh, at him. full on chest-rumbling, hand over your belly, head thrown back- so abruptly it nearly crashes against the corner of the opened cabinet door. the corner of his mouth is curling upwards before he can catch himself. he hopes the refrigerator light shows less of him than it shows of you, bare legs, and messed hair, and pointed nipples all on display for his undeserving eyes. “‘s so funny, huh?”
“nothing, nothing,” he successfully fights off the urge to follow the drop of orange juice that spills down the side of your mouth, over your chin, down your neck, disappearing beneath the collar of your dress. perhaps he is not as successful as he believes. “just never heard the joel miller say something so childish. you’ve usually got your panties all in a bunch if someone so much as looks at you for too long.”
you make way as he inches closer, sliding yourself over to rest against the island counter. a fragrance of things he can’t quite pinpoint, but enjoys nonetheless, wafts in his face as he travels down the path to the sink. uncouth and unbothered, joel opens the tap and cups his hands beneath the stream of water.
“you know there’s a cupboard full of glasses right next to you, right?” you call out behind him as the man brings water to his dry lips, splashing and just about guiding his head beneath the stream. the thirst does not budge. he hums an acknowledgement of you, yet continues with his method.
by the time he switches the water off, you’ve made yourself busy, back facing him while you work at something atop the counter, a consistent chop-chop-chop filling the silence that settles between you both.
“i’m making soup,” you state, like there’s nothing quite more logical you could be doing at whatever-o’clock in the morning it is. “make sure you take some with you when you leave. tess said she’s been fighting off a cold the past few days, need you to keep her warm and fed for me.”
would you do the same for him, if you knew he’d been the one to catch that damned cold in the first place? four days of just about coughing up his lungs, and not a single soul- not even his tess- had offered soup, nor warmth, nor sympathy. he’d not needed it, until now, when he hears you gifting it to someone else.
i don’t like you, joel.
of course you would do the same. not because you care, nor because doing otherwise would way heavy on your conscious, but because you’re nice. nice in a way he’ll never be, has never been. patient, welcoming, comforting, warm. all words that spring to mind when one thinks of you. they violently oppose the closed-off, angry, dark cloud that had rolled in years ago and casted it’s shadow over joel’s entire persona.
he straightens his back, weight shifting from one foot to another as he contemplates you from behind. the sway of your dress as you move has him in a trance, beckoning him closer before he can even realise he’s taken a step. his hands drip water onto the floor in a rhythm, and the record player sings in the distance as a reminder of tess, and your sweet out-of-tune humming fills the empty kitchen with a brightness greater than the moon, but that’s not what joel hears.
i don’t like you, joel.
i don’t like you, joel.
i don’t like you, joel.
i don’t like you, joel.
over and over, you taunt him without even trying, nailing the words into his head and heart, impaling him with your sweet condemnation. you’re not the first to say it, to his face or otherwise, yet you’re the first to evoke such a reaction out of him, to leave a lasting impression hours after you’d declared such a thing.
and, suddenly, joel’s angry. at you, at himself, at the sound of that damned knife in your hand slicing down onto the chopping board. the fog of his ire blurs his vision, rendering him to move blindly through the night.
only when he finds himself looming over you from behind does his vision clear.
a hand meets the curve of your hip and you gasp, leaving joel to wonder if it’s because the shock of his cold, damp touch or, simply, because it’s his touch. without a thought spared, he firms his grip, fingers squeezing tight enough he feels your flesh bulge between each one, a bruising promise joel gifts you.
you may leave your marks emotionally, but joel’s will always be physical.
“why,” he pulls in a breath, loading up the will to keep his voice a low rumble, a quiet disturbance in the night for no ears but your own to hear. “don’t ya like me?”
if not for the pause in your practiced movements, knife stilling midway through slicing a carrot, he’d believe you’re unaffected by his proximity. “why do you care?”
he scoffs, “i don’t.”
“hmm,” this hum is far less delightful than the way you’d been following along to whatever melody tess was playing in the living room. “sure sounds like you do.”
“yeah, well, i don’t,” he insists, and he swears he almost feels the way it only digs deeper the hole he’s created for himself.
joel knows he cares. it’s been burning at his skin and itching on his mind since the moment you’d welcomed yourself to a little bit of unfiltered honesty, dropping the perfectly poised and eternally polite mask you’d worn since the moment he’d first met you, an attitude he loathes as much as he anticipates surrounding himself with it each time he’s tugged along for the trek to bill and frank’s.
what joel doesn’t know is why he cares. there’s nothing to be desired about him, no traits to respect and certainly no looks to admire. he’s near crafted his entire being in a way that makes sure of this, the more undesirable his presence is, the less likely he is to be approached, be it by other people or fate itself.
maybe there was a part of him that had wrongfully imagined you being the exception.
instead, you’re stood barefoot in the latest of hours, knife working away the vegetables in front of you, dress sticking to skin beneath his damp hand, and you don’t like him.
not one bit.
joel grabs at your hips harder, his free hand curling round the shape of your left forearm. his feet shuffle forwards, until there comes a point where one would struggle to make out where you end and he begins. his chest pressed to your back, his muscular legs trapping your soft thighs, his forehead digging into the side of your head so intensely it threatens to shatter both your craniums and leave nothing but dust made by bones blown into smithereens.
he inhales, and finds you don’t smell of lavender.
“for the record,” he watches your movements over your shoulder, entranced with the back and forth sawing of the knife through unidentified vegetables. ‘s like how i sliced that raider’s throat, he thinks, and instantly regrets it. no part of him should ever be compared to you. “i don’t like ya either.”
he’s lying through his teeth, hoping you don’t notice.
the knife never ceases its movement. back and forth, back and forth. chop, chop, chop. blurs of greens, and oranges, and more greens cover the counter before you. it’s oddly soothing, this repeated and unbroken pattern, reminding joel of times he’d found comfort in the mundaneness of cooking a meal after an emotionally exhausting day. perhaps, this has the same affect on you, a momentary lifejacket to keep yourself afloat amongst the waves that haunt you awake.
the hand on your forearm travels, mind of its own, drawing up the shape of your shoulder with featherlight touches that contradict the way his nails dig deeper into the the skin you hide beneath the waistline of your dress.
“that’s not news,” you must think he’s blind to the hitch in your breath when his fingers slip over your pulse-point.
it’s his turn to respond with a hum.
“you only like yourself,” words more untrue have never been spoken before the man who’s every moment is spent drowning in his loses. his wandering touch halts. “a little selfish, if you ask me. but, that’s just what i think.”
this strikes a nerve. fury commands his hand into a fist and fingers find themselves tangled in the tresses of your hair. the realisation of how surprisingly soft it feels barely finishes registering when he’s pulling on it, dragging your head along with, till it lays flat on his puffing chest and your eyes stare up at him. “d’ya know what i think?”
even upside down, your beauty is striking.
“no, unlike you i don’t care what you think about-” joel tugs on your hair once more.
“i think you’re a brat. a silly little girl who thinks she can smile and get away with murder.” you could. he’d forgive you as you soak your hands in the blood you draw from him. knife in the heart, bullet through the brain, bat to the face, he’d slip away easily from this life if only to have you smile as he goes.
“you’re hurting me,” you whine, joel growls.
animalistic, beastly, a rabid animal sinking its claws into its defenceless prey. his gaze dances over your features, catching himself before he can sink deep into your captivating eyes, tracing the shape of your mouth, slipping down the peaks of your collarbones.
your dress- red, a colour joel miller will no longer associate with bleeding wounds and stained weapons- sits tight on your chest, squeezing the swell of your chest beneath the fabric, and gives away all your secrets.
“you like it,” he speaks in awe, unable to pull his eyes off the two stiff buds that poke against the red fabric.
“no, i don’-” dampness follows wherever his hand goes, fleeting as he makes the journey around your waist and up your side, crawling higher and higher to where he can feel your heart beating from within your chest. “joel.”
he retightens his grip on your hair, aiding you with the way your curve your spine and force yourself deeper into his uncaring, ungentle, enamoured touch. whoever joel had been in a past life must have moved mountains or performed miracles to grant him the luck to be holding you this way, the fingers he’d gifted with nothing but the cocking of guns and the feel of his own pulsating lust now expertly tweaking at one of your stiff nipples, all thoughts of the fabric scratching at your sensitive skin dissipating into the abyss as he realises you’re enjoying the pain.
“heard ya, earlier, in the living room,” at the time, he’d been mortified to be overhearing such intimate words between you and tess. the blood that insists on rushing to his crotch now wants you to know, to hear the admission of guilt be spoken from his own mouth. “ talkin’ bout your past.”
he doesn’t specify.
he doesn’t need to.
you give away your shock with parted lips, widened eyes, frozen eyelashes, pupils staring up at him like a wounded fawn he’s about to take his first bite out of and, hopefully, it won’t be the last one.
“tess turned you down,” the hand on your chest switches sides, donning your other breast with some much needed attention. his hand must still carry residue of the water, for you gasp and shut your eyes in the shock of his touch, your own fingers shooting up to scratch at his wrist. near convinced you mean to push him away, the pressure against his hand that pushes deeper into his unholy affection has him realising otherwise. “i wouldn’t.”
you say nothing. joel pulls harder.
“too bad i’m-” you cut yourself off as he presses himself closer to you, your poor hips bound to awaken with bruises from the counter he’s got you pressed against. with a distance so small he can hear your teeth grind, joel watches you like a hawk. the twitch in your brow, the flutter of your eyelids, the bobbing of your throat as you silence what he imagines would be an otherworldly kind of moan, a whine he’d let kiss his ears and wind up poisoning himself with the torture of it replaying in his head each waking moment till he kicks the bucket, once and for all. the want to see you fall apart evolves into a need. “too bad i’m not offering you the chance.”
joel miller is a hot blooded man, at his core, weak to emotions and vulnerable to the warmths of flesh. with notches on his bedpost and a tally of lives beneath his belt, he sees little wrong with taking what he needs.
“who said anything about an offer?”
the descent to the floor is far from graceful, with bitten back groans of pain as clicking noises resound throughout the room while his joints bend and break in an effort to get him where he needs to be, where he’s needed to be for far longer than merely this exchange on kitchen grounds: on his knees for you.
a part of him would prefer it if you weren’t wielding a butchers knife.
the other part wishes you were facing him, eyes full of that repressed anger, hatred and discontent you likely harbour for him as you point the blade down at him and threaten to paint the floors with his blood. you’ve yet to do that, and so he takes it as his queue to progress.
smoothing his hands up your legs, he admires the landscapes of your body from this angle, with legs longer than any tree in the amazonian jungle and curves with peaks that resemble the mountains of the himalayas. arriving at the top of your knees, the hem of your dress both welcomes and conceals his touch, inviting him into the wonderful world it hides beneath it yet denying him the privilege of feasting his eyes on your paradise, an island of safety amongst the open ocean of his mind.
your breathing is measured, precise, too rhythmical to be natural, the subconscious action now turned into a practiced routine you mean to maintain nonchalance with. perhaps you’re yet to realise that, while he may remain indifferent to those that surround him, joel knows how to read people. and, right now, you’re a whole novel of lust, awaiting for someone to open up your pages and drink in every lyrical prose you promise to tell.
joel finds purchase mid-way up your thighs, hands sliding around to the front of them to grip the buttery smooth skin and ground himself in the reality he kneels before.
you breathe in, you breathe out.
one knee buckles, ever so slightly, the weight of you collapsing into his welcoming hold. he revels in the feeling of supporting you, in every meaning of the word, thumbs not even waiting on a command from his consciousness to begin soothing your tingling skin with a gentle back and forth movement to match the knife in your hand.
inhale, exhale.
your legs straighten once more, a hand of his winds its way back out from under your skirt and shoots up to grab your free one, dragging it down his pits of desire.
“hold,” he’s parched all over again, mouth drier than the texan wastelands on a hot summer’s day. all he can do to survive is peel up that infuriatingly soft, red fabric of your dress, skin unveiling itself to his hunger struck eyes. with the skirt bunched up, he shoves it into your awaiting palms, pinning your hand against your own waist. “don’t move.”
where he expects protest, he receives more breathing.
lace covers your skin, a delicate shade of a colour his eyes can’t quite distinguish in the dark of the night. one flicker of his sight to the very core of your body and he notices it, that tell-tale sign that you’re enjoying this little display of attention, despite what your measured breaths may have him believe. a wet patch, your wetness. the stickiest, sweetest of honeys that only a woman like you can possess, and a man like him should never bare himself witness to.
curiosity gets the better of him- one day, joel hopes, this will get him killed- and his touch is reaching for the lacy fabric, fingers curling themselves in the waistband of your panties and the fabric that covers your right asscheek before curling his hand into a fist, tugging upwards.
in and out, shaky breathing comes from above.
the lace pulls tight on your delicate skin, no choice but to nestle itself in the slit of your cunt as two pretty soaked lips peak out from each side. a heady smell he can only begin to describe as stiflingly sweet, tongue-tingling tanginess hits his nose. he makes sure to take a deep breath, letting the blood rush straight to his head- the one that sits packed uncomfortably in his tightened trousers.
delectable as sin, you keen back into his fist, back curving ever so slightly. there’s a tremor in the hold you have on the fabric of your dress. joel basks in the visual affect he’s beginning to have on you, no need to doubt if the fabric of your underwear rubs at your likely aching clit. he wonders if the sting of the lace digging into your skin hurts. he thinks it must hurt.
his fist curls tighter, pulls higher.
“ah,” at last, a ripple in your surface. though you still wield a knife, the carrot you’d been failing to chop rolls off the counter and onto the floor, lost somewhere in joel’s peripheral vision.
“shut up,” he grunts, like it doesn’t make his balls throb to hear you whine. “people are tryin’ to sleep.”
you scoff, and for a moment you seem to have rediscovered your composure. “tess is drunk as a sailor, and the old men could sleep through nuclear warfare.”
“‘s that an invitation to see how loud i can get ya,” he’s still caught in the way you mold against the lace, slickened skin carrying a reflection of the moonlight. this, he thinks, is what all them poets were writing about in their prose of love and beauty. “or a challenge?”
“it’s an invitation to stop lecturing me on volume control,-” you catch yourself, he realises, right before you can gift him some nickname a sweet girl like you would never use. asshole, dickhead, bastard, he’s heard them all and, still, he wants them on your tongue, in his mouth, condemning him for all the brutish, oafish ways he masks his obsession for you.
as coquettish as it may be, painting a picture worthy of a front-page on some playboy magazine, the sight of lace becomes a nuisance he no longer holds the patience for. so he strips you of it, hand moving to pull the garment down, down, down the length of you, till it hits your ankles. he awaits no movement of your own, taking it upon himself to lift each of your feet individually out the leg-holes.
it’s merely impulse that has him shoving the soiled lace into his back pocket, though he’s sure he’ll make use of them on lonely nights.
“you’re drippin’” his proclamation is ego-driven, pride swelling in his chest as he takes in the full sight of your bare heat. the view is a little obscured from behind you, but with the right amount of tilting of your hips at a certain angle and the widening of your legs, he’s bound to sit front row and centre for your private show. “‘s actually a little pathetic, sweetheart. is it cause ya like it when men get mean wit’ ya?”
he can imagine the way you’d roll your eyes at his words, and it has him thinking about how you’d look with your eyes rolling back for different reasons, reasons he’s about to gift you.
but first, he curls one hand around your ankle and tugs the limb along as far as he wants it. much better, he now faces no blockage in the path up to your slit, freely letting his wandering hands ascend to his newfound heaven. perhaps he’ll revisit the life of gospel, if you promise to be the altar he prays before.
cool fingers to warm skin, you swallow a gasp a little too late for joel to not notice as he drags the tips of his middle finger up the length of your slit. soft, puffy lips part for him, until he presses against that special button that’s bound to turn on your engines.
rolling his finger over your clit a few times, he refamiliarises himself with the female anatomy, with your anatomy, memorising each soft bump and meaty lump he finds along the way.
it happens so sudden, and unwillingly, the way his mind switches to thinking of tess. he wonders what exactly it is she does to those poor things she sends home on shaky legs, where she even begins to touch them. joel imagines she makes use of what she has and starts with her fingers.
so he does the same.
working over your slippery wetness, he coats the tip of his middle finger with it, till he finds what he’s been searching for: the gateways to your heaven, your entrance. he breaches your walls with that single digit and somehow that’s enough to have you squeezing around him so tightly he wonders if blood still manages to flow to his digit.
two, three, four pumps of his hand and he’s introducing his pointer finger too, pressing them both into you to witness the ways you mould around this wider stretch, the lips of your cunt a pair of cushions his knuckles collide against each time he fucks his fingers in.
“so now you shut up. ‘s the matter, huh?” he’s contradicting himself and he doesn’t even care, too busy focusing on curling his fingers inside you, delighting in the feel of that spongy tissue they press against. “am i too borin’ for ya?”
“you’re the most infuriating man i’ve ever- oh!”
a tongue meets skin.
the knife clatters onto the counter.
you lurch forward.
his hand pulls you back.
“tess was right, ya know?” he can still taste you on his tongue, nothing more than a simple lick over your slit and your salty pleasure already seeps deep into his veins, staining his very being with the memory of his new favourite flavour. he pulls his fingers out, slipping them up to your clit. three little taps to the pulsing bud- tap, tap, tap- and he’s slipping them into his mouth, tongue working overtime to clean up every last drop of you that coats him. “that boy of yours wasn’t doin’ ya right.”
the common sense that screams at him to not feel envy over some ex-lover, someone who was likely barely even an adult at the time and no longer appears to be around, is no match for the green eyed beast that commands him to tell you, without using words, that he can do better- touch you better, protect you better, fuck you better, if you’d just let him.
‘could keep ya satisfied.
that’s a new thought, one he’s never needed before yet never wanted more, a burning ache to be worthy of your trust, affection, lust. he’ll never forget the first time he thinks it, mouth salivating at the sight of you.
“is this the part you say some cheesy line straight out a porno? what ya need is a man, a man like me!” the softness of your giggle is still sharp enough to cut through the tension, god it’s never sounded sweet, and joel finds himself freely smiling into the darkness, yet still too stubborn to laugh at the deep voice you attempt to imitate him with.
“well, was you who said it,” his mouth finds it’s way back onto your soaked heat, taking his time to work his tongue up the length of it, his saliva mixing itself in a nasty cocktail with your wetness. he imagines the air is cold against your skin, and that you like it, memory of those hardened nipples hidden beneath the fabric of your dress. “but if ya insist.”
diving in head first had always been his style, from his first lover to his last, and to now, knees aching on the kitchen floor. the tip of his tongue dances round your clit, tantalising you to grind your hips to the rhythm of his sinful touches.
licking into you, he’s reminded how much he enjoys that swelling in the chest that only comes from bringing another pleasure.
he’d not been a perfect lover, far from it, but he’d liked to believe at one point he’d been trained by only experience that comes with age, years of touching wrong and kissing badly to learn the right ways to make those he shared a bed- or a counter, or a backseat, or a club bathroom- with see angelic white as they writhed and squirmed under his touch. you’re lucky to have him now, matured by past lovers and broadened by age, with all the knowledge he needs to open your eyes to how a man pleasures, kisses, loves.
he’s out of practice, sure, with recent years adding notches to his belt that were merely frantic, unexpected, barely undressed run-ins with strangers, in strange places, cock barely getting a moments affection before he’d be spilling his seed and tucking it, limp, back into the confines of his trousers and locking it away beneath a zip.
what a perfect excuse you are, for joel to remaster the arts of lust.
it’s messy, wet dripping down his chin and staining itself into the stubble of his growing facial hair. it’s noisy, his mouth openly groaning depraved joy into your warmth as you sing him a song of sweet euphoria, slowly building towards that crescendo on the horizon. it’s animalistic, barely human as he revokes all earthly needs such as rest, and food, and socialising, his mind, and soul, and heart, and cock all screaming in unison to spend whatever days he shall possess on his knees before you.
and all the while you writhe and wriggle, some times running away from him touch, other times rutting so far back into him that you threaten to suffocate him somewhere between your warm thighs, and sugar sweet cunt, and the two well-rounded globes of your ass.
his only saving grace is that he can’t see you.
hearing your pretty whines, and hand-muffled moans, and heavy intakes of breath is enough to curse him for the rest of his waking days, condemned to wander the wastelands of earth knowing the noises you make on the brinks of pleasure, with a touch-starved man satiating his hunger for flesh and blood with the sugary sins of your soaked cunt.
burrowing deeper into you, his consciousness rips through the fog of his lust to curse out his perversions as the tip of his hooked nose bumps against the puckered entrance of your ass. it does nothing to stop him tearing his tongue away from your clit, flattened as he drags it over the expanse of your cunt, and over your taint, and up the crack of your behind.
“n- ah,” you can’t deny him while sounding so eager for more, the tip of his tongue now circling your back entrance, mimicking the treatment previously given to your little pearl. “no, don’t, not there.”
next time, he thinks, we’ll try that next time.
sights returned to his previous desires, he works to rip every sigh, and every whine, and every dirty little song you’ll grace him with. the sound of whatever record tess has put on in the other room becomes a safety blanket, dousing you both in the warm protection of not being overheard.
and, then, he does it, he makes the ultimate mistake.
his eyes flicker to the left and he finds himself faced with the stove that sits within bill and frank’s- and, by an extension he does not enjoy to remember, your- kitchen. there’s little that’s remarkable about the appliance, just your standard, everyday oven that he’s sure you’ve spent countless hours cooking up those comforting meals he’s come to anticipate each time tess tells him they’re due a visit.
except, the oven door is made of glass.
glass which now paints the most pornographic masterpiece for no eyes but his own. you, with hands gripping the island’s counter like your life depends on it, and the skirt of that goddamn dress he’s envied all evening for the way it got to rest against the warmth of your thighs now bunched up in your tight grip, and your head thrown back, curving your spine in a way that has him wondering about the other ways he’d be able to bend and break you beneath his touch.
and then there’s him, down on his knees like a devotee laying himself down to worship his goddess, face burrowed in the space between your legs, mouth devouring you from behind with the help of his hands, the same ones that had strangled a man less than a day before and reigned fire down on countless others for years, that now grip the meat of your thighs to pull you back onto him, fucking his tongue into your sopping heat.
the image will haunt him more than the face of any man he’s killed.
“d’ya touch yourself, sol?” you don’t answer him, but that’s okay. in a sweet change of pace, joel miller’s perfectly fine with talking enough for the both of you. “yeah, bet ya do. late at night, right? once you’re all alone in bed. ya seem like the kind who can make herself scream.”
you back into him, smothering him under the weigh of your body. becoming his holy grail, he drinks from you like it’s the key to eternal life, and what a way of living this would be, time disregarded as nothing but meaningless while your bodies melt together in the heat of passion.
fucking his fingers back inside, he becomes frantic beneath the need to make you cry, fall completely apart with only his hands to hold you together. “let me do the honours this time though.”
you don’t scream, can’t scream, hand over mouth muffling whatever profanities and theatrical proclamations he rips from within you with the stroke of his agile tongue, the only muscle of his that’s yet to develop aches and pains. he imagines that will no longer ring true once he awakens past sunrise.
he’s unsure how much longer he works his tongue over you, slipping and sliding through the liquid pleasure, but it ends with fingers tangled in his hair, pulling him away and tilting his head up.
you’ve never looked more holy, moon casting it’s shine around you, eyes glossed with unshed tears, lips parted and swollen from the pressure your own teeth had bitten down on them with. your expression, he can’t quite read. not sad, not happy, not mad.
your eyes catch on something, abandoning his own for something closer to the floor, to which he follows and finds exactly what you’re staring at: the evidently dark patch that now stains the front of his jeans.
the discomfort of trekking back to the qz will now be tenfolds worse in the stains of his own pleasure.
“joel...” his name is nearly a beg, a prayer, an invitation. hand still in his hair, you tug, pulling him upwards off the ground. legs open wider and back arches deeper, a seductive sight that your body pleas for him with.
he swallows a groan, knees alleviated at last from the floor, and presses himself against you once more. strong arms crush you in an embrace, pulling you back into him as his head slips to rest against your shoulder. he’s capricious with the way he lets himself litter a few wet kisses over your neck, breathing in the smell of you.
“that,” you grind back into him, a torturer who takes his aged body as her victim and toys with his barely recovered cock, the cum in his trousers sticking uncomfortably to his skin. he pulls tighter on your body, grounding himself in the weight of it against his own to find the sanity to finish his sentence. “shouldn’t have happened.”
joel hopes no one awakens as he slams the door on the way out of the kitchen.
people once spoke of how the only certainties in life were death and taxes but, nowadays, the words don’t ring as true and the guarantee of life with taxes has morphed into something else entirely; a reality where death and time go hand in hand. as sure as tomorrow will arrive, death will come too, eventually. not today, however, and joel miller finds himself stood throwing a ball back and forth for a dog.
it chases and retrieves, trailing it’s happy self all the way back to him only to spit the ball down at his feet, siting and waiting to repeat the process once more. there’d been a time where this is all he’d wanted: white picket fence, dog in the yard, home-cooked meals filling a house with warmth.
that dream seems so far away now, even as he stands within it.
he cracks his back, huffing out a groan. “no, not again. my back’s fucked as it is, buddy,” with no one around to witness, joel lets himself crouch down onto his knees- both popping obnoxiously as he does so- and rakes his hand over the german shepherd’s head. it whines and makes an attempt to nudge the ball against him, protesting in the only way it can. a scratch to the ear does the trick to distract the animal, to which it tilts its head and forces itself deeper into his blunt nails. “not so bad, are ya? huh?” never in a million years did joel think he’d be talking to a dog when him and tess had set out for their routinely visit to the bill and frank’s. never would he have thought that would be the least shocking event to unfold on this trip.
he hears you before he sees you.
“you planning to make your knees familiar with every surface of this place, texas?”
he tries to rise, he truly does, but the four-legged foe he’d been petting mere seconds ago betrays him the instant it catches sight of you, charging past him and knocking him over in the process, ass to floor and head to sky.
the world above is a storm of greys, clouds swallowing one another with a looming threat of danger on the horizon and not a lick of the sun’s warmth seems to make its way through.
so instead, it sends you.
peering over him from above, hair a tangled mess, eyes a wreck of under-bags and sleepless tears, the collar of your jumper lowered just enough at this angle that he can see a tease of cleavage, you radiate a brightness like no other, more dangerous to his naked eyes than uv ray could ever be. he’s squinting again, frown etching itself on his forehead with the threat of becoming permanent soon. a few more years and his face will be nothing but frown lines and crows feet. at the very least, he considers, i’ve survived long enough to wrinkle.
the smile above him is worth a million laugh lines, a kindness laced within it that matches perfectly with the hand you hold out. when he does nothing but stare at it, you wriggle your fingers, enticing him to take a hold. he does most of the work, truthfully, but you play a part in pulling him back to his feet. upright once more, he can’t help but bask in the way he’s able to physically look down on you.
“thanks for tiring him out,” you’re the first to talk. you’re always the first to talk, and he curses you for it. “won’t need to walk him as far tonight.”
a queasy feeling overtakes him at the thought of you walking the dog alone at night, nothing but the moon to light your way. he’ll need to remember to tire the dog out next time he visits. “no problem, thanks... for feeding tess and i.”
“no worries!” you’re so kind, so good, smiling at him with a cheerful chirp in your voice. he can’t wrap his head around how you can bring yourself to treat him this way. “oh, actually, that’s why i came out here, i was looking for tess-” of course you were, when would you ever be looking for him? “hold on!”
you shoot off back inside so quickly that otis just reaches the doorway by the time you return. with an idle pet to his head as you pass by, joel once again sees, in the way such little affection can have the dog so elated, that resemblance between them you’d spoke of. in your hands, you carry an array of containers full of food- soup- each filled to the brim.
“i wanted to give you these, before you guys leave,” you’re explaining yourself, and joel wonders if it’s nerves that bring you to need constant babbling to fill any gaps of silence. he can’t imagine how he could make you nervous and therefore that thought is quick to be discarded. “i know the journey up here and back can be long, consider them a token of my appreciation towards you both for-”
“why don’t ya like me?” he cuts you off.
pathetic, he knows, but he can not stop himself, a deer caught in the headlights of your brightly burning, too-good-to-be-true, too-pure-to-be-fake personality.
you show no signs of hearing him, smile unwavering as you continue to hold out the boxes to him, “there should be enough to last you a few days, if you watch your proportions.”
it’s too much for him to handle- the food, the smiles, the sweetly glistening eyes-, and joel just has to know, needs an answer before the heat of his confusion consumes him entirely in its flames and leaves nothing but his smoking remains.
so he tries again, louder.
“why don’t ya like me?”
“and i’d probably say you’re best to heat it up, especially for tess,” you ignore him, again, lips stretching what can only be described as uncomfortably wider. “winter is sure coming in faster than last year, isn’t it?”
he grabs at your arm, fingers curling round the swell of your bicep as he speaks through gritted teeth, "answer me." like a frightened dog backed into a corner, he bares his teeth and yells his bark.
"for someone who doesn't care,” you try his patience, knowingly or not, and his grip tightens. you don’t flinch, welcoming the sting of his blunt and bitten nails against your flesh. “you sure do talk about my opinion a lot."
"answer the damn question, girl.”
“or, what?” you’ve got him there, he’ll admit, holding no real plan as to how to punish your silence. “you gonna give me the same treatment as last night?”
had he known you’d be so unabashed to mention the events on the kitchen floor so flippantly, as casually as one would speak about the weather, he’d never have dared to get on his knees. truthfully, he’d not given things a second thought, disregarding the later for the now, living in the moment with caution thrown to the wind over what the morning would bring. perhaps he’d hoped you’d been intoxicated enough to dismiss the memory as a nightmare, maybe he’d wished you’d keep away from him to free him of the volatile grip you have on his soul.
instead, you stand tall, proud, eyes fiercely staring back at his own as you challenge him to retaliate, mock you with none of those saccharine smiles you hide harsh tones behind.
joel says nothing.
“how about this, let’s make a deal, like the ones you and bill make.” inching closer, crowding in on his space and forcing him to take note of the smell of freshly cleaned clothes mixed in with your own fragrance. clean, warm, inviting, scents he’d never given meaning to before now. “you get me something, i’ll tell you what you want to know.”
he grunts out a response, hands meeting his hips as he juts out one knee, the shifting of weight between feet a perfect distraction to the rising tension in his worn-out jeans. “what d’ya want? ‘cause if it’s somethin’ like a gun, think again. i ain’t messing with none of bill’s strange politics on you havin’-”
“a dress.”
“a dress?” the statement has him quirking his brow, burning questions swimming in the depths of his eyes as he stares back at you.
“yes, and don’t look at me like that!” it’s hypocritical, he believes, for you to berate him for the looks he sends you when all you do is cast stones his way with your gaze yet shake him to his very core each time you smile. “i need a new one, my favourite one got ruined whilst making soup.”
unaware he’d even began to lean closer, joel’s quick to recoil, as if your words are bullets and his skin the target you hit on the bullseye every time.
“joel!” his name resonates from somewhere in the house.
neither of you dare to break eye contact. again, his name is yelled. this time, he manages to identify tess as the owner of the voice. habits have him used to running to her whenever she calls, but habits have never been caught between the choice of tess or you.
his feet remain glued to the ground.
tess yells once more and, though you speak up, you don’t dare look away. “think you might be needed inside, macho man. your missus is calling.”
“she ain’t my-”
“you two just gonna stand and stare at each other all day, or will you help a woman out already?” tess enters the scene somewhere behind you, a blur of her familiar shape standing out the front door.
only when your head spins and he no longer finds himself lost in the black of your eyes does joel take her in completely, hair clearly damp and complexion a little paled by her hungover body. in her arms, she struggles with the weight of a folded table. you approach first, he follows, his two hands aiding in carrying it out into the front yard as you retighten your grip on the boxes of soup in your arms.
“i should probably,” laying the containers down on the now unfolded table, you fidget with the sleeves in your hands, eyes downcast with something he can only read as guilt. he decides he much prefers the fire they hold when you berate him. “go check on the food, before it burns.”
you’re in the door and out his sight before he can so much as ask you to stay.
tess and him hit the road by noon. earlier than predicted, later than he’d wished for. the bite of cold already marks the air, despite the sun heating the world with its rays. he walks a little ahead, feigning ignorance to the repeated coughing coming from tess and racking his brain for answers.
answers to why he’d never noticed how hoarse she’d been sounding till you pointed it out. answers to what awaited them both upon returning to the qz. answers to when will be their next chance to visit the safe haven bill’s created. answers to why you don’t like him.
i don’t like you, joel.
it motivates him to walk quicker, faster, racing to put as much distance between himself and that damn kitchen floor, miles upon miles not enough to rid him of the dull ache in his knees that goes hand in hand with the throb within his too-tight-jeans. if he were alone, he’d break out in a sprint. but tess is here, he’s not alone, and home will simply have to wait on the passing of time to drag him back to it.
till then, he needs to find a dress.
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Nancy Wheeler has always been observant. It's something she prides herself on, if she's honest. It's what she knows will make her an excellent investigative reporter one day. It helps her make connections that other people might miss and remember the smallest of details that could make or break a story.
Perhaps most importantly, it's what makes her good at reading people – their micro-expressions, their body language, what makes them tick. She's good at it with anyone, but especially when it comes to the people she knows best.
So it's only logical that she's the first to notice when Steve starts to fall for Eddie Munson.
The signs are subtle, at first, but they're there, and Nancy can see them from a mile away. She's got the added bonus of having been the object of Steve's affections, once upon a time, so she knows what to look for. She knows that with Steve, it always starts with the lingering glances. He's never been able to keep his eyes off the people he wants, and it's this that first clues her in on the whole thing.
She's at Penny's Diner with Steve, Robin, and Eddie, and their waitress is laying it on thick, flirting relentlessly with Steve, batting her eyelashes dramatically and swaying her hips more than is objectively necessary whenever she walks away. And sure, Steve hasn't gone for any of the girls that act this way around him in a long time, but he always, always looks. Hell, even Nancy looks, sometimes, when a girl is objectively pretty. She's big enough to admit (to herself, at least) that boys aren't the only dating pool she's interested in, now that she and Jonathan are done.
But that day at Penny's, Steve doesn't give the poor waitress so much as a second glance, because that day, Steve can't seem to stop looking at Eddie.
At first, Nancy is sure she's imagining it – the way Steve's eyes linger on the dungeon master like he can't bring himself to look away – but it gets harder and harder to deny the longer they sit there sipping their milkshakes. Eddie is debating something silly with Robin, and Steve is just... watching him.
Steve's got this fond little smile on his face, and it's a look Nancy recognizes immediately. It used to be directed at her. And honestly? She's a bit relieved it's not, anymore, because she loves Steve, but not like that. Not the way she was worried Steve still loved her... the way she wonders if Steve might be falling for Eddie.
She sort of keeps an eye out for things, after that day – the little things that give Steve away when he's crushing hard on somebody. The lingering glances. The soft smiles. The brief touches. The flimsy excuses for stepping into Eddie's space, like the day Steve sees Eddie struggling with the lighter, and instead of just lending Eddie his own, he steps forward until their shoes are practically touching and holds up the flame for him.
She sees it all and wonders how in the world nobody else has caught on yet. Even Robin, Steve's best friend in the entire world, seems puzzled by the sudden lack of dates on Steve's calendar. Sometimes Nancy wants to grab her by the shoulders and tell her to just think a little harder.
(Nancy wants to grab Robin by the shoulders for other reasons, too – reasons that involve pulling Robin closer and kissing the living daylights out of her – but that's neither here nor there.)
But no matter how long Steve's pining lasts, no matter how obvious he's getting, nobody else seems to notice. It's mildly infuriating, but Nancy isn't about to talk to anyone else about it. It's dangerous being queer in this part of Indiana, and even though she knows that their little monster-fighting family won't care, it's still not her secret to tell.
It all comes to a head at a bonfire one night, midway through the summer, when the kids are once again grilling Steve on his sudden lack of a dating life. And it's Max who first cottons on to the most plausible explanation.
"Oh my God, wait, you like someone!" Max gasps midway through Dustin's interrogation.
There's a brief silence, and then the kids are all shouting.
"Oh, shit, Max, you're right. He totally does!" Dustin cries.
Steve tries to protest, but it's useless, because ever since Steve shed his royal persona two years ago, he's been a truly terrible liar. He looks like a deer in headlights, eyes wide and vaguely panicky, but Dustin Henderson has never been very good at letting things go.
"You have to tell us who it is!" Dustin presses. "We're your friends, Steve. Friends tell each other things. Unless..." Dustin gasps dramatically. "Unless she's someone we know..."
That shuts everyone up all at once, even Robin and Eddie, who have been having their own little conversation off to the side. Everyone stares at Steve, and then half of their eyes go to Nancy herself, and the other half land on Robin. It might make Nancy laugh, if Steve didn't look so close to throwing up.
"Right, well this is stupid," Steve says, smacking his hands on his knees and pushing up out of the chair. "I'm going to get another drink, and when I get back, we're dropping this."
He turns and hurries into the house, and Nancy glances around their little circle. Robin looks confused, but mostly worried. Eddie looks vaguely sick. And most of the kids just look shocked. They all start to murmur amongst themselves after the door slides shut behind Steve's retreating form. Nancy sees the way his whole body seems to sag, watching through the glass, and decides she's had enough.
She gets up, ignoring the way the murmuring gets louder as she walks, and follows him.
She finds Steve bent over the kitchen counter, palms pressed into the granite and head bent towards his chest. He looks like he's on the verge of panicking, and her heart aches for him. He's been through so much – some of which Nancy knows is her fault – and God, she just wants him to be happy for once.
"Steve?" she says softly.
Steve flinches at the sound of her voice, like he was so lost in thought he didn't even realize she'd followed him.
"There's something I wanted to-"
"Before you say anything, it's not you," he interupts flatly before she can finish. He pushes off the counter to look at her with sad, earnest eyes. "I know things were, like, weird when we were in the Upside Down, and we never really talked about it, but... I don't feel that way about you anymore. So you don't have to worry."
Nancy just blinks at him.
"That... that's what you wanted to talk about, right?" he asks.
"No, actually," Nancy says carefully. "I sort of knew you didn't feel like that about me, and I don't feel that way about you, so that's a non-issue, but..."
Steve looks relieved for a second, then tenses up again. "But...?" he says, raising an eyebrow.
"I, um... I think I might have an idea who it is – if Max is right, that is, and you really do like someone," she says.
Steve sighs. "It's not Robin, if that's what you're thinking."
"No," Nancy says softly, shaking her head. "No, it's not."
Steve frowns and averts his eyes, arms crossing protectively over his chest. He doesn't say anything.
Nancy considers her options. She wonders how she should play this, how to go about bringing this up. In the end, she just goes with her gut.
"Did you know I like girls?" she asks. It's the first time she's said it aloud to anyone, but it feels good. It feels like the right time. Besides, she wants to do this for Steve – to make him feel more comfortable. It's the least she can do.
Steve's eyes snap up to look at her again.
"I still like boys, too, but yeah... I like both, so..." She takes a deep breath. "If there was anything you wanted to tell someone about how you feel about... someone else... I'm not going to judge you."
Steve bites his lip. He looks painfully conflicted, and a little bit like he might cry. "I, uh..." he stammers. He closes his eyes and takes a deep breath… clears his throat. "Okay first of all, thank you for trusting me with that, and you know I support you. I just want you to be happy, Nance."
Nancy nods, because she knows. She's always known. "That's what I want for you, too," she says. She takes a step forward and takes one of his hands in hers, because Steve's eyes are getting watery, and she hates seeing people cry. "You don't have to tell me, but if you want-"
"I think I like Eddie," Steve says suddenly, voice whisper-soft. He looks terrified when he meets Nancy's eyes again. "I, um... yeah. I like Eddie."
Nancy offers him what she hopes is an encouraging smile and nods. "Yeah, I kinda figured."
"Shit, am I that obvious?" Steve says weakly, and Nancy can't help but laugh softly.
"God, no," she says. "Well, to me, you are, but to everyone else? God, they're clueless. I promise you that nobody else has any clue, and it's been driving me crazy."
To her relief, Steve huffs out a soft laugh, as well. "Yeah, well, you've always been sort of freakishly observant, haven't you?"
It's true. She's always been like this, and that's precisely why she feels confident enough to make her next statement.
"You should tell him, Steve," she says.
Because Steve isn't the only person she's been watching for the past few months.
She's been watching Eddie, too, so she's seen Eddie's dopey, smitten smile whenever Steve makes a terrible joke. She's watched Eddie pull his hair in front of his mouth bashfully after Steve teases him. She's seen the blush on Eddie's cheeks whenever Steve steps into his personal space.
Steve Harrington isn't the only one who's been busy falling in love.
As usual, nobody else has noticed.
"No, absolutely not," Steve says, pulling his hand away and running both hands through his hair instead. "Are you crazy, Nance? He'll hate me!"
Nancy is pretty sure she deserves an Oscar for keeping her expression neutral, because the urge to roll her eyes is physically painful to resist.
"Steve," she says calmly. "I love you, and I love Eddie, but the two of you are idiots if you can't see how hard you've been pining over each other, and I am not above physically knocking your heads together to get you to realize that."
Steve's eyebrows disappear behind his hairline, and Nancy almost laughs. "Jesus, when did you get so threatening, Wheeler?" he grumbles, but there's a hint of a smile on his face. It's quickly swept away by fear, though, and Nancy's heart breaks a little when Steve looks at her with those puppy-dog eyes of his and asks, "What if you're wrong?"
She's only just opened her mouth to reply when the sliding door opens again, and someone else joins them in the kitchen.
Eddie's eyes dart back and forth between Nancy and Steve assessingly, and Nancy has to bite back a laugh because oh. Eddie was jealous.
"Sorry to interrupt," Eddie says, one eyebrow raised. "Just wanted to make sure everything was okay." He focuses his gaze on Steve, eyes softening. It's disgustingly adorable, how earnestly concerned he looks. "You doin' alright, Stevie? Kinda left in a hurry back there."
Steve glances at Nancy, face becoming redder by the second. Nancy smiles.
"Well I'm going to let you talk," she says casually. Steve's eyes nearly bug out of his head, but she puts both hands on his shoulders and looks him straight in the eyes before he can protest. "But to answer your question from before... I'm not wrong," she murmurs softly, so only Steve can hear.
She pats him gently on the cheek and turns on her heel before Steve can respond, catching Eddie's eye on the way out. He looks perplexed, and she just smiles.
The kids hardly notice when she rejoins the circle around the fire. They've already moved on to topics that don't involve their babysitter's love life, but Robin still looks worried. It's cute. God, Robin is so cute, Nancy can hardly stand it.
"Is he okay?" Robin asks quietly. "He looked pretty upset when he left, and then you guys were gone for a while, and Eddie thought maybe you were getting back together, but I told him that was ridiculous, and now neither of them are back yet, and-"
"They're fine, I promise," Nancy says with a grin, interrupting Robin’s rambling. "They just... needed a little nudge."
Nancy gets to see the moment it clicks for Robin, and it's only a little bit hilarious. "Wait..." Robin says, mouth dropping open. "Steve...?"
Nancy nods, smile widening.
"And Eddie?"
"Yep," Nancy says. Robin looks on the verge of a massive freakout (a positive one, obviously, but a freakout nonetheless), and Nancy doesn't want her to unwittingly out both of the boys to the kids, so she changes the topic. She figures if she's making Steve deal with his feelings, she might as well do the same. You know, solidarity, and all that.
"By the way," Nancy says coolly, quietly, "did you know I'm bisexual?"
She has to cover Robin's mouth with her hand to stop her shriek of surprise, but it's worth it, because Robin instantly turns into a blushing, stuttering mess, and it's so stupidly endearing. Nancy wants to kiss her until neither of them can remember their own names.
It's even more endearing when Nancy tells her, "Yeah, so I'd really like to talk later, after the kids go to bed, if that's okay?" And Robin looks like she might faint when she blushes and whimpers out a yes.
Nancy just grins and threads their fingers together, hands tucked out of sight from the kids.
They're still sitting like that when Steve and Eddie finally come out of the house after a very long time, both boys looking flushed and a bit disheveled, but happy.
"Thought you were getting another drink?" Erica snarks at Steve when they sit down, and Nancy snorts, because Steve definitely returned empty-handed.
Steve's eyes widen and he looks at Eddie sheepishly. "I, uh... got a little distracted."
Only Max seems to recognize the implications, because her jaw drops, but Robin nudges her with her foot before she can say anything, and Max instantly shuts her mouth. She's still got a knowing look on her face, but Nancy knows she won't go outing anyone to the others. She's a good kid.
"God, you have the attention span of a puppy, Steve, I swear," Dustin grumbles, and the conversation quickly moves on.
Nancy is mostly quiet for the rest of the night, silently observing all of her friends and reveling in the feeling of Robin's hand in hers. She watches as Max tentatively rests her head on Lucas's shoulder. Watches Lucas's eyes widen and sees the internal freakout happening in his mind. She sees the way Eddie and Steve sit closer than before, practically on top of each other, faces flushed with happiness while they all make s'mores. She watches her brother look hopelessly confused sitting between Will and El, because he hasn't yet realized that while he is in love with one of them, it's not the one he thinks it is.
And at the end of the night, after the kids are all settled in the massive living room and she and Robin head for the guest room, Nancy catches Steve's eye. He and Eddie are holding hands now that they're out of sight of the kids, and Eddie can't stop staring at Steve like he's some sort of miracle. But just this once, Steve tears his eyes away from Eddie to meet Nancy's.
He smiles, mouths thank you, and gives an approving nod when his eyes land on her hand, which is still wrapped around Robin's.
Nancy just smiles and nods, and watches as Eddie impatiently tugs Steve into the bedroom and shuts the door. As Robin does the same to her, pulling her eagerly into the guest room, she has a wild thought.
If the investigative journalism thing doesn't work out, there's always the option of matchmaker.
She's apparently pretty damn good at it, after all.
And she's always been observant.
#steddie#steddie headcanon#steddie ficlet#steddie fluff#steve x eddie#steve harrington#eddie munson#nancy wheeler#pov outsider#pov nancy wheeler#nancy is a good friend/wingwoman#background ronance#ronance#getting together#stranger things#mcdynamite writes
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being trans is such a mindfuck. nobody knows who i am. i dont need to come out, im fine as i am. i hide behind my clothes. i dont recognise myself in the mirror. i dont know if i ever will. i want to transition. im scared of change. i want to be seen and known. i am in danger. queer joy is beautiful. i am more open than a queer person used to be able to be. someone like me was murdered yesterday. i saw their face on the news, and the reporter used the wrong name. wearing mens’ clothes brings me joy, and the joy is reminiscent of a little girl. i want to be pretty. my skin doesnt fit and my voice is not mine. im scared i might love my father more. i dont need to come out, i can manage this all. im going to die someday anyway, it wont matter. a kid was staring at me in the bookstore today and i saw my past in their eyes. i wonder if they saw their future in mine. i want to be someones boyfriend. i am my brothers sister. all bodies are beautiful except mine. god created grapes but not wine and wheat but not bread. god hates fags. there is something wrong with me. if i ignore it, itll go away. its not going away. it hasnt gone away in seven years. i dont want to be a stereotype. i love brash vulgarity. my mother thinks i am beautiful. i share her face. i know ill regret it if i never come out. i dont want to waste my life wearing a costume. i dont know if i want to sacrifice the life that ive had for the life i could have. someone out there understands me. someone else would kill me without regret. someone would cry if i was gone. someone would praise my killer as a hero. there are photos and illustrations of people like me in the past. our history has been erased. theyre still trying to erase us. i dont know if the present is worth the future. i want to be happy. i dont feel like i deserve it. ‘female’ leaves a bitter taste in my mouth. ‘woman’ makes me see stars. i am one but not the other. i am the ghost of the person i want to be. i encourage others and love them regardless. i am a hypocrite. ive been in hiding since i was thirteen. i want to be loud. my mother spent nine months creating me. i will spend the rest of my life creating myself. i am scared. i am angry. i am beautiful and sickening and i want to rip my skin apart to make space for something new. my rage is glorious. they will never understand. i do not need them to. i am so lonely. i am an artist and i want to be a masterpiece. they call my creation mutilation. i dont want to make my parents sad. i want my brother to like me. i am visibly queer. that man shouted at me to smile because he was treating me like a woman. what i have right now is enough. i want more. i don’t know if ill ever have it. if i die tomorrow, i will be buried in a dress. it will be a dress that is already in my closet, a pretty dress that i havent worn in years.
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