ok but like, Modest!Alicent Hightower au (more modest than she already is) cause I feel like it, it adds ✨layers✨
Alicent who veils her hair during her day to day life, elegant laces and silks adorning her long ginger-brown hair, covering it completely at the Sept.
Alicent who wears dresses with long heavy skirts and always covers her elbows with billowing sleeves.
Alicent who conceals her silhouette with thick shaping garments. they also just helped her back during her pregnancies and taking care of kids (her servants recommended them so she'd have full range of motion and support)
Alicent who was stripped of her modesty, her dignity and sense of security whenever Viserys wanted her. stripped of it by her own father when he sent her to Viserys's chambers in a dress that didn't cover as much as she would have liked, especially when she visited a man with those (silent) instructions.
Alicent who lets her hair down around people she trusts. covering it around Rhaenyra after she abandoned her, a blow to Rhaenyra, a blatant "you hurt me and broke my trust". letting Criston see her hair after he becomes her sworn sword. covering in front of Viserys until he demands she stops. Alicent putting a little makeshift veil on her daughter, who wanted to look like her mum, promising it would protect her from how loud the world was.
Alicent who only trusts her closest servants to dress her, and even then insists on being in a full shift before they can come in.
Alicent who felt stripped bare while giving birth to her children.
little Alicent looking up to her mum who was also very modest, and spending her childhood playing in long skirts.
Alicent who wears shawls and scarves out in public or at events. Criston watches to make sure she remains properly covered. her hands fiddling with the patterns or tassels while she talks to others.
Alicent doing this with her kids:
Criston offering her his cloak when she's put in bad situations like sudden crowds or outings.
wearing flowy but opaque fabrics during the summers, looking ethereal and goddess-like with her layers skirts and sleeves.
the whole Larys situation being even more sickening.
all 3 of her sons being protective of her modesty alongside Criston, always offering their cloaks to her or standing to block her from the wind or wandering eyes. Aegon holding her veil in place when it's windy, Aemond placing a cloak over her in public, Daeron fiercely defending his mum from lusting glances or lingering stares.
Helaena continuing to veil with her mum when they go out, they love matching veils and trying ornate styles.
Alicent fixing her daughters veil in attempts to get it to stay in on dragon back. it doesn't. but they don't mind the extra bonding time none the less.
gold veils that literally make her look like she's dripping in gold.
tucking her babes in her shawls or holding them against her skirts that are practically swallowing them whole.
Alicent collecting layers. Ornate undergarments that cover her arms in gold and embroidered patterns, some almost like tapestries others more simple. undershirts that cover her neck, with "choker" patterns and sewn in jewels. modest nightgowns and robes made of the softest, most breathable fabrics in existence.
covering her face on holy days/days of importance.
I just have so many thoughts.
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[book spoilers]
Lockwood’s idea of a grand gesture is to be more of a fool than usual, more death-defying than usual, to make sure that Lockwood & Co. was always on front page news because if Lucy was the best then Lockwood & Co. could be nothing less than THE best agency to deserve her, to get her to return. And no, he doesn’t stop there. He may not have asked you to return on bended knee like you wanted Lucy, but like any proper gentleman caller he couldn’t come to your door empty-handed. He brings THE case, that one case that Lucy could never refuse coming from Fittes herself. I bet he spent all those four months searching for that one case. Because see the plan was always for her to return and Lockwood has always been an end-justifies-the-means kind of guy. And the way he gets her on board speaks a lot about his own character and how well he knows Lucy.
Lockwood has always been slightly manipulative and he uses the full force of that skill during that reunion with Lucy. Every move was calculated. From his suit he wears like armor, each one carefully chosen. An old coat that reminds them of a case they worked on together, an immaculate new suit (Really? Just to hire her again?), and to top it all of, a tie which Lucy specifically gave him. He catches her off guard, he doesn’t give her time to get her bearings. He knows asking her outright to return wouldn’t work. Even if he did beg, that already failed when he ended up so angry that he left Lucy behind in that cafe (the fact that Lockwood who prides himself on being a gentleman could leave a girl, and Lucy of all people, shows that his emotions were completely haywire that day). In other words, Lucy’s stubbornness proved stronger than his own. So he had to change tactics. He had to make sure that her returning would be all her idea, that she would return all on her own.
Because see, he didn’t need a case to see her. He could have visited at any time after they didn’t have closure when Lucy snuck away in the dawn to leave. He could have normalized ties between them and remained friends even as Lucy was now a freelance agent. But he didn’t. He made sure they didn’t have closure. He didn’t even acknowledge her leaving because to do otherwise would make it final. On Lucy’s end I think she wouldn’t have minded if they could be friends and talk casually together again. She wanted it. But that’s not what Lockwood wanted. He wouldn’t have been satisfied unless Lucy was back home with them. Like a jilted lover, he needed a grand gesture to draw her back in.
So he does everything. He lies. “I wouldn’t ask you again to return.” “It’s just a one-off.” “One night, two max.” But and even though Lucy couldn’t fully see through him, what they really meant, she did pick up on signs of him fraying and unraveling. The uncertain smile that was simultaneously just for her and was shades paler than his usual gigawatt smile, the slight bitterness that she was willing to work with other agencies but not his, that studied nonchalance as if he wasn’t keeping track of her progress and whereabouts the same way Lucy tried not to follow news of Lockwood and Co., the deflection, deflection, deflection.
He doesn’t answer properly regarding Holly because he still thinks she might have had something to do with Lucy leaving.
“George didn’t like it.” This is his mixing up of I and we tendency again but way worse. For him to use George to say that she was missed was egregious because couldn’t he just say that he missed her? Or even we missed you, we didn’t like it [the idea of replacing you]. It wouldn’t be so strange. He is as much her friend as George. Unless her leaving cut him more deeply. And we know he represses that sh*t. So he doesn’t even include himself in the equation anymore maybe because he thought it would make Lucy uncomfortable because not even him losing control of his emotions, being exposed and raw could get her to stay. Or at least that’s what he tells himself when in reality he’s fortified his barriers once again. He made himself open for Lucy, all the anger he’d kept tightly locked inside, and still - she left. So he can’t even talk to Lucy anymore without using someone or something as a conduit, projecting himself because he can’t expose himself to that sort of vulnerability again until he accomplishes his goal. So yeah there’s plenty of bitterness on his part, but what trumps that, always trumps it and his pride (because I’m sure part of him expected that Lucy would come back earlier on her own so he was just waiting and when that didn’t happen because see in a contest of wills Lucy’s would always trump his own, he’s weak when it comes to her, he’s the one who comes to her instead) - is that base desire for her to just come back.
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Hand on the chisel, or Song Ren's rigid, brittle self-control
From Pale Lights book 2
Chapter 2:
Song’s lips thinned, but she held her tongue. You are stone shaped by the chisel of life, she recited. Will it be your hand wielding the tool, or theirs? If she gave her anger to others, she relinquished the chisel – and that was unacceptable.
Chapter 8:
It was one thing to hold a member of her cabal, another to beat them. That would not be tolerated. Hand on the chisel, Song reminded herself, but wrenched open the door harder than necessary.
Chapter 11:
She grit her teeth. To say this was to insult their very contract, since she had asked to – Song smoothed out the thought, the rising anger. He did it, she knew, to get a rise out of her. But she would not fall for it this time. Song had prepared herself, meditated on the matter. Her hand would remain on the chisel.
Chapter 13:
Song could see them creeping across the checkered, cracked floor of the entrance hall. The god was everywhere, blind hands tugging and pulling at the insides of Scholomance like a child at play – moving this and that, just itching to smash it all onto something that would scream. Hand on the chisel, she reminded herself. Fear would do her no good in this place. Fear never helped anywhere.
Chapter 16:
Song, instead, calmly rose and faced as much as the wall as she could. She blinked, once, and breathed out. The sheer number of details was… Hand on the chisel, the Tianxi reminded herself.
Chapter 16:
“Trade on your own time,��� Colonel Cao told the students. “We move on.”
Song almost flinched. Hand on the chisel.
Chapter 18:
It smelled burnt. Swallowing thickly, Song looked down and saw that in her fugue she had left the chicken unattended too long. The top was still pink, but when she flipped the cuts she saw they had charred stripes. The Tianxi swallowed. If she cut them out perhaps it wouldn’t show? No, they’ll still see I cut out parts. Perhaps if she sliced every piece in two, then – no, idiot, they would notice the quantity was too small. One of them would ask. They would know.
Hands shaking, tearing up like a fucking child, Song did the only rational thing she could: she put the pot off the fire, went outside with a shovel and dug a hole in a corner of the garden. She emptied the burnt chicken into it – she’d have to buy another to replace it from her own funds – and filled the hole. She had to hurry, they could be back anytime now. Song opened the windows to get rid of the smell and cleaned the iron pot before doing the recipe properly this time.
When her cabal began arriving one after the other, Song was ready. She welcomed them with a smile and a meal and her hand remained on the chisel as they all sat together and ate. Like a proper brigade, led by a proper captain.
Chapter 21:
And he was right, she realized. It would be their word against his, and though she was confident they would come out ahead in the hearing the incident would be added to her record. She had shot a watchman from behind. Every superior officer she could ever have would know she had crippled someone wearing the black. Who would trust her after that? Who would let her stand behind them?
Song had already seen how bad it would be, fighting against the tide, and now mere minutes out of that place she was somehow making it all worse. She had learned nothing, made all that pain and grief pointless.
Crack.
“-of your life,” the man laughed. “You’re fucked, brat, you-”
Her hand slipped.
It was not the blow of a duelist or a soldier: her blade hacked into the man’s face like a butcher knife.
“You trash,” she snarled, ripping her blade out and hacking down again. “You relic, you-” Song screamed and struck again. And again, and again and again. He had cornered her, ended her career. Only when her arm hurt and her breath was ragged did the silver-eyed girl fall to her knees, choking out a sob, fingers closed around the chisel she had used to make a ruin of the watchman.
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S4 Victims: Story by Proxy?
Okay so. In spitballing with Em...something stuck in my head.
So we all know how serial killers leave crumbs because deep down they want to be caught/want the truth to be revealed? Well what if the Duffers, or even current Henry, are doing the same thing. That is, leaving breadcrumbs.
This mainly has to do with the S4 victims, their stories, and the order in which they're chosen.
So, it goes like this:
Chrissy: Abusive mother who resembles Virginia
Fred: Eaten alive by the guilt of being responsible for the accidental death of an innocent.
Max: Suicidal over guilt about Billy's death and her response to it. Billy, who died saving her/while she was saving herself from the Fleshflayer, a regenerated form of the Mindflayer.
Patrick: Abusive father, not much else told.
Max (again): Suicidal Ideation, dies, soul taken, but was revived by El. She's now in some limbo-state, where her body lives but her identity/mind is elsewhere. She will likely be brought back entirely by El in S5.
It almost feels like a story by proxy if we piece it together.
So, let's piece it together:
Person with an abusive mother...feels responsible for the death of an innocent...a sibling who was killed while this person was trying to save themselves from a monster which came from Hawkins lab, which leaves them suicidal...and this person lives in a situation with an abusive father figure. This person becomes suicidal, and their suicide attempt was not entirely successful. They were revived by El, and end up in a limbo state. They may or may not be brought back by El later.
Now, let's collect details about our serial killer:
Abusive mother? Check. (No matter how we frame it, Virginia was not a good mother.)
Innocent died? Check. (Henry has nothing bad to say about Alice, which we know he would if she were not innocent, since he does this with every other victim.)
Sibling died as a result of saving oneself? Check. (The Creel massacre was a situation where Henry was, with whatever intentions we may assign for the other family members' deaths, trying to save himself from Virginia and by extension the lab.)
Ended up with an abusive father figure? Check. (Well...an abusive Papa, one might say.)
Brought back by El multiple times? Check. (El was the one who took Soteria out and brought Henry back from being powerless. El was the one who put Henry in the UD/limbo state. El was the one who opened the gate for his return to the RSU.)
IT ALL ALIGNS. So let's put it together with all the feelings involved:
Citations (I guess? Explanations?) are in the tags listed by number!
Henry had an abusive mother who was at least trying to have him shipped off to the lab, if not actually trying to kill him outright. This situation builds and builds, him wanting to be left alone (1), putting out subconscious and conscious cries for help (2), and her targeting him about it, until March 25th, 1959.
Virginia starts it, attacks, and this time she's out for blood (3). Henry defends himself (4). Virginia, being the parent with powers (5), doesn't actually die (6). Victor, Alice, and Henry go for the door (7). Virginia's on the stairs (8). She's got to finish what she started, since her original plan was botched (9). Henry puts his energy into trancing Victor (10), protecting him from Virginia, since logically two people can't occupy one person's mind.
This leaves good, innocent Alice to fend for herself, standing directly in front of the staircase. She's a loose end (11). Virginia kills her, but can't kill Henry or Victor while the trance is occurring. She figures Henry's going to run himself into the ground (12). She figures she can call Brenner in to collect Henry, like they planned (13). If she disappears, she figures it'll go into the news something like this:
"World War II veteran kills entire family in deranged fit of insanity. Wife missing, presumed dead. Son dies in hospital."
And on both counts, she's essentially right. It does basically go into the papers that way. Victor is taken in for murder, and Henry is taken by Brenner, but not before he sees that Alice was caught in the crossfire (14).
Henry ends up with Brenner, the abusive Papa. He's got the guilt about Alice's death, something that makes him sad and angry. Brenner, maybe, decides to push this in order to increase Henry's powers, but it backfires. Henry's powers increase, but he does...something. He lashes out, he snaps, maybe he even tries to kill himself. He's Brenner's prized pet, though, so Brenner can't let that happen. He seals Henry's powers away with Soteria. It's a death for Henry's entire identity, so far as to have him under the name Peter Ballard. Then comes along 011. She removes Soteria from Peter Ballard...and revives Henry Creel. She then exiles him to the Upside Down in 1979, only to eventually bring him back in 1983 when she opens the Mothergate.
All this to say: It could be his own story, told through the stories of his victims.
Breadcrumbs, or maybe...obvious things, which nobody by any chance ever observes.
Below the cut is where I speculate into motivations for his actions after Soteria's removal, so...not required reading for this particular analysis.
Years of MKUltra torture warp Henry's guilt about the situation into a bastardized, violent, brutal, unethical savior complex based in the notion that he's a predator by nature, but a predator for good. He "saves" the lab kids from a future like his own, filled with nothing but torture. He "saves" El from her ignorance about the lab and intended to have her join him, thereby attempting to "save" her, technically his little sister, from the lab entirely.
He "saves" his s4 victims from their guilt and suffering, which so closely mirror his own, which no one saved him from. I could even go so far as to say he was "saving" Will, who is set up to be so much like him, from a world of horrible people who (from Henry's viewpoint based on his lived experiences) would only serve to abuse and betray him.
This of course isn't to say any of it is right. None of it is right or good...but it makes sense. It follows a pattern. It coheres. The math...maths.
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