777

*verbal altercations

silco is a very physical arguer—he pokes, points, shoves, and prods. he squints, scrunches his nose, pouts, hisses, and snipes.

if he has a lot to say, he tells vander to sit down ‘cause he’s not going to get a cramp in his neck from looking up for so long. sometimes when he’s too angry to do that, he grabs a chair or a crate to stand on so that he can argue with vander at eye level/from a higher viewpoint.

(vander finds it really fucking endearing when silco tells him to sit down and/or stomps off and comes back with a crate to stand on, trying his hardest not to smile.)

occasionally, silco physically handles vander into the nearest seat—grabbing him by the shoulders, pushing him, pulling him. the build uo to this is silco entering the pub loudly, still sparking and fizzling with frustration like an exposed wire, and stalking past vander without sparing a second glance (expecting him to follow).

when vander doesn’t follow right away (torn on whether or not he should follow or give silco space to cool down first), he gets his answer in the form of silco storming back out from where he disappeared and either standing there waiting for the other man to read the room and leave his station and then dragging him out with a hand on his collar, or silco himself flips up the hatch, grabs vander by the front of his shirt and pivots to stomp off again with the big dog behind him.

which is a sight to see for anyone dining in or taking drink at the last drop for the first time. but to those who knew of the hound and his handler, it was instantly understood that this particular argument wasn’t going to be a swift one.

then it’s all finding the bottom of your tankard really interesting or suddenly desiring to close your tab early because while it could not be seen, silco’s rage was a terrifying one considering how quiet it is. and for vander not to raise his voice once is even scarier considering how dangerous his rage is as who in all of the lanes wields the heraclean talent of taming the hound of the undergound? the pretty bird on his arm?

people wouldn’t believe it until they observed silco for themselves, commanding silent authority from his perch on the bar or overseeing his book of enterprise tucked into a homey booth at the back of the pub. the way he so easily wins the pint-puller’s attention by just being there, sometimes not even saying a word until he takes his leave because there’s too much work to be done and he’s too busy in his head.

vander is all voice when he argues, his gestures come later: a hand in his hair, wiping his face or in the air emphasising his words.

from an early age he learnt to rein in his strength when arguing because of the obvious physical advantage he has over others, so he roars and growls and grits through clenched teeth. he sighs and postures back his shoulders like a soldier.

when he argues with silco, it’s hard to remain angry because his love for him is always there first before the grievance whenever he looks at him. he sees his soulmate, his other half. his partner.

the same applies when they’re right in each other’s faces, nose-to-nose, and silco is glaring straight death at vander but because he’s looking up, the light catches his eyes and vander’s completely gone (on some “whatever you say, beautiful”).

the way vander doesn’t joke like an adolescent lad when he’s with silco but instead speaks to him like a mature lover—gentle murmurs so soft they’re barely inaudible, not even having to ask his order before vander’s refilling his glass or setting a new bowl down for his elusive canary to pick at.

lingering his eyes in the direction of the dark booth as he polishes glasses, checking in on his partner periodically through the bustling shift.

excusing himself from his patrons to go and say goodnight if silco is the one to leave first, draping the cloth over his shoulder or tucking it into his belt as he follows the younger man up to their bedroom (when the time can be spared) or catching him around the corner and crowding him against the wall. away from the curious eyes of their establishment that ceaselessly wonder at the sort of power silco must possess if he can master the pit’s most feared pair of fists.

like what do you fucking mean they were this much in love and then THAT fucking happens are you seriousssssssssss

interview with eoin padraig alan celebrating the 20th anniversary of his first television drama

eoin crosses a knee over the other and interlaces his hands above it. he is looking out at an angle, staring into the distance with narrowed eyes to organise his thoughts after listening to the question thoughtfully.

“i don’t know; i think there’s something really beautiful about people coming up to you to tell you how much of their lives they attribute to a particular thing you did—twenty years ago, in my case, that they’ve carried with them into adulthood.”

“the profoundness of being intimately tethered in a way to so many people from so many different parts of the world whom i’ll never meet just because i happened to be the one who opened that door up for them—either because they had nobody else in their lives to do it or because they weren’t so sure that they wanted to open it themselves yet, so they kind of, entrusted the process of that oh so special time discovery to me which—i didn’t even know that that was happening first of all until people started coming up to me to talk about it.”

“i was around twenty, wide-eyed and bushy tailed an’ all that; a year or two out of college—just regular, unspecified college it wasn’t an arts school or anything like that. i didn’t know what the hell i was doing with myself at that point!” he chuckles, speaking candidly.

“i landed that audition out of the thousands i had done before and afterwards, possibly a million. i couldn’t afford university, so if nothing came out of those script readings, i’d have probably gone back home to ireland and done uni there, sort of with my tail b’tween m’legs, ‘cause i started drama and acting an’ things b’cause i really wanted to do something big with those talents. i’ve felt it since the beginning of time, so it would have broken my heart very much i think, to go back home with unrealised fragments of a broken dream in my hands, not being able to make sense of them anymore.”

“—but it worked in the end?”

“that’s right,” eoin smiles winningly at the interviewer behind the camera. “only just,” he teases with a coy look, downplaying the thirty years one his belt.

“it was a gamble, doing it ourselves instead of selling it to a larger production company with more presence because there weren’t any assurances that they’d retain the original script or remain faithful to john’s vision for this project, but i think keeping it a home project worked out better.”

“i didn’t have the big picture in mind when i signed on. i didn’t go in knowing that this was going to captivate every single person who watched this show and change their lives or leave this huge impact. all i knew was to do this job to the best of my ability because cecil came to me personally after watching one of my plays and delivered the script to me himself.”

“i am a theatre actor; the only reception i understand is the live audience laughing, clapping, crying or coming to my dressing room to throw their ticket in my face and tell me how shit i was!” he laughs, recalling an early memory.

“there weren’t many other honest shows that spoke about queer identity and sexuality in the way that we did; i think there were about a handful or so of them, so i knew eyes would be on us, but i was not prepared for the fanfare from academies and institutions.”

“so people thanking me for this role, twenty years later, either as adults who watched it when they were young or as young people encountering it more recently gives me a lot of faith, truthfully. in society, in the arts, in myself—whichever one it is at the moment, i have a lot of faith in it.”

he nods, satisfied with his answer. “we’re doing all right, i reckon.”

(vanco as this song bc when i first heard i instantly thought of them—you can listen to my entire soundtrack for my fics i made on spotify and youtube🫶🏾)

“a heathen from eton” - silco is an orphan (heathen) mentored by a scholar (eton), who was raised being taught everything he knows about class division, the divide that cleaved zaun and piltover into two, and every bad thing that slid down the back of the upper city. at some point, as a teenager reaching the age of rebellion silco runs away after an argument wanting to make a “real” difference instead of just reading about it. this is when he became a collier and joined the miners, meeting vander, felicia and connol.

silco was convinced that he was doing more working fifteen hours every day and running from enforcers during the other nine hours than he ever did dusting bookshelves and listening to an old man prattle on about history that in his opinion no longer mattered because it was just that, history and a lot of things have changed since before silco was born.

“never fight a man with a perm” - vanco on their very first date; a cloddish vander wanting to make his best efforts asks an inexperienced aspiring hairdresser felicia to do him up fancy, and agrees for her to try out a perm on him, after crudely learning how to do them on herself and connol (before “the great shaving incident” that resulted in him buzzing it off in retaliation).

the perm wasn’t half bad when the skies stayed clear, made vander look stylish and grown up. silco looked spectacular only because of his well-dressedness and natural flair for style, so it really was minimal effort.

vander took silco to the last drop, and they both had a great time, not a date yet but it was really, as they were too young in heart for such definitive words so it felt like any other time they met to spend time together only that the difference was very telling. it was a not-date date.

on set costume interview with eoin and alfie as silco and vander while filming “legends” (2010)

“how is it—filming something in real time like this, ten years apart?”

eoin flicks his long fringe out of his eyes and twists from side to side, stretching his back before he removes his clasped hands from his knee and tucks them under his arms, folding them.

he propped his foot up on the high rung and sat facing away from his co-star, crossing his thighs rather more than his knees so he wouldn’t knock into alfred’s legs.

“it’s fun, definitely,” his accent lilts in consideration. “i’ve never done anything like this before, coming from theatre and all. seeing everyone again after such a long time is going to be so interesting, don’t you think? we’d have lived a decent amount of life by then; everybody’s kids would be all grown up and things.”

he turns his head to look at alfred, who tears his eyes away from the younger man’s thighs, straining against the tight leather of his trousers—painted on him, practically.

alfred clears his throat and addresses the interviewer when eoin huffs an amused laugh at his silence.

“yeah, uh, what stevie said—it’s going to be real fun to rehash old stories and share what’s gone on since we last saw each other.” his chair creaks as he shifts in it, folding his hands over his lap.

he looks back at eoin with a soft smile. “perspectives and all that.”

eoin wrinkles his nose, snorting as he nudges alfred’s knee with the point of his heeled boot. “that was very eloquent of you, alfie.”

silco played by eoin padraig alan stevens - 29th of August 1973

eoin was born in county mayo, ireland, and raised in northern yorkshire from the age of seven (he has irish and british citizenship). his accent, like in the case of lauren cohan, lewis hamilton or christian bale, is an amalgamation of his mixed upbringings. most of the time it’s relaxed oxford english (not overly aristocratic, as he’s a yorkie, so sometimes there’ll be a northern inflection on certain words).

when he visits home, his connacht tends to cling before going away slowly (soft-spoken, like piers brosnan or andrew scott). his language roles include gaelic, italian, french and greek. his accent roles include oxford english, geordie, scouse, cockney, scottish (and other dialects), welsh (and other dialects), connacht (very rarely) and french.

he debuted on television through a family drama, where he played a delinquent son from a small town at war with himself and won his first awards for portraying real queerness at a time when queer stories did not have much visibility. eoin’s portrayal of a young homosexual in the eighties was acclaimed by the queer community and critics of queer cinema for the brutal truth of the character, from candid discussion about the hiv/aids crisis to in-your-face eroticism by way of intimate scenes and sexual freedom, exploration of one’s preference and attractions, long-term relationships as well as gratuitous promiscuity.

eoin was twenty-two and running parallel to his character, as he was going through that same personal exploration then, though under different circumstances. his character’s family remained unaccepting until the very end of the show, where a tragic circumstance sees the character’s life come to an end. the show was released two years after homosexuality was decriminalised in county mayo.

while traditionally catholic, eoin’s family did not practise their religion with malice or prejudice and were eoin’s first lifeline of support regarding the show and himself. eoin returned to theatre after filming the series and didn’t act on screen again until he was twenty-five, when a small production team bookmarked him for an experimental project that they were planning to shoot over the course of ten years to allow the actors to grow into their characters.

vander played by alfred merrick foulkes owain - 13th of february 1969

alfred is an englishman born to welsh parents with slavic/scandinavian heritage (explaining his physique) and has british citizenship. he was semi-professional rugby player, retiring early at just twenty-six after a serious injury.

pro-rugby was his future until his injury, and dramatic arts was his backup, which he now had the chance to explore by joining community theatres and amateur productions until he met his agent after one of his plays and successfully broke into the west end until one particular audition solidified his presence in british theatre.

alfred is an eastender through and through; he used to struggle with accents so much in the past that his roles were often rewritten as cockneys or non-speaking henchman archetypes. his welsh accent always makes castmates/crewmembers laugh, as it’s an exaggerated impersonation of his mam (with the high pitch to match). language roles include welsh, russian, serbian, czech, and lithuanian.

his standout role was portraying a boxer in a seventies period piece for which he underwent an unrecognisable transformation by shaving down his bulky rugby player’s frame and remoulding it into the physique of a heavyweight champion.

he was close with eoin by this point, running in adjacent circles, being from the same “batch” of actors who had transitioned from stage to screen acting, though he had never had the opportunity to work with him again until riot contacted him.

after flirting around each other towards the end of filming “legends” (the “arcane” prequel), alfred and eoin officially began a romantic relationship in 2000. they had five children (2002, 2005, 2007, and twins in 2009) and married in 2013 as soon as it was legalised. when returning to film the main story in 2019, the couple’s own daughters were cast as the young versions of violet and powder.

they are both private people who do not draw spectacle beyond professional boundaries (and they were not swept up by the hollywood current), so raising a family in the age of digital camera phones and gossip magazines was possible for them, as family always remained a forefront priority.

big family dynamic every day of filming; very often eoin and alfred felt as though vi and jinx really were their daughters because the actresses had done an incredible job retaining their personalities and incorporating them into adult personages. everyone calls them “mum and dad”/“zaundads” because of how much eoin and alfred led the atmosphere on set and looked after the young ones.

lots of cuddles and hugs for the kiddos after emotionally distressing scenes like the opening bridge scene, powder’s abandonment, jinx’s manic episodes and silco’s death. christian wanted to retain natural emotions throughout, so most of the show was filmed chronologically, and when the story called for it he separated certain actors off set until their next scene together.

young scruffed vander with baby violet (lying on silco’s thighs)

050222 - big hit notice explaining jimin’s braxton-hicks diagnosis

050222 - jimin weverse update after being discharged from the hospital

100221 - jimin weverse update at seven months pregnant

190322 - big hit notice regarding jimin’s grammys participation

250322 - weverse notice advertising “bts: permission to dance on stage — special watch with jimin” on 08042022

080422 - big hit notice, jimin gives birth to seol with no complications + jimin weverse update while in hospital and waiting to be discharged, big hit notice 2 regarding jimin’s absence from concerts

090422 - jimin weverse update as his recovery from labour commences

100422 - taehyeong weverse update

170422 - big hit announces jimin’s hiatus from group activities until he has healthily recuperated from his pregnancy and labour, one day after weverse live “ppyong😊”

010622 - jeongguk weverse update sixty-one days before jimin’s hiatus comes to an end

010822 - jimin weverse update, his hiatus has officially ended

010922 - jimin weverse update following his return to activities

100722 - jeongguk weverse update after 080722 livestream

(the hound’s daughter) a moodboard i made for violet:]

(after youth) a moodboard i made for powder:]

100/100 jesse pinkman a closeted queer cutiepie who needs a freaking day off from all the heartbreak and the sad shit that keeps happening to him #savejesse2026