#*margot verger.

[eyeshone]

MARGOT VERGER.

canon divergent. heavily headcanon based.

ABOUT ⤵️

name: margot verger

face claims: katharine hepburn as sylvia scarlett (actual fc), jodie comer as villanelle (fc for thread icon purposes)

age: 30

sexuality: lesbian

gender: cis female (considers her sexuality and butchness as an inextricable part of her gender; constitutive)

occupation: nepo baby, disinherited heir to the lucrative Verger Meatpacking Industry

appearance, as margot: blonde men’s styled short hair cut naturally swished back. jock jockey prep butch indiana jones aesthetic. androgynous face: equally reminiscent of an adolescent man’s face or a young adult woman’s. sharp masculine facial angles with rounded-bevel edges. skin a delicate and thin expressiveness, it is as mold-melting to her emotions as thin-porcelain-clay is to over-handled warm hands. sophisticated but forceful body movement, like her horses.

appearance, as mason: blonde men’s styled short hair hair gelled up into staticky stalks as though electrified. designer disney villain aesthetic. androgynous face sculpted more masculine by subtle contour makeup to look practically identical to mason (the resemblance without alterations is already prominent and regularly commented upon pre her murdering mason). facial expressions are energetic and verbose and comically exaggerated. invasive and chummy body language, little regard for personal space.

canon divergence: all that i’ve carried over from canon is mason’s personality and aesthetic. i don’t adhere to the plot or events of the nbc show or book, just three general premises: 1.) mason has abused margot since childhood 2.) margot goes to therapy sessions with hannibal who influences her to kill mason 3.) margot meets alana who helps and/or knows margot murders mason. everything else doesn’t occur. respectfully, a lot of s3 is off the dang rails and i’m reinventing it.

story (briefly): mason and margot are twins. they are the only children of the verger family and heirs to the lucrative Verger Meatpacking Industry. verger meatpacking is a kinder term for large scale pig slaughterhouse. they are very rich. their parents died when they were adolescent children. mason keeps margot financially dependent on him by legally removing her from their parent’s inheritance. she starts therapy with doctor hannibal lecter. hannibal influences her into murdering mason. on her own accord, she chooses to assume mason’s identity to have access to her family’s inheritance and wealth. “margot” disappears and she uses her connections with the fbi (alana?) and her wealth to essentially pay her way into declaring herself legally dead. she lives permanently as mason verger. only a beloved few know she is actually margot (i.e. alana bloom, hannibal lecter, and one or two close friends she eventually reveals herself to). in public, she emulates mason’s personality and demeanor perfectly. he (and margot as him) has the rumored reputation of a vile man and the observed personality of an inappropriate no-filter funny man with little regard for personal space. behind closed doors with the people she likes or cares about, she’s less harsh and mason-y. more of a blend between herself and him. with people who know who she actually is, in private, she’ll drop the act entirely and be herself.

wishlist dynamics:

straight girl that margot (as mason) woos. her trying to navigate a relationship with a straight woman without revealing she herself is a woman. the crass divide of how she has to act as mason with them in public versus her more sincere slips into herself (still dressed/presenting as mason even if she’s not being his harsh self) when in private and the probably dizzy/confusing contrast of that for her significant other. angsty and comedic and ethically complex.

margot engaging in the rare reveal to someone (usually women friends lmao) that she’s margot and them willfully tarnishing their image by being seen with mason (public figure: rich but vile) to keep her company (either as a friend or a lover). angsty but sweet. turning the corner into a private room at a venue where margot immediately drops the mason act and can sigh or laugh or kiss as she wants to—not as mason.

your muse is an ex of mason’s and margot has to pretend like she remembers all the intimate details he would know (possibly they are hitting it off well which makes your muse mentally and sexually confused).

mason is bi. margot having to interact with an ex or a past one night stand of mason’s who is a man. and trying to act like she is at all attracted to men. and cares. and knows them.

i’m interested in all the many possible dynamics margot’s character can foster. pitch me something! plot with me!

note for YOU: use whatever name and pronouns are best suited to your narration. i typically use “margot” and “she/her” in my writing because my narration is closer to margot’s pov rather than entirely disembodied. this does not mean you have to use the same name and pronouns. you are free to call her mason or use he/him. or any blend of those options.

content warning note: i will not write explicit injurious abuse or sexual abuse. but mason has abused margot since childhood. my writing will mention this history and flashbacks of tense moments but it will never be explicit. margot as mason will NEVER be abusive. she emulates his personality flawlessly but does not continue or partake in his private habits (e.g. abuse, animal cruelty, etc).

[eyeshone]

in no world is margot verger voluntarily seeking out a MALE therapist. she has an aversion to men. that stems from trauma. a profound distrust. and general lack of interest in men.

my thought is, margot attempts to clandestinely begin therapy with alana bloom (margot found alana through local search engines and diligent online research). the two get the in person intake session done. and one regular session. mason notices insurance claims for therapy and adamantly prevents margot from attending (threatens her to not go back to alana), worried what she divulges could criminalize him. alana, off the books, refers margot to hannibal to be her ‘physical therapist’ for a fictional leg injury margot is told to say she got when horseback riding. hannibal agrees to shadily/illegally codify her sessions as medical visits/physical therapy so margot can attend without alerting mason. she keeps in touch with alana.

[eyeshone]

on margot verger’s parents (elaborating on this ask drabble):

they weren’t awful. they didn’t blatantly ignore or neglect her. they would, for the most part, attend her milestone events (e.g. horse riding competitions, graduation, etc) but only physically. emotionally, they weren’t invested. their attendance is performative. for their image and networking. they don’t actually care—or if they do, there are other motives keeping them there that they care about more than margot.

her father is watching the time on his wristwatch and taking calls if he gets them. any excuse to not have to pay attention and occupy himself.

her mother kind of tries but when the slightest mental strain to sustain long span attention on margot or any slightly unpleasant stimuli arises (e.g. sun in the eyes, baby loudly crying in an auditorium, bad traffic) she’s like ugh this is sooo laborious and tedious and exhausting and gives up. stops observing. gets a glass of wine or chats with someone she knows.

it’s bleak for margot to so easily see the tiny TINY threshold that is margot’s mother’s ability/desire to emotionally/physically invest in margot. the smallest inconvenience arises and she’s like oh I want to but I’d rather my eyes not be hit by the sun. how unwilling she is to endure even that minuscule of—not even harm—discomfort for the benefit of margot.

margot exists in a VERY delusional, kind world of her own mental making that she knows is false (e.g. she pretends her dad’s wristwatch is a race that she is also a player in, sitting alone in hannibal’s psych waiting room she turns the paintings into patients so she’s less alone, and their violent subjects are de-fanged into something less serious by giving them very simple (old holyhood) names, more innocently/simply-for-the-whimsy: ice buckets are partycrashing kids-in-trenchcoats). she takes the unendurable and spins it into something fanciful and surreal. this is how she copes with her complex interpersonal familial life. it’s also partly why her wooing delysia feels so old holywood romcom. but that’s another post entirely.

[eyeshone]

MARGOT VERGER: mannerisms/gender.

margot’s bodily ambiance when she’s impersonating mason but has almost entirely dropped the act in the company of a woman (delysia, tbh).

MOOD: masculine, sprawling limbs that grow into your space but don’t invade it (well sculpted purposeful touches that aren’t overbearing like a shrub novelty-trimmed into the shape of an animal). sitting with crossed legs, cocked hip lean, hand on hip, etc: “feminine” stances with masculine looseness/burliness. handsome admiring smile. her gaze attentively and flirtatiously touching your face like a finger gingerly raking a loose eyelash from your cheek. verbally and physically playful. animated facial expressions with a veil of reserved charm because that full switch/drop into herself when so perpetually stuck as mason is a difficult transition and vulnerable exposure. slightly more gentlemanly than she would be when she was previously living as herself (a butch masc lesbian) because she thinks women deserve a man who is cordial and autonomously respectful of their space (something she hasn’t had experience with the men in her life (i.e. mason)). when she partially (and/or as fully as she can) drops the mason act in public, she’s essentially a blend of herself and what she wishes a man was. very—obviously based on all the pics—old hollywood romance movie men vibes.

[eyeshone]

MOODBOARD: margot verger & alana bloom.

[eyeshone]

MOODBOARD: margot verger & will graham.

@eyeshone + @bluedprints

“Were Will a woman, Margot might have laughed. To laugh is, really, a kind of respiratory menstruation. With comedy, cycles can mythically sync. Strictly noncompetitive. Surrogate joy.”

[eyeshone]

CHARACTER ASSOCIATIONS.

repost & fill in the words you most associate with your character.

MARGOT VERGER.

animal: american yorkshire pig: the kind her family's business raises and slaughters in mass; the rose-tinted image of them happily living amongst the stereotypical barn animals in lullabies and folklore juxtaposed with the brutish, blood-red reality.

color: the soft blonde of her mother's hair: a gold that never silvered; the black and white pinstripes of mason's suits, the satin sheen of a horse coat, the creased crumble of worn brown leather; the purpling-blue of distant green hills to horse ride to for leisure; the tan haze of crowded horse tracks.

month: june, maybe.

song: her entire playlist; to name one, runs in the family.

number: her mother's phone number she pays the phone bill for so it won't be given to someone else.

day or night: night: when she can shirk off the mason performance and become herself.

plant: hawthorn: edible to horses, produces a berry, seasonal beautiful flowers, but also thorny; mistletoe is a parasitic plant that regularly grows to the point of entanglement in hawthorn; the two are often conflated with each other because of this.

smell: dirt-dust air; the slipstream-smell of caterer food rounding corners in a large venue; the bright zest of citrus prosecco.

season: summer: the warmest and liveliest season but also when people are statistically most suicidal.

food: fancy finger foods plucked from trays.

astrological sign: not sure.

element: water: very versatile and contorts to its container; sustains life.

drink: espresso martini.

tagged by: @bluedprints tagging: @bluedprints (freddie) @aliasinvestigate @rejectory (tony)

[eyeshone]

cw: depression and suicide.

the thing about margot’s mother is that she did love margot. so so deeply. but her mother was emotionally profoundly unwell and untreated for it (likely depression).

she had a fatherly/paternal goofiness to her unlike the traditional caring protective maternal cooing and coddling: silly reckless physical play like tossing them in the air and catching them when they were younger, lying on her back and balancing them on her stuck-up feet and letting them pretend to fly, making loud boisterous appearances at their school recitals (but then not really paying attention for the actual long haul event), making exaggerated mocking faces at them, etc.

she gave her children outpourings of love and attention that made margot feel overwhelmingly special but it was inconsistent. and in unreliable bouts (gee, where does margot get that from?). and often times she was in deep lows and would all but lock herself away from them so they wouldn’t see her like that and because she didn’t have the energy to do anything else.

humor and charm were her coping strategies. she didn’t drink or take medication—her husband wouldn’t let her.

that humor—wise cracks and taking things far too casually (bad report card? let’s still buy ice cream; her wealth allows this without any real consequences) and little gotchas like made you look and I got your nose—and charm—playful winks, making you feel in on life’s grand pantomime play—was so infectious and filling but it was not quite nutritious. very sweet and rich but not enriching. you can’t live off of it. but it’s the only way she knew how to make others so visibly happy. and she enjoyed stoking that joy in others when she couldn’t do the same for herself (surrogate joy). big grand silly gestures are easier to commit to than constant, present attendance.

i do think margot’s mother ultimately commits suicide when margot is a young teenager.