#C Endeavour

[occasionalsnippets]

thinking about how from an outsiders pov who doesn’t know of fd mc having a past life if, it would make sense that she wouldn’t view herself as part of the family. she’s basically been a parent to tim for most of her life so she wouldn’t really view herself as someone her age and more as an adult, she’s only tagged along for tim, she becomes a teenage ceo and had to be a parent to a grown ass man basically all at the same time.

Alskfj you’re falling victim to FD MC’s unreliable narration. Things may have been like that in the beginning but it’s gotten a lot better, like, way better.

Once everyone kinda gets over themselves they're trying so damn hard to show them "I WANT YOU TO BE FAMILY". MC is unfortunately, pretty shit at reading those signals and maintains the "I am here because I care but you don't have to worry about me".

The batfam take care of what is them and theirs even if MC can't understand it when it's directed towards them.

[biitchcakes]

omg just saw my first ever cybertruck out in the wild for the first time

[partangel]

june book haul... i SAID JUNE BOOK HAUL!!!!

[redeemed-wren]

me, venturing into the Endeavour episodes I haven't watch first time around: The season six finale is FUN like yes there's high stakes and higher body count but it feels almost like the earlier seasons before everything went wrong, AND we had a fun scene of Morse covered in dust and dirt, and it's not exactly personally emotionally devastating! We love this!

Thursday and Win with the steal chair: You said emotionally devastating?

[transthadymacdermot]

And then the murders began

[thefictionshelf]

boy this AD sure can HD

[petermorwood]

A day or so ago, @dduane reblogged a long post - a Canadian magazine article from 1966 - about the Americanisation of Winnie the Pooh.

It's an Impressive Tirade in which the writer (Sheila H. Kieran) says what she thinks about letting Walt Disney have a free hand with a foreign Children's Classic.

There's mention of the previous Adaptation Endeavour, "Mary Poppins" (1964) but it's very brief, perhaps with an eye to limited column space - or maybe because All Was Said Already in a previous review.

There is, however, rather a lot about the English characters being given American accents, and about the inclusion of a new character, an American gopher (which, the article suggests, looked vague enough to the Kieran children - its target audience - that it might as well have been a mole or a beaver).

*****

And that reminded me of another bit of American Animalisation done by Disney, in the 1949 short "The Wind and the Willows" - though in this instance it's visual since the voices are, for the most part, suitably British.

They include Basil Rathbone as narrator, and a horse who sounds like George Formby. In some scenes the horse actually looks like Formby, so this voice may not be entirely accidental.

Badger, however, sounds like a Scotsman - the worst kind of stage Scotsman at that - rather than how I used to "hear" him as a C. Aubrey Smith-voiced crusty retired colonel.

That, however, is just personal preference.

However, Disney's Badger is not a proper British (more correctly, European) badger, Meles meles. Here's one, which though not the most amiable of beasts in reality, still manages to look fairly affable ("I say, old chap, whatever are you looking at?")

Instead he's a North American badger, Taxidea taxus, which not only has a less affable expression ("Hey, bud, you. Yeah, you. You lookin' at me? You lookin' at ME?") but, more important, different stripes.

Here's Disney's version alongside mine. The correction took about five minutes of pixel-tweaking.

Disney's animators could have got it right from the outset just as easily, because I'm pretty sure the reference library which provided costume info for Rat's tweed Norfolk jacket and britches included picture-books of natural history.

Come to that, any "The Wind in the Willows" after the unillustrated first edition would have been enough, and there must have been at least one copy lying around for story adaptation and scene-description purposes.

The first illustrated edition came out in the UK in 1931, and its artist was, at author Kenneth Graham's request, the very same E.H. Shepard who had illustrated the Pooh books just a few years previously...

...while this Arthur Rackham colour plate is from an edition published in 1940 in New York.

So those books wouldn't have been impossible for Disney to get.

The problem, however, is that if a word ("badger", for instance) is well known to mean one thing here, it may be Too Much Trouble to find out if the same word means something else there, with the result that finding out can sometimes come as rather a surprise.

Check the UK / US meaning of "suspenders" to see what I mean... ;->

[journeytothewest-daily]

Welcome to The Journey to the West (西游记) Daily!

You are about to beging a reading journey to get the hidden Buddhist texts accompanied by the monk Tang Sanzang, Sun Wukong, Sha Wujing, Zhu Bajie and Bai Long Ma.

To beging this journey you must subscribe to the newsletter, which you will find at https://journeytothewestdaily.substack.com/. You wil receive your first email this week, welcoming you and sharing information about what's to come and what I will include in the emails.

However, beforehand I want to tell you already that you won't receive a daily email, despite the name of the newsletter. The chapters are dense and full of references to folklore or religion references that you might be unfamiliar with, so you will receive an email every 2 or 3 days maximum.

If this is the first time that you hear about this newsletter and you don't know what Journey to the West is...

The classical Chinese novel Journey to the West is an extended account of the legendary pilgrimage of the Tang dynasty Buddhist monk Xuanzang, who traveled to the "Western Regions" (Central Asia and India) to obtain Buddhist sūtras (sacred texts) and returned after many trials and much suffering. Gautama Buddha gives this task to the monk, whose name in the novel is Tang Sanzang, and provides him with three protectors who agree to help him as an atonement for their sins. These disciples are the Monkey King, Zhu Bajie, and Sha Wujing, together with a dragon prince who acts as the monk's steed, a white horse. The group of pilgrims journey towards enlightenment by the power and virtue of cooperation.

The novel is perfect for the epistolary format, since it's is divided in different and disconnected adventures, so you don't have to always remember what happened in the previous chapter to read the next!

We'll be reading Anthony C. Yu's translation since it is the first unabridged version that we have available in English. It is about 100 chapters long.

As I said, you will receive a first email as soon as you subscribe and an introductory email in a few days. Please, share this post so more people can read along. Use the hashtag #jttwdaily if you want to comment your impressions. I'll share the most important dates soon.

May the Buddha help you in your endeavours.

[flaming-shapeshifter]

hello would u potentially feel like sharing some of the victorian sex slang you know im writing gay sex set in 1847 and im struggling :(

hello! I would be delighted to; there is no higher use for the truly excessive amount of victorian porn I've read than to aid in this endeavour

Two caveats before I get into it: one, the main source that I used when I was originally researching victorian porn is a series of publications from the late 1870s/80s (I'll link the wikisource version and talk about it more at the bottom) and as such may not reflect exact usage for the period you're writing. I don't *think* language usually changes that fast, but I'm not a linguist so thought it worth mentioning. Where possible I've tried to cross reference with the oxford english dictionary to determine first recorded english usage, but the censorship laws of the time and subsequent lack of digitisation can make it difficult sometimes to get an accurate picture of popular usage. Two, language has changed quite a bit since the 19th century--there's a good chance the average ao3 reader is going to be relying very very heavily on context for several of the more unfamiliar words below, while others have had their meanings change a fair bit since that time. Should you choose to use them regardless, I commend you for your dedication to accuracy.

anyway, without further ado, a whole bunch of victorian sex vocab:

Genitalia &c.

I'm not sure what parts are involved in your gay sex and I'm a completionist, so you're getting all of them

priapus: the penis. A more high-brow, classical reference to the greco-roman god of fertility. English usage has been a thing since at least the canterbury tales, but it's unclear exactly at what point the usage transitioned from referring solely to the god (as in the tales) to a physical penis between the 14th and mid-late 19th centuries. However a medical dictionary from 1842 lists the definition very matter-of-factly as "penis" as well, so you should be good to go, especially with more formally educated/wealthy characters

pego: the penis, again. This one's been around since at least the 17th century and does not appear to have any alternative meanings; it also hit its peak usage for the 19th century in 1850 (by appearances in published texts), so definitely a safe bet

cock: the penis. This one is possibly both the oldest and the most modern of the penis-related nouns here; we use it in our smut today and used in to pun about sex all the way back in 15th century middle english. If you want something both recognisable and period-appropriate, this is your word.

prick: the penis. Similarly to cock, though slightly less common as a neutral/eroticised noun nowadays in my experience, "prick" has been in use since at least the 16th century, and has the benefit of being recognisable to the modern reader, though the connotations may have shifted slightly

roger: the penis. Usage in reference to said organ has been occurring since at least the 17th century, but by the 19th, it seems to be mainly in comical contexts, i.e. bawdy poetry.

quim: the vulva/vagina. Dates back to at least the early 17th century; most examples cited in the oxford english dictionary come from verse before the mid 19th, after which point it's all casual or erotica-type references.

cunny: vulva/vagina. thought to be a variant on "coney," which can in British English refer either to the organ or to a rabbit; this term has been in use since the late 16th century.

pussy/pussey: the vulva/vagina. A relatively recent term when used with regards to genitalia, dating to the late 17th century and only really gaining popularity in the mid 19th century. Probably the least likely to be used (with the possible exception of verse), but one of the most recognisable to a modern reader

cunt: the vulva/vagina. You could write a period-appropriate-language black plague au with this one (as "cunte" per middle english spelling) and still have it be recognisable for the modern reader. 1847? fucking go for it

mons veneris: the mons pubis. Often capitalised as "Mons Veneris"; seems to get mentioned at least once in every pornographic story involving ciswomen, possibly due to the classical reference to Venus and its associations. Cismen also have this structure (though it's smaller due to the lower level of estrogen), but tragically it does not get the same veneration. Usage increased steadily from the mid 17th century and peaked in the late 1800s.

clitoris: the clitoris. Dates from at least the early 17th century and has grown in popularity ever since; "clit," in contrast, only appears in writing in the mid 20th century and would be rather anachronistic.

bubbies: the breasts, pretty much always a woman's. The spelling didn't transition to "booby"/"boobies" in reference to breasts until the early-mid 20th century (previously, as a noun, a "booby" was merely a fool); "bubbies" was the way to go from at least the 17th century up until that point

ballocks/bollox/bollocks: the testicles. Similarly to "pussey," I add this one mostly for the sake of spelling, which varied mostly between "ballocks" and "bollocks" but doesn't seem to be standardised in colloquial English spelling until the very late 20th century, if at all. In use since the 15th century.

British slang referring to the ass (bum, arse, &c.) generally translates pretty well to the point where I don't feel it necessary to give them their Victorian-specific entries.

Much like modern writing, the Victorians seemed to enjoy figurative language for their genitalia--horses are an unfortunately common point of comparison for penises, but "Cupid's dart" and "engine of love" are also common euphemisms. Cavern-related language and "gap of love" are their equals for the vagina, but overall, there's not many metaphors you could make up that would feel inappropriate to the era.

Actions

Presented in the infinitive form; normal English rules for verb conjugations/spelling generally apply.

gamahuche: to perform oral sex, most frequently on someone with a vagina. A borrowing from French as of the late 18th century that seems to have mostly died out in the modern day--I don't think I've ever heard someone say "gamahuche" out loud unless referencing Victorian pornography

frig: to finger someone/give a handjob, or (less frequently), stimulate them internally with a separate moving object. Worth noting that the meaning of this one does appear to refer more and more specifically to internal stimulation over the course of the late 19th and 20th centuries, but all uses should be appropriate for 1847.

fuck: to penetrate (or mimic penetration i.e. via intercrural sex) specifically with a penis. According to the Victorians, if there's not a penis involved, it doesn't realllly count as sex, which is part of why so much focus on homosexuality was specific to male/male homosexual activity (more on that later). This particular word has been in recognisable use since at least the 16th century, gets used frequently in the 19th in the appropriate situations, and is very recognisable to the modern reader; 10/10 would recommend. Also varies in usage by location such as in the case of "bum-fuck"

sodomy (n)/sodomise: to engage in any form of penetrative sex other than penile/vaginal, regardless of gender. Typically more legal terminology than colloquial, and pretty much always used in a negative sense of an "act against nature"; equals "cunt" and "cock" in antiquity as it dates back probably to the 14th century

bugger: to act as the penetrative party in anal sex with a phallic instrument (whether dildo or penis), regardless of gender. not quite as old a term as sodomy, being first found in legal writings in the 16th century, but definitely a more common-use term for the time.

pederasty: to engage in specifically male/male anal sex. As may be deduced from the word components, this carries the connotation of a large age gap between the persons involved, and may originate from the ancient greek practice of sexual apprenticeships (for lack of a better word) between a teenage-ish boy and an older man. Despite these connotations, it could be used to refer to any partnering of male/male sex, but tended to be a comparatively academic term. English written usage dates back to at least the early 17th century.

spend: to orgasm, particularly if fluids are involved (regardless of genitalia). In use since at least the 17th century and may carry connotations for the modern reader relating to the cultural emphasis on sex for the purpose of procreation alone

come: to orgasm. This one has been ol' reliable for smut writers since the earl 17th century at least and continues to be so today

Language tends to be more descriptive with regards to acts rather than using specific words--then again, one could consider that just another form of the "show, don't tell" maxim.

Items involved

French letter: a condom. This terminology would be very recent for '47, having only started appearing in English in the early 1840s--similarly, they would be made of treated linen or bladder/intestine (a "skin" condom) at the time, as rubber condoms were not produced until the 1850s

cundum/condom: a condom. An older term than the letter, though only by a century; the latter (modern) spelling dominates usage in the 19th century

godemiche: a dildo. Another loanword from french, this would also be fairly recent language, as it appears to have only entered written English usage in the early 1830s. Not a super common turn of phrase either way

dildoe/dildo: a dildo. In use in writing since the late 16th/early 17th century, the use of flexible materials such as leather or (in the latter half of the 19th century) vulcanised rubber allowed for the creation of ejaculating versions which could also be set in harnesses to be used as what we would now call a strap-on

On the subject of lube: "lube," unsurprisingly, is not a word in use at the time; nor, for that matter, is "lubricant" as we use it in reference to the wonderful additive for sexual intercourse today. In the works I've analysed, anal sex is mostly conducted using saliva or vaginal fluids as lubricant, if a lubricating substance is used at all; the one exception to this is a reference to "cold cream" used for male/male anal sex, which appears to be a perfumed spermaceti- and wax-based substance intended for skincare and has been in use since the early 19th century at least

Culture

identity: as you may be aware, "homosexuality" as a term didn't become a thing until the sexological period of the latter half of the 19th century; up until that era, anglophone culture didn't really have a conceptualisation of sexuality as an innate characteristic. Rather, sex acts were entirely something that you did, regardless of the genders involved, which is how we get period words like "tribade," which referred simply to women who had sex with women without concern for attraction.

legality: for britain specifically, male/male gay sex warranted a death sentence in regular courts up until 1861, after which the sentence changed to imprisonment--legal scholars at the time deemed this change likely to result in more successful prosecutions, as courts were previously hesitant to indict when doing so meant capital punishment. Female/female gay sex, in contrast, was completely ignored by the law, as said law was completely focused on penises. Similarly, american courts (which were based on british law) would later rule in the years surrounding the turn of the 20th century that oral sex performed on a penis was illegal regardless of gender due to being sodomitic in nature, but cunnilingus was perfectly fine.

social perception: similar to the law, male/male sex was regarded as taboo such that it was generally talked around rather than named up until sexology started gaining ground (sexological texts were then promptly blamed for teaching people how to do gay sex). Based on newspaper op-eds that I unfortunately don't have on hand right now, all-male settings such as sailing vessels (especially sailing vessels) were seen as particular bastions of such activity. female/female sex? generally disregarded as harmless, particularly in all-female settings such as schools.

Bonus

At least in the latter half of the century, impact play in the genital region (particular with a rod or "birch," but any flogging implement would seem to do) was treated in both pornographic and psycho-medical sexological texts as a commonly acknowledged method of attaining arousal, to the point that at least one author raised concerns about the continued use of flogging as punishment in boys' schools. Huzzah for Victorian kink friendliness, I guess?

Further Reading/References

Unless otherwise noted, all etymology, usage trends, and century of (written) origin is based on the Oxford English Dictionary.

"The Pearl: A Journal of Facetiæ and Voluptuous Reading." William Lazenby, London Society of Vice, 1879-1881. https://en.wikisource.org/wiki/The_Pearl.

This is the Victorian porn publication I mentioned earlier, notable for its portrayals of gay sex compared to Lazenby's later publications such as The Oyster. Should you choose to do your own reading, it's worth noting that stories tend to involve topics of major consent issues, incest, underage sex and pedophilia, and period-typical misogyny, and racism. An interesting note about this particular publication is that it was relatively expensive for its time--apparently, the upper class liked their illicit gay smut.

Robley Dunglison • Medical Lexicon. A New Dictionary of Medical Science, containing a concise account of the various subjects and terms, … and formulae for … preparations etc • 3rd edition, 1842

For the medical definition of "priapus" as it refers to the penis.

Hernández, Anna. “Mons Pubis: What Is It, Location, and More | Osmosis.” Osmosis, January 6, 2025. https://www.osmosis.org/answers/mons-pubis.

Aine Collier (2007). The Humble Little Condom: A History. Buffalo, N.Y: Prometheus Books.

Beyond the scope of this post, for the most part, but if you're interested in writing period-accurate safer sex practices, it may be worth a look.

Saunders, T., and Edward Cox. The Criminal Law Consolidation Acts, 1861: The Other New Criminal Statutes and Parts of Statutes of the Sessions 1861 and 1862; Together With A Digest of the Criminal Cases Decided by The Court of Criminal Appeal, The Superior Courts, the Central Criminal Court, and on the Circuits. From 1848 to 1862. 2nd ed. London: J. Crockford, 1862.

Includes contemporary legal analyses of the changes to British legal punishment of male homosexual activity, as mentioned in the Culture section.

Richard von Krafft-Ebing, Psychopathia Sexualis, with Especial Reference to Contrary Sexual Instinct: A Medico-Legal Study., trans. Charles Gilbert Chaddock, 7th ed. (Philadelphia; London: F.A. Davis Co., 1892).

Psycho-medical perspectives on homosexuality and other "abnormal" sexual tendencies in the late Victorian era; contains a whole bunch of autobiographical testimonies. The downside is that anything touching on homosexual activity (which for academics at the time also included gender non-conformity) has been censored by being translated to Latin; you'll need to look at the 1960s or later for a fully English translation.

B. R. Burg. Boys at Sea: Sodomy, Indecency, and Courts Martial in Nelson's Navy. New York: Palgrave Macmillan, 2007.

A look specifically at social attitudes in the purportedly all-male spaces of naval vessels; though slightly earlier (~1790-1820) than the 1847 time period, it stands to reason that characters familiar with that environment may continue to bear attitudes shaped by it. Unfortunately it may be difficult to access without being able to go through a university-level library system.

Lorraine Rumson, “Kink in the Time of Sexology: An Interdisciplinary Approach to ‘Abnormal Sexuality’ in Victorian Culture,” in Kink and Everyday Life: Interdisciplinary Reflections on Practice and Portrayal, 1st ed. (Bingley, UK: Emerald Publishing Limited, 2021).

An interesting analysis of social attitudes based on pornographic depictions, and contains further resources for Victorian pornography--unfortunately, I no longer have the book on hand to give specific names of texts, but they do exist ("Venus in Furs" is one that I do recall); alternatively, if you want older pornographic works, "Fanny Hill" and anything by the Marquis de Sade are worth looking into, albeit with the same content warnings as I mention for The Pearl.

Donald Hall. “Teaching Victorian Pornography: Hermeneutics and Sexuality.” Victorian Review 34, no. 2 (2008): 19–25. http://www.jstor.org/stable/27793665.

Another resource for identifying Victorian pornographic works, and this one's easily available on JSTOR if you have access or scihub if you don't.

[seekingxanadu]

Are Jason Todd stans really out here cribbing about Dick and Damian content ? Are you fr right now ? Just saw someone say they "hate how Dick treats Jason" with reference to Dick attempting to adopt Jason in his original origin story. Dick has NEVER mistreated Jason during his Robin days. In fact, Dick NEVER mistreats Jason even after Jason -

(a) attempted to kill Tim in Titans Tower

(b) attempted to kill Tim and Damian during Battle for the Cowl

(c) actually killed people wearing the Nightwing suit leading to the city and police thinking their hero Nightwing had turned evil

(d) attempted to forcibly unclothe Dick and a minor Damian in front of cameras.

Please Jason Todd stans. Your singular fixation on a fictional character is understandable. Even sympathetic. But don't try to INVENT negative stories about other characters just to make your uwu fav the best there is. That's just plain whining and it is entirely pathetic to watch that breakdown.

Do you know why so many folks Dick and Damian's relationship? I can take it or leave it Damian but whose heart didn't fill up with fondness when Dick returned from Spyral and received THAT welcome hug from Damian? What did Jason do? Punch Dick. Remember, this was after Jason had laughed mockingly at Dick's funeral (in the scrapped issue that was replaced with Nightwing #30). Remember, there is precedence to such behaviour from Jason. When Talia and Deathstroke got Chemo dropped on Bludhaven with Nightwing in the city, Jason was confronting Batman. At Batman's dismayed expression at Chemo's touchdown, Jason mocked Bruce with the loss of Dick.

So please can it with the "how could Dick mistreat Damian?" because some folks wrote fics on Dick and Damian but not Dick and Jason. Maybe if Jason hadn't been so committed to being a murderer and a serial killer? Who knows then.

But then again, imagine being jealous of a child who discarded so much of his lifetime learnings and embraced the philosophy of compassion and empathy that Dick endeavours to follow every day and set as an example for his younger teammates.

[fanficrocks]

May be the Burridges scarf of doom, but sure makes our boy look toasty warm on this super cold day! He needs a hat though 😂

It’s 30F here today. Dress warmly if going out.

Gloves should be worn right-side out 🤦‍♀️

Avoid the “Burridge's scarf of doom” (via @too-antigonish )

[aspenmissing]

Hellooo again my dear! ^-^

I need to get this out of my head: Even though I'm a huge fan of JayVik, I thought that the first encounter between Jayce and Mel was really cute. How he smiled at her, while she covered Jayce and Viktor while trying to break into Heimerdingers lab. BUT.....poor Viktor was the third wheel in this situation (and we all remember the face he made, while Jayce was smiling like a lovesick idiot, hahaha)

Soo, what about Reader beeing Mel's assistant and also Viktor's crush. During the encounter, Reader was with Mel and witnessed the scene infront of Heimerdingers lab. Mel knows about Viktors crush for her friend and wants Reader to stay with Jayce and Viktor, while she coveres them and they try to find the solution for Jayce's theories.

Even though Mel told Reader "Stay with them, so they don't make anything stupid." She just want to support the little lovestory between the those two lovebirds.

ᴡʜɪꜱᴘᴇʀꜱ ᴏꜰ ᴛʜᴇ ꜰᴜᴛᴜʀᴇ

ᴠɪᴋᴛᴏʀ x ʀᴇᴀᴅᴇʀ (ꜰᴇᴀᴛ. ᴊᴀʏᴄᴇ,ᴍᴇʟ,ʜᴇɪᴍᴇʀᴅɪɴɢᴇʀ) || ꜰʟᴜꜰꜰ ||

3523 ᴡᴏʀᴅꜱ || ᴡᴀʀɴɪɴɢꜱ: ɴᴏɴᴇ?

ʀᴇQᴜᴇꜱᴛ ᴀɴꜱᴡᴇʀ: ʜᴇʟʟᴏᴏᴏᴏᴏᴏ ᴍʏ ꜱᴡᴇᴇᴛ ʙᴀᴋᴀɪ! ᴘʟᴇᴀꜱᴜʀᴇ ᴛᴏ ʜᴇᴀʀ ꜰʀᴏᴍ ʏᴏᴜ ᴀɢᴀɪɴ! ᴀɴᴅ ɪ ᴀɢʀᴇᴇ, ʜᴇ ᴍᴜꜱᴛ ʜᴀᴠᴇ ꜰᴇʟᴛ ᴛᴏ ᴀᴡᴋᴡᴀʀᴅ (ᴀɴᴅ ᴊᴇᴀʟᴏᴜꜱ ᴡɪᴛʜ ᴍᴇʟ ꜰʟɪʀᴛɪɴɢ ᴡɪᴛʜ ʜɪꜱ ᴍᴀɴ). ᴀɴᴅ ɪ ʟᴏᴠᴇ ᴛʜᴇ ɪᴅᴇᴀ!! ꜱᴏ ɪ ᴅᴏ ʜᴏᴘᴇ ʏᴏᴜ ᴇɴᴊᴏʏ!!! <3

ʀᴇᴀᴅᴇʀ | ᴠɪᴋᴛᴏʀ | ᴊᴀʏᴄᴇ | ᴍᴇʟ | ʜᴇɪᴍᴇʀᴅɪɴɢᴇʀ | ᴇɴꜰᴏʀᴄᴇʀꜱ

The corridors of the academy were eerily quiet at this hour, the only sounds drifting in from the city beyond the grand windows—the distant hum of machinery, the occasional murmur of late-night workers, and the rhythmic flicker of torchlight as enforcers patrolled the halls.

Crouched before the heavy laboratory door, Viktor worked quickly, his fingers deftly slotting in the first key. Jayce stood beside him, holding a small light aloft, eyes darting around anxiously for any sign of unwanted company.

"So far, so good," Viktor murmured, a smirk tugging at his lips.

Before he could insert the second key, a sudden burst of light flooded the hallway, casting long, sharp shadows against the walls.

"Hmm," a smooth, knowing voice drawled. "Willing to risk exile for your endeavour? That’s quite the conviction."

Jayce stiffened, blinking against the brightness.

Standing before them, poised and unimpressed, was Councillor Mel Medarda, the golden embellishments of her robe glinting under the light. But she wasn’t alone. Just behind her, slightly off to the side, stood Y/N, her ever-dedicated assistant. Unlike Mel’s carefully schooled expression, Y/N’s was unreadable—though when her gaze flickered briefly to Viktor, something softer, something unguarded, passed over her face before she quickly masked it.

Jayce let out a nervous chuckle. "C-Councillor! What a surprise."

Viktor, far less rattled, let out an amused breath, glancing at the key still in his grasp. "This isn’t my bedroom."

Y/N’s lips twitched at that, but she remained quiet.

Jayce, still scrambling for footing, took a hesitant step forward, turning to Mel with wide, pleading eyes. "Please," he said earnestly, "we can prove that it works."

Mel arched a sculpted brow. "You couldn’t do so earlier today. How is tonight any different?"

Viktor finally straightened, dusting himself off. "We figured out how to stabilise it."

Mel tilted her head slightly, her sharp gaze settling on him. "You’re the professor’s assistant, aren’t you?" She lifted her light just a fraction, enough for the glow to highlight the sharp angles of his face, the glint of something clever in his golden eyes.

Before Viktor could answer, Y/N spoke. "His name is Viktor."

Her voice was even, professional, but Mel caught the subtle way she said it. The way it lingered—not just a correction, but a quiet insistence, an acknowledgment. Viktor. Not just an assistant.

Mel turned slightly, giving Y/N a look—subtle, knowing, amused. Ah. So this was the Viktor she had a crush on.

Jayce, oblivious to the exchange, straightened his spine. "My new partner," he declared.

Mel hummed, considering that. Y/N, despite herself, glanced at Viktor again, but he was focused on Mel, waiting for her verdict.

"Even if you manage to prove your theory, the council would destroy it," Mel said, her voice laced with both amusement and warning.

"Heimerdinger will recognise the potential," Viktor replied confidently. Mel let out a small, knowing laugh.

"He already does. It scares him. It scares them all," she replied with a sly smirk.

"What about you?" Jayce pressed, his eyes narrowing, seeking her true thoughts.

"I recognise that any worthwhile venture involves risk," she answered, her gaze flicking to Y/N for a moment, as if to gauge her reaction.

The trio was cut off by the sound of heavy footsteps, accompanied by a soft whistle. Mel looked behind her, and her sharp gaze softened for just a moment.

"Councillor, this technology," Jayce said, his voice tinged with desperation. "It's real. And no matter what happens here, it's going to change our world. We should be the ones to lead it. Piltover, the land of progress, equality, innovation. I know it sounds impossible, but when have we ever let that stop us? Please, just give us a chance."

Mel considered his words, her eyes flicking between him and Viktor. After a beat, she raised one finger, a gesture that silenced both men.

"One night, gentlemen," she said. "Impress me, or I'd suggest you pack your bags."

Without another word, she turned off the light, walking back down the hall, her heels clicking steadily on the stone floor. As she passed, she gave a subtle nod toward Y/N, who had remained quietly observing the scene from the side.

"Stay with them," Mel instructed, her voice low but insistent. "So they don’t do anything stupid." But the gleam in her eyes suggested something more—a subtle push, a hint of support behind the words, a quiet encouragement for Y/N to remain at Viktor's side.

Y/N gave a small nod, her lips curling into a faint smile as she turned to look at Viktor. She'd heard the tone in Mel's voice—she knew exactly what was meant. Mel’s carefully veiled suggestion wasn’t lost on her.

"Don't worry, Councillor," Y/N said dryly, her voice carrying a hint of amusement. "I’ll make sure they don't burn the place down."

Mel smiled, pleased with the subtle shift in her plan, before continuing down the hall. As she approached the enforcer, she blocked his path with an air of casual authority.

"Harold!" she called out with a warm tone, watching as the man jumped, startled by her sudden appearance.

"Councillor Medarda," Harold stammered. "You nearly scared me to death!"

Mel put a hand on his shoulder, steering him away from the hallway. "Another late night?" she asked, her tone casual, like this was nothing more than a normal exchange.

"I suppose that's a sign of good business," Harold said as the two walked off, their voices fading as they moved further down the corridor.

Once they were out of sight, Jayce flicked his light back on with a goofy grin, his gaze lingering on where Mel had disappeared.

"One night," Jayce muttered, almost to himself. "We’ve got this."

Viktor rolled his eyes, clearly unfazed by Jayce's excitement. He returned to unlocking the door, his fingers moving with quick precision, but there was a faint, almost imperceptible smile tugging at the corners of his lips.

Y/N, standing quietly by, watched them both. Her thoughts, however, were far more focused on the subtle tension between her and Viktor, the unspoken bond that had been forming between them. She wasn't quite sure where it would lead, but for now, she was content to let things unfold.

"Let’s just get this door open first," she said, her voice calm but carrying a quiet weight of something more—something that neither Viktor nor Jayce could quite place yet.

Viktor met her gaze for a moment, his expression unreadable, before returning his attention to the door. But for a brief second, the faintest glimmer of something unspoken passed between them.

Once in the lab, Viktor and Jayce got straight to work. They darted around the room, gathering metal, wires, and whatever else they needed to construct the contraption that would hold the blue crystal.

Y/N, meanwhile, sat off to the side, watching them in quiet amusement. Their energy was almost infectious—the way they moved in sync, exchanging tools and ideas without needing to say much at all. It was clear they had already become an unshakable team.

She let her gaze wander around the lab, taking in the details—the shelves lined with books, the intricate blueprints pinned to the walls, the half-finished experiments cluttering the desks. She wasn’t used to being in places like this, surrounded by science and innovation. It was fascinating in its own way, but foreign.

"Y/N?"

Viktor’s voice pulled her from her thoughts, and she blinked, looking over to find him watching her with curious eyes.

"What about you?" he asked.

She frowned slightly. "What about me?"

Viktor leaned against the desk, tilting his head. "What do you think of magic?"

Y/N blinked at the unexpected question. "Magic?"

Jayce, who had been adjusting the contraption, glanced up, watching her with interest.

Viktor nodded. "Jayce believes it can change the world. I believe it can be understood��harnessed. But what do you think?"

Y/N hesitated. She had never given much thought to magic beyond the stories people told. But then, a memory surfaced—one she hadn’t thought about in years.

"When I was little," she started softly, her eyes distant, "I got lost in the woods."

Jayce and Viktor exchanged a look but remained silent, letting her continue.

"It was late, the sun had set, and everything was so dark. I remember feeling... small. Like the whole world had swallowed me up, and I was just this tiny, scared thing with no way out." She swallowed, her fingers brushing absently over the hem of her sleeve. "I was terrified."

A pause. Then, she exhaled a quiet laugh, shaking her head. "But then... he found me. A man. I couldn’t see his face, just his silhouette against the night. But somehow, I knew he wasn’t a threat. He knelt beside me and said, ‘There is no need to fear the dark. It only hides what the light has yet to show you.’"

Jayce’s brows knitted together. "What happened next?"

Y/N’s lips curved faintly. "He swung his staff, and suddenly, the darkness wasn’t so scary anymore. A warm, golden light spread around us, guiding the way home. I don’t know how he did it, but... it felt like magic."

For a moment, the lab was silent.

Viktor’s expression was unreadable, but his golden eyes flickered with something Y/N couldn’t quite place.

Jayce, however, looked stunned. "That man," he breathed, stepping closer, "he saved you?"

Y/N nodded slowly.

Jayce’s throat bobbed as he swallowed. "He saved me too."

She blinked at him, surprised.

"When I was a kid," Jayce said, his voice quieter now, "my mum and I were caught in a storm. We would’ve died out there if he hadn’t come. He did the same thing—he used his staff to create light, it kept up warm until the storm was over."

The realisation settled over them like a slow dawn. Y/N’s heart thumped against her ribs.

"Who was he?" she murmured.

Viktor, still watching them both, finally spoke.

"A man of science," he said, his voice softer than usual. "And a believer in the impossible." Y/N met his gaze and gave him a small smile.

"So, to answer your question," she said, looking between them, "I believe this could help people. Show them the way with light—out of the darkness."

Jayce and Viktor exchanged a glance, something unspoken passing between them. Then, Jayce exhaled, shaking his head in amazement.

"Well," he said, rubbing the back of his neck, "if that’s not a sign we’re on the right path, I don’t know what is."

Viktor chuckled softly, turning back to the contraption. "Then let’s make sure we get it right."

=

Y/N stood, stepping closer as Viktor reached for the spherical blue crystal. He held it up between his fingers, studying the way it pulsed with energy before handing it to Jayce.

"It's all here," Jayce murmured, placing the crystal into the centre of the device. As soon as it made contact, blue electricity surged through the wires, illuminating the room with a soft glow.

Viktor grinned. "Time to crank it." He shut his book and moved to adjust the controls.

Jayce hesitated, hands hovering over the levers. "Are you sure you know what you're doing?"

Viktor gave him a sheepish shrug. "Not entirely."

Y/N let out a short laugh, crossing her arms. "That’s comforting."

Jayce sighed but pulled the small lever anyway. The crystal began to float, suspended in the middle of the contraption. Viktor reached for a dial, pressing the button in its centre. The machine whirred to life, metal rods spinning around the crystal, generating arcs of blue energy.

At first, everything seemed fine. The electricity crackled in controlled bursts, the runes engraved on the spinning discs shifting with each turn. But then, the energy started to build—too fast, too strong.

"I don’t think it’s going to hold!" Jayce shouted over the rising hum. Wind whipped around them, scattering papers and rattling loose tools.

"The resonance will stabilise it—trust me!" Viktor insisted, gripping the desk.

Jayce shot him a doubtful look, but before he could argue, the machine pulsed, sending another surge of energy outward. Sparks flew. The blue glow intensified, flickering wildly.

Y/N instinctively took a step back, shielding her eyes. "Uh, I hate to be the one to say this, but that does not look stable!"

Jayce gritted his teeth, turning the dial to try and regain control. The crystal floated higher, spinning in place. Each shift of the dial changed the rune combinations, triggering flashes of energy that danced across the room like lightning.

Then, without warning, the energy spiked. The arcs of electricity lashed out, zapping everything in sight. The windows rattled, the lights flickered, and the lab was suddenly filled with a deafening crack!

"Disengage!" Jayce shouted.

But before Jayce could react, a pulse of energy exploded outward, shattering the glass windows. The force sent them stumbling back as shards rained down around them, frozen midair by the electrified static.

Y/N barely had time to react before the shards reversed, shooting back toward them with terrifying speed.

In an instant, Viktor moved—his arm catching Y/N by the waist as he pulled her close, shielding her with his body. His free hand shot up instinctively, his coat whipping around them as the glass whizzed past. A sharp sting nicked his cheek, but he barely flinched, holding Y/N firm against him.

Jayce threw himself forward, slamming his fist onto the emergency shut-off button. The crystal dropped back into the centre of the device, sending a final ripple of light through the air before the machine powered down. The sparks fizzled, leaving behind only a faint hum of residual energy.

For a long moment, no one moved.

Y/N slowly lifted her head from Viktor’s shoulder, feeling the rapid beat of his heart against her own. He loosened his grip, exhaling a breath he didn’t realise he’d been holding.

She glanced up at him—his golden eyes were still wide, as if caught between adrenaline and sheer wonder. A fresh cut trailed down his cheek, a stark contrast against his pale skin.

Her gaze flickered downward. His hand was still resting lightly at her waist.

Jayce groaned, pressing a hand to his own gash. "That’s never happened before," he muttered, breathless.

Viktor finally let go of Y/N, stepping forward with that same gleam of fascination in his eyes. "Because we’ve never pushed it this far," he murmured, touching the crystal’s surface with reverence.

Y/N let out a shaky breath, brushing glass off her sleeve. "You two are going to get us killed."

Viktor smirked, casting her a sidelong glance. "Perhaps. But I’ll do my best to keep you intact—god knows what Mel would do if her favourite assistant ended up in pieces."

She shot him a look, unimpressed, but the warmth in her chest lingered longer than she expected. However, she was cut off by the sound of heavy footsteps and hurried voices approaching. Y/N quickly glanced at Viktor, then down at his cane, her brow furrowing in concern.

=

Down the hall, Heimerdinger rushed as fast as he could with his small legs, two enforcers following closely behind him. They reached the lab and began banging on the door.

"Open up!" one of the enforcers ordered, but Viktor's cane, placed between the door handles, acted as a barricade, blocking their entry.

"Stop this lunacy at once!" Heimerdinger shouted from the other side.

"They're almost through! No pressure," Viktor said, standing beside Y/N and Jayce, the contraption still humming to life behind them.

"That sounds like pressure!" Jayce retorted, her voice light.

"No, it's more of a friendly push!" Y/N added with a smirk.

Jayce turned the dial once more, the runes shifting combinations. But the enforcers, relentless, began kicking at the door.

"Open it!" they shouted, their voices growing more insistent.

Y/N and Jayce exchanged a look, then nodded. Y/N placed her hand over Jayce's, their fingers pressing firmly together as they began turning the dial in tandem, remembering the motions of the man from their past. Slowly, the runes began to glow on the crystal. As they aligned, a deep pulse rippled through the room, and a loud bang followed, sending a surge of blue light across the lab. A circle of runes appeared overhead, casting ethereal light on the scene. Just as the enforcers broke through Viktor’s cane barricade, a brilliant light erupted, blinding them and lighting up nearly all of Piltover.

"Excuse me, underfoot!" Heimerdinger exclaimed, pushing past the enforcers, who stood frozen in shock.

=

Inside, the scene was nothing short of magical. Heimerdinger's eyes widened as he took in the sight before him: Viktor’s broken cane floated midair, small electric arcs zapping between its two parts. But it wasn’t just that—the whole room had come alive. Items floated weightlessly around them, and most striking of all, the three of them were floating as well. Viktor and Jayce hovered on either side of the contraption, arms outstretched, a look of wonder on their faces. Y/N, however, floated slightly higher, upside-down, her hair swirling around her like a halo. Viktor caught her gaze, giving her a small, warm look that sent a strange flutter through her chest. The ceiling was filled with constellations, stars twinkling in the midst of the chaos.

Jayce, grinning ear to ear, pushed a small cog toward the crystal. The moment it connected, the crystal zapped it toward Viktor, who caught it effortlessly, a proud smile forming on his face. Y/N’s smile was radiant, her joy lighting up the room in a way Viktor hadn’t seen before. It wasn’t just a smile—it was a moment of pure, unfiltered happiness that made everything feel possible.

She reached her hand out to Viktor, and without hesitation, he gently grabbed it, pulling her toward him as she twirled in mid-air. He tried to steady her, keeping her from spinning too much, and for a moment, they just floated there, staring at each other. There was something in his eyes—something unspoken, a quiet admiration that seemed to say everything they hadn't voiced aloud. Y/N smiled softly, her gaze lingering on him.

"You’ve… actually done it," Heimerdinger whispered, his voice full of disbelief as his eyes darted around the room, taking in the floating objects and the spectacular sight of the three of them suspended in the air. "But just because it can be done, doesn't mean..." He trailed off, his words lost as he looked up at them in awe, before exhaling an exasperated sigh. "Will you please stop hovering?"

"I’m not sure how to do that, sir," Viktor replied, his tone light but tinged with a small chuckle, as the three of them continued to float around, mesmerised by the results of their work.

"This is now what Piltover’s future looks like, my dear boys," Heimerdinger muttered, his voice both proud and frustrated. "And my dear Y/N, what would Mel think of this?"

Before Y/N could answer, the sharp click of heels echoed in the room, followed by a voice she knew well.

"I would think it’s for the counsellor to decide," Mel said, stepping forward, her heels clicking sharply against the floor. She tilted her head upward, her gaze sweeping over the room with a mixture of intrigue and disbelief. "Perhaps it’s time for the era of magic."

"Uh, hextech," Jayce quickly corrected her, a grin tugging at his lips as he glanced at Mel. "For the era of hextech."

Heimerdinger looked between Mel and Jayce, brow furrowed, his sharp eyes narrowing as he observed the scene. He muttered to himself, more to process what he was seeing than anything else, "Hextech? We’ll see what you two have truly created."

But before anyone could speak further, Mel’s gaze shifted slightly, catching sight of Viktor and Y/N. Their hands were still connected, fingers intertwined in an unspoken display of unity. Viktor’s gaze lingered on Y/N, a quiet warmth in his eyes, while she met his look with a soft smile that spoke volumes. For a brief moment, the room seemed to hush, as if even the air held its breath in that shared space between them.

Mel paused, taking in the sight of the two of them, their connection clear and undeniable. Her lips curled into a thoughtful smile, her keen eyes glancing from Y/N to Viktor before she cleared her throat.

"Well," she said, her tone shifting slightly, as if processing something more than just the invention in front of her. "It seems the future has already begun... in more ways than one."

Y/N and Viktor exchanged a glance, a subtle understanding passing between them, the weight of everything they had built—together, both in their work and their growing bond—lingering in the air.

[wzrd-wheezes]

I have an idea for bartender! Remus, if it’s something you’d be comfortable writing? (I know people have different boundaries on this kind of topic so if not totally ignore this)

But what about Reader goes to the bar to meet up with Remus (like an hour or so before he gets off work, they plan to hang out after but she figured might as well go have some fun, either with a friend or alone) and some random guy—could even be Snape/Mulciber/someone Remus knew from school??— is being creepy at the bar, then slips/tries to slip something into her drink when she’s not looking, and Remus catches him? Get some protective ‘Guard dog Wolf’ boyfriend and H/C action going on??

Up to you how far creepy guy gets in his endeavours lol whatever you’re comfortable with :))

In Safe Hands - Remus Lupin x Reader

AN - thank you for this request! This was something a bit different for me. i've put some links at the end with some info about spiking etc because it is a very real and very scary thing so pls be vigilant, keep an eye on your drinks, keep an eye on your mates and don't be afraid to tell creepy men to fuck off!

Warnings: mentions of drugs/ attempted spiking (nothing serious happens but worth mentioning incase it's a trigger for anyone) 2k words

“You’re still meeting me after my shift, yeah?” Remus asked, pressing a quick kiss to the top of his girlfriend’s head as he reached for his jacket draped over the sofa, “It’s alright if you’re too tired and don’t fancy it. I’ll be finishing late.” 

Y/N looked up at him, her legs curled beneath her on the sofa. “Don’t be daft,” she said with a soft smile, “I’m meeting Lily anyway and we said we’d pop in for a drink before she meets James. I think she said he was going out somewhere with Sirius.”  

“Oh God.” Remus widened his eyes jokingly, “I hope she doesn’t have to call me to pick the two of them up again.” 

“Hah! I hope not,” she agreed, “But yeah. I’ll be there for sure. I like seeing you at work.” 

Remus paused mid pocket pat, checking for the late shift essentials -lighter, cigarettes, keys- then raised an eyebrow at her, “Oh, yeah? What’s so fun about watching me pouring pints and dodging drunk blokes?” 

She shrugged with a grin, “No particular reason. I just like seeing you in your element. All nice and charming and pretending that you’re not judging everyone.” 

“I don’t pretend that hard.” 

“Exactly.” 

Remus leaned down, his fingers brushing against her jaw before kissing her softly again, “You’re an idiot,” he said fondly, “Alright, I’m off. See you later, lovey.” 

The bar was already packed when Y/N and Lily walked in. It was familiar and gloomy with it’s dim lighting, scuffed wood and the hum of conversations. The large bar stretched across the middle of the room, people queuing up all around it. 

“There - look!” Lily grabbed Y/N’s hand as she spotted two empty barstools and dragged her forwards. 

“Perfect spot, eh?” Lily teased, “Front row seats to watch your boyfriend at work.” 

“Shut up,” Y/N swatted at her friend playfully. She settled onto her stool and glanced down the length of the bar. 

Remus was stood at the far end, deep in conversation with one of his regulars. One hand rested on the bar top, the other gesturing mid-story. The sleeves of his shirt were rolled up to the elbows and he had his dish cloth slung over his shoulder. The familiar furrow between his brows was a tell-tale sign that he was pretending not to enjoy himself. 

Lily slid a menu across the bar towards her, though it was more ritual than necessity, “Are we pretending to deliberate for thirty seconds before ordering the exact same thing we always do?” 

“Of course,” Y/N replied, “If it’s not broken don’t fix it.” 

It didn’t take long for Remus to clock them. He finished pouring a beer and handed it off with a nod before making his way over to them. 

“Well, well,” he said, leaning an elbow on the bar in front of them, “What did I do to earn the pleasure of both your company tonight?” 

"Don’t flatter yourself,” Lily said dryly, though the corners of her mouth twitched into a smile, “I can’t stay long. Told James I’d meet him just after midnight.” 

“Probably a good idea. Best not to leave him unattended with Sirius for too long. Remember last time when they nearly got banned from the pub quiz because of-”  

“Please don’t remind me.” Lily cut him off, hiding her face in her hands. 

Remus laughed and grabbed two glasses from under the bar, setting them down with a soft clink, “Same as usual?” 

“You know us,” Y/N replied. 

“Oh, I know. Creatures of habit, the pair of you,” he gestured towards Y/N. “Especially you – always sit on the right, always eye the mojito like you’re considering ordering something different and then order the same thing anyway.” 

He held his hands up defensively and chuckled. Y/N watched him as he turned to make their drinks. He made it look effortless, and she loved catching his little quirks as he worked. The way he would tap each bottle twice before pouring, how he would flick his fingers when he shook the cocktail shaker. When he eventually slid their drinks towards them, his hand brushed hers and she felt that familiar warmth creep up her spine. 

The two girls fell into easy conversation as Remus returned to his rounds behind the bar. They sipped their drinks, watching the bar buzz around them. Remus was a blur of motion, moving from one end of the bar to the other. Every time he passed by them, he didn’t fail to glance their way, flashing them a crooked smile that lingered on Y/N for a second longer. 

Lily stretched, letting out a dramatic sigh as she glanced at the time, “Alright, guess I’d better be off,” she pouted as she drained the rest of her drink, “You’ll be okay, yeah?” 

Y/N nodded, setting her own glass down, “Yeah, ‘course. Remus should be done soon anyway.” 

Lily pulled her friend into a warm hug, pressing a quick kiss to her cheek, “Okay, then. I’ll call you tomorrow. Wish me luck!” 

Y/N watched her friend disappear through the door and she turned back to her drink, tracing her finger along the condensation that had formed on the glass. Remus was busy down the other end of the bar, chatting with a pair of customers. 

“Mind if I sit here?” A voice spoke out behind her. 

Snapped back into reality, she turned around and met the eyes of the man behind her, “Oh, er, yeah sure.”  

She assumed that he was just looking for an empty seat, probably waiting for someone himself. She smiled at him as he sat down and then turned back to face the bar. 

“Your friend ditch you or something?” 

“Huh?” she glanced at him sideways, “No, she had to meet someone.” 

“My lucky night then, eh?” he grinned at her. He was a few years older than she was, dressed like he thought he was cooler than he was in an expensive looking jacket and shoes, “Wanted to come over and speak to you earlier but I didn’t want to intrude.” 

“I’m with someone,” she nodded towards the bar. 

He tilted his head looking unconvinced, “Doesn’t look like it.” 

Y/N gave him a tight smile and looked away, hoping that would be enough but he didn’t relent. The man leaned in closer, casually, like she hadn’t just brushed him off. 

“Aw, come on now,” he lowered his voice, “No need to be shy. I just thought you looked like you could use some company. Doesn’t seem right, leaving a lady sat all by herself.” 

“I said I’m good.”  

“Girls like you shouldn’t drink alone. Gives people the wrong idea.” 

Y/N turned to face him fully now, “Let me give you the right idea then. Fuck off.” 

The man laughed, like they were playing a game, “No need to be rude, I’m only being friendly.” 

She rolled her eyes and turned back to the bar. For a moment, she considered moving but the bar was packed, and she wanted to be near Remus. Besides, why should she have to move just because some wanted to try it on her? She looked back to Remus, willing his shift to end.  

The man was still talking – meaningless chatter about how the bar was busy and isn’t every bar crowded and loud nowadays? Unfortunately for him, Y/N had long since stopped listening, hoping that if she ignored him long enough he would eventually get the hint and leave. She kept her body angled away, trying to increase the distance between them. 

Remus had been watching Y/N from the moment Lily had left. Not constantly, but just checking in every couple of minutes. It was a protective little habit that he had whenever she came to visit him at work.  

He’d seen the man sit down, immediately clocking him and the way Y/N seemed to be handling it. He knew he would intervene if he needed to. But then he saw it. The sleight of hand as the man’s fingers brushed the rim of Y/N’s glass.  

Remus was across the bar in seconds, fast and silent. The man didn’t even notice him until Remus’s hand shot out and grabbed his wrist mid-motion, slamming it down against the bar. The man jolted and so did Y/N. 

“What the fuck do you think you’re doing?” He growled. The room seemed to quieten and several heads turned. The man tried to jerk his arm back but Remus gripped it tightly. 

“I didn’t do anything!” The man scoffed, still trying to wrench his arm free. Remus used his spare hand to snatch the glass up. 

“No? ‘Cause it looked like you just put something in her drink.” Remus thrust the glass towards him, “Drink it then, if it’s alright. Go on.” 

Y/N was stunned into silence as she watched the altercation. Her mouth had gone dry when she realised what had happened.  

The man opened and closed his mouth a few times, trying to find a way to weasel himself out of the situation. 

What?” Remus pressed, “You’re that pathetic that you have to slip something into a girls drink just to be in with a chance of getting laid?” 

“I didn’t do anything so why don’t you just fuck off?” The man spat. 

Remus saw red and released his grip just long enough to grab the front of the man’s shirt and drag him towards him until their faces were inches apart, only the bar between them. His feet scrambled on the footrest of the barstool, trying to regain his balance. 

“You don’t talk to me like that. Not in my bar.” Remus seethed, “You come in here and try to drug someone – my girlfriend, no less – and then try to lie your way out of it? You’re fucking lucky that I’m still speaking instead of beating the shit out of you.”  

Remus gave him a sharp shove causing him to topple off the back of the stool and hit the ground with a thud. He stumbled to his feet, glaring at Remus. 

“I’d fuck off if I were you. You don’t step foot in this place again and if you do... I’ll fucking bury you.” Remus sneered.  

The man’s chest puffed like he was about to retort but any words he had died in his throat when he turned around to be greeted by two burly security guards. One of them grabbed his arm, the other gave him a rough push towards the exit. He didn’t argue, just muttered under his breath as they dragged him out. 

“You okay?” Remus’s gaze softened as he turned to look at his girlfriend who was anxiously biting her lip. 

“Yeah. I’m sorry – I should’ve moved away as soon as he came over-” 

“Not your fault, sweetheart. Fucking creep.” he was around the bar in a second, wrapping his arm around her shoulders tightly, “Let’s get you home, eh?” 

The flat was quiet when they stepped inside. It was soothing to Y/N’s pounding head from the noise of the bar. Remus locked the door behind them and turned the latch with more force than necessary. His jaw was still clenched but his touch was gentle on the small of her back as he guided her inside. 

“Sit down,” he gestured to the sofa, “I’ll make you a brew.” 

She nodded and curled up, wrapping the blanket tightly around her shoulders. It wasn’t until she was in the still and silence that it suddenly hit her how close it had been. How wrong it could have gone if Remus hadn’t noticed. By the time Remus came back, two mugs of tea in hand, she was glassy eyed.  

“Here,” he said, “Tea makes everything better.”  

She drank it slowly as she watched him. His hands rested on her knees, tracing small, steady circles like he was trying to ground her.  

“I should have said something sooner,” she whispered, “I knew something felt off but I didn’t want to overact. What if you weren’t there and-” 

“No. Don’t do that to yourself.” Remus shook his head immediately, pulling her closer to him until she was nestled under his arm, “You shouldn’t have to expect something like that to happened just because you’re sitting alone for five minutes.” 

Y/N nodded, blinking fast trying to keep the stinging of tears in her eyes from spilling over. Her hand reached up and found the back of Remus’s head, running her fingers through his hair. He dipped his head down and kissed her softly. 

“I’ll always look out for you.” he murmured against her lips, “you know that, yeah?” 

Helpful links:

https://www.met.police.uk/advice/advice-and-information/spiking-advice/spiking/how-spiking-can-make-you-feel/

https://www.sandstonecare.com/blog/roofied/

Stay safe <3

[hayatheauthor]

The Arsonists’ Handbook: A Writer’s Guide To Igniting Fire

This comprehensive guide is crafted to assist writers in creating realistic and gripping depictions of arson scenes. We'll explore the psychological motivations behind arson, the different types of fires, and the intricate dynamics of how a fire spreads.

I personally wrote this blog due to a story I’m working on involving the Salem trials fires, thus the extensive research. I hope this comprehensive guide will help you out with your fiery (written) endeavours! (Heavy on the written). 

Understanding Fire: The Basics

How Fire Starts

At its core, fire is a chemical reaction known as combustion. For fire to ignite, three key elements must be present: heat, fuel, and oxygen. This trio is often referred to as the fire triangle. Removing any one of these elements will prevent or extinguish the fire.

Heat: The energy source that raises the temperature of the material (fuel) to its ignition point. Heat can come from various sources, such as an open flame, electrical sparks, friction, or chemical reactions.

Fuel: Any combustible material that can feed the fire. This can range from solid objects like wood and paper to liquids like gasoline and alcohol, and even gases like propane and natural gas.

Oxygen: Fire needs oxygen to sustain itself. Typically, the air around us provides the necessary oxygen, but in certain conditions (like in an oxygen-rich environment), fire can become significantly more intense and harder to control.

Fire Behavior

Once a fire ignites, its behavior is influenced by several factors, including the type of fuel, the amount of oxygen available, and the environment. Understanding how fire behaves is crucial for writing realistic scenes, especially when it comes to describing how quickly a fire spreads and the destruction it causes.

Spread of Fire

Fire spreads through three main methods: conduction, convection, and radiation. Conduction is the transfer of heat through materials, like when a fire heats up a metal door. Convection occurs when hot air rises and circulates, spreading the fire. Radiation is the heat that spreads through the air, setting nearby objects alight without direct contact.

Stages of a Fire

A fire typically goes through four stages: ignition, growth, fully developed, and decay.

Ignition: This is the beginning stage where the fire starts. It’s often small and contained, but the potential for growth is high.

Growth: As the fire consumes more fuel, it grows in size and intensity. During this stage, the fire spreads rapidly, and the heat increases, potentially igniting nearby objects.

Fully Developed: The fire has reached its peak intensity. All available fuel is burning, and the temperature is at its highest. This is the most dangerous stage, where the fire is hardest to control.

Decay: As the fire runs out of fuel or oxygen, it begins to die down. The flames reduce in size, and the temperature starts to drop. However, if there’s still some fuel or oxygen left, the fire can reignite.

Types of Fire

Not all fires are created equal, and understanding the differences between various types of fires can help you write more accurate scenes. The type of fire often determines how it spreads, how it's fought, and the damage it causes.

Class A (Ordinary Combustibles): These fires involve materials like wood, paper, cloth, and some plastics. They are the most common type of fire and are usually extinguished with water or foam.

Class B (Flammable Liquids): These fires involve flammable or combustible liquids such as gasoline, oil, and alcohol. They are more dangerous than Class A fires and are typically extinguished with foam, carbon dioxide, or dry chemical agents.

Class C (Electrical Fires): These fires involve electrical equipment, such as wiring, circuit breakers, and appliances. Water should never be used to extinguish a Class C fire because it can conduct electricity, making the situation worse. These fires are typically fought with non-conductive agents like dry chemicals or carbon dioxide.

Class D (Combustible Metals): These fires involve metals like magnesium, titanium, and sodium. They are very dangerous and are fought with specialized agents like dry powder designed to absorb heat and smother the fire.

Class K (Kitchen Fires): These fires involve cooking oils and fats, often occurring in kitchens. They are fought with wet chemical agents that cool the fire and create a barrier between the fuel and the oxygen.

The Stages of Arson

Arson, the act of deliberately setting fire to property, is a complex crime that involves planning, execution, and, often, a great deal of psychological motivation. Understanding the stages of arson can help you create more realistic and engaging scenes in your writing.

Planning and Preparation

Before an arsonist sets a fire, they usually go through a detailed planning and preparation phase. This stage involves selecting a target, gathering materials, and determining the best time and method to set the fire.

Motive: The reasons behind arson can vary widely. Common motives include revenge, financial gain (such as insurance fraud), psychological compulsion (pyromania), or even a desire to destroy evidence of another crime.

Target Selection: The arsonist will choose their target based on various factors, including the accessibility of the location, the presence of flammable materials, and the likelihood of the fire being discovered quickly. For example, an arsonist might target an abandoned building, a business with financial troubles, or a residence where they hold a grudge against the occupants.

Materials Gathering: The arsonist needs to gather materials to start the fire. This might include accelerants like gasoline or kerosene, tools to break into the target location, and possibly even timing devices to delay the ignition. Some arsonists use household items like matches, lighters, or candles, while others might resort to more sophisticated methods.

Timing: Timing is crucial for arson. The arsonist might choose a time when the target location is unoccupied to avoid detection or ensure maximum damage. Alternatively, they might set the fire at a time when the building is full of people to cause harm or send a message.

Ignition

The ignition stage is when the arsonist actually starts the fire. This is often the most critical and dangerous part of the crime, as it requires the arsonist to be physically present at the scene.

Methods: There are various methods an arsonist might use to start a fire. The simplest method is using a match or lighter to ignite flammable materials. However, more sophisticated arsonists might use chemical accelerants, timing devices, or even electrical equipment to start the fire remotely. In some cases, the arsonist might create a trail of flammable liquid leading to the target, allowing them to ignite the fire from a safe distance.

Initial Signs: The first signs of a fire are usually small flames and smoke. Depending on the materials used, the smoke might be thick and black (indicating the presence of accelerants) or lighter and less noticeable. The smell of burning materials is also a telltale sign, and in some cases, the arsonist might use scented materials to mask the odor of burning chemicals.

Fire’s Progression

Once the fire is ignited, it begins to grow and spread. The speed and intensity of the fire depend on several factors, including the type of fuel, the amount of oxygen available, and the structure of the building.

Growth: As the fire consumes more fuel, it grows in size and intensity. Flames spread to nearby objects, igniting anything that can burn. The heat generated by the fire causes nearby materials to reach their ignition points, further fueling the blaze. In a well-ventilated area, the fire can spread rapidly, engulfing the entire structure in minutes.

Environmental Effects: The fire’s heat can cause significant damage to the surrounding environment. Smoke and toxic fumes fill the air, making it difficult to breathe and see. The intense heat can cause glass to shatter, metal to warp, and wood to burst into flames. The fire might also create a backdraft, a dangerous phenomenon where a sudden influx of oxygen causes an explosion of flames.

Aftermath

After the fire has been extinguished, the aftermath reveals the full extent of the damage. This stage involves assessing the destruction, investigating the cause of the fire, and dealing with the legal and emotional consequences.

Destruction: The fire leaves behind a trail of destruction. Buildings are reduced to charred skeletons, possessions are destroyed, and in some cases, lives are lost. The damage caused by fire can be catastrophic, leaving victims homeless, businesses bankrupt, and communities devastated.

Investigation: Arson is a criminal act, and a thorough investigation is usually conducted to determine the cause of the fire and identify the perpetrator. Fire investigators look for clues like burn patterns, residue from

The Psychological Profile of an Arsonist

Arsonists come from diverse backgrounds, but their motivations often stem from deep psychological issues. Understanding the mind of an arsonist can help you create more complex and nuanced characters in your writing.

Common Motivations

Revenge: Many arsonists are motivated by a desire for revenge. They might set a fire to get back at someone who wronged them, such as a former employer, an ex-partner, or a rival. This type of arson is often impulsive, driven by anger and a need to assert control.

Financial Gain: Arson is sometimes committed for financial reasons, such as insurance fraud. The arsonist may set fire to their own property or hire someone to do it, intending to collect insurance money. This type of arson is usually well-planned and methodical.

Psychological Compulsion (Pyromania): Some arsonists are driven by a psychological disorder known as pyromania, where they experience an uncontrollable urge to start fires. For these individuals, the act of setting a fire provides a sense of excitement, satisfaction, or relief. Pyromaniacs often set multiple fires and may stay to watch the fire burn.

Attention-Seeking: Arsonists may set fires to attract attention, either to themselves or to a cause they believe in. This can be seen in cases where someone sets a fire to highlight an issue, make a political statement, or simply because they crave the spotlight.

Thrill-Seeking: For some, the act of arson is about the thrill of taking risks and the adrenaline rush that comes with causing destruction. These arsonists might not have any particular grievance or financial motive but are instead driven by a desire for excitement.

Psychological Traits

While not all arsonists fit a single profile, there are common psychological traits that many share:

Lack of Empathy: Arsonists often exhibit a lack of empathy, unable to fully grasp or care about the consequences of their actions on others. They may not consider the potential loss of life or property and are more focused on their own desires and needs.

Impulsivity: Some arsonists act on impulse, setting fires without fully considering the long-term effects. This impulsivity can be linked to other behavioral issues, such as a history of aggression, substance abuse, or other criminal activity.

Desire for Control: Arson can be a way for individuals to exert control over a situation or person. The fire represents a powerful force that the arsonist can manipulate, giving them a sense of power and dominance.

Isolation: Many arsonists are socially isolated, struggling to form meaningful relationships. This isolation can fuel their desire for attention or revenge, leading them to commit acts of arson as a way of asserting themselves.

Physical Signs and Symptoms of Arson

When it comes to describing a fire in your writing, the physical signs and symptoms of arson can add a layer of authenticity and vivid detail to your scenes. Understanding these signs not only enhances the realism of your narrative but also helps to convey the severity and impact of the fire.

Visual Cues

One of the most striking aspects of a fire is its visual presentation. The flames, smoke, and other visual cues can vary greatly depending on the type of fire, the materials involved, and the environment.

Flames, Colors, and Intensity of the Fire: Flames can vary in color depending on the materials burning and the temperature of the fire. For instance, a fire fueled by organic materials like wood or paper typically burns with orange or yellow flames. In contrast, fires involving chemicals or metals might produce blue, green, or even white flames. The intensity of the flames can also signal the fire’s progression, with small, flickering flames indicating the early stages and roaring, high flames signifying a fully developed fire.

Smoke Characteristics: Smoke is another key visual indicator of a fire’s behavior. The color, thickness, and smell of smoke can provide clues about the type of materials burning and the presence of accelerants. Black, thick smoke often suggests that the fire is consuming synthetic materials like plastics or rubber, while white or gray smoke might indicate burning wood or paper. The smell of the smoke can also vary, with a sharp, acrid odor suggesting the presence of chemicals.

Heat Effects

Heat is one of the most destructive elements of a fire, and it can have profound effects on objects, structures, and people. Describing these effects can make your arson scenes more visceral and impactful.

Effects on Objects and Structures: The intense heat generated by a fire can cause a wide range of damage. Wood and other combustible materials might blister and char, while metals can warp or melt. Glass windows might crack or shatter due to the rapid temperature change. The heat can also cause scorch marks on walls and floors, which are often key indicators in an arson investigation. Understanding these effects allows you to describe the aftermath of a fire with greater accuracy.

Scorch Marks, Blistering, and Charring: Scorch marks are darkened areas that indicate where flames or intense heat have come into contact with a surface. Blistering occurs when the heat causes materials to bubble and expand, often seen on painted or varnished surfaces. Charring is the blackening and partial burning of materials, typically seen on wood. These signs can be crucial in determining the origin of the fire and whether an accelerant was used.

Human Reactions

The physical and emotional responses of individuals during a fire are critical elements in conveying the terror and urgency of an arson scene.

Physical Responses to Heat and Smoke: The human body reacts dramatically to the extreme conditions of a fire. Heat can cause burns, ranging from superficial first-degree burns to more severe third-degree burns that destroy deeper layers of skin. Smoke inhalation is a common and often deadly consequence of being trapped in a fire. It can cause coughing, choking, and disorientation as the smoke deprives the body of oxygen and fills the lungs with toxic gases. Victims might experience blurred vision, dizziness, and confusion, making it difficult for them to escape.

Emotional Responses to Fire: The emotional toll of being caught in a fire can be overwhelming. Panic is a common reaction, as the instinct to flee overwhelms rational thought. Fear and anxiety can paralyze individuals, making them unable to act. However, some characters might respond with determination and resolve, driven by the need to save themselves or others. Describing these emotional responses can add depth to your characters and heighten the drama of the scene.

For a more detailed guide on burns, read how to write burns. 

Common Misconceptions About Arson

When writing about arson, it’s important to address common misconceptions that can lead to unrealistic or inaccurate scenes. Debunking these myths can help you create more credible and compelling narratives.

Fire Spreads Quickly

A common misconception is that fire spreads almost instantaneously. While fire can indeed spread rapidly, especially under the right conditions, there is often a progression that can be influenced by various factors such as the type of fuel, the presence of accelerants, and the structure of the building. In reality, a fire might start small and take several minutes to fully engulf a room, especially if there’s limited ventilation or the materials are slow to ignite. This progression allows for moments of tension and potential escape in your narrative.

All Fires Look the Same

Another myth is that all fires behave similarly, regardless of the environment or the materials involved. In truth, the appearance and behavior of a fire can vary widely. For example, a fire in a well-ventilated area with plenty of fuel will look very different from a smoldering fire in an oxygen-deprived environment. Additionally, fires involving different types of materials—like wood, gasoline, or chemicals—can produce vastly different flames, smoke, and heat. Recognizing these differences can help you craft more nuanced and realistic fire scenes.

Fire and Explosions

Thanks to Hollywood, many people believe that fires often result in dramatic explosions. However, explosions are relatively rare in most fires and usually require specific conditions, such as the presence of flammable gases or liquids in confined spaces. While a fire can cause small, localized bursts (like when a pressurized canister overheats and ruptures), full-scale explosions are uncommon. Incorporating this knowledge can prevent your scenes from falling into the trap of over-the-top sensationalism.

Easy to Identify an Arsonist

The idea that arsonists are easily identifiable or leave obvious clues behind is another misconception. In reality, arson investigation is a complex and challenging process. Arsonists often go to great lengths to cover their tracks, using methods that leave little evidence. The fire itself can destroy crucial evidence, making it difficult to determine the cause and origin. Investigators must rely on subtle clues, like burn patterns, residue from accelerants, and witness statements. Writing realistic arson investigations involves understanding the nuances and difficulties involved in linking the crime to a specific individual.

Real-Life Case Studies

Exploring real-life arson cases can provide valuable insights into the motives, methods, and consequences of arson, helping you to create more authentic scenes in your writing.

Notorious Arson Cases

The Boston Fire (1919): This fire, started by disgruntled city workers, caused extensive damage and highlighted how social unrest can lead to destructive acts of arson. The arsonists used a combination of accelerants and timing devices to ensure the fire spread quickly and was difficult to control.

The Happy Land Fire (1990): A tragic case where an arsonist set fire to a social club in New York, resulting in 87 deaths. The fire was started with gasoline, and the arsonist’s motive was personal revenge after an altercation with a club employee. This case illustrates the deadly potential of arson when combined with crowded, enclosed spaces.

The Oakland Hills Firestorm (1991): Although not initially an arson case, this firestorm was exacerbated by arsonists who set additional fires in the area. The fire destroyed thousands of homes and underscored the difficulty of controlling fires in densely populated areas with dry, windy conditions.

Lessons for Writers

Real-life cases like these offer important lessons for writers. They demonstrate the variety of motives behind arson, the different methods used, and the devastating impact that fire can have on individuals and communities. Incorporating these lessons into your writing can help you create more complex and realistic arson scenes.

Complex Motives: Arson isn’t always about destruction for its own sake. It can be motivated by revenge, financial gain, political statements, or psychological issues. Exploring these motives can add depth to your characters and their actions.

Diverse Methods: Arsonists don’t always rely on the same techniques. Understanding the different methods used to start fires allows you to vary your scenes and avoid repetitive or predictable narratives.

Realistic Consequences: The aftermath of arson can be devastating, with long-lasting consequences for the

Arson in Literature and Film

Arson is a powerful narrative device in literature and film, often used to create tension, drive plot, or explore character motivations. Understanding how arson has been portrayed in these mediums can help you craft more compelling and nuanced fire scenes in your writing.

Arson as a Plot Device

Arson is often used as a plot device to introduce conflict, create suspense, or catalyze a story’s events. It can serve as a turning point in the narrative, forcing characters to confront their past, make difficult decisions, or reveal their true nature.

Catalyst for Change: In many stories, a fire is the catalyst that sets the plot in motion. The destruction caused by the fire forces characters to adapt, overcome obstacles, or seek revenge.

Revealing Character: Arson can also be used to reveal a character’s true nature. A character who commits arson may be driven by anger, greed, or desperation, and their actions can expose underlying flaws or hidden motivations.

Symbolism: Fire is often used symbolically in literature and film, representing concepts like purification, destruction, or rebirth. The act of setting a fire can be a symbolic gesture, reflecting the character’s desire to destroy the past, cleanse themselves of guilt, or start anew.

Notable Examples in Literature and Film

"Jane Eyre" by Charlotte Brontë: In this classic novel, the character of Bertha Mason sets fire to Thornfield Hall, an act that is both literal and symbolic. The fire represents Bertha's madness and desperation, as well as the destructive secrets hidden within the estate. The blaze ultimately leads to the revelation of Mr. Rochester's past and serves as a turning point in Jane Eyre's journey, symbolizing the destruction of the old and the possibility of a new beginning.

"Fahrenheit 451" by Ray Bradbury: In Bradbury’s dystopian novel, fire is used as a tool of oppression. Firemen are tasked with burning books, a symbol of knowledge and freedom, to maintain societal control. The protagonist, Guy Montag, initially takes part in these acts of arson, but as the story progresses, he becomes disillusioned and eventually rebels against the system. The novel explores themes of censorship, conformity, and the power of knowledge, with fire serving as both a destructive and a purifying force.

"Carrie" by Stephen King: In King’s horror novel, fire is a key element of the climactic scene where Carrie White, after being humiliated at her high school prom, uses her telekinetic powers to set fire to the gymnasium. The fire is a manifestation of her rage and desire for revenge, and it leads to the destruction of her school and the deaths of many of her tormentors. The scene is a powerful example of how fire can be used to convey intense emotions and serve as a metaphor for uncontrollable anger and retribution.

"Rebecca" by Daphne du Maurier: The burning of Manderley, the grand estate that serves as the novel’s primary setting, is a pivotal moment in du Maurier’s gothic tale. The fire, set by the vengeful housekeeper Mrs. Danvers, symbolizes the destruction of the past and the erasure of Rebecca’s lingering influence over the characters. It also represents the liberation of the protagonist from the oppressive shadow of her predecessor, allowing her to finally step out of Rebecca’s shadow.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[http-tokki]

desecration of a desk- viktor

~viktor x fem!reader ~ tags/cw: established relationship, smut kinda/maybe, religious illusions, idk bro there's something hot about fucking and alluding to god idk (religious trauma? perhaps) ~ w/c: 1.1k ~a/n: not proofread. i am once again writing in the middle fo the night cause why the fuck not, this orginally started as another idea but turned into this cause I started listening to hozier and got a lil carried away

Meticulous as Viktor might be when it comes to his work, that does not extend to other aspects of his life. Before each experiment, he is diligent in his preparation: a clear space, organised tools, a notebook open and ready with pen uncapped, and a sheet thrown on the floor in case of any spills or marks that may mar the marble floor. Not a single aspect of preparation is overlooked, if only he had that same attention to detail when it came to you.

There is no towel laid down, no locked doors, hell, the fucking window is open (not that anyone could peek in so high up but, it’s the lack of awareness and carefulness that had you panicking even as you rolled your hips against his face. Half laying on the desk, legs thrown over his shoulders, skirt shoved up around your waist, upper body being held up by your elbows as you stare down at your partner who is two fingers deep in your sopping pussy. Viktor is a man of few words when exhausted, the late nights and fast-approaching deadline draining him of his energy. Still, within the last ten minutes since you slipped into his workspace, you’d heard maybe seven words beyond his mumbled acknowledgement as you closed the door.

“Good afternoon, sweetheart.” The pet name barely left his tongue before all but began to pant the second he set his sight on you, pushing the papers off his desk aside and patting the free space.

“Up,” he instructed as he began to loosen his tie.

His name was a warning on your tongue as you shifted on your feet, worried about what his intentions were, but you are not one to deny your beautiful genius, so even as you fiddled with the sleeve of your jumper, you crossed the space to slide onto the table.

“Skirt.” Cold hands slid up your stocking-clad thighs, slipping beneath the skirt that fell to your knees. It wasn’t particularly alluring, something you wore to the office on the days your usual uniform was at the cleaners. If anything, your other choice of skirt would have been more enticing. Knee length and tight, clinging to your waist and thighs exactly how you hoped, but there was something about the flowy one you wore today that had Viktor salivating.

Hands wrap around each of your calves. “May I?” index finger finding a small hole in your stockings.

It’s more of a warning that it’ll happen rather than a request for permission, but you nod regardless, too focused on the way Viktor lifted your legs to sling them over his shoulders, settling between them like it’s where he was meant to be.

Viktor stops himself with a bashful smirk, removing one of his hands to reach down and lift the lever of his stools, adjusting the height until he was level with your core. It was silly, watching the way he slowly shrank down, and you couldn’t help the laugh that bubbled out of you.

The rest of pretty self-explanatory. His mouth was on your cunt, tongue working you open as one of his hands held you down, rubbing circles on your clit smirking into you each time you jolted into his mouth. Your stockings had been torn, not completely, just enough for Viktor to have access to what he wanted most at that moment, free hand kneading the plush flesh of your thigh. Viktor, like everything else he sets out to do, is successful in his endeavour. he has you coming on his tongue in minutes, his name a sharp whine that has you slapping your hand over your mouth to silence any more unnecessarily loud gasps and moans.

“You’re getting too good at that.” you pant, pushing at his shoulders to create distance as he continues to lap at your too-sensitive clit.

Viktor hums into you, pressing one last kiss against your flesh before he pulls away and slides your underwear back into place. “eh, could be better.”

“Better? Do you want to kill me?”

“Yes.” Despite the space, your thighs still lay slung over his shoulders. “But only because I plan on dying right here, and I do not want anyone else to take my place,” he squeezes the fat in his hands.

“I don’t particularly want anyone else there either.” You shift yourself higher, eager to kiss him.

"Well then, we seem to be in agreement,” his lips quirk up into a smirk, the hold on your limbs unrelenting. "I did not think that such a thing was possible within this room."

"A rarity, I'm sure won't happen again." You tease, and even though you and Viktor rarely do agree on anything within a scientific setting, your personal beliefs and boundaries within life align a little too well for it to not be fate that you have found one another.

"I'm certain it won't," Viktor uses your thighs as leverage to stand, his footing a little uneven as his body adjusts to the new position, your hands coming up to rest on his hips, offering support as he leans over you. "Should we celebrate this momentous occasion?"

Your fingers begin to trail over the waistband of his trousers, slipping beneath to fish for the hem of his shirt, eager to feel his skin against yours.

“Are you suggesting we desecrate your workspace further?" Your head flicks to the door, a sudden bang from the hall stealing your attention, but Viktor's fingers on your chin pull it back.

"I wouldn't call it desecration," his thumb pushes against your lower lip, prodding and waiting for permission. "sanctification, perhaps." his thumb slides against your tongue, his breath a sharp inhale as you begin to suck on the digit.

"It is a privilege to have you spread out on my desk," Viktor's eyes flutter closed as your own fingers trace the outline of his cock, contained behind the buttons of his slacks. "to have your voice echo throughout the room, the feel your mouth on mine, to know you deem me worthy of your time,"

“Viktor," your words are muffled, the reprimand swiped from your tongue as he pressed deeper.

"It would be blasphemous of me to think of you before me as anything but a divine blessing, and if I were to not worship you for all you were, then that would be the real desecration."

You blink up at him, eyes watering as he continues to press down on your tongue. Viktor leans closer, the scent of him engulfing you in a familiar warmth and slips his thumb from your mouth. Spit is smeared across your cheek as he cups your face and leans in, mouth slotting over yours in a searing kiss. You are quick to wrap your arms around his neck, pulling yourself up to crush your body to his, to feel the planes of his chest flush against yours.

"I need you to fuck me right now," you grunt against his mouth, too tired of feeling the empty aching warmth between your thighs.

Viktor can't help but laugh. "You really do have such a way with words."

[city-of-ladies]

"Burginda’s letter is instructing the young man in his spiritual endeavours, and the contents of the (albeit short) letter reveal that she was highly educated and well-read. Written in a period that many still refer to erroneously as an intellectual ‘Dark Ages’, Burginda’s letter uses Greek words, utilises biblical exegesis, imitates Christian poetry like the fifth-century Psychomachia of Prudentius, and references both the sixth-century Italian poet Arator and the classical Roman poet Virgil. It also contains a reworking of a description of heaven found in a Latin poem from Africa that dates to c. 500. Burginda was clearly a very well-read intellectual.

This letter can be used as an example to refute many popular misconceptions about the early middle ages. The first misconception is that antique texts were neglected or unknown in this period. The second misconception is that medieval women were uneducated and unintellectual. The third misconception is that there was little or no intellectual transmission between Africa and Europe in this period. Burginda’s letter proves all these assumptions false. Not bad for two paragraphs of Latin."