#if any reads this well done

[thefloatingstone]

Appleseed PDA montage to save you from reading endless pages of unimportant politics that don't amount to anything

also because I have nothing better to do, I'm bored, I'm moody, my gaming laptop is still broken so no BG3, and it's too late at night to start drawing after doing animation clean-up all day.

[lazyturtlehottub]

A breakdown of the Fangirlish interview: an exercise in media literacy

Given that the reaction to Buck and Tommy breaking up has been exacerbated by those interviews, I thought I would look into the one from Fangirlish in order to look at it with my media literacy hat on and see what was actually said. So, here’s a link to a version that doesn’t give the writer clicks because you should make up your own mind before providing revenue to the platform https://archive.ph/fqhlE

We start off with the headline: Lou Ferrigno Jr. on Saying Goodbye to 9-1-1, That Breakup and What’s Next

Right away, as the reader, we’re immediately told that LFJ is saying goodbye to 9-1-1, the implication being that this is the end of the road, no going back. This is, I will say, a choice that the writer made when they created the article: they decide on the headline, no one else. Going in, our mind has already been positioned to believe that this is an exit interview and to understand everything that comes next through that lens.

Supporting this path is this: “Lou Ferrigno Jr.’s time on 9-1-1 has come to an end[...]” but it’s important to note that no one has said this but the author of the article. At no point does she provide a statement from ABC, Tim Minnear, or LFJ to back this statement up.

Another unsubstantiated statement she makes is: “For Ferrigno Jr. it wasn’t exactly the way he envisioned the end of his time on the show [...]” Yet again, at no point in what she quotes from Lou does he say this at all. This is her take on the conversation and she has provided not a scintilla of evidence to support this statement. What she does provide is the following quote from LFJ:

“With the way things were going, and the connection that they had, I was under the impression that it was working, and they were connected,” he shared.

Putting this in the context of the interview, it does make it sound like Lou was blindsided by the break up, which is a very normal thing considering that we all know the actors barely know what’s happening even when they have the script. It’s not surprising that Lou didn’t know about the break-up since even Oliver Stark mentions that he didn’t know about it until they began filming, even though the possibility had been floated some episodes earlier.

So while this quote in the context the writer’s given does seem pretty final, if we remove the exit interview lens from it, it just reads as an actor expressing his surprise at the path his character is going.

Continuing on, the writer then writes the following: Ferrigno Jr. admits he had issues with this ending [...]

At the risk of sounding like a broken record, she doesn’t provide a quote to back this up. What she does right is frame the next quote as [...] but trying to get into the mindset of Tommy [...], which changes the context of the quote that Lou gives.

“If preserving his emotional health and saving himself is the only means to survive, then you can’t shame him for it.” He went on to add, “I honestly don’t believe that the relationship matured well enough that they should have made any type of long-term decision.”

So she makes a statement that says LFJ has issues with the ending and then immediately moves on to talk about the acting choices Lou had to go through in order to understand where Tommy was during the scene.

Perhaps the most direct quote from Lou about the relationship that sounds troubling with regards for the future of Buck and Tommy is this: “I just would have hoped that it would have lasted a little bit more,” he also told us, adding that in the hour we also have Buck “looking at those girls, and that sucks for Tommy, and it sucks for any person that’s looking at their partner looking at someone else.”

Taking this with the fact that this has been positioned as an exit interview, I agree that it does sound damning, but if you remove that filter from it then I believe it reads as an actor expressing mild regret that he didn’t get to play this stage of the character and this relationship more. However, I will admit, that this is open for interpretation given that we don’t know where this came in the interview since we don’t know what prompted this answer.

And for Ferrigno Jr., he admits he knew the two were done for good when he realized his character would call Buck “Buck.” I feel I’m a looping record but where in the interview does he say that? He doesn’t say that at all in the quote that she provides below.

She writes: Instead, Ferrigno Jr. told us that Tommy “only knows the man in front of him, Evan. And I knew it was going to come [the moment he called him Buck] because he’s always saying Evan all the time. I’m looking at a character that I’m playing, and he’s just like Evan, Evan, Evan, and in that line, I was just like… I knew this was going to happen.”

“And he doesn’t have to say that. He still can say Evan. But that is essentially signalling that this is all I know how to do, and it’s too much.”

Linked with what LFJ said earlier about Tommy protecting himself, this quote from him makes sense in the fact that Tommy called him Buck to protect himself from the hurt, to try and create some walls between them. But the writer has made this sweeping statement that he knew it was the end, implying that the relationship is at a permanent end when nothing LFJ has said supports that.

And then we move onto the bit that really highlights the bias that this article has been written around. The writer asks Lou: Could the show have been using Tommy as a roadblock to a possible Buck and Eddie relationship?

Getting into the professionalism of this question is for another time but I’ve added it here so you can see the fact that this is someone who is focused on the Buddie of it all. Evidence that supports this is in the author’s various tweets and the coverage of 9-1-1 on their website.

And I know we’re all worried about LFJ’s scheduling conflicts but I will posit that it was a standard answer from an actor who is just doing his job. In his words: “I would absolutely love to come back, but I do need to continue on my journey here. I have a number of things now that are going on that may or may not happen, and I hope that there’s no conflict if it were to be the case.”

Basically, this article is written from the point of view of it being an exit interview but at no point is evidence provided from official sources to support that statement. Throughout it all, Lou’s answers are framed within the narrative that the break-up is permanent and that he’s gone from the show for good.

I hope that this has been interesting and informative for those of you who have read it, and I hope it serves as a reminder that media literacy is for everyone, not just for an attack from those on social media against fans being publicly disappointed that a queer relationship has broken up, temporarily or otherwise.

[farshootergotme]

"Dick Grayson has anger issues-" okay, but does he actually? When I thought that was true I come to find that most of the evidence to make that claim come from a time in which Dick was being mentally controlled by Brother Blood or right after the death of his parents which obviously would cause anger after finding out they didn't even die naturally but were murdered on top of that.

[emily-mooon]

Scott Pilgrim Characters as Text Posts but they’re mostly of Stacey and Neil cause I’m obsessed with them :]

[paradoxlemonade]

@mcyt-summer-of-yuri gift for @sooonah !!! It's Gempearl in a Secret Life mage AU <3

[luck-of-the-drawings]

"And soda; runs off into the street..." "...and soda... is totally okay!"

[astrobei]

tiktok is not allowed to talk about the hunger games anymore actually because why did i just see a comment saying that young snow would’ve been in love with katniss. and why were people agreeing with their WHOLE CHESTS

[quantumshade]

Just so you know, you can’t ship NineRose romantically. Nine is canonically Aromantic.

sorry i don’t take things as canon if they’re written by the same guy who wrote river song sexually assaulting five.

partly joking but not really. the way big finish wrote this story has one episode call the doctor aro (by john dorney, mentioned above), and have him solve the problem of the episode with his lack of romantic attraction, and two episodes later (by tim foley, who i also have beef with) basically has nine and river call their relationship romantic.

i know being aromantic is a spectrum and something complicated and different to each individual, and i would love it if the show (or surrounding media) made an effort to explore this with the doctor, but i. don't think it's done super well here. like. on one hand it could be saying nine didn't love rose*, which i dislike and also goes against what we see in the show, or it could be saying he needed to just Meet The Right Person, which i also dislike for very obvious reasons. and either way you slice it, it confirms the doctor has feelings in the future for river (which i agree with) but it basically says the only reason the doctor doesn’t have those feelings Now is because he’s aro (with the implication of “aro For Now”). not because he. yknow. just met her. or he just got out of the time war and he hates himself. dorney just kind of bungles it, which is very disappointing because nineriver could be such an interesting dynamic, romantic or not.

i guess i just do fundamentally disagree that the doctor’s sexuality really changes all that much body to body so it really ends up feeling like “he just hasn’t Met The Right Person Yet”.

*if you personally don't think this love is romantic then that's totally fine! if you prefer to read them as queerplatonic partners or what have you then you absolutely should. personally i do think it's romantic love -- specifically allegorical queer romantic love, given how it's written in the show -- and i don't think it's a moral wrong to read it that way.

tl;dr i dislike this writer and how he handled nine and river's relationship and i think how he handled nine's romantic attraction (or lack thereof) specifically in Swipe Right really kind of sucks. that story alone contradicts the doctor being aromantic by saying that they feel romantic attraction in the future, and then the third episode in the set by foley also contradicts the doctor being aro in the present. i know stuff with sexuality can change over time, but that doesn't really feel like what was being done here. it feels more like the stereotypical thing a lot of media does that basically says aromanticism has to be fixed or is a temporary thing.

i also think telling people they can't say two characters were in gay love because of a pseudocanon side story most people have not listened to and costs a lot of money is a weird way to interact with people you don't know on the internet. i like romantic readings of doctorrose and doctorriver, sue me.

[ruvviks]

PLEASE DO NOT TAG AS YOUR OWN OC OR PAIRING.

Nathan and Ruben share a bond more powerful than most; mutual understanding through past experiences no one should ever have to go through, and through past actions so horrible they cannot be spoken of. Their grief and the blood on their hands binds them to the STEM technology they created, which has alienated them from the rest of the world— but they give each other the comfort they have both longed for so desperately for years, and that is all they need. They are each other's counterpart; you cannot imagine one without the other, like two sides of the same coin. Through their pain, their grief, their desire, and their regret, they have become one.

anna akhmatova, the guest // bones; equinox // 'i won't become' by kim jakobsson // agustín gómez-arcos, the carnivorous lamb // by oxy // achilles come down; gang of youths // czeslaw milosz, from 'new and collected poems: 1931-2001' // 'extended ambience portrait from a resonant biostructure' and 'migraine tenfold times ten' by daniel vega // a little death; the neighbourhood // marina tsvetaeva, from 'poem of the end' // by drummnist // katie maria, winter // 'nocturne in black and gold the falling rocket' by james abbott mcneill whistler // micah nemerever, these violent delights // body language; we are fury // 'the penitent' by emil melmoth // chelsea dingman, from 'of those who can't afford to be gentle'

taglist (opt in/out)

@shellibisshe, @florbelles, @ncytiri, @hibernationsuit, @stars-of-the-heart;

@lestatlioncunt, @katsigian, @radioactiveshitstorm, @estevnys, @adelaidedrubman;

@celticwoman, @rindemption, @carlosoliveiraa, @noirapocalypto, @dickytwister;

@killerspinal, @euryalex, @ri-a-rose, @velocitic, @thedeadthree

[sayakxmi]

Saiouma Puella Magi AU, but Kokichi takes Madoka's role and Shuichi takes Homura's.

For one, Kokichi's too naturally distrustful to just hear "I can grant you any wish :)" and not think ok where's the hook. So he just does what no one ever has & essentially interrogates Kyubey, so he knows it all even before he gets to make a contract. So, some of his classmstes are MGs & he won't become one himself BUT he still ends up tagging along to just protect them in his Kokichi ways. (Though I'm entertaining Kokichi lying about being a magical girl, because, well, it's Kokichi).

(I also got a small idea of Gonta being a magical girls and Kokichi originally tagging along him into labyrinths, Gonta also makes him a magic gun from the toy one he had, and at some point witches out & Kokichi manages to kill him with that gun. So he always has that spare Grief Seed on himself, bc it's still his best friend & he can't handle the idea of just giving it away or using it himself (he does anyway in the end).)

Shuichi prolly ends up being a new kid & it isn't like MadoHomu, the ppl who reach him first are Kaede & Kaito, classic. Kokichi's there, too, but he's his usual sus self. He's actually discouraging ppl from making a contract when they find out magic and miracles are real, which absolutely includes Shuichi. He's very vocal abt it, but he won't explain stutf, bc 1) he's a liar, so who'd believe him? and 2) he doesn't want them to witch out upon finding out the truth or, idk, murder everybody Mami-style.

Anyway, fast forward, bad things happen bingo & by the end of the run most charas are dead, there's Walpurgis nachting, and he makes his wish to bring back the ppl who died notably not as magical girls. Contract signed, he fights & fails, rip. I also thought it was similar to how he thought he could end the killing game by himself - he though he could finish Walpurgisnacht by himself, too. And he failed in both times. Whatevs.

Shuichi doesn't actually make his time travel wish for Ouma specifically, he wants to save all his friends. Timelines are messy esp at first bc he either tells then or it backfires or just makes himself look very sus bc he's trying not to tell them. He also realizes why Kokichi hadn't told anybody aby witches at some point, bc, yeah, it messes them a lot, assuming they believe it.

Still, Kokichi ends up one of the few people who are nearly always giving him a chance, not necessarily out of belief, but out of pragmatism - bro can stop time & knows the truth, that's just too useful. So they often work together & Shuichi grows closer to him but still we ain't there yet. But the thing is, Shuichi's time travel still makes Kokichi more & more powerful with each timeline, bc Shuichi usually goes back after Kokichi dies, so the universe figured out this guy's life's important. Anyway, another notable thing is the iconic Homura kills Madoka scene, but it's Saiouma with guest stars of Kaito & Maki. It's Walpy, it's not defeated yet, but the training trio are spent & just kinda accept their fate of turning into witches together. And then, boom, Kokichi appears & steals their Soul Gems for a sec & he's like did u know you can cleanse your Soul Gem with a darkened one? But it's a lie & he quickly tells them so, he just had a spare Grief Seed after cleansing his Soul Gem & he needs them to do some stuff. Shuichi can travel back in time & fix things, and Maki & Kaito are needed to fight Walpy here. He actually questions what happens to the timelines Shuichi leaves behin, and ofc he doesn't know. There's a chance they remain, so Kokichi needs Maki & Kaito to fight Walpy here.

Kaimaki leave, and Shuichi finally looks at Kokichi & realizes sth is Wrong. Kokichi struggles to hide how he's trembling & grimacing, and it's Kokichi, so obviously it must be extremely bad. Shuichi dreadfully realizes something worse, and he weakly asks Kokichi why aren't his wounds healing. And Kokichi just falls, laughing weakly, and Shuichi catches him & searches for his Soul Gem and, God, he knew it. It's nearly completely black. Kokichi laughs & admits he lied abt having two Grief Seeds, he only had one he never wanted to use. But they'll have the second one soon, so no need to worry. He asks Shuichi to maybe destroy his witch form as it's hatching, so he'll have the Grief Seed without any fighting… and he admits that he hates fighting, he hates this magical world and all its violence. He says that Kaito was right in calling him a coward, even here he just can't handle the idea of fighting any longer, he's so sorry. And Shuichi tells him he ISN'T a coward. He was scared, but he always followed everybody, trying to help, and when push came to shove he would always make a contract for the benefit of others rather than himself. He's a lot of things, but a coward isn't one. Kokichi actually tears up hearing that, and Shuichi promises he won't let him fight ever again, and especially he won't let him turn into a witch and hurt anybody, because he knows it's the last thing he's ever wanted. Even now he only accepts turning into a witch to help them fight to keep others safe. So Shuichi won't let him. Kokichi probably apologizes and thanks him and then he dies.

Keeping Kokichi from fighting starts off as a side quest that gains importance with time, bc it's something Shuichi won't compromise on (ah, trauma), which leads him to occassionally neglect others a bit, which makes them more likely to get hurt & ironically Kokichi more likely to make a contract, especially since he gets more powerful & Kyubey is more interested in him with each timeline. And that also makes him witch out super quick. Shuichi's paying more attention to him & over time grows resentful of others for how they're treating him. To Shuichi it's no question that Kokichi cares & is just doing his best to help, but nobody realizes that.

But the biggest obstacle in keeping Kokichi from fighting is actually Kokichi himself, bc he's too smart and nosy, lmao. Even if he knows nothing, he will find out quickly. Doesn't help that Kyubey wants him to make a contract.

Also, obviously Kaito is Sayaka-coded and Maki could be Kyouko-coded, so that's a thing, BUT it's usually Maki that witches out. Kaito is usually pretty close, but Kokichi intervenes & he survives, but Maki later cracks on her own (and since in the new timeline Kokichi isn't there, Kaito's the one to die, so he's still the secretary). So it's Kaito who gets the dramatic sacrifice. I imagine he genuinely hoped you could bring somebody back if you tried Very Hard & Kokichi called him a moron bc obviously it's not possible. If it was there'd be far less witches that there are. But it's Kaito, he doesn't listen to reason. So, Kokichi follows him to the labyrinth. At first Kaito's mad cuz what if Kokichi being there ruins the plan? Maki hates his guts! But eventually he gets hit pretty hard, and Kokichi is near immediately by his side, trying to help him get up, which kinda makes Kaito short circuit a little bc wait Kokichi's trying to help? But witch!Maki attacks them & Kokichi pushes Kaito away & gets caught himself (and choked until unconsciousness, naturally). Anyway, Kaito gets him away, Shuichi catches Kokichi & Kaito makes up his mind about going down with Maki & asks Shuichi to tell Kokichi that he's sorry. He doesn't get him, but he got hurt trying to protect him, so he'll believe in that if nothing else. F.

As for The WishTM, in the last timeline Shuichi lashes out at Kokichi for his willingness to just become part of the system. In no timeline has his wish actually helped, it did NOTHINHG, which OUCH but it also makes Kokichi think out of the box more & he becomes the Law of Cycles. And Shuichi realizes what is happening & freaks out bc Kokichi's doing it bc of what he told him & like Homura they end up having a momentTM in space & Shuichi remembers. He feels a lot of guilt even tho he also questions whether anything was real, but if it was, he pushed somebody he far too realized he loved into erasing himself from existence.

[hephaestuscrew]

“This has both our names on it”: Viewing Fleet and Clara’s relationship in Victoriocity through a queerplatonic lens

TL;DR: By Season 3 of Victoriocity, Fleet and Clara have developed a committed emotional partnership that certainly moves beyond the purely professional. Whilst very much operating as a duo, they can be interpreted as often rejecting or subverting romance-coded elements in their relationship, instead embracing a unique dynamic that can be read as resonating with the concept of a queerplatonic relationship (QPR).

Buckle up because this is over 2,500 words long! If you'd rather read it as a document, you can access it here: Fleet & Clara QPR Google Doc

Disclaimer: I'm not making any claims about creator intent, nor about how anyone else ought to interpret Fleet and Clara's dynamic. It's also worth acknowledging that queerplatonic relationships are inherently defined by the people in them and any attempt to apply such terminology to a story set in 1887 is obviously anachronistic (although whether that should matter when said story also contains a cyborg Queen Victoria is up for debate). 

With that said, if we define a QPR as a committed personal partnership which is not entirely captured by the typical expectations of either friendship or romance but may contain some elements typically associated with either (other definitions of QPRs are available), I enjoy viewing Fleet and Clara's relationship through a QPR lens, and I want to talk about some of the reasons why I think this reading works.

***Spoilers for all three seasons of Victoriocity and the novel High Vaultage***

Detective duos

Even before we actually get into Fleet and Clara's particular bond, detective / crime-solving duos as a general concept have QPR energy to me (which probably predisposed me to this interpretation). It's the Holmes-and-Watson legacy. It's the use of the word 'partner' in a non-romantic context (‘associate’ or ‘companion’ can also serve a similar purpose). It's the intense trust and reliance on each other. It's the sense of being a recognisable pair, always appearing together, known as a duo, with skills and attributes that complement each other. 

Romantic assumptions

Moving on to Fleet and Clara specifically, one aspect of their relationship that can be read through a QPR lens is how they are often in situations where other people believe or imply that there is a romantic relationship between them. Sometimes this is a deliberate strategy of theirs, and sometimes it’s imposed upon them by others. But I’d argue that there’s never a point where they both simultaneously seem entirely comfortable with that romantic narrative for their relationship. Usually one of them will actively deny the assumption or react negatively to the implication:

When Mrs Hampshire interprets Clara and Fleet as a couple experiencing “young love”, Clara might be happy to adopt this as an effective cover story, but Fleet seems unsettled and keen for them not to be perceived this way: “No. No. You’ve misunderstood, we are not, that is to say I am…” (S1E2)

When Warden Hughes assumes Fleet is the new Warden and Clara is the new Warden’s wife, Clara says “I am certainly not”, with emphasis on the ‘certainly’. (S2E2)

Fleet definitely doesn’t sound enthused when he realises Clara has gone for a married couple as their cover story at the Grand Salcombe: “I am sure I’ll regret asking, but by any chance am I [Mr. Theasby?]” (S2E2)

When Titus Byrne tells the pair “I take it you're happy sharing [a room]”, Clara responds with a horrified “What?” (S3E4) (Obviously sleeping in the same room isn’t inherently romantic, but it is often perceived that way.)

Of course, fake dating and external assumptions of romance are very common tropes in romantic will-they-won't-they dynamics, and these moments could definitely be interpreted that way for Fleet and Clara. But I prefer to read these instances as reflecting a different kind of closeness between these two characters. They have a sense of emotional partnership that allows a marriage cover story to seem plausible to others and that other people sometimes automatically assume to be romantic (obviously with some period-typical heteronormativity at play). But to me, it doesn't seem like either of them are fully comfortable with their relationship being perceived in a directly romantic way. Perhaps they are a couple in a different sense…

Proposal via door plate 

The way that Fleet asks Clara to be his business partner has always seemed to me like a platonic version of when people find personal ways to surprise their romantic partner with a proposal:

CLARA: You bought me a door plate for your office? [...] This has both our names on it. FLEET: What do you think? CLARA: I like it. (S2E7)

Fleet could have just asked Clara outright, without going to the trouble of buying a sign that would have been useless if she’d said no. If it was purely a professional business proposition with no emotional meaning behind it, I think he would have just asked verbally. But instead, he gifts her a sign with their two names paired together: Fleet-Entwhistle Investigations. There's something so intimate about that to me: about Fleet asking Clara whether she would like to be a duo with him in a more formally-defined but still non-romantic way; about him choosing to present this offer in the form of a gift; about the way he presents her with their two names joined together etched into metal and asks what she thinks; about the significance that this gesture attaches to their partnership; about him having enough trust that she'll say yes that the effort and vulnerability of presenting her with that sign seem worth it for him. And the gesture means an awful lot to Clara:

She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her. (High Vaultage, p187). 

Anniversaries

In the special episode ‘Murder in the Pharaoh's Tomb', Clara says “And you know what else is a big occasion Fleet? It's our one-month anniversary.” She wants to celebrate the anniversary of Fleet-Entwhistle Investigations. Their partnership holds a significance for her that means key dates associated with it are worth remembering and remarking upon. 

When Clara first mentions their anniversary, Fleet nearly chokes on his drink, which seems like an instinctive reaction to the usually romantic connotations of an anniversary (see my point above about Fleet not being comfortable with their dynamic being perceived as romantic). But when Clara clarifies what she means, Fleet seems much more cheerful about the notion of their anniversary: “Ah, so it has.”

“Miss Clara Entwhistle, my partner”

I get extremely strong QPR vibes from this moment, when Fleet introduces Clara to the sailors at Grave End:

FLEET: This is Miss Clara Entwhistle, my partner - in business, my business partner. CLARA: I'm also his friend, but he doesn't like to say it. (S3 E3)

Fleet and Clara are partners, but not in the way the average person might assume from that word, which Fleet realises mid-sentence here. This is another instance of Fleet reacting negatively to the idea that their relationship might be interpreted romantically (see above). And yet, 'partner' (rather than, say, ‘colleague’) is the word that comes naturally to him in this moment to describe who Clara is to him. He then frantically emphasises the professional element of their relationship so as to avoid the romantic implication, but Clara is keen to proudly assert that there is a personal, emotional aspect to their dynamic too. They are first-and-foremost partners, and they are friends, and they do not want to be seen in a romantic light - this post basically writes itself... 

“Her ridiculous detective.”

When Clara fears for her life at the display of the Lanterns, the narration tells us:

“she thought of her brother, her sister, her parents... Her ridiculous detective.” (High Vaultage, p172) 

The fact that Clara thinks of Fleet in this moment of fear clearly indicates his importance to her, but I think the phrasing of this quote is particularly interesting. The narration lists Clara's immediate family: two of whom are dead (her sister and father), one of whom is publically mourning Clara's life choices (her mother), and only one of whom we have any real evidence of her having a positive relationship with (her brother). And then, separated from these complicated familial relationships by an ellipsis, the narration tells Clara also thinks of Fleet, “her ridiculous detective”. 

Parents and siblings are familial relationships that tend to come with established expectations, in which the use of a possessive pronoun (i.e. her brother) to indicate the relationship is a norm. ‘Detective’ does not fall into this category; unlike ‘brother’, ‘sister’, ‘parent’, ‘friend’, ‘partner’ etc., ‘detective’ is not a word that inherently implies a relationship or that we'd usually expect to see preceded by a possessive pronoun. The idea of ‘her detective’ therefore stands out, giving the sense that there is a unique relationship being indicated here. The way in which Fleet is ‘hers’ is something that Clara has chosen for herself, something that they have shaped together. Who they are to each other can't necessarily be fully expressed using standard phrases that traditionally describe relationships between people. But Fleet is Clara's detective, of which she only has one, and who she'll think of in the midst of “the screaming of the heavens at the end of the world”.

Fleet is also the only one in this list of Clara's loved ones who gets an adjective - her love for him has detail. And while “ridiculous” might often be perceived as negative (it's certainly not a classic romantic endearment), it seems to me like there's such fondness in it in this context: the recognition of and affection for eccentricities, the idea that his importance to her is not (purely) based on his professional strengths but on Fleet as a whole - perhaps at times ridiculous - person.

“Settled”

When Clara and Fleet talk about Clara's mother’s expectations for her, they have this exchange:

"She's still living in hope that one day I'll settle down."  "You're not settled?" asked Fleet. "I am." (High Vaultage, p259) 

By ‘settle down’, Clara's mother of course means ‘marry’, ideally into “at least a minor baronetcy”. But Clara already considers herself "settled", just not in a way her mother would understand or appreciate. She's not looking to "settle down" into a lifestyle other than her current one. She is settled in a situation where Fleet is certainly her closest personal connection in London (and perhaps anywhere), and where the two of them work closely together, operate as a duo, and then go back to their separate homes. And this partnership with Fleet is a comfortable set-up that feels right for Clara exactly as it is, rather than being a precursor to, or a distraction from, the marriage ambitions that her mother wants for her.

I think this exchange also contains an implicit sense of the commitment between the two of them. Fleet wants to check that Clara is ‘settled’ in her current situation, of which working closely - and platonically - with Fleet is obviously a major element; Clara confirms she is. There's a subtle indication of their shared intention to be in this for the long haul.

As a sidenote, Fleet and Clara’s implicit assumption that their partnership is a long-term one can manifest itself in joking contexts as well as serious ones. Look at this exchange from S3E5: 

FLEET: We're not bandits, we're just going to flag it down. CLARA: We'd be terrific bandits! FLEET: Let's just see how our current line of work goes.

I think it’s notable that, in this joking speculation, both Fleet and Clara use ‘we’ and ‘our’. The joke could have been phrased just as effectively if they were imagining only Clara becoming a bandit. But the suggestion is that, if either of them was a bandit, they’d be bandits together. Even if they changed their lives entirely, they'd still approach life together.

Inseparable 

Fleet and Clara have become a nearly inseparable duo in a way which is noticed by others. For example, after Clara and Fleet fall out in High Vaultage, Fleet meets with Keller, who says: 

"You're here with me instead of barrelling across town with her, so I'm just assuming there is some thickheaded puffinry for which you need to apologise to Miss Entwhistle" (p335)

Keller, hardly the most emotionally perceptive man in Even Greater London, automatically infers from the fact that Fleet is on his own that he has had a falling out with Clara, rather than that they just happen to be in different places. When all is well, Keller expects to see the two of them together, whether or not they are in a position to be actively working a case.

Going back earlier in their partnership, Keller makes a similar assumption about Fleet and Clara being inseparable in S2E6. When Clara shouts her name amidst Keller's anti-Vidoc booby traps, Keller asks "Entwhistle? Which means… Fleet?" Again, there's this idea that if one of them is there, the other is likely to be there too - they come as a pair. (It's worth noting that this scene takes place less than two weeks after they first met.)

“Like a friend might?”

At the end of S3E7, Fleet suggests that he and Clara go to the theatre together. It would have been easy for this invitation to have been explicitly framed as a romantic proposition, or even for the nature of the offer to have been left more ambiguous. But Clara says "Archibald Fleet, are you inviting me to a social activity? Like a friend might?" The use of the word 'friend' directly labels this as a platonic interaction. And it's with that platonic lens on it that Clara is extremely excited to spend non-work-related social time with Fleet.

“Maybe it'll just be my good luck charm.”

CLARA: My grandmother's ring, I don't suppose you managed to hold on to it? [...] FLEET: Oh, it's been crushed.. I'm sorry Clara [...] CLARA: No, you keep it. FLEET: What? No... CLARA: Keep it. Maybe it'll remind you not to run towards trains. FLEET: Maybe. Maybe it'll just be my good luck charm.

In S3E7, Clara gives Fleet a ring, which - as a gift from one person to another - is traditionally a symbol of a particular, legally recognised, kind of personal commitment. But when Clara tells Fleet to keep the damaged ring, down in the Underground tunnels after the destruction of the beast and Fleet's latest brush with death, it is quite a different situation to a wedding or a proposal. A married man would traditionally wear his wedding ring on his finger for all to see, but Fleet won't ever wear this ring like that. The ring itself has been bent into a different shape between the wheels of their misadventures, subverting the usual associations of a ring given from one person to another. (In a heteronormative world, those associations are particularly strong when the two people in question are a woman and a man.) 

That ring is not an engagement ring, but it is Clara’s grandmother's ring, an inheritance from the blood family she never really felt she belonged in, now given to the man who might be a very different kind of family for her in London. That ring - with which Clara saved Fleet's life - is a symbol of their bond. And it therefore serves as a reminder for Fleet “not to run towards trains" and as a “good luck charm”. I like to think he'll carry that ring with him, perhaps in his jacket pocket - a little piece of his partner, kept close to his ticking heart…

Thank you for reading all of this!

If you’ve read all of this, I'm assuming you also enjoy the concept of Fleet and Clara as a QPR (unless you're really a glutton for punishment) and that makes me very happy! This was long because there's so much to say about them… And I wrote all of the above without even getting into: the potential to headcanon Fleet and/or Clara as aspec (which I don't think is necessary for QPR headcanons, but which is also fun); Clara's baggage around and discomfort with marriage in general; the speed with which Fleet and Clara become a ride-or-die duo; and the many other demonstrations of care, understanding, trust, respect, and affection between them that didn't feel as directly QPR-coded to me but are nonetheless wonderful. Please do feel free to share your own thoughts!

[you-makestedehappy]

Line deliveries that play on repeat in my brain.

Season 1, episode 10 - Wherever You Go, There You Are

🐈‍⬛❤️‍🩹🍆💦🏴‍☠️ [ep 1, 2, 3, 4, 5, 6, 7, 8, 9, 10]

[stagefoureddiediaz]

So do we think maybe Buck golfing with Gerrard is something along the lines of Tommy giving advice to Buck to get to know him and play nice to make his life easier (or some such - because Tommy never actually had any hated directed at him from Gerrard so never actually experienced first hand what he was like in the same way Chim and Hen did).

Which Buck will do and find out a few things about his situationships (it’s technically unlabelled as a relationship so I’m not calling them boyfriends!) past behaviours and dots will start connecting all those red flags that Tommy is waving?!!

[schrodingersidiot]

Nick Carraway and the Terrible, Horrible, No-Good, Very Bad Summer

Sorry mutuals I’m obsessed with The Great Gatsby

some process images under the cut:

[calamitoustide]

There are tears in James' eyes when they look back. They found themself a tragedy. Regulus isn’t the best at saving people. He’s never done it before, but he’ll succeed for them. They might be the only person worth succeeding for. The moment settles over them, and their lips turn upward. Not very much, it’s hardly noticeable even in the light, but it’s something. The ocean is still climbing in their eyes, and the tides go in and out with their breath, but they’re smiling now. They’re safe. Regulus will save them again if need be, any time no matter where. He’ll do whatever they want. Whatever they want. I Might Like You Less Now That You Know Me So Well

Leonard Cohen - Boygenius/unknown/unknown/More Than This - Patrick Ness/Cowboy Take Me Away - The Chicks/We're in Love - Boygenius/Cowboy Take Me Away - The Chicks/Alex Hirsch/Unknown/Unknown/Leonard Cohen - Boygenius

[lesamis]

Please may we have some regency recs from the local lyres book club? 🥺

ohh you mean regency romance? i'm not super In The Game as it is, but i can absolutely tell you my favourite one and the one i've most recently finished!

i think everyone who feels the feelings expressed in this post should read a seditious affair. everyone. it's well-researched and class-aware and well-executed. silas is an excellent character. if you're into 1810s radical politics, this book is for you; alternatively, if you could take or leave 1810s radical politics but enjoy a slow burn during which the characters are hooking up literally the entire time, it is also for you. (a gentleman's position from the same series is very good, too.)

a couple of days ago i finished letters to half moon street, a regency romance with a fantasy bend, and it was very sweet. i like when self-esteem issues are at the core of a plot's conflict, and this really hit every branch on the way down the Issues tree. its tone is warm and its protagonist is a fairly loveable wet cat of a man. recommend, even if i do think it could have fleshed out its love interest a bit better.

honourable mention: miss percy's pocket guide for the care and feeding of british dragons, which is not a romance and which i am of many minds about, but it still deserves a shoutout for having a dragon hatchling in its quaint and sensible little world.

hopefully there's something in here that sounds good to you, anon!